The metamorphosis of Duisburg-Nord from an abandoned industrial wasteland into a functional urban park has effectively achieved many of the social objectives of the IBA. While the Thyssen site was not immune to the kinds of unauthorized usage common to derelict sites the world over, since the closure of the steelworks in 1985 it had been for the most part a place devoid of human use (reference). In the minds of the local populace, the landscape was perceived as terra incognita; a decrepit postindustrial wasteland (Weilacher 105). In many ways this psychological perception of the site could be likened to that of the Zone in Andrei Tarkovsky’s cinematic masterpiece Stalker. Despite being surrounded by the decaying landscape, people could not physically occupy the space and it existed primarily in their minds as a symbol of ecological damage and economic decline (Storm 107). The re-occupation of the landscape facilitated by the Landscape Park has transformed the site’s place in the minds of the populace. It has become symbol of the region’s cultural heritage and hope for the future (Ganser 10).
In his seminal work Landscape and Memory, Simon Schama proposed that, "before it can ever be the repose for the senses, landscape is the work of the mind. Its scenery is built up as much from
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With this in mind, it is perhaps unsurprising to find that an element of selective amnesia remains within the historical narrative at Duisburg-Nord. In his essay Large Parks: a Designer’s Perspective, George Hargreaves reveals the absence of recognition regarding the connections between the steel industry and the Nazi war machine which held Jewish slaves at the plant - many of whom died (Hargreaves 2007, 165). Moreover, there is no acknowledgement of the hostility and trauma experienced by Turkish labourers imported to work at the site during the 1970s (Beardsley 2007,
Sajer describes the pride he felt at Chemnitz—and continues to feel—but struggles to reconcile with the ragged image of himself and his comrades under such incredible duress (Sajer 49-50). Sajer recounts how, soaked in rain and mud and subjected to ongoing artillery fire, he felt “like nothing.” (Sajer 50) This description exposes a break in the sense of significance he felt in the eyes of Germany while at Chemnitz, a significance that seemed to abandon him as he traveled deeper into Russia.
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
World War II was a grave event in the twentieth century that affected millions. Two main concepts World War II is remembered for are the concentration camps and the marches. These marches and camps were deadly to many yet powerful to others. However, to most citizens near camps or marches, they were insignificant and often ignored. In The Book Thief, author Markus Zusak introduces marches and camps similar to Dachau to demonstrate how citizens of nearby communities were oblivious to the suffering in those camps during the Holocaust.
The Holocaust was not perpetrated by a small band of Nazis but by “ordinary Germans” in the hundreds of thousands. The abrupt transformation of Germans from bakers, bankers and bureaucrats to mass murderers was due to a particularly virulent strain of anti-Semitism. Goldhagen’s indictment focuses on the citizenry’s complicity in three of Nazi Germany’s institutions of mass killing; the Ordnungspolizie (the Nazi Police Battalions), the work camps where Jews were incarcerated, and the death marches from the those camps led by prison guards and their charges near the end of the war. While Goldhagen efficiently states the thesis to his dissertation, his organizational style leaves much to be desired.
This places the reader in recognisable landscape which is brought to life and to some extent made clearer to us by the use of powerful, though by no means overly literary adjectives. Machado is concerned with presenting a picture of the Spanish landscape which is both recognisable and powerful in evoking the simple joys which it represents. Furthermore, Machado relies on what Arthur Terry describes as an `interplay between reality and meditation' in his description of landscape. The existence of reality in the text is created by the use of geographical terms and the use of real names and places such as SOrai and the Duero, while the meditation is found in...
Rubinstein, William D. The Myth of Bombing Auschwitz. The Myth of Rescue: Why the Democracies Could Not Have Saved More Jews from the Nazis. London: Routledge, 1997. 157-81. Print.
By explaining the sad, yet undeniably true facts about the concentration camp Treblinka, Wiesel spoke of how far the Nazis were willing to go in order to exterminate the Jewish people. During the year 1942, under the orders of “Operation: Reinhard”, Treblinka opened it doors to the thousands of Jewish masses being crammed inside, su...
The main driving element in William Morris’s life has been the nature around him and the houses he lived in. The most prominent influence was the Kelmscott Manor. Therefore, I chose to go with Kelmscott Manor’s layout plan that exhibits the “inspirational garden “ that led to most of his design decisions, a map that depicts the pockets in the manor and how Morris was inspired by it. In addition to this, an original drawing of the Kelmscott Manor’s exterior that depicts how the manor amalgamated within the garden. To reinforce this, I picked a watercolor of the Kelmscott Manor and a photo that captivates the various perspectives of the garden in the manor. Moving on to his designs that interprets his love for nature I picked up the very first of his wallpaper design of the trellis that has a very naturalistic touch to it with the vines which seemed to be an extension of the “inspiration garden” on to the paper. Also chose one of the wallpapers he designed during the middle of his lifetime and one of his last designs as well. The underlying concept behind picking those was to outline the consistency in his design concept throughout his life. William Morris was a poet , whose poetry and compositions were also inspired by nature, and to depict his poetry in form of naturalism concept I picked a stance from one of his compositions that talks about forest, flora and fauna which directly ties to his underlying concept. Also the compositions he wrote always had engraved borders which was ...
Engelhardt, I. (2002). A Topography of Memory: Representations of the Holocaust at Dachau and Buchenwald in comparison with Auschwitz, Yad Vashem and Washington DC. Presses Interuniversitaires Européennes.
In Christopher Isherwood’s, Goodbye to Berlin, we see a first hand account of the rise of early Nazi Germany. While the bulk of Nazi related material is reserved for the final chapter, there are traces of the growing mentality strewn throughout the rest of the book.
How to create an environment suitable for human living when resources are limited is a challenging problem for modern society. My strong interest in photography and art has compelled me to become especially observant toward the relationship between human beings and the environment. I have come to realize that the environment we live in has suffered much damage from pollution and lacks competent planning, making it difficult to find beautiful scenery to photograph or sketch. I began to think that I could make use of my artistic gift, concern about, and interest in the environment by entering the field of landscape design and putting my effort into beautifying our surroundings. Therefore, after graduating from high school, I entered the Department of Landscape Architecture at ABC University.
Hirsch, E. 1995. “Introduction, Landscape: between place and space” in Hirsch, E. (ed.) The Anthropology of Landscape: Perspectives on Place and Space. Oxford : New York: Clarendon Press.
...d landscape materials in the galleries. Some of the large land art works can only be accurately enjoyed from some height by a plane or so. According to opponents, an art work should be open for every class of society. As viewing a large land art piece from the air is beyond the reach of poor person. But photographs are the best option to represent the huge and unreachable land artworks.
Davoudi’s (2012) environmental management typology discusses eight distinct meanings of environment that are incorporated into the planning system of today. The new discourse that is involved with environmental management has meant that the environment is being seen in different ways. And as a result, the meanings attached to the environment have changed substantially over time (Davoudi, 2012). Davoudi (2012) discusses that environmental management is restricted by the limited definitions of the environment, and the onset of climate change and the discourse surrounding it has meant that perceptions of environment have been shaped (Davoudi, 2012). The first definition that is offered is local amenity, which explains that the environment has aesthetic and recreational values associated with it. The next is environment as heritage landscape, which sees the environment as he...
Several authors have based some of their writings on their spirituality. Some of these writings are as intricate as the Bible or as basic as an article in a local newspaper, but the meaning and passion behind them should never be doubted. In Leslie Marmon Silko's "Landscape, History, and the Pueblo Imagination", she expresses how her people have a very different meaning of "landscape". To Silko's people, the popular definition of landscape as being "a portion of territory the eye can comprehend in a single view" makes it seem as though the viewer is on the outside looking in. To them, the term landscape is much more than that. One cannot leave their surroundings, the earth and nature are always around us and we are always interconnected. The ancie...