Architecture In Europe & Germany
ARCHITECTURE IN EUROPE & GERMANY
A major exhibition of twentieth-century German archiecture opened on May 2000 at Frankfurt’ s DAM, the latest series devoted to European architecture.
Germany had already been examined, using original drawings and text, in Modern Architecture in Germany 1900-1950, a trilogy shown between 1992 and 1998. The overwhelming quantity of material was fascinating but a dry academic experience for non-architects. In the context of the European twentieth century series the curators looked for a more exciting presentation, one which would bring building users into the frame . They choose eleven non-architectural photographers to record over 100 projects.
Fourteen categories preclude the usual architectural tourist guide approach. Under ‘My home is my castle’ the English country house ideal of Muthesius stands next to Thut’s private ecological paradise for those of more modest means and Scharoun’ s one-off Modernism rubs up againts Everyman’ s urban flat of the late nineties.
Investigating architectuer’s roles, as opposed to starting from the end product created by star architects, is a better dip stick for evulating economic and political agendas. West Germany’ s post-1945 social pact between the genarations and East Germay’ s caring state programme are placed in context as are the concentration camps, industrial workers towns and high security prisons of more recent terrorist history.
Critics were puzzled. The contemporary norm of privately sponsored knowledge has led vested interests to excpect uncritical public relations exercises in support of their import-export trade. For some exhibition lacked glamour. Other saw a missed opportunity for the pillorying of political ideologies.
A major exhibition of twentieth-century German archiecture opened on May 2000 at Frankfurt’ s DAM, the latest series devoted to European architecture.
Germany had already been examined, using original drawings and text, in Modern Architecture in Germany 1900-1950, a trilogy shown between 1992 and 1998. The overwhelming quantity of material was fascinating but a dry academic experience for non-architects. In the context of the European twentieth century series the curators looked for a more exciting presentation, one which would bring building users into the frame . They choose eleven non-architectural photographers to record over 100 projects.
Fourteen categories preclude the usual architectural tourist guide approach. Under ‘My home is my castle’ the English country house ideal of Muthesius stands next to Thut’s private ecological paradise for those of more modest means and Scharoun’ s one-off Modernism rubs up againts Everyman’ s urban flat of the late nineties.
Investigating architectuer’s roles, as opposed to starting from the end product created by star architects, is a better dip stick for evulating economic and political agendas. West Germany’ s post-1945 social pact between the genarations and East Germay’ s caring state programme are placed in context as are the concentration camps, industrial workers towns and high security prisons of more recent terrorist history.
Critics were puzzled. The contemporary norm of privately sponsored knowledge has led vested interests to excpect uncritical public relations exercises in support of their import-export trade. For some exhibition lacked glamour. Other saw a missed opportunity for the pillorying of political ideologies.
