Relevant bibliographies by topics / East German Architecture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'East German Architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "East German Architecture"

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Pugh, Emily. "From “National Style” to “Rationalized Construction”." Journal of the Society of Architectural Historians 74, no. 1 (March 1, 2015): 87–108. http://dx.doi.org/10.1525/jsah.2015.74.1.87.

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From “National Style” to “Rationalized Construction”: Mass-Produced Housing, Style, and Architectural Discourse in the East German Journal Deutsche Architektur, 1956–1964 examines architectural critique of housing and style as it unfolded in the East German journal Deutsche Architektur (German architecture) from the late 1950s to the mid-1960s. Through an analysis of articles published in the journal as well as primary source documents, Emily Pugh investigates the reception of newly built housing developments in East Germany by a group of influential socialist architects, historians, and critics who were then writing for Deutsche Architektur. Pugh highlights individual architects’ attempts to subvert or resist the control of state and party authorities and considers how these individuals’ efforts might have influenced the development of the East German building economy. She also argues that these architects’ understanding of architectural modernism differed from that of their counterparts in the Cold War West, having been influenced by political and economic circumstances specific to East Germany.
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Schwenkel, Christina. "Traveling Architecture. East German Urban Designs in Vietnam." International Journal for History, Culture and Modernity 2, no. 2 (November 14, 2014): 155. http://dx.doi.org/10.18352/hcm.467.

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Castillo, Greg. "Making a Spectacle of Restraint: The Deutschland Pavilion at the 1958 Brussels Exposition." Journal of Contemporary History 47, no. 1 (January 2012): 97–119. http://dx.doi.org/10.1177/0022009411422362.

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The Deutschland pavilion at the 1958 Brussels World’s Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, deploying the miracle economy’s modern consumer culture to celebrate the emergence of a post-Nazi society. Egon Eiermann, aided by Sep Ruf, designed the International-style pavilion, celebrated as the architecture of postwar modernity, but in fact derived from a precedent in Third Reich industrial architecture. As an exercise in cold war soft power, West Germany’s Brussels pavilion celebrated the emergence of a West German consumer citizen, while suppressing the presence of a Third Reich past.
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Schmidt, Leo. "The Architecture and Message of the "Wall," 1961-1989." German Politics and Society 29, no. 2 (June 1, 2011): 57–77. http://dx.doi.org/10.3167/gps.2011.290205.

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The Berlin Wall was built three times: in 1961, in the mid 1960s, and again from the mid 1970s onwards. This article attempts to interpret each manifestation as political architecture providing insights into the mindset and intentions of those who built it. Each phase of the Wall had a different rationale, beyond the straightforward purpose of stopping the citizens of East Germany from leaving their own country and forcing them to suffer under communist rule. The deliberately brutal-looking first Wall was a propaganda construct not originally intended to exist for more than a few months. The functional but dreary Wall of the mid 60s was calculated to have a longer lifespan, but within few years it, too, became an embarrassment for the East German rulers. Yearning for international recognition, they demanded a smoother-looking, better designed Wall—supporting their fiction that this was "a national border like any other."
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Bivens, Hunter. "Neustadt: Affect and Architecture in Brigitte Reimann's East German NovelFranziska Linkerhand." Germanic Review: Literature, Culture, Theory 83, no. 2 (April 2008): 139–66. http://dx.doi.org/10.3200/gerr.83.2.139-166.

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Frejtag, Jakub. "Turning “Polish Boxes into German Houses”: On the Transformations of Architecture in Poland during the Second World War as Exemplified by the Changing Design of the Zajdensznir Tenement in Radom." Ikonotheka 28 (August 6, 2019): 97–120. http://dx.doi.org/10.5604/01.3001.0013.3345.

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The issue of construction projects conducted by the Germans in occupied Poland is researched with increasing frequency by both historians and historians of architecture. One of the reasons for this is certainly the exceptional role of the works of architecture as historical documents that constitute a tangible reflection of the historical moment in which they were constructed. When viewed from this perspective, the case of one of Radom tenements acquires an almost symbolic significance. The Functionalist building was designed by the Lvov engineer Artur Haskler for Mr Hersz Zajdensznir and his wife, Róża; its construction began shortly before the outbreak of the Second World War. It was intended to compete one quarter of the most prestigious sections of Radom’s city centre. The works were interrupted after the Nazi Germany invaded Poland. Both the architect and the owners of the tenement were Jews, which radically altered their position. The fate of Mr and Mrs Zajdensznir remains unknown. Haskler, who had been involved in the construction of the telecommunication network, which had begun in 1939 and was still unfinished, was allowed to stay outside the ghetto until the completion of the relevant works. In addition, he was ordered to alter the design of the Zajdensznir house, which was already under construction, so that it could be used as quarters for the staff of the German Postal Services East. The architect entirely changed the concept for his design. The original Functionalist form, representing a type of architecture not condoned by the Nazi authorities, was altered in keeping with the principles of Heimatschutzarchitektur; the building acquired a much more conservative form inspired by traditional architecture. The arrangement of the interiors was altered as well, attesting to the fact that Haskler had familiarised himself with the German norms regarding residential construction. The residence of the staff of the German Postal Services East, together with other edifices built in Radom by the Germans during the Second World War, as well as the very history of its construction, constitute a telling testimony to the history of the era. In the context of the urban design of Radom’s city centre, these edifices are valuable as historical monuments and they certainly enhance it as an original urban structure with successive morphogenetic units discernible with remarkable clarity.
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Butter, Andreas. "Showcase and window to the world: East German architecture abroad 1949–1990." Planning Perspectives 33, no. 2 (July 17, 2017): 249–69. http://dx.doi.org/10.1080/02665433.2017.1348969.

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Whyte, Iain Boyd. "Neo-historical East Berlin: architecture and urban design in the German Democratic Republic." Planning Perspectives 27, no. 2 (April 2012): 340–44. http://dx.doi.org/10.1080/02665433.2012.655490.

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Jones, Peter Blundell. "The lure of the Orient: Scharoun and Häring's East-West connections." Architectural Research Quarterly 12, no. 1 (March 2008): 29–42. http://dx.doi.org/10.1017/s1359135508000912.

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Among Hugo Häring's papers in the Häring archive of the Akademie der Künste in Berlin are the minutes of six meetings entitled Discussions about Chinese Architecture held on Fridays and once on a Saturday dating from November 1941 to May 1942. The persons involved are Hugo Häring, Hans Scharoun, Chen Kuan Lee and John Scott. Of Scott, a Germanised American, we know little: it seems his wife Gerda worked at Häring's art school. But Chen Kuan Lee is a key figure in this story. Born in Shanghai in 1919, he had arrived in Berlin in 1935 to study architecture under Hans Poelzig, completing the course in 1939. He then became Scharoun's assistant until 1941, working on the private houses that provided a limited creative opportunity under the Nazis. Lee returned to Scharoun's office in 1949, remaining there until 1953, one of only four assistants during the crucial period of 1951/1952 when Scharoun's new architecture was under development with key projects such as the Darmstadt School and Kassel Theatre. In between, Lee served as an assistant to Ernst Boerschmann (1873–1949), the great German investigator of Chinese culture and author of several books on Chinese architecture. Boerschmann had visited China from 1906 to 1909, when he was sent by the German government to make a comprehensive cultural study, rather as Hermann Muthesius had been sent to England in 1896. To complete Lee's biography, in 1954 he set up as an architect on his own account, building several Chinese restaurants, more than 30 private houses and some apartment blocks in a Scharoun-like manner [1], some spatially very interesting, but this kind of work went out of fashion with the advent of postmodernism in the 1980s and Lee died quite recently in obscurity.
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Avermaete, Tom. "‘Neues Bauen in Afrika’: displaying East and West German architecture during the Cold War." Journal of Architecture 17, no. 3 (June 2012): 387–405. http://dx.doi.org/10.1080/13602365.2012.692608.

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Dissertations / Theses on the topic "East German Architecture"

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Guthrie, Elizabeth Rae. "The Work of Architecture in the Age of Its Technological Reproducibility." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2280.

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Dresden's historic reconstructions bring up questions that reach far beyond the city's new/old Neumarkt district. In this thesis, I would like to take a closer look at the current ideological discourse surrounding the reconstruction of destroyed historic buildings in Dresden and other cities in the former DDR. What seems at first to be a simple culture war between progressive and reactionary city planners is actually, I will argue, a unique historical moment that blurs the dogmatically held ideas of rationality and nostalgia, ornament and function, and high art and kitsch. From the uncanny shadow of a church recently raised from the dead, I will explore the aesthetic and ethical ramifications of the technologically reproduced building.
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Vas, Laura Terezia. "Competing Cityscapes: Architecture in the Cinematic Images of Postwar Berlin." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1184609075.

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Bernecker, Tobias. "Capturing gathering swarming re-coding post-communist space in East Germany /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/305/.

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Heinemann, Michaela. "A culture of appropriation : strategies of temporary reuse in East Germany." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33036.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.
Page 79 blank.
Includes bibliographical references (p. 74-76).
This thesis examines the possibilities of creative appropriation of existing spaces. It defines interstitial practices as both critical and imaginative forces that actively participate in the production of social space. Temporary interventions assert their topicality by inserting themselves into specific urban discourses in which they have the potential to act as cultural catalysts. Two recent festivals, Volkspalast (2004) in Berlin and Hotel Neustadt (2003) in Halle (Saxony-Anhalt), serve as case studies that exemplify different strategies of the temporary. Staged in buildings that were scheduled for demolition, both festivals address the gradual disappearance of "socialist" architecture and urbanism in the realm of the former East Germany.
by Michaela Heinemann.
S.M.
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Weizman, Ines. "Iron Curtain, plastered walls: the architectural transformation of former East German cities." Thesis, Open University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417588.

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Although the key event in the history of the German Democratic Republic (GDR) is often seen as the collapse of the Berlin Wall in 1989, throughout its 40-year existence, the state underwent a series of radical metamorphoses that were manifested in the transformation of its built environment. The fundamental reconstruction of Germany’s cultural and economic identity post reunification is therefore just a continuation of a radical national history in which architecture, planning and inhabitation itself are the material representatives of political and cultural forces. This thesis describes and analyses the complex relationships that evolved between planning, construction and ideology. It argues that the process of reunification and its associated expropriation of the socialist city (which symbolises a failure to understand the urban history of the GDR) – is still going on. The thesis covers the period from the total destruction of 1945, via the political collapse of 1989, to the present day eradication of the socialist state’s physical relics and built environment. I examine how the GDR attempted to institutionalise its revolutionary and utopian ideology through a complex urban choreography of ceremonial movement and symbolic buildings designed to promote the artificial re-enactment of a non-existent revolution. I also describe how a particular style of planning and architecture was employed to inscribe state ideology through the most mundane of everyday practices. Following on from this, I analyse the influence of Cold War antagonism on architectural design. The cultural and ideological repercussions of the standoff with the West were manifested in urban planning as an ‘arms race’ of avenues, housing estates, public amenities and towers – each designed to demonstrate the industrial might and ideological superiority of their respective sponsors. Since the collapse of the Wall and the integration of the New Lander into the Federal Republic, a process of aesthetic transformation has been underway. The thesis explains why the rewriting of city monographs in the late 1990s was important and loos at how these monographs documented the removal of city ‘icons’ and celebrated the rapid transformation of former East German cities. I argue that these monographs create an imaginary geography, in which socialist architecture is portrayed as culturally ‘alien’ – a foreign invader in the ‘traditional’ German city. It was this transformation of perception that paved the way for the subsequent physical destruction.
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Marc-Blin, Séverine. "Architecture monumentale et décoration architecturale en Gaule de l’est et dans les Germanies à l’époque impériale : Les monuments publics de Mandeure." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20070.

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Dans l’est des Gaules et les Germanies, quelques monuments encore conservés en élévation témoignent du nombre et de la qualité des constructions publiques en territoire lingon, éduen, leuque, séquane, rauraque ou helvète durant l’époque impériale. Notre connaissance de cette architecture monumentale reste pourtant très lacunaire, du fait de l’absence d’étude monographique sur les monuments ou de catalogue des collections lapidaires. L’étude présentée dans le cadre de cette thèse, consacrée à la ville de Mandeure, révèle une panoplie monumentale ambitieuse, depuis l’époque augustéenne jusqu’à l’époque tétrarchique. Elle s’appuie sur une reprise des recherches sur le terrain depuis 2001, comprenant des fouilles mais surtout des prospections de toute nature. Mandeure, ville où se situait le plus grand sanctuaire civique séquane, présentait sous le Haut Empire toutes les composantes monumentales d’une ville romaine canonique : théâtre, temples, thermes, portes monumentales, horrea , etc. L’étude des vestiges conservés in situ et des blocs isolés permet de restituer les programmes architecturaux de plus d’une dizaine d’édifices complètement inédits et de leurs différentes phases de construction, de restauration ou de réaménagement depuis l’époque médio-augustéenne jusqu’à l’époque sévérienne. L’étude des programmes décoratifs permet également de restituer un répertoire ornemental très riche. L’influence des modèles italiens, sans doute par l’Italie du nord et la Gaule narbonnaise, signale le caractère canonique des réalisations. Plusieurs séries de grands chapiteaux en marbre de Carrare constituent un témoignage rare dans la région de l’activité d’artisans italiens
In Eastern Gaul and Germanies, several monuments still standing witness of the quantity and the quality of public buildings in lingon, aeduan, leuquan, sequan, raurac and helvet territory during the Imperial period. Our knowledge of this monumental architecture remains however incomplete, since there is no monograph dealing with those monuments or any lapidary collection catalog. This study, devoted to the city of Mandeure, reveals an ambitious display of monuments from the augustean period to the tetrarchian's. It is based on the fieldwork carried out since 2001, including digging and more specifically prospecting of all kind. Mandeure, the city where the largest sequani civic sanctuary was located, displayed during the imperial period every monumental elements of a classic roman city: theatre, temples, thermae, monumental gates, horrea, etc. The study of the preserved remains in situ and of isolated blocks unables us to re-establish all the differents process of construction, restitution or redevelopment from the medio-augustean era to the severinian's. The study of the decoration programs allowed us aswell to restore a very rich ornemental repertoire. The influence of italian models, probably coming from Northern Italy and the Narbonese Gaul, is a sign of the classic dimension of those realizations. Several set of large Carrare marble capitals constitute a rare testimony of the work of Italian craftsman in this area
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Books on the topic "East German Architecture"

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Neo-historical East Berlin: architecture and urban design in the German Democratic Republic. Farnham, Surrey, England: Ashgate, 2009.

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Dethlefsen, Richard. Rytų Prūsijos kaimo namai ir medinės bažnyčios. Vilnius: "Mintis", 1995.

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Marsden, Simon. Beyond the Wall: The lost world of East Germany. London: Little, Brown, 1999.

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Architecture in translation: Germany, Turkey, and the modern house. Durham: Duke University Press, 2012.

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Topfstedt, Thomas. Stadtdenkmale im Osten Deutschlands. Leipzig: Edition Leipzig, 1994.

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Hinter der Mauer: Zur militärischen und baulichen Infrastruktur des Grenzkommandos Mitte. Berlin: Ch. Links Verlag, 2012.

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Leinauer, Irma. Das Aussenministerium der DDR: Geschichte eines politischen Bauwerkes. Berlin: Institut für Stadt- und Regionalplanung der Technischen Universität Berlin, 1996.

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Tscheschner, Dorothea. Das abgerissene Aussenministerium der DDR in Berlin Mitte: Planungs- und Baugeschichte. Berlin: Kulturbuch-Verlag, 1997.

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Mielkes Revier: Stadtraum und Alltag rund um die MfS-Zentrale in Berlin-Lichtenberg. Berlin: Lukas, 2010.

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Eva-Maria, Barkhofen, Butter Andreas 1963-, and Goebel Benedikt, eds. Ost-Berlin und seine Bauten: Fotografien 1945-1990. Berlin: Berlinische Galerie, 2006.

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Book chapters on the topic "East German Architecture"

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Henderson, Karen. "The East German Legacy." In The New Institutional Architecture of Eastern Europe, 56–78. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23075-4_4.

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Fuchs, Anne. "Architectural Interventions I: West and East German Postwar Debates." In After the Dresden Bombing, 70–89. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230359529_3.

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Pae, Hye K. "The East and the West." In Literacy Studies, 107–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55152-0_6.

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Abstract This chapter reviews the cultural aspects of the East and the West. A wide range of differences between the East and the West is discussed in terms of the extrinsic and intrinsic differences. The extrinsic differences comprise architecture, the mode of clothing, everyday practices, and language and script, while the intrinsic differences consist of culture and value systems, attention and perception (holistic vs. analytic), problem solving (relation vs. categorization), and rhetorical structure (linear vs. roundabout). The locus of these differences is identified with respect to philosophical foundations and the characteristics of Eastern and Western cultures. The prevalent interpretations of the differences between the East and the West center on Diamond’s (1999) guns, germs, and steel, Nisbett’s (2003) geography of thought, and Logan’s (2004) alphabet effects. However, these interpretations cannot explain differences in ideologies, religious practices, and societal values among Chinese, Japanese, and Koreans. Therefore, script relativity becomes a new interpretation of the engine behind the differences among the three East-Asian nations and between the East and the West.
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b, a. "Form as/and utopia of collective labour: typification and collaboration in East German industrialised construction." In Industries of Architecture, 1–2. Taylor & Francis, 2015. http://dx.doi.org/10.4324/9781315670362-23.

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Phillips, Victoria. "“Dedicated to Freedom”." In Martha Graham's Cold War, 103–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190610364.003.0005.

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In West Berlin, 1957, Graham performed her solo Judith during the opening ceremonies of Congress Hall, an American-designed modernist building that, with its transparent glass walls, luminous curved roof, and reflecting pool, was a “symbol of the Free World,” according to the German press, situated just one hundred yards from the line dividing West Berlin from East, liberal democracy from communism. Modernism in dance met the architecture of diplomacy. “We should have the freedom of modern dancing as well as that of speech,” Graham declared when she arrived in Berlin; she embodied the modern impulse and the ideal of freedom and democracy that came with it. Led by Eleanor Lansing Dulles, the sister of both John Foster, Eisenhower’s secretary of state, and Allen, director of the CIA, the Americans planning the inauguration of Congress Hall understood that with Martha Graham, they had a cultural ambassador who was “dedicated to freedom.” However, bringing heavy-handed references to the nation’s Nazi past, Graham received poor reviews in Germany. A few days later, Graham watched as Mary Wigman received raves. Yet the Congress Hall committee reported back that Graham’s performance could be considered a success because up to half of the elite audience was from East Germany. Graham received a polite but curt note from Dulles and began drinking heavily after returning home to choreograph Clytemnestra, the first three-act modern ballet.
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Stangl, Paul. "City Plans." In Risen from Ruins. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603202.003.0003.

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Between 1945 and 1949 a series of modernist plans were developed for Berlin. In this time of political turmoil, planners and politicians projected a broad range of meanings onto the plans. After the founding of the East German state, Lothar Bolz orchestrated the adoption of socialist realism as state policy, requiring a return to traditional urban design. This theory included a range of tenets guiding planning, but Walter Ulbricht intervened to assure that planning would be dominated by a concern for parade routes leading to an immense square in the city center. In response to West Berlin’s international building exhibition, the German Democratic Republic held their own design competition for a “socialist” city center in 1958. The recent introduction of industrialized building, along with uncertainty and debate over the nature of “socialist” architecture, was evident in designs with a range of influences, including international modernism, midcentury modernism, and socialist realism.
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"Postmodern Architectural Exchanges Between East Germany and Japan." In Re-Framing Identities, 73–88. Birkhäuser, 2016. http://dx.doi.org/10.1515/9783035608151-006.

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"Continuity or Discontinuity? Narratives on Modern Architecture in East and West Germany during the Cold War." In Re-Humanizing Architecture, 101–14. Birkhäuser, 2016. http://dx.doi.org/10.1515/9783035608113-007.

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Ladd, Brian. "Double Restoration: Rebuilding Berlin after 1945." In The Resilient City. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195175844.003.0011.

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As in any city recovering from disaster, Berlin, following World War II, had the opportunity to reconnect with its local traditions. The restoration of political, social, and cultural forms offered a kind of reconnection, and so did the tangible reconstruction of buildings, streets, and utility lines. Any revival of tradition was, however, enormously complicated by two problems of continuity, one temporal, one geographical—and both of them political and philosophical. First was the question of historical continuity. On the one hand, there was a desire to rebuild: to repair a damaged but extant city or, more broadly, to continue the best local traditions in architectural style, social policy, and economic development. On the other hand, everyone in charge was determined to break demonstratively with the immediate past, that is, with the Third Reich, but they did not agree about which cultural, architectural, or urbanistic traditions were the Nazi ones. The second complication arose from the fact that the city was soon divided between East and West, governed by two ideologically opposed regimes, each determined to claim the legacy of pre-Nazi Berlin, to display the clearer break with Hitler, and to prove its cultural and political superiority. Under these complicated circumstances, the rebuilding of Berlin became one of the most visibly contested venues of the early Cold War, even as it remained a matter of basic comfort and prosperity for ordinary Berliners. The fact of Berlin’s destruction in the Second World War is well known, but merely to ask the question of what caused that destruction is to plunge into contested territory. In the Soviet-occupied East, for example, the official line at first informed Germans that the destruction of their land was the legacy of Hitler and the Nazis. Later, as the Cold War heated up, they were more likely to hear blame cast upon the “Anglo-American terror bombers” (with no mention of the secondary role of Red Army artillery in the battle of Berlin). In theWestern zones of occupation, a version of the former story remained the official one, with perhaps more emphasis on the collective responsibility of the German people as a whole for the deeds of the Nazis.
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Lorbiecki, Marybeth. "Lug- Ins- Land: 1887– 1901." In A Fierce Green Fire. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780199965038.003.0006.

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From his childhood home atop Prospect Hill in Burlington, Iowa, Aldo Leopold could gaze out over the mighty Mississippi and its wet, wooded bottomlands. Each fall and spring, the skies were speckled like the breast of a wood thrush as thousands of migrating birds flew overhead, rousing hunters to their blinds. Coal smoke wafted up from the river’s steamboats. The train whistles of the Chicago, Burlington & Quincy Railroad pierced the winds as locomotives chugged back and forth across the Burlington Bridge, linking Illinois to Iowa. Though unaware of it, Leopold was overlooking the meeting of the nation’s East and West, of the Industrial Revolution and the frontier, of an age of nature’s plenty and one of scarcity, of the 19th century and the 20th to come. Leopold was born in Burlington on January 11, 1887, in the house of his grandparents, Charles and Marie Runge Starker. Their home provided fertile soil for the growth of a citizen concerned about people, the land, and the relationships between them. As some flowers are colored by minerals absorbed in their roots, Aldo’s later works exhibit shades of his grandparents and parents. A German immigrant educated in engineering and architecture, Charles Starker had come to Burlington in 1850, when it was a rough river town on the edge of the western prairie. He liked what he saw, because it reminded him of his homeland, and he worked to make Burlington even more into the kind of town he wanted it to be: aesthetic, prosperous, and cultured. Over the years, he progressed from the drafting of buildings to the construction of businesses, excelling as a grocer, banker, alderman, and director of the city cemetery. Using his prestige, he spearheaded efforts to bring to the town, among other civic gems, a library and an opera house, which lent Burlington a grand style scarcely matched by other midwestern communities its size. But style was not enough. Charles was an amateur naturalist, and he believed that cities, as well as homes, required spaces specifically set aside for people to enjoy nature’s offerings.
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Conference papers on the topic "East German Architecture"

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Smulevich, Gerard. "The Digital Bauhaus." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.63.

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This paper describes the use of electronic space in a fourth year undergraduate architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. This goal is set in the studio exercise, an international student design competition to design an addition to the school of architecture at the original Bauhaus/Weimar. The studio involved re-evaluating the Bauhaus principles of integrating the artist and the craftsman, but in contemporary or post-industrial terms. In 1989 the Wall came down. Seamless access of western telecommunications and media became greatly responsible for the crumbling of the rigid machine-age soviet technocracy; and with it, the former east German city of Weimar, home to the first Bauhaus, was once again a living part of architectural history. When the Association of Collegiate Schools of Architecture announced an international student competition to design a new addition to the school of architecture at the original Bauhaus/Weimar, we immediately decided that this should be an Electronic Bauhaus.
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Szmitkowska, Agata. "FROM THE LUFTWAFFE HEADQUARTERS TO A SANATORIUM”. THE ARCHITECTURE OF THE HOLIDAY RESORT OF THE WARSAW EXECUTIVE BOARD OF THE TRADE UNION OF THE BOOK, PRESS AND RADIO EMPLOYEES IN GOŁDAP, MASURIA." In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/26.

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This article presents the architecture, origin and the vicissitudes of the holiday resort which was dedicated to employees of the state media institutions of that time and which is representative of Polish holiday centres in Poland in the 1970s. It was developed near a town called Gołdap in northern Poland in the area of the Masurian Lake District which constituted a part of German East Prussia before 1945. The centre was planned in the land which operated as the Main Headquarters of the General Command of Luftwaffe during II World War. One of the key principles assumed by the designer of the holiday resort was not only the use of the natural advantages of the place but also the maximum adaptation of the preserved facilities, the foundations of the buildings and the infrastructure of the former military complex. The unusual architecture, attractive location and the scale of the constructed complex bespoke of the investors’ considerable wealth. The history of the centre entwined closely with important events in general history and the political and economic changes which occurred in Poland after 1989 determined the decision to introduce a new function of a sanatorium to the facility. The complex was then partially reconstructed and developed. This article was based on a number of researches. A detailed analysis was made of the related archival materials and scientific publications. A comparative analysis was conducted of the architecture of the centre and other facilities used for the same purpose which had been built in the 1960s and 1970s in Poland. The required field studies and photographic documentation of all the premises were performed simultaneously.
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3

Neis, Hajo, Briana Meier, and Tomo Furukawazono. "Arrival Cities: Refugees in Three German Cities." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6318.

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Since 2015, the authors have studied the refugee crisis in Europe and the Middle East. The intent of theproject is to not only study the refugee crisis in various spatial and architectural settings and aspectsbut also actively try to help refugees with their problems that they experience in the events fromstarting an escape and to settling in a given host country, city town or neighborhood.In this paper, the authors present three case studies in three different cities in Germany. Refugees areeverywhere in Germany, even in smaller towns and villages. The case study cities are at differentscales with Borken (15,000 people), Kassel, a mid-size city (200,000), and Essen a larger city(600,000) as part of the still larger Ruhr Area Megacity. In these cities we try to understand the life ofrefugees from their original escape country/city to their arrival in their new cities and new countries.Our work focuses on the social-spatial aspects of refugee experiences, and their impact on urbanmorphology and building typology.We also try to understand how refugees manage their new life in partial safety of place, shelter foodand financial support but also in uncertainty and insecurity until officially accepted as refugees.Beyond crisis we are looking at how refugees can and want to integrate into their host countries, citiesand neighborhoods and start a new life. Social activities and physical projects including urbanarchitecture projects for housing and work, that help the process of integration, are part of thispresentation.
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