Grünkohl und Curry: Die Geschichte einer Einwanderung (German Edition)

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After completing her studies she was a site supervisor for the Reichsbahn and carried out architectural work for a steel mill in Upper Silesia. After she maintained her own architecture office in Bonn. She collaborated with Hans Schwippert on the furnishings of the Bundeshaus as well as other buildings for the new Federal Republic.

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On her own she designed interiors, exhibitions and residential buildings. She traveled widely, wrote for professional publications and was interested in new technology, such as the use of solar energy. One of her last projects, a dormitory in Bonn-Friesdorf to house 80 women students, demonstrates how she strove to accommodate the needs of women.

The building rests on reinforced concrete columns to provide a protected parking space below for mopeds, bicycles and even 20 autos. In Wera Meyer-Waldeck died in Bonn during the design development phase of this building. During the Third Reich she was forbidden to practice. Personal tragedy, particularly the suicide of her Jewish mother in to avoid deportation, deeply impacted her life. Many of her buildings addressed pressing social needs: Housing for students; a church for refugees; and facilities for children and youth that conveyed a sense of orientation and In , Lucy Hillebrand closed her office following the death of her husband, the sociologist and journalist Erich Gerlach.

She turned to theoretical issues and taught at the Comprehensive University Kassel from to In —as the first woman architect—the Archive of the Deutsches Architetkurmuseum acquired her papers. Bauer was not intimidated. In she completed her degree and then worked in various offices in Stuttgart. In she won a competition—limited to women architects—that was sponsored by the GEDOK Association of German and Austrian Women Artists for a building to house residential studios and exhibition spaces in the western part of Stuttgart. Bauer designed a compact, five-story building that was light and transparent facing the southern slope.

The collaboration between architect and her clients did not run smoothly. Among other issues, some women mistrusted Bauer to such an extent that a court of arbitration had to be called in order for her to retain control over the design development drawings. Nevertheless the building was completed in and in the city of Stuttgart awarded it the Paul Bonatz Prize.

After her marriage in and the birth of three children, Grit Bauer- Revellio slowly withdrew from professional life. More and more, it was her husband, also an architect, who took over the control of their joint projects. Sigrid Kressmann-Zschach — The Businesswoman Sigrid Kressmann-Zschach, a successful architect and businesswoman, played a leading role in building activity in West Berlin during the s and early s. She was fascinating, and her luxurious lifestyle not only attracted the attention of the mass media, but also inspired fear and jealousy.

Only recently have her life and her buildings attracted greater attention. The daughter of a builder in Leipzig, she completed her architecture studies in Dresden and moved to West Berlin in There she married the Social Democrat Mayor of Kreuzberg, Willy Kressmann, who helped her make contacts within his political network. The marriage lasted two years.

Grünkohl und Curry

She quickly established her own company, with employees, and with herself acting as both architect and client. By the end oft he s she also built in Essen, Frankfurt and Saarbrucken, and opened a branch in Bonn.


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The Steglitzer Kreisel was her downfall. It is a large project, including a shopping and business center with a story tower. Together with her company, she spent six years building the project until diverse problems forced her business to declare insolvency.

A committee of inquiry was established to investigate it. Beginning in , legal action was instigated against her. Although she was never found guilty, her reputation was destroyed. She married the artist Donatello Losito and used her wealth to support divers cultural institutions. In Sigrid Kressmann-Zschach died in Berlin. In the s her freely artistic urban designs challenged the inhospitality of post-war cities in West Germany. For a few years, she was seen as the new hope in city planning. During her student years she worked with her parents on their various projects.

In , with her mother and other architects, she took part in an urban design competition for an extension to the city of Ratingen. Although she did not receive a prize, she was named the unofficial winner.

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Her scheme, a radically new idea about urban design, proposed an exuberant collage of various building typologies united in a giant mega-structure that resembled a landscape. Merete Mattern continued to pursue her architectural and artistic experiments until her death in After completing her studies in she worked in the office of the chief city architect of East Berlin, Hermann Henselmann.

In she won the competition for the House of Culture and Education in Neubrandenburg, and between and she oversaw its completion. The building, made of a reinforced concrete skeleton, consists of four sections with flat roofs grouped around a courtyard and a story tower, which provides space for leisure activities. She pursued her career in Neubrandenburg, first as a chief architect in the local state-run office for housing construction, and from to as the chief city architect. It was the most influential position that an architect in the GDR could achieve; only three women made it to this level.

Since reunification she maintained an architecture office in Berlin and from time to time in southern France. She had a talent for design and, despite numerous difficulties that were inherent in the socialist system, was able to successfully manage large, complex projects. She became known as a specialist for shell construction.

Schille was promoted to managing project architect of the foreign department. In this position she was responsible for the export of complex, turnkey buildings, such as observatories with corresponding technical equipment. She was involved in the planning of many other planetaria, including those in Wolfsburg, Algeria, Kuwait, Canada, and in the Soviet Union. At the end of the s she researched the history of the development of planetarium architecture at the Friedrich Schiller University in Jena. The masterful use of steel in her architectural projects demonstrates the formidable knowledge about metal that she acquired at this time.

Starting in she used her savings to finance her architectural studies at the University of Applied Sciences in Innsbruck. Here she experienced the subtle resistance of male colleagues who let her feel that women were not welcome in architecture. Her rebirth came about in , when she became self-employed.

Her impressive structures made of steel confirmed her reputation as an architect. An engaged feminist, she considered herself a leader of women architects who fought to secure a place in the profession. Ideen — Projekte — Bauten Women Architects. Ideas — Projects — Buildings , in which 62 women presented their work, appeared in Her desire to unite her female colleagues in a supportive community, fighting just as courageously as she did, was not realized. She received tenure at the University of Applied Sciences in Dortmund in , and then devoted herself to teaching.

The students became her extended family.

At the end of her life, at age 62, she was proud that, alongside of 35 men, she was the second woman to have her professional papers accepted at the archive of the Deutsches Architekturmuseum. Upon completion, it housed the newly opened Museum for Technology and Work today: Technoseum ; the local studio of the South West German Radio is located in a parallel tract. Other diagonals suggest the presence of interior ramps, which create the refined circulation for the continuous spaces inside.

In the s, not only the building—resembling an elegant Ocean liner—as the Mannheimer Morgen called it, but also the architect was a great surprise. In a competition was held for the museum. Although up to this point she had not been able to build under her own name, Ingeborg Kuhler triumphed over the stars of the scene and won the first prize. In postwar West Germany it was the first time that a self-employed woman architect designed and realized not only such a large building volume, but also an edifice that was so prestigious.

Ingeborg Kuhler was born in and studied at the School of Applied Art in Krefeld and later at the Technical University Berlin and worked in various offices. She became an expert in hospital planning and took an interest in complex building typologies, knowledge that helped her to design the museum.

Shortly thereafter she became a pioneer in architectural education: UdK, University of the Arts , and taught there until It was logical that in she decided to study architecture at the Technical University in Munich, with, among others, Karljosef Schattner. Later on, Josef Paul Kleihues and Hans Kollhoff, in whose Berlin office she worked for two years, greatly influenced her.

She was not even 30 years old when she took part in important competitions.


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Her design for the conversion of the Reichstag received the second prize, just behind Norman Foster. She did not win the equally prestigious competition for the Holocaust Memorial in Berlin, but was awarded one of the four first places. Weinmiller received the commission for the new building with—for a young professional—an extremely large budget of million Deutsch Mark. The austere four-story building in the capital of Thuringia with the typically clear, reductive architectural language that would become her trademark is without a doubt her magnum opus.

Among her current projects: She lives in Berlin with her husband, the architect Ivan Reimann, and their three children. Berlin was and remains their city of choice, and in they established an office there. After the fall of the Berlin Wall they felt they were in the right place. A job as an assistant professor, at what is today known as the University of the Arts, provided financial support to develop designs and participate in competitions.

Since their place of residence and their office are located in a collective co-operative building, which they designed. The short distances ease the transition between home and work for the parents of five children. Their work includes office buildings, transportation infrastructure, hotels, educational facilities and curatorial projects, such as the conception and design of the German entry to the Architecture Biennale in Venice.

Skip to main content. Conferences , Exhibitions , Recommendations. Women entered Modernism by conquering professions from which they had hitherto been excluded, by becoming politically active, in part taking extreme positions, and by trying out new gender relationships. The exhibition shows how 22 women encountered the massive upheaval by questioning the conventional standards of what was feminine and establishing themselves in the architectural profession.

Mary Pepchinski, Christina Budde, Wolfga. Paolo Brunino, Enrico Hirsekorn, Marina. Students of the Dresden University of Te. Architekturmuseum der Technischen Univer. New European hyperloop revolutionising public transport. From Amsterdam to Frankfurt in 53 minutes. Kat rated it it was amazing Oct 14, Hexe rated it liked it Aug 24, Matthias Merk rated it it was amazing Aug 30, Mike rated it it was ok Sep 10, Peggy marked it as to-read Apr 30, Sarah Allen-Truax marked it as to-read Dec 01, Anna added it Apr 02, Bianca marked it as to-read Jul 28, Alex marked it as to-read Aug 03, Bine added it Aug 31, There are no discussion topics on this book yet.

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