EDUCATION and REUSE the Public Authorities, the Professionals and the Educational Community
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Die Architekturausstellung Als Kritische Form 2018
Die Architekturausstellung als kritische Form 1 Lehrstuhl für Architekturgeschichte und kuratorische Praxis EXTRACT “Die Architekturausstellung als kritische Form von Hermann Muthesius zu Rem Koolhaas” Wintersemester 2018/19 LECTURE 1 / 18 October 2018 Die Architekturausstellung als kritische Form. Vorgeschichte, Themen und Konzepte. Basic questions: - What is an architecture exhibition? - How can we exhibit architecture? - What does the architecture exhibition contribute to? Statements: - Exhibitions of architecture are part of a socio-political discourse. (See Toyo Ito’s curatorial take on the Architecture Biennale in Venice in 2012 http://www.domusweb.it/en/interviews/2012/09/03/toyo-ito-home-for-all.html) - Exhibitions of architecture are model-like presentations / They should present the new directions of the discipline. (“Critical” in this context of this lecture class means: exhibitions introducing a new theoretical and / or practical concept in contrast to existing traditions) PREHISTORY I. - Model Cabinets (Modellkammer), originally established as work tools for communication purposes and as educational tools for upcoming architects / engineers. Further aspect: building up an archive of technological inventions. - Example: The medieval collection of models for towers, gates, roof structures etc. in Augsburg, hosted by the Maximilianmuseum. - Originally these cabinets were only accessible for experts, professionals, not for public view. Sources of architecture exhibitions: - Technical and constructive materials (drawings, models). They tend to be private or just semi- public collections built up with education purposes. - The first public exhibitions of these models in the arts context didn’t happen until the end of the 18th century. Occasion: Charles de Wailly exhibited a model of a staircase in an arts exhibition in 1771. -
Quantifying Hitler's Salon: Patrick J. Jung
Quantifying Hitler’s Salon: A Statistical Analysis of Subjects at the Great German Art Exhibition, 1937-1944 Patrick J. Jung Department of Humanities, Social Science, and Communication Milwaukee School of Engineering Milwaukee, Wisconsin 53202, USA Email: [email protected] Abstract: In recent decades, scholars have reassessed earlier historical interpretations that argued German art produced during the Nazi era was little more than kitsch. This reassessment has occurred in part due to the increased accessibility to the various sources required to thoroughly research Nazi-era art. The availability of the artistic oeuvre of the Third Reich has been enhanced by the 2012 launch of the online database Grosse deutsche Kunstausstellung, 1937-1944. This database makes possible a quantitative analysis of the artworks exhibited at Adolf Hitler’s annual art exhibition, the Grosse deutsche Kunstausstellung (Great German Art Exhibition), from 1937 to 1944. Tabulating the information found in this database indicates that landscapes and related works constituted the dominant subject category. Portraits, nudes, and depictions of animals were also significant, but overtly political art was uncommon. The subjects of Nazi-era art reflected the racial ideology of the Third Reich, but several subject categories remain largely unexamined in this respect. This essay provides statistical evidence that supports many of the scholarly interpretations concerning these subject categories and suggests new directions for future research. Keywords: Third Reich, Nazi-era art, Great German Art Exhibition, Adolf Hitler Introduction: Reassessing Nazi-Era Art Prior to the 1970s, art historians generally dismissed Nazi-era art as mere kitsch and the product of a dictatorship that had suppressed modernist styles. -
PRESS RELEASE the Heerlen Rooftop Project: an Ambitious Architecture Competition
PRESS RELEASE Heerlen, 18 July 2019 The Heerlen Rooftop Project: an ambitious architecture competition. SCHUNCK announces an international urban design idea competition for an urban rooftop project in the heart of the city of Heerlen (NL). The city centre of Heerlen is characterized by a dense and diverse urban rooftop landscape. Large grey and sterile roof surfaces dominate the view from above. SCHUNCK and Heerlen aim to explore this unused surface potential for gardening, arts, farming, cultural festivals, music, cinema, coffee houses, sports, tiny housing and much more. Rooftop projects in cities across the globe prove that gardens, art, recreation and/or business activity can turn ugly sterile spaces into something special. To start a transformation, SCHUNCK invites architects, urban planners, landscape architects and designers to participate in this international competition. The participants are asked to submit their design ideas for the city-centre rooftops in Heerlen to make these rooftops accessible and sustainable. More competition information on: https://schunck.nl/en/rooftop-competition/ The deadline for registration is: 25 August 2019 About The Heerlen Rooftop Project The concept for The Heerlen Rooftop Project has two principal action lines: • stimulate owners in the city centre of Heerlen to make their own rooftops accessible and sustainable. • initiate and co-organize recurring Rooftop Festivals with the municipality of Heerlen and multiple, cultural partners to encourage (local) stakeholders, participants, entrepreneurs -
Massachusetts History and Social Science Curriculum Framework
Massachusetts History and Social Science Curriculum Framework Massachusetts Department of Elementary and Secondary Education Draft for discussion by the Board of Elementary and Secondary Education May 15, 2018 Copyediting incomplete This document was prepared by the Massachusetts Department of Elementary and Secondary Education Board of Elementary and Secondary Education Members Mr. Paul Sagan, Chair, Cambridge Mr. Michael Moriarty, Holyoke Mr. James Morton, Vice Chair, Boston Mr. James Peyser, Secretary of Education, Milton Ms. Katherine Craven, Brookline Ms. Mary Ann Stewart, Lexington Dr. Edward Doherty, Hyde Park Dr. Martin West, Newton Ms. Amanda Fernandez, Belmont Ms. Hannah Trimarchi, Chair, Student Advisory Ms. Margaret McKenna, Boston Council, Marblehead Jeffrey C. Riley, Commissioner and Secretary to the Board The Massachusetts Department of Elementary and Secondary Education, an affirmative action employer, is committed to ensuring that all of its programs and facilities are accessible to all members of the public. We do not discriminate on the basis of age, color, disability, national origin, race, religion, sex, or sexual orientation. Inquiries regarding the Department’s compliance with Title IX and other civil rights laws may be directed to the Human Resources Director, 75 Pleasant St., Malden, MA, 02148, 781-338-6105. © 2018 Massachusetts Department of Elementary and Secondary Education. Permission is hereby granted to copy any or all parts of this document for non-commercial educational purposes. Please credit the “Massachusetts Department of Elementary and Secondary Education.” Massachusetts Department of Elementary and Secondary Education 75 Pleasant Street, Malden, MA 02148-4906 Phone 781-338-3000 TTY: N.E.T. Relay 800-439-2370 www.doe.mass.edu Massachusetts Department of Elementary and Secondary Education 75 Pleasant Street, Malden, Massachusetts 02148-4906 Telephone: (781) 338-3000 TTY: N.E.T. -
Modern Art and Politics in Prewar Germany
Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists. -
MAGALI REUS *1981, Den Haag, NL Lives in London, UK
MAGALI REUS *1981, Den Haag, NL Lives in London, UK www.magalireus.com Education Depuis 1788 2006 - 2008 MFA Fine Art, Goldsmiths College, London, UK 2002 - 2005 BA (Hons) Fine Art, Goldsmiths College, London, UK Freymond-Guth Fine Arts 2001 - 2002 Foundation Art and Design, Gerrit Rietveld Academy, Amsterdam, Limmatstrasse 270 NL CH 8005 Zürich T +41 (0)44 240 0481 offi[email protected] www.freymondguth.com Tue – Fri 11 – 18h Solo Shows (selection) Saturday 11 – 17h Or by appointment 2015 The Hepworth Wakefield, UK Fondazione Sandretto Re Rebaudengo, Turin, IT Sculpture Centre, New York, USA 2014 The Approach, London, UK Circuit, Lausanne, CH 2013 Highly Liquid, Galerie Fons Welters, Amsterdam, NL Out of Empty, Albert Baronian Project Space, Brussels, BE 2012 BB #7: Magali Reus, BLACKBOARD at SPACE studios, London, UK Unsolo project room (1/9unosunove), Milan, IT 2011 ON, The Approach, London, UK 2010 Weekend, Galerie Fons Welters, Amsterdam, NL Background, IBID Projects, London, UK 2009 Background, La Salle de bains, Lyon, FR Some Surplus, Plan B Projects, Amsterdam, NL 2008 The Angle Between Two Walls, (with Brock Enright), MOT International, London, UK 2006 Playstation: A Billion Balconies Facing the Sun, Galerie Fons Welters, Amsterdam, NL Group Shows (selection) 2014 Monumental Fatigue, Freymond-Guth Fine Arts, Zurich, CH Frieze London, with Freymond-Guth Fine Arts Nature after Nature, Kunsthalle Fridericianum, Kassel DE To Meggy Weiss Lo Surdo, Happy Hours, CO2, Torino, IT Superficial Hygiene, De Hallen, Haarlem, NL Pool, Kestnergesellschaft, Hannover, DE Post/Post Minimal, Kunstmuseum St. Gallen, CH Andrea Rosen, New York, USA 2013 Rijksakademie Open, Rijksakademie van Beeldende Kunsten, Amsterdam, NL Silent Hardware, David Dale Gallery, Glasgow, GB Slip, The Approach, London, UK Shadows of a Doubt’, Tallinn Art Hall, Tallinn, ES, cur. -
Context International Exhibition Mies Masterpieces Schunck* Glaspaleis
CONTEXT SCHUNCK* Glaspaleis Université de Liège INTERNATIONAL EXHIBITION Visiting address Visiting address Bongerd 18 Place du 20-Août, 7 This programme is presented to you within the context of the 6411 JM Heerlen B-4000, Liège exhibition ‘MIES & the inheritance of modernism’ The Netherlands Belgium (from 10 April up to and including 7 August). Tel. +31 45 577 22 00 Tel. +32 4 242 79 44 www.schunck.nl www.ulg.ac.be The world-famous architect Ludwig Mies van der Rohe (1886–1969) still inspires architects. However, his work is falling into decay, like many other modernistic buildings. This evokes the question: what TU Eindhoven Rheinisch-Westfälische Technische should we preserve and how? Visiting address Hochschule Aachen (RWTH) De Zaale Visiting address 5612 AZ Eindhoven Templergraben 55 MIES MASTERPIECES The Netherlands D-52062 Aachen Tel. +31 6 463 708 67 Germany The exhibition provides some answers. You will see, feel and read www.tue.nl Tel. +49 241 809 37 57 everything about five restored masterpieces by ‘Mies’: S.R. Crown www.rwth-aachen.de Hall, Villa Tugendhat, 860-880 Lake Shore Drive, Robert F. Carr Universiteit Hasselt Memorial Chapel and Verseidag. A 20-minute video about these Visiting address buildings, projected onto a 20-meter wide screen, will have its Martelarenlaan 42 world premiere. You will also see an overview of 80 buildings de- B-3500 Hasselt signed by Mies van der Rohe. Belgium Tel. +32 11 29 21 01 SCHUNCK* GLASPALEIS www.uhasselt.be Frits Peutz’s Glaspaleis was almost demolished twice. It is now a classic example of renovation (executed by Jo Coenen and Wiel Arets) and new use (library, music school, museum for modern and contemporary art, dance school, architecture institute, art cinema, espresso bar and brasserie). -
Context International Exhibition Mies
CONTEXT SCHUNCK* Glaspaleis Université de Liège INTERNATIONAL EXHIBITION Visiting address Visiting address Bongerd 18 Place du 20-Août, 7 This programme is presented to you within the context of the 6411 JM Heerlen B-4000, Liège exhibition ‘MIES & the inheritance of modernism’ The Netherlands Belgium (from 10 April up to and including 7 August). Tel. +31 45 577 22 00 Tel. +32 4 242 79 44 www.schunck.nl www.ulg.ac.be The world-famous architect Ludwig Mies van der Rohe (1886–1969) still inspires architects. However, his work is falling into decay, like many other modernistic buildings. This evokes the question: what TU Eindhoven Rheinisch-Westfälische Technische should we preserve and how? Visiting address Hochschule Aachen (RWTH) De Zaale Visiting address 5612 AZ Eindhoven Templergraben 55 MIES MASTERPIECES The Netherlands D-52062 Aachen Tel. +31 6 463 708 67 Germany The exhibition provides some answers. You will see, feel and read www.tue.nl Tel. +49 241 809 37 57 everything about five restored masterpieces by ‘Mies’: S.R. Crown www.rwth-aachen.de Hall, Villa Tugendhat, 860-880 Lake Shore Drive, Robert F. Carr Universiteit Hasselt Memorial Chapel and Verseidag. A 20-minute video about these Visiting address buildings, projected onto a 20-meter wide screen, will have its Martelarenlaan 42 world premiere. You will also see an overview of 80 buildings de- B-3500 Hasselt signed by Mies van der Rohe. Belgium Tel. +32 11 29 21 01 SCHUNCK* GLASPALEIS www.uhasselt.be Frits Peutz’s Glaspaleis was almost demolished twice. It is now a classic example of renovation (executed by Jo Coenen and Wiel Arets) and new use (library, music school, museum for modern and contemporary art, dance school, architecture institute, art cinema, espresso bar and brasserie). -
Panofsky in Munich, 1967 Christopher S
Panofsky in Munich, 1967 Christopher S. Wood MLN, Volume 131, Number 5, December 2016 (Comparative Literature Issue) , pp. 1236-1257 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mln.2016.0088 For additional information about this article https://muse.jhu.edu/article/650016 Access provided by New York University (19 Apr 2017 23:08 GMT) Panofsky in Munich, 1967 � Christopher S. Wood A prize is supposed to honor the recipient. But often the recipient, just by accepting the prize, honors the prize-bestowing institution. Especially a damaged or disgraced institution, for example the Ger- man university in the twentieth century. Many German professors who had stayed at their posts right through the Nazi years and on into the 1950s and 60s craved personal reconciliation with the Jewish colleagues who had been expelled in 1933. Others sought a more abstract, shared exculpation. It occurred to some that prizes and hon- ors might balm wounds and hasten atonement. Gert von der Osten, General Director of the Museums of the City of Cologne, wrote to the architect Rudolf Hillebrecht on June 20, 1966, about the possibility of electing the eminent art historian Erwin Panofsky to the Order Pour le mérite. “The election,” he remarked presumptuously, “would have wide resonance among unreconciled refugees in all intellectual and artistic fields” (“Die Wahl hätte weite Resonanz bei unversöhnten Refugees auf allen geistigen und künstlerischen Gebieten”; Korrespondenz 5: no. 3304). The unforgiven, when speaking of the unreconciled, always manage to strike just the wrong note, as for example when von der Osten asserts in the same letter that Panofsky had not yet returned to Germany, “like so many of the sensitive emigrants, for fear of the shock” (“wie so viele der feinfühligen Emigranten, aus Furcht vor dem Schock”). -
Copyrighted Material
25_662945 bindex.qxp:interior pages 3/5/08 11:47 AM Page 567 Index Entries in italic type refer to illustrations Aalto, Alvar, 18, 129, 170, 271, 291, 360, 476, 492, American Embassy. See United States Embassy Baker House Dormitory, Massachusetts Institute 492, 493, 493–494, 494, 495 American Houses, Inc., 148–149, 309 of Technology, Cambridge, Massachusetts, Abramovitz, Max, 372, 372, 373, 375 American Institute of Architects (AIA), 278, 432, 291, 494 accessibility 436 Bankers Trust Building, New York, New York, 80 airport terminal preservation, 425 American National Exhibition, Moscow, USSR banking industry, 39–40 Raymond M. Hilliard Center, Chicago, Illinois, (1959), 141 Bankside Power Station, Southwark, London, 293, 295 American Radiator Company, 309 England, 449 A. Conger Goodyear House, Old Westbury, New American Society for Testing Materials (ASTM), Barbican housing estate, London, England, 86, 98 York, 213 113, 128 Barcelona chair, 7, 185, 189, 189 acrylic sealants, 133 Ammann & Whitney, 95, 427, 431 Barcelona Pavilion, Barcelona, Spain (1929), 10, adaptive reuse, 34 Amoco Building (Aon Center), Chicago, Illinois, 38, 50, 51, 52, 171, 182, 183, 184, 185, 185, Advance Development Company, 264 129, 131, 476, 496, 497, 498 186, 187–188, 188, 189, 189, 190–193 advocacy, viii design, 496 design description, 187–189 Agnelli, Giovanni, 454–455 generally, 496 generally, 185–187 Ain, Gregory, 261–262, 263, 263, 264, 265, 266, historical development, 496–498 historical perspective, 189–190 266, 326 preservation issues, 498 reconstruction, 190–193, 201 Air Commerce Act of 1926, 420 Anaheim Ice (Disney Ice Skating Rink), Bard Awards, 279 Air France, 424 Anaheim, California, 107 Barragán, Luis, 5 airline industry, 31, 395, 396, 422, 424, 431. -
Reader Module 2
MOOC Zero-Energy Design Course Reader Module 2 This reader provides additional information for the Massive Open Online Course (MOOC) Zero Energy Design. Andy van den Dobbelsteen Eric van den Ham Tess Blom Kees Leemeijer Special thanks to BOOM (environmental research and design) for the use of the book Energie Vademecum and to BuildDesk / ROCKWOOL international A/S for translation of Energie vademecum. 1 Content 1. Climate zones ..................................................................................................... 4 2. History of climatic design ................................................................................... 7 2.1. Shelter......................................................................................................................................................................................... 7 2.2. Heating ....................................................................................................................................................................................... 8 2.3. Light & Sight .............................................................................................................................................................................. 10 2.4. Cooling ...................................................................................................................................................................................... 12 2 1 Climate zones 3 1. Climate zones If we look at the world climate, the Köppen climate classification is most widely -
VERY CONTEMPORARY Is the Network of Contemporary Art Venues La Châtaigneraie Architecture Are in Dialogue with the Community and the Wider in the Meuse-Rhine Euregion
2h n i m 0 3 h 2 1h in 30 m m 0 i n n 2h 3 i min m 2 30 h 5 4 Museum De CIAP Domijnen 3 0 m in 1h 30 mi n Leopold-Hoesch- 4 0m in SCHUNCK in Museum 0m 3 1h in m 0 3 1h 1h in m in 30 m 30 1h min 20 h 1 h 1 in m 0 3 0 2 m i n Bureau Europa 2 h 1 h 3 Very 5 1h m i n 3 h 3 1 h h 3 Ludwig Forum 0 Contemporary m i n Aachen The Network of Contemporary Art 1 venues in the Meuse-Rhine Euregion h in m 2 0 0 3 m 1h in 1h m 1h in 0 h 3 2 4 0 in m i m n 0 3 m 3 5 in 5 m i n 1 h 3 h SPACE Collection 1 h 3 0 m i n IKOB – Museum of Contemporary Art Kunsthaus NRW NAK Kornelimünster Neuer Aachener Kunstverein La Châtaigneraie h 1 n i m h 5 1 h 1 2 h 1 h 1 in h m 20 4 n in i 15m h m 1h 1 0 3 1h 3 0 min Very BELGIUM THE NETHERLANDS GERMANY Contemporary CIAP Museum De Domijnen Kunsthaus NRW Kornelimünster The Network of Contemporary Art Founded in 1976 by a group of art-loving citizens, CIAP is a platform DE DOMIJNEN was created in January 2015. DE DOMIJNEN’s The exhibition program of the KUNSTHAUS NRW KORNELIMÜN- venues in the Meuse-Rhine Euregion for contemporary arts based at C-mine – a revitalised mining site museum of contemporary art is located in the complex Ligne in STER offers an insight into North Rhine-Westphalia’s current and in the city of Genk (BE).