INFORMATION of 8 May 2014

Transcription

INFORMATION of 8 May 2014
Frankfurt / Main
MISSION: POSTMODERN
Heinrich Klotz and the Wunderkammer DAM
10 May — 19 October 2014
Deutsches Architekturmuseum DAM,
Schaumainkai 43, Frankfurt/Main, ground + first floor
EXHIBITION OPENING:
Fri, 9 May 2014, 19.00
PRESS CONFERENCE:
Thu, 8 May 2014, 11.00
GUIDED TOURS:
On Saturdays and Sundays 15.00
Heinrich Klotz, Founder of the DAM, 1988 © Photo: Freek van Arkel
30 YEARS OF THE DAM
SUBJECT AREAS IN THE EXHIBITION
COINCIDING PROGRAM
PUBLICATION / IMPRINT
COMING SOON / CONTACT
OPEN:
Tue, Thu — Sun 11.00 — 18.00 \ Wed 11.00 — 20.00 \
Mon closed
2
2
9
11
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MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM
Frankfurt/ Main, 08.05.14
30 YEARS OF DEUTSCHES ARCHITEKTURMUSEUM
THE DAM IS CELEBRATING ITS OPENING IN 1984 WITH AN EXHIBITION ON THE
FOUNDING DIRECTOR HEINRICH KLOTZ, IT’S COLLECTION AND POSTMODERN
ARCHITECTURE.
Heinrich Klotz’s hitherto unpublished diary recordings were the starting point for marking DAM’s 30th
anniversary by looking back over the turbulent years when the museum was established. Dictating to a
tape recorder, Klotz described the compilation of the collection, the construction of the museum building
and his encounters with the most important architects of the time – Frank Gehry, Hans Hollein, Rem
Koolhaas, Richard Meier, Aldo Rossi, Denise Scott Brown, Robert Venturi and many others. The
recordings also offer an insider’s view of the genesis of Frankfurt’s “Museumsufer”, its row of museums
along the banks of the River Main. Deutsches Architekturmuseum was inaugurated on June 1, 1984 as the
first new museum on the “Museumsufer”. Klotz had to fight a number of battles before taking his place in
the new museum landscape, about which his diaries provide valuable information. The exhibition
celebrating the museum's 30th birthday therefore makes constant references to original quotes from the
diary:
“Just leave the whole building empty and buy yourself a shack next-door where you can
display all of your stuff!”
Oswald Mathias Ungers, Architect of the DAM, quotation from the diary of Heinrich Klotz, 3 February 1984
The “Wunderkammer” (cabinet of curiosities) featuring the most important works Heinrich Klotz
acquired between 1979 and 1989 is the focal point of the exhibition. The “stuff” that he assembled in his
ten years as director of the DAM will be displayed in a new light to mark the anniversary. Thanks to his
diary and his picture archive, it becomes clear what criteria he applied in building up the collection. The
first exhibitions prove that Klotz did not aim to build a special museum for an expert audience, but rather
sought links with art, everyday culture and design.
THEMES IN THE EXHIBITION
Heinrich Klotz and how he entered the director´s office
As of the mid-1970s Heinrich Klotz developed ideas for the founding of an architectural museum. He
presented his concepts in Frankfurt with much charm and charisma. Three details opened him the door to
the director’s office: Professor of Art History in Marburg since 1972, he had helped save Marburg’s old
town from demolition. He had previously got to know important architects in the United States. And in
the 1970s he wrote architecture reviews for a broad audience, as well as a book about “kitsch”: Die
röhrenden Hirsche der Architektur.
“Kitsch”
Heinrich Klotz was able to write with clarity and aplomb. Away from the academic world, he also
frequently published articles in the Frankfurter Rundschau daily. In Die röhrenden Hirsche der
Architektur he explains that “kitsch” is not necessarily a bad thing, but rather a very human reaction to
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the monotonous post-war architecture. Yet Klotz saw a new architecture emerging, set to do it better,
although he did not yet call it “postmodern”. His keen sense for popular themes heavily influenced the
early years of the DAM.
Marburg
Heinrich Klotz had been committed to the preservation of historic buildings since the 1960s. As a
research assistant at Göttingen University he joined students in occupying a university building
threatened with demolition. In Marburg he campaigned for the preservation of the neglected traditional
half-timbered buildings. Yet Klotz not only aimed to preserve – he moreover encouraged architects to
formulate contemporary concepts for the old town. Although none were in fact realized, Klotz had proved
himself a man of deed, who was in a position to convince politicians.
USA/Interviews
As a young guest professor at Yale, Klotz was confronted with a radical change in architecture in 1969. He
gave up the reticence of a historian and held interviews and debates with architects who criticized the
development of modern architecture. He compared his own role here with that of Giorgio Vasari (1511–
1574), the “first art historian”, who dedicated biographical portraits to artists of the Renaissance. Klotz
created his own portraits in two ways: with texts and with his slide shots.
Vita Heinrich Klotz
1935 born in Worms
Studied art history, German literature, archeology, and philosophy.
1969–1970 Guest professor at Yale University ,
1972 guest professor at Washington University in St. Louis
1972–1989 Professor of art history at the Universität Marburg
1987 Guest professor at Williams College, Williamstown
1979–1989 Founding director of the Deutsches Architekturmuseum
From 1989, founding director of the ZKM Zentrum für Kunst und Medientechnologie [Center for Art and
Media] and founder of the Hochschule für Gestaltung [University of Arts and Design] in Karlsruhe
1999 died in Karlsruhe
Frankfurt’s “Museumsufer”, Founding of the DAM and construction of the museum
building
“The bank high-rises’ cold splendor meets crumbling old buildings” describes the mood in 1970s
Frankfurt. “Bankfurt” and “Krankfurt” (from the German word “krank”, meaning ill or sick) were the
city’s nicknames at the time. Squatters occupying buildings in Frankfurt’s Westend district, downtown
demonstrations and street battles with the police created a tense atmosphere. Culture was supposed to
forge renewed unity between the city and its people: “Culture for all”, was the motto of Hilmar Hoffmann,
the City of Frankfurt’s Councilor for Cultural Affairs from 1970 to 1990.
Lord Mayor Walter Wallmann advocated an ambitious building program from 1977. The eastern side of
the “Römerberg” square, the “Schirn Kunsthalle” gallery, the “MMK” museum of contemporary art and
the chain of new museums on the Main, which form the “Museumsufer” stretch of the riverside, all date
back to the urban redevelopment that took place under Wallmann (1977–1986). The villas along the
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“Schaumainkai” embankment were saved from impending demolition by these developments. The new
objective of planning was not to build from scratch, but to integrate existing properties.
The building program with which the City of Frankfurt sought to create a new image for itself as of 1977
was highly controversial at the time: Are the new museums an excessive luxury that will represent
competition for the established institutions such as the Städel? Is the fostering of city-district culture
being neglected? Does the new buildings’ architectural style spell a conservative shift? As of 1977 Heinrich
Klotz was at the center of these sometimes heated debates. He succeeded in convincing the politicians to
establish an architectural museum.
1979–1984: Ungers, Klotz and the construction of the DAM
The Deutsches Architekturmuseum, or DAM, was the first museum of architecture in Germany – and the
first museum of its kind worldwide for which a building was specially designed. Architect Oswald Mathias
Ungers planned the conversion of the villa, taking not only functional points of view into account. He and
his client Heinrich Klotz were working according to a manifesto. The question of how architecture can be
exhibited, even though buildings cannot be transported and brought into the museum, had to be
answered by the DAM in fundamental ways.
It is for this reason that the interior of the villa is a “building within a building”. Thanks to this concept,
the architecture that can otherwise only be presented with plans, models, photos or films is experienced
in real dimensions. The historical villa is likewise treated as an exhibit: A wall creates a plinth that
transforms the old building into an exhibition piece.
Fritz Geldmacher, Architect of the Villa at Schaumainkai
Little is known about the Geldmacher villa, which as of 1979 was converted into Deutsches
Architekturmuseum. Even in 1980 its architecture was regarded by many as suspect. »Showy«, the weekly
Die Zeit called it, while at the official opening in 1984 the daily newspaper Frankfurter Allgemeine
Zeitung (FAZ) bemoaned the »gloomy splendor«. After 30 years attempts are now being made to find out
more about Fritz Geldmacher:
Fritz (originally Friedrich) Arthur Geldmacher was born on April 3, 1880 in Elberfeld, nowadays
Wuppertal. As a young architect Fritz Geldmacher built a respectable number of residential and
commercial buildings in Frankfurt and the surroundings, some with Willi Lutz (born Jan. 31, 1881) as a
partner. Geldmacher’s best-known buildings are the Neo-Baroque “Kopfapotheke” pharmacy at the
corner of Neue Kräme and Braubachstrasse (1926) and the Neo-Classicist duplex villa on Schaumainkai
(1912), which is now home to Deutsches Architekturmuseum. Between 1915 and 1924 Geldmacher lived
periodically in Frankfurt and Munich. In Munich Fritz Geldmacher no longer worked as an architect, but
as a businessman and builders’ merchant. He died on Oct. 18, 1963.
First exhibitions under the direction of Heinrich Klotz
Revision of the Modern – Postmodern Architecture 1960–1980
The DAM’s opening exhibition created quite a stir. Critics accused Klotz of taking a one-sided attitude in
favor of the architects of the postmodern era: Charles Moore, Aldo Rossi, Oswald Mathias Ungers, Robert
Venturi and Denise Scott Brown etc. Yet when assembling the DAM collection, Klotz began with Frei Otto,
the pioneer of lightweight structural engineering. In 1986 he dedicated the major exhibition “Vision of the
Modern” to Otto and other technological visionaries.
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Vision of the Modern, 1986: The Counterpart to the Revision of the Modern
From the Russian constructivists of the revolutionary 1920s to the technological utopias of the 1960s to
the ecological buildings of the 1980s – this exhibition spanned them all. For Heinrich Klotz this
architecture was not the counter-model to the postmodern that he had exhibited two years earlier.
Buildings that were defined by their construction could also be “expressive”. Klotz’s view of this
“expression” was that architecture should not be mute, but should tell stories.
Art exhibitions at the DAM
The first work Klotz acquired for the museum collection in 1979 is a work of art (it hangs in the “Cabinet
of Curiosities” on the first floor): the Wrapped Reichstag by Christo. The link between art and
architecture stemmed from the fact that, initially, the DAM and the newly-founded Museum of Modern
Art were to be accommodated in the same building here on the Schaumainkai. Even after the separation
into two museums, art exhibitions still take place in the DAM and works of art are purchased.
Local studies, local critique: Surveying Hesse / Construction, Stones, Shards, 1984
Architecture critique in the architecture museum: Can that work? Or is that the way to enrage an
important part of the audience, i.e. the architects? Heinrich Klotz undertook two attempts at critique of
the general case of everyday construction: “Surveying Hesse”, a photographic stocktake by the artists
Helmut Baruth and Klaus Steinke, and “Construction, Stones, Shards”, an exhibition with caricatures.
The “Wunderkammer” DAM
Deutsches Architekturmuseum (DAM) is a treasure trove of extremely disparate things, some of which
have never been exhibited. The order in this chamber of marvels is initially based on the sequence in
which Heinrich Klotz acquired them. Since he frequently mentions prices in his diary, they are revealed
here. The principle of a chamber of marvels goes back to the early European art collections. There, works
of art, natural objects, instruments, handicrafts and much more besides were not yet housed in different
institutions, but were put on display in an overarching classification system: The whole world,
symbolically portrayed in a single place. Here in the DAM chamber of marvels it is the world of
architecture, displayed by the objects, with which Heinrich Klotz laid the foundations for the DAM
collection.
Including 140 objects overall, the highlights of the “Wunderkammer” are (amongst others): the “Wrapped
Reichstag” drawing by artist Christo, early Rem Koolhaas scetches and art pieces of Hans Arp, Georg
Baselitz, Markus Lüpertz and Ben Willikens.
Haus-Rucker-Co: Nike of Linz in Frankfurt/Main
The Nike sculpture by Austrian architects group Haus-Rucker-Co has an eventful history. Erected in 1977
in Linz, it was removed two years later despite international protests from the worlds of art and culture.
Heinrich Klotz acquired the Nike in 1981. The construction of the subway in front of the DAM created a
gap in the row of plane trees, where the almost eight-meter tall aluminum sculpture with its ten-meter
long steel girder was to be erected, as a symbol of the ‘Museumsufer’ and a proclamation, visible from
afar, of Heinrich Klotz’ collectionpolicy, of which the close link between art and architecture was an
important feature. IBM agreed to sponsor the undertaking, but the project fell through because of the
objection of the Sachsenhausen district council.
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The sculpture has since been in store. In 2014 the engineering firm Bollinger + Grohmann is conducting a
preliminary study for DAM with a view to erecting the Nike after all.
Heinrich Klotz´collection of slides
Heinrich Klotz did indeed have a special view of architecture. He rejected the notion that structures
should be portrayed in isolation. Unlike many architecture photographers, art historians, and architects,
Klotz also photographed a building’s people and its surroundings. He used his slides for lectures, books,
and exhibitions. They are kept at Hochschule für Gestaltung Karlsruhe and can be viewed online.
Postmodern Architecture
In the 1980s Frankfurt becomes a place to of pilgrimage for enthusiasts of postmodern architecture.
The south bank of the Main river, the area around the cathedral and ‘Römerberg’, and the trade fair
grounds feature prominently in this trend. Heinrich Klotz is a jury member for numerous competitions.
Frankfurt’s architecture becomes more international: Americans, Austrians, Swiss, and Italians are all
involved in the construction of the “New Frankfurt”, as the construction program is called in allusion to
the New Frankfurt movement of the 1920s.
Messe-Torhaus, Galleria, Messehalle 9 – Oswald Mathias Ungers, 1984
Messeturm – Helmut Jahn, 1990
O. M. Ungers’ structures make an unmistakable mark on the trade fair grounds: For the Galleria he takes
up the idiom of the glass-covered arcade, creating in the process a striking location between the purely
functional exhibition halls. The ‘Torhaus’ is at one and the same time a gateway and a tower, fragile and
solid, and in this very postmodern way is “narrative”. With regard to the ‘Messeturm’ Heinrich Klotz
succeeds in getting his way with his favorite Helmut Jahn, despite the fact that in the jury session Ungers
is strictly against the idea.
Schirn Kunsthalle – Bangert Jansen Scholz Schultes, 1986
Saalgasse – several architects, 1989
In 1979 the competition is held for the ‘Schirn Kunsthalle’, during which the decision to reconstruct the
half-timbered buildings on the ‘Römer’ is once again put up for discussion. In the jury there is a
‘tussle‘writes Heinrich Klotz, who is an expert on it. But instead of adopting a ‘modern design’ to interpret
the half-timbered edifices that make up the eastern line of buildings on ‘Römerberg’, the decision is taken
to build ‘Saalgasse’ – a test run, perhaps, for the ‘New Old Town’ being built in 2014?
Landeszentralbank Hessen (Deutsche Bundesbank, Hauptverwaltung in Hessen) – Jourdan & Müller
with Berghof Landes Rang, 1988
In 1987 a postmodern office complex is built next to the Reichsbank building on Taunusanlage. The
edifice has a comb-shaped footprint. Small courtyards give the office wings structure. The main, glasscovered hall is reminiscent of the Galleria that O.M. Ungers built at the trade-fair grounds. Decorative
elements typical of the era structure the facade. The postmodern interior has been preserved to this day,
and can be viewed on the DAM tours.
Kundenzentrum der Stadtwerke / Museum Judengasse (Stadtplanungsamt) – Ernst Gisel, 1990
The public utility company’s HQ is built on the site of the former city wall and the Jewish ghetto. The
closed, nonplastered brick facade is intended to offer a reinterpretation of the city wall. The momentum of
the roof makes a striking mark on busy Kurt Schumacher Strasse. During the construction work remains
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of the Jewish ghetto are uncovered. The subsequent »Börneplatz conflict« leads to the integration of
Museum Judengasse and the construction of the »Neuer Börneplatz« memorial.
Saalbau Gutleut – Berghof Landes Rang, 1990
The facades of the residential development at Westhafen are structured by semi-circular glass oriels,
brightly colored window areas, and red columns. Circular windows mark stairwells above the differently
designed entrances. A passageway links the residential buildings with the Saalbau pavilion for the Gutleut
district. The ballroom is located behind the corrugated wall and the ring of windows. Crowned by a golden
hat and accessed via a circular entrance, numerous postmodern decorative elements feature here.
Deutsches Architekturmuseum – Oswald Mathias Ungers, 1984
At the opening of Deutsches Architektur Museum (DAM), its architect O. M. Ungers was critical of
»postmodernism«: He had nothing to do with it, he said. Yet Ungers indisputably designed one building
which can be read like a story, a typical characteristic of postmodernism: The »building in a
building«, the original form of architecture, the interweaving behind a wall as a »city in miniature form«.
In addition, Heinrich Klotz desires a strong symbol, yet to this day the »Nike« sculpture has not yet been
installed in front of the building.
Filmmuseum - Helge Bofinger, 1984–2009 (further conversion 2009)
The Film and Architecture Museums emerge as Siamese twins: Designed simultaneously, they are linked
by a passageway and share the same heating system. Helge Bofinger, the architect of the Film Museum,
adopts the DAM sandstone arcade as a linking element. For both museums the villas dating from between
1910 and 1912 are completely gutted and a »building in a building« inserted. Bofinger’s work was totally
removed during the modernization work beginning in 2009.
Deutsches Postmuseum (Museum für Kommunikation) – Günter Behnisch, 1990
With its rooftop aerial, the glass and concrete cube looks highly technical, a foreign body that has landed
between the old villas. A slanting glass cylinder houses the open steps and leads to the exhibition rooms,
which for reasons of space are located underground. Postmodern elements are only discernible at second
glance, for example a sloping steel staircase is a tongue-in-cheek comment on the classic travertine
entrance pedestal.
Erweiterungsbau des Städelmuseums – Gustav Peichl, 1990
The extension performs a fine balancing act: On the hand, it fulfills the need for a large closed box
containing exhibition rooms – and on the other the wish to create a foyer and a striking entrance. For this
reason a slit sets the latter apart from the rest of the facade, which consists of a continuous piece of
marble. The entrance could also be a piece of Viennese Reform architecture from around 1910, whereas
the rest of the building celebrates its function as a safe warehouse for art.
Liebighaus (Erweiterung) – Scheffler und Warschauer, 1990
In the late 19th century Heinrich Baron von Liebieg had the architect Leonhard Romeis build a villa for
him on the south bank of the River Main. Since 1908 it has housed the Municipal Gallery’s sculpture
collection. The subsequent extension in the form of a gallery wing (1909) remained uncompleted until
1990. At first sight one cannot see which part of the extension is new. The addition of extensions with
no visible signs of a caesura is one of the achievements of postmodernism still valid today.
Jüdisches Museum – Ante Josip von Kostelac, 1989
Of all the new cultural edifices built in the 1980s, the Jewish Museum is the one that that treated the
existing building fabric most cautiously. Following initial plans to install a large staircase on the inside,
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the interior rooms were completely refurbished. There is no skylight axis. Only the foyer and the areas
above it were inserted as a new spatial lattice structure. There are current plans for an extension.
Museum für Vor- und Frühgeschichte (Archäologisches Museum) – Josef Paul Kleihues, 1989
The diagrams Klotz acquires reveal the competition design with which for the Museum of Prehistory and
Early History Josef Paul Kleihues held his own against 60 other entrants. The list of entrants was
international, including Peter Cook / Christine Hawley and Adolfo Natalini. Visibly screwed on, the
panels serve as a reminder that the facade is it not solid, but only cladding.
Museum für Moderne Kunst – Hans Hollein, 1991
The Museum für Moderne Kunst (MMK) is initially intended to be located in the same building as
Deutsches Architekturmuseum (DAM). The need for more space and, a little later, the city’s acquisition of
the Ströher art collection make a new building necessary. The open competition attracted a total of 98
entries; Heinrich Klotz is a jury member. Hans Hollein’s proposal is more postmodern on the outside
than on the inside, where dramatic sequences of rooms provide greater
scope for experience than playing with quotations from architectural history
Portikus-Kunsthalle (Conversion to Literaturhaus 2003) – Marie-Theres Deutsch und Klaus
Dreissigacker, 1987
Fragments and quotations, two characteristics of postmodern architecture, come into play from a
different direction in the Portikus art gallery: The actual portico, the entrance formed by columns and
gables, is all that remains of the municipal library that was destroyed in the War. In 1987 an exhibition
pavilion is constructed behind it, which the Director of the Städel Academy, Kaspar König, makes a
condition if he is to accept the position. Between 2003 and 2005 the Literaturhaus is built behind the
Portikus, and the art gallery moves to Maininsel, an island in the River Main.
Ikonenmuseum – Oswald Mathias Ungers, 1990
In the Ikonen-Museum in the Deutschordenshaus building there are hints of the DAM design principle of
a »building in a building«. In the former’s refectory it is more of a »shelf« positioned in the room that O.
M. Ungers deploys to create an exhibition space on two levels. With regard to the fittings, all the elements
conform to a square grid
Museum für Kunsthandwerk (museum angewandte kunst) – Richard Meier, 1985
In 1985 Villa Metzler, the largest building along the riverbank is extended and becomes the Museum für
Kunsthandwerk. Alongside three German architects, Richard Meier and Venturi, Rauch and Scott Brown
from the USA, and Hans Hollein from Vienna take part in the limited competition. Klotz is a jury member
and advocates Robert Venturi’s entry. Richard Meier’s design is postmodern in its own way: Villa Metzler
becomes a module in the design and is quoted several times in the new building.
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Sa/So, 15 Uhr Öffentliche Führungen mit Yorck Förster, Eintritt ins Museum 9,- Euro/4,50 Euro erm.
ARCH+ Feature
10. Mai 2014, 17–19 Uhr \ Auditorium des DAM, kostenfrei
Vorstellung des Sonderhefts der Architekturzeitschrift ARCH+ zu den „Klotz Tapes“ mit Oliver Elser,
Myriam Pflugmann, Franziska Stein (DAM) und der ARCH+ Redaktion, im Rahmen der Ausstellung
„MISSION: POSTMODERN – Heinrich Klotz und die Wunderkammer DAM“.
Nacht der Museen
10. Mai 2014, 19–2 Uhr \ Auditorium des DAM, 14 EUR (für alle teilnehmenden Museen)
Heinrich Klotz Dia-Abend, 19-20 Uhr
Der Kunsthistoriker Heinrich Klotz (1935–1999) hielt Bauten und Begegnungen mit Architekten in seinen
Dias fest. 8.000 Aufnahmen wurden an der Hochschule für Gestaltung Karlsruhe im Projekt
„Postmoderne Projektionen“ von Julia Brandes digitalisiert. Eine große Auswahl wird in der Ausstellung
„Mission: Postmodern. Heinrich Klotz und die Wunderkammer DAM“ gezeigt. Zur Nacht der Museen
präsentieren die Kuratoren Oliver Elser und Franziska Stein ihre Highlights.
Zurück in die 80er!, 21-2 Uhr
Das DAM wird 30 und feiert das Jahrzehnt seiner Gründung! Heinz Felber, Gründungsmitglied der HR3
Clubnight und langjähriger DJ, hat die 80er Jahre quasi aufgesaugt: Ob Neue Deutsche Welle oder Disco
– von Madonna bis Michael Jackson – nichts ist ihm fremd. Er bringt das Auditorium zum Tanzen!
Touren zur Postmoderne: Tour 1 \ City
17. Mai, 14. Juni, 28. Juni, 12. Juli, 20. September, 4. Oktober 2014, jeweils 16–18 Uhr \
Startpunkt am DAM, 6 EUR, ermäßigt 4 EUR
Deutsches Architekturmuseum, Oswald Mathias Ungers
Archäologisches Museum, Josef Paul Kleihues
Römerberg \ Saalgasse, Berghof Landes Rang; Charles Moore; Adolfo Natalini; Christoph Mäckler; Eisele
+ Fritz u.a.
Schirn, Bangert Jansen Scholz Schultes
Museum für Moderne Kunst, Hans Hollein
Führungen in Kooperation mit dem Institut für Kunstgeschichte der Johannes Gutenberg Universität
Mainz, Prof. Dr. Matthias Müller
Sonderführung für Lehrerinnen und Lehrer mit dem Kurator Oliver Elser
21. Mai 2014, 18 Uhr, kostenfrei
Touren zur Postmoderne: Tour 2 \ Museumsufer
24. Mai, 21. Juni, 5. Juli, 19. Juli, 27. September, 11. Oktober 2014, jeweils 16–18 Uhr \
Startpunkt am DAM, 6 EUR, ermäßigt 4 EUR
Deutsches Architekturmuseum, Oswald Mathias Ungers
museum angewandte kunst, Richard Meier
Museum für Kommunikation, Günter Behnisch
Erweiterungsbau des Städelmuseums, Gustav Peichl
Liebieghaus (Erweiterung), Scheffler und Warschauer
Führungen in Kooperation mit dem Institut für Kunstgeschichte der Johannes Gutenberg Universität
Mainz, Prof. Dr. Matthias Müller
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30. Geburtstag des DAM
Symposion mit Zeitzeugen der Museumsgründung und Weggefährten des Gründungsdirektors Heinrich
Klotz
31. Mai 2014, 18–1 Uhr \ Auditorium des DAM, Eintritt 5 EUR
Eduard Beaucamp, 1966–2002 Kunstkritiker FAZ
Roland Burgard, 1990–1998 Leiter des Hochbauamtes Frankfurt am Main
Diethelm Fichtner, 1971–1993 Leiter des Stadtplanungsamtes Marburg
Andrea Gleiniger, 1983–1993 Kuratorin DAM
Hans-Erhard Haverkampf, 1975–1989 Planungs- und Baudezernent in Frankfurt am Main
Peter Iden, 1981–1987 Gründungsdirektor des Museums für Moderne Kunst in Frankfurt am Main
Hans-Peter Schwarz, 1983–1990 Kurator DAM
STADTplus – Die Stadt + Die 80er
Wie sich Frankfut neu erfunden hat – Claus-Jürgen Göpfert, Frankfurter Rundschau
4. Juni 2014, 19 Uhr (Einlass 18.30 Uhr) \ Auditorium des DAM
1/2 Stunde Vortrag, Museum und Bar geöffnet bis 22 Uhr, Eintritt 11 EUR \ ermäßigt 8 EUR – jeweils mit
Getränk
Postmodern: Saalgasse revisited
Architektur vor Ort, für alle Interessierten, auch als Lehrerfortbildung akkreditiert
25. Juni 2014, 17.30 — 19.30 Uhr \ DAM Auditorium Saalgasse, 9 EUR
Mit Arne Winkelma nn, Dipl. Ing. / Kulturwissenschaftler
Film & Vortrag
Anne Kockelkorn, ETH Zürich: Panoptikum der Postmoderne. Terry Gilliams Film „Brazil“ und
sein Drehort, Ricardo Bofills „Les Espaces d’Abraxas“
16. Juli 2014, 17—20 Uhr \ DAM Auditorium, 5 EUR
LegoBaustelle
für Grosse und Kleine Baumeister
26. Juli — 31. August 2014, Di — So, 10—18 Uhr \ DAM Auditorium, 3 EUR
Die „LegoBaustelle“ füllt das Auditorium mit Tausenden von Legosteinen und bietet Kindern ab 4 Jahren
die Möglichkeit, ihren Baufantasien freien Lauf zu lassen. Anmeldung für Gruppen unter
bildung.dam@stadt-frankfurt.de \Tel. 069-212-47911
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PUBLICATION
ARCH+ Nr. 216 – special edition "Klotz Tapes"
ARCH+ Berlin
German/English, 240 p. + 24 p. “Feature” + 16 p. Appendix
Format: 235mm x 297mm
With Essays by Jasper Cepl, Oliver Elser, Franziska Stein, Anke te
Heesen, Julia Voss and interviews with Charles Jencks and Paolo
Portoghesi.
Available at the museum shop or at book stores for EUR 29,IMPRINT
Mission: Postmodern – Heinrich Klotz and the Wunderkammer DAM
10 May – 19 October 2014 , Deutsches Architekturmuseum, first Floor
Director Peter Cachola Schmal
Curator und Managing Editor of the Klotz-Tapes Oliver Elser
Curatorial Assistance, Scientific Research, Exhibition Organization Franziska Stein
Scientific Research, Exhibition Organization Myriam Pflugmann
Index of People, Goups and Companies; Bibliography Erich Wagner
Transcription Ingrid Helmdach, Paulina Kasprzyk
Student Assistants Anika Kindervater, Maximilian Kürten
Research on Fritz Geldermacher Peter Körner
Exhibition Design Deserve, Wiesbaden/Berlin
Catalog ARCH+ Nikolaus Kuhnert, Anh-Linh Ngo, Jesse Coburn, Sara Lusic-Alavanja, Rob Madole,
Vincent Meyer-Madaus, Felix Rebers, Stephan Redeker, Achim Reese, Simon Schulz
Catalog Design Meiré und Meiré, Mike Meiré (Art Director), Charlotte Cassel, Tobias Tschense
Corporate Design DAM Gardeners, Frankfurt
Head of Archives DAM Inge Wolf
Registrar Wolfgang Welker
Public Relations DAM Stefanie Lampe, Susanne Lehmann
Director’s Office and Administration DAM Inka Plechaty, Jacqueline Brauer
Installation DAM Paolo Brunino, Ulrich Diekmann, Enrico Hirsekorn, Caroline Krause, Eike Laeuen,
Harald Prompl, Jörn-Luca Schön, Angela Tonner, Gerhard Winkler, Valerian Wolenik, under the
direction of Christian Walter
Framing Valerian Wolenik
PRESS INFORMATION
Page 11
Museum Technician DAM Joachim Müller-Rahn
Postmodern Architecture Tours in Frankfurt Institut für Kunstgeschichte und Musikwissenschaft der
Johannes Gutenberg-Universität Mainz, Prof. Dr. Matthias Müller with the students Kevin Berz, Isabelle
Hammer, Danika Helbing, Leonie Köhren, Tanita König, Lucas Koll, Miriam Kremser, Kira Lang, Nadine
Nitsche, Marc Riegel, Felix Tauber
Press images for announcements and reports during the exhibition period at www.dam-online.de
24 May – 24 August 2014
Bridging Ostend – Points of time at closest range
DEUTSCHES ARCHITEKTURMUSEUM
Press & Public Relations
Schaumainkai 43, 60596 Frankfurt am Main, Germany, www.dam-online.de
Brita Köhler, Dipl.-Ing. (FH)
T +49 (0)69 212 36318 \ F +49 (0)69 212 36386
brita.koehler@stadt-frankfurt.de
Susanne Lehmann, M.A.
T +49 (0)69 212 31326 \ F +49 (0)69 212 36386
susanne.lehmann@stadt-frankfurt.de
PRESS INFORMATION
Page 12

INFORMATION of 8 May 2014

Transcription

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