Kirjahaku

The acquisition history and the technical specifics of the Mauser rifles and carbines sold to Chile from 1895 to 1935 As part of its rise as a regional South American power, Chile chose to emulate the highly successful Prussian military system in the last decades of the 19th century. Prior conflicts and the prospect of war with Argentina, which came to a head in the early 1890s, can be seen as the pretext for Chile’s purchase of "Prussian" military equipment, including Mauser rifles and Krupp cannons. This book summarizes important regional events, while also offering a general historical overview of Mauser developments. It will then proceed to expose the particulars of Chile’s Mausers, purchases that resulted in the Model 1895, 1912, and 1935. Also detailed are the technical specifics of each of these three models and the historical events surrounding their acquisition. The result is the first comprehensive attempt at documenting these important artifacts and events.

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.

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.

The Yenidze Cigarette Factory of 1909 was constructed as an industrial, architectural object that advertised Dresden as a center for the tobacco trade. Born from a unique client-architect relationship between Hugo Zietz and Martin Hammitzsch, the factory’s importance to modernism has been understated. Smoke and Mirrors uncovers the history of the factory’s planning, design, and construction, and for the first time, apart from the building’s historical narrative, positions this addition to Dresden’s skyline within the formative histories of the modern movement.