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1776_12 | As a child Mabel McKay (Pomo) had dreams that foresaw her roles of a sucking doctor and basket weaver. During these dreams she learned to weave baskets as young as six years old and was inspired for designs and their special uses. McKay believed "baskets are living entities, not just pretty objects to look at, and each basket has a particular purpose." She connected baskets with her healing as a doctor and would give a patient a basket of their own. McKay began holding classes to share her basket weaving skills and helped to introduce traditional basket weaving to those outside of the Native American community. During the 1950s and 1960s McKay also made public-speaking engagements at universities and museums in California on Native American culture and the art of basket weaving. By 1975, McKay was known as the last remaining spiritual adviser of the Pomoans. McKay said of her basket weaving, "It's no such thing art. I only follow my dream. That's how I learn." |
1776_13 | By 1920 an interest was growing for Native American art, either made by or influenced by Native Americans. Pop Chalee, who originally came from Taos Pueblo, ended up running away from her mother's home in Utah when she was only sixteen years old. She and her family settled in Taos Pueblo where, for the most part, she felt like an outsider. These clashing feelings made Chalee and her family decide to move back to Utah. |
1776_14 | Chalee began attending the Santa Fe Indian School in 1930 as a student of Dorothy Dunn. Chalee was taught in a specific design which would come to be associated with the Kiowa Movement. At Dunn's studio, Native American students were encouraged for the first time to pursue a career in art. In 1936 one of Chalee's paintings was purchased by Disney as an inspiration for Bambi. After graduating Chalee was commissioned to paint a mural for Maisel's Trading Post along with fellow artists of the time: Awa Tsireh, Joe H. Herrera, Pablita Velarde, Harrison Begay, and Popovi Da. Chalee, and continued to paint murals which included sites such as the Albuquerque Airport and the Santa Fe Railroad.
Chalee was not just a visual artist. She also performed while promoting the film version of Annie Get Your Gun, telling stories, lecturing, and even singing while wearing native dress and elaborate accessories. |
1776_15 | Around the same time as Pop Chalee was gaining popularity, another artist, Ellen Neel, was taking risks in Canada by taking part in potlatch. This was banned by both the United States and Canada, who saw it as a "useless custom." Neel (Kwakwaka'wakw) was a totem woodcarver who was the first to transfer elements of her totem designs to paper and fabric and carved miniature poles for tourists. In 1946 Neel opened Totem Arts Studios and began her work in a former World War II bunker. During this time she also worked on repairing and restoring older poles for the University of British Columbia, but this work proved tedious and time-consuming, and she eventually returned to work on her own art. In 1955 Neel carved five totem poles for Woodward's department store. In her history, Neel also carved major poles for Stratford, Ontario, and the Museum of Copenhagen in Denmark. "In spite of the fact that she predated (Mungo Martin) and acted as his mentor, Canadian Council turned down a request |
1776_16 | to fund her totem pole projects as late as 1960." She would die six years later. |
1776_17 | As Ellen Neel was becoming nationally renowned for her carving work, Jaune Quick-To-See Smith (Flathead Salish) was still in high school, completing a correspondence art course from Famous Artists School. Born in 1940, Quick-To-See Smith did not have an entirely stable childhood. As a daughter of a migrant worker, her family was constantly moving, and she lived in foster homes intermittently. Her father would later inspire Quick-To-See Smith's art in the area of aesthetics, and by 1978 Quick-To-See Smith would display her paintings in her first solo art show before she had even completed her M.F.A. at University of New Mexico. Quick-To-See Smith's "art responds to art's historical misappropriations of Native cultures' symbols," with horses, buffalos, and petroglyphs as constants. Jaune said in 1994 about her work: |
1776_18 | My paintings are expressing my feelings about particular things. They are not generic works ... Each painting is a kind of story about something that I'm thinking about. And if I can't relate to it personally, if it doesn't have meaning for me ... then how can I make a painting about it?''
Other concerns that influence Quick-To-See Smith's work are racism, sexism, and environmental issues. Quick-To-See Smith is a member of Greenpeace and has organized protests over land rights, and uses natural art products.
Artwork
See also
List of 20th-century women artists
List of indigenous artists of the Americas
List of Native American artists
Native American Art
Timeline of Native American art history
Women artists
References
External links
Native Women in the Arts
Pablita Velarde Museum of Indian Women in the Arts
American contemporary art |
1777_0 | The pronghorn (, ) (Antilocapra americana) is a species of artiodactyl (even-toed, hoofed) mammal indigenous to interior western and central North America. Though not an antelope, it is known colloquially in North America as the American antelope, prong buck, pronghorn antelope, prairie antelope, or simply antelope because it closely resembles the antelopes of the Old World and fills a similar ecological niche due to parallel evolution. It is the only surviving member of the family Antilocapridae.
During the Pleistocene epoch, about 11 other antilocaprid species existed in North America. Three other genera (Capromeryx, Stockoceros and Tetrameryx) existed when humans entered North America but are now extinct. |
1777_1 | As a member of the superfamily Giraffoidea, the pronghorn's closest living relatives are the giraffe and okapi. The Giraffoidea are in turn members of the infraorder Pecora, making pronghorns more distant relatives of the Cervidae (deer) and Bovidae (cattle, goats, sheep, antelopes, and gazelles), among others.
The pronghorn is the fastest land mammal in the Western Hemisphere, with running speeds of up to . It is the symbol of the American Society of Mammalogists.
Discovery and taxonomy
Prior to the arrival of the Europeans, the pronghorn was particularly abundant in the region of the Plains Indians and the region of the indigenous people of the Northwest Plateau and was hunted as a principal food source by the local tribes. The pronghorn has also featured prominently in Native American mythology and oral history. |
1777_2 | The scientific name of the pronghorn is Antilocapra americana. Although first seen and described by Spanish explorers in the 16th century, the species was not formally recorded or scrutinized until the expedition in 1804-06 by Captain Meriwether Lewis and Second Lieutenant William Clark. Following the discovery of a few subspecies of the sharp-tailed grouse, Lewis and Clark came across the pronghorn near the mouth of the Niobrara River, in present-day Nebraska. Clark was the first European to kill a pronghorn, and described his experience as follows:
Lewis and Clark made several other observations on the behavior of the pronghorn and how the local tribes hunted them. They described the animal, which they referred to as the "Antelope" or the "Goat", as follows:
The pronghorn was first officially described by American ornithologist George Ord in 1815. |
1777_3 | Description
Pronghorns have distinct white fur on their rumps, sides, breasts, bellies, and across their throats. Adult males are long from nose to tail, stand high at the shoulder, and weigh . The females are the same height as males, but weigh . The feet have two hooves, with no dewclaws. Their body temperature is 38 °C (100 °F).
The orbits (eye sockets) are prominent and set high on the skull. Their teeth are hypsodont, and their dental formula is . |
1777_4 | Each horn of the pronghorn is composed of a slender, laterally flattened blade of bone which is thought to grow from the frontal bones of the skull, or from the subcutaneous tissues of the scalp, forming a permanent core. As in the Giraffidae, skin covers the bony cores, but in the pronghorn, it develops into a keratinous sheath which is shed and regrown annually. Unlike the horns of the family Bovidae, the horn sheaths of the pronghorn are branched, each sheath having a forward-pointing tine (hence the name pronghorn). Males have a horn sheath about (average ) long with a prong. Females have smaller horns that range from (average ) and sometimes barely visible; they are straight and very rarely pronged. Males are further differentiated from females in having a small patch of black hair at the angle of the mandible. Pronghorns have a distinct, musky odor. Males mark territory with a preorbital scent gland which is on the sides of the head. They also have very large eyes with a 320° |
1777_5 | field of vision. Unlike deer, pronghorns possess a gallbladder. |
1777_6 | The pronghorn is the fastest land mammal in the Western Hemisphere, being built for maximum predator evasion through running. The top speed is dependent upon the length of time over which it is measured. It can run 35 mph for 4 mi (56 km/h for 6 km), 42 mph for 1 mi (67 km/h for 1.6 km), and 55 mph for 0.5 mi (88.5 km/h for 0.8 km). While it is often cited as the second-fastest land animal, second only to the African cheetah, it can sustain high speeds longer than cheetahs. The pronghorn may have evolved its running ability to escape from now-extinct predators such as the American cheetah, since its speed greatly exceeds that of all extant North American predators. Compared to its body size, the pronghorn has a large windpipe, heart, and lungs to allow it to take in large amounts of air when running. Additionally, pronghorn hooves have two long, cushioned, pointed toes which help absorb shock when running at high speeds. They also have an extremely light bone structure and hollow |
1777_7 | hair. |
1777_8 | Pronghorns are built for speed, not for jumping. Since their ranges are sometimes affected by sheep ranchers' fences, they can be seen going under fences, sometimes at high speed. For this reason, the Arizona Antelope Foundation and others are in the process of removing the bottom barbed wire from the fences, and/or installing a barbless bottom wire.
The pronghorn has been observed to have at least 13 distinct gaits, including one reaching nearly per stride.
Range and ecology
The present-day range of the pronghorn extends from southern Saskatchewan and Alberta in Canada south into the United States Through Montana, Idaho, Utah, Nevada, Arizona, Wyoming, Colorado, New Mexico, Washington, (southwestern Minnesota and central Texas west to coastal southern California) and northern Baja California Sur, to Sonora and San Luis Potosí in northern Mexico. |
1777_9 | A subspecies known as the Sonoran pronghorn (A. a. sonoriensis) occurs in Arizona and Mexico. Other subspecies include the Mexican pronghorn (A. a. mexicana), the Oregon pronghorn (A. a. oregona), and the critically endangered Baja California pronghorn (A. a. peninsularis).
Pronghorns prefer open, expansive terrain at elevations varying between , with the densest populations in areas receiving around of rainfall per year. They eat a wide variety of plant foods, often including plants unpalatable or toxic to domestic livestock, though they also compete with them for food. In one study, forbs comprised 62% of their diet, shrubs 23%, and grasses 15%, while in another, cacti comprised 40%, grass 22%, forbs 20%, and shrubs 18%. Pronghorns also chew and eat (ruminate) cud.
Healthy pronghorn populations tend to stay within of a water source. |
1777_10 | An ongoing study by the Lava Lake Institute for Science and Conservation and the Wildlife Conservation Society shows an overland migration route that covers more than . The migrating pronghorn start travel from the foothills of the Pioneer Mountains through Craters of the Moon National Monument to the Continental Divide. Dr. Scott Bergen of the Wildlife Conservation Society says "This study shows that pronghorn are the true marathoners of the American West. With these new findings, we can confirm that Idaho supports a major overland mammal migration - an increasingly rare phenomenon in the U.S. and worldwide." |
1777_11 | Cougars (Puma concolor), wolves (Canis lupus), coyotes (Canis latrans), grizzly bears (Ursus arctos horriblis) and bobcats (Lynx rufus) are major predators of pronghorns. Golden eagles (Aquila chrysaetos) have been reported to prey on fawns and adults. Jaguars (Panthera onca) also likely prey on pronghorns in their native range in the southwestern United States and in northern Mexico.
Social behavior and reproduction
Pronghorns form mixed-sex herds in the winter. In early spring, the herds break up, with young males forming bachelor groups, females forming harems, and adult males living solitarily. Some female bands share the same summer range, and bachelor male bands form between spring and fall. Females form dominance hierarchies with few circular relationships. Dominant females aggressively displace other females from feeding sites. |
1777_12 | Adult males either defend a fixed territory that females may enter, or defend a harem of females. A pronghorn may change mating strategies depending on environmental or demographic conditions. Where precipitation is high, adult males tend to be territorial and maintain their territories with scent marking, vocalizing, and challenging intruders. In these systems, territorial males have access to better resources than bachelor males. Females also employ different mating strategies. "Sampling" females visit several males and remain with each for a short time before switching to the next male at an increasing rate as estrous approaches. "Inciting" females behave as samplers until estrous, and then incite conflicts between males, watching and then mating with the winners. Before fighting, males try to intimidate each other. If intimidation fails, they lock horns and try to injure each other. "Quiet" females remain with a single male in an isolated area throughout estrous. Females continue |
1777_13 | this mating behavior for two to three weeks. |
1777_14 | When courting an estrous female, a male pronghorn approaches her while softly vocalizing and waving his head side to side, displaying his cheek patches. The scent glands on the pronghorn are on either side of the jaw, between the hooves, and on the rump. A receptive female remains motionless, sniffs his scent gland, and then allows the male to mount her. |
1777_15 | Pronghorns have a gestation period of 7–8 months, which is longer than is typical for North American ungulates. They breed in mid-September, and the doe carries her fawn until late May. The gestation period is around six weeks longer than that of the white-tailed deer. Females usually bear within a few days of each other. Twin fawns are common. Newborn pronghorns weigh , most commonly . In their first 21–26 days, fawns spend time hiding in vegetation. Fawns interact with their mothers for 20–25 minutes a day; this continues even when the fawn joins a nursery. The females nurse, groom, and lead their young to food and water, as well as keep predators away from them. Females usually nurse the young about three times a day. Males are weaned 2–3 weeks earlier than females. Sexual maturity is reached at 15 to 16 months, though males rarely breed until three years old. Their lifespan is typically up to 10 years, rarely 15 years.
Population and conservation |
1777_16 | At the turn of the 20th century, members of the wildlife conservation group Boone and Crockett Club had determined that the extinction of the pronghorn was likely. In a letter from George Bird Grinnell, Boone and Crockett Club chairman of the game preservation committee, to Walter L. Fisher, Secretary of the Interior, Grinnell stated, "The Club is much concerned about the fate of the pronghorn which appears to be everywhere rapidly diminishing." By the 1920s, hunting pressure had reduced the pronghorn population to about 13,000. Boone and Crockett Club member Charles Alexander Sheldon, in a letter to fellow member Grinnell, wrote, "Personally, I think that the antelope are doomed, yet every attempt should be made to save them." Although the club had begun their efforts to save the pronghorn in 1910 by funding and restocking the Wichita Game Refuge in Oklahoma, the National Bison Range in Montana, and the Wind Cave National Park, in South Dakota, most of the efforts were doomed since |
1777_17 | experience demonstrated that after initial increases the pronghorns would die off because of the fenced enclosures. In 1927, Grinnell spearheaded efforts along with the help of T. Gilbert Pearson of Grinnell's National Audubon Society to create the Charles Alexander Sheldon Antelope Refuge in northern Nevada. About 2900 acres of land were jointly purchased by the two organizations and subsequently turned over to the Biological Survey as a pronghorn refuge. This donation was contingent upon the government's adding 30,000 acres of surrounding public lands. On June 20, 1929, United States President Herbert Hoover included the required public lands upon request of the Department of Agriculture and the Department of the Interior after learning that the Boone and Crockett Club and the National Audubon Society were underwriting the private land buyout. On January 26, 1931, Hoover signed the executive order for the refuge. On December 31, 1936, President Franklin Roosevelt signed an executive |
1777_18 | order creating a tract; this was the true beginning for pronghorn recovery in North America. |
1777_19 | The protection of habitat and hunting restrictions have allowed pronghorn numbers to recover to an estimated population between 500,000 and 1,000,000 since the 1930s. Some recent decline has occurred in a few localized populations, due to bluetongue disease which is spread from sheep, but the overall trend has been positive.
Pronghorn migration corridors are threatened by habitat fragmentation and the blocking of traditional routes. In a migration study conducted by Lava Lake Institute for Science and Conservation and the Wildlife Conservation Society, at one point, the migration corridor bottlenecks to an area only 200 yards wide. |
1777_20 | Pronghorns are now quite numerous, and outnumbered people in Wyoming and parts of northern Colorado until just recently. They are legally hunted in western states for purposes of population control and food. No major range-wide threats exist, although localized declines are taking place, particularly to the Sonoran pronghorn, mainly as a result of livestock grazing, the construction of roads, fences, and other barriers that prevent access to historical habitat, illegal hunting, insufficient forage and water, and lack of recruitment. |
1777_21 | Three subspecies are considered endangered in all (A. a. sonoriensis, A. a. peninsularis), or part of their ranges (A. a. mexicana). The Sonoran pronghorn has an estimated population of fewer than 300 in the United States and 200–500 in Mexico, while there are approximately 200 Peninsula pronghorn in Baja California. Populations of the Sonoran pronghorn in Arizona and Mexico are protected under the Endangered Species Act (since 1967), and a recovery plan for this subspecies has been prepared by U.S. Fish and Wildlife Service. Mexican animals are listed on CITES Appendix I. Pronghorns have game-animal status in all of the western states of the United States, and permits are required to trap or hunt pronghorns.
References
Explanatory notes
External links
Migrations Documentary produced by Wyoming PBS |
1777_22 | Canadian Prairies
Extant Pleistocene first appearances
Fauna of the Great Plains
Fauna of the Rocky Mountains
Fauna of the Western United States
Herbivorous mammals
Mammals described in 1815
Mammals of Canada
Mammals of Mexico
Mammals of the United States
Taxa named by George Ord |
1778_0 | Þeyr () was an Icelandic new wave band from the early 1980s.
Origins
The origins of Þeyr date back to the late 1970s when singer Magnús Guðmundsson, bassist Hilmar Örn Agnarsson and Hilmar Örn Hilmarsson (drums and synthesizer) were playing in a garage band called Fellibylur (Hurricane). The band was expanded with vocalist Elín Reynisdóttir, who at the time was singing at a church choir, guitarist Jóhannes Helgason from a rock band called Piccolo, and drummer Sigtryggur Baldursson from Hattimas. They called themselves Frostrósir (Frostroses) and played rock music and some Icelandic songs at dancehalls in Reykjavík and its surroundings.
After a while they decided to change the band's name and came up with Þeyr, which was drawn from a poem by Skuggi and it means Wind or Thaw in old Icelandic. Þeyr is exactly pronounced as þeir, which means they (male gender).
History |
1778_1 | First release and internal changes
By 1979, they introduced two of their songs to Svavar Gests, owner of SG-Hljómplötur, who sent them to Sigurður Árnason, a record producer from Tóntækni, the studio of SG-Hljómplötur, and the recording sessions started in January 1980 but were interrupted in February when the band decided to take a long break to come back in September with new wave music. "There was a concert in Iceland with the group Clash which had a lot of effect on us, specially Magnús. That was the turning point as we started the new wave rock, and the band was taking a roller-coaster in music searching for something out of the ordinary", says Sigtryggur Baldursson. |
1778_2 | The band also recorded other works which were not published, like a song to Hindin, a poem by Davíð Stefánsson, sung by Elín and Eiríkur Hauksson and with some backing vocals added by Magnús. Svavar Gests was reluctant to publish the record as he did not like the music nor even the cover design, however, his wife persuaded him to release it.
The album, titled Þagað í Hel, was heavily influenced by progressive rock, disco music and late 1970s pop. The pressing of the vinyl was flawed when it arrived in Iceland, and only about 500 copies were released in December 1980. Þagað í Hel has never reissued because a few years later, the masters and other recordings were lost in a fire at Tóntækni, making this record widely unavailable today. The only song to survive from the album was the opening track "En...", which resurfaced later on Nælur, a compilation album of Icelandic new wave bands released in 1998. |
1778_3 | Right after this album, they were joined by guitarist and polytechnic engineer Guðlaugur Kristinn Óttarsson. They played together for a while, but Jóhannes withdrew from the band in order to finish with his aeronautical studies. Elín followed him and withdrew from the music scene to work at Impra.
Guitarist Þorsteinn Magnússon, from the band Eik joined the band and Magnús remained as the lead vocalist.
Starting anew
As time passed by and thanks to the final line-up, Þeyr developed an experimental rock, punk, heavy metal and pop style with preponderance of guitars and drums. Musical influences spanned over a wide range of seminal artists such as Joy Division, Holger Czukay, The Birthday Party, Killing Joke, Siouxsie and the Banshees, Nina Hagen, David Byrne, Yes, Genesis, Grateful Dead, and John McLaughlin. |
1778_4 | On January 28, 1981 Þeyr played at Hótel Saga, a date referred to as the reincarnation of Þeyr, where free haircuts were offered to the audience during the break. The band started to be acclaimed not only for their stage performances, but also by their accessible and at the same time creative music. The band was strengthened with the management of Guðni Rúnar Agnarsson, who was the host of the radio show Áfangar, and Hilmar Örn Hilmarsson, who also collaborated with the lyrics, some art works and served as an influential figure whose interest on obscurantism was embodied in the lyrics. |
1778_5 | Popularity and success beyond Iceland
The band's following release was a 7-inch vinyl called Life Transmission (also known as Útfrymi), which was released through their own label, Eskvímó in 1981. It contained two songs: the title song, which was the first work they sang in English, and "Heima er Bezt". Later, they collaborated on the soundtrack to Brennu-Njálssaga, a film about the Njáls saga which was directed by Friðrik Þór Friðriksson, toured Iceland and played along with Þursaflokkurinn and Baraflokkurinn in Akureyri. After these concerts, they went back to the recording studio and prepared Iður til Fóta, a 10-inch vinyl single which contained four tracks. |
1778_6 | By December and after 140 hours of recording sessions in studio Hljóðriti, Þeyr released their second album, Mjötviður Mær, in which songs like "Iss", "Þeir" and "2999" were outstanding examples of their attempts to create a futuristic pop style with use of voice distortions, keyboards and additional rhythms. The track "Úlfur" stands out due to having a more angry style of singing and "Rúdolf", an antifascist rock song, became into one of the most popular songs. This album received good reviews by the critics who said it fulfilled the expectations. |
1778_7 | By 1982, singer and keyboardist Jaz Coleman from Killing Joke had visited Iceland many times, and become an acquaintance of Þeyr. This resulted in an opportunity for the Icelandic band to travel to London in November where they were offered a support slot with The Cure on a six-month tour. However, Þeyr felt that they were not yet ready, and returned to Iceland to sign a record deal with label Shout instead. In the Spring of 1982, As Above... was released. The album contains mixed versions of previous songs, as well as the new song "Killer Boogie" and "Rúdolf", which was misinterpreted and lead to accusations of nazism. After this, Þeyr went on with a series of gigs throughout Scandinavia and were featured on Friðriksson's documentary Rokk í Reykjavík, performing two songs: "Killer Boogie" and "Rúdolf", along many important bands like Purrkur Pillnikk and Tappi Tíkarrass among others. |
1778_8 | Jaz Coleman decided to move to Iceland with guitarist Kenneth 'Geordie' Walker, with the ambition of resurrecting the Icelandic rock scene. While there, Coleman and Þeyr, with the exception of Magnússon, formed a new band originally called Iceland, but later named Niceland by Guðlaugur Óttarsson. After rehearsing for weeks Niceland was ready to record 5 songs in Hljóðriti in 1983, but two of them were never finished; the three songs recorded were: "Guess Again", "Catalyst" and "Take What’s Mine". But as Þeyr decided to write their own songs, Jaz moved away and joined guitarist Árni Kristjánsson and drummer Þórarinn Kristjánsson from the band Vonbrigði for a while, before returning to England to reestablish Killing Joke. The songs recorded by Niceland remain unpublished. |
1778_9 | Magnússon returned to Þeyr, and the band toured Scandinavia. By this point, Guðni and Hilmar decided to leave the band's management, and were replaced by Guðmundur Sigurfreyr Jónason. With the tour, the band gained more popularity and even managed to appear on radio and television in Denmark, they also went to a studio and recorded a few songs which were released on the 12-inch EP The Fourth Reich, in memory of Wilhelm Reich whose books had been banned by the Nazi regime. The image cover was alleged Nazi incitation because it depicted Wilhelm Reich wearing a Nazi-styled armband and the British label Shout was obligated to change the cover. However, it should be said, that the armband shown on the cover contained the symbol of the orgone physics, which represented duality and its origins in unity, referred by Reich as functionalism. On The Fourth Reich the use of percussions and rhythmical efforts were far more important than in earlier works. In this respect, the song "Zen" was |
1778_10 | particularly important due to its marked rock style, but the album did not have the impact of earlier works because the music was less accessible. The Icelandic version of this EP was released by label Mjöt, which had been created by Magnús. |
1778_11 | The band began to fall apart when Þorsteinn Magnússon left. He released a solo album Líf in 1982, under the name Stanya. The remaining four members continued playing together; however, the band broke up in June 1983. Soon after, a small EP was released through label Gramm, with the title Lunaire, which featured the title song as well as two other tracks recorded in Copenhagen. In 1992, Þeyr albums were about to be reissued by Smekkleysa, but the negotiations were abandoned. However, a CD titled Mjötviður til Fóta was released in 2001. This compilation featured tracks taken from Mjötviður Mær and Iður til Fóta and is currently the only CD released by Þeyr.
Þeyr's earlier releases have never been reissued since the masters are lost. Their original records have become rare collectors items, all of them currently out of public reach. |
1778_12 | Þeyr thinking: in search of absolute truth
Þeyr wanted to cause a change on the Icelandic society and their means varied from straight messages to subliminal persuasion. The band worked with Zeitgeist to bring about those changes and several tools were employed, including experiments from guitar strings made to vibrate in the "atmosphere of Jupiter" to recording studios underwater. Guitarist Guðlaugur created all sort of devices aimed to affect the audience in a wide range of forms. |
1778_13 | The Scriabin was one of them. It was named after Russian composer Alexander Scriabin. The music was used as organized sound. The Scriabin was programmed with a 13-note chord (some of them microtonal, for example, out of the ordinary 12-tone scale) and this chord could be displaced either above or below the range of human perception. The instrument would sound at an ultrasonic level before each concert, thus creating a subtle unity among the audience. A later Shout Records press release calls the Scriabin "The Fourier". It sums up:If there is any word which might serve as a key to the philosophical and practical aims of Þeyr it is "symmetry". They combine their belief in an inherent structure behind the manifestation of matter with intense experimental fervour that aims at unravelling at least a few practical applications of this "divine proportion" that determines the extent and amplitude of our aesthetic experience [....] The second study deals with the harmonic build up of music, |
1778_14 | and this has led to a study of the Russian composer Alexander Scriabin (1872-1915) whose work aimed at breaking up all classical rules of harmonic composition and ultimately at the founding of a new music that would escape the straitjacket of the 12-tone scale [...] He further sought to unite sensations such as smell, sight and hearing into one, and some of his later works were interpreted in colour as well as sound. This fascinating study is being pursued by Þeyr whose concerts have been known to reek of exotic incense and to be lighted by a certain blending of root colours. Ultimately these things will be married under the one heading which forms their third study, FOURIER. The Fourier as they jokingly refer to it is basically a machine that is being worked upon by one of the bands members who has a background in theoretical mathematics, physics and electrical engineering. However it has through time of construction (several proto-types of its main parts have already been |
1778_15 | constructed and some already discarded in favour of new ideas currently being worked on) come to represent an entirely new approach to the basic laws which underlie natural structures as ranging from the formation of crystals to harmonic scales that can be worked out of logarythmic spirals, these building in the scales 12. 17, 31, 55...n. making use of the basic laws and axioms supplied by the French mathematician and physicist J. B. Fourier. He has come up with a machine that makes use of the newest advances in computer technology but is controlled through a simple set of symbols which are ultimately part of the Fourier philosophy (as they jokingly refer to it) that is slowly but steadily being constructed by the band. The future user of the Fourier will need and extensive background in the writings of such diverse personalities as R. Buckminster Fuller, Giordano Bruno, the alchemical writings of Newton, not to mention Nyquist, Walsh and others which have worked upon the mathematics |
1778_16 | of music. See also under Life Transmission for their earlier explanation. |
1778_17 | Their philosophy was transmitted through both tonal and verbal means, whose basis was obscure to those who were not familiar with this band. Þeyr considered themselves as a "state within the state", a position considered elitist as it excluded those who did not lend their ears and minds to what Þeyr had to say and play. |
1778_18 | "We were very keen on all kinds of conspiracy theories and tales of lost knowledge and lost worlds. We were certain that some awful truth was laying hidden somewhere; that we were being brainwashed by the state, schools and church" says Guðlaugur Óttarsson. The band held interest into ancient Norse wisdom, as well as alchemy, paganism, magic, Ancient Egypt, the secret society of the Illuminati, the Pythagorean School and the Galilean/Newtonian thinking complemented with the present era of Einstein/Heisenberg. But the press release quotes: No sooner has their audience built up a definition (and following that, certain expectations) of Þeyr, when the band turns into the least expected direction and does something totally out of tune with their former work. It is only when their work is being observed over longer periods of time when the harmony behind their work begins to emerge: for instance Þeyr has always been a thorn in the eye of the Icelandic audience who wants to be able to |
1778_19 | define their groups as being political or apolitical, or serious (i.e. showing some social responsibility dealing with everything from "save the whales" to drinking problems) or just totally irresponsible (i.e. showing only affection for transient pleasures of life such as whaling, money.....or how to spend that money). On their first Icelandic album they defined their standpoint as being totally removed from arbitrary directive concepts such as left/right, East/West, up/down. |
1778_20 | Þeyr bolstered a stance against fascism and performed along various antifascist groups in the United Kingdom like Crass and The Fall.They only take a stand against a thing if it involves a restriction of any sort and seen from that point the view the majority of their lyrics can be seen as dealing with fascism of every conceivable sort [.......] Homo-Gestalt is a tongue-in-cheek handling of the newly emerging Neuro-Fascism, Techno-Logos deals with God as he appears in the Microchip-Cosmos, Rudolf deals with Political Fascism where diverse elements are united through a common object of hate etc.....
The funds gathered by the band were intended to finance the scientific projects of Guðlaugur, who has worked not only as a polytechnic engineer but as an inventor and as a mathematics expert. |
1778_21 | After the break-up
Magnús Guðmundsson continued running his record label Mjöt and later he started the band Með Nöktum (With the Naked), which released an album titled Skemmtun in 1985. He collaborated on Hjálpum Þeim, a charity album recorded in 1986 to fight child poverty in Africa and withdrew from the music scene until late 2005 when he collaborated on Guðlaugur's solo album. Magnús has also worked for an insurance company and has been raising Icelandic ponies. He currently works for the insurance division of Landsbankinn (the National Bank). |
1778_22 | Guðlaugur Kristinn Óttarsson and Sigtryggur Baldursson joined singer Björk Guðmundsdóttir from Tappi Tíkarrass, trumpet player and vocalist Einar Örn Benediktsson from Purrkur Pillnikk, keyboardist Einar Arnaldur Melax from Medúsa and bassist Birgir Mogensen from Spilafífl and dived into gothic rock with the band Kukl in August 1983. |
1778_23 | After Kukl, Sigtryggur followed up with the Sugarcubes achieving big success abroad. Other music projects followed such as Bogomil Font, and by 1993 he moved with his wife to Madison, Wisconsin, where he collaborated with some local bands and from Chicago, set up a sublabel for Bad Taste, called Bad Taste USA, created his own drum session studio called The Slaughterhouse and recorded a few sampler discs at Laughing Cat and Æthen and Butch Vig's Smart studios. He collaborated with Jóhann Jóhannsson and released an album called Dip, then with Emilíana Torrini on her album Love in the Time of Science. He also played in Grindverk with Einar Örn and Hilmar Örn Hilmarsson, and more recently in a duet called Steintryggur with Steingrímur Guðmundsson.
Sigtryggur has also written articles for the radiostation Bylgjan, and newspapers Mannlif, Morgunblaðið, Vísir and Bleikt og Blátt. |
1778_24 | Guðlaugur and Björk also worked together in a parallel project to KUKL known as the Elgar Sisters. Guðlaugur currently works as a session player and has as well released a few albums as a solo player, like Dense Time in 2005. His scientific activities have also taken an important part of his life, with theoretical research on subatomic particles, several inventions and the creation of Varmaraf, a thermoelectric company.
After leaving Þeyr, Þorsteinn Magnússon's attention was fixed on his solo project Stanya, which evolved into a band playing along with Haraldur Þorsteinsson, Ásgeir Óskarsson, Birgir Baldursson, Hjörtur Howser, and Kjartan Valdimarsson. He worked with different bands like Með Nöktum, Upplyfting, Frakkarnir, and Bubbi & MX-21, among others. He is currently playing in his band Stanya, and works as a session player. |
1778_25 | Hilmar Örn Agnarsson went to Germany to study music and church organ, and he is currently working as an organist at the Cathedral of Skálholt, as a music teacher and as a choir conductor.
Reunion
After almost 23 years, the five-member band was reunited on April 15, 2006, at the Cathedral of Skálholt to play thirteen psalms taken from Passíusálmar, a fifty-psalm poetry work by Hallgrímur Pétursson. The band was joined by singer Megas, who had composed the music for the psalms back in 1973, a choir, guitarist and engineer Guðmundur Pétursson, and eleven other instrumentalists.
Performances
Þeyr had hundreds of gigs throughout Iceland and abroad. Here is a list with some of the known gigs and tours.
Discography
Albums:
1980 - Þagað í Hel (SG-Hljómplötur)
1981 - Mjötviður Mær (Eskvímó)
1982 - As Above... (Shout)
2001 - Mjötviður til Fóta (Esquimaux Management), anniversary compilation. |
1778_26 | Singles/EPs:
1981 - Life Transmission (Fálkinn/Eskvímó)
1981 - Iður til Fóta (Eskvímó)
1982 - The Fourth Reich (Mjöt/Shout)
1983 - Lunaire (Gramm)
Unpublished material - Niceland:
1983 - Three songs were recorded: "Guess Again", "Catalyst" and "Take What’s Mine".
Featuring:
1981 - Brennu-Njálssaga (Íslenska kvikmyndasamsteypan), soundtrack to the film directed by Friðrik Þór Friðriksson.
1981 - Northern Lights Playhouse (Fálkinn), Icelandic compilation.
1982 - Rokk í Reykjavík (Hugrenningur), soundtrack to the documentary directed by Friðrik Þór Friðriksson.
1987 - Geyser - Anthology of the Icelandic Independent Music Scene of the Eighties (Enigma Records), Icelandic compilation.
1996 - Cold Fever (Iceland Film Corporation), soundtrack to the film directed by Friðrik Þ. Friðriksson.
1998 - Nælur (Spor), Icelandic compilation.
Films:
1982 - Rokk í Reykjavík (Íslenska kvikmyndasamsteypan), documentary directed by Friðriksson.
Video clip:
1982 - "Blood"
See also
Music of Iceland |
1778_27 | Related bibliography
Poppbókin: í Fyrsta Sæti, by Jens Guðmundsson. Bolungarvík (1983).
Rokksaga Íslands, by Gestur Guðmundsson. Forlagið (1990).
Lobster or Fame, by Ólafur Jóhann Engilbertsson. Smekkleysa (2000).
External links
Page about Þeyr
Website about Þeyr and other related bands
Russian Page about Þeyr and other related bands (in Russian)
Page about Þeyr at Tónlist.is (in Icelandic)
Video clip of "Blood" at YouTube.com
Official site of Guðlaugur Kristinn Óttarsson
Page of G. K. Óttarsson at MySpace.com
Page of Þorsteinn Magnússon at MySpace.com
Downloads:
"Tedrukkinn" - Mjötviður Mær (1981) / Mjötviður til Fóta (2001).
"Killer Boogie" - Rokk í Reykjavík (1982).
video clip of "Blood"
Icelandic punk rock groups
Icelandic new wave musical groups
Musical groups established in 1979
Musical groups from Reykjavík |
1779_0 | Chemnitz University of Technology () is a public university in Chemnitz, Germany. With over 9,000 students, it is the third largest university in Saxony. It was founded in 1836 as Königliche Gewerbschule (Royal Mercantile College) and was elevated to a Technische Hochschule, a university of technology, in 1963. With approximately 1,500 employees in science, engineering and management, Chemnitz University of Technology is among the most important employers in the region.
History |
1779_1 | Foundation |
1779_2 | The tradition of science in this region goes back to the 16th century when Georg Agricola (1494-1555), a famous German scholar of minerals, served as the city's mayor. Historically, the university emerged from the Gewerbschule (trade school) founded in 1836. One year later, a Baugewerkenschule (school for the building trades) became affiliated with the Königliche Gewerbschule (Royal Trade School), which was followed by a Königliche Werkmeisterschule (Royal School for Master Craftsmen) in 1855. An existing Fabrikzeichenschule (Factory Mark School) in Chemnitz was affiliated to the Gewerbeschule at the time of its founding, but it was separated from the Gewerbschule for budgetary reasons in 1858. These four schools existed side by side and were unified by their director. In 1878, these schools were formally united in a school association - the Kasse der Technischen Staatslehranstalten (Office of the Technical Educational Institutions). The Gewerbeschule in particular, which was renamed |
1779_3 | the Gewerbeakademie in 1900 and the Staatliche Akademie für Technik (Public Academy of Technology) in 1929, achieved high recognition in Germany and a special position among the technical colleges and technical schools. |
1779_4 | During the German Democratic Republic Era
After World War II, the association was reopened as a purely technical school under the name Technische Lehranstalten (Technical Academy) in 1947. In 1953, the Hochschule für Maschinenbau Karl-Marx-Stadt (Karl-Marx-Stadt College of Mechanical Engineering) was reestablished at the same location and in the same building. Over the course of the adjustment of the technical school landscape in the GDR, the old technical school was dissolved in 1955. The College of Mechanical Engineering was elevated to the status of a technical college in 1963 and to that of a technical university in 1986.
For basic Marxist-Leninist studies, which had been obligatory since 1951 for students of all disciplines in the GDR, there was also an Institute for Marxism-Leninism at the school. It later also had to take over the scientific staff, lecturers and professors' ongoing ideological training.
After Germany's Reunification |
1779_5 | At the end of the German Democratic Republic, the academic system of Eastern Germany was absorbed by the West German system. Chemnitz University of Technology was actively supported to remain as a third university in Saxony besides University of Leipzig and TU Dresden. In 1992, the former Pädagogische Hochschule Zwickau was incorporated and the university was renamed Technische Universität Chemnitz-Zwickau. With the establishment of the Faculty of Economics and Business Administration (1993) and the Faculty of Humanities (1994), the university's profile shifted from technical to a more comprehensive university. In 1997, another renaming took place and the institution received its current name, Chemnitz University of Technology. In September of the same year, the Saxon state government made the decision to end elementary school teacher training in Chemnitz. As of the winter semester 1999/2000, no more students were enrolled in the teacher training programs. The state government made |
1779_6 | the decision to center teacher training in Leipzig and Dresden. These decisions were accompanied by massive protests from the ranks of the students but also from the Faculty of Humanities. |
1779_7 | In 2009, when the Faculty of Behavioural and Social Sciences was spun off from the Faculty of Humanities, the university consisted of 159 professorships spread across eight faculties. With more than 9,000 students, Chemnitz University of Technology is the third largest university in Saxony after the University of Leipzig and the TU Dresden.
As part of the Excellence Initiative of the German federal and state governments, the Cluster of Excellence MERGE - Technology Fusion for Multifunctional Lightweight Structures was funded at the university until 2017. After the additional funding expired on October 31, 2019, MERGE became a central institution of the university.
Teacher education returned to the university with the establishment of the Centre for Teacher Training in 2013 as a central institution for training elementary school teachers. In 2014, the Centre for Knowledge and Technology Transfer was founded as a central institution of Chemnitz University of Technology. |
1779_8 | Chemnitz University of Technology successfully participated in both rounds of the Female Professors Program, which is funded by the federal and state governments. In 2019, the university participated in the Female Professors Program for the third time and was the only university in Saxony to receive the "Equality Excellent" rating.
Since April 2019, the university has received funding from the program WIR! - Change through Innovation in the Region. Up to 15 million euros are available for the two joint projects - Smart Rail Connectivity-Campus and SmartERZ. The aim of the Smart Rail Connectivity-Campus is to establish a research campus in Annaberg-Buchholz for research into autonomous train traffic.
Also in 2019, Chemnitz University of Technology received the Award for University Communication for its overall communicative concept and its advocacy against violence and xenophobia following the racist riots in Chemnitz in 2018.
Organization and Administration |
1779_9 | Faculties
The university is organised into the following eight faculties:
Faculty of Computer Science
Faculty of Economics and Business Administration
Faculty of Electrical Engineering and Information Technology
Faculty of Mathematics
Faculty of Mechanical Engineering
Faculty of Natural Sciences
Faculty of Humanities
Faculty of Behavioural and Social Sciences
Central Institutions
Cluster of Excellence MERGE
Saxony's Centre for Teaching and Learning
University Library
Foreign Language Centre
Internationales Universitätszentrum
Centre for Young Scientists
Centre for Knowledge and Technology Transfer
Research Centre MAIN
International Office
University Computer Centre
Centre for Teacher Training
Centre for Sports and Health Promotion
An-Institutes
Cetex Institute for Textile and Processing Machines gemeinnützige GmbH
Institute of Mechatronics e.V.
Saxony Textile Research Institute e.V.
TUCed – An-Institut für Transfer und Weiterbildung GmbH |
1779_10 | Campus
Chemnitz University of Technology's growth led it to have buildings in various parts of Chemnitz. The campus on Reichenhainer Staße is the main campus. There are currently four parts of the university:
Campus at Straße der Nationen 62
The campus at Straße der Nationen 62 is in the center of Chemnitz across from the bus station. This includes the buildings at Straße der Nationen 62 (the Böttcher Building), Bahnhofstraße 8 (Patent Information Center), Carolastraße 8 (Department of Human Resources, Department of Budget and Economics), and the Alte Aktienspinnerei (University Library and University Archives). |
1779_11 | Eduard-Theodor-Böttcher-Bau
The Böttcher-Bau or Böttcher Building is the main and oldest building at Chemnitz University of Technology. The natural stone facade of the building consists of granite, porphyry, and sandstone elements. The most prominent part of the historical building is the four-meter long and 21-meter high facade. Behind the main entrance doors there is a vestibule with a historical cross vault. After the staircase, the student secretariat is located to the right.
This building is home to the university administration (President and Vice-Presidents' offices, office of the chancellor, some departments), the University Computer Centre as well as the Faculty of Computer Science and the Institute of Chemistry. Furthermore, the Böttcher-Bau is home to a cafeteria and a canteen which are operated by the Studentenwerk Chemnitz-Zwickau. Also located in this building is part of the TUClab, Chemnitz University of Technology's start-up support network. |
1779_12 | The Böttcher Building, whose cornerstone was laid on September 2, 1875, was named after Professor Eduard Theodor Böttcher (1829 - 1893). Böttcher was a professor of mechanics and for many years the director of the Royal Higher Industrial School in Chemnitz. The laboratory building facing the railroad station was handed over as early as 1876. The busts of Jöns Jakob Berzelius and Alexander von Humboldt in the staircase there also date from this time. On October 16, 1877, this building was consecrated as the State Technical School. Under this collective name, it united the Higher School of Trades, the School of Construction Trades, the School of Master Craftsmen and the School of Trades Marks. The building, which was equipped according to the most modern standards and in which 612 students were taught at the time, had 105 rooms with a total area of 6,613 square meters. Since the 150th anniversary of engineering education in 1986, the main building at the university has borne the name |
1779_13 | "Eduard-Theodor-Böttcher-Bau". In 1986, a sculpture of Böttcher by the Karl-Marx-Stadt artist Frank Diettrich was also unveiled in front of the Senate Hall on the second floor in the central part of the building. |
1779_14 | On the front exterior façade of the building, three pairs of figures above the large main entrances indicate the sciences that were taught in the building at the time: Mathematics and Physics, Textile Industry and Chemical Engineering, and Mechanical and Civil Engineering.
In addition, the portrait heads of famous representatives of the sciences are in high relief in the central section. Pictured are:
Galileo Galilei (1564-1642)
Gottfried Wilhelm Leibniz (1646-1716)
Jöns Jakob Berzelius (1779-1848)
Leonhard Euler (1707-1783)
Gaspard Monge (1746-1818)
James Watt (1736-1819)
Karl Karmarsch (1803-1879) |
1779_15 | At the height of the former assembly hall windows, two 2.25 meter tall statues can be seen on the sides of the central section. The left figure, equipped with a cogwheel and compasses, symbolizes technology. The right statue represents science - reinforced by the book and the lecturing posture. All portraits and the two statues were modeled by sculptor Anton Händler, who taught at the Chemnitz Gewerbzeichenschule.
On the roof of the building, directly above the portraits on the fourth floor, there is a parapet wall. At the time, it bore the words "Königliche Technische Lehranstalten" (Royal Technical Schools), which have since been replaced by the words "Technische Universität" (University of Technology). The picture is rounded off by two lions representing the Saxon coat of arms decorated with a golden crown. |
1779_16 | In the inner courtyard of the Böttcher Building is the "Alte Heizhaus." This was originally a flat building, consisting of a boiler house and chimney, which was intended to provide heating and ventilation for the Böttcher Building via ducts. These ducts were up to 3.5 meters below ground, with the bottom of the chimney reaching a depth of six meters. An open staircase led to the basement of the boiler house, and to the left and right of the staircase there were openings with cast-iron lids through which the fuel was stored in the underground rooms. This facility was among the most modern of the time. Construction of the boiler house began in April 1875 and was completed with the chimney and an underground connecting duct between the chimney and the laboratory in October 1875. The building itself was constructed in 1877 by the Chemnitz architect Emil Alwin Gottschaldt. When it was connected to the municipal heating supply in 1967, the chimney was removed. A converter station was |
1779_17 | subsequently integrated into the building. In the course of further renovations from 1996 to 2000, all technical equipment was relocated to the basement area. Since then, it has also served as a station for technical equipment for the supply of heat and electricity. |
1779_18 | University Library
Chemnitz University of Technology's University Library has been located in the Alte Aktienspinnerei building since October 1, 2020. The historic building, which is a protected landmark today, was built in the architectural style of historical eclecticism around 1858 and now houses a stock of around 1.2 million books.
The architect Friedrich Theodor Roschig designed the building entirely of iron and stone due to the fire hazard posed by wood. At the time, the building was one of the most fire-safe in the city of Chemnitz. With 60,000 spindles, it was the largest spinning mill in Saxony. At the beginning of the 20th century, the spinning mill moved out of the building because it had become too small for the amount of yarn to be produced. |
1779_19 | During World War 2, the building was heavily damaged and lost the top floor. After the war, the building was given an emergency roof and experienced a variety of uses during the time of the GDR and after the fall of the Berlin Wall: among other things, as a department store, a puppet theater, a city library, an office building and, after the turn of the millennium, as an art gallery. After that, the building stood empty. |
1779_20 | In 2012, a Europe-wide competition was launched to convert the Alte Aktienspinnerei. This contest included requirements to restore the building to its original form and to leave the style of an industrial building. On January 31, 2013, the jury, chaired by Paul Kahlfeldt, made the decision to place the design of the bidding consortium Lungwitz, Heine, Mildner (Dresden) and Rabe (Berlin) in first place. The justification stated: "The honest and sensitive handling of the historic building fabric and its extension is very successful. The consistent and timeless formulation is continued both in the facade and in the interior spaces. The historic building fabric is optimally used and extended. There is a clear separation of individual workplaces and group rooms. The use is rounded off by the central placement of the reading rooms." |
1779_21 | In mid-2015, the conversion into the university library began. The relocation of the collections from the location of different parts of the campus took place in the spring and summer of 2020. Beginning in June 2020, the previous three library locations, their stacks and the university archive were combined in the Alte Aktienspinnerei building.
Campus on Reichenhainer Straße
The Reichenhainer Straße campus is located on Reichenhainer Straße in the Bernsdorf neighborhood. This campus is home to the cafeteria, student council, and Studentenwerk Chemnitz-Zwickau. In addition, the Faculty of Economics and Business Administration, parts of the Faculty of Mathematics, the Faculty of Electrical Engineering and Information Technology, the Institute of Physics, parts of the Faculty of Mechanical Engineering and parts of the Faculty of Behavioural and Social Sciences are located here. |
1779_22 | The Central Lecture Hall, built between 1996 and 1997 at a cost of 33 million Deutschmarks, is also located here. It contains a total of 2,576 seats in 4 lecture halls and 14 seminar rooms and is commonly called the Orangerie because of its orange color. The largest lecture hall, the Auditorium Maximum, holds 714 seats.
Between 2016 and 2017, the campus square in front of the Central Lecture Hall and the Weinhold Building was renovated, and the tram tracks on Reichenhainer Straße were relocated to connect the campus to the Straße der Nationen 62 campus and several cities in the region as part of the Chemnitzer Modell project. |
1779_23 | The Adolf-Ferdinand-Weinhold-Bau, the largest building on the Reichenhainer Straße campus in terms of usable space, is next to the Orangerie. The building was completely renovated between 2010 and 2013 at a cost of 55.25 million euros. It houses two lecture halls, 14 seminar rooms, eight language cabinets, 90 laboratories and 144 offices. In 2014, the building was awarded the Architekturpreis Beton.
All student dormitories, sports facilities, the Fraunhofer Institute for Machine Tools and Forming Technology (IWU), and the Fraunhofer Institute for Electronic Nano Systems (ENAS) are also located in the immediate vicinity. |
1779_24 | Central Lecture Hall and Seminar Building
A distinctive building on the Reichenhainer Straße campus is the Central Lecture Hall and Seminar Building, which is commonly called the "Orangerie" by students, mainly because of its exterior painting. The building, designed by Meinhard von Gerkan, was built between 1996 and 1998 at a cost of 33 million German marks. The client was the Chemnitz State Property and Building Authority . It offers a total of 2,576 seats in four lecture halls and 14 seminar rooms. The largest lecture hall, the "Auditorium Maximum," holds 706 seats. The Audimax is supported by four wall panels facing Reichenhainer Straße. The total volume of the building is 51,766 m³. The floor area is 8,856 m². |
1779_25 | A two-story foyer forms the center of the building, which contains the entrance to the four lecture halls. The foyer is enclosed on two levels by an angular structure in which the seminar rooms are located. The east and west sides of the foyer are completely glazed and open onto Reichenhainer Straße. A steel truss structure and metal roof were installed over the two lecture halls. The other rooms are covered by concrete ceilings, some of which are greened. In addition, expanded metal was used for the ceilings, corrugated sheet metal on the facade, and steel escape staircases located outdoors between the halls. |
1779_26 | The facade of the Orangerie consists of an ensemble of colored plaster, corrugated aluminum panels and glass. Colored concrete, parquet, tiles and linoleum make up the floor coverings. The walls in the interior are in red, sienna, and yellow as well as blue tones and create the building's unique atmosphere. Niches within the building have also been set off in color. This is intended to create an expanded spatial experience.
The foyer is expansive and a central meeting place. It is also home to numerous seating areas, recreational facilities, as well as the Chemnitz University of Technology's Unishop and a snack bar operated by the Studentenwerk Chemnitz-Zwickau. The foyer is also an event space, which is used for example for career fairs or external events such as the Chemnitzer Linuxtage and other meetings. The Audimax also hosts the traditional Christmas Lecture as well as the Children's University Chemnitz and the Senior Citizens' College. |
1779_27 | In front of the Central Lecture Hall and Seminar Building is a group of columns. It consists of 187 stelae made of fully galvanized steel tubing on a base area of 16 square meters. Each of the upper crests is given a color of one of the systems of this color scale commonly used in the printing industry. The length of the columns is related to the brightness value of each color. The columns symbolize 187 basic colors of the so-called RAL color scale. The sculpture was created by Stefan Nestler from Dresden. |
1779_28 | Between 2016 and 2017, the campus square in front of the Central Lecture Hall and Seminar Building and the Weinhold Building was renovated and the tram tracks on Reichenhainer Straße were laid to connect the campus to the "Chemnitz Model," which is an infrastructure plan that connects the campus with the campus on Straße der Nationen 62 and several cities in the region. On December 8, 2028, the new campus square was ceremonially opened. The campus square between the Central Lecture Hall and Seminar Building, the Weinhold Building, and the cafeteria is also a popular meeting place and event venue. |
1779_29 | Cluster of Excellence MERGE
The MERGE Research Centre "Lightweight Technologies" is located in the immediate vicinity of the Central Lecture Hall Building and the Weinhold Building at Chemnitz University of Technology on Reichenhainer Straße. In a building totalling 4,640 square meters, novel energy- and resource-saving materials and production processes are developed and analyzed. Areas of application for the materials and manufacturing technologies include the mobility sector and the aerospace industry. The university has thus become an internationally important center for lightweight construction research. |
1779_30 | The research center was built under the project management of the Chemnitz branch of the Saxon Real Estate and Construction Management with the participation of numerous Saxon companies. The total construction costs were around 27 million euros, financed by funds from the European Regional Development Fund for improving the infrastructure at universities for research with an application-oriented focus, as well as by tax revenues based on the budget passed by the Saxon state parliament.
In the three-part hall structure of the technology center created in the first construction phase, Hall A provides space for numerous test and research lines, including compounding and extrusion technology as well as injection molding machines and an orbital winding system, whose processes and plant technology were developed and patented at the cluster. |
1779_31 | The 14-meter-high Hall B houses the heart of the research cluster, the so-called MERGE machine. This manufacturing complex combines the processing of plastic- and metal-based materials using the basic technologies of forming and injection molding. It includes a prototyping facility for the production of components, such as those made for the automotive industry, and is supplemented by a press. The two-story Hall C has a central hall area with a clear ceiling height of around ten meters. Attached to this are the meeting rooms on the first floor and the ventilation center, test and research rooms on the upper floor. |
1779_32 | The hall complex of the technology center, where research has been carried out since August 2015, was expanded with a state-of-the-art laboratory in October 2020. The Free State of Saxony invested around 14.5 million euros in this project, with the largest part coming from the European Regional Development Fund. In addition to highly specialized laboratory rooms, this second construction phase also offers office, practical, and meeting rooms, among other things. The new building directly adjoins the south facade of the Technology Center. The two buildings are connected on the first floor and second floor. These floors house the laboratories, where fundamental issues in lightweight construction research along the value chain from the molecule to the complex component are now clarified and subsequently tested in terms of production technology in the adjacent Technology Center. In addition, the laboratory building offers space for research and development technologies, including additive |
1779_33 | manufacturing, as well as state-of-the-art equipment in the field of testing technology. |
1779_34 | Research Center MAIN
The Center for Materials, Architectures and Integration of Nanomembranes (MAIN) is dedicated to exploring the fundamental physical and chemical properties of flexible nanomembranes. This includes unlocking the engineering application potential of this class of materials. Nanomembranes are a novel class of materials and one of the most advanced fields in materials science. |
1779_35 | The MAIN research center fits into the core competency of Materials and Intelligent Systems at Chemnitz University of Technology and builds a bridge between basic and applied research, such as in the connection of sensors and actuators in the field of microrobotics. For example, researchers at the MAIN 2020 research center, together with scientists at the Leibniz Institute for Solid State and Materials Research Dresden (IFW) led by Oliver G. Schmidt, succeeded in constructing the smallest microelectronic robot. The construction is also in the Guinness World Records as the smallest microelectronic robot. |
1779_36 | MAIN was built between 2011 and 2018 as a research building in accordance with Article 91b, Section 1, No. 3 of the German Basic Law and was co-financed with approximately 34.3 million euros from federal and state funds. On August 13, 2018, the new building was handed over to Chemnitz University of Technology. The construction of the research building was funded as part of a successful application by the university to the German Council of Science and Humanities and since the handover has offered 120 scientists state-of-the-art research and working conditions. |
1779_37 | The Chemnitz branch of the Sächsisches Immobilien- und Baumanagement state enterprise was responsible for the construction, based on the winning design by the architects Heinle, Wischer und Partner from Dresden. The research building with about 3,800 square meters of usable floor space was designed as a solid reinforced concrete skeleton structure with load-bearing wall panels and ceilings to enable vibration-free measurements. As vibration protection for the sensitive laboratory equipment, the complex rests on a reinforced concrete floor slab around 1.60 meters thick. |
1779_38 | A functional highlight are the clean rooms, which allow electronic components to be manufactured in a dust-free environment. Two "knowledge gardens" were also created in the building as places for meeting and exchanging ideas, supporting the idea of connecting research areas across floors. These areas were designed by Dresden artist Patricia Westerholz, who won the Kunst am Bau competition with her work "layers and structures." The architectural and functional features of this research building were recognized at the 2020 Industrial Building Awards, which were presented on June 24, 2020, and received a commendation from the jury. The building's design was also recognized by the jury. |
1779_39 | In August 2020, the President's Office at Chemnitz University of Technology, in consultation with the Task Force for Implementation and the faculties involved, decided on the basis of the university development planning and in consultation with the Senate and the University Council to run MAIN as the Central Scientific Institution of Chemnitz University of Technology.
Campus on Erfenschlager Straße
The campus on Erfenschlager Straße houses part of the Faculty of Mechanical Engineering, the project house METEOR, and the student racing team (T.U.C. Racing e.V.)
Campus on Wilhelm-Raabe-Straße
The campus on Wilhelm-Raabe-Straße accommodates most of the Faculty of Behavioural and Social Sciences (Institute of Psychology).
Academic profile |
1779_40 | In winter term 2013/2014 about 2,500 young people started their bachelor's or master's degree studies at TU Chemnitz. All in all, the university offers 35 bachelor's and 50 master's degree programs. On the international level TU Chemnitz cooperates with 126 partner institutions in 39 countries. This includes 19 members of the international university network Academic Consortium for the 21st Century (AC21). TU Chemnitz is supported by the Federal Ministry of Education and Research within the project 'Teaching Quality Pact' as well as by Saxony's Centre for Teaching and Learning funded by the Saxon State Ministry of Science and the Arts.
Research
The university has concentrated its research to six main profiles:
New materials
Production Life Cycle
Microelectronics & Micro-electromechanical systems
Applications & development of systems
Communications, Media, Technology
Modeling, Simulation, High Performance Computing |
1779_41 | A key research area 'Energy-efficient Production Processes' stands the Federal Cluster of Excellence 'Merge Technologies for Multifunctional Lightweight Structures' (MERGE). Funded with €34 million, this cluster is the only one in Germany focusing on the field of lightweight engineering. The breeding ground for this cluster was prepared by the Saxon State Cluster of Excellence 'Energy-efficient Product and Process Innovations in Production Engineering' (eniPROD), which was jointly established with the Fraunhofer Institute for Machine Tools and Forming Technology. These initiatives are complemented by additional collaborative research areas funded by Deutsche Forschungsgemeinschaft (DFG) which develop intelligent materials and energy-efficient production technologies. |
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