As sites of turbulence and transformation, cities are machines for forgetting. And yet archiving and exhibiting the presence of the past remains a key cultural, political and economic activity in many urban environments. This book takes the example of Berlin over the past four decades to chart how the memory culture of the city has responded to the challenges and transformations thrown up by the changing political, social and economic organization of the built environment. The book focuses on the visual culture of the city (architecture, memorials, photography and film). It argues that the recovery of the experience of time is central to the practices of an emergent memory culture in a contemporary 'overexposed' city, whose spatial and temporal boundaries have long since disintegrated.
Germany of the 1920s offers a stunning moment in modernity, a time when surface values first became determinants of taste, activity, and occupation: modernity was still modern, spectacle was still spectacular. Janet Ward's luminous study revisits Weimar Germany via the lens of metropolitan visual culture, analyzing the power that 1920s Germany holds for today's visual codes of consumerism.
Structures of Memory turns to the landscape of contemporary Berlin, particularly places marked by the presence of the Nazi regime, in order to understand how some places of great cruelty or great heroism are forgotten by all but eyewitnesses, while others become the site of public ceremonies, museums, or commemorative monuments.
In Berlin, decrepit structures do not always denote urban blight. Decayed buildings are incorporated into everyday life as residences, exhibition spaces, shops, offices, and as leisure space. As nodes of public dialogue, they serve as platforms for dissenting views about the future and past of Berlin. In this book, Daniela Sandler introduces the concept of counterpreservation as a way to understand this intentional appropriation of decrepitude. The embrace of decay is a sign of Berlin's iconoclastic rebelliousness, but it has also been incorporated into the mainstream economy of tourism and development as part of the city's countercultural cachet. Sandler presents the possibilities and shortcomings of counterpreservation as a dynamic force in Berlin and as a potential concept for other cities. Counterpreservation is part of Berlin's fabric: in the city's famed Hausprojekte (living projects) such as the Køpi, Tuntenhaus, and KA 86; in cultural centers such as the Haus Schwarzenberg, the Schokoladen, and the legendary, now defunct Tacheles; in memorials and museums; and even in commerce and residences. The appropriation of ruins is a way of carving out affordable spaces for housing, work, and cultural activities. It is also a visual statement against gentrification, and a complex representation of history, with the marks of different periods—the nineteenth century, World War II, postwar division, unification—on display for all to see. Counterpreservation exemplifies an everyday urbanism in which citizens shape private and public spaces with their own hands, but it also influences more formal designs, such as the Topography of Terror, the Berlin Wall Memorial, and Daniel Libeskind's unbuilt redevelopment proposal for a site peppered with ruins of Nazi barracks. By featuring these examples, Sandler questions conventional notions of architectural authorship and points toward the value of participatory environments.
A study of the archival turn in contemporary German memory culture, drawing on recent memorials, documentaries, and prose narratives that engage with the material legacy of National Socialism and the Holocaust.
Drawing on a range of cities and conflicts from Europe, Africa and the Middle East, the collection explores the post-conflict condition as it is lived and expressed in modern cities such as Berlin, Belfast, Bilbao, Beirut, Derry, Skopje, Sarajevo, Tunis, Johannesburg and Harare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory investigates how the memory of conflict can be inscribed in historical monuments, human bodies and hermeneutic acts of mapping, traversing, representing, and performing the city. Several essays explore the relations between memory, history and urban space; where memory is located and how it is narrated, as well as various aspects of embodied memory; testimonial memory; traumatic memory; counter-memory; false memory; post-memory. Other essays examine the representations of post-war cities and how cultural imaginations relate to the politics of reconstruction in places devastated by protracted urban warfare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory offers a comparative survey of the complex and often controversial encounters between public art, political memory and commemoration in divided societies, as well as offering insights into the political and ethical difficulties of balancing the dynamics of forgetting and remembering.
The history of cities is also the history of city squares. The agora, the forum, the piazza, the plaza: All presuppose the idea of a center. It’s a material and mental phenomenon. Literature is an important part of this history, and the interplay between the square as physical space and the square as literature is the topic of this book. This is an encyclopedic book combining an overview of the history of city squares with a plethora of analytical examples of its reflection in literature: Literature uses the city square as a frame; city squares serve as frames for drama; novels and other kinds of literature comment on city squares; city squares are sources of inspiration for all sorts of literary activities. Socrates in the agora, Cicero in the Forum, Calderón in the Plaza Mayor, Corneille in the Place Royale, Richardson in Grosvenor Square, James in Washington Square, Woolf in Bloomsbury Square, Döblin and Gröschner in Alexanderplatz, Rodoreda in Diamond Square in Barcelona, DeLillo in Times Square, Al Aswany in Tahrir Square, the Maidanistas in the Maidan of Kyiv: These are just some of the examples presented and analyzed in this book. The book is of direct interest for researchers, students, and professionals such as architects and urban planners, but it is written in a way that makes it accessible for all readers with an interest in urban culture, architecture, history, literature, and cultural studies.
