The correspondence between artist Hans Purrmann (1880-1966) and author Karl Scheffler (1869-1951) offers the reader a unique insight into the debates between an artist and his critic from the 1920s through the Third Reich and up to the early post-War era. Between 1906-1933 Scheffler was the editor of Kunst und Kunstler in Berlin, one of Germany's most prestigious art magazines, and he accompanied the successful artist in a series of exhibition discussions and monographic articles. For his part, Purrmann expressed his views in the magazine. Accordingly, there were texts about artists and the art trade or on South Pacific art. The two men's understanding of trends in art and art theories formed the basis of their friendship and for questions on art.

In 1951, Konrad Wachsmann and his department at the IIT received a commission from the US Air Force to investigate no less than a completely new method of construction based on the structural models he had already developed. The iconographic model of the US Air Force Hangar developed from this work was a true "turning point in building": the structure designed represents an almost futurist promise of a fully industrialized building culture, the conceptual image of which also became the direct inspiration for various architectural avant-gardes. Stressing Wachsmann attempts to finally place Konrad Wachsmann's achievement appropriately in architectural history and to critically compare the mental and material conditions involved in the construction of buildings at that time and today.