#peterhan

[germanpostwarmodern]

All those who have watched the TV series „Mad Men“ know how hard it was for women to persist in the corporate men’s world of the 1950s through 1970s. Accordingly the perseverance of those who made a career of their own during these times compels incredible respect. In the world of architecture one such example was Brigitte Peterhans (1928-2021) who not only studied under Mies van der Rohe at IIT but became partner at Skidmore, Owings & Merrill. A Fulbright scholarship allowed her to spend a year at IIT after which she returned to Germany  to complete her studies at Stuttgart University. During her stay in Chicago she met former Bauhaus teacher Walter Peterhans whom she married in 1957. Moving between Germany and the US Peterhans already in 1958 was hired by SOM and she stayed with the firm until her retirement in 1990. Over the course of more than three decades she climbed up the ranks, becoming an associate in 1973 and associate partner in 1979.

For the first time this impressive biography has been written down and supplemented with projects, texts and diary entries in the present volume: „Not a Woman Architect - The Life and Work of Brigitte Peterhans“, edited by David L. Fleener and recently published by DOM Publishers. The book offers a differentiated view on Peterhans through personal recollections by the editor and John Vinci: they portray her as a demanding and sometimes difficult superior with a big heart whose robustness towards clients sometimes had to be made up for by Bruce Graham. Interpreting this with some kitchen sink psychology one might align her demeanor and her decided negation of being called a woman architect. And irrespective of gender the portfolio of buildings she worked on is impressive: among the projects are the Arab International Bank in Cairo, the Sears Tower and the Inland Steel Building, both in Chicago, to name just a few of those that are also covered in the book. The latter is rounded out by the complete reproduction of Peterhans’ master thesis at IIT that shows her as a clear disciple of the 2nd Chicago School of Architecture, a historic document that alone would make the book a great read!

[gacougnol]

Walter Peterhans (1897-1960)

Portrait of Ellen Frank, 1929

[icc133]

Marie Peterhans – 2024 Europa Pro

[thesacrifice1986]

Andor Weininger, Berlin, 1930 Walter Peterhans Gelatin silver print

[weimarhaus]

Bildnis der Geliebten (Portrait of the Beloved) Walter Peterhans, 1929

[bohcards]

Reading: The Shadow in the Stair

The Shadow in the Stair

Ernestine Peterhans records her conversations with the 'little darkness' in Hush House's Stair Tenebrous, which she calls 'Donkerling'.

I'm Reading…

Ernestine's business in the cellars of Hush House often took her up and down the Stair Tenebrous, although it is avoided by every other servant. 'Donkerling' attempted first to consume her and then to demand sacrifices from her; Ernestine consented to bring it mice, but became very stern when it asked for a 'new-drowned child…'

I've Read…

'Donkerling' claims to be an imprisoned Long under the protection of 'the deepest power of the Sea'. It is prone to occasional bouts of raving about how, when it has its freedom, its patron will drown the Isle. Ernestine renders most of these long speeches as '…', but is very interested in what it can tell her about the circumstances of shipwrecks; there are hints that she may have been planning a salvage expedition.

Provides Memory: Impulse

Provides Lesson: Coil & Chasm

[cavenewstimestoday]

Global coral bleaching has now hit 84% of ocean's reefs in biggest-ever event

Tech 1 / 2 FILE – Bleached coral is visible at the Flower Garden Banks National Marine Sanctuary, off the coast of Galveston, Texas, in the Gulf of Mexico, Sept. 16, 2023. (AP Photo/LM Otero, File) FILE – Bleaching is visible on coral reef off the coast of Nha Trang, Vietnam, Oct. 24, 2024. (AP Photo/Yannick Peterhans, File) Copyright 2023 The Associated Press. All rights reserved. FILE –…

[ltcinsuranceshopper1]

Climate change and overfishing threaten Vietnam's tradition of making fish sauce : NPR

Phan Cong Quang makes fish sauce in his home in Nam O fishing village on March 4. Yannick Peterhans/AP hide caption toggle caption Yannick Peterhans/AP DA NANG, Vietnam — Bui Van Phong faced a choice when the Vietnam War ended 50 years ago: Stay in his small village, helping his parents carry on the family’s centuries-old tradition of making fish sauce, or join the hundreds of thousands of…

[wewantnothing2]

Art of Photography - Grete Stern 

"Grete Stern (born in Wuppertal, Germany in 1904) came to Argentina in 1935, in exile from the nazi regime. By then she was a graphic designer and an accomplished photographer, formed at the School for Applied Arts, in Stuttgart, and at Walter Peterhans's workshops privately at first, then at the Bauhaus in Dessau. Most of Grete's work in Germany was carried out at the ringl + pit studio she had set up with her friend Ellen Auerbach, and has recently been enthusiastically appraised by European and American critics, as well as by scholars. But the bulk of her production - both as to importance and quantity was carried out in our country over nearly fifty years of uninterrupted activity. Her work, remarkable in quality and variety of genres, had not previously been collected into book form nor described and reviewed, as undertaken in this volume. Grete Stern, formed in the refined, creative European vanguard of the twenties, is an essential artist in modern Argentine photography, and she has contributed decisively to founding it. In 1948 she received an original proposal: supplying photographs to illustrate a section of Idilio magazine, published by Abril, entitled "El psicoanálisis le ayudara" (Psychoanalysis will help you). Edited by sociologist Gino Germani under de penname of Richard Rest, it conveyed psychoanalytical views on the dreams of its women correspondents. Grete proposed illustrating the dreams with photomontages. Her collaboration lasted around three years, in the course of which over one hundred and fifty pieces were published. To our knowledge, this is the largest and most important series of photomontages made in our country. 

It is an acknowledged fact that modern photomontage, developed in Germany after the First World War, was applied to political propaganda, advertising, and experimental photography. Grete imbibed it first during her apprenticeship as a graphic designer and then as a photographer. As already mentioned, it was a creative procedure she found attractive and inspiring. Up to the time of her Idilio series, Grete's photomontages in Argentina had been few and occasional. 

The texts describing the dreams to be illustrated by Grete were provided by Germani. Usually, they strictly reproduced the letters sent in by readers. Grete and Germani used to talk over the letter's intended interpretation, and he would request that the layout show certain characteristics, that flowers or animals be depicted, or unstable shapes, or some figures performing certain actions. Thence Grete would develop her combinative creation and her own point of view on the subject, which resulted in pieces of fairly free invention. 

Each photomontage was published with a title:"Ambition dreams', "Mask dreams", "Dreams of discontent", and so on, plus a comment written by Germani. The comments referred to the image composed by Grete as though it were a literal illustration of the dream described by the reader; based on it Germani produced interpretations and recommendations. 

The leading character in the photomontages was of course Idilio's reader - Germani's correspondent - who belonged to the lower classes in our country, especially the rising middle class of President Peron's first years in office. That female character is present in the images, either explicitly or implicitly: she takes part in her own dream or "looks on through the viewfinder, as happens in subjective movie footage. 

The subject matter originated in the dreams Germani found to be the most interesting for his analyzing, and among these main lythe ones emphasizing anguish and conflict. Grete's idea of female independence was very strong, and her critical attitude with respect to dominant values constraining and limiting it was a part of her idiosyncrasy. The possibility of expressing her viewpoints on these issues through her photomontages therefore came natural to her. 

... 

 Grete's dreams were for the first time presented as independent photographs by the end of the fifties at the Faculty of Psycho of La Plata University. They were first displayed in Buenos Aires in 1967, with the collaboration of poet Elva de Loizaga. From then up to 1982, when they hung at the great FotoFest show at Hous U.S.A., only art collector Jorge Helft took notice of them. FotoFest their prestige grew sharply, to the extent that they now rated at their original and true significance. (Fragments from Luis Priamo at: Grete Stern: Obra fotográfica en la Argentina, Fondo Nacional de las Artes, Argentina, 1995)." 

[pepoaraby]

ifbb ❤️ Marie Peterhans #fitness #motivation #bodybuilding #sports #gym ...

[choicale-comics]

Peterhan and Captain Cale

[domqwek]

Thanks @peterhanstyle for stopping by and doing this awesome drawing of Sentinel. So glad to be able to see you draw live and talk to you about your process. Very inspiring! 💥#dqwek #dominicqwek #peterhan #peterhanstyle #artist #artlife #sentinel #monsterpalooza #monsterpalooza2018

[weimarhaus]

Walter Peterhans (German, 1897-1960) Margaret Leiteritz with Oranges, cf. 1930. Museum Folkwang, Essen.

Margaret Leiteritz (1907-196) was a librarian and painter. After graduating from the Bauhaus in the late 1920s, she worked as the school’s representative to the Rasch wallpaper factory, where she oversaw production and colour selection.

Walter Peterhans was a German photographer best known as a teacher and course leader of photography at the Bauhaus from 1929 until 1933, and at the Reimann School in Berlin under Hugo Häring.

[bohcards]

The Shadow in the Stair

Ernestine Peterhans records her conversations with the 'little darkness' in Hush House's Stair Tenebrous, which she calls 'Donkerling'.

Tally Price (3) A price as the invisible world would reckon it; paid in uncommon currency, like the tokens called spintriae.

Mystery: Nectar (6) Greater challenges require stronger skills.

Readable There are worse things to put in your eyes than this.

Thing 'The gentleman makes things his servants. The petty man is servant to things.' - Master Xun

Codex Pages, cover, spine, knowledge decently tucked away like organs.

[germanpostwarmodern]

Matthäuskirche (1962-65) in Bern, Switzerland, by Frey Egger Peterhans

[gacougnol]

Walter Peterhans

Untitled - Champagne Glass (negative)

c. 1930 - 1939