James Stirling, Sketch Plan for the Neue Staatsgalerie, Stuttgart, Germany, 1977 (via cca)

James Stirling, Sketch Plan for the Neue Staatsgalerie, Stuttgart, Germany, 1977 (via cca)

KSP Engel, Documentation Center for the Bergen-Belsen Memorial,  Hanover, Germany, 2007 (via klemensortmeyer)

German Anti-Smoking Advertisement, c. 1935 “He does not devour the cigarette it devours him.”

German Anti-Smoking Advertisement, c. 1935

“He does not devour the cigarette it devours him.”

Friedrich August Stüler, Egyptian Courtyard of the Neues Museum, Berlin, Germany, 1862

Friedrich August Stüler, Egyptian Courtyard of the Neues Museum, Berlin, Germany, 1862

Friedrich August Stüler, Plan of the Neues Museum, Berlin, Germany, 1862

Friedrich August Stüler, Plan of the Neues Museum, Berlin, Germany, 1862

Laurids Ortner, Günther Zamp Kelp and Klaus Pinter of Haus-Rucker-Co, Oase No. 7 at the Fridericianum, Kassel, Germany, 1972 (via spatialagency) ‘Taking their cue from the Situationist’s ideas of play as a means of engaging citizens, Haus-Rucker-Co created performances where viewers became participants and could influence their own environments, becoming more than just passive onlookers. These installations were usually made from pneumatic structures such as Oase No. 7 (1972), which was created for Documenta 5 in Kassel, Germany. An inflatable structure emerged from the façade of an existing building creating a space for relaxation and play, of which contemporary echoes can be found in the ‘urban reserves’ of Santiago Cirugeda. Haus-Rucker-Co’s installations served as a critique of the confined spaces of bourgeois life creating temporary, disposable architecture, whilst their prosthetic devices were designed to enhance sensory experience and highlight the taken-for-granted nature of our senses, seen also in the contemporaneous work of the Brazilian artist Lygia Clark. Contemporary versions of such work can be found in the pneumatic structures favoured by Raumlabor and Exyzt.’

Laurids Ortner, Günther Zamp Kelp and Klaus Pinter of Haus-Rucker-Co, Oase No. 7 at the Fridericianum, Kassel, Germany, 1972 (via spatialagency)

‘Taking their cue from the Situationist’s ideas of play as a means of engaging citizens, Haus-Rucker-Co created performances where viewers became participants and could influence their own environments, becoming more than just passive onlookers. These installations were usually made from pneumatic structures such as Oase No. 7 (1972), which was created for Documenta 5 in Kassel, Germany. An inflatable structure emerged from the façade of an existing building creating a space for relaxation and play, of which contemporary echoes can be found in the ‘urban reserves’ of Santiago Cirugeda. Haus-Rucker-Co’s installations served as a critique of the confined spaces of bourgeois life creating temporary, disposable architecture, whilst their prosthetic devices were designed to enhance sensory experience and highlight the taken-for-granted nature of our senses, seen also in the contemporaneous work of the Brazilian artist Lygia Clark. Contemporary versions of such work can be found in the pneumatic structures favoured by Raumlabor and Exyzt.’

Unknown Aurignacian Sculptor, Lion Man from Stadel-Höhle im Hohlenstein, Germany, c. 40,000 BCE (via newscientist) ‘A lion-headed figure, first called the lion man, then the lion lady is an ivory sculpture that is the oldest known zoomorphic sculpture in the world and one of the oldest known sculptures in general. The sculpture has also been interpreted as anthropomorphic, giving human characteristics to an animal, although it may have represented a deity. The figurine was determined to be about 40,000 years old by carbon dating material from the same layer in which the sculpture was found. It is associated with the archaeological Aurignacian culture. It was carved out of mammoth ivory using a flint stone knife.’

Unknown Aurignacian Sculptor, Lion Man from Stadel-Höhle im Hohlenstein, Germany, c. 40,000 BCE (via newscientist)

‘A lion-headed figure, first called the lion man, then the lion lady is an ivory sculpture that is the oldest known zoomorphic sculpture in the world and one of the oldest known sculptures in general. The sculpture has also been interpreted as anthropomorphic, giving human characteristics to an animal, although it may have represented a deity. The figurine was determined to be about 40,000 years old by carbon dating material from the same layer in which the sculpture was found. It is associated with the archaeological Aurignacian culture. It was carved out of mammoth ivory using a flint stone knife.’

Lotte Jacobi, Portrait of Dina Grace, Berlin, Germany, c. 1930 (via realityayslum) ‘Grace was very young when this picture was taken, but Lotte thought she was the best dancer she ever photographed. She was amazed at how easily Grace could move and do anything asked of her.’

Lotte Jacobi, Portrait of Dina Grace, Berlin, Germany, c. 1930 (via realityayslum)

‘Grace was very young when this picture was taken, but Lotte thought she was the best dancer she ever photographed. She was amazed at how easily Grace could move and do anything asked of her.’

Esaias van Hulsen, Repraesentatio der Furstlichen Aufzug und Ritterspil, Stuttgart, Germany, 1616 (via uncertaintimes) ‘describe the festivities held in Stuttgart on 10th-18th March 1616 to honour the christening of Prince Friedrich of Württemberg, second son of Johann Friedrich, Duke of Württemberg and Barbara Sophia Margravine of Brandenburg. The tournaments, processions and ballets are superbly illustrated including the masque of the 12 nations. “It featured four huge papier-mâché heads, representing North, South, East and West, from whose mouths emerged dancers symbolizing the various nations.” Duke Johann Friedrich appeared in the procession as King Priam of Troy and is accompanied by Pallas, Juno, Venus and Mercury.’

Esaias van Hulsen, Repraesentatio der Furstlichen Aufzug und Ritterspil, Stuttgart, Germany, 1616 (via uncertaintimes)

‘describe the festivities held in Stuttgart on 10th-18th March 1616 to honour the christening of Prince Friedrich of Württemberg, second son of Johann Friedrich, Duke of Württemberg and Barbara Sophia Margravine of Brandenburg. The tournaments, processions and ballets are superbly illustrated including the masque of the 12 nations. “It featured four huge papier-mâché heads, representing North, South, East and West, from whose mouths emerged dancers symbolizing the various nations.” Duke Johann Friedrich appeared in the procession as King Priam of Troy and is accompanied by Pallas, Juno, Venus and Mercury.’

Heinz Luther + Fritz Kühn, Centrum Warenhaus, Suhl, Germany, 1967

Heinz Luther + Fritz Kühn, Centrum Warenhaus, Suhl, Germany, 1967

(Source: n-architektur)

"The Munich show [“So Sorry”] is the most ambitious show in my life. Not only for its scale, but also for its complexity. It’s about communicating. It’s about how we use the language which can be a part of our history or part of other histories. And how we transform it into today’s language."
— Ai Weiwei, Never Sorry, 2012
Hans Poelzig, Plan of the Franciscan Monastery, Glatz, Germany, c. 1920 (via archiveofaffinities)

Hans Poelzig, Plan of the Franciscan Monastery, Glatz, Germany, c. 1920 (via archiveofaffinities)

Fritz Hoger, Design for a 250 Meter Skyscraper, Hamburg, Germany, 1937 (via betonbabe)

Fritz Hoger, Design for a 250 Meter Skyscraper, Hamburg, Germany, 1937 (via betonbabe)

Staab Architekten, New Museum, Nürnberg, Germany, 1999 (via spiluttini)

Erich Mendelsohn, Floor Plans of the Einsteinturm, Potsdam, Germany, 1920-1 (via archiveofaffinities)

Erich Mendelsohn, Floor Plans of the Einsteinturm, Potsdam, Germany, 1920-1 (via archiveofaffinities)

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