BAUAKADEMIE-Information ACADEMY of ARCHITECTURE INFORMATION
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Design Competition Brief
Design Competition Brief The Museum of the 20th Century Berlin, June 2016 Publishing data Design competition brief compiled by: ARGE WBW-M20 Schindler Friede Architekten, Salomon Schindler a:dks mainz berlin, Marc Steinmetz On behalf of: Stiftung Preußischer Kulturbesitz (SPK) Von-der-Heydt-Straße 16-18 10785 Berlin Date / as of: 24/06/2016 Design Competition Brief The Museum of the 20th Century Part A Competition procedure ..............................................................................5 A.1 Occasion and objective .......................................................................................... 6 A.2 Parties involved in the procedure ........................................................................... 8 A.3 Competition procedure .......................................................................................... 9 A.4 Eligibility ............................................................................................................... 11 A.5 Jury, appraisers, preliminary review ...................................................................... 15 A.6 Competition documents ....................................................................................... 17 A.7 Submission requirements ...................................................................................... 18 A.8 Queries ................................................................................................................. 20 A.9 Submission of competition entries and preliminary review ................................. -
Reconstruction and Utilization of Karl Friedrich Schinkel's Bauakademie Schinkel's Bauakademie
RECONSTRUCTION AND UTILIZATION OF KARL FRIEDRICH SCHINKEL¶S BAUAKADEMIE HISTORY, FUTURE USE, FLOOR PLANS, CONSTRUCTION COSTS, PROFITABILITY ANALYSES Version 31 July 2016 SCHINKEL¶S BAUAKADEMIE INTERNATIONAL CENTRE FOR INNOVATION, EXHIBITIONS, EVENTS AND CONFERENCES (SCHINKEL-FORUM: INTERNATIONAL CENTRE FOR THE RESPONSIBLE CONCEPTION OF LIVING SPACE) WIEDERAUFBAU UND NUTZUNG DER SCHINKELSCHEN BAUAKADEMIE INTERNATIONALES ZENTRUM FÜR DIE VERANTWORTUNGSBEWUSSTE GESTALTUNG VON LEBENSRÄUMEN 1 Page 2 BAUAKADEMIE THROUGH THE AGES Bauakademie with monuments by Beuth (left), Schinkel (centre) 1945:Female Red Army soldiers and The ruins of the Academy and Deutsche Industrie- Bauakademie 202? (church Friedrichswerder- and Thaer (right; photo: 1888) American soldiers (viewed from Schlossfrei- bank buildings at Schinkelplatz, photo: Dr.- Ing. sche Kirche in the background), RKW Rhode heit Plaza to Schinkelplatz with Bauakademie Helmut Maier, in the fifties of the 20th century Kellermann Wawrowsky) and bank building in the background; source: feasibility study of the Senate for Urban Development and Transportation ± 1997 ± for the reconstruction of the Bauakademie) FRIENDS¶ ASSOCIATION FOUNDATION FOR THE RECONSTRUCTION OF THE BAUAKADEMIE 2 Page 3 BAUAKADEMIE: INTERNATIONAL CENTRE FOR THE RESPONSIBLE CONCEPTION OF LIVING SPACES TABLE OF CONTENTS ITEM PAGE ITEM PAGE Photographs of the Academy building 2 Table of contents 3 1. to 1.5) Introduction, 1.1) History of Schinkel¶s Bauakademie, 1.2) 7.4) 1st floor ± Level 2 ± (Drees & Sommer, Berlin): seminar rooms and 17 Reconstruction of the Academy building, 1.3) Utilization, offices (approx. 700 m2), gallery (approx. 400 m2) 1.4) Operating Bauakademie, 1.5) Final considerations 4 - 7 7.5) 2nd floor (Drees & Sommer, Berlin): exhibition space 18 1.6) Perspectives 7 (ca. -
Art Institute of Chicago 10-13 the British Museum 14-20 Mellon Pilot Project 14 Courtauld Institute of Art 21-25 Mellon Pilot Project 21 Doerner Institut 26-29
Issues in Conservation Documentation: Digital Formats, Institutional Priorities, and Public Access London The Andrew W. Mellon Foundation This meeting was held under the auspices of the Andrew W. Mellon Foundation at the British Museum on May 25, 2007. Table of Contents Participants 3-6 Issues in Conservation Documentation: Digital Formats, Institutional Priorities, and Public Access 7 Preliminary Questions Circulated in Advance 8 Issues in Conservation Documentation: Institutional Summaries * Art Institute of Chicago 10-13 The British Museum 14-20 Mellon Pilot Project 14 Courtauld Institute of Art 21-25 Mellon Pilot Project 21 Doerner Institut 26-29 The J. Paul Getty Museum 30-32 Getty Pilot Project 30 The Metropolitan Museum of Art 33-38 Mellon Pilot Project 33 Museo Nacional del Prado 39-45 Museum of Fine Arts, Boston 46-50 National Galleries of Scotland 51-54 The National Gallery, London 55-60 Mellon Pilot Project 56 Rijksbureau voor Kunsthistorische Documentatie 61-65 Rijksmuseum Amsterdam 66-67 Staatliche Museen zu Berlin 68-75 Statens Museum for Kunst 76-80 *Edited by Janet Bridgland Table of Contents 2 Planning Committee David Saunders Angelica Zander Rudenstine Head of Conservation Program Officer, Museums and Art Conservation The British Museum The Andrew W. Mellon Foundation Great Russell Street 140 East 62nd Street London WC1B 3DG, UK New York, NY 10017 USA 44-207-323-8669 1-212-500-2495 [email protected] [email protected] Kenneth Hamma Mark Leonard Executive Director for Digital Policy and Initiatives Conservator of Paintings The J. Paul Getty Museum The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049 USA Los Angeles, CA 90049 USA 1-310-440-7186 1-310-440-7022 [email protected] [email protected] Moderator Coordinator Timothy Whalen Alison Gilchrest Director Program Associate, Museums and Art Conservation The Getty Conservation Institute The Andrew W. -
VOLUME 1 Publisher
VOLUME 1 Publisher: Editorial Universitat Politècnica de València, 2020 http://www.lalibreria.upv.es ISBN 978-84-9048-842-3 (Set of two volumes) 978-84-9048-981-9 (Volume 1) 978-84-9048-982-6 (Volume 2) All rights reserved: © of the images, their authors © of the drawings, their authors © of the texts, their authors © of this edition Editorial Committee: Ivan Cabrera i Fausto Ernesto Fenollosa Forner Ángeles Mas Tomás José Manuel Barrera Puigdollers Lluís Bosch Roig EAAE-ARCC International Conference & 2nd José Luis Higón Calvet VIBRArch: The architect and the city. / Editorial Alicia Llorca Ponce Universitat Politècnica de València María Teresa Palomares Figueres Ana Portalés Mañanós Se permite la reutilización de los contenidos Juan María Songel González mediante la copia, distribución, exhibición y representación de la obra, así como la generación de obras derivadas siempre Coordination and design: que se reconozca la autoría y se cite con la información bibliográfica completa. No se Júlia Martínez Villaronga permite el uso comercial y las obras derivadas Mariví Monfort Marí deberán distribuirse con la misma licencia que Maria Piqueras Blasco regula la obra original. Diego Sanz Almela Conference Chair: Ivan Cabrera i Fausto Steering Committee: Oya Atalay Franck Hazem Rashed-Ali Ilaria Valente Ivan Cabrera i Fausto Organizing Committee: Ernesto Fenollosa Forner Ángeles Mas Tomás José Manuel Barrera Puigdollers Lluís Bosch Roig José Luis Higón Calvet Alicia Llorca Ponce Design and Logistics: Maite Palomares Figueres Ana Portalés Mañanós -
8. Februar Bis 28. Juli 2013 Im Weißen Licht. Skulpturen Aus Der
8. Februar bis 28. Juli 2013 Im weißen Licht. Skulpturen aus der Friedrichswerderschen Kirche in der Neuen Nationalgalerie Neue Nationalgalerie, Kulturforum, Potsdamer Straße 50, 10785 Berlin www.smb.museum www.facebook.com/staatlichemuseenzuberlin Die Berliner Bildhauerschule Skulptur des Klassizismus aus der Friedrichswerderschen Kirche The Berlin School of Sculpture Neoclassical Sculpture from the Friedrichswerder Church Die Nationalgalerie verwahrt in ihrem Stammhaus auf der Museums insel eine der bedeutendsten Sammlungen von Skulptur des 19. und frühen 20. Jahrhunderts in Deutschland. Künstler wie Antonio Canova und Bertel Thorvaldsen, Johann Gottfried Schadow und Christian Daniel Rauch, Auguste Rodin oder Aristide Maillol sind mit wichtigen Werken in der Schausammlung der Alten Nationalgalerie vertreten. Unweit der Museumsinsel steht die Friedrichswerdersche Kirche von Karl Friedrich Schinkel, die von 1987 bis 2012 als Dependance der Nationalgalerie vor allem Werke der Berliner Bildhauerei zwischen 1800 und 1850 im Umkreis Schinkels präsentierte. Die Berliner Bildhauerschule besaß im 19. Jahrhundert deutschlandweite Bedeutung und reicht in ihren Ausläufern bis in die Vereinigten Staaten von Amerika. Seit dem Ende des 18. Jahrhunderts wuchs in der preußischen Hauptstadt eine erfolgreiche Generation von Bildhauern heran, die vor allem mit zwei Namen verbunden ist: Johann Gottfried Schadow und Christian Daniel Rauch. Sowohl Schadow (1764 bis 1850) als auch Rauch (1777 bis 1857) hatten sich nach ersten Berliner Lehrjahren in Rom ausgebildet, wo sie mit den dortigen antiken Bildwerken ebenso vertraut wurden wie mit den neuesten Strömungen der frühklassizistischen Bildhauerkunst. Anmut und Würde prägen die Porträtplastik dieser Zeit, die Since the end of the 18th century, a successful generation of sculptors vom Menschenbild der Aufklärung ebenso beeinflusst ist wie von der grew up in the Prussian capital, largely connected with two names: Antikenbegeisterung des deutschen Idealismus. -
Classicist No-9
THE CLASSICIST NO-9 THE CLASSICIST o Institute of Classical Architecture & Art n 9: 2010-2011 20 West 44th Street, Suite 310, New York, NY 10036-6603 - telephone (212) 730-9646 facsimile (212) 730-9649 [email protected] WWW.CLASSICIST.ORG the classicist at large 4 Canon and Invention: The Fortuna of Vitruvius’ Asiatic Ionic Base Editor e s s a y 7 Richard John Schinkel’s Entwürfe zu städtischen Wohngebäuden: Designer Living all’antica in the New Bourgeois City Tom Maciag Dyad Communications design office Jean-François Lejeune Philadelphia, Pennsylvania Managing Editor f r o m t h e o f f i c e s 28 Henrika Dyck Taylor Printer e s s a y 49 Crystal World Printing Manufactured in China Paul Cret and Louis Kahn: Beaux-Arts Planning at the Yale Center for British Art ©2011 Institute of Classical Architecture & Art Sam Roche All rights reserved ISBN 978-0-9642601-3-9 ISSN 1076-2922 from the academies 60 Education and the Practice of Architecture Front and Back Covers David Ligare, Ponte Vecchio/ Torre Nova, 1996, Oil on Canvas, 40 x 58 inches. Private Collection, San Francisco, CA. ©D. Ligare. Michael Lykoudis This painting was created for a solo exhibition at The Prince of Wales’s Institute of Architecture in London in 1996. David Ligare described his intentions in the following terms: “The old bridge has been painted countless times by artists who have Notre Dame/Georgia Tech/Miami/Judson/Yale/College of Charleston/The ICAA utilized every style and manner of painting imaginable. I was not interested in making yet another ‘new’ view of it. -
GREEN Museum Conference Booklet
11.–12.04.2013 Berlin International Scientific Workshop Heritage Science and Sustainable Development for the Preservation of Art and Cultural Assets On the Way to the GREEN Museum Conference Booklet SCOPE OF THE WORKSHOP The term "Green Museum" brings together conservation science with the sustainable development for the preservation of art and cultural heritage. This involves three closely related issues: firstly, the preservation and conservation, i.e. the widest possible extension of life expectancy for our cultural heritage; secondly, the economic and infrastructural conditions for it; and finally the ecological energy and resource issue (energy efficiency, carbon footprint). In the sustainability debate, these three aspects can only be considered and evaluated together. The 'Green Museum' is a museum that embraces the concept of sustainability in its program, its activities and its physical presence. Here conservation science programs share a particular responsibility. An important element of sustainable development in the field of museums and monuments is preventive conservation with all its elements, including the various challenges of climate, temperature and humidity, light, pollutants etc. The professional field of conservation and conservation science (Heritage Science*) has developed continuously since the foundation of the Rathgen Research Laboratory on the April 01st, 1888 as the first museum laboratory, especially in recent decades. Conservation research activities have to focus and need to develop modern concepts in interdisciplinary collaborations that are consistent with both the primacy of heritage conservation as well as environmental and financial desiderata. They must integrate all three dimensions of sustainability, ecology, economics and society in order to cope with the immense challenges of the future. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Competing Cityscapes: Architecture in the Cinematic Images of Postwar Berlin A Thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In the School of Architecture and Interior Design of the College of Design, Architecture, Art, and Planning 2007 by Laura Terézia Vas BA in German and History, University of Szeged, 1999 MA in German, University of Cincinnati, 2001 ABD in German Studies, University of Cincinnati, 2004 Committee Chair: Udo Greinacher Committee Members: Todd Herzog Aarati Kanekar ABSTRACT The architecture depicted in films about Berlin has played a fundamental role in fashioning the divided and unified capital’s image and cultural self-understanding, for both sides were acutely conscious of the propagandistic function of urban and architectural planning. By comparing three East-Berlin films with three thematically and chronologically corresponding West-Berlin films, this thesis investigates how cinema corresponded to the changing concepts in modernist architecture on the two sides of the wall. Whereas a competition between two world powers is carried out on a semiotic field condensing cultural, social, technological, and economic achievements - the city - this thesis shows that the diverging styles of government were struggling with similar possibilities and limitations in shaping their sections of Berlin. As opposed to Cold War films, the spatial analyses of post-Wende films show striking divergences. -
Architectural History in the Architecture Academy: Wilhelm Stier (1799-1856) at the Bauakademie and Allgemeine Bauschule in Berlin
Architectural history in the architecture academy: Wilhelm Stier (1799-1856) at the Bauakademie and Allgemeine Bauschule in Berlin Eric Garberson Figure 1 Wilhelm Stier in Selinunte, 1828, lithograph. Universitäts- und Stadtbibliothek, Cologne, Inv. Nr. K5/120 (Photo: USB) Figure 2 Wilhelm Stier, collotype from Zeitschrift für Bauwesen 7 (1857), frontispiece. (Photo: Architekturmuseum, Technische Universität zu Berlin) Table of Contents Introduction ........................................................................................................................... 2 The first years of the Bauakademie and Hirt’s ‘Critical history of architecture’ ........ 17 The independent Bauakademie ......................................................................................... 25 Wilhelm Stier: youth, training, travel ............................................................................... 41 Düsseldorf, Cologne, and Bonn, 1817-1821 ................................................................. 43 Paris, 1821 ......................................................................................................................... 46 Rome, 1822-1827 .............................................................................................................. 50 Stier at the Bauakademie, 1828-1831 ................................................................................. 82 Beuth’s Reform of 1831-32 and Stier’s Professional Activities, 1832-1849 .................. 89 The Reform of 1848-1849 and Stier’s Last Years .......................................................... -
Red Sea-Rezon
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Red Sea - Rezon by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Red Sea the usual designation of the large body of water separating Egypt from Arabia. The following account of it is based upon the Scriptures and other ancient and modern authorities. SEE SEA. I. Names. — The sea known to us as the Red Sea was by the Israelites called the sea (µY;hi, <021402>Exodus 14:2, 9, 16, 21, 28; 15:1, 4, 8, 10, 19; <062406>Joshua 24:6, 7; and many other passages); and specially “the sea of Siph” (ãWsAµyi, <021019>Exodus 10:19; 13:18; 15:4, 22; 23:31; <041425>Numbers 14:25; 21:4; 33:10, 11; <050140>Deuteronomy 1:40; 11:4; <060210>Joshua 2:10; 4:23; 24:6; <071116>Judges 11:16; <110926>1 Kings 9:26; <160909>Nehemiah 9:9; <19A607>Psalm 106:7, 9, 22; 136:13, 15; <244921>Jeremiah 49:21). It is also perhaps written Suphcah’, hp;Ws (Sept. Zwo>b), in <042114>Numbers 21:14, rendered “Red Sea” in the A.V.; and in like manner, in <050101>Deuteronomy 1:1, ãWs, without µyi. The Sept. -
Richard Garnier, 'Alexander Roos (C.1810– 1881)', the Georgian Group Journal, Vol. Xv, 2006, Pp. 11–68
Richard Garnier, ‘Alexander Roos (c.1810– 1881)’, The Georgian Group Journal, Vol. XV, 2006, pp. 11–68 TEXT © THE AUTHORS 2006 ALEXANDER ROOS (c. – ) RICHARD GARNIER lexander Roos (Fig. ) was an early-Victorian identification of a previously unappreciated A architect, interior-designer, decorative-painter, alternative to Sir Charles Barry’s influential version furniture-designer and designer of formal of that movement. Lastly, an interim assessment of ‘architectural’ gardens of the mid- s to late- s. Roos’s career and influence will be attempted, and it He was employed throughout the British Isles and is to be hoped that this will stimulate further yet has passed largely unnoticed in the study of discoveries about the man and his work. architectural history. This paper, in focusing greater As previously set out in Sir Howard Colvin’s attention on Roos’s achievements, demonstrates that introductory essay on Roos, his surname is a study of his career involves the riddle of how a Germanic but he was born in Rome. Roos was seemingly untried, immigrant architect of twenty-five probably son to an immigrant German cabinetmaker secured such major, far-flung commissions so soon after his arrival in England. These included The Deepdene, Bedgebury Park, Hadzor House, Shrubland Park and No. Carlton Gardens — in Surrey, Kent, Worcestershire, Suffolk and London respectively – which he ran in tandem in the second half of the s. These commissions bespeak of his arrival with, or even summons on account of, some architectural standing that has remained unplumbed until now. Whilst the answer to that conundrum may lie in the proposition that Roos was a pupil of Karl Friedrich Schinkel, there is first the need to outline his life as far as it can be discovered and also establish the extent of his work, much of which until now has been ascribed erroneously to others. -
Senior Berlin Trip March 18-24, 2013 the Itinerary
BARNARD COLLEGE VISUAL ARTS SENIOR BERLIN TRIP MARCH 18-24, 2013 THE ITINERARY MONDAY 3/18 Pergamon Museum TUESDAY 3/19 The Neuer Berliner Kunstverein (n.b.k.) Tour of Olafur Eliasson’s studio by artist Geoffery Garrison Studio Olafur Eliasson Artist studio visit with William Cordova /American Academy in Berlin Fellow WEDNESDAY 3/20 Gallery Visit, Meet Henriette Huldisch, Associate Curator, Hamburger Bahnhof Museum Artist studio visit with Jennifer Bornstein / DAAD (2011) THURSDAY 3/21 Collection Scharf-Gerstenberg “Surreal Worlds” Berggruen Museum Schloss (Palace) Charlottenburg Artist talk and video screening with Massimiliano De Serio (artist, Turin), moderat- ed by Kathrin Becker (Head of n.b.k. Video-Forum) and Silke Wittig (n.b.k. Video- Forum). In cooperation with Artists Film International (AFI), initiated by Whitecha- pel Gallery, London. Group Dinner with Valerie Smith and additional guests FRIDAY 3/22 Akademie der Künste Artist studio visit with Rosa Barba Egyptian Museum tour with Art Historian Cristian Craciun SATURDAY 3/23 Choice Day Prearranged appointments at Neue Nationalgalerie, Alte Nationalgalerie, Bode Museum, Jüdische Museum Berlin, KW Institute for Contemporary Art, Berlinische Galerie Museum of Modern Art, The Haus der Kulturen der Welt Planet Modular Art Supply Warehouse Berliner Philharmonie 2 3 MUSEUMS & GALLERIES Pergamon Museum The Hamburger Bahnhof The Pergamon Museum was built between 1910 The Hamburger Bahnhof was built in 1874 as one of and 1930 under the supervision of Ludwig Hoffmann, Berlin’s rail heads, but already in 1906 it was found too working according to designs by Alfred Messel. From small for a station and was converted into a museum 1901 to 1909, a smaller building had occupied the of traffic and building.