Across the early decades of the seventeenth century, Englishmen and women moved through a physical, social, and mental world organised into a carefully maintained balance of motion and pause. This book examines how seventeenth-century English architectural theorists and designers rethought the domestic built environment in terms of mobility, as motion became a dominant mode of articulating the world across discourses. These discourses encompassed philosophy, political theory, poetry, and geography. From mid-century, the house and estate that had evoked staccato rhythms became triggers for mental and physical motion-evoking travel beyond England's shores, displaying vistas, and showcasing changeable wall surfaces. The book sets in its cultural context a strand of historical analysis stretching back to the nineteenth century Heinrich Wolfflin. It brings together the art, architectural, and cultural historical strands of analysis by examining why seventeenth-century viewers expected to be put in motion and what the effects were of that motion. Vistas, potentially mobile wall surface, and changeable garden provided precisely the essential distraction that rearticulated social divisions and assured the ideal harmony. Alternately feared and praised early in the century for its unsettling unpredictability, motion became the most certain way of comprehending social interactions, language, time, and the buildings that filtered human experience. At the heart of this book is the malleable sensory viewer, tacitly assumed in early modern architectural theory and history whose inescapable responsiveness to surrounding stimuli guaranteed a dependable world from the seventeenth century.
Nazi propaganda and sensory experiences in the German domestic interior, 1933–45
After coming to power in 1933, the Nazi party began altering all forms of media into an extension of their propaganda machine. It successfully used sound, sight, taste, touch and smell, as well as space and the conception of time, to infiltrate daily life and the family home. Propagandists insisted German families furnish their homes with simple objects descended from the utilitarian objects of the barn and the barrack. Lavishly illustrated books attached moral values to household objects without any consideration of utility or personal taste. A correct German home was supposedly a sensory experience of family cosiness, with propaganda describing the smell of the coffee beans ground by the daughter, the feel of the wood furniture made by Grandpa from German trees and the smell of father and son’s latest kill cooking on the fire that also kept the family warm. This chapter explores Nazi propaganda relating to the manipulation of the five senses in domestic built environments. It also looks at the relationship of Nazi-approved design to earlier German design movements and traces which rituals and aesthetic philosophies survived into the post-war era.
cultural range of
moments of mobility at the turn of the eighteenth century.
The unease of motion
The domesticbuiltenvironment is particularly reflective of the seventeenthcentury dovetailing between malleable, mobile individual and manipulative,
equally mobile building on which this book focuses. In all environments –
whether city street, public building, or house, individuals encountered spaces
to which they responded and which correspondingly shaped their expectations and actions. Across the domestic interior, however, they moved through
a wider range of spaces