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29 May 2018 - OECD Forum 2018 – Integrating Migrants
Nassira El Moaddem, Director & Editor in Chief, Le Bondy Blog
Sebene Eshete, Advocacy Coordinator, Generation 2.0, Equality and Diversity, Greece
Andreas Hollstein, Mayor, Altena, Germany
Photo: OECD/Mariano Bordon
29 May 2018 - OECD Forum 2018 – Integrating Migrants
Sebene Eshete, Advocacy Coordinator, Generation 2.0, Equality and Diversity, Greece
Photo: OECD/Mariano Bordon
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
20 May 2019 - OECD Forum
Migrants' Integration
Speakers : Oleksandra Vakulina
Host, Business line - Euronews;
Ana Bailao: Advocate, Council on Housing; Deputy Mayor City of Toronto, Canada.
Stephanie Cox : Founder, Austria’s first job fair for refugees; Member - Austrian Parliament, Austria.
Tareq Hadhad : Founder - Peace by Chocolate, Canada.
Photo : © Andrew Wheeler / OECD
English | Français | Deutsch
Elaiussa Sebaste is an ancient Roman city on the Mediterranean coast, in now days it is Turkey neat city of Mersin. The first traces of human habitation dating from the 3rd century BC are Egyptian currencies from the days of Ptolemy III. To the second century BC the city fell under the roman administration, despite this the city is culturally close to Greece, there are many inscriptions in Greek, Corinthian capitals, greek amphitheatres and peripteral Hellenistic temples.
The city become to Christian era a major city in region with its port and probably trade fruits and olive oil (Elaiussa meaning olive). In fact even now found among the ruins many olive trees. From this period comes local currencies in bronze.
According to the historian Suetonius, the integration of the territory into the Roman Empire is done by Vespasian (reigned 69-79). The Emperor Hadrian (reign 117-138) have twice visited the region. The city's decline began towards the III century since the city was completely abandoned, only used as a stone quarry.
Architectural description
Roman city culturally influenced by Greece, the ruins visible now only allow assumptions to determine the use of the buildings. The best preserved are two tombs, the amphitheater and partially portions of both temples / basilicas.
The tombs are in blocks of massive stones of large dimensions generally 40cm high by 50 / 70cm long, the thickness is 30cm or more. One is the miniature image of a Greek house with a monumental entrance surmounted by a fronton. This grandiose entry looks like the main arch of a triumphal arch, also it can be assumed that the goal was to score a triumphal entry into immortality.
The buildings have Corinthian capitals, but not as developed as in dedicated buildings, their dimensions are smaller and the rebate is not so rich. The ruins of a semi-circular building, may indicate a spiritual purpose building (a temple or a basilica).
In the remaining walls we see the thickness of the stone (over 50cm) and boulder used as lintels where openings in the walls were created. On the site there is the base of a possible monument like Trajan's Column, because its shape remember the monument of Rome.
In writing the text, I used information from -Mechtidis Petros Paleothodoros Dimitris, "Elaeousa Sebaste (Antiquity)," Encyclopaedia of the Hellenic World, Asia Minor.
En Français
Elaiussa Sebaste c'est une ancienne ville romaine de la cote méditerranéenne, de nos jours elle se trouve en Turquie, à proximité de la ville de Mersin. Les premières traces d'habitation humaine datent depuis le 3ème siècle avant Jésus Christ et sont des monnaies égyptiennes du temps de Ptolémée III.
Vers le deuxième siècle avant Christ la ville tombe sous l'administration, malgré cela la ville est culturellement proche de la Grèce, on retrouve des nombreuses inscriptions en grecque, des chapiteaux corinthiens, des amphithéâtres grecs et des temples périptères hellénistiques.
La ville deviens autour de l'ère chrétienne une ville importante grâce à son port et probablement au commerce de fruits et d'huile d'olives (Elaiussa signifiant olive). D'ailleurs même actuellement parmi les ruines on retrouve des nombreux arbustes d'oliviers. De cette époque proviennent des monnaies locales en bronze.
Conformément à l'historien Suetonius, l'intégration de ce territoire dans l'empire romain est du à Vespasien (règne de 69 à 79). L'empereur Hadrien (règne 117 à 138) aurait visité deux fois la région. Le déclin de la ville commence vers le III siècle, depuis la ville a été totalement abandonnée, servant uniquement comme carrière de pierre.
Description architecturale
Ville romaine influencée culturellement par la Grèce, les ruines visibles actuellement ne permettent que des suppositions pour savoir l'usage des constructions. Les mieux conservées sont 2 tombeaux, l' amphithéâtre et partiellement des parties des deux temples/basiliques.
Les tombeaux sont en blocs de pierres massives de grandes dimensions généralement 40cm de haut par 50/70cm de long, l'épaisseur étant de 30cm voire plus. L'un est l'image en miniature d'une maison grecque ayant une entrée monumentale surmontée d'un fronton. Cette entrée grandiloquente ressemble à l'arche principale d'un arc de triomphe, d'ailleurs on peut supposer que le but était de marquer une entrée triomphale vers l'immortalité.
Les bâtiments ont des chapiteaux corinthiens, mais pas aussi développes que dans les bâtiments consacrés, leur dimensions sont plus petits et la feuillure n'est pas si riche. Les ruines d'un bâtiment de forme semi-circulaire, peut indiquer un bâtiment à usage spirituel (un temple où une basilique). La parti circulaire comporte dans l'axe deux petites ouvertures en arc romain.
Dans les murs restants on remarque l'épaisseur de la pierre (plus de 50cm) et gros bloc de pierre utilisés en tant que linteaux là où des ouvertures dans les murs ont été crées. Sur le site on retrouve le socle d'un possible monument de type Colonne Trajane, car sa forme rappelle bien le monument de Rome.
Dans la rédaction du texte, j'ai utilisé des information provenant de -Mechtidis Petros, Paleothodoros Dimitris , "Elaeousa Sebaste (Antiquity)", Encyclopaedia of the Hellenic World, Asia Minor.
Auf Deutsch
Elaiussa Sebaste ist eine ehemalige römische Stadt an der Mittelmeerküste, jetzt Tage ist es der Türkei ordentlich Stadt Mersin. Die ersten Spuren menschlicher Besiedlung aus dem 3. Jahrhundert vor Christus Ägyptische Währungen aus der Zeit des Ptolemaios III. Zum zweiten Jahrhundert vor Christus fiel die Stadt unter der römischen Verwaltung trotz dieser kulturell ist die Stadt in der Nähe von Griechenland gibt es viele Inschriften in griechischer Sprache, korinthischen Kapitellen, griechisch peripteral hellenistischen Tempel und Amphitheater.
Die Stadt Werden christlichen Ära zu einer Großstadt im Hafengebiet mit ict und Handels Wahrscheinlich Obst und Olivenöl (Oliven Elaiussa Bedeutung). Und zwar schon jetzt in den Ruinen Viele Olivenbäumen gefunden. Aus dieser Zeit stammt lokalen Währungen in Bronze.
Der Historiker Sueton selon, die Integration des Gebiets in das Römische Reich durch Vespasian getan (regierte von 69 bis 79). Der Kaiser Hadrian (117-138 Herrschaft) zweimal haben das Gebiet besucht. Niedergang der Stadt begann Bewertungen zum dritten Jahrhundert, da die Stadt komplett Anruf aufgegeben wurde, nur als Steinbruch verwendet.
Architekturbeschreibung
Römischen Stadt kulturell von Griechenland beeinflusst, die Ruinen zu sehen jetzt nur zulassen Annahmen, um die Nutzung der Gebäude zu bestimmen. Am besten erhalten sind zwei Gräber, das Amphitheater und teilweise Teile der beiden Bügeln / Basiliken.
Die Gräber sind in Blöcken von massiven Steinen der breiten Maße 40cm hoch Allgemeinen um 50/70 cm lang, die Stärke ist 30 cm oder mehr. Eine davon ist die Miniaturansicht einer griechischen Haus mit einem monumentalen Eingang von einem Giebel überwunden. Dieses große Eingangsbogen sieht aus wie die Hand eines Triumphbogens, kann es aussi que la wurde angenommen, Ziel, triumphalen Einzug in die Unsterblichkeit zu erzielen.
Die Gebäude-haben korinthischen Kapitellen, aber nicht so entwickelt wie in Gebäuden gewidmet, sind Ihre Abmessungen kleiner und der Rabatt ist nicht so reich. Die Ruinen von einer halbkreisförmigen Gebäude, Mai Anzeige weisen auf eine spirituelle Zweckgebäude (ein Tempel oder Basilika).
In den übrigen Wänden sehen wir die Dicke des Steins (über 50 cm) und Felsbrocken wie Stürze Wo Öffnungen in den Wänden wurden geschaffen, verwendet. Auf der Website gibt es die Basis eines Denkmals wie Trajanssäule, weil ihre Form erinnern, das Denkmal von Rom.
Im Schreiben des Textes, habe ich Informationen aus -Mechtidis Petros Paleothodoros Dimitris, "Elaeousa Sebaste (Antiquity)," Encyclopaedia of the Hellenic World, Asia Minor.
20 May 2019 - OECD Forum
Migrants' Integration
Speakers : Oleksandra Vakulina
Host, Business line - Euronews;
Ana Bailao: Advocate, Council on Housing; Deputy Mayor City of Toronto, Canada.
Stephanie Cox : Founder, Austria’s first job fair for refugees; Member - Austrian Parliament, Austria.
Tareq Hadhad : Founder - Peace by Chocolate, Canada.
Photo : © Andrew Wheeler / OECD
Photos: JODIDIO, Philip (2004). Architecture Now! 3. Taschen GMbH, Cologne. ISBN 3-8228-2935-8
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Diller Scofidio + Renfro is an American interdisciplinary design studio that integrates architecture, the visual arts, and the performing arts. Based in New York City, Diller Scofidio + Renfro is led by four partners – Elizabeth Diller, Ricardo Scofidio, Charles Renfro, and Benjamin Gilmartin – who work with a staff of architects, artists, designers, and researchers.
History
The studio was founded by Elizabeth Diller and Ricardo Scofidio in 1981; Charles Renfro joined in 1997 and became partner in 2004. Benjamin Gilmartin became a partner in 2015.
In 1999, the MacArthur Foundation honored the firm's work with the 'genius' award, stating that they "have created an alternative form of architectural practice that unites design, performance, and electronic media with cultural and architectural theory and criticism. Their work explores how space functions in our culture and illustrates that architecture, when understood as the physical manifestation of social relationships, is everywhere, not just in buildings."
Work
Diller Scofidio + Renfro's international body of completed architectural work includes the Lincoln Center for the Performing Arts Redevelopment in New York (including the redesign of Alice Tully Hall), the renovation and expansion of the Juilliard School, the Hypar Pavilion Lawn and Restaurant, the expansion of the School of American Ballet, renovations to the New York State Theater lobby, the canopy entry to Fashion Week at Lincoln Center, public spaces throughout the campus, Information Landscape, and the President's Bridge.
Selected work
Blur, a pavilion built of fog on Lake Neuchâtel and commissioned by the Swiss Expo.02, (2002)
Slither, a housing complex in Gifu, Japan (2003)
Institute of Contemporary Art, the first new museum to be built in Boston in 100 years (2006)
Perry and Marty Granoff Center for the Creative Arts for Brown University in Providence, Rhode Island (2011)
The Shed, a cultural center in Hudson Yards, New York, New York (2019)
The Broad, a major modern art museum in Los Angeles;
Projects in construction or in design include:
the Museum of Modern Art (MoMA) Expansion in New York City;
Berkeley Art Museum and Pacific Film Archive[6] at the University of California, Berkeley;
Columbia University Medical Center Education Building[7] and Columbia Business School in New York City; the Museum of Image & Sound[8] on Copacabana Beach in Rio de Janeiro;
Stanford University Art & Art History Building;
D Tower ("The Corset") at 15 Hudson Yards, residential tower for Related Companies, part of the Hudson Yards Redevelopment Project in New York City
In 2013 Diller Scofidio + Renfro won the international design competition for Zaryadye Park, a new 35-acre public space next to the Kremlin in Moscow, Russia.
November 12th, 2015
I don't know if Crowded House were on tour in the UK when the songs four seasons in one day and weather with you were written but it wouldn't surprise me. I thought I was on for a glorious sunset but that big old ball of gas was teasing and I trudged home. En route my inner child was taken by the kite waving in the wind to scare the birds and I watched it for a while before moving on again. The light was now low and as I carried on to my left there was suddenly this giant face looking at me from the trees. Never have I been equally in awe of a piece of art as I have been startled in the same breath. Hopefully I will get a shot when there is better light as I don't think this quite does it justice.
Technology Integration for digital fabrication: Arduino, drives and 3D printer for chasis and wheels.
29 May 2018 - OECD Forum 2018 – Integrating Migrants
Sebene Eshete, Advocacy Coordinator, Generation 2.0, Equality and Diversity, Greece
Photo: OECD/Mariano Bordon
29 May 2018 - OECD Forum 2018 – Integrating Migrants
Andreas Hollstein, Mayor, Altena, Germany
Photo: OECD/Mariano Bordon
29 May 2018 - OECD Forum 2018 – Integrating Migrants
Jean-Christophe Dumont, Head, International Migration Division, Employment, Labour and Social Affairs, OECD
Photo: OECD/Mariano Bordon
29 May 2018 - OECD Forum 2018 – Integrating Migrants
Andreas Hollstein, Mayor, Altena, Germany
Photo: OECD/Mariano Bordon
White supremacist seized a meeting room at Annandale high school April 30, 1954 from a Parent-Teacher Association (PTA) study group on integration and forced the workshop outside onto the school lawn (photo above).
The Fairfax County Federation of PTAs was attempting to hold a workshop on problems presented by the U.S. Supreme Court 1954 decisions outlawing segregation in public schools.
About 100 people led by the Fairfax chapter of the Defenders of State Sovereignty and Individual Liberties disrupted the meeting inside the school for more than one hour with loud booing and hissing and charging that the PTA was “packed” with “pro-integrationists.”
The white supremacists were led by Manning Gasch, president of the Defenders group, Lee Sweeney, a member of the Defenders and Harley Williams a member of the Fairfax High School PTA.
The planned workshop was held by about 80 people in abbreviated form outside while the white supremacists carried out a meeting inside.
In 1954, the political organization of U.S. senator Harry F. Byrd, Sr., controlled Virginia politics. Senator Byrd promoted the "Southern Manifesto" opposing integrated schools, which was signed in 1956 by more than one hundred southern congressmen.
On February 25, 1956, Byrd called for what became known as Massive Resistance. This was a group of laws, passed in 1956, intended to prevent integration of the schools.
A Pupil Placement Board was created with the power to assign specific students to particular schools. Tuition grants were to be provided to students who opposed integrated schools. The linchpin of Massive Resistance was a law that cut off state funds and closed any public school that attempted to integrate.
In September 1958 several schools in Warren County, Charlottesville, and Norfolk were about to integrate under court order. They were seized and closed, but the Virginia Supreme Court of Appeals overturned the school-closing law.
Simultaneously, a federal court issued a verdict against the law based on the "equal protection" clause of the 14th Amendment.
Speaking to the General Assembly a few weeks later, Gov. J. Lindsay Almond conceded defeat. Beginning on February 2, 1959, a few courageous black students integrated the schools that had been closed. Still, hardly any African American students in Virginia attended integrated schools.
After Virginia's school-closing law was ruled unconstitutional in January 1959, the General Assembly repealed the compulsory school attendance law and made the operation of public schools a local option for the state's counties and cities.
Schools that had been closed in Front Royal, Norfolk, and Charlottesville reopened because citizens there preferred integrated schools to none at all.
Fairfax resisted integration until token efforts were made in 1960. The school system was not largely integrated until the 1966-67 school year—12 years after the U.S. Supreme Court decisions. Desegregation efforts continued into the 1970s.
For more information and related images, see flic.kr/s/aHskWK3q68
Photo by Walter Oates. The image is courtesy of the D.C. Public Library Washington Star Collection © Washington Post.
Am 22. Mai 2015 kam es zum Freundschaftsspiel zwischen der 2. Kleinfeldfussballmannschaft des SV Arminia Magdeburg und einem Team aus Flüchtlingen v.a. aus Somalia und Eritrea, die zur Zeit im Heim in der Grusonstrasse in Magdeburg leben. Gelebte Integration.
The revolutionary era of education speaks out its belongnings to technologies in all subjects and in all levels. This integration of technology in education has challenged all educational philosophies beacuse it is rapidly changing.
The 5th generation F-35 Lightning II integrates advanced stealth technology into a highly agile, supersonic aircraft that provides the pilot with unprecedented situational awareness and unmatched lethality and survivability. As new threats emerge, it is more important than ever for U.S. and allied fighter fleets to fly the F-35 stealth fighter, the world’s only 5th generation international aircraft. While each aircraft is uniquely designed to operate from different environments, all three variants set new standards in network-enabled mission systems, sensor fusion and supportability. The F-35 redefines the multirole fighter.
Features
The F-35 is designed with the entire battlespace in mind, bringing transformational capability to the United States and its allies. Missions traditionally performed by specialized aircraft (air-to-air combat, air-to-ground strikes, electronic attack, intelligence, surveillance and reconnaissance) can now be executed by a squadron of F-35s.
Background
For the first time in U.S. naval aviation history, radar-evading stealth capability comes to the carrier deck. The F-35C carrier variant sets new standards in weapon system integration, lethality, maintainability, combat radius and payload that bring true multimission power projection capability from the sea.
The F-35C combines lessons learned from previous aircraft with technology breakthroughs to produce a fighter that retains its stealthy advantage with minimal low observable maintenance, even in the harshest shipboard conditions.
Enhanced Asymmetric Advantage.
The F-35C matches 5th generation survivability with major advances in network-enabled mission systems, reliability and interoperability. It is a first-day-of-the-war fighter with the capability to dominate adversaries in the air or on the surface, while surviving the most formidable threat environments.
Am 22. Mai 2015 kam es zum Freundschaftsspiel zwischen der 2. Kleinfeldfussballmannschaft des SV Arminia Magdeburg und einem Team aus Flüchtlingen v.a. aus Somalia und Eritrea, die zur Zeit im Heim in der Grusonstrasse in Magdeburg leben. Gelebte Integration.
10 April 2019, 'Integration' Press Point
Belgium - Brussels - April 2019
© European Union / Fred Guerdin
Karl-Heinz LAMBERTZ, President of the Committee of the Regions
Syrian children and youngsters attending informal education and integration courses at Relief International communıty centre.
EU/ECHO/Abdurrahman Antakyali , Gaziantep
Two EA-6B Prowlers belonging to each Prowler squadron aboard Marine Corps Air Station Cherry Point conducted a "Final Four" division flight aboard the air station March 1, 2016. The "Final Four" flight is the last time the Prowler squadrons will be flying together before the official retirement of Marine Tactical Electronic Warfare Training Squadron 1 at the end of Fiscal Year 16 and the eventual transition to "MAGTF EW". MAGTF EW is a more distributed strategy where every platform contributes to the EW mission, enabling relevant tactical information to move throughout the electromagnetic spectrum and across the battlefield faster than ever before. (U.S. Marine Corps photo by Cpl. N.W. Huertas/Released)