History
Besides the production of microscopes, Carl Zeiss took over repairing optical instruments of other manufacturers. He did this to pursue the rivalries development. At the turn from 19th to the 20th century, the staff of the Carl Zeiss company began to collect optical instruments.
In June 1922, the Carl-Zeiss-Stiftung established the Optical Museum; the exhibition was located in the neighbouring Volkshaus (community hall). Johannes Schreiter and Hans Schlag designed a building for the 1917 founded "college of ophthalmology". The reinforced concrete construction was carried out during 1923/24 by the company Dyckerhoff & Widmann (DYWIDAG) from Nuremberg. In October 1924, the exhibition was moved into the new building at no. 12 Carl-Zeiss-Platz in which it is still housed today. The collections were reserved for a selected group of people for purposes of research and not open to the public.
During the Second World War in 1941/42, the exhibition was relocated to underground production facilities around Jena. The Optical Museum was preserved from the Soviet occupation's dismantling programme 1946. The first permanent exhibition was launched 1965 in the Griesbach Garden House. In 1976/77, the exhibition was returned to the building at no. 12 Carl-Zeiss-Platz. On the occasion of the 100th anniversary of the death of Carl Zeiss in December 1988, the historical Zeiss-Workshop (circa 1860) was opened as part of the Optical Museum in the neighboured Volkshaus.
Accompanied with the opening, the museum was renamed as the "Zeiss-Museum" but the name was changed back in 1991. In June 1992, the Optical Museum was taken into the trusteeship of the newly-established Ernst-Abbe-Foundation. The historical Zeiss-Workshop was moved in 2002 from the Volkshaus to the Optical Museum.
Read more about this topic: Optical Museum Jena
Famous quotes containing the word history:
“The myth of independence from the mother is abandoned in mid- life as women learn new routes around the mother—both the mother without and the mother within. A mid-life daughter may reengage with a mother or put new controls on care and set limits to love. But whatever she does, her child’s history is never finished.”
—Terri Apter (20th century)
“All objects, all phases of culture are alive. They have voices. They speak of their history and interrelatedness. And they are all talking at once!”
—Camille Paglia (b. 1947)
“I believe that history has shape, order, and meaning; that exceptional men, as much as economic forces, produce change; and that passé abstractions like beauty, nobility, and greatness have a shifting but continuing validity.”
—Camille Paglia (b. 1947)