By Deborah Ascher Barnstone
Analyzing the transformation of transparency as a metaphor in West German political concept to an analogy for democratic architecture, this book questions the existing assumption in German architectural circles that transparency in governmental structures could be equated with openness, accessibility and larger democracy.The obvious country lines the advance of transparency in German political and architectural tradition, tying this lineage to the connection among tradition and nationwide identification, a connection that all started ahead of unification of the German nation within the eighteenth century and keeps this day. The Weimar Republic and 3rd Reich sessions are tested even supposing the point of interest is on the postwar interval, taking a look at using transparency within the 3 initiatives for a countrywide parliament - the 1949 Bundestag venture by way of Hans Schwippert, the 1992 Bundestag construction by way of Gunter Behnisch and the 1999 Reichstag preservation through Norman Foster.Transparency is a crucial factor in modern architectural perform; this e-book will entice either the working towards architect and the architectural historian.
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Extra info for The Transparent State: Architecture and Politics in Postwar Germany
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E. transparent architecture or transparent political discourse, that the condition democracy must also 11 The transparent state exist or may come into existence. It is easy to disprove both statements. Tatlin’s famous proposal for a Monument to the Third International is one of many examples of a transparent government building designed for, and symbolizing, Stalin’s regime rather than a democratic one. Similarly, many of the National Socialist aphorisms could be described as transparent since their meaning was completely clear and their intent was a transparent social connection between people, state, and Führer.
10 For Schmidt the danger of the situation in 1947 was to romanticize the past, then rebuild Germany according to a faulty memory, or an intentionally altered one, in a pseudo-historic manner without giving room for the full range of architectural and urban solutions possible. Schmidt’s article is one of many that appeared soon after the end of the war, when the debate began as to how to rebuild, in which style (if any), and for which reasons. As Schmidt himself points out, the architectural debate centered on old prewar themes reframed in reference to experiences during the Third Reich and its aftermath: historicism versus reinstated functionalism, reconstructing the historic fabric versus building completely new cities, the popular appeal of traditional “Heimat” housing versus the efficiency of new construction materials and methods; organic, open versus classical city planning; manufactured products versus local handicrafts; prefabricated versus site-built work.
Furthermore, if political identity is taken as a constituent part of national identity, then these projects also represent notions of national identity especially at the time they were designed and built. The intention here is to read accepted notions of political identity in a novel way in order to trace the ways the ideology of transparency has shifted and changed its meaning over time. A brief history of transparency in West German architectural and art historical realms is also presented because the projects draw as much on architectural and art historical models as they do on ones from the political realm.