German Architecture for a Mass Audience by Kathleen James-Chakraborty

By Kathleen James-Chakraborty

This e-book vividly illustrates the ways that constructions designed via lots of Germany's such a lot celebrated twentieth-century architects, have been embedded in commonly held ideals in regards to the strength of structure to steer society. German structure for a Mass viewers additionally demonstrates the best way those modernists principles were challenged and reworked, such a lot lately within the rebuilding of important Berlin.

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And in a move guaranteed to arouse the ire of the court and its supporters among both the aristocracy and the middle class, he refused to glamorize the military. The pageant concluded with the director silencing Blücher by placing him back in the toy box from which he came. The director’s final speech gave voice to Hauptmann’s own critique of Prussian military pomp: To your place, you brave gray-bearded sire. But your word shall live, though you expire. 56 The pageant’s run was cut short after the Crown Prince, the royal patron of the exhibit, threatened to withdraw his sponsorship.

1 And skip it he did. 1). The reason that he spurned this ceremony was that, following the example of his son Crown Prince Wilhelm, he objected to the content of the pageant that had earlier been staged inside the hall during its dedication the previous May. The playwright Gerhart Hautpmann, of whom the Kaiser had long disapproved, had himself described the pageant as pacifist. Many commentators had also found it socialist. Perhaps the Kaiser also sensed in the Jahrhunderthalle’s unornamented surfaces, clear interior span, and exposed structure a new approach to architecture, one detached from the rituals of deference paid to him during his visit.

24 Breuer was enthusiastic about the results, which he related directly to the architecture of the Jahrhunderthalle, although the exhibit itself was held next door in buildings designed by Hans Poelzig: The Breslau Hall for ten thousand makes obvious that the productive building energy of the present time is rooted in the instincts of the masses. Numberless small objects . . in the glass cases of [Poelzig’s] building display the rise of the people, as does the exhibit in its entirety, especially this daring, tense, Simplicity 29 altogether unprecedented mass, that allows the concrete hall to be the sign of the people’s victory on their way to power.

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