The program will focus on the concept of modernity: in its historical perspective and its meaning today and the reference to revolutionizing human life and interpersonal relations of technology, new needs or challenges facing humanity.
3 – 8 October 2018 — Gdynia
23 – 28 October 2018 — Bernau near Berlin
16321 Bernau near Berlin, Germany
The candidates undertake to take part in the workshops held both in Gdynia and in Bernau near Berlin.
Please send your application by email to: email@example.com no later than on 16 September 2018, 4.00 pm. Please write “School 2018” as the subject. A complete application comprises:
1. Scan of signed form (Attachment no 1)
2. Artistic/academic bio and/or portfolio.
3. 2 mini-essays (each up to 1,800 characters with spaces) answering the following questions:
– Modernity today – which spheres of life do you think require reinventing?
– If you could run a half-year research/artistic project that would be thematically related to the 2018 school Exercising Modernity: Berlin/Gdynia/Tel Aviv, what would that be?
Accepted languages: English, Polish, German.
Participation in the school is free, and the organizers cover travel expenses and provide accommodation and meals. The participants undertake to attend both sessions, in Gdynia and Bernau near Berlin, on 3–8 October 2018 and 23–28 October 2018.
The participants will have the right to submit their own research or artistic project elaborated as part of the school for a special scholarship program devoted to the issue of modernity in the 20th century and organized by the Pilecki Institute. All details will be available before the end 2018, and the application process for the scholarships as well as the announcement of results will take place no later than by the end of the first quarter of 2019.
Katri Anita Miettinen
Michalina Ludmiła Musielak
Maria Anna Rogucka
The program consists of lectures, workshops and seminars. The classes will take place from morning until afternoon, and there will be a lecture each evening. As regards the workshops, the participants will choose one of two tracks.
Agata Abramowicz – a historian and historian of art, and the Deputy Director of the Gdynia City Museum. She has gained recognition as the co-curator of numerous exhibitions, among others ofthe main exhibition at the Museum of the Second World War in Gdańsk and the permanent exhibition “Gdynia-dzieło otwarte” at the Gdynia City Museum, and the coordinator of various national and international artistic projects.
Shira Levy-Benyemini is the Director of the White City Center, a collaboration of the Tel-Aviv municipality and the German Government. 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.
The Liebling Project: The Modern Think Tank of the White City
Modern architecture and its local adaptation were the basis for the 2003 declaration of the White City of Tel Aviv as a UNESCO World Heritage Site, generating momentum for urban conservation projects. Conservation is usually perceived as a process that focuses on the physical aspects of the modernist movement, rather than its intangible, social aspects. The decision to establish a Center focused on all aspects of architectural heritage, both tangible and intangible, provided an opportunity to host a unique residency program: The Liebling Project. The Liebling Project was a research and action group that invited multidisciplinary creative – from architects to musicians – to study the concept of conservation and urbanism in the context of modern architecture. The project, in collaboration with the Conservation Department of the Tel Aviv-Yafo Municipality, operated at the White City Center during its inaugural year, developing future activities of the urban culture and education center dedicated to the early years of Tel Aviv, and the modernist influences that shaped it. The project – supported by the executive team of the White City Center – made temporary use of the Max Liebling House as it is being converted into the WCC. The reopening of the Center is scheduled for autumn 2019.
Sabrina Cegla is the public program curator at the white city center 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 David Azrieli School of Architecture, at the Tel-Aviv University, Graduated Bachelor of Architecture. After graduation, she founded her independent architecture and design studio in Berlin, Germany, specializing on interior design, artistic direction and curating for projects ranging from exhibitions, cultural projects and educational facilities. Since 2015, she leads the public program at the white city center in Tel-Aviv, a multidisciplinary program provoking discussion and action on topics of Preservation, Architecture and Urban Heritage, as well as curated several exhibitions at the center.
Workshop: We were the future: Gdynia – Tel Aviv
The workshops, conducted by the White City Center, the Gdynia City Museum, Yuval Yasky and Yamit Cohen, will be concerned with the modernist heritage of Gdynia and Tel Aviv. We will reflect on how we can benefit from this legacy when considering the future of the two cities, and how to preserve their architectural tissue and create public space. We will also look at how modernist utopias (such as the Israeli kibbutzes) can be rethought and redesigned in accordance with the needs of 21st-century societies.
chmara.rosinke is a design studio based in Vienna and Berlin. Since 2011 chmara.rosinke studio designs, directs and executes objects, interiors and pop-ups from concept through to creation. They strive to combine craftsmanship with a conceptual and ecological approach, realizing both commissioned and self-inititated projects. Many of their works are inspired by functional and socio-cultural aspects und are trying to translate their observations into objects after its analysis and research. In their designs chmara.rosinke pay a lot of attention to details and the emotions objects and spaces arouse in people. Above all, they see aesthetics as an important sustainability factor.
Ania Rosinke and Maciej Chmara met during their architecture and design studies at the Academy of Fine Arts in Gdansk. Their shared passion for design and art has led to their cooperation. After finishing studies in Gdansk, they have spend two terms at the Kunstuniversität in Linz (space&design strategies), some time at the Akademie der bildenden Künste and the TU Wien, and have worked at several architectural offices. Their background includes a wide range of fields from drawing, art history, architectural theory to interior and object design, what allows them to develop a good understanding for creative work and its realization.
Their projects have been shown during the Milan, Dutch, Paris,New York and Vienna Design Week , in MAK, the Austrian Museum of Applied Arts, and other international design fairs and exhibition.
chmara.rosinke have received many internationally appreciated awards like between others the Neue Wiener Werkstätte Design Award 2012, DMY Berlin Award 2012, a recognition of the Outstanding Artist Award for Experimental Design, in 2014 were finalists of the prestigious The Prix Émile Hermès and were distinguished as MAK designer-in-residence in 2013. Their works are a part of the collection of MAK Austrian Museum of Applied Arts and Hofmobilien Depot, . In 2014 they have curated their first design show: “Austria-South Africa: in discourse” – Austrian exhibition in Cape town during Cape town – design capital 2014. In 2015, together with breadedEscalope and Patrick Rampelotto, they have launched in Vienna SPAZIO PULPO – a space for experimental design.
Their works were published in ICON, FRAME, Le Monde, Die Zeit, Süddeutche Zeitung, FvF, Elle decoration, Domus, Vogue, Icon, AD, this is papaer, Damn, Li Edelkoort’s trend tablet and many many more.
The artists of the Bauhaus and the creators of the new city of Gdynia shared the idea of shaping everyday life in a way that would contribute to building a new, better society. This concept has not lost its actuality today, in a time of dynamic social change and the challenges accompanying it. During our workshop we will scrutinize the Bauhaus concept of designing democratic space, test itsrelevance in today’s world, and finally attempt to bring it up to date taking into account local conditions. The aim of the workshop is to design elements of a mobile device/installation that will temporarily transform public space and express our postulates defined during the meeting.
David Crowley jest profesorem kultury wizualnej na dublińskiej uczelni National College of Art and Design. Jego zainteresowania zawodowe skupiają się na modernizmie w sztuce i projektowaniu, przy czym często korzysta on z odniesień do historii krajów Europy Wschodniej pod rządami komunizmu. Jest autorem następujących książek: Warsaw (2003), Socialism and Style. Material Culture in Post-war Eastern Europe (2000), Socialist Spaces. Sites of Everyday Life in the Eastern Bloc (2003) oraz Pleasures in Socialism: Leisure and Luxury in the Eastern Bloc (2010). Crowley pełnił także funkcję kustosza licznych wystaw, w tym „Cold War Modern” w Muzeum Wiktorii i Alberta (Victoria and Albert Museum) w latach 2008–2009, wspólnie z Jane Pavitt, „Sounding the Body Electric. Experiments in Art and Music in Eastern Europe” w Muzeum Sztuki w Łodzi (2012) oraz w Calvert 22 w Londynie (2013), jak również „Notes from the Underground” w Muzeum Sztuki w Łodzi (2016) i berlińskiej Akademie der Künste (2018) – w obu przypadkach współpracując z Danielem Muzyczukiem.
Lecture: Prawdziwy, istniejący modernizm circa 1981 r. – przeszłość, teraźniejszość i przyszłość polskiej architektury modernistycznej
W 1981 r. grupa warszawskich architektów opublikowała „podziemny” manifest, w którym oskarżyli przedstawicieli swojej profesji o godzenie się na nielegalne sprawowanie władzy w Polskiej Rzeczypospolitej Ludowej. Spisana przez nich „Karta warszawska” była najodważniejszą i zarazem najmocniejszą krytyką architektury modernistycznej, jaką kiedykolwiek opublikowano w bloku wschodnim.
W swoim wystąpieniu David Crowley podejmie próbę analizy tej odważnej krytyki dwudziestowiecznego modernizmu z perspektywy roku 1981. Spojrzy na nią także przez pryzmat czasów nam współczesnych, zastanawiając się nad transformacją, jaką przeszły krajobrazy miejskie Polski po upadku systemu komunistycznego. W dobie hiperkapitalizmu modernistyczna architektura komunistycznej Polski wydaje się być obiektem powszechnej nostalgii i tęsknoty – dlaczego tak się dzieje?
Workshop: Modern propaganda
During this workshop we will explore the Cold War propaganda discourse on modernistarchitecture. By analyzing texts, documents, pop culture iconography and films we will be able to look at the largest investments not only from the angle of aesthetics, but also from the perspective of political history. We will examine exhibitions held in the 1950s as a form of the Cold War modern-life race, investigate the relations between residential architecture and the post-War visions of a “new man”, and also take a look at the concept of cities built from scratch and the types of urbanity that they created. Our most important question will be the following: How did governments communicate large-scale investments at various times during the Cold War? How was the social modernist project used to “sell” new ways of living? Where does the current interest in modernism stem from?
Dr. Jacek Friedrich – an art historian and the Director of the Gdynia City Museum, he currently works at the Institute of Art History of the University of Gdańsk. His research centers on modern visual culture, the history of architecture and design in the 20th century, and the reconstruction and protection of architectural landmarks.
He has authored a number of publications, including “Neue Stadt in altem Gewand. Der Wiederaufbau von Danzig 1945–1960”, Köln-Weimar-Wien 2010, and “Walka obrazów. Przedstawienia wobec idei w Wolnym Mieście Gdańsku”, Gdańsk 2018. Dr. Friedrich is also the initiator and co-author of the exhibition “Narodziny miasta. Gdyński modernizm w dwudziestoleciumiędzywojennym” (Gdynia City Museum, Gdynia 2014).
Sharon Golan-Yaron is Program Director and co-founder 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.
Lecture: The Vernacular Paradigm of Modernism in Israel
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.
Dr Joanna Kusiak is an interdisciplinary urban researcher and writer based at King’s College, University of Cambridge. Her latest research project focuses on urban land and new forms of democratic expropriation. She is also interested in the role that law, legal technicalities and judicial systems play in shaping urban space. She holds a PhD in sociology from TU Darmstadt and is a former visiting researcher at the University of California, Berkeley, University College of London and the Humboldt University of Berlin. She is writing a book titled Orders of Chaos: Law, Land and Neoliberal Globalization in Warsaw. She is also the author of Chaos Warszawa: Porządki przestrzenne polskiego kapitalizmu (Bęc Zmiana 2017) and the editor, with Monika Grubbauer, of Chasing Warsaw: Socio-Material Dynamics of Urban Change since 1990 (Campus 2012).
Kuba Snopek is an urbanist, educator and architectural theorist. He is curator of the educational program at the Kharkiv School of Architecture. Kuba graduated in urban planning from the Wrocław University of Technology and the Strelka Institute for Media, Architecture and Design in Moscow. He has worked on architecture, city planning, curatorial and research projects in Poland, Russia, Ukraine, Spain and Denmark. He was a faculty member at the Strelka Institute and taught at the Moscow State Institute of International Relations (MGIMO). He is the author of Belyayevo Forever, about the preservation of intangible heritage (published in English, Polish and Russian) and co-author of Architecture of the VII day, a comprehensive study of the Polish churches built during the communist era. Kuba is an initiator and co-author of Stage, a crowdsourced public space built in Dnipro that received a special mention as part of the prestigious 2018 European Prize for Urban Public Space. Curated by Joanna Kusiak and Kuba Snopek, New Modernism is a joint theory/praxis venture into a new systemic thinking about architecture and society.
Workshop: New Modernism
Due to its real and alleged failures, old modernism has been vilified. Yet, the anti-/post-modern critical approach is also failing us, for it has not provided any cures to the problems it points to. Can we remain critically alert and yet revive modernism’s original ambition to create better urban futures? Engaging the diverse expertise of the workshop participants, we will single out the core values of old modernism. Then, we will attempt to reinvent these values, through grounding them in the new political and economic conditions. To which extent is a New Modernism possible and what might its critical components be?
Florian Mausbach, a qualified engineer, urban planner. In the period 1995–2009 he held the function of the President of the Federal Office of Housing and Land Development Planning, responsible for national and cultural buildings in Bonn, Berlin, and abroad. Currently, he holds the function of the urban planner/journalist in Berlin and chairman of the Architekturpreis Berlin Association and Villa Wolf Association supporting reconstruction of the first modernist house of Ludwig Mies van der Rohes constructed in 1926 in Gubin. In 2017, author of the call for a monument of Polish victims of the German occupation in the period 1939-1945 to be constructed in the center of Berlin.
THE DAY BEFORE: The common heritage – Villa Wolf
A Polish-German initiative of reconstruction of the demolished modernist building designed
by Ludwig Mies van der Rohe, located in the Polish city of Gubin.
Villa Wolf – the first modernist building designed by Ludwig Mies van der Rohe – is to be
rebuilt on the Polish-German initiative in its “original form and location”. The villa in Gubin
was commissioned by a local textile manufacturer Erich Wolf in 1926. The building was
erected on top of a hill by the Nysa river, and its shape brought to mind a Cubist sculpture
made out of bricks. Its original structure is to be faithfully rebuilt in the town of Gubin (now
located in Poland) as the “common heritage” of the Polish and German nations. Remodeled
in scale 1:1, the reconstructed villa is to be the key exhibit in the Mies van der Rohe Museum
which will focus on the European body of work of the German-American architect. In the city
of Guben-Gubin, located on the Polish-German border, Villa Wolf is to be a cultural bridge
over the Nysa river, which will attract architecture enthusiast from all over the world.
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.
Lecture: What is the meaning of „Glass Houses”?
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.
Workshop: Designing the future
The workshop focuses on a reflection on modernist visions of the future, and proposes utilizing speculative design as a tool for designing the future today. During classes we will use electronics and/or elements of programming. After a one-day introduction, we will define the topics whichparticipants will have to analyze and process. In the following days, making use of simple microcontrollers, sensors and light, we will create prototypes of interactive installations in an attempt to give practical answers to the issues which we have previously identified.
RAZ is a Europe-based company specialized in parametric modeling, digital tools, interfaces, data analysis, visual programming and scripting applied to the design of the built environment –ranging from structural solutions and furniture to mobility projects and urban design–.
We support project decision-making in every phase of the design process. In RAZ we merge creativity and problem-solving. We are enthusiastic about data and we use parameters to create algorithms that optimize and automate design processes. However, we do not believe in the impartiality nor the objectivity of data. We create tools but we offer holistic design assistance, putting human decisions in the center of our work.
RAZ is led by Ander Gortazar Balerdi and Jacek Markusiewicz.
Architects graduated from the University of the Basque Country and the Warsaw University of Technology, respectively, they met each other in the Institute for advanced architecture of Catalonia. They then combined parametric approach, architecture and urban planning in Barcelona and Beirut based office Built by Associative Data (2010-2013).
Jacek, as a tutor and researcher in the Faculty of Architecture at the Warsaw University of Technology, focuses on human-computer interaction in architectural processes (such as augmented reality, haptic interfaces and responsive design) as well as generative modeling and programming. He is now pursuing his PhD in the Computer Aided Design Department of the Warsaw University of Technology.
Ander is specialist in process optimization through computational tools applied to the built environment. He worked in first level international projects in BuroHappold Engineering (2013-2017), including works by Foster + Partners, Zaha Hadid Architects and Snohetta. He also works as a consultant on mobility and urban planning, and publishes articles regularly on these topics. Ander is now pursuing his PhD in urban mobility at the Urban Planning department of the Polytechnic University of Catalonia.
Thibaut de Ruyter is a french architect, curator and critic. he lives and works in berlin since 2001. He is (or has been) a regular contributor to the magazines l’architecture d’aujourd’hui, artpress, il giornale dell’architettura, particules, fucking good art, frieze d/e, published texts in catalogues and directed two special issues of artpress, one about Berlin and another on art & prostitution. he curated among others the exhibitions «investigating evp» (Resonance Fm, London 2006), «weniger geld, mehr liebe» (tmp-deluxe, berlin 2008), «the last ten shots» (Bongout,Berlin 2008), «wach sind nur die geister» (hmkv, dortmund 2009 & coca, torun 2010), «nam june paik award 2010» (museum kunstpalast, düsseldorf 2010) & «nam june paik award 2012» (kunstmuseum, bochum 2012), «ghosts off the shelf» (kunstraum kreuzberg/bethanien – ctm-festival, berlin 2012), «the empty house» (museum angewandte kunst, frankfurt/main 2013), «INDUSTRIAL (research)» (hmkv, dortmund 2013), «BER-DTM-HNL…» (hmkv, dortmund 2014), «richard meier – ein stilraum» (museum angewandte kunst, frankfurt/main 2015), «artificial intelligence (digitale demenz)» (eigen+art lab, berlin 2015) and «(art) upside down» (aluan, almaty 2015). his latest projects are a travelling exhibition for goethe-institut in eastern europe and central asia, «die grenze» (mmoma, moscow 2017 – artplay, saint petersburg 2017 and the krasnoyarsk museum center, krasnoyarsk 2017) while his exhibition «a song for europe» was presented at the v&a, london 2017. He is, since 2007, a member of the aica-france.
Workshop: I hate modernity
At the beginning of the 21st Century, the terms « modern » and « modernity » don’t mean much anymore. « Modern » has been used in so many different contexts during the last 100 years: it has become an adjective for commercials, it meant fashionable in the 1980s (think of the TV-series Miami Vice) and it defines an obscure lifestyle (like modern cuisine) that has not much in common with the ideology of the 1920s. Nowadays, some people use it to define a style based on white volumes, classy minimalism and pure proportions while others make a philosophical concept out of it. In the end, when I use the word « modern » in a conversation, there are not many chances that the people around the table use it the same way and understand what I really mean. What does it mean to be truly modern? Why is (post-)modernity the new trend in architecture? Are petty bourgeois the true new moderns?
The goal of the workshop will be to share definitions of modernity amongst the participants, to criticize the results and, maybe, create a new meaning of the term.
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.
Lecture: 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.
Yamit Cohen is an architect and researcher in the History and Philosophy of Sciences and Ideas based in Tel Aviv. She is an adjunct lecturer at the Technion- Israel Institute of Technology, Haifa and a Partner at Yasky Architects in Tel Aviv.
Yuval Yasky is an architect, researcher and curator based in Tel Aviv. In the last 8 years he served as Chair of the Architecture Department at Bezalel Academy of Art and Design, Jerusalem. His research on the planning and Architecture of the Kibbutz, was presented at various venues including the Venice Architecture Biennale, the Bauhaus Foundation at Dessau and more.
Yamit Cohen and Yuval Yasky are both Partners at Yasky Architects where they develop new ways of thinking and designing collective environments at various scales, from whole neighborhoods to individual housing projects. Their work is based on their interest in the questions about the role of the public sphere in an era of increased social segregation.Their research and projects reflect on the possibility of design in multiple scales to overcome this segregation and create spaces of communal activity, in this sense they use the Kibbutz as it evolved over many decades as a possible model for future development, not only in the contemporary kibbutzim but in other urban environments. In their practice they focus on revitalization plans for Kibbutzim, starting with the whole settlement, and going down to the scale of different elements of the kibbutz, all the way to reuse of individual buildings. Through their work they have developed new methodologies of community participation and activation which has become central to their work.
Lecture: Considering the Commons
Since the end of the first decade of the 20th century, the Kibbutz have evolved as a settlement pattern in which the physical planning functionally reflects ideologies and life-practices of collectivity and equality. In the last three decades, the Kibbutzim have been stripped from their constitutive ideology and most of them have turned into privatized sub-urban settlements. What is the place of the communal social space in the Kibbutzim undergoing privatization processes of the collective territory? What is the possible need, quality and character of these communal spaces within the contemporary concrete social reality? In our lecture we shell discuss those questions through our work in the Kibbutzim in our attempts to reload the existing dysfunctional spaces with new potentials.