We invite you to all open lectures in Bernau bei Berlin as part of the project Ćwiczenie nowoczesności / Exercising modernity / Modernität üben.
24-28 October | Bernau bei Berlin
ADGB Trade Union School
Free entry to all lectures
THE VERNACULAR PARADIGM OF MODERNISM IN ISRAEL
Shira Levy-Benyemini, Sharon Golan-Yaron
The lecture focuses on two significant concepts that have been shaping Tel Aviv’s distinct character and contemporary values. The language of modernist architecture has remained the most valuable and meaningful premise of theoretical, historical, and cultural discussions about the DNA of Tel Aviv. The Bauhaus, Le Corbusier, and other leading modern influences were a significant force in the design and planning of Israel at large and the White City of Tel Aviv in particular and demonstrate the popularization of architectural-historical discourse. The second aspect is the modernist Garden City plan, the urban-ecologic concept of city planner and biologist Sir Patrick Geddes, who saw the city as a habitat allowing various organisms to coexist. This applied utopia has contributed to the declaration of Tel Aviv as a UNESCO Heritage Site.
Shira Levy-Benyemini is the Director and cofounder of the White City Center in Tel Aviv. She received her master’s degree in Urban Planning and Public Policy from the Hebrew University of Jerusalem. Levy-Benyemini specializes in planning in urban renewal and conservation zones and publicly-engaged communal planning. In recent years, she has been leading urban projects incorporating planning, activism, and culture.
Sharon Golan-Yaron is Program Director and cofounder of the White City Center in Tel Aviv, an urban hub based in the UNESCO heritage zone and operating in collaboration with the German Federal Ministry. She trained as an architect at the Illinois Institute of Technology (IIT), Chicago and the Technical University (TU), Berlin, where she received her degree. She later specialized in Heritage Conservation, receiving her master’s degree from the Technion in Haifa. Since 2009, Golan-Yaron serves as a senior architect at the Conservation Department of the Tel Aviv-Yafo Municipality, specializing in buildings of the Modern Movement.
WHAT IS THE MEANING OF “GLASSHOUSES”?
The Crystal Palace built during the first World’s Fair held in London (1851) became a symbol of modernity in Central and East Europe. Its legendary structure conveyed the vision, desires, and dreams of the intellectuals who functioned on the periphery of modernity. International exchange at the time involved both progressives and traditionalists – Chernyshevsky and Dostoyevsky, Krzywicki and Żeromski. Bringing the idea of “glass houses” into reality was of key importance to the contemporary modernist concepts in Poland, especially after the restoration of Poland’s sovereignty.
Andrzej Mencwel – critic, essayist, professor of history and anthropology of culture at Warsaw University. Former Head of the Institute of Polish Culture. Former President of Humanistic Committee at Ministry of Education. Honorary President of Polish Society of Sciences of Culture. Author of scientific and essayistic books among which 3 were winners of Ministry of Education Prize (Stanisław Brzozowski, 1976; Etos lewicy, 1990; Przedwiośnie czy potop, 1997), one of Polish PEN-Club Prize (Przedwiośnie czy potop, 1997), Book of Year 2014, by Magazine of “Nowe Książki” (Stanisław Brzozowski. Postawa krytyczna. Wiek XX) The particulars books, essays and articles were published in Byelorussian, Czech, English, French, German, Lithuanian, Russian, Serbian, Slovak, Sweden, Ukrainian languages.
FROM DESSAU TO MOSCOW: HANNES MEYER AND A BAUHAUS CREW GO EAST
In April 1927, Meyer started teaching at the Bauhaus, and the following year he succeeded Gropius as director of the school. Meyer changed the interests of the Bauhaus, and although there were several continuations from the tenure of Gropius, the school underwent several structural transformations. Meyer was expelled from the directorship and the Bauhaus in August 1930 on political grounds, and in reaction to this he moved to the Soviet Union with a brigade of Bauhaus students. Although Meyer and this brigade worked together only for a brief period, their migration is exemplary of a broader movement of foreign architects in the 1930s. In this presentation, using Meyer and the Bauhaus as a lens, I will address the topics of modernity, modernization and modernism—including a detailed explanation on how the several Bauhaus workshops worked in the project for the ADGB Trade Union School in Bernau near Berlin—and how these categories shifted once they started working in the Soviet Union.
Daniel Talesnik is a trained architect specializing in modern and contemporary architecture and urbanism, with a particular focus on architectural pedagogy and relationships between architecture and political ideologies. He was awarded a PhD by Columbia University in 2016 with the dissertation The Itinerant Red Bauhaus, or the Third Emigration. He has published articles, interviews and book chapters. Daniel has taught studio and history / theory courses at Columbia’s
Graduate School of Architecture, Preservation, and Planning and at the School of Architecture at the Universidad Católica of Chile. In 2016–2017 he was a full-time Visiting Assistant Professor at the Illinois Institute of Technology. Since September 2017 he is an Assistant Professor and Curator at the Museum of Architecture of the Technische Universität München.
REAL EXISTING MODERNISM C. 1981 – THE PAST, PRESENT AND FUTURE OF POLISH MODERNIST ARCHITECTURE
In 1981 a group of architects in Warsaw issued an ‘underground’ manifesto accusing their profession of acquiescing to illegitimate power in the People’s Republic of Poland. The ‘Warsaw Charter’ was the boldest and most damning critique of modern architecture published anywhere and at any time in the Eastern Bloc. In this talk, David Crowley will look back from the vantage point of 1981 to explore the manifesto’s critique of C20th modernism. He will also look forward from this year, to reflect on the transformation of the cityscapes of Poland since the collapse of communist rule. In the age of hyper capitalism, the modern architecture of communist Poland appears today to be the subject of considerable nostalgia and sentiment – why should this be?
David Crowley is professor of Visual Culture at the National College of Art and Design in Dublin. He has a specialist interest in modernism in art and design, often with a focus on the histories of Eastern Europe under communist rule. His books include Warsaw (2003) and Socialism and Style. Material Culture in Post-war Eastern Europe (2000); Socialist Spaces. Sites of Everyday Life in the Eastern Bloc (2003); and Pleasures in Socialism: Leisure and Luxury in the Eastern Bloc (2010). Crowley also curates exhibitions including ‘Cold War Modern’ at the Victoria and Albert Museum in 2008–9 with Jane Pavitt, and ‘Sounding the Body Electric. Experiments in Art Lectures and Music in Eastern Europe’ at Muzeum Sztuki, Łódź, 2012 and Calvert 22/ London, 2013, and ‘Notes from the Underground’ Muzeum Sztuki, Łódź, 2016 and Akademie der Künste, Berlin 2018 – both with Daniel Muzyczuk.
Muzeum Miasta Gdyni
The White City Center – מרכז העיר הלבנה