When the German Embassy in Washington was completed in 1964, the architectural critic for the Washington Post wrote that the express aim of those commissioning the building had been to make an architectural statement that would embody the spirit of the young German democracy.

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.

"The present publication includes the work done by the MEAM Net research group at the Politecnico di Milano in collaboration with 27 institutions Europe-wide. This work, titled "One hundred houses for one hundred European architects of the 20th century", bore fruit in a travelling exhibition and a website"

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.

Extraordinary sites associated with the Bauhaus and modernism can be found throughout Germany—pioneering architecture that has enduringly shaped our understanding of life and work, learning and living. This travel guide brings the historical and architectural traces of over 100 examples of Neues Bauen building to life, making tangible the impact of the historical Bauhaus beyond the school, its sites and its time. Along with well-known buildings, the guide features insiders' tips throughout Germany, attractive illustrations, texts, practical information, and maps. The essays by Werner Durth and Wolfgang Pehnt outline the history of the Bauhaus's context and its influence to the present day. The leading Bauhaus institutions in Germany have been working together as BAUHAUS KOOPERATION BERLIN DESSAU WEIMAR. They include the Bauhaus-Archiv / Museum für Gestaltung, Berlin; the Stiftung Bauhaus Dessau; and the Klassik Stiftung Weimar.

After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and ‘20s. As Modernism as Memory illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin’s museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an “architecture of modern memory” that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin. Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.

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.

Located at the geographical center of Europe, Berlin is the gateway between East and West and the fourthmost- visited city in Europe. Here, find reliable and thorough information on both the finest as well as budget-priced accommodations.

As models and paradigms, patterns have been helping to orient architects since the Middle Ages. But patterns are also the basis of the history of ornament, an aesthetic phenomenon that links all times and cultures at a fundamental level. Ornament – and hence pattern as well – was abolished by the avant-garde in the first half of the twentieth century, but the notion of pattern has taken on new meaning and importance since the 1960s. Complexity research has ultimately shown that even highly complex, dynamic patterns may be based on simple behavioral rules, and that has allowed the notions of pattern and pattern formation to take on new meanings, that are also central for architecture. Today the use of generative computerized methods is opening up new ways of talking about an idea that is becoming increasingly abstract and dynamic. Pattern explores the question: what are the notions of pattern that must be discussed in the context of contemporary architecture?