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Transcultural Assemblages of Prince Hermann Von Pückler-Muskau (1785–1871) and Machbuba/Ajiamé/Bilillee Freya Schwachenwald
Art, Nature, Ghosts, and Ice Cream: Transcultural Assemblages of Prince Hermann von Pückler-Muskau (1785–1871) and Machbuba/Ajiamé/Bilillee Freya Schwachenwald Introduction Walking through Cottbus, Brandenburg, Germany, it is almost impossible to miss the visual presence one of its most famous local personas: from billboards at the train station to an eponymous bus line, Prince Hermann von Pückler-Muskau (1785–1871) seems omnipresent as a local historical figure and as a welcome vehicle for tourism marketing. When visitors direct their steps through his former park in Branitz at the outskirts of Cottbus, they will most likely come across an unexpected sight: two earthen pyramids. One of them is located in the middle of a artifical lake. Primary and historiographical sources tell us that this pyramid was built by Pückler in the 1850s and that it encases his remains, as envisioned by him while commissioning the construction.1 The pyramid was finished in 1856, fifteen years before Pückler’s death.2 No plaque commemorates him on the pyramid. Pückler and his wife Lucie von Hardenberg (1776–1854) are only commemorated by a stone with a cross, erected posthumously on another small island of the lake. Today, the pyramid, as well as the surrounding park and its castle are maintained by the Stiftung Fürst Pückler Museum Schloss und Park Branitz (Prince Pückler Castle Museum and Branitz Park Foundation). The foundation describes its namesake and the former owner of the castle and park as “one of the greatest European landscape artists, a dandy, ladies’ man, ingenious socialite, connoisseur of exquisite food and namesake to an 1 Siegfried Neumann, “Die Begräbnisstätten im Branitzer Park,” in Pückler, Pyramiden, Panorama: neue Beiträge zur Pücklerforschung, ed. -
Trans-Boundary Cooperation in Sustainable Tourism and Destination Management
Trans-boundary cooperation in sustainable tourism and destination management Examples of German-Polish co-operation projects Alexander Schuler, UN, New York, 30 October 2013 © Fig. top: P. Radke / Sielmann Foundation; bottom: Fürst-Pückler-Park Bad Muskau“ TOURISM & REGIONAL CONSULTING Berlin ▪ Hannover ▪ Eisenach Agenda The following issues are central to my presentation: Two Best Practices . Muskau Arch Geopark . Fürst Pückler Park Bad Muskau Sustainable tourism and quality Future considerations © Fig.: Gerd Altmann / pixelio.de 2 UN expert group meeting on sustainable tourism www.bte-tourismus.de Best Practice 1: Muskau Arch Geopark Project 1: Geopark Muskauer Faltenborgen 3 UN expert group meeting on sustainable tourism www.bte-tourismus.de© Image: P. Radke / Sielmann Foundation The evolution of the Muskau Arch Was ist zu tun ... The arch was formed some 450.000 ... Nach innen: years ago during a glacial period named after the nearby river ‚Elster‘. Strategie und Umsetzung Geologists call this formation a push moraine. Both, world heritage and geopark are Especially noticeable are the brown coalbeds that were elevated greatly and hence made easy to access. Therefore, the coal industry settled at this location. As a consequence, other industries followed, such as brick and glass manufacturers. They made use of the clay and sand layers that lay on top of the brown coal and had to be carried off anyways. © Fig.: Kozma/Kupetz 2008 4 UN expert group meeting on sustainable tourism www.bte-tourismus.de Location of the Muskau Arch Geopark The Muskau Arch has the form of a horse shoe and stretches from Döbern in the south of the state of Brandenburg to Weißwasser and Bad Muskau in the state of Saxony all the way to Trzebiel in the region of Lebuser Land (Poland). -
Terror Firma Free Download
TERROR FIRMA FREE DOWNLOAD Joseph Lidster,Gary Russell,Terry Molloy,Conrad Westmaas,India Fisher,Paul McGann | none | 31 Jul 2005 | Big Finish Productions Ltd | 9781844351374 | English | Maidenhead, United Kingdom Terror Firma (Earth-Prime) The heavily edited R-rated version runs 98 min. Terror Firma out more about Terror Firma sorcerers of Terror Firma here…. Get some streaming picks. You are commenting using your Twitter account. Larry Benjamin Trent Haaga The New Counter-Measures. The Doctor leaves the lab, despite Davros's pleas for the Doctor to Terror Firma him euthanasia. Not love. Please help to improve this article by introducing more precise citations. NyssaHannah. Categories : audio plays Eighth Doctor audio plays Davros audio plays Dalek audio plays Fiction about amnesia. Hidden categories: Articles with short description Short description is different from Wikidata Use dmy dates from July Use British English from July Articles lacking reliable references from December All articles lacking reliable references All articles with unsourced statements Articles with unsourced statements from May Start a Wiki. It's hard to describe "Terror Firmer". Crazy Credits. Death and the Daleks. Find out more about the vampires of Terror Firma here…. The Doctor tells C'rizz to keep his meeting with Gemma secret, removes Davros's taint from Samson's mind and gives Harriet the virus as a deterrent to defend Earth if the Daleks threaten Terror Firma return. Views Read Edit Terror Firma history. Find out more about the skinchangers of Terror Firma here…. Toddster : Todd. Dalek War. Find out more about the Beholders of Terror Firma here…. The Lost Stories. -
RACE, SPACE, and PLACE: the RELATION BETWEEN ARCHITECTURAL MODERNISM, POST-MODERNISM, URBAN PLANNING, and GENTRIFICATION Keith A
RACE, SPACE, AND PLACE: THE RELATION BETWEEN ARCHITECTURAL MODERNISM, POST-MODERNISM, URBAN PLANNING, AND GENTRIFICATION Keith Aoki * [Cite as: 20 Fordham Urb. L.J. 699 (1993)] Introduction Gentrification in United States urban housing markets of the 1970s, 1980s, and 1990s continues to be a controversial and complex phenomenon. [FN1] During the past twenty years, gentrification's effects on the core cities of the U.S. have been analyzed and evaluated many times over. [FN2] Descriptions of gentrification have spanned the ideological *700 spectrum, from laudatory embraces of gentrification as the solution to urban decline to denunciatory critiques of gentrification as another symptom of the widening gulf between the haves and the have- nots in America. [FN3] This Article critiques gentrification, adding an additional explanatory element to the ongoing account of the dynamics of American cities in the 1990s. The additional element is the relevance of a major aesthetic realignment in architecture and urban planning from a modernist to a post-modernist ideology in the 1970s and 1980s. This shift involved an aesthetic and economic revaluation of historical elements in older central city buildings, which accelerated the rate of gentrification, displacement, and abandonment. This Article describes how certain shifts in the aesthetic ideology [FN4] of urban planners and architects affected suburban and urban spatial distribution in the United States during the nineteenth and twentieth centuries. These ideological shifts arose from deeply embedded American attitudes toward city and rural life that had emerged in American town planning and architectural theory and practice by the mid-nineteenth century. Part I of this Article examines the emergence of an anti-urban Arcadian strand in nineteenth century American town planning rhetoric. -
Jelena Savić
01 / 2020 ISSN 2520-2472 MUSEUMSMUSEUMSMUSEUMS OFOFOF CITIESCITIESCITIES REVIEW REVIEWREVIEW network.icom.museum/camoc/ CAMOC ANNUAL CONFERENCE 2020 “The Right to the City” Krakow, Poland postponed for October 1-3, 2020 DOSSIER: FROM KYOTO TO KRAKOW • RAPID-RESPONSE EXHIBIT • MIGRATING MEMORIES • A MUSEUM FOR THE PEOPLE1 MUSEUMS OF CITIES REVIEW CONTENTS 04 08 20 18 24 10 03 THE CHAIR’S NOTE - The new museum definition Joana Sousa Monteiro and its implications 25 04 NEW MUSEUM APPROACHES - A close experience, 18.108 Respect Existence or Expect kilometres from home Resistance. A Rapid-Response Exhibit 22 RETHINKING MUSEUMS A Personal Reflection from the 07 MUSEUMS1 Symposium A Museum for the IV International Research and People Practice Conference “Museum in the City — City in 25 MUSEUMS AND MIGRATION the Museum” Migrating Memories – 33 Dialogues on the Relationship 10 DOSSIER: FROM KYOTO TO Between Memory, Heritage KRAKOW and Migration BETWEEN THE TWO ANNUAL CAMOC MEETINGS 28 ACTIVITIES & EVENTS CAMOC Kyoto 2019: City The Museum Inside Me Museums as cultural hubs past, present and future 28 EXHIBITION ALERT Upcoming exhibitions Niki de Saint Phalle, “Tarot Garden”. 16 GRANTEE REPORTS: - An overview of the General 34 CONFERENCE ALERT COVER PHOTO: Krakow City. Conference Future conferences © Museum of Krakow Editorial Board: Jelena Savić (Editor), Layla Betti, Jenny Chiu, Renée Kistemaker, Gegê Leme, Marlen Mouliou, Susan Sedgwick, Joana Sousa Monteiro Supporting Team: Catherine Cole, Ian Jones, Chet Orloff, Eric Sandweiss, Rainey Tisdale, Jackie Kiely Design: Bingul Gundas FOLLOW US AT: Facebook Twitter Linkedin You Tube Instagram 2 THE CHAIR’S NOTE From the Chair Dear CAMOC members, The most unexpected has just happened, a global epidemic is forcing us all to reorganise our lives and plans. -
A Symbol of Global Protec- 7 1 5 4 5 10 10 17 5 4 8 4 7 1 1213 6 JAPAN 3 14 1 6 16 CHINA 33 2 6 18 AF Tion for the Heritage of All Humankind
4 T rom the vast plains of the Serengeti to historic cities such T 7 ICELAND as Vienna, Lima and Kyoto; from the prehistoric rock art 1 5 on the Iberian Peninsula to the Statue of Liberty; from the 2 8 Kasbah of Algiers to the Imperial Palace in Beijing — all 5 2 of these places, as varied as they are, have one thing in common. FINLAND O 3 All are World Heritage sites of outstanding cultural or natural 3 T 15 6 SWEDEN 13 4 value to humanity and are worthy of protection for future 1 5 1 1 14 T 24 NORWAY 11 2 20 generations to know and enjoy. 2 RUSSIAN 23 NIO M O UN IM D 1 R I 3 4 T A FEDERATION A L T • P 7 • W L 1 O 17 A 2 I 5 ESTONIA 6 R D L D N 7 O 7 H E M R 4 I E 3 T IN AG O 18 E • IM 8 PATR Key LATVIA 6 United Nations World 1 Cultural property The designations employed and the presentation 1 T Educational, Scientific and Heritage of material on this map do not imply the expres- 12 Cultural Organization Convention 1 Natural property 28 T sion of any opinion whatsoever on the part of 14 10 1 1 22 DENMARK 9 LITHUANIA Mixed property (cultural and natural) 7 3 N UNESCO and National Geographic Society con- G 1 A UNITED 2 2 Transnational property cerning the legal status of any country, territory, 2 6 5 1 30 X BELARUS 1 city or area or of its authorities, or concerning 1 Property currently inscribed on the KINGDOM 4 1 the delimitation of its frontiers or boundaries. -
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 on View: October 4, 2015–January 18, 2016 Location: BCAM, 2Nd Floor
Exhibition: New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 On View: October 4, 2015–January 18, 2016 Location: BCAM, 2nd Floor Image captions on page 5 (Los Angeles—April 7, 2015) The Los Angeles County Museum of Art (LACMA) presents New Objectivity: Modern German Art in the Weimar Republic, 1919–1933, the first comprehensive show in the United States to explore the themes that characterize the dominant artistic trends of the Weimar Republic. Organized in association with the Museo Correr in Venice, Italy, this exhibition features nearly 200 paintings, photographs, drawings, and prints by more than 50 artists, many of whom are little known in the United States. Key figures—Otto Dix, George Grosz, Christian Schad, August Sander, and Max Beckmann— whose heterogeneous careers are essential to understanding 20th century German modernism, are presented together with lesser known artists, including Herbert Ploberger, Hans Finsler, Georg Schrimpf, Heinrich Maria Davringhausen, Carl Grossberg, and Aenne Biermann, among others. Special attention is devoted to the juxtaposition of painting and photography, offering the rare opportunity to examine both the similarities and differences between the movement’s diverse media. During the 14 years of the Weimar Republic (1919–1933), artists in Germany grappled with the devastating aftermath of World War I: the social, cultural, and economic effects of rapid modernization and urbanization; staggering unemployment and despair; shifting gender identities; and developments in technology and industry. Situated between the end of World War I and the Nazi assumption of power, Germany’s first democracy thrived as a laboratory for widespread cultural achievement, witnessing the end of Expressionism, the exuberant anti- art activities of the Dadaists, the establishment of the Bauhaus design school, and the emergence of a new realism. -
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Society of Architectural Historians University of California Press "The Century's Triumph in Lighting": The Luxfer Prism Companies and Their Contribution to Early Modern Architecture Author(s): Dietrich Neumann Source: Journal of the Society of Architectural Historians, Vol. 54, No. 1 (Mar., 1995), pp. 24-53 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991024 Accessed: 25-10-2015 18:45 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians and University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org This content downloaded from 128.148.252.35 on Sun, 25 Oct 2015 18:45:40 UTC All use subject to JSTOR Terms and Conditions "The Century'sTriumph in Lighting": The Luxfer Prism Companies and their Contributionto Early Modem Architecture medium to another, as from air to water or, in this case, glass. DIETRICH NEUMANN, BrownUniversity Throughoutthe eighteenth and nineteenth centuriesconically characterize this new prism as one of the most shaped glassesalready had been used to redirectlight into dark .L remarkable improvements of the century in its bearing rooms in basementsor in ships.5Thaddeus Hyatt, one of the on practical architecture, is to speak but mildly. -
The Bauhaus 1 / 70
GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933 -
TL a Magazine By
A magazine by 3 TL Floor lamp BULO XL/BLON 16 P The new times give rise to a funda- up with fresh thoughts and new Well-conceived, clever and always mental question: How can I feel safe ideas. Pleasing tactile effects resul- functional: Oliver Niewiadomski and at ease? In future, we'll be ting from an excellent choice of translates a mathematical concept demanding a lot more of our homes. materials help to keep you grounded into incisive design language, as This refers to far more than just cosy in a digitised world. Old favourites here with the floor lamp BULO XL trends such as cocooning or hygge. give people something reliable and which sits neatly on its base to work It’s more a case of needing our own unchanging to hold on to. perfectly in any specific setting. intimate space of peace and quiet TECNOLUMEN has always combined where we can withdraw from the these essential factors, producing world and recharge our batteries in classic lamps “made in Germany” a feel-good atmosphere. This is using the best craftsmanship traditi- particularly challenging for those who ons and working together with small setting up a home office environ- companies who give outstanding ment in their own four walls, with a quality the same priority that we do. special need for feel-good spaces Let’s make the best of it! in between. The whole interior design industry is tackling the issues invol- ved and their various manifestations to cover all bases, taking an inspiring people-focused approach. Your Carsten Hotzan Good light is an essential factor to Executive Director of give rooms their desired effect. -
Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment
Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment Cynthia Hammond, Concordia University, has On June 10, 2009, the Beverly Willis received awards for her writing on the roles Architecture Foundation (BWAF) premiered a played by such women as Florence Nightingale short documentary at the Guggenheim Museum and Catherine Bauer Wurster in the in New York as part of the events related to the development of institutional and modern upcoming retrospective on the American architecture, showing how their production was architect, Frank Lloyd W right (1867-1959). This embedded within larger questions of nation, film, entitled A Girl Is a Fellow Here: 100 colonialism, and gender. She holds a Women Architects in the Studio of Frank Lloyd three-year, Emerging Scholar award (FQRSC) Wright, presents for the first time an account of for the study of Montreal's public, modernist 6 of the more than 100 women who, as buildings and spaces. architects, helped to build Wright's reputation as the greatest American architect of the Abstract twentieth century. The launch was followed by Twenty years after architect Denise Scott a panel discussion about how such an Brown challenged the patriarchal exclusion of important omission has endured. The film is a women from the "star system," what is the brief but potent counterthesis to the myth of status of women in architecture today? Drawing Wright's solitary and unique genius, a narrative examples from architectural history, recent that has many echoes in a recent spate of films statistics and current initiatives, the author devoted to individual, male architects. -
Architecture and Society in Edith Wharton's the Age of Innocence
"The Intolerable Ugliness of New York": Architecture and Society in Edith Wharton's The Age of Innocence Cynthia G. Falk Edith Wharton's novel The Age of Innocence was written in and about an era characterized in the United States by immense political, economic, and cul tural change, which led many Americans to reevaluate how they defined their country and themselves. As an expatriate, Wharton worked on the manuscript in France in the years just after World War I amidst ongoing debates about the Treaty of Versailles, wartime reparations, and the creation of the League of Nations. The work was received by the American public first in the summer of 1920, when it appeared in serial form in the magazine Pictorial Review, and again later that fall, when it was published as a novel. The story was set almost fifty years earlier in the New York and Newport, Rhode Island, of Wharton's youth. Through her descriptions of that earlier period's built environment and social conventions, Wharton drew conclusions about American society that car ried added weight in her own day. Wharton's assessment of architecture, inte rior design, and codes of conduct in late-nineteenth-century America distanced her from many of her American contemporaries by demonstrating her disillu sionment with her increasingly influential homeland. From the conclusion of the Civil War to the conclusion of World War I, Americans saw their country transformed. At the beginning of the period, the United States was still recovering from the destruction and division that resulted from sectional crisis. Violent conflicts with American Indians regularly threat- 0026-3079/2001/4202-019$2.50/0 American Studies, 42:2 (Summer 2001): 19-43 19 20 Cynthia G.