This book presents for the first time in English an overview of the theoretical debates on architecture in nineteenth-century Austria and Germany. Drawing on a vast number of writings by architects, historians, philosophers and critics, Mitchell Schwarzer offers an exhaustive history of the principal debates on style, industry, nationalism, iron technology, and artistic expression, all of which inform modern architecture. He argues that the history of architecture in the modern era cannot be explained according to the simple evolution or progression of structural, functional, or artistic forces. Rather, he establishes modernity as a series of debates on the parameters of architectural knowledge itself and the identity of the architectural profession in a rapidly industrialising world. Describing theory through its conflicts and unresolved questions, Schwarzer uncovers the complex nature of modern pluralism, one that is still relevant in the late twentieth century.

This book is about what it meant to build a city in Germany at the turn of the twentieth century. It explores the physical spaces and mental attitudes that shaped lives, restructured society, and conditioned beliefs about the past and expectations for the future in the crucial German generations that formed the young Reich, fought the Great War, and experienced the Weimar Republic. Focusing on ordinary buildings and the way they shaped ordinary lives, this study shows how material space could influence the lives of citizens, from the ways the elderly slept at night to the economy of the city as a whole. It also shows how we integrate the spaces and places of our lives into our explanations of politics, culture and economics. It is aimed at those who want to understand urban modernity, Wilhelmine and Weimar Germany, the use of space in social policy and politics, and the design of cities.

Drawing from Walter Benjamin’s ideas, the essays compiled in this book contribute to a critical understanding of contemporary architectural theories.

Over the course of the nineteenth century, drastic social and political changes, technological innovations, and exposure to non-Western cultures affected Germany's built environment in profound ways. The economic challenges of Germany's colonial project forced architects designing for the colonies to abandon a centuries-long, highly ornamental architectural style in favor of structural technologies and building materials that catered to the local contexts of its remote colonies, such as prefabricated systems. As German architects gathered information about the regions under their influence in Africa, Asia, and the Pacific—during expeditions, at international exhibitions, and from colonial entrepreneurs and officials—they published their findings in books and articles and organized lectures and exhibits that stimulated progressive architectural thinking and shaped the emerging modern language of architecture within Germany itself. Offering in-depth interpretations across the fields of architectural history and postcolonial studies, Itohan Osayimwese considers the effects of colonialism, travel, and globalization on the development of modern architecture in Germany from the 1850s until the 1930s. Since architectural developments in nineteenth-century Germany are typically understood as crucial to the evolution of architecture worldwide in the twentieth century, this book globalizes the history of modern architecture at its founding moment.

Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. This method was first developed as scholars realized that the new abstract art appearing needed to be analysed differently than the previous figurative works. Since architecture experienced a similar development in the 1920s and 30s, this book argues that the empathetic method can also be used in architectural interpretation. While most existing scholarship tends to focus on formal and functional analysis, this book proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, sensual and intuitive understandings of composition, form, and space are emphasized. These aspects are especially significant because Modern Architecture lacks the traditional stylistic signs. Including building analyses, it shows how, by visually reducing cubical forms and spaces to linear configurations, the exteriors and interiors of Modern buildings can be interpreted via human perceptive abilities as dynamic movement systems commensurate with the new industrial transportation age. This reveals an inner necessity these buildings express about themselves and their culture, rather than just an explanation of how they are assembled and how they should be used. The case studies highlight the contrasts between buildings designed by different architects, rather than concentrating on the few features that relate them to the zeitgeist. It analyses the buildings directly as the objects of study, not indirectly, as designs filtered through a philosophical or theoretical discourse. The book demonstrates that, with technology and science affecting culture

One of the most intriguing questions of our time is how some of the masterpieces of modernity originated in a country in which personal liberty and democracy were slow to emerge. This Companion provides an authoritative account of modern German culture since the onset of industrialisation, the rise of mass society and the nation state. Newly written and researched by experts in their respective fields, individual chapters trace developments in German culture - including national identity, class, Jews in German society, minorities and women, the functions of folk and mass culture, poetry, drama, theatre, dance, music, art, architecture, cinema and mass media - from the nineteenth century to the present. Guidance is given for further reading and a chronology is provided. In its totality the Companion shows how the political and social processes that shaped modern Germany are intertwined with cultural genres and their agendas of creative expression.

German design and architecture reflects the country’s rich and fraught political history in its structure and aesthetic philosophy. Jeremy Aynsley now offers an in-depth study of this relationship between German history and design since 1870 and the complex principles underlying it. Designing Modern Germany reveals how German attitudes toward national identity, modernity and technology are crucial to understanding German design. Aynsley traces the historical development of German design, beginning in the 1870s with the first dedicated Arts and Crafts schools and stretching through to the famous institutions of the Bauhaus and the Ulm Hochschule für Gestaltung. He analyses the works of leading figures such as Peter Behrens and Hannes Meyer, through to Ingo Maurer and Jil Sander, and many others in design specialties including graphics, industrial and furniture design, fashion and architecture. He also offers the first consideration of the contrasting design traditions of East and West Germany between 1949 and 1989. Whether examining the pre-First World War department store, the National Socialist fashion system or East Germany’s official design culture, Designing Modern Germany reveals that German design significantly affected citizens’ daily lives. An essential read for designers and scholars of German design and history, Designing Modern Germany is a key text for understanding Germany’s major contribution to twentieth-century design.