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A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.
As a formative exemplar of early architectural modernism, Bruno Taut’s seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically part of the important debate of rethinking the origins of modernism. However, the historical record of Bruno Taut’s Glashaus has been primarily established by one art historian and critic. As a result the historical record of the Glashaus is significantly skewed toward a singlular notion of Expressionism and surprisingly excludes Taut’s diverse motives for the design of the building. In an effort to clarify the problematic historical record of the Glashaus, this book exposes Bruno Taut’s motives and inspirations for its design. The result is that Taut’s motives can be found in yet unacknowledged precedents like the botanical inspiration of the Victoria regia lily; the commercial interests of Frederick Keppler as the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived openly from the Gothic. The outcome is a substantial contribution to the re-evaluation of the generally accepted histories of the modern movement in architecture.
This book is the first English translation of the German architect Bruno Taut’s early twentieth-century anthology Die Stadtkrone (The City Crown). Written under the influence of World War I, Taut developed The City Crown to promote a utopian urban concept where people would live in a garden city of ’apolitical socialism’ and peaceful collaboration around a single purpose-free crystalline structure. Taut’s proposal sought to advance the garden city idea of Ebenezer Howard and rural aesthetic of Camillo Sitte’s urban planning schemes by merging them with his own ’city crown’ concept. The book also contains contributions by the Expressionist poet Paul Scheerbart, the writer and politician Erich Baron and the architectural critic Adolf Behne. Although the original German text was republished in 2002, only the title essay of The City Crown has previously been translated into English. This English translation of Taut’s full anthology, complete with all illustrations and supplementary texts, fills a significant gap in the literature on early modern architecture in Germany and the history of urban design. It includes a translators’ preface, introduction and afterword to accompany the original composition of essays, poems, designs and images. These original texts are accompanied by illustrations of Taut’s own designs for a utopian garden city of 300,000 inhabitants and over 40 additional historic and contemporary examples. The new preface to The City Crown explains the premise for the English translation of Taut’s anthology, its organization and the approaches taken by the translators to maintain the four different voices included in the original work. Matthew Mindrup’s introduction critically examines the professional and intellectual developments leading up to and supporting Bruno Taut’s proposal to advance the English garden city concept with a centralized communal structure of glass, the city crown. Through the careful examination of original
Esra Akcan describes the introduction of modern architecture into Turkey after the Kemalist political elite took power in 1923 and invited German architects to redesign the new capital of Ankara.
German-speaking Europe is an array of images that have emerged from varied discourses about itself and its neighbors, and “Germany and the Imagined East” revolves around the exchange of views on and in the vast construct called “the East.” The world has been divided conceptually in countless ways, but the works in this volume treat aspects of Germany as both part of and also separate from any perception of an eastern border. From the former German Democratic Republic,“East Germany,” to Österreich—whose name loses its eastern association in the English version, Austria,—the East begins within the very world of the German language. But it is also the expanse off to the right of Germany, within which essays in this collection treat such political and cultural distinctions as former Yugoslavia, Romania and Russia in Eastern Europe, or Turkey and Persia in the Near East, spreading through India to China and Japan in the Far East. With a variety of perspectives on literature, film, philosophy, architecture, music and history, these essays comprise a multidisciplinary collage that invites scholars from all departments to explore the wealth of insights German Studies has to offer on East-West relations.