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The compound classes of n-alkanes, polycyclic aromatic hydrocarbons (PAHs), and a number of chlorinated hydrocarbons (CHs) in the River Elbe and its tributary Mulde were investigated on the basis of monthly mixed samples of suspended particulate matter (SPM). Covering the period from September 1994 to August 1995, samples from the River Elbe were taken at Hamburg, those from the River Mulde at Dessau. The samples were extracted by supercritical fluid extraction (SFE). Analysis of all substance groups were performed by highperformance liquid chromatography (HPLC), followed by gas chromatography with mass spectrometric detection (GC/MSD). As a statistical approach for the interpretation of data, hierarchical cluster analysis of the individual compound classes were performed to determine differences or similarities between the sampling sites Hamburg and Dessau to find spatial and seasonal concentration patterns. These analysis showed that, with a high significance, the concentration patterns of n-alkanes, PAHs, and CHs were sampling site-specific in both the Elbe and Mulde throughout the entire sampling period. In all cases, clustering of mostly consecutive months indicated continuous, slow changes of input, which moreover showed a constancy with respect to annual cycles. Correlation analysis of pollutant loads with different hydrographic parameters showed a number of linear dependencies of the contaminants with temperature, SPM content, and water discharge. Annual fluxes of particle-bound pollutants were calculated for each sampling site, taking into account the average monthly SPM levels and the water discharge. The particle-bound pollutant loads for the River Elbe at Hamburg were estimated to 13.4 t/a n-alkanes, 4.1 t/a PAHs, and 175. 8 kg/a CHs. The pollutant loads for the River Mulde at Dessau amounted 0.55 t/a n-alkanes, 0.14 t/a PAHs, and 15.5 kg/a CHs during the monitoring period. The input of n-alkanes originated from different sources. The n-alkane pattern of samples of the River Elbe showed a predominance of odd-numbered compounds in the range of C-20 and C-30 originating from terrestrial plants and, depending on the season, high concentrations of C-15 and C-17 due to aquatic organisms. Only a small proportion of n-alkane input originated from petroleum sources. Samples from the River Mulde showed high amounts of the n-alkanes C-12 to C-15, indicating the input of light oil throughout the entire sampling period, constituting approximately 25% of the total n-alkane concentration. PAHs, which are considered combustion products, were widely distributed in all samples. Although the major inputs of PAHs were probably combustion sources and urban runoff, unusually high concentrations were found for some PAHs, which can be explained by point sources. A comparison of the standardized PAH patterns in samples from both stations clearly showed that higher fused ring systems, which mainly originate from combustion processes (four- to six-ring systems), had considerably higher relative concentrations in SPM from the Elbe than from the Mulde, where higher relative concentrations of the two- and three-ring systems were measured. This confirms findings that petroleum input was higher in the Mulde than in the Elbe. Concentrations of chlorinated hydrocarbons in SPM samples from the river Mulde had comparatively high levels. The largest differences were found for p,p'-DDT and its metabolites p,p'-DDD and p,p'-DDE. On average, concentrations of p,p'-DDT, p,p'-DDD, and p,p'-DDE in the Mulde were about 10, 15, and 25 times higher, respectively, than in the Elbe. Concentrations of HCB, which in the samples from Hamburg had the highest concentrations of all CHs, were found to be higher by about a factor of 3 in the Mulde River. The PCB levels in samples from the Mulde and Elbe were about equal, although there were differences in the pattern of PCB congeners.

\"Now available in an expanded and revised edition, this book contains an outstanding collection of photographs by the renowned architectural photographer Hans Engels and provides a detailed survey of surviving Bauhaus architecture in Europe. Focusing on buildings designed by Bauhaus members from 1919 to 1933, this book features some 65 famous and lesser-known building projects in Germany, Vienna, Barcelona, Prague, and Budapest by architects including Walter Gropius, Marcel Breuer, and Ludwig Mies van der Rohe. Arranged chronologically, Bauhaus Architecture offers informative commentary and site plans along with photographs, taken especially for this book. Engels' photographs show many buildings in their newly restored conditions and reflect the full range of Bauhaus architecture, one of the most influential schools of architecture in the twentieth century.\" --Provided by publisher.

The sweeping glass walls - the first of their kind, ancestors of the steel and glass towers of Chicago, Manhattan and London - glowed in the evening light. There, lurking amid Dessau's still suburban avenues, was one of the 20th century's classic utopias, where Walter Gropius aspired to fuse architecture, sculpture and painting into `a crystal symbol of a new faith that is to come'. The Nazis shut the Bauhaus in 1933. After decades of suppression, bombing and neglect, would there would be much left to see? But there I was, amid rows of fresh-faced East German youth, listening to a short, bearded architect, who was holding forth with a masterful fluency, not one word of which I could understand. It was as though, in the parallel reality of the GDR, the Bauhaus had just kept on going as Dessau's local tech. In fact, the students belong to the local university, which still rents half the building. The war-shattered Bauhaus accommodated various rag-tag institutions, including a cottage hospital and a driving school before restoration in the 1970s. It only returned to the status of educational institution last autumn, with a small intake of international postgraduates. But the standing of the Bauhaus is higher than ever. Modernism - rebranded for our own times as `minimalism' - is in. Gropius's building, one of the key works of the whole movement, is now a Unesco World Heritage site.

The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy-Nagy. Far less recognized are texts by women in the school's weaving workshop. InBauhaus Weaving Theory,T'ai Smith uncovers new significance in the work the Bauhaus weavers did as writers. From colorful, expressionist tapestries to the invention of soundproofing and light-reflective fabric, the workshop's innovative creations influenced a modernist theory of weaving. In the first careful examination of the writings of Bauhaus weavers, including Anni Albers, Gunta Stözl, and Otti Berger, Smith details how these women challenged assumptions about the feminine nature of their craft. As they harnessed the vocabulary of other disciplines like painting, architecture, and photography, Smith argues, the weavers resisted modernist thinking about distinct media. In parsing texts about tapestries and functional textiles, the vital role these women played in debates about medium in the twentieth century and a nuanced history of the Bauhaus comes to light. Bauhaus Weaving Theorydeftly reframes the Bauhaus weaving workshop as central to theoretical inquiry at the school. Putting questions of how value and legitimacy are established in the art world into dialogue with the limits of modernism, Smith confronts the belief that the crafts are manual and technical but never intellectual arts.

A Survivor officially breached the iron curtain on April 15, 1958, when Herbert Kegel and the Leipzig Radio Symphony Orchestra performed the work in concert. The performance is situated within the context of state expectations for radio; concerns about fending off the American cultural invasion, as well as its nuclear threat; the contested role of dodecaphony—and Schoenberg in particular—in East German cultural politics; the relationship of the East German state to its Jewish citizens; and the bureaucratic process by which A Survivor was approved for performance and recording. Despite being performed in its entirety and in its original version, discourse about the work was subject to de-Semitization by the ruling Socialist Unity Party (SED) so that it could serve an antifascist agenda. The historical event of the Warsaw ghetto uprising was appropriated similarly across the Soviet bloc. The chapter explores Kegel's connection to Paul Dessau, as well as the role of Werner Sander, cantor for the Leipzig community. Finally, the chapter compares the treatment of Jewishness and antifascism in reviews from newspapers representing the different political parties.