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Architetto: Stephan Braunfels
www.pinakothek.de/pinakothek-der-moderne/
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Das Bild zeigt einen Ausschnitt eines höchst interessanten Gebäudes der Fachhochschule Trier. Moderne Architektur trifft auf moderne Kunst. Ich emfpand es interessanter, nur ein Ausschnitt als das gesamte Gebäude festzuhalten, da dies meiner Meinung das Muster besser darstellt. Aufgenommen mit einer Nikon D5100, Nikkor 55-200 VR.
Decendant of “Neue Moderne Grotesk”, originally ca. 1909 by Wagner & Schmidt, Leipzig. Initially issued by Haas under the name “Accidenz-Grotesk”, later spelled “Akzidenz-Grotesk”. Regular style (“Normal”) added in 1943. Revised in 1954 and renamed “Normal-Grotesk” to prevent confusion with Berthold’s Akzidenz-Grotesk.
Normal-Grotesk functioned as a direct model for Neue Haas-Grotesk (later Helvetica) together with Französische Grotesk (a descendant of Schelter & Giesecke’s Breite halbfette Grotesk) by Haas and Berthold’s Akzidenz-Grotesk.
The design era between Art Deco, and Mid-century Modern; also known as Art Moderne...
As the Great Depression of the 1930s progressed, Americans saw a new aspect of Art Deco—i.e., streamlining, a concept first conceived by industrial designers who stripped Art Deco design of its ornament in favor of the aerodynamic pure-line concept of motion and speed developed from scientific thinking. Cylindrical forms and long horizontal windowing also may be influenced by constructivism. As a result an array of designers quickly ultra-modernized and streamlined the designs of everyday objects. Manufacturers of clocks, radios, telephones, cars, furniture, and many other household appliances embraced the concept.
-Wikipedia
Guest Room
Dresser, Zenith Radio and Stainless Steel Accessories
The Museum der Moderne Salzburg has two locations, the Rupertinum headquarters in Salzburg's old town , which opened in 1983, and the new building on Mönchsberg , which opened in 2004 .
History
The museum was founded by the Salzburg art dealer Friedrich Welz ( Gallery Welz ), and his private collection also contained a large part of the work of his friend Oskar Kokoschka .
In 1983 it was decided to found a separate museum for it, and in an old town house, the Rupertinum, as the Salzburg museum for modern art and graphic collections . The Austrian Federal Photo Gallery was also integrated under the first director .
After twenty years of existence, the construction of another museum on the Mönchsberg began after a long decision-making process. In 2003, the Museum der Moderne - Rupertinum Betriebsgesellschaft mbH was set up, and the second house opened in October 2004; since then it has shown collections and temporary exhibitions.
Directors
Friedrich Welz (Austrian art dealer and publisher)
Otto Breicha (Austrian art historian, founding director)
1998–2001: Peter Weiermair (German-Austrian art historian)
2001–2005: Agnes Husslein (Austrian art historian)
2005–2013: Toni Stooss (Swiss art historian)
2013 – August 2018: Sabine Breitwieser (Austrian art manager)
2018–2022: Thorsten Sadowsky
since January 2023: Harald Krejci
Holdings and exhibitions
Temporary exhibitions of international and Austrian contemporary and classical modern art are shown in both houses. The Museum der Moderne Salzburg has a collection of Austrian classical modern and contemporary art. In addition to paintings and sculpture, the museum has an extensive international graphic collection . Another focus of the collection is Austrian photography after 1945. The Museum der Moderne Salzburg also manages the federal government's photo collection on permanent loan. In January 2014, the Generali Foundation collection was also entrusted to the museum on permanent loan.
Museum der Moderne Salzburg, Rupertinum
Rupertinum location of the Museum der Moderne Salzburg is located in an early Baroque building in the old town of Salzburg, diagonally opposite the Festival Hall on Max-Reinhardt-Platz. The building was built in 1653 by Archbishop Paris Lodron . Under the name Collegium Rupertinum, it once served to train young priests and civil servants. In 1976, the state of Salzburg acquired the building for the construction of what was then known as the Modern Gallery and Graphic Collection Rupertinum . The building was adapted by the Salzburg architect Gerhard Garstenauer . Friedensreich Hundertwasser developed the “ tongue beards ” for the exterior of the house . These ceramic applications are located under the windows of the inner courtyard and caused heated discussions when the museum opened in 1983. Since the museum became too small for exhibition activities over time, a second museum building was expanded on the Mönchsberg.
The museum building, which opened in 2004, is located on the Mönchsberg, from which you have a spectacular view of Salzburg.
Since the construction of the so-called electric elevator in 1890 by Karl Leitner (today Mönchsbergaufzug ), the restoration of the electric elevator has been located here . In 1946, the hotelier Hermann Winkler leased the house from the city and had it extensively converted into the Grand Café Winkler , a popular dance café and excursion destination in which the Sattler panorama was exhibited (today's location is the Panorama Museum ). From 1977 to 1993 the building housed the Salzburg Casino, which is now housed in Kleßheim Castle ; for this purpose the post-war building was fundamentally rebuilt.
In the 1980s, the citizens' list under Johannes Voggenhuber was committed to museum reform and the further development of local cultural traditions. In this context, the first international architectural competition for a museum on the Mönchsberg was held years ago. The realization of the winning project by Álvaro Siza Vieira failed due to various resistance. During this time, a collaboration with the Solomon R. Guggenheim Museum in New York was also under discussion, for which Hans Hollein designed a museum in the rock of the Mönchsberg ( Museum im Mönchsberg ) . However, this project was not particularly supported by Salzburg politicians and the then governor Katschthaler in view of the high expected costs. Given the water-permeable Mönchsberg rock and the expected high humidity, the feasibility was also controversial.
State Governor Franz Schausberger made the realization of a museum on the mountain one of his most important cultural policy goals and, in long negotiations, achieved the necessary funding from the federal government, state and city. To realize the project, the state of Salzburg announced another architectural competition in 1998 for a museum building on the Mönchsberg as an extension of the Rupertinum. The international jury chaired by Luigi Snozzi chose the project by the Munich architects Friedrich, Hoff and Zwink. The new Museum of Modernism on the Mönchsberg was opened on October 23, 2004 with an exhibition on the topic “Vision of a Collection” presenting the Rupertinum's contemporary collection.
Architecture
The building by the architects Friedrich, Hoff and Zwink is a cubic wall body with a wide opening at the front. Behind this glazed opening is the museum's restaurant. The architects saw the most important architectural task as “anchoring the museum in the specificity of its building site”. Like all other buildings at this point, they also reflect the impressive view of the city. This is possible from the restaurant, which is located behind a wide window front and has a large terrace in front of it. Smaller terraces in front and slightly deeper are modeled on the horizontal stratification of the mountain.
The museum building stands at a clear distance from the water tower built in 1892 (referred to as the Amalie Redlich Tower since 2014) and its minimalist , clearly modernist external appearance contrasts with the ornamentation of the tower. The interior of the building is designed as a spiral, analogous to the serpentine landscape movement. The visitor reaches the three exhibition levels via wide, straight stairs that are lit from above. The high glazed stairwells open the building upwards and integrate the water tower into the line of sight. In contrast to this extroverted design, the exhibition rooms are simple and have a neutral wall design. With their stringently closed spatial concept, the architects emphasize the museum as a place “where art and viewers meet”, as a “place for collection, viewing and exchange”. However, the closed spatial concept is broken down in a few places. On the third level, a wide window provides a view of the sculpture terrace. On the fourth level, views provide a connection to the nature that surrounds the museum and the Mönchsberg nature reserve. The architecture forms the framework for these views. It shows the visitor the beauty of nature and, depending on the season, always creates a new “natural image”.
The Mönchsberg location of the Museum der Moderne Salzburg has a total of three exhibition levels totaling 2300 m². Two of them are designed with artificial light, the top level receives natural light from a skylight.
The restaurant's interior design was designed by Matteo Thun and reflects Salzburg's rural and religious traditions. A light installation entitled Lusterweibchen made from deer antlers (a donation from the Federal Forests) spans almost the entire room. On the long wall opposite the window front there is a row of benches with mirroring, so that those who sit with their backs to the view can also see the panorama. The traditional colors of cardinal red and the dark green of hunting prevail in the restaurant . Another design element are gold-decorated armchairs, which are reminiscent of archbishop's furnishings.
New depot in Koppl
Previous rooms elsewhere became too small. At the foot of the Gaisberg in the Guggenthal district of Koppl , grassland was repurposed and a modern, air-conditioned depot was built ready for occupancy by a private developer at a cost of 7 million euros over a 10-month construction period until the beginning of December 2017. The building is rented by the Museum der Moderne Salzburg for a period of 40 years. The collections housed at the Museum der Moderne Salzburg (in-house collection, federal photography collection and Generali Foundation collection ) have been stored in the depot since 2018.
The building, made of prefabricated concrete parts, whose flat roof supports around 10 fan heat exchangers and solar heat collectors and is intended to be covered in greenery, is criticized by the Nature Conservation Association as a "concrete block" that destroys the landscape, as a pockmark. The renovation of the former brewery buildings of the Guggenthal estate would probably have been more expensive but exemplary.
Other
On May 1, 2011, the Austrian Post issued a stamp for the object on Mönchsberg as part of the “ Kunsthäuser ” definitive stamp series .
Films
Museum check with Markus Brock : Museum der Moderne, Salzburg. 30 min. First broadcast: October 10, 2010.
Museum der Moderne Salzburg curated exhibitions:
2018 Anna Boghiguian
2018 Marisa Merz – The sky is a wide space
2018 30 years of the Generali Foundation
2017 New Salzburg
2017 Folklore
2017 William Kentridge . Thick time
2017 Photo Kinetics
2016 Pichler. Radical
2016 Raymond Pettibon
Creating spaces in 2016. From the collections
2016 Anti:modern. Salzburg in the middle of Europe between tradition and renewal
2016 Art-Music-Dance. Staging the Derra de Moroda Dance Archives
2015 Carolee Snowman . Kinetic painting
2015 EAT Experiments in Arts and Technology
2015 Real life? A panorama of the collections
2015 Andrea Fraser
2014 Isa Genzken. New works
2014 Proudly Presenting. Generali Foundation Collection
2014 Simone Forti. Think with your body
2014 Art/Stories
2014 Ana Mendieta . Traces
Op 3 maart 2019 was er in de Linaeusstraat een explosie voor de deur van een Coffeeshop- iets wat toen nog zeer uitzonderlijk was. Lijn 19 moest daardoor uitwijken naar het eindpunt Flevopark. In de stromende regen werd de 824 van de lijn vastgelegd naast een tweetal Combino's van lijn 14. Niet alleen de Trapkarren, maar ook lijn 14 aan dit eindpunt: je zal er vergeefs naar zoeken....
Alle tram eindpunten van Amsterdam zie je HIER:
Het is al weer ruim 5 jaar geleden dat de omgeving van het Amstelstation grondig onderhanden werd genomen- tijd voor een korte terugblik.
In augustus 2017 was de oude tramlus uit 1939 nog volop in gebruik. De bussen echter hadden het oude busplatform boven naast het station al moeten verlaten en hadden de randen van het tramdeel beneden afgesnoept. De bouw van de Amsteltoren was al in volle gang.
Een uitgebreidere fotoreportage van de verbouw rond het Amstelstation, waar ook deze opname deel van uit maakt is HIER te vinden:
In korte tijd kan veel veranderen:
in februari vormden de 11G Trapkarren nog het vaste materieel van lijn 5. Hier kruisen de 911 en 913 elkaar op de halte Rijksmuseum.
Het album Tram-O-Rama is HIER te vinden:
www.flickr.com/photos/meijkie/albums/72157718503889369
En meer 11/12G "Trapkarren" zie je HIER:
Klaus Kinold - an architect photographing architecture
shot with:
Canon EOS Rebel XSi
SIGMA EX 10-20mm 4-5.6 DC HSM
Exposure: 0.008 sec (1/125)
Aperture: f/4.0
Focal Length: 10 mm
ISO Speed: 800
I'm standing at the corner of Wilshire and Ridgeley Drive on a quiet Sunday morning. The photo looks east. We're taking the long way from the Westside to the Coliseum and a Rams-Saints game. We would always stop at Du-par's bakery here for a few donuts and pastries to take with us for the game (Roger Owens, the famous "Peanut Man" who tossed bags behind his back across ten rows at the Coliseum, didn't offer anything like Du-par's stuff.)
Even at this age it was not lost on me what I was being surrounded by. To the east, behind the cigarette billboard, is the Moderne 1931 Dominguez-Wilshire building; promiment at center is the 1929 Desmonds tower, which also incorporated the Silverwoods store. Those two retail names were prominent on the Southern California retail scene through the eighties. The same mostly goes for Phelps Meager, the bricked building to the west. A real mid-century-modern gem is at the right: the 1949 Stiles Clements-designed Mullen Bluett building, by this time a Harris & Frank clothing-store branch. This building was deemed expendable and demolished in 2006 in favor of the usual "mixed-use post-modern" development.
The Miracle Mile, Wilshire from Fairfax to La Brea Avenues, took its shape and style in the middle third of the twentieth century. Originally it was thought by many Angelenos to be a gamble for retailers to set up shop this far from downtown, where mostly all commerce took place. But Los Angeles was a small town then, and it grew, and grew, and so Wilshire became Los Angeles's most fashionable shopping area. By 1973 its prominence had given way to the Westside , the San Fernando Valley, Orange County, and other areas as the Southland exploded in growth. Many of the Miracle Mile's buildings remain and many have vanished, but a loyal core of people still celebrate what was.
Op de laatste dag van 2018 komen de BN stellen 57 en 48 uit het tunneltje onder de A10 op weg naar Amstelveen Westwijk. Even daarvoor hebben ze op station Zuid de treeplanken ingeklapt en de pantografen tegen de draad gezet, waarmee ze veranderden van metro naar sneltramstellen. Nog twee maanden zal deze "transformatie" elke 10 minuten te zien zien zijn- daarna volgt de ombouw van het sneltramdeel tot "gewone "tramlijn 25 en zullen de BN stellen alleen nog op het metronet te vinden zijn. Inmiddels is het grootse deel van de serie uit de jaren '90 afgevoerd: het hier voorop lopende stel 57 haalde nog nét 2024, maar ging op 17 januari naar de sloper.
Het tunneltje en de toeleidende sporen zijn verdwenen, de nog in aanbouw zijnde torens zijn in gebruik en ook aan de op de achtergrond lopende A10 inclusief treinsporen en station wordt driftig gewerkt aan het project Zuidas- wat inmiddels al jaren achterloopt op schema....
The Sterling Building, South Beach, Miami. Alexander Lewis (1928) and V. H. Nellenbongen (1941), principal designers.
1970. De zeer deskundige auteur H. F. Enter, die u leerde kennen van Moderne modelspoorwegen - reizigersvervoer, geeft in dit boek zijn visie op de vele mogelijkheden die het goederenvervoer de modelspoorwegbouwer biedt. Aan de hand van de allernieuwste reorganisatieplannen van het goederenvervoer van de NS maakt de auteur duidelijk dat veel van de nieuwe rail- methodieken zich uitstekend lenen voor nabootsing op de modelspoorweg. Rijk geïllustreerd met foto's en tekeningen, waarvan vele niet eerder gepubliceerd, wijst dit boek de enthousiaste modelspoorwegbouwer, die meer en anders wil, de weg naar een moderne visie op zijn hobby.