previous century (Macrae-Gibson, 1985). The political implications were clear; the "new way of living" embraced the predominant ideal of early 20th century Germany modernists, and strove to become "classless, rigorously utilitarian, polemical, and antiauthoritarian" (Rogers, 2001). Illustrating this ideal, Macrae-Gibson references Le Corbusier in Towards a New Architecture: "...Tools are the result of successive improvement...We throw the out-of-date tool on the scrap heap" (Le Corbusier, 1931). New materials and technologies contributed to the cache of new "tools" that shaped the Modern movement. This "Utopian Modernist" view of design combined with the urgent need to adapt and create a society suitable to the "new way of living" contributed to a remarkably prolific period of architecture, and one which saw the profession of landscape architecture emerge as a significant force in the convergence of politics and the design of the modern built environment. In contrast, the ideals of conservative Germans were embodied by their connections to right-wing agrarian movements and leagues. As outlined earlier in this chapter, these agrarian organizations and their sympathizers worked toward inciting the rural populations against the liberalism, democracy, and capitalism of the modernists and urban populations. One of the main tactics of the conservative party in gaining the support of the rural populations was to incite anger and hatred toward all things foreign. The increased industrialization of Germany resulted in two opportunities to harness the frustration of the rural laboring class: anger directed at recent Polish immigrants who filled the labor shortage created when many Germans fled to the urban centers, and the perception that Jews were profiting unequally from industrial capitalism. These two perceptions led to the moral outrage and rejection of any work of architecture, city
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