Text in English and German. The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of the architectural resources, and by the happy combination of men who created it, all so similar in the nature of their thinking: Egon Eiermann and Sep Ruf as architects, Walter Rossow as landscape and garden planner, and Hans Schwippert responsible for the exhibition programme. The building plot was a park-like site on which the architects placed a sequence of eight pavilions of different sizes; eight pavilions on a square ground plan, linked by bridge-style walkways, together surrounding an inner courtyard -- a peaceful garden amidst the loud hurly-burly: introverted and open at the same time, it did allow visitors to look through the linking bridges into the outside world around them. The pavilions themselves: bright and light of weight -- correctly reflecting the concept of a 'pavilion': raised off the ground by a plinth of clay-yellow brick, giving an impression of floating; floors that showed outside as black bands, holding all the component parts together as a binding element; in front of them was a network of white-painted steel tubes, forming a kind of filigree epidermis; wooden floors in red pine matchboarding, reminiscent of classical sailing yachts; blinds set at the outer edge of the ceilings that when lowered transformed the open impression, thrusting deep into the depth of the space, into a closed, cubic impression; architecture (and combined with this an exhibition concept) that was not a 'political demonstration', but showed a 'humane mentality', about which Le Figaro appositely remarked: The Germans have created an exhibition of exemplary lucidity, treated delicately and with an entirely Parisian grace.

Do open societies need transparent architecture? Does transparent architecture help make an open society? This book examines German culture's on-going relationship with Transparency, a relationship which culminates in the new Reichstag building.

"Paul Betts first came to my attention through his pioneering article on the post-1945 Bauhaus myth as a joint German-American venture. This book is a landmark study of cultural continuities and ruptures, institutional realignments, and individual careers that introduces a breath of fresh air into a field of research long staled by received ideas. It demonstrates the rewards of approaching the years from 1933 to 1945 as a revealing window onto the subsequent history of West Germany."—Wolfgang Schivelbusch "The Authority of Everyday Objects is a small gem of the new cultural history. This is a work of striking originality and insight that fits the development of industrial design in postwar Germany into the country's broader social, cultural and political history, constructing an analytical narrative that carries from the Third Reich into the Cold War. It illuminates not merely cultural transformation but the wider social history of twentieth-century Germany."—Stanley G. Payne, author of A History of Fascism, 1914-1945 "The Authority of Everyday Objects is a refreshing, innovative, and convincing approach to post-World War II Western consumer society. Design—as a weapon in Cold War competition and as a vehicle for German redemption by revitalizing Bauhaus traditions—is thoroughly researched and wonderfully presented in Paul Betts' book. This well-illustrated work convinces the reader that design was a part of gluecklich Leben ("lucky life") and schoen wohnen ("beautiful living"), and a factor in the politicization of material culture."—Ivan T. Berend, author of Decades of Crisis: Central and Eastern Europe before World War II and History Derailed: Central and Eastern Europe in the Long Nineteenth Century

A new and challenging perspective on Nazi exhibition design In one of the most comprehensive analyses ever written on the subject, Michael Tymkiw reassesses the relationship between Nazi exhibition design and modernism. While National Socialist exhibitions are widely understood as platforms for attacking modern art, they also served as sites of surprising formal experimentation among artists, architects, and others, who often drew upon and reconfigured the practices and principles of modernism when designing exhibition spaces and the objects within. In this book, Tymkiw reveals that a central motivation behind such experimentation was the interest in provoking what he calls "engaged spectatorship"—attempts to elicit experiences among exhibition-goers that would pique their desire to become involved in wider processes of social and political change. For historians of art, architecture, performance, and other forms of visual culture, Nazi Exhibition Design and Modernism unravels long-held assumptions, particularly concerning the ideological stakes of participation.

Nation-states have long used representational architecture to create symbolic identities for public consumption both at home and abroad. Government buildings, major ensembles and urban plans have a visibility that lends them authority, while their repeated portrayals in the media cement their image as icons of a shared national character. Existing in tandem with this official self, however, is a second, often divergent identity, represented by the vast realm of domestic space defined largely by those who occupy it as well as those with a vested interest in its cultural meaning. Using both historical inquiry and visual, spatial and film analysis, this book explores the interaction of these two identities, and its effect on political control, class status, and gender roles. Conflicted Identities examines the politicization of both public and domestic space, especially in societies undergoing rapid cultural transformation through political, social or economic expansion or restructuring, when cultural identity is being rapidly "modernized", shifted, or realigned to conform to new demands. Using specific examples from a variety of national contexts, the book examines how vernacular housing, legislation, marketing, and media influence a large, but often underexposed domestic culture that runs parallel to a more publicly represented one. As a case in point, the book examines West Germany from the end of World War II to the early 1970s to probe more deeply into the mechanisms of such cultural dichotomy. On a national level, post-war West Germany demonstratively rejected Nazi-era values by rebuilding cities based on interwar modernist tenets, while choosing a decidedly modern and transparent architecture for high-visibility national projects. In the domestic realm, government, media and everyday citizens countered this turn to state-sponsored modernism by embracing traditional architectural aesthetics and housing that encouraged patriarchal family structures. Written for readers interested in cultural theory, history, and the politics of space as well as those engaged with architecture and the built environment, Conflicted Identities provides an engaging new perspective on power and identity as they relate to architectural settings.

Egon Eiermann influenced postwar German architecture to an extent unrivalled by any other architect. His rich architectural oeuvre is characterized by striking transparency, sensitive response to materials, high artistic standards, and rigorous attention to design quality--down to the very last detail. Eiermann also created a number of successful furniture designs, including his famous drawing table stand, the SE 18 folding chair, and the E 10 rattan lounge chair, now known as the Eiermann chair. Among Eiermann's best-known buildings are the IBM headquarters in Stuttgart-Vaihingen, the Olivetti corporate center in Frankfurt am Main, the former high-rise office building for Members of the German Bundestag in Bonn, and the Kaiser-Wilhelm-Ged'chtniskirche in Berlin. Eiermann was also a highly respected educator and architectural innovator. During his tenure as a professor of architecture at the Technische Hochschule Karlsruhe, he influenced an entire generation of young architects. This volume considers his entire life's work.

Once again, new interpretations are presented of some of the most famous architecture of the period. Work by lesser-known architects, whose influence and role have been overlooked by conventional histories of the subject, is discussed. The case study structure allows each example to be discussed and used as a springboard to explore different theoretical approaches. Filled with beautiful photographs, plans and architect's drawings, this is a clear and accessible discussion on a period of architecture that engages many questions still under debate in architecture today.

Fully documented, richly illustrated guide to the great architectural achievements of the last one hundred years.

In the 1960s and ’70s, architects, influenced by recent developments in computing and the rise of structuralist and poststructuralist thinking, began to radically rethink how architecture could be created. Though various new approaches gained favor, they had one thing in common: they advocated moving away from the traditional reliance on an individual architect’s knowledge and instincts and toward the use of external tools and processes that were considered objective, logical, or natural. Automatic architecture was born. The quixotic attempts to formulate such design processes extended modernist principles and tried to draw architecture closer to mathematics and the sciences. By focusing on design methods, and by examining evidence at a range of scales—from institutions to individual buildings—Automatic Architecture offers an alternative to narratives of this period that have presented postmodernism as a question of style, as the methods and techniques traced here have been more deeply consequential than the many stylistic shifts of the past half century. Sean Keller closes the book with an analysis of the contemporary condition, suggesting future paths for architectural practice that work through, but also beyond, the merely automatic.

Photography and architecture have a uniquely powerful resonance - architectural form provides the camera with the subject for some of its most compelling imagery, while photography profoundly influences how architecture is represented, imagined and produced. Camera Constructs is the first book to reflect critically on the varied interactions of the different practices by which photographers, artists, architects, theorists and historians engage with the relationship of the camera to architecture, the city and the evolution of Modernism. The title thus on the one hand opposes the medium of photography and the materiality of construction - but on the other can be read as saying that the camera invariably constructs what it depicts: the photograph is not a simple representation of an external reality, but constructs its own meanings and reconstructs its subjects. Twenty-three essays by a wide range of historians and theorists are grouped under the themes of ’Modernism and the Published Photograph’, ’Architecture and the City Re-imagined’, ’Interpretative Constructs’ and ’Photography in Design Practices.’ They are preceded by an Introduction that comprehensively outlines the subject and elaborates on the diverse historical and theoretical contexts of the authors’ approaches. Camera Constructs provides a rich and highly original analysis of the relationship of photography to built form from the early modern period to the present day.