Complete works by O'Henry.

By O'Henry.

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First, the building itself was conceived in terms of a church, with nave and transept. Its architectural aspirations were informed by the mediaeval gothic cathedral, which itself aspired to constructing walls of transparency. It furnished the first examples of technogothic – a style revisited in postmodernity. This palace, the largest greenhouse ever built, constituted a secular paradise of glass, to enter which was to experience the sublime and transcendent. Secondly, in this international market all the goods on show were unpriced.

With the second major epoch, the Industrial Revolution – whose legacy most of our cities still live with – we move towards the Competitive Industrial Capitalist City. International trade expanded at an unprecedented rate and new kinds of cities were born. These, like the older cities, were ‘hierarchical city-systems’, but ‘[n]ever before was production so geographically concentrated, so locationally centralised, so densely agglomerated’ (Soja: 1989, 177). In the intensification of land use, zoning emerges largely in terms of class.

It opened at Berlin’s largest movie theatre, Ufa Palast, the front of which had been mounted with billboards portraying monumental skyscrapers. The film’s director was Fritz Lang – a man obsessed in his early years by architecture – and its subject was social life in a futuristic city. It was being premiered in a Western European city second only to London in size. A city which the pioneering German city developer, Werner Hegemann, depicted at the forefront of an international battle in urban development ‘in the struggle for the beneficial arrangement of [a] completely new world in which we have been living since modern techniques in industry and transport first came into effect’ (Sutcliffe: 1981, 45).

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