INFORMATION of 8 May 2014 Frankfurt / Main MISSION: POSTMODERN Heinrich Klotz and the Wunderkammer DAM 10 May — 19 October 2014 Deutsches Architekturmuseum DAM, Schaumainkai 43, Frankfurt/Main, ground + first floor EXHIBITION OPENING: Fri, 9 May 2014, 19.00 PRESS CONFERENCE: Thu, 8 May 2014, 11.00 GUIDED TOURS: On Saturdays and Sundays 15.00 Heinrich Klotz, Founder of the DAM, 1988 © Photo: Freek van Arkel 30 YEARS OF THE DAM SUBJECT AREAS IN THE EXHIBITION COINCIDING PROGRAM PUBLICATION / IMPRINT COMING SOON / CONTACT OPEN: Tue, Thu — Sun 11.00 — 18.00 \ Wed 11.00 — 20.00 \ Mon closed 2 2 9 11 12 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 30 YEARS OF DEUTSCHES ARCHITEKTURMUSEUM THE DAM IS CELEBRATING ITS OPENING IN 1984 WITH AN EXHIBITION ON THE FOUNDING DIRECTOR HEINRICH KLOTZ, IT’S COLLECTION AND POSTMODERN ARCHITECTURE. Heinrich Klotz’s hitherto unpublished diary recordings were the starting point for marking DAM’s 30 th anniversary by looking back over the turbulent years when the museum was established. Dictating to a tape recorder, Klotz described the compilation of the collection, the construction of the museum building and his encounters with the most important architects of the time – Frank Gehry, Hans Hollein, Rem Koolhaas, Richard Meier, Aldo Rossi, Denise Scott Brown, Robert Venturi and many others. The recordings also offer an insider’s view of the genesis of Frankfurt’s “Museumsufer”, its row of museums along the banks of the River Main. Deutsches Architekturmuseum was inaugurated on June 1, 1984 as the first new museum on the “Museumsufer”. Klotz had to fight a number of battles before taking his place in the new museum landscape, about which his diaries provide valuable information. The exhibition celebrating the museum's 30th birthday therefore makes constant references to original quotes from the diary: “Just leave the whole building empty and buy yourself a shack next-door where you can display all of your stuff!” Oswald Mathias Ungers, Architect of the DAM, quotation from the diary of Heinrich Klotz, 3 February 1984 The “Wunderkammer” (cabinet of curiosities) featuring the most important works Heinrich Klotz acquired between 1979 and 1989 is the focal point of the exhibition. The “stuff” that he assembled in his ten years as director of the DAM will be displayed in a new light to mark the anniversary. Thanks to his diary and his picture archive, it becomes clear what criteria he applied in building up the collection. The first exhibitions prove that Klotz did not aim to build a special museum for an expert audience, but rather sought links with art, everyday culture and design. THEMES IN THE EXHIBITION Heinrich Klotz and how he entered the director´s office As of the mid-1970s Heinrich Klotz developed ideas for the founding of an architectural museum. He presented his concepts in Frankfurt with much charm and charisma. Three details opened him the door to the director’s office: Professor of Art History in Marburg since 1972, he had helped save Marburg’s old town from demolition. He had previously got to know important architects in the United States. And in the 1970s he wrote architecture reviews for a broad audience, as well as a book about “kitsch”: Die röhrenden Hirsche der Architektur. “Kitsch” Heinrich Klotz was able to write with clarity and aplomb. Away from the academic world, he also frequently published articles in the Frankfurter Rundschau daily. In Die röhrenden Hirsche der Architektur he explains that “kitsch” is not necessarily a bad thing, but rather a very human reaction to PRESS INFORMATION Page 2 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 the monotonous post-war architecture. Yet Klotz saw a new architecture emerging, set to do it better, although he did not yet call it “postmodern”. His keen sense for popular themes heavily influenced the early years of the DAM. Marburg Heinrich Klotz had been committed to the preservation of historic buildings since the 1960s. As a research assistant at Göttingen University he joined students in occupying a university building threatened with demolition. In Marburg he campaigned for the preservation of the neglected traditional half-timbered buildings. Yet Klotz not only aimed to preserve – he moreover encouraged architects to formulate contemporary concepts for the old town. Although none were in fact realized, Klotz had proved himself a man of deed, who was in a position to convince politicians. USA/Interviews As a young guest professor at Yale, Klotz was confronted with a radical change in architecture in 1969. He gave up the reticence of a historian and held interviews and debates with architects who criticized the development of modern architecture. He compared his own role here with that of Giorgio Vasari (1511– 1574), the “first art historian”, who dedicated biographical portraits to artists of the Renaissance. Klotz created his own portraits in two ways: with texts and with his slide shots. Vita Heinrich Klotz 1935 born in Worms Studied art history, German literature, archeology, and philosophy. 1969–1970 Guest professor at Yale University , 1972 guest professor at Washington University in St. Louis 1972–1989 Professor of art history at the Universität Marburg 1987 Guest professor at Williams College, Williamstown 1979–1989 Founding director of the Deutsches Architekturmuseum From 1989, founding director of the ZKM Zentrum für Kunst und Medientechnologie [Center for Art and Media] and founder of the Hochschule für Gestaltung [University of Arts and Design] in Karlsruhe 1999 died in Karlsruhe Frankfurt’s “Museumsufer”, Founding of the DAM and construction of the museum building “The bank high-rises’ cold splendor meets crumbling old buildings” describes the mood in 1970s Frankfurt. “Bankfurt” and “Krankfurt” (from the German word “krank”, meaning ill or sick) were the city’s nicknames at the time. Squatters occupying buildings in Frankfurt’s Westend district, downtown demonstrations and street battles with the police created a tense atmosphere. Culture was supposed to forge renewed unity between the city and its people: “Culture for all”, was the motto of Hilmar Hoffmann, the City of Frankfurt’s Councilor for Cultural Affairs from 1970 to 1990. Lord Mayor Walter Wallmann advocated an ambitious building program from 1977. The eastern side of the “Römerberg” square, the “Schirn Kunsthalle” gallery, the “MMK” museum of contemporary art and the chain of new museums on the Main, which form the “Museumsufer” stretch of the riverside, all date back to the urban redevelopment that took place under Wallmann (1977–1986). The villas along the PRESS INFORMATION Page 3 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 “Schaumainkai” embankment were saved from impending demolition by these developments. The new objective of planning was not to build from scratch, but to integrate existing properties. The building program with which the City of Frankfurt sought to create a new image for itself as of 1977 was highly controversial at the time: Are the new museums an excessive luxury that will represent competition for the established institutions such as the Städel? Is the fostering of city-district culture being neglected? Does the new buildings’ architectural style spell a conservative shift? As of 1977 Heinrich Klotz was at the center of these sometimes heated debates. He succeeded in convincing the politicians to establish an architectural museum. 1979–1984: Ungers, Klotz and the construction of the DAM The Deutsches Architekturmuseum, or DAM, was the first museum of architecture in Germany – and the first museum of its kind worldwide for which a building was specially designed. Architect Oswald Mathias Ungers planned the conversion of the villa, taking not only functional points of view into account. He and his client Heinrich Klotz were working according to a manifesto. The question of how architecture can be exhibited, even though buildings cannot be transported and brought into the museum, had to be answered by the DAM in fundamental ways. It is for this reason that the interior of the villa is a “building within a building”. Thanks to this concept, the architecture that can otherwise only be presented with plans, models, photos or films is experienced in real dimensions. The historical villa is likewise treated as an exhibit: A wall creates a plinth that transforms the old building into an exhibition piece. Fritz Geldmacher, Architect of the Villa at Schaumainkai Little is known about the Geldmacher villa, which as of 1979 was converted into Deutsches Architekturmuseum. Even in 1980 its architecture was regarded by many as suspect. »Showy«, the weekly Die Zeit called it, while at the official opening in 1984 the daily newspaper Frankfurter Allgemeine Zeitung (FAZ) bemoaned the »gloomy splendor«. After 30 years attempts are now being made to find out more about Fritz Geldmacher: Fritz (originally Friedrich) Arthur Geldmacher was born on April 3, 1880 in Elberfeld, nowadays Wuppertal. As a young architect Fritz Geldmacher built a respectable number of residential and commercial buildings in Frankfurt and the surroundings, some with Willi Lutz (born Jan. 31, 1881) as a partner. Geldmacher’s best-known buildings are the Neo-Baroque “Kopfapotheke” pharmacy at the corner of Neue Kräme and Braubachstrasse (1926) and the Neo-Classicist duplex villa on Schaumainkai (1912), which is now home to Deutsches Architekturmuseum. Between 1915 and 1924 Geldmacher lived periodically in Frankfurt and Munich. In Munich Fritz Geldmacher no longer worked as an architect, but as a businessman and builders’ merchant. He died on Oct. 18, 1963. First exhibitions under the direction of Heinrich Klotz Revision of the Modern – Postmodern Architecture 1960–1980 The DAM’s opening exhibition created quite a stir. Critics accused Klotz of taking a one-sided attitude in favor of the architects of the postmodern era: Charles Moore, Aldo Rossi, Oswald Mathias Ungers, Robert Venturi and Denise Scott Brown etc. Yet when assembling the DAM collection, Klotz began with Frei Otto, the pioneer of lightweight structural engineering. In 1986 he dedicated the major exhibition “Vision of the Modern” to Otto and other technological visionaries. PRESS INFORMATION Page 4 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 Vision of the Modern, 1986: The Counterpart to the Revision of the Modern From the Russian constructivists of the revolutionary 1920s to the technological utopias of the 1960s to the ecological buildings of the 1980s – this exhibition spanned them all. For Heinrich Klotz this architecture was not the counter-model to the postmodern that he had exhibited two years earlier. Buildings that were defined by their construction could also be “expressive”. Klotz’s view of this “expression” was that architecture should not be mute, but should tell stories. Art exhibitions at the DAM The first work Klotz acquired for the museum collection in 1979 is a work of art (it hangs in the “Cabinet of Curiosities” on the first floor): the Wrapped Reichstag by Christo. The link between art and architecture stemmed from the fact that, initially, the DAM and the newly-founded Museum of Modern Art were to be accommodated in the same building here on the Schaumainkai. Even after the separation into two museums, art exhibitions still take place in the DAM and works of art are purchased. Local studies, local critique: Surveying Hesse / Construction, Stones, Shards, 1984 Architecture critique in the architecture museum: Can that work? Or is that the way to enrage an important part of the audience, i.e. the architects? Heinrich Klotz undertook two attempts at critique of the general case of everyday construction: “Surveying Hesse”, a photographic stocktake by the artists Helmut Baruth and Klaus Steinke, and “Construction, Stones, Shards”, an exhibition with caricatures. The “Wunderkammer” DAM Deutsches Architekturmuseum (DAM) is a treasure trove of extremely disparate things, some of which have never been exhibited. The order in this chamber of marvels is initially based on the sequence in which Heinrich Klotz acquired them. Since he frequently mentions prices in his diary, they are revealed here. The principle of a chamber of marvels goes back to the early European art collections. There, works of art, natural objects, instruments, handicrafts and much more besides were not yet housed in different institutions, but were put on display in an overarching classification system: The whole world, symbolically portrayed in a single place. Here in the DAM chamber of marvels it is the world of architecture, displayed by the objects, with which Heinrich Klotz laid the foundations for the DAM collection. Including 140 objects overall, the highlights of the “Wunderkammer” are (amongst others): the “Wrapped Reichstag” drawing by artist Christo, early Rem Koolhaas scetches and art pieces of Hans Arp, Georg Baselitz, Markus Lüpertz and Ben Willikens. Haus-Rucker-Co: Nike of Linz in Frankfurt/Main The Nike sculpture by Austrian architects group Haus-Rucker-Co has an eventful history. Erected in 1977 in Linz, it was removed two years later despite international protests from the worlds of art and culture. Heinrich Klotz acquired the Nike in 1981. The construction of the subway in front of the DAM created a gap in the row of plane trees, where the almost eight-meter tall aluminum sculpture with its ten-meter long steel girder was to be erected, as a symbol of the ‘Museumsufer’ and a proclamation, visible from afar, of Heinrich Klotz’ collectionpolicy, of which the close link between art and architecture was an important feature. IBM agreed to sponsor the undertaking, but the project fell through because of the objection of the Sachsenhausen district council. PRESS INFORMATION Page 5 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 The sculpture has since been in store. In 2014 the engineering firm Bollinger + Grohmann is conducting a preliminary study for DAM with a view to erecting the Nike after all. Heinrich Klotz´collection of slides Heinrich Klotz did indeed have a special view of architecture. He rejected the notion that structures should be portrayed in isolation. Unlike many architecture photographers, art historians, and architects, Klotz also photographed a building’s people and its surroundings. He used his slides for lectures, books, and exhibitions. They are kept at Hochschule für Gestaltung Karlsruhe and can be viewed online. Postmodern Architecture In the 1980s Frankfurt becomes a place to of pilgrimage for enthusiasts of postmodern architecture. The south bank of the Main river, the area around the cathedral and ‘Römerberg’, and the trade fair grounds feature prominently in this trend. Heinrich Klotz is a jury member for numerous competitions. Frankfurt’s architecture becomes more international: Americans, Austrians, Swiss, and Italians are all involved in the construction of the “New Frankfurt”, as the construction program is called in allusion to the New Frankfurt movement of the 1920s. Messe-Torhaus, Galleria, Messehalle 9 – Oswald Mathias Ungers, 1984 Messeturm – Helmut Jahn, 1990 O. M. Ungers’ structures make an unmistakable mark on the trade fair grounds: For the Galleria he takes up the idiom of the glass-covered arcade, creating in the process a striking location between the purely functional exhibition halls. The ‘Torhaus’ is at one and the same time a gateway and a tower, fragile and solid, and in this very postmodern way is “narrative”. With regard to the ‘Messeturm’ Heinrich Klotz succeeds in getting his way with his favorite Helmut Jahn, despite the fact that in the jury session Ungers is strictly against the idea. Schirn Kunsthalle – Bangert Jansen Scholz Schultes, 1986 Saalgasse – several architects, 1989 In 1979 the competition is held for the ‘Schirn Kunsthalle’, during which the decision to reconstruct the half-timbered buildings on the ‘Römer’ is once again put up for discussion. In the jury there is a ‘tussle‘writes Heinrich Klotz, who is an expert on it. But instead of adopting a ‘modern design’ to interpret the half-timbered edifices that make up the eastern line of buildings on ‘Römerberg’, the decision is taken to build ‘Saalgasse’ – a test run, perhaps, for the ‘New Old Town’ being built in 2014? Landeszentralbank Hessen (Deutsche Bundesbank, Hauptverwaltung in Hessen) – Jourdan & Müller with Berghof Landes Rang, 1988 In 1987 a postmodern office complex is built next to the Reichsbank building on Taunusanlage. The edifice has a comb-shaped footprint. Small courtyards give the office wings structure. The main, glasscovered hall is reminiscent of the Galleria that O.M. Ungers built at the trade-fair grounds. Decorative elements typical of the era structure the facade. The postmodern interior has been preserved to this day, and can be viewed on the DAM tours. Kundenzentrum der Stadtwerke / Museum Judengasse (Stadtplanungsamt) – Ernst Gisel, 1990 The public utility company’s HQ is built on the site of the former city wall and the Jewish ghetto. The closed, nonplastered brick facade is intended to offer a reinterpretation of the city wall. The momentum of the roof makes a striking mark on busy Kurt Schumacher Strasse. During the construction work remains PRESS INFORMATION Page 6 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 of the Jewish ghetto are uncovered. The subsequent »Börneplatz conflict« leads to the integration of Museum Judengasse and the construction of the »Neuer Börneplatz« memorial. Saalbau Gutleut – Berghof Landes Rang, 1990 The facades of the residential development at Westhafen are structured by semi-circular glass oriels, brightly colored window areas, and red columns. Circular windows mark stairwells above the differently designed entrances. A passageway links the residential buildings with the Saalbau pavilion for the Gutleut district. The ballroom is located behind the corrugated wall and the ring of windows. Crowned by a golden hat and accessed via a circular entrance, numerous postmodern decorative elements feature here. Deutsches Architekturmuseum – Oswald Mathias Ungers, 1984 At the opening of Deutsches Architektur Museum (DAM), its architect O. M. Ungers was critical of »postmodernism«: He had nothing to do with it, he said. Yet Ungers indisputably designed one building which can be read like a story, a typical characteristic of postmodernism: The »building in a building«, the original form of architecture, the interweaving behind a wall as a »city in miniature form«. In addition, Heinrich Klotz desires a strong symbol, yet to this day the »Nike« sculpture has not yet been installed in front of the building. Filmmuseum - Helge Bofinger, 1984–2009 (further conversion 2009) The Film and Architecture Museums emerge as Siamese twins: Designed simultaneously, they are linked by a passageway and share the same heating system. Helge Bofinger, the architect of the Film Museum, adopts the DAM sandstone arcade as a linking element. For both museums the villas dating from between 1910 and 1912 are completely gutted and a »building in a building« inserted. Bofinger’s work was totally removed during the modernization work beginning in 2009. Deutsches Postmuseum (Museum für Kommunikation) – Günter Behnisch, 1990 With its rooftop aerial, the glass and concrete cube looks highly technical, a foreign body that has landed between the old villas. A slanting glass cylinder houses the open steps and leads to the exhibition rooms, which for reasons of space are located underground. Postmodern elements are only discernible at second glance, for example a sloping steel staircase is a tongue-in-cheek comment on the classic travertine entrance pedestal. Erweiterungsbau des Städelmuseums – Gustav Peichl, 1990 The extension performs a fine balancing act: On the hand, it fulfills the need for a large closed box containing exhibition rooms – and on the other the wish to create a foyer and a striking entrance. For this reason a slit sets the latter apart from the rest of the facade, which consists of a continuous piece of marble. The entrance could also be a piece of Viennese Reform architecture from around 1910, whereas the rest of the building celebrates its function as a safe warehouse for art. Liebighaus (Erweiterung) – Scheffler und Warschauer, 1990 In the late 19th century Heinrich Baron von Liebieg had the architect Leonhard Romeis build a villa for him on the south bank of the River Main. Since 1908 it has housed the Municipal Gallery’s sculpture collection. The subsequent extension in the form of a gallery wing (1909) remained uncompleted until 1990. At first sight one cannot see which part of the extension is new. The addition of extensions with no visible signs of a caesura is one of the achievements of postmodernism still valid today. Jüdisches Museum – Ante Josip von Kostelac, 1989 Of all the new cultural edifices built in the 1980s, the Jewish Museum is the one that that treated the existing building fabric most cautiously. Following initial plans to install a large staircase on the inside, PRESS INFORMATION Page 7 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 the interior rooms were completely refurbished. There is no skylight axis. Only the foyer and the areas above it were inserted as a new spatial lattice structure. There are current plans for an extension. Museum für Vor- und Frühgeschichte (Archäologisches Museum) – Josef Paul Kleihues, 1989 The diagrams Klotz acquires reveal the competition design with which for the Museum of Prehistory and Early History Josef Paul Kleihues held his own against 60 other entrants. The list of entrants was international, including Peter Cook / Christine Hawley and Adolfo Natalini. Visibly screwed on, the panels serve as a reminder that the facade is it not solid, but only cladding. Museum für Moderne Kunst – Hans Hollein, 1991 The Museum für Moderne Kunst (MMK) is initially intended to be located in the same building as Deutsches Architekturmuseum (DAM). The need for more space and, a little later, the city’s acquisition of the Ströher art collection make a new building necessary. The open competition attracted a total of 98 entries; Heinrich Klotz is a jury member. Hans Hollein’s proposal is more postmodern on the outside than on the inside, where dramatic sequences of rooms provide greater scope for experience than playing with quotations from architectural history Portikus-Kunsthalle (Conversion to Literaturhaus 2003) – Marie-Theres Deutsch und Klaus Dreissigacker, 1987 Fragments and quotations, two characteristics of postmodern architecture, come into play from a different direction in the Portikus art gallery: The actual portico, the entrance formed by columns and gables, is all that remains of the municipal library that was destroyed in the War. In 1987 an exhibition pavilion is constructed behind it, which the Director of the Städel Academy, Kaspar König, makes a condition if he is to accept the position. Between 2003 and 2005 the Literaturhaus is built behind the Portikus, and the art gallery moves to Maininsel, an island in the River Main. Ikonenmuseum – Oswald Mathias Ungers, 1990 In the Ikonen-Museum in the Deutschordenshaus building there are hints of the DAM design principle of a »building in a building«. In the former’s refectory it is more of a »shelf« positioned in the room that O. M. Ungers deploys to create an exhibition space on two levels. With regard to the fittings, all the elements conform to a square grid Museum für Kunsthandwerk (museum angewandte kunst) – Richard Meier, 1985 In 1985 Villa Metzler, the largest building along the riverbank is extended and becomes the Museum für Kunsthandwerk. Alongside three German architects, Richard Meier and Venturi, Rauch and Scott Brown from the USA, and Hans Hollein from Vienna take part in the limited competition. Klotz is a jury member and advocates Robert Venturi’s entry. Richard Meier’s design is postmodern in its own way: Villa Metzler becomes a module in the design and is quoted several times in the new building. PRESS INFORMATION Page 8 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 Sa/So, 15 Uhr Öffentliche Führungen mit Yorck Förster, Eintritt ins Museum 9,- Euro/4,50 Euro erm. ARCH+ Feature 10. Mai 2014, 17–19 Uhr \ Auditorium des DAM, kostenfrei Vorstellung des Sonderhefts der Architekturzeitschrift ARCH+ zu den „Klotz Tapes“ mit Oliver Elser, Myriam Pflugmann, Franziska Stein (DAM) und der ARCH+ Redaktion, im Rahmen der Ausstellung „MISSION: POSTMODERN – Heinrich Klotz und die Wunderkammer DAM“. Nacht der Museen 10. Mai 2014, 19–2 Uhr \ Auditorium des DAM, 14 EUR (für alle teilnehmenden Museen) Heinrich Klotz Dia-Abend, 19-20 Uhr Der Kunsthistoriker Heinrich Klotz (1935–1999) hielt Bauten und Begegnungen mit Architekten in seinen Dias fest. 8.000 Aufnahmen wurden an der Hochschule für Gestaltung Karlsruhe im Projekt „Postmoderne Projektionen“ von Julia Brandes digitalisiert. Eine große Auswahl wird in der Ausstellung „Mission: Postmodern. Heinrich Klotz und die Wunderkammer DAM“ gezeigt. Zur Nacht der Museen präsentieren die Kuratoren Oliver Elser und Franziska Stein ihre Highlights. Zurück in die 80er!, 21-2 Uhr Das DAM wird 30 und feiert das Jahrzehnt seiner Gründung! Heinz Felber, Gründungsmitglied der HR3 Clubnight und langjähriger DJ, hat die 80er Jahre quasi aufgesaugt: Ob Neue Deutsche Welle oder Disco – von Madonna bis Michael Jackson – nichts ist ihm fremd. Er bringt das Auditorium zum Tanzen! Touren zur Postmoderne: Tour 1 \ City 17. Mai, 14. Juni, 28. Juni, 12. Juli, 20. September, 4. Oktober 2014, jeweils 16–18 Uhr \ Startpunkt am DAM, 6 EUR, ermäßigt 4 EUR Deutsches Architekturmuseum, Oswald Mathias Ungers Archäologisches Museum, Josef Paul Kleihues Römerberg \ Saalgasse, Berghof Landes Rang; Charles Moore; Adolfo Natalini; Christoph Mäckler; Eisele + Fritz u.a. Schirn, Bangert Jansen Scholz Schultes Museum für Moderne Kunst, Hans Hollein Führungen in Kooperation mit dem Institut für Kunstgeschichte der Johannes Gutenberg Universität Mainz, Prof. Dr. Matthias Müller Sonderführung für Lehrerinnen und Lehrer mit dem Kurator Oliver Elser 21. Mai 2014, 18 Uhr, kostenfrei Touren zur Postmoderne: Tour 2 \ Museumsufer 24. Mai, 21. Juni, 5. Juli, 19. Juli, 27. September, 11. Oktober 2014, jeweils 16–18 Uhr \ Startpunkt am DAM, 6 EUR, ermäßigt 4 EUR Deutsches Architekturmuseum, Oswald Mathias Ungers museum angewandte kunst, Richard Meier Museum für Kommunikation, Günter Behnisch Erweiterungsbau des Städelmuseums, Gustav Peichl Liebieghaus (Erweiterung), Scheffler und Warschauer Führungen in Kooperation mit dem Institut für Kunstgeschichte der Johannes Gutenberg Universität Mainz, Prof. Dr. Matthias Müller PRESS INFORMATION Page 9 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 30. Geburtstag des DAM Symposion mit Zeitzeugen der Museumsgründung und Weggefährten des Gründungsdirektors Heinrich Klotz 31. Mai 2014, 18–1 Uhr \ Auditorium des DAM, Eintritt 5 EUR Eduard Beaucamp, 1966–2002 Kunstkritiker FAZ Roland Burgard, 1990–1998 Leiter des Hochbauamtes Frankfurt am Main Diethelm Fichtner, 1971–1993 Leiter des Stadtplanungsamtes Marburg Andrea Gleiniger, 1983–1993 Kuratorin DAM Hans-Erhard Haverkampf, 1975–1989 Planungs- und Baudezernent in Frankfurt am Main Peter Iden, 1981–1987 Gründungsdirektor des Museums für Moderne Kunst in Frankfurt am Main Hans-Peter Schwarz, 1983–1990 Kurator DAM STADTplus – Die Stadt + Die 80er Wie sich Frankfut neu erfunden hat – Claus-Jürgen Göpfert, Frankfurter Rundschau 4. Juni 2014, 19 Uhr (Einlass 18.30 Uhr) \ Auditorium des DAM 1/2 Stunde Vortrag, Museum und Bar geöffnet bis 22 Uhr, Eintritt 11 EUR \ ermäßigt 8 EUR – jeweils mit Getränk Postmodern: Saalgasse revisited Architektur vor Ort, für alle Interessierten, auch als Lehrerfortbildung akkreditiert 25. Juni 2014, 17.30 — 19.30 Uhr \ DAM Auditorium Saalgasse, 9 EUR Mit Arne Winkelma nn, Dipl. Ing. / Kulturwissenschaftler Film & Vortrag Anne Kockelkorn, ETH Zürich: Panoptikum der Postmoderne. Terry Gilliams Film „Brazil“ und sein Drehort, Ricardo Bofills „Les Espaces d’Abraxas“ 16. Juli 2014, 17—20 Uhr \ DAM Auditorium, 5 EUR LegoBaustelle für Grosse und Kleine Baumeister 26. Juli — 31. August 2014, Di — So, 10—18 Uhr \ DAM Auditorium, 3 EUR Die „LegoBaustelle“ füllt das Auditorium mit Tausenden von Legosteinen und bietet Kindern ab 4 Jahren die Möglichkeit, ihren Baufantasien freien Lauf zu lassen. Anmeldung für Gruppen unter bildung.dam@stadt-frankfurt.de \Tel. 069-212-47911 PRESS INFORMATION Page 10 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 PUBLICATION ARCH+ Nr. 216 – special edition "Klotz Tapes" ARCH+ Berlin German/English, 240 p. + 24 p. “Feature” + 16 p. Appendix Format: 235mm x 297mm With Essays by Jasper Cepl, Oliver Elser, Franziska Stein, Anke te Heesen, Julia Voss and interviews with Charles Jencks and Paolo Portoghesi. Available at the museum shop or at book stores for EUR 29,IMPRINT Mission: Postmodern – Heinrich Klotz and the Wunderkammer DAM 10 May – 19 October 2014 , Deutsches Architekturmuseum, first Floor Director Peter Cachola Schmal Curator und Managing Editor of the Klotz-Tapes Oliver Elser Curatorial Assistance, Scientific Research, Exhibition Organization Franziska Stein Scientific Research, Exhibition Organization Myriam Pflugmann Index of People, Goups and Companies; Bibliography Erich Wagner Transcription Ingrid Helmdach, Paulina Kasprzyk Student Assistants Anika Kindervater, Maximilian Kürten Research on Fritz Geldermacher Peter Körner Exhibition Design Deserve, Wiesbaden/Berlin Catalog ARCH+ Nikolaus Kuhnert, Anh-Linh Ngo, Jesse Coburn, Sara Lusic-Alavanja, Rob Madole, Vincent Meyer-Madaus, Felix Rebers, Stephan Redeker, Achim Reese, Simon Schulz Catalog Design Meiré und Meiré, Mike Meiré (Art Director), Charlotte Cassel, Tobias Tschense Corporate Design DAM Gardeners, Frankfurt Head of Archives DAM Inge Wolf Registrar Wolfgang Welker Public Relations DAM Stefanie Lampe, Susanne Lehmann Director’s Office and Administration DAM Inka Plechaty, Jacqueline Brauer Installation DAM Paolo Brunino, Ulrich Diekmann, Enrico Hirsekorn, Caroline Krause, Eike Laeuen, Harald Prompl, Jörn-Luca Schön, Angela Tonner, Gerhard Winkler, Valerian Wolenik, under the direction of Christian Walter Framing Valerian Wolenik PRESS INFORMATION Page 11 MISSION: POSTMODERN – Heinrich Klotz and the Wunderkammer DAM Frankfurt/ Main, 17.02.16 Museum Technician DAM Joachim Müller-Rahn Postmodern Architecture Tours in Frankfurt Institut für Kunstgeschichte und Musikwissenschaft der Johannes Gutenberg-Universität Mainz, Prof. Dr. Matthias Müller with the students Kevin Berz, Isabelle Hammer, Danika Helbing, Leonie Köhren, Tanita König, Lucas Koll, Miriam Kremser, Kira Lang, Nadine Nitsche, Marc Riegel, Felix Tauber Press images for announcements and reports during the exhibition period at www.dam-online.de 24 May – 24 August 2014 Bridging Ostend – Points of time at closest range DEUTSCHES ARCHITEKTURMUSEUM Press & Public Relations Schaumainkai 43, 60596 Frankfurt am Main, Germany, www.dam-online.de Brita Köhler, Dipl.-Ing. (FH) T +49 (0)69 212 36318 \ F +49 (0)69 212 36386 brita.koehler@stadt-frankfurt.de Susanne Lehmann, M.A. T +49 (0)69 212 31326 \ F +49 (0)69 212 36386 susanne.lehmann@stadt-frankfurt.de PRESS INFORMATION Page 12