This visually arresting tour through the former East Germany shows the best examples of modernist architecture still standing there today. The buildings constructed in East Germany after the Second World War are often dismissed as drab, Soviet-style, prefabricated blocks of cement. But the architecture of the German Democratic Republic was created with an eye toward modernity and efficiency, and heralded the birth of a new country and a new economic and social system. Hans Engels has traveled throughout East Germany to photograph iconic modernist buildings that survived demolition. From movie theaters, high-rises, and restaurants to museums, convention centers, and transit stations, these buildings have all stood the test of time. While the philosophy that drove their design may be outdated, their retro appeal is stronger than ever.

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.

Civil-military relations have been a consistent theme of the history of the Weimar Republic. This study focuses on the career of General Walther Reinhardt, the last Prussian Minister of War and the First Head of the Army Command in the Weimar Republic. Though less well known than his great rival, Hans von Seeckt, Reinhardt's role in forming the young Reichswehr and his writings on warfare made him one of the most important and influential military figures in interwar Germany. Contrary to the conventional view that civil-military relations were fraught from the outset, the author argues, Reinhardt's contribution to the military politics of the Weimar Republic shows that opportunities for reform and co-operation with civilian leaders existed. However, although he is primarily seen as a liberal General, this study demonstrates that he was motivated by professional military considerations and by the specter of a future war. His ideas on modern warfare were amongst the most radical of the time.

This history of German-speaking central Europe offers a very wide perspective, emphasizing a succession of many-layered communal identities. It highlights the interplay of individual, society, culture and political power, contrasting German with Western patterns. Rather than treating 'the Germans' as a collective whole whose national history amounts to a cumulative biography, the book presents the pre-modern era of the Holy Roman Empire; the nineteenth century; the 1914–45 era of war, dictatorship and genocide; and the Cold War and post-Cold War eras since 1945 as successive worlds of German life, thought and mentality. This book's 'Germany' is polycentric and multicultural, including the multinational Austrian Habsburg Empire and the German Jews. Its approach to National Socialism offers a conceptually new understanding of the Holocaust. The book's numerous illustrations reveal German self-presentations and styles of life, which often contrast with Western ideas of Germany.

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.

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.

Between the end of World War I and the Nazi assumption of power, Germany's Weimar Republic (1919-1933) functioned as a thriving laboratory of art and culture. As the country experienced unprecedented and often tumultuous social, economic and political upheaval, many artists rejected Expressionism in favour of a new realism to capture this emerging society. Dubbed Neue Sachlichkeit - New Objectivity - its adherents turned a cold eye on the new Germany: its desperate prostitutes and crippled war veterans, its alienated urban landscapes, its decadent underworld where anything was available for a price. Showcasing 150 works by more than 50 artists, this book reflects the full diversity and strategies of this art form. Organised around five thematic sections, it mixes photography, works on paper and painting to bring them into a visual dialogue. Artists such as Otto Dix, George Grosz and Max Beckmann are included alongside figures such as Christian Schad, Alexander Kanoldt, Georg Schrimpf, August Sander, Lotte Jacobi and Aenne Biermann. Also included are numerous essays that examine the politics of New Objectivity and its legacy, the relation of this new realism to international art movements of the time; the context of gender roles and sexuality; and the influence of new technology and consumer goods. Published in association with the Los Angeles County Museum of Art. AUTHOR: Stephanie Barron is a Senior Curator and heads the Modern Art department at the Los Angeles Contemporary Museum of Art. Sabine Eckmann is the William T. Kemper Director and Chief Curator of the Mildred Lane Kemper Art Museum in St. Louis, Missouri. 300 colour illustrations