Whereas a lot of other post-industrialized cities in the American midwest have undergone a similar decline, the story of Detroit is surely is the most symbolic. After the Great Depression in the ies the city's decline was temporarily averted as it became the arsenal of democracy, switching overnight from automotive production to weaponry.
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Though after WWII an incredible blast of consumerism tried to fuel the American dream the downfall of the city was irreversible. Race riots and suburbanization disected the city, money was drained to the suburbs and after the oil crisis of the early 's the automotive plants started to shut down. Today Detroit's population has shrunk to less than half of its size of the 's leaving large areas of the inner city destroyed, vacant or boarded up.
There are so many incredible cultural initiatives from urban farming to neighborhood workshops, that all try to establish very carefully, being very concerned about their neighborhoods and a grass roots approach. In vast contrast to this stands an institution like the Red Bull House of Art , which I found shocking. Whereas I see a lot of potential in the emerging local Detroit art scene, where welded metal sculptures and street art still seem to prevail, Red Bull House of Art seems to position itself at the other end of the range: A contentless imitation of the contemporary art lifestyle, throwing thousands of dollars worth of booze at suburban hipster kids, whereas homeless people roam in the vicinity.
I hope, that the art scene in Detroit can resist these kinds of commercial temptation, just as the inner city dwellers should resist the temptation of the suburbs. Culture is a great hope for the city. Hopefully the process of gentrification and renewal will be continued in a sensible way. There are already enough Ibizas and Miamis in the art world and Berlin's Tacheles ruin porn has made way for countless hostels to accommodate the global party hipsters.
My Yamasaki research proofed to be extremely prolific. I have done an thoroughly survey of the Yamasaki collections at Walter P. Reuther library and the Michigan State Archive. Due to my all-over-artistic-survey of the archives I was a bit overwhelmed by their scope in the beginning, but then I developed a sense of the archives on a greater level and I get more insight into the person Yamasaki. Also a lot of new questions arose. I made hundreds of photographs and found some very interesting yet unpublished drawings, letters, manuscripts and photos. I would not show any photographs of buildings - only drawings, models, construction sites, interiors and images of sites of former Yama buildings.
I would have to come back and examine the archives more and make proper reproductions. Even in 4 weeks I seem to just having scratched the surface. Last week I was able to have dinner with Prof. It was extremely interesting to hear anecdotes and receive a lot of new information. This ultimately lead to a new mobility and urban sprawl, that finally caused the decline of downtown Detroit. Now the city of Detroit has started to rebuild the rail tracks along Woodward Avenue.
In the course of construction work, the old railtracks, that were covered with asphalt are being excavated and removed. On a large stretch Woodward Avenue showed pretty straight cracks.
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Apparently these result from the subjacent tracks, as if history is inevitably making its way to the surface. I visited Northland Center shopping mall in an inner-ring suburb of Detroit. Built in by Victor Gruen the mall was the first of its kind and it was praised as the future of shopping in post-war America.
The residents, mostly having well-paid jobs in the automotive industry could afford to buy a car themselves. This enabled them to commute between the city and the suburban dwellings, where they now also found possibilities for shopping. Followed by many other shopping centers in the following years this suburbanization finally lead to the decline of inner city Detroit.
Today with even bigger malls in the outer suburbs Northland Center made a quite deserted impression. It was extremely interesting and I looked through various binders with transparencies, photographs and slides, boxes with miscellaneous project files, drawings, books etc. The staff at the archives was extremely helpful and supportive. Though I have examined various archival goods, I have the feeling of just having scratched the surface.
I will definitely need more time and funding! My ideas at the moment are strongly heading towards a publication in which I would combine files of the Yamasaki collection with current photography and texts. All images courtesy of the Yamasaki collection at the State Archives of Michigan the images are just snapshots and no proper reproductions yet. My installation fingerprint is almost dissolved as the original guard-house approaches the Wendemuseum. The large office building designed by Yamasaki himself and built was situated on a property, covered with many large mature trees.
The building was demolished earlier this year. Now there is a construction site for a new children's hospital and another important Yamasaki building ceased to exist in the material world. The new ones show don't show the design of the Memorial anymore, but the new skyline of New York with One World Trade Center in the middle.
Rapp in on the site of the birthplace of the Ford automobile. In it was converted into a parking garage. It seems to be one of the very symbolic stories of Detroit.
I attended a highly interesting "downtown-skyscraper-tour" given by Michael Farrell arthousetours. I started surveying the Yamasaki files at the Walter P. Reuther Library at Wayne State University starting with office communication of the s, slowly working my way through the large amount of papers. Even by reading official letters at a certain point the character of the person Yamasaki shines through and I found some interesting statements about Pruitt-Igoe and great notes on his vision about a humanistic architecture in general.
Back home I started to prepare for my Detroit residency which is soon to come. Whether we, the architects of this time, are able to meet it remains to be seen. Both mediatized destructions mark paradigm shifts. Struggling over representation in our digital age, we have affirmed images as part of reality. Although these buildings don't exist anymore, they are still highly present to us because they are globally being consulted about their collision with history. The sites of these vanished Yamasaki buildings remain commemorating voids: Pruitt-Igoe has become a forest between the housing project's streets.
Both sites, represent crucial points and yet completely different aspects of American history, and seem to relate to Yamasaki's ideals of humanist landscape design. The Pruitt-Igoe site is an informal monument for the so-called death of modernism, but also for its connected social and economic change of post-industrialized cities. Yamasaki though is relatively unknown. There is no academic publication or biography and the majority of his abatement still has to be made accessible. All of Yamasaki's watercolors are lost. I am in contact with the relevant archives, his associates and family to elaborate my research.
I want to stress the topicality of Minoru Yamasaki's work and shed a light on his biography. Yamasaki was raised in poor conditions, suffered restrictions during WW2, becoming famous in the s, his fame culminating in the commission for the WTC.
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But in the post-modernist discourse of the s Yamasaki's New Formalism was buried in oblivion. Do the destructions of his buildings symbolize the tragedy of his career or does his work and his ideals still resonate into our present times, making Yamasaki a central figure in the history of Modernism?
Some aspects of my research are more inclined to be shown in an exhibition, whereas others would lend themselves better for a publication. I know, that profound examination of the archives and meeting people in person will reveal information that can become the project's center of gravitation. Through the examination of Yamaski's personal and professional abatement in the Reuther library at Wayne State University in Detroit and the Michigan State Archive in Lansing I wan't to discover records, that portray Yamaski's lifework and diversify and replenish his architectural heritage - still physically existing or not.
My aspiration is to create an artistic biography of Yamasaki, revealing his personal approach to architecture and the rupture lines in his biography. Hence my work would correspond with the only hitherto existing book about his life: His self-published autobiography. One artwork will be a combination of original Yamasaki landscape watercolors with film footage of the Pruitt-Igoe forest.
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Another installation deals with the vanished shadows of the WTC. I would love to create a book that appears to be a formal revenant of Yamasaki's autobiography but replenishing the story of his architecture with unpublished documents and anecdotes. I am confident, that the meetings and my survey of the archives will be necessary for the further conception of my project. Workshop Masterpiece at Ateliers89, Oranjestad, Aruba I actually had the chance to do both during my month-long stay on the island.
I took the assumed cultural differences bewteen Aruba and thel Western-European artworld, that I usually belong to, as starting point for my workshop. I brought a folder with photographs of contemporary Western-European sculptural work, out of which the participants had to choose one to reproduce.
Hereby the point of departure are the given photographs. The scale, materials, colors and the technical construction of the works have to be interpreted solely from the images. Some photographs only show a detail of the sculpture, their backsides are not visible, installations might include sound or smell and some internet-images are in low resolution. All this information and deficiency can be taken into account while starting to reproduce the artwork. My idea was, that this approach could be suitable for the heterogenous group of participants that I was expecting. The assignment could be approached from a strictly practical site by just re-making the artworks, but there is also opportunity to engage in a discourse about contemporary sculpture, appropriation art and the value of the original piece in comparison to its reproduction.
This starting point though, proved to be more difficult, than imagined. The examples I brought, were mostly trashy, seemingly carelessly asembled installations like works by Isa Genzken, Manfred Pernice, Aaron Curry, Thea Djordjaze and others. I wanted to spark off a post-colonial discussion about an import of a typically Western, ironic attitude in visual arts. I wanted to challenge my position, coming over from Berlin — a contemporary, cultural hotspot — to an academy on a small Carribbean island, funded by the Dutch government.
One student told me, she didn't like most of the pieces, because they were so abstract and colorless. An interesting point of view, that in the end lead to some surprising results, like a Vedova sculpture with a fragmented female portrait instead of abstract paint strokes on it, a teenager-diary version of a Franz Ackermann installation and a remake of a pyramid shaped sculpture by Joanne Tatham and Tom O'Sullivan displaying dragons and Mexican luchadores' wrestling masks.
Interestingly the urge of self-expression can sometimes be in the way of an elaborate contemplation on visual arts. I also remember this vividly from my own studies in art school, when the most difficult class for me was the painting class, although painting was the reason, why I had started art school. But since I was painting a lot and felt quite secure in that medium it seemed impossible for me to break the constraints of my practice and achieve something new.
For an advanced examination on sculpture it can be quite challenging to restrain ones own urge for creation and limit yourself to the pure copying of an existing piece. By doing so it becomes apparent how many decisions still have to be made if the starting point for imitation is just a photograph. One has to read the 2-dimensional image and translate it into a 3-dimensional object. So, after having to make the students stick more to the original photograph in the beginning, we had to go on a quest for material, which is the basic requirement for working sculpturally.
At this point it has to be mentioned, that without the immense energy and commitment of Elvis Lopez almost none of the sculptures would have come to life. Elvis drove around the island in the van to look for and pick up material, to buy new supplies when needed and to help and motivate the students next to accomplishing all the organisational tasks. He proved to be more than schizophrenic, being the driver, director, technician and secretary all in one big person. After a rather sagging start the students got into the working mode for their projects as soon as all the tools and materials were gathered.
For a sculpture-workshop, this is of course more difficult, than working in media like painting, drawing or photography, since a lot more materials, space and tools are being required. Every student found its way into the production of a sculpture, that was more or less losely based on the initial photograph. In some cases the technical challenges of finding a suitable construction for a particular idea took some time, energy and efforts. I believe, that every technical decision also influences the aesthetic outcome of a piece and vice versa. Quite a number of students joined the workshop, although unfortunately some of them dropped in quite late or had to leave the workshop before its final, due to some job-related obligations.
I was very pleased and surprised with the outcome of the individual works. The last task of the workshop was to assemble a show together. For most of the participants it was the first time ever to exhibit. It was a challenge for everyone to stop working on their individual pieces and shift their focus to a collaborative presentation in which the works together start to have a dialogue. As I also have experienced while coordinating the final exams at the Gerrit Rietveld Academy in Amsterdam, for the participants it is a new way of looking at their sculptures, when they accept another work in their vicinity and learn to look at the presentation as a whole.
This surely also includes moving the walls, hanging the name tags and sweeping the floor in the end, if not Elvis had already done so himself. The opening of the exhibition was a beautiful feast, with a lot of interested fancy dressed visitors, families, exciting talks, drinks, food and dance. A truly Carribbean evening illuminated by lampions that Elvis had made me hang up high in the trees.
The Monument for the Lago Colony This work was inspired by the history of the island. One day Elvis toghether with local artist Glenda Heijliger took me on a tour through San Nicolas, where a large abandoned oil refinery dominates the town. Now defunct, the refinery once has brought wealth to the island. Downtown, in what is now a rather dodgy redlight district you can find a vast amount of early modernist buildings, now painted and renovated in hilarious ways. One building has several stucco escutcheons from a local hardware store on his facade.
Another architectural element that you can find all over the island are fake plaster columns. In the case of the modernist buildings at San Nicolas this is a rather absurd combination. All this observation inspired my own version of a classical monument for the history of the Lago refinery and its now also abandoned appertaining colony. With the help of Elvis and local craftsmen I created a column of oil drums with a concrete base and capital poured by a local sculptor, specialized in creating these domestic decorations. Unfortunately there was just little money to be able to create such a site-specific piece.
With a lot of help of the locals I was able to erect the column and donate it to Ateliers89 as a permanent piece for the courtyard. I hope that I'll have the chance to come back one day and research more into the history of the Lago Colony. It would be fantastic to erect a column if not a whole temple on the cliffs at the very site of the former colony, overlooking the sea towards Venezuela. I had a very fruitful and inspiring stay, thanks to Elvis Lopez and other local cultural producers, that I had the chance to meet, like especially Osaira Muyale and Renwick Heronimo and their interesting project Studio O and striving for the establishment of a local Museum for Contemporary Art, joining artistic forces of the Carribbean region and connecting the contemporary culture with the very fascinating local cultures of carnival in which a lot of the passion and creativity of the Arubian people is eminent.
On my last day on Aruba I visited the site of the former Lago Colony, now called Seroe Colorado, still partially surrounded by a brick wall. Most of the former colony buildings are demolished. Empty streets run through wasteland with cacti and shrubs. A lot of the remaining houses are empty. Just the villas of the former higher officials, overlooking Rodgers beach and the refinery are mostly renovated.
The Monument for the Lago Colony , oil drums, concrete 92 x 92 x cm. I will give a lecture in the black box at ateliers89 on Wednesday, Oct. Cu lo duna un charla Diaranzon awor ariba su trabou cu ta masha interesante mes. Bernd ta traha den espacionan publico y tin un bista conpletamente diferente ariba con y kiko di trabounan publico.
Bin e lezing fantastico aki Diaranzon y experencia un arista masha apart den su genero y comparti bo obra cu esun di dje. Tambe Bernd ta un persona hopi amabel y diferente cu ta origina di Berlin Alemania pero tambe di Belgica. Charla special Renwick Heronimo. Bini y engrandese no arte Diaranzon atradi pa 5. Black Box Atelierts ' It even seems to contradict the nature of architecture. On the other hand, it is unnatural for people not to travel, yet for most inhabitants of the GDR, this was the case. A former Berlin-Mitte guardhouse will be installed, after an exceptional exhibition series in Berlin, at four different locations in Los Angeles, Culver City and El Segundo close to the Hollywood dream factory.
While the house itself is crossing the ocean between Europe and America, Trasberger reacts to this symbol of control and surveillance of public space. At first sight, the genetic fingerprint appears abstract and mysterious. Resembling a Hollywood backdrop, the immaterial picture manifests itself on site until the arrival of the actual guardhouse. The guardhouse will be on view in various locations throughout Los Angeles county for an additional two months curated by Zwiener, in cooperation with the Wende Museum in Culver City.
His base was a two-square-meter guardhouse, purposefully fashioned in a typically stark East German design. Mass produced starting in the s, these aluminum shacks were positioned in front of or behind every government agency and ministry in East Berlin, in order to monitor people with or without vehicles. At the same time these standard control stations were used for mass surveillance of public spaces in East Berlin as well as for monitoring border crossings. When the former ADN building was sold to an investor in , the guardhouse was slated for destruction.
There the guardhouse was made available as a temporary exhibition space for 10 invited artists who engaged with themes including the legacy of the GDR, state surveillance in general, public space in Berlin and its constant transformation. The exhibition series in Los Angeles will further this discourse. We drove around the island to find a capital and a base for my oil drum column. When you start looking for such, you see, that almost every house on the island seems to be decorated with cement columns. After not finding columns with the right measurements, we went looking for a local craftsman, that could cast the required elements.
Finally we found someone and I am really curious wether the final result will look like my description. The town is dominated by a large immured oil refinery, now defunct. The site was established as a transshipment facility by the Lago Oil and Transport Co. Ltd and in a refinery was built by Standard Oil. It was at time the largest refinery in the world.
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Up on a hill, where now illegal immigrants and drug trafficking enters the island by night, the Lago colonoy for the higher employees of the company was situated. Apart from dwellings most of its facilities are demolished now. I am staying at ateliers89 in Oranjestad, Aruba for one month.
I have a studio residency here and will give a workshop called Masterpiece for local art students. See my introductory paper below. Ateliers89 is situated in a beautiful old colonial hospital from the in the middle of Oranjestad. Workshop Masterpiece Ateliers89, Aruba "Make copies, young man, many copies. Discussion about set-up of the exhibition Thu, Oct, opening of the exhibition.
Hereby we will depart from the given photographs. The scale, materials, colors and the technical construction of the works have to be interpreted from the images. Some photographs only show a detail of the sculpture or more works that might belong together or not, their backsides are not visible, installations might include sound or smell, some internet-images are in low resolution, scans of books show folds, page numbers and captions. The acquisition of materials will be the first step and in some cases improvisation will be needed.
A stainless steel sculpture could also be made from wood etc. While working and in group discussions a vivid discourse can arise about the technical conversion, the authenticity of a copied artwork, appropriation art and last but not least the real authors of the works.
I chose a variety of contemporary sculpture, mostly colorful, sometimes thrashy and ironic in its gesture and not site-specific e. All the artists of the chosen images are succesful in the Western contemporary artworld and artmarket. I hope, that through the appropriation of these works an interesting discussion will be fostered and the local Aruban view and approach onto these works will lead to fruitful results.
Finally we will talk about how to curate an exhibition with our produced artworks. So we will finally introduce the space as an artistic topic. Do we need to stage a classical white-cube setting? How do our re-made artworks finally appear in photographic representation again? Nathalie invited me to participate in the exhibition and I briefly visited some locations throughout the city.
I saw these fragmented gravestones casted in concrete on the backside of the cathedral, one of them half hidden behind a gate. I have to return and have a closer look at the locations and the city to develop an idea for the show. I went to Katowice to make a frottage of the sculpture next to the DOKP building, before it most likely will be demolished in September.
The show will be about Melancholia linked to Saturn in mythology , the longing for vanished, missing objects and the polyhedron philosopher's stone depicted in Durer's engraving Melencolia. I rubbed off a large circular part of the sculpture with A4 format papers. Doing so, I noticed all the different textures of the chisel on every limestone block.
Most likely I am the only person, that almost touched every square millimeter of the sculpture, apart from the person who sculpted it in the ies. While we were working the homeless guy, that lives behind the sculpture turned up and went to sleep, taking no notice of us, just as we didn't take notice of the passers-by, that didn't take notice of us.
All in all we were able to work very undisturbedly. Spontaneously I decided to scan and invert the frottage afterwards, so it resembles the view of planet Saturn in front of a black background. Therefore I had to make the frottage in complementary colors. Dear friends and colleagues, due to some travels I will sublet my studio in September, October and November. All best, Bernd. I managed to reassemble the salvaged fragments from the sculpture outside of the DOKP building in Katowice. I am invited to do a short-term project based residency at fortress studios in Detroit from Oct.
I purchased three Saudi Arabian banknotes all depicting buildings conceived by Yamasaki. One riyal, , showing the Saudi Arabian Monetary Agency building. Five riyal rare note , , showing the Dharan Air Terminal. One riyal, also showing the Dharan Air Terminal. Its counterpart Marsch der Jugend in die Zukunft youth' march into the future was demolished in Pieces of its ceramic rubble are installed in the new building along with some newspaper clippings.
I purchased various press photographs from a Seattle newspaper archive showing Minoru Yamasaki.
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Some of them are manually retouched, others were never published, like this beautiful Yamasaki portrait with the note "no story" on the back. This seems to be almost symbolic for Yamasaki's biography. After Yamasaki being quite famous in the ies he was on the cover of Time magazine and the World Trade Center was commissioned etc. He has also built another building - the Pruitt-Igoe housing project - known for the images of its destruction, that was said to mark "the day that Modern architecture died" Charles Jencks. Although he has conceived these very important buildings which destructions mark a shift of paradigm in both cases, his person is not well known at all.
The only notable book on him that has been published until now is "A Life in Architecture", which is his self-published autobiography from Yamasakis' life, from a childhood under very poor conditions, repression during WW2 due to his Japanese ancestry to architectural stardom, seems to be a very typical American story. His involvement in both - Pruitt-Igoe and the World Trade Center - make him a very central, but tragical figure in the history of Modernism.
We had a long conversation about the status of Superstudios' legacy in current times of crisis, Il Monumento Continuo as a pop-hit and the anthropological view on the essence of housing. The interview will be transcribed and translated soon! The mural is called Presse press and decorated the facade of the Haus des Berliner Verlags Berlin publishing house. Currently there is a debate, whether the remaining socialist buildings surrounding Alexanderplatz should be put under historic preservation protection.
I called the owner of the Escados Steakhouse today. I would like to talk to Mr. O: That's me! You are the owner of the Escados Steakhouse, right? O: Yes! BT: I am interested in the work of the artist Willi Neubert, whose frieze Presse seems to be hidden underneath the facade of your restaurant. Is that actually true? Did you ever see the frieze, when it was covered in the mid ies? O: Well, let's say I have a vague memory of it.
What do you want? BT: I would actually like to reveal a little part of the frieze and make it visible again temporarily, now that it's the 25th anniversary of the fall of the wall. O: You can forget about that! BT: Well, I was afraid already you wouldn't be happy about the idea of altering the advertisement on your facade.
O: No, every intervention on the facade we strictly refuse! BT: So, you don't have any interest in publishing the fact, that Willi Neubert's frieze is underneath your advertisement? O: No, we rather have the opposite interest and don't want to undertake anything that could remind of that frieze!
BT: But it is not a secret, that Neubert's work is hidden underneath and I thought, that a mindful handling of it, could be a very positive publicity for you. O: No! I am not interested at all! BT: Last question: How is your future planning? Is there a chance, that Presse will be revealed again one day? O: - BT: Is the building actually considered a monument? O: I don't know BT: Are you the owner, or is it still owned by the Berliner Liegenschafsfonds?
O: Listen, I don't know, why I should answer you these questions. BT: Oh, you don't have to! I just ask out of an artistic interest in that subject matter. O: Well, you won't get any answers from me! BT: That's a pity. I hoped you would be a bit more willing to cooperate. My website was temporarily offline due to some server problems. Now it's back again in an updated version. Design by kurz gestaltung programming by Anthon Astrom The content of the pdfs will be updated soon! The building is going to be torn down after a plan for renovation Helmut Jahn, Rondo Towers is abandoned.
One piece of a limestone block was broken off. I took the smaller pieces before they are lost even though the back of the sculpture smelled like a public restroom. I am happy to return the pieces, in case the sculpture is going to be renovated, but most likely it will also be demolished soon. We visited the Superjednostka Superunit in the center of Katowice. The Superjednostka is one of the largest housing complexes in Poland and accomodates about tenants in more than apartments. The entrances are secured, because drug-addicts used to enter the complex frequently in former times.
The hallways and staircases are quite narrow, there are no communal spaces and almost every door is exchanged by the tenants with a new individual one, displaying various designs in rustic oak. Behind one door, we were told, secret pleasures could be bought. Polish kiosks. See my updated presentation about my work, on which I will base my lecture at the art academy in Katowice.
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On a trip to Bologna I visited the studio of Giorgio Morandi in which he worked ascetically throughout his entire life, painting still lifes. The rest of the apartment which he shared with his sisters is turned into a museum, just his corner room is left untouched in the original state, separated from the rest by a glass structure. Today I hung the frottage of the grave stone of Mies van der Rohe. It consists of 32 A 4-sized papers in glass frames. I am planning to make a larger wall work, consisting of different frottages of modernist architects and other elements.
I made the frottage at the Graceland cemetery in Chicago November last year. I am giving a lecture at the art academy in Katowice , PL on March 12, I made more paper works like the ones I show in Chicago. I used drawn maps of the same unbuilt Amsterdam city planning. I wove 2 different versions of the same map into each other isometrically. One map shows the original 19th century houses, the other map shows the shape of the modernist housing projects.
The result resembles a piece of fabric or a carpet. The hanging is still provisional. Although the difference between these two sites of destroyed Yamasaki buildings could almost not be bigger - a neglected urban wasteland in St. Louis and a highly secured site of one of the most important national monuments in New York - I see a lot of similarities.
Both sites represent the turn of an era. Both sites are empty lots of former Yamasaki buildings. In Pruitt-Igoe, the buildings were removed, but the course of the streets is still visible as an imprint in the urban forest. Similarily the foundations of the two towers of the World Trade Center, are left open as two black square reflective pools.
By appropriating and recycling architectural fragments and relocating them, Trasberger examines the value we place on this disappearing habitat and the legacy of modernism and the place it occupies today. I went on a trip to Detroit. After an elaborate tour through the city experiencing the mind-blowing extent of decay and vacancy, I visited some of Yamasaki's buildings in the city.
It was great to experience the refined use of materials for example in the former Consolidated Gas Company office building now One Woodward Avenue. Louis, Missouri. By the late s, the complex had become internationally infamous for its poverty, crime, and segregation.
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Its 33 buildings were demolished in the mids, and the project has become an icon of urban renewal and public-policy planning failure. Nowadays the failure of Pruitt-Igoe is regarded much more complex, than just to blame the architecture. The decline of many American Cities, caused by a cobination of a lack of inner-city jobs in the post-industral era, the massive flight of the middleclass to the suburbs and the bad maintenance standards of social housing projects due to a shortage of budget lead to the downfall of Pruitt-Igoe. Renn, wenn du kannst Visual 11 editions published between and in German and held by WorldCat member libraries worldwide Ben und Christian sind in die selbe Frau verliebt.
Ben sitzt im Rollstuhl und Christian ist sein Zivi. Intelligentes Kino, das ans Herz geht. Quelle: www. Kleinruppin forever und was hast Du in den 80ern gemacht? Visual 5 editions published in in German and held by 13 WorldCat member libraries worldwide A comedy set in Bremen about a professional tennis star who meets his unknown twin brother and the comedic results of their switching places.
Wiebke wants a relationship. Jessica wants everything to change and Maria wants everything to stay the same. Swantje wants to know the truth. Michael doesn't know what he wants and Thomas doesn't want anything. They're all friends. They all want to move. All the time. The four seasons come and go and by the time the year is over they will all not just have at least one move behind them, they will have learned a lot about themselves and the world. A handsome Italian falls madly in love with a Japanese woman he meets in a festival tent Tamiko, who happens to be on her honeymoon, realizes that her husband can't hold his liquor At the same time, the waitress Birgit has second thoughts about her marriage to Max, a musician at the festival.
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