LEADER 03658oam 22005174a 450 001 9910494722603321 005 20180114030004.0 010 $a1-4529-5625-1 035 $a(CKB)3790000000543435 035 $a(MiAaPQ)EBC5210548 035 $a(OCoLC)1017738355 035 $a(MdBmJHUP)muse60665 035 $a(EXLCZ)993790000000543435 100 $a20170905d2018 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aModernism as Memory$b[electronic resource] $eBuilding Identity in the Federal Republic of Germany /$fKathleen James-Chakraborty 210 $aMinneapolis, MN $cUniversity of Minnesota Press$d2018 215 $a1 online resource (309 pages) $cillustrations, photographs 300 $aIncludes index. 311 $a1-5179-0291-6 320 $aIncludes bibliographical references and index. 327 $aMachine generated contents note: Contents Introduction: Making Memory Modern 1. Making German Architecture Modern 2. Inserting Memory into Modern Architecture: West German Churches 3. An Architecture of Fragmentation and Absence: West German Museums 4. Critical Reconstruction or Neo-Modernist Shards? Post-unification Berlin 5. Manufacturing Memory in the Ruhr Region 6. Assimilating Modern Memory Conclusion: The Kolumba Museum in Cologne Acknowledgments Notes Index. 330 $a"After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and '20s. As Modernism as Memory illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin's museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an "architecture of modern memory" that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Duren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin. Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country"--$cProvided by publisher. 606 $aARCHITECTURE / Criticism$2bisacsh 606 $aARCHITECTURE / History / Contemporary (1945-)$2bisacsh 606 $aCollective memory$zGermany (West) 606 $aArchitecture and society$zGermany (West)$xHistory$y20th century 606 $aArchitecture$zGermany (West)$xHistory$y20th century 608 $aElectronic books. 615 7$aARCHITECTURE / Criticism. 615 7$aARCHITECTURE / History / Contemporary (1945-). 615 0$aCollective memory 615 0$aArchitecture and society$xHistory 615 0$aArchitecture$xHistory 676 $a720.943 700 $aJames-Chakraborty$b Kathleen$f1960-$01044833 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910494722603321 996 $aModernism as Memory$92484585 997 $aUNINA