DOCSLIB.ORG

A Memorandum on the Future of International Building Exhibitions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Memorandum on the Future of International Building Exhibitions A memorandum on the future of International Building Exhibitions Authors: the IBA Advisory Board at the BMI 25.06.18 13:33 IBA Advisory Board at the BMI: On the future of International Building Exhibitions 3 Contents A Memorandum on the future of 04 International Building Exhibitions 10 recommendations for staging an 06 International Building Exhibition Remit: knowledge transfer 08 and quality assurance Guidance notes 10 on the Memorandum 1 11 IBA companies: formal and operational dimensions 2 15 IBA projects: calls and qualification 3 18 Presenting IBA: IBA as a stage 4 IBA format: IBA in relation to other urban and regional 20 development formats 5 IBA format: IBA in relation to other urban and regional development formats 24 A retrospective: How international was each 26 20th-century IBA? IBA_Memorandum_en_2506_zD.indd 3 25.06.18 13:33 4 IBA Advisory Board at the BMI: On the future of International Building Exhibitions IBA Advisory Board at the BMI: On the future of International Building Exhibitions A Memorandum on the future of International Building Exhibitions // Entrance to the Zollverein complex, 2013 // IBA_Memorandum_en_2506_zD.indd 4 25.06.18 13:33 IBA Advisory Board at the BMI: On the future of International Building Exhibitions IBA Advisory Board at the BMI: On the future of International Building Exhibitions 5 A Memorandum on the future of International Building Exhibitions Over the course of 100 years, International exhibitions, biennials and capitals of culture, Building Exhibitions have evolved into an ex- IBA have to date not followed a fixed calendar perimental field for urban and regional develop- or been bound by pre-defined rules or stand- ment and have become the special hallmark of ardised quality criteria. There is no binding the planning culture in Germany that has gained convention defining what an IBA is, what issues worldwide recognition as "IBA" and continues it should tackle or what organisational form it to attract growing interest. International Build- should take. It is precisely because each IBA ing Exhibitions have changed over the years, has to invent itself from scratch that continuous expanding their focus from the aesthetic and quality assurance is essential, consolidating its technological aspects of architecture to include val-ue for architectural culture and for urban social, economic and environmental aspects, and regional development and making the as well as public participation and the quality of experience gained useful both for day-to-day processes. planning practice and for each subsequent IBA. An IBA deals with living environments, housing and building in cities and regions in a way that To ensure this happens, the “IBA brand” seeks to engage more widely with content, or- must first be re-examined in a context that ganisation and presentation. It sets new stand- goes beyond the historical significance it has ards for the day-to-day practice of planning achieved and then taken forward. This is not authorities and freelance planners and provides the exclusive responsibility of each new IBA but important impetus for politicians, businesses must also be tackled by Germany’s individual and academia. Each one of the IBA carried out states, local authorities and the federal govern- to date acquired a significance beyond its time ment, with critical support from independent and place. experts. Despite the differences in the issues dealt with, the success of former IBA is based Having developed from a combination of fac- on similar qualities. It is important to preserve tors – the need for action in a specific place, the these qualities, develop them further and in this particular constellations of local actors, quality way ensure there is a clear distinction be-tween standards that exceed the norm, and innovative them and other urban and regional planning instruments and formats – International Build- formats. ing Exhibitions have taken on a programmatic character. The criteria for this are derived from the achievements of former IBA. And they, in turn, IBA is an internationally unique planning, urban point to the following ten recommendations for and regional policy instrument. Unlike world future IBA. IBA_Memorandum_en_2506_zD.indd 5 6 IBA Advisory Board at the BMI: On the future of International Building Exhibitions IBA Advisory Board at the BMI: On the future of International Building Exhibitions 10 recommendations for staging an International Building Exhibition // Semi-detached house by Le Corbusier in the // Mont-Cenis Academy, Herne, IBA Emscher Park // Weissenhof Estate in Stuttgart, Werkbund Exhibition 1927 // 1 2 Each IBA focuses on the pressing challenges IBA are more than just exhibitions of architec- in architecture and urban and regional planning ture. They propose social blueprints for future that arise from local and regional problems. ways of living and offer answers to social prob- One of their main characteristics is that they lems, not just through the design of buildings, are forward-looking, exploring questions of but also through new ways of appropriating social change and focusing on those aspects urban and rural spaces. It is through the ex- that can trigger regional developments and be perience of memorable places that IBA convey influenced by the design of spaces in urban their messages. and rural contexts. IBA_Memorandum_en_2506_zD.indd 6 25.06.18 13:33 IBA Advisory Board at the BMI: On the future of International Building Exhibitions IBA Advisory Board at the BMI: On the future of International Building Exhibitions 7 3 7 10 recommendations IBA arise from specific challenges: while the The concentration of intellectual, artistic and central themes of IBA are of necessity based on financial resources for a limited period of time for staging an a specific issue and location, their relevance makes IBA unique showcases for the excep- extends far beyond the local context. Each IBA tional. They are experimental research and was preceded by locally or regionally focused development laboratories in which intense col- International Building Exhibition initiatives and events that served as stimuli for laboration between experts and stakeholders, programmes, which they then framed in more combined with their experience and success precise terms and translated into reality. Formal stories, can stimulate projects elsewhere, have and informal preparatory discussions among a lasting impact on local planning practice and experts and with the public serve as important motivate people to get involved. tools to help identify and define the relevant issues. 8 IBA call for the courage to take risks. They are 4 experiments with open outcomes that generate IBA strive to develop model solutions to cur- new ideas. They sometimes use provocation as rent or future problems – be they architectural, a way of doing that, which can create dissent. economic, environmental or social. By demon- Contentious issues and productive controver- strating the relevance of the issues, challenges sies are important as-pects of planning culture. and strategies on an international scale, they All stakeholders – especially public servants, set in motion an ongoing debate on the future politicians and the public – must be aware of of our cities and regions in the context of wider this from the outset to facilitate initiatives that social developments. step outside the realms of standard practice and to generate widespread interest in the 5 projects. The actual buildings and projects are at the core of any IBA. However, IBA draw attention 9 not only to the buildings, but also to the condi- Each IBA needs sufficient autonomy and tions in which they were created and the quality appropriate operative framework to be able of the processes that contributed to them. By to produce exemplary, generalizable solutions qualifying instruments and formats, each IBA that can act as beacons of excellence. In place aims to contribute to a new culture of planning of established processes and tried-and-tested and building that manifests itself in a spirit of courses of action, IBA call for imaginative cooperation and in the interplay between the programmes, designs and organisational ap- quality of the process and the results. proaches, coupled with a degree of improvisa- tion and the agility to respond quickly to unfore- 6 seen events. IBA must be created with an international dimension from the outset. The determining fac- 10 tors include the international relevance of their IBA thrive on sharing their themes, ideas, pro- central issues and the resulting model projects, jects and images of their built results with the the involvement of external experts, outstanding world. They are both a forum and a stage for contributions from abroad and the fact that their their participants, presenting their contributions public relations and networking activities have and commitment to a national and international international reach. audience. Modern communication and presen- tation strategies are essential to their success. It is vital that each IBA uses and drives forward the latest, most effective forms, formats and channels of communication. IBA_Memorandum_en_2506_zD.indd 7 8 IBA Advisory Board at the BMI: On the future of International Building Exhibitions IBA Advisory Board at the BMI: On the future of International Building Exhibitions Remit: knowledge transfer and quality assurance // Building site photography in May 2013 – the Energy Bunker, IBA Hamburg // IBA_Memorandum_en_2506_zD.indd 8 25.06.18 13:33 IBA Advisory
Load more

Recommended publications
  • Champion Brands to My Wife, Mercy the ‘Made in Germany’ Champion Brands Nation Branding, Innovation and World Export Leadership
    The ‘Made in Germany’ Champion Brands To my wife, Mercy The ‘Made in Germany’ Champion Brands Nation Branding, Innovation and World Export Leadership UGESH A. JOSEPH First published 2013 by Gower Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Ugesh A. Joseph 2013 Ugesh A. Joseph has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Gower Applied Business Research Our programme provides leaders, practitioners, scholars and researchers with thought provoking, cutting edge books that combine conceptual insights, interdisciplinary rigour and practical relevance in key areas of business and management. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. The Library of Congress has cataloged the printed edition as follows: Joseph, Ugesh A. The ‘Made in Germany’ champion brands: nation branding, innovation and world export leadership / by Ugesh A. Joseph. pages cm Includes bibliographical references and index. ISBN 978-1-4094-6646-8 (hardback: alk.
    [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]
  • Experience Technology Live INTERVITIS INTERFRUCTA HORTITECHNICA Innovations for Wine, Juice and Special Crops
    MessageTRADE FAIRS | CONGRESSES | EVENTS 03 | 2016 Experience technology live INTERVITIS INTERFRUCTA HORTITECHNICA Innovations for wine, juice and special crops IT & Business Motek SEMF Showcases for For process competence – Mega techno party Industry and Office 4.0 against show event at Messe Stuttgart In the phrase „service partner“ there are two words that we are particularly fond of: „service“ and „partner“ CONTENTS NEWS – TRENDS 04 Major headway on construction Work on the Paul Horn Hall and on the West Entrance is proceeding at full steam 05 Editorial Digitisation as mega trend COVER STORY 08 Experience technology live INTERVITIS INTERFRUCTA HORTITECHNICA – Innovations for wine, juice and special crops LOCATION STUTTGART 14 Five stars for Stuttgart and its region Digitisation hotspot 18 17 Innovative region Stuttgart High Performance Computing Center Stuttgart (HLRS) TRADE FAIRS – MARKETS 18 VISION: The success story continues 20 IT & Business: Digitalised 4.0 processes live 24 Motek: For process competence – against show event 28 südback: Cross-selling – Making the cash tills ring twice Whether you want to hold a unique corporate event or you wish to have perfect lighting for your trade fair stand: we deploy our extensive know-how and high-quality MEDIA – PEOPLE equipment to develop tailor-made services perfectly shaped to your requirements. 44 Portrait: Stefanie Kromer, Communication What is more, we have been a partner of Messe Stuttgart for many years now and have an office 20 Coordinator at Messe Stuttgart right here on site. Our services cover the whole range of event needs in the fields of rigging and media technology – provided by a highly qualified team of professionals.
    [Show full text]
  • A Interbau E a Requalificação Moderna Do Oitocentista Hansaviertel Em Berlim - 1957
    A INTERBAU E A REQUALIFICAÇÃO MODERNA DO OITOCENTISTA HANSAVIERTEL EM BERLIM - 1957 Mara Oliveira Eskinazi FORMAÇÃO E FILIAÇÃO ACADÊMICA: Arquiteta e Urbanista, formada em 2003/02 pela Faculdade de Arquitetura da Universidade Federal do Rio Grande do Sul (UFRGS). Mestranda desde 2005/02 do Programa de Pesquisa e Pós-Graduação em Arquitetura (PROPAR) da Universidade Federal do Rio Grande do Sul (UFRGS). ENDEREÇO: Rua Gen. Florêncio Ygartua, 491/23 Bairro Rio Branco CEP: 90.430-010 Porto Alegre – RS – Brasil telefones: (51) 3332-3576/ (51) 9126-7668 fax: (51) 3222-4246 e-mail: [email protected] A INTERBAU E A REQUALIFICAÇÃO MODERNA DO OITOCENTISTA HANSAVIERTEL EM BERLIM – 1957 RESUMO O Hansaviertel, bairro oitocentista cuja formação original era bastante integrada ao tecido urbano tradicional predominante na cidade de Berlim, foi em grande parte destruído com os bombardeios da II Guerra Mundial. De localização extremamente central na cidade, o que de fato é hoje dele conhecido é o resultado de uma requalificação arquitetônica e urbanística realizada na década de 50 em decorrência da Interbau (Internationale Bauausstellung) - primeira Exposição Internacional de Arquitetura ocorrida após a II Guerra Mundial. A exposição, que trouxe para a paisagem do parque Tiergarten projetos de edifícios residenciais que expressam valores políticos como a liberdade e o pluralismo, utilizou-se do lema conhecido como “a cidade do amanhã” (die Stadt von Morgen) entre suas premissas básicas para a criação de uma área habitacional modelo do Movimento Moderno. Em 1953, o Senado de Berlim estabelece que a reconstrução do bairro Hansaviertel seja ligada a uma exposição internacional de arquitetura moderna.
    [Show full text]
  • 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.
    [Show full text]
  • Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
    Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts.
    [Show full text]
  • European Revivals from Dreams of a Nation to Places of Transnational Exchange
    European Revivals From Dreams of a Nation to Places of Transnational Exchange EUROPEAN REVIVALS From Dreams of a Nation to Places of Transnational Exchange FNG Research 1/2020 Akseli Gallen-Kallela, Illustration for the novel, Seven Brothers, by Aleksis Kivi, 1907, watercolour and pencil, 23.5cm x 31.5cm. Ahlström Collection, Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Hannu Aaltonen European Revivals From Dreams of a Nation to Places of Transnational Exchange European Revivals From Dreams of a Nation to Places of Transnational Exchange European Revivals. From Dreams of a Nation to Places of Transnational Exchange FNG Research 1/2020 Publisher Finnish National Gallery, Helsinki Editors-in-Chief Anna-Maria von Bonsdorff and Riitta Ojanperä Editor Hanna-Leena Paloposki Language Revision Gill Crabbe Graphic Design Lagarto / Jaana Jäntti and Arto Tenkanen Printing Nord Print Oy, Helsinki, 2020 Copyright Authors and the Finnish National Gallery Web magazine and web publication https://research.fng.fi/ ISBN 978-952-7371-08-4 (paperback) ISBN 978-952-7371-09-1 (pdf) ISSN 2343-0850 (FNG Research) Table of Contents Foreword .................................................................................................. vii ANNA-MARIA VON BONSDORFF AND RIITTA OJANPERÄ VISIONS OF IDENTITY, DREAMS OF A NATION Ossian, Kalevala and Visual Art: a Scottish Perspective ........................... 3 MURDO MACDONALD Nationality and Community in Norwegian Art Criticism around 1900 .................................................. 23 TORE KIRKHOLT Celticism, Internationalism and Scottish Identity: Three Key Images in Focus ...................................................................... 49 FRANCES FOWLE Listening to the Voices: Joan of Arc as a Spirit-Medium in the Celtic Revival .............................. 65 MICHELLE FOOT ARTISTS’ PLACES, LOCATION AND MEANING Inventing Folk Art: Artists’ Colonies in Eastern Europe and their Legacy .............................
    [Show full text]
  • Wohnkeramik Bad: Bette.De Foto: ASA-Selection.De
    Interbau-Blink Gruppe Interbau-Blink Group hartmann-koch.de 130550 Tritt sicher­ heit für alle Bereiche Schwimm ­ Slip resistance bad keramik for all areas weltweit Industrie­ Ceramics for Fassaden­ und swimming pools worldwide und Objekt­ Säurebau gest al tung weltweit Design for facades Industry and acid and objects construction worldwide Wohn­ keramik für höchste Ansprüche Home Ceramics Home ceramics for highest demands Wohnkeramik Bad: Bette.de Foto: ASA-Selection.de Stand 4-2013 100% MADE IN GERMANY Alois Korzilius · Interbau – Fabrikation für moderne Baukeramik GmbH & Co. KG · Hauptstraße 73-79 · D-56235 Ransbach-Baumbach Fon +49 (0) 2623-896-0 · Fax +49 (0) 2623-896-66 · E-Mail [email protected] · www.interbau-blink.de MADE IN GERMANY INHALTSVERZEICHNIS Content EXTRUDIERTES STEINZEUG Extruded Stoneware keine Abgabe Perfektion in Ton verbundfest biegefest gefährl. Stoffe Penthouse 4 - 5 Lithos 6 - 9 Seit mehr als 150 Jahren verwandeln wir Qualität aus Tradition Fortschritt durch Innovation Nachhaltigkeit und GIGA-Line Stufe 10 - 11 – die Interbau-Blink Gruppe – Wohn- Nature Art 12 - 15 areale in einzigartige Erlebniswelten. Authentizität Das „Kannenbäckerland“ ist nicht nur Durch ausgesuchte Rohstoffe, hervorragen- Durch unsere attraktiven und trendstar- unsere Heimat, sondern auch die Basis des Experten-Know-How sowie modernste Nachhaltigkeit prägt unser Handeln, dem- Nature Line 16 - 17 ken Boden- und Wandfliesen, inklusive unseres Erfolgs. Anlagen haben wir nicht nur die Qualitäts-, entsprechend haben wir uns in unseren des passenden Zubehörs, realisieren Alpen 18 - 19 sondern auch die Technologieführerschaft Unternehmenswerten verpflichtet, nach- wir innovative und objektorientierte, Als Rohstoff für unsere Produkte verwen- fest im Blick. So hat sich die Interbau-Blink- haltig und gesellschaftlich verantwortlich Provence 20 keramische Lösungen für den gesamten den wir nur die hochwertigsten Wester- Gruppe zu dem Spezialisten für extrudierte zu wirtschaften.
    [Show full text]
  • The Fagus Factory in Alfeld
    THE FAGUS FACTORY IN ALFELD NOMINATION FOR INSCRIPTION ON THE UNESCO WORLD HERITAGE LIST SEPTEMBER 2009 Summary SUMMARY I Fagus Factory – Nomination for Inscription on the Unesco World Heritage List II Summary State party Federal Republic of Germany State, province or region Lower Saxony, town of Alfeld Name of property Fagus factory Geographical coordinates to the nearest 51° 59’ 01” degrees North second 09° 48’ 40” degrees East Textual description of the boundary(ies) of Historical industrial area to the west of the the nominated property core city of Alfeld: the nominated area borders the Hanover-Göttingen rail route in the northeast and the Hannoversche Straße in the southwest. A4 (or „letter“) size map of the nominated See end of summary property, showing boundaries and buffer zone (if present) Justification With the construction of the Fagus factory, Statement of outstanding universal value Gropius made a breakthrough to new, modern art that went hand in hand with the age of technology. The Fagus factory, with a radical break from the conventional design practice, represents for the first time a new expression of architecture, which develops space and form from function, takes into account the light, air and lucidity require- ments of its users and makes use of the new technical possibilities of construction with glass and steel in industrially pre-produced processing. Glass, which is actually an unsubstantial material,becomes a formative building material and mode of expression of architecture.The design concepts underlying this construction had a decisive influence on the development of twentieth century architecture not only in Germany and Europe, but around the globe.
    [Show full text]
  • Perspectives of Transboundary Cooperation in World Heritage Sharing Experiences in and Around Germany
    Conference Report Perspectives of Transboundary Cooperation in World Heritage Sharing Experiences in and around Germany Perspektiven der grenzüber schreitenden Zusammenarbeit im Welterbe – Ein Erfahrungsaustausch in und mit Deutschland Conference Report “Perspectives of Transboundary Cooperation in World Heritage – Sharing Experiences Bericht zur Konferenz zur Bericht in and around Germany” 12 – 13 December 2016 Bericht zur Konferenz „Perspektiven der grenzüberschreitenden Zusammenarbeit im Welterbe – Ein Erfahrungsaustausch in und mit Deutschland“ 12. – 13. Dezember 2016 In cooperation with: In Kooperation mit: Perspektiven der grenzüberschreitenden Zusammenarbeit grenzüberschreitenden der Perspektiven 4 1 Contents Inhalt 4 27 47 57 Welcoming Speeches Prospects and Grußworte Recommendations Ausblick und Empfehlungen 9 Introduction Thematische Einleitung Transboundary and Transboundary and 63 Transnational World Heritage International Cooperation Appendix 13 Sites in Germany Activities Anhang Workshop Results Grenzüberschreitende und Grenzüberschreitende Ergebnisse der Workshops transnationale Welterbe- und internationale 64 stätten in Deutschland Kooperationsprojekte Report of Prof. Dr. Fedir Hamor and Vasyl Pokynchereda, Carpathian Biosphere Reserve 14 (Ukraine) Funding across Borders 28 (English only) Grenzüberschreitend finanzieren Muskauer Park / Park Mużakowski 48 Muskauer Park / Park Muzakowski “ViTour Landscapes”: Network of European 66 17 World Heritage Wine-Growing Landscapes Impressions of the Conference Legal Protection across
    [Show full text]
  • Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: Arthistoricum.Net 2021, P
    Manifestations of Bauhaus on the Mainland: Historical Advent of China’s Modernities in Arts, Crafts, and Architecture Chin-Wei Chang Chang, Chin-Wei, Manifestations of Bauhaus on the Mainland: Historical Advent of China’s Modernities in Arts, Crafts, and Architecture, in: Bärnreuther, Andrea (ed.), Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: arthistoricum.net 2021, p. 295-313, https://doi.org/10.11588/arthistoricum.843.c11915 Fig. 1 The images of Bauhaus Dessau (top right), Gropius and Meyer (bottom left) published in: Manufacture and Crafts, 1931, Issue 2 297 Chin-Wei Chang bauhaus and politics Mies van der Rohe liaised with influential Nazi ideologue Alfred national socialist politics Rosenberg to win his support for reopening the Bauhaus in Ber- lin on the day after its closure on 11th April 1933. Rosenberg’s simple, yet incisive, question «Why didn’t you change the name for heaven’s sake?»1 reverberated in a 2009 exhibition monograph published by the Museum of Modern Art (MoMA), New York— a publication largely indebted to the foundational work by Hans Maria Wingler, who proposed that the Bauhaus-Archiv be estab- lished. It revealed that this leading Nazi ideologue considered the name «Bauhaus» far more dangerous than the school itself, be- cause it had become a powerful signifier for radical left-wing cul- bauhaus signifying ture. The idea that the Bauhaus could have been reopened in the left-wing culture Nazi era under a new name and clearly defined conditions was not a new insight upon the school’s 90th anniversary, but it is interest- ing to find it at such a historical moment in an institution that was from its very beginnings deeply connected with the Bauhaus and its mythologization.
    [Show full text]
  • Berlin Chapter Formatted
    GLOBAL HISTORY OF GLOBAL CITIES October 31, 2016 Sebastian Schmidt Fellow, Weatherhead Initiative on Global History PhD Candidate, History, Theory & Criticism, MIT Architecture [email protected] Note This paper is part of a larger project studying the relationship between WWII and cities. Specifically, I look at the ways in which urban thinking changed in response to the global scale of the war, and develop an approach of writing post-WWII urban history as global history. This paper uses the case of West Berlin to address these issues. On October 31, before the paper discussion, I will give a brief introduction explaining some of the historiographical stakes of the project. 1 Draft – do not cite or circulate Schmidt INTRODUCTION Fig. 1. Fred Thieler, Rotierend, 1959. Fred Thieler used only four colors for his 1959 painting Rotierend (Rotating)—red, white, black, and blue. (Fig. 1) The colorful contrasts, especially between the black and the brighter white and red, play an important role in revealing the mechanics of the painting’s production. Only the blue has largely sunk into the background, emerging in a few spots as a mere trace of a former 2 Draft – do not cite or circulate Schmidt participant in this labyrinthian discovery of the canvas. There is complexity at play in the relationship between color and the explorative—that is, rotating—means of its distribution. The painter’s actions on the canvas seem to work against the distinct presence of color, but they are also rendered all the more visible through the color contrasts that emerge. Color and motion are here fake opposites in that they don’t struggle with each other for domination of the canvas, but are instead intertwined in a struggle which, if it continued, has the potential to erase both of them.
    [Show full text]