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The idea behind it: The founder of the collection, Andreas Ludwig (who comes from West Berlin comes from the history workshop movement) saw the mountains of bulky waste growing in the former GDR after the fall of the Berlin Wall.

The idea behind it: The founder of the collection, Andreas Ludwig (who comes from West Berlin comes from the history workshop movement) saw the mountains of bulky waste growing in the former GDR after the fall of the Berlin Wall.

At that time, in line with the idea of ​​a car-friendly city, there was even a parking lot on the square. Because of the heavy traffic, the pulpit lost its function after 1959 – it was simply no longer possible to regulate it manually. The integration into the pavilion under the roof probably saved the traffic pulpit from demolition. Chapter 6 shows industrial and exhibition buildings. The former Coca-Cola headquarters are located on Hildburghauser Straße. The building was built after the Second World War on the site of the destroyed brewery building, which has housed the bottling plant since 1936.

The Berlin headquarters of the Coca-Cola Company were located here until 1992. The building was also known through …… Billy Wilder’s film “” Eins, Zwei, drei “” from 1961 with Horst Buchholz (you can see the entrance in the background); he also appears in Wolfgang Becker’s “Good Bye, Lenin” “from 2003. The production and administration building is a listed building and was extensively renovated after 2012, a car workshop moved in. Brutalism building: The former Rotaprint factory, built in 1957-58, was planned as a seven-storey building, but was neither built that high nor plastered.

For unknown reasons, the front building remained unfinished – its “” twofold incompletion “” is what makes it so special today, writes Bluhm. One of the examples of residential buildings from the 1950s (Chapter 7): the Corbusierhaus on a hill near the Olympic Stadium. Le Corbusier’s building has the impressive dimensions of 135 meters long, 23 meters wide and 56 meters high. The 17-storey building was intended as a “living machine” for the residents of the 527 units to offer almost everything they need in everyday life, including various utilities and shops. The “” Eternithaus “” in the Hansaviertel was built in 1957 as part of Interbau 57 It consists of seven maisonette buildings with roof gardens: commercial and exhibition rooms as well as caretaker’s apartments at the bottom, bedrooms and sanitary rooms on the first floor and living rooms and kitchens above. The name comes from the building material Eternit, which was largely used here. View of the garden at Graudenzer Straße 2-12: The building by Richard Paulick was built in 1949-51 and belongs to the complex of the “” Wohnzelle Friedrichshain “” (which was still being built during the construction period in “” Wohnstadt Stalinallee “” was renamed).

That was “” the first architectural and urban design draft that was implemented in the east of the city after the war. It is still based on the functional design language of the 1920s, before it became Stalinist-post-classicist on today’s Karl-Marx-Allee.best college biology essay writing service Chapter 8 shows church buildings – 40 new sacred buildings were built in Berlin between the end of the war and 1960. The Ignatiushaus – until 2003 the “” House of the East German Province of the Jesuits “” – stands out due to the row of shops with colonnade, its color accents and the special structures on the facade. It was built by Johannes Jackel in 1955-56 and is now an architectural monument. Today it houses a hotel. The Protestant Paul Gerhardt Church in the Schöneberg district was built in 1958-64 on the site of the Art Nouveau church that was destroyed in the war, based on designs by Hermann Fehling and Daniel Gogel.

The building with its slim tower, the sloping roof, the rough plaster and the colored mosaic windows has been a listed building since 1995, …… also the Catholic Church of St. Ansgar in the Hansaviertel. Like the “” Eternithaus “”, it was built as part of Interbau 57.

Here is a look at the organ. According to Bluhm, a church leader from 1957 wrote: “” The new church on Hansaplatz gives eloquent testimony, that church architecture makes use of all modern means at the beginning of a new historical epoch and also includes iron and concrete in praise of God. “” Finally, the last chapter is devoted to art in urban space. Here, in particular, you can see the post-war joy in experimenting with shapes, colors and materials. In the picture: a mosaic by Fritz Winter at the Hansaplatz underground station in the Hansaviertel; it was created in 1958 and won an international award at Interbau 57. Winter was a student at the Bauhaus in Dessau in the late 1920s and became one of the most important abstract artists of the post-war period. Gerhard Schultze-Seehof’s rubble stele was created in 1954 from the rubble of demolished houses, still recognizable by the colors of the 40,000-stone mosaic.

The column is 12 meters high. Its four sides each stand for “” Times of slavery, destruction, the reconstruction of Berlin and democracy “” The asymmetrical vase on Kurfürstendamm is also by the sculptor Schultze-Seehof. It is almost 1.80 meters high and 3.48 meters in circumference. The colored mosaic stars come from the nearby Kaiser Wilhelm Memorial Church, which was destroyed in the war. The book was published by Bebra Verlag; 192 pages with 173 illustrations, price: 32 euros. (Andrea Beu) “In the middle of the former model settlement, in the former crèche, is the” “Documentation Center Everyday Culture of the GDR” “. (Photo: Andrea Beu) GDR everyday history without Ostalgie: the” “Documentation Center Everyday Culture of the GDR” “in Eisenhüttenstadt shows that this is possible.

It was founded by a West Berliner who took many exhibits from the bulky waste. The objects tell of life in the GDR – at a critical distance. Eisenhüttenstadt was the GDR’s first socialist model town. It was built in the early 1950s near Fürstenberg (Oder) as a residential area for the Eisenhüttenkombinat Ost (EKO). In 1953 it was named Stalinstadt, from 1961 it was called Eisenhüttenstadt.

A few years after the end of the Second World War, the city that emerged on the drawing board was to offer the workers modern apartments, a theater, utility facilities and crèches. A typical “” Stalinbau “” portico of the residential complex in Eisenhüttenstadt. (Photo: Andrea Beu) In Residential complexes with arcades, facade decorations, balconies and green spaces were built near the steelworks. It was supposed to be a showcase city, especially to the west – after all, there was the Cold War. While workers’ palaces were built in the first years of construction, the buildings of the seven residential complexes became increasingly unadorned. Three of them are now under monument protection – others of the once coveted apartments were demolished because they were vacant. The “Documentation Center for Everyday Culture of the GDR” (DOK) in a former crèche in the model socialist town is concerned with this development and that throughout the GDR.

The idea behind it: The founder of the collection, Andreas Ludwig (who comes from West Berlin comes from the history workshop movement) saw the mountains of bulky waste growing in the former GDR after the fall of the Berlin Wall. Suddenly superfluous and discarded, all these objects told of life in the GDR. Too good to throw away, thought Ludwig – started collecting and founded the Documentation Center. Stalin and consumer advertising in the 50s: the permanent exhibition is chronological. (Photo: Thomas Bruns / DOK) The DOK has held events since it was founded in 1993 thousands of private donations and countless things from the legacy of the GDR. The inventory has grown to 150,000 objects to date. According to its own statements, the DOK documents “” the lifeworld dimensions of the history of the GDR, the safeguarding of everyday culture for the purpose of education and research, observation and communication between East and West Germans, between generations and cultures. “” The permanent exhibition will be supplemented by changing special shows. In the “” Home and Border “” room. (Photo: Thomas Bruns / DOK) Research into and portrayal of everyday life in the GDR in exhibitions always involves risks: some “” GDR museums “” have to blame themselves To put up with the trivialization of the GDR dictatorship, the Ostalgie, the uncritical portrayal of the past.

From the wave of Ostalgie in recent years, an east-retro industry with everyday objects and such silly excesses as the T-shirt with FDJ print, which never existed in the GDR – the clothing of the youth association of the GDR, the Free Germans Youth, was worn exclusively as a shirt or blouse. Here the FDJ symbol becomes a logo like Adidas and Coca-Cola. Happy, colorful, international: the glass windows in the stairwell of the former day nursery. (Photo: Andrea Beu) The exhibition in Eisenhüttenstadt does not fall into this trap. With wit and a critical distance, it shows a multi-layered, varied picture of everyday life in the GDR in all its facets – both public and private.

In ten thematically structured rooms, 650 objects from the huge pool of 150,000 objects are shown. Historical and retrospective sound recordings complement the showpieces, the photos, documents and objects from everyday life and the world of work. In the staircase, visitors receive colorful “” socialist “” glass windows with happy children and mothers. The show proceeds chronologically, begins with the post-war period, with food stamps and the difficult conditions of construction and ends with the upheaval in 1989. A particularly exciting exhibit is the founding draft of the “” New Forum “” from 1989 – one of the most important, formative ones Citizens’ movements that arose in the GDR at the time of the fall.

The GDR opposition is given a lot of space anyway – probably even more than it actually had in the real GDR. Welder’s suit: The show shows examples of both typical work and everyday clothing in the GDR. (Photo: Thomas Bruns / DOK) However, the DOK also reminds of supply bottlenecks, so-called defective goods, abuses in companies, spying, stinking cars, broken houses and ridiculous hollow propaganda slogans. It shows packs of coffee substitute powder for 22 pfennigs and de luxe coffee for over 20 GDR marks for the 250 gram can, but also an old apartment door (from Berlin’s Kollwitzstraße) with the typical note and pen on the door – There were only a few telephones (in Berlin every fourth household had a connection in the GDR, every seventh household in the GDR), so these paper-based door messages were a common means of communication, especially among young people. Those who have experienced the GDR themselves will find themselves here in traced back his childhood and youth. The feelings range from amused “” Oh look here, do you remember that? We had that too! “” – experiences up to “” Lucky that it’s over “”.

The dictatorship is always present, nostalgic feelings hardly arise and are rather limited to purely private matters such as past fashions, musical styles or furniture. For West Germans, however, the exhibition is sure to come up with one or two surprises. A journey through time to remember and learn.

The explanatory lettering of the individual exhibits is usually extensive and informative, with individual somewhat misleading defects. For example, it is not noted on a record sleeve by Nina Hagen that it did not come from the GDR, but from the time when the singer had already left for the West. And the petrol-saving poster is definitely not an East German product either. The fact that the DOK is not exactly stocked with financial resources and staff is not apparent at the show – it was made with a lot of care and love and certainly with a great deal of personal effort Makers designed. Unfortunately, the house is currently threatened with closure.

It is shared equally by the city, the district and the state of Brandenburg – and the coffers are empty everywhere. Eisenhüttenstadt is heavily indebted with 54 million euros and can no longer raise its contribution to the DOK of around 75,000 euros from 2013, even if it would like to. The Oder-Spree district is also clammy and wants to cancel its financing share of 55,000 euros. The unique collection threatens to lose its home and land on the trash. Museum director Ludwig has not yet completely given up hope. However, the future of the DOK is more than uncertain. Many East Germans – and West Germans too – have forgotten how dreary a lot was in the GDR.

But “” It wasn’t all bad “”: There is something to this nowadays well-known phrase too. You can see the whole range in Eisenhüttenstadt. This journey through time is worthwhile. Source: ntv.de “In a hilly area in the southwest of Havana, striking buildings rise up in an idiosyncratic manner, in the midst of dense vegetation, …… partly dilapidated, partly well preserved. What were they once for? In the spring of 1961 Fidel Castro and Che Guevara had visited the golf course of the “Country Club” “and decided to build an art school there – for the new, post-revolutionary Cuba, …… the Cuba of the workers and peasants , not a wealthy upper class, students from all over Latin America should get free education here.

So the Cuban-French architect Ricardo Porro was commissioned with the planning …… he asked his friends Roberto Gottardi and Vittorio Garatti for help – two Italians who had come to Cuba after the revolution to support the young republic . They divided the individual branches of the “” Escuelas Nacionales de Arte “”, the “” National Art Schools “”, … (picture from 1964) … among themselves. In terms of architectural style, the three wanted to create a new architecture to match the new era, the Cuban revolution. They mixed modern forms of expression with Hispanic and Latin American elements. (Picture from 2012) Fidel Castro announced in 1961: “” Cuba will have the most beautiful art academy in the world. “” Indeed, it is considered one of the greatest architectural achievements of the Cuban revolution – even if it did not turn out as planned. The grounds of the art school (here 1964), embedded in the surrounding nature, houses …… a ballet school, designed by Garatti, …… who also designed the music school, …… a school for modern dance and. ….. a sculpture school, both designed by Ricardo Porro, …… and a theater school – Gottardi was the architect here. After a short planning period of four months, construction work began; after four years … (construction workers on the site, 1964) … during the construction period, the “Escuelas Nacionales de Arte” “officially opened in 1965.

But there were lessons …… before, on the construction site. (Photo: Students in 1964 at an exhibition in the art school) The construction work began in 1961 with great drive and enthusiasm, at first the architects even had a kind of carte blanche and it was said that money would not matter, said Norma Barbacci, monument conservation architect, in 2019 to “” Arts Culture “”. Many musicians, actors, dancers, … (ballet student, 1968) … painters and sculptors … (painting class, 1977) … were trained here. (Schoolgirls at lunch break, 1968) Vladimir Cruz and Jorge Perugorria (from left), made famous by the film “” Fresa y Chocolate “” (“” Strawberry and Chocolate “”, 1993), went to drama school here. But the overall project remained unfinished – the sculpture and modern dance school was finished … (picture from 1977) …

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