DOCSLIB.ORG

XIONG-DISSERTATION-2016.Pdf (9.613Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
XIONG-DISSERTATION-2016.Pdf (9.613Mb) Copyright by Xiangnan Xiong 2016 The Dissertation Committee for Xiangnan Xiong Certifies that this is the approved version of the following dissertation: From Am Karlsbad 24 to the Tugendhat House: Mies van der Rohe’s Quest for a New Form of Living Committee: Christopher Long, Supervisor Mirka Benes Greg Castillo Richard Cleary Francesco Passanti From Am Karlsbad 24 to the Tugendhat House: Mies van der Rohe’s Quest for a New Form of Living by Xiangnan Xiong, B.Arch; M. Arch Hist. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2016 Acknowledgements I would like to, first and foremost, acknowledge Christopher Long, my advisor and the supervisor of this project. He welcomed me to UT in fall 2011 and has directed me to pursue my interest with scholarly rigor and originality ever since. He read chapters of this dissertation multiple times and offered insightful revising suggestions. The completion of this project would not have been possible without his dedicated and thoughtful training for me. I am grateful to other committee members for benefiting my project in various ways. This project was developed from a seminar paper I wrote for Richard Cleary. I wish to thank him for his timely encouragement and for inspiring me to approach things in different ways. Courses with Mirka Benes stimulated my interest in cultural aspects of architecture, and conversations with Francesco Passanti added depth to my work. Greg Castillo, at UC Berkeley, motivated me to enrich my dissertation by drawing knowledge from a variety of disciplines. I thank the Interlibrary Service of University of Texas Libraries. Its Research Library Cooperative Program enabled me to use the libraries at Stanford University so that I could write my dissertation at home in California. Its Get A Scan service delivered a scanned copy of my requested materials that I had otherwise no access to. A special word of thanks goes to Staff at Library of Congress Manuscript Department and Paul Galloway at Museum of Modern Art for granting me access to Ludwig Mies van iv der Rohe Papers and the Ludwig Mies van der Rohe Archives respectively. I wish also to thank Daisy Dai, Yichen Zhou and Linlin Cheng, friends and then Economics doctoral students at University of Maryland, for accommodating and entertaining me when I consulted archives in DC. This project and my study at UT was partially funded and supported by a variety of sources, including a Recruiting Fellowship, Continuing Student Fellowships and travel fellowships provided by Architecture School; a Graduate School Summer Fellowship provided by the University of Texas at Austin; teaching assistantships under Christopher Long and Richard Cleary; and a research assistantship with Christopher Long. I want to thank my husband Yikan Chen for understanding my struggle as a doctoral student, supporting my study financially, and remaining my solid connection to the real world. v From Am Karlsbad 24 to the Tugendhat House: Mies van der Rohe’s Quest for a New Form of Living Xiangnan Xiong, Ph.D. The University of Texas at Austin, 2016 Supervisor: Christopher Long The present dissertation investigates Ludwig Mies van der Rohe’s domestic work in relation to his lifestyle and the contemporary discourse of modern living. In so doing, it provides a more variegated picture of Mies and demonstrates that a quest for a new form of living underlay his architectural development in the 1920s. Mies underwent a remarkable transition in architectural thought in the mid-1920s. It resulted in a new ordering in factors that shaped his architecture: he enthroned spirituality as the goal of his work and shifted his inspirational source from modern technology to modern life. At the time, Mies led a flexible and manifold life in a traditional Berlin apartment at Am Karlsbad 24, and he felt its static spatial arrangement could hardly cope with his liberated lifestyle. This experience led him to believe that modern living featured a constant adaption to the changing life circumstances, and, thus, modern dwellings should be made flexible enough to allow these adaptions. Therefore, in his apartment building for the Weissenhof housing exhibition in 1927, Mies created the device of moveable walls that enabled inhabitants to adapt the spatial layout to their changing needs and in so doing, vi affirmed a flexible lifestyle. Alongside meeting the practical demands of modern living, Mies also sought to fulfill its spiritual needs. A series of contemporary discussions on intellectual potentials of modern life led him to keep a distance from the prevalent functionalist approach and instead seek to evoke a sense of spirituality in dwellings. In the Tugendhat House in 1929, Mies, in masterfully manipulating interior reflective materials and exterior landscape view, created a contemplative ambience. In so doing, he proposed a thoroughly transformed domesticity that was centered on reflection, self-consciousness, and inward-looking. In demonstrating Mies’s architectural development as one that strove to affirm an emerging lifestyle and then elevate it onto a spiritual plateau, this study brings out a new, cultural value that constituted the heart of Mies’s work. vii Table of Contents List of Figures ..........................................................................................................x Introduction ............................................................................................................1 A Brief Literature Review ..............................................................................9 Chapter One Mies van der Rohe’s Writings in the 1920s: A Transitional Moment ............12 Mies’s Writing ..............................................................................................13 Mies’s Transition from 1924 to 1926 ...........................................................20 Life as Driving Force for Architecture .........................................................26 Technology as Means not as an End .............................................................43 Chapter Two Mies’s Life in Am Karlsbad 24: An Inspiration ...............................................56 Berlin in the 1920s ........................................................................................56 The Potsdamer Platz ............................................................................61 Am Karlsbad 24 ............................................................................................66 Mies’s life in the Apartment ................................................................74 The Importance of Spatial Flexibility ...........................................................83 Chapter Three The Weissenhof Apartment Building: Affirmation of a Modern Living ........93 Mies’s statement for the Werkbund Exhibition “Die Wohnung” .................93 Mies’s Position in“Rationalization and Standardization” ....................99 To Reform life through Building Art .................................................100 Mies’s Apartment Building at the Weissenhofsiedlung .............................109 Flexible Living: Adaptable Space ......................................................115 Flexible Living: Movable Furniture...................................................123 A Collective Tendency towards Flexible Living ........................................128 viii Chapter Four The Tugendhat House: Seeking Spirituality in Architecture ........................145 Towards a Spirituality in Architecture ........................................................145 The problem of Minimal Housing and Neue Sachlichkeit ................145 A Focus on Spirituality ......................................................................155 The Tugendhat House: An Elevated Art of Life .........................................166 The Importance of Consciousness .....................................................166 A Trip to the Tugendhat House .........................................................171 Spirituality vs. Livability: Is the Tugendhat House Habitable? .........189 Conclusion ..........................................................................................................201 Figures..................................................................................................................209 Bibliography ........................................................................................................247 Mies’s writings, lectures, and interviews ....................................................247 German Period (1920-1938) ..............................................................247 American Period (1938-1969) ...........................................................250 Achieves ......................................................................................................252 Periodicals ...................................................................................................253 Books and Articles ......................................................................................253 ix List of Figures Figure 1.1. Diagram showing the intellectual influences on Mies’s transition. ..209 Figure 1.2. The Brick Country House project, 1924.. .........................................210 Figure 1.3. V. Huszar, Mechanical dancing figure (Mechanisch Dansende Figuur), Voorburg (Holland), 1920.. ............................................................211
Load more

Recommended publications
  • Pressemappe Freiheit Novembergruppe 7.11.18
    Freiheit Die Kunst der Novembergruppe 1918–1935 09.11.2018–11.03.2019 PRESSEMAPPE INHALTSVERZEICHNIS Allgemeine Presseinformationen (Seite 1) Ausstellungstexte (Seite 4) Ausstellungskatalog (Seite 7) Bildungs- und Rahmenprogramm (Seite 8) Online-Kampagne #novembergruppe (Seite 12) Pressebilder (Seite 13) WWW.BERLINISCHEGALERIE.DE BERLINISCHE GALERIE LANDESMUSEUM FÜR MODERNE ALTE JAKOBSTRASSE 124-128 FON +49 (0) 30 –789 02–600 KUNST, FOTOGRAFIE UND ARCHITEKTUR 10969 BERLIN FAX +49 (0) 30 –789 02–700 STIFTUNG ÖFFENTLICHEN RECHTS POSTFACH 610355 – 10926 BERLIN [email protected] PRESSEINFORMATION Ulrike Andres Leitung Marketing und Kommunikation Tel. +49 (0)30 789 02 829 [email protected] Presse-Kontakt: Smith – Agentur für Markenkommu- nikation Felix Schnieder-Henninger Tel. +49 (0)30 609 809 711 Mobil +49 (0)163 2515150 [email protected] Berlin, 7. November 2018 FREIHEIT Die Kunst der Novembergruppe 1918 bis 1935 9. November 2018 bis 11. März 2019 Pressekonferenz: 07.11., 11 Uhr, Eröffnung: 08.11., 19 Uhr, Kindervernissage 11.11., 15-17 Uhr Eintritt: 10 Euro (erm. 7 Euro); Öffnungszeiten: Mi.-Mo. 10-18 Uhr Demokratie und Vielfalt. Mit dem Ende des Ersten Weltkriegs und dem Untergang des Kaiserreichs öffneten sich in Deutschland die Tore zu Freiheit und Gerechtigkeit. Die junge Demokratie hatte es nicht leicht. Die bereits im November 1918 wäh- rend der Revolution in Berlin initiierte Künstler*in- nenvereinigung Novembergruppe entwickelte sich rasch zum starken, innovativen Spieler in der Kunstwelt und auf dem Gesellschaftsparkett der Weimarer Republik. Der pluralistisch verfasste Verein profitierte von der liberalen staatlichen Kunstförderung. Offen für alle Stilrichtungen der Bildenden Kunst, für Architekt*innen, Schriftstel- ler*innen, Komponist*innen und Filmemacher*in- nen bot die Novembergruppe eine Plattform für Freiheit, Demokratie und Vielfalt.
    [Show full text]
  • Ragioni E Sentimenti
    RAGIONI E SENTIMENTI a cura di MARINA D’AMATO 2016 Università degli Studi Roma Tre Dipartimento di Scienze della Formazione RAGIONI E SENTIMENTI a cura di MARINA D’AMATO 2016 Desidero ringraziare tutti coloro che hanno contribuito con la loro disponibilità e professionalità a quest’opera, in modi diversi, ma tutti indispensabili: Katiuscia Carnà, Francesca Cubeddu, Milena Gammaitoni, Valentina Punzo e, in particolare, Edmondo Grassi che, quotidianamente, ha tenuto i contatti con gli autori e ha effettuato l’editing complessivo dell’opera. “A Gregorio” Coordinamento editoriale: Gruppo di Lavoro Edizioni: © Roma, dicembre 2016 ISBN: 978-88-97524-90-8 http://romatrepress.uniroma3.it Quest’opera è assoggettata alla disciplina Creative Commons attribution 4.0 International Licence (CC BY-NC-ND 4.0) che impone l’attribuzione della paternità dell’opera, proibisce di alterarla, trasformarla o usarla per produrre un’altra opera, e ne esclude l’uso per ricavarne un profitto commerciale. Immagine di copertina: Federico Marcoaldi, Alla ricerca dell’azzurro (2015). Indice MARINA D’AMATO, Introduzione 5 PER UNA TEORIA DEI SENTIMENTI MONIQUE HIRSCHHORN, Quelle place pour l’affectivité en sociologie? 23 MARC-HENRY SOULET, La compassion: un faux ami pour l’analyse sociologique 33 VITTORIO COTESTA, Le Muse di Max Weber 47 ANNA DE STEFANO PERROTTA, Sorokin e i sentimenti dimenticati 65 BERNARDO CATTARINUSSI, Le espressioni dell’eudemonia 75 ADELE BIANCO, Ragioni e regole – sentimenti e capacità. L’attualità di un dualismo costante e problematico nella storia
    [Show full text]
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • Seagram Building, First Floor Interior
    I.andmarks Preservation Commission october 3, 1989; Designation List 221 IP-1665 SEAGRAM BUIIDING, FIRST FLOOR INTERIOR consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; 375 Park Avenue, Manhattan. Designed by Ludwig Mies van der Rohe with Philip Johnson; Kahn & Jacobs, associate architects. Built 1956-58. Landmark Site: Borough of Manhattan Tax Map Block 1307, Lot 1. On May 17, 1988, the landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Seagram Building, first floor interior, consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; and the proposed designation of the related I.and.mark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Twenty witnesses, including a representative of the building's owner, spoke in favor of designation. No witnesses spoke in opposition to designation. The Commission has received many letters in favor of designation. DFSCRIPI'ION AND ANALYSIS Summary The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Iudwig Mies van der Rohe. Constructed on Park Avenue at a time when it was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage.
    [Show full text]
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • EU Prize for Contemporary Architecture / Mies Van Der Rohe Award: a Tribute to Bauhaus
    AT A GLANCE EU Prize for Contemporary Architecture / Mies van der Rohe Award: A tribute to Bauhaus The EU Prize for Contemporary Architecture (also known as the EU Mies Award) was launched in recognition of the importance and quality of European architecture. Named after German architect Ludwig Mies van der Rohe, a figure emblematic of the Bauhaus movement, it aims to promote functionality, simplicity, sustainability and social vision in urban construction. Background Mies van der Rohe was the last director of the Bauhaus school. The official lifespan of the Bauhaus movement in Germany was only fourteen years. It was founded in 1919 as an educational project devoted to all art forms. By 1933, when the Nazi authorities closed the school, it had changed location and director three times. Artists who left continued the work begun in Germany wherever they settled. Recognition by Unesco The Bauhaus movement has influenced architecture all over the world. Unesco has recognised the value of its ideas of sober design, functionalism and social reform as embodied in the original buildings, putting some of the movement's achievements on the World Heritage List. The original buildings located in Weimar (the Former Art School, the Applied Art School and the Haus Am Horn) and Dessau (the Bauhaus Building and the group of seven Masters' Houses) have featured on the list since 1996. Other buildings were added in 2017. The list also comprises the White City of Tel-Aviv. German-Jewish architects fleeing Nazism designed many of its buildings, applying the principles of modernist urban design initiated by Bauhaus.
    [Show full text]
  • 52 Philosophy in a Dark Time: Martin Heidegger and the Third Reich
    52 Philosophy in a Dark Time: Martin Heidegger and the Third Reich TIMOTHY O’HAGAN Like Oscar Wilde I can resist everything except temptation. So when I re- ceived Anne Meylan’s tempting invitation to contribute to this Festschrift for Pascal Engel I accepted without hesitation, before I had time to think whether I had anything for the occasion. Finally I suggested to Anne the text of a pub- lic lecture which I delivered in 2008 and which I had shown to Pascal, who responded to it with his customary enthusiasm and barrage of papers of his own on similar topics. But when I re-read it, I realized that it had been written for the general public rather than the professional philosophers who would be likely to read this collection of essays. So what was I to do with it? I’ve decided to present it in two parts. In Part One I reproduce the original lecture, unchanged except for a few minor corrections. In Part Two I engage with a tiny fraction of the vast secondary literature which has built up over the years and which shows no sign of abating. 1. Part One: The 2008 Lecture Curtain-Raiser Let us start with two dates, 1927 and 1933. In 1927 Adolf Hitler’s Mein Kampf (volume II) was published. So too was Martin Heidegger’s magnum opus Being and Time. In 1933 two appointments were made: Hitler as Chancellor of the German Reich and Heidegger as Rector of Freiburg University. In 1927 it was a case of sheer coincidence; in 1933 the two events were closely linked.
    [Show full text]
  • Final Report Provenance Research
    Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority.
    [Show full text]
  • Bauhaus Centenary Year May Be Over, but the Influential Art and Design Movement Remains in the International Spotlight
    Dear Journalist/Editor The Bauhaus centenary year may be over, but the influential art and design movement remains in the international spotlight. Below is an article that in- cludes comments from eminent publications, pointing out that 2019 was a cat- alyst for a new appreciation of the Bauhaus movement. And that interest con- tinues in 2020. Inspired by exhibitions both in Germany and around the world, more and more visitors are planning vacations in BauhausLand, the German federal states of Saxony-Anhalt and Thuringia. This editorial contribution is, of course, free for use. Bauhaus: Still in the spotlight! BAUHAUSLAND: ATTRACTING NEW FANS In 2019, the worldwide celebrations for the centenary of the Bauhaus focused on the achievements of this influential art and design movement. The range of exhibitions appealed to aficionados, but they also attracted a brand-new audi- ence. Leila Stone wrote in The Architect’s Newspaper: “Bauhaus is architec- ture. Bauhaus is costume design. Bauhaus is textile design. Bauhaus is furni- ture…it has never been more clear that Bauhaus is everywhere.” With appre- ciation increasing, more and more fans are planning to visit BauhausLand www.gobauhaus.com to spend their 2020 vacations in the German federal states of Saxony-Anhalt and Thuringia. BAUHAUSLAND: THE HOT DESTINATION FOR 2020 GQ Magazine trumpeted the headline: “Why travel trendsetters are heading for the birthplace of Bauhaus.” The list of ‘must dos’ includes the striking new Bauhaus Museum in Weimar, where the ‘must sees’ range from Josef Albers’ ground-breaking Nesting Tables to Wilhelm Wagenfeld’s Glass Table Lamp, which is still manufactured today! As for Architectural Digest, it names the brand-new Bauhaus Museum Dessau as one of its “Top 20 Places to Travel in 2020,” adding that “If you decide to go on a Bauhaus-themed pilgrimage, be sure to visit the Meisterhäuser, a group of white cubist homes where Gropius, Kandinsky, and other Bauhaus luminaries lived.” TourComm Germany Olbrichtstr.
    [Show full text]
  • Ernst Tugendhat Und Die Intellektuelle Redlichkeit“
    DIPLOMARBEIT Titel der Diplomarbeit „Ernst Tugendhat und die intellektuelle Redlichkeit“ Verfasserin Agnes Leyrer angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, Februar 2012 Studienkennzahl lt. Studienblatt: A 296 Studienrichtung lt. Studienblatt: Philosophie Betreuerin: ao. Univ.-Prof. Mag. Dr. Elisabeth Nemeth INHALTSVERZEICHNIS Vorwort .........................................................................................................................................7 Abkürzungsverzeichnis................................................................................................................10 Einleitung.....................................................................................................................................11 Hauptteil ......................................................................................................................................23 1. Quelle: Egozentrizität und Mystik. Eine anthropologische Studie (2003)...............................23 Verortung und „Einbettung“ des Themas in EuM..............................................................25 „ich“..........................................................................................................................26 „gut“..........................................................................................................................28 „wichtig“...................................................................................................................30 Überleitung zur intellektuellen
    [Show full text]
  • 1 You Can't Participate If You Don't Feel Welcome Rob Watson, 10Th
    You Can’t Participate if You Don’t Feel Welcome Rob Watson, 10th May 2019 You Can’t Engage if you Don’t Feel Welcome 1 Introduction “If we have low expectations about our achievement we can act with more confidence and assurance in what we do than if we think we are developing theories and hypotheses” (Helle, 2005, p. 126). The controversy that is currently associated with the politics of national identity is nothing new. It does seem, however, that the urgency and the rawness that temper the current debate indicates that the concepts and ideas that we associate with inclusivity and diversity in our communities are a hot topic. The issue of multiculturalism has a particular edge at the moment. To put it mildly, it has every chance of becoming singularly problematic and destructive if it’s not handled properly and with more sensitivity. One example that illustrates how difficult this topic can be is the recent suggestion by former UK Prime Minister, Tony Blair, that successive governments have “failed to find the right balance be- tween diversity and integration.” What would probably be taken as a relatively benign statement of the obvious by some, has itself become an object of considerable scorn to others. Tony Blair is often mocked for his occasional political interjections, and any consideration of the issues that Blair raises makes them toxic by association. However, whatever Blair’s motives, the questions that have been raised about the future of the multicultural model that has been fostered in the UK over forty years needs careful handling.
    [Show full text]
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
    [Show full text]