EXRRESSIONISTIC AND RATIONAL PHASES IN BRUNO TAUT'S ARCHITECTURAL WORK
Journal Name:
- Orta Doğu Teknik Üniversitesi Mimarlık Fakültesi Dergisi
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Abstract (2. Language):
Bruno Taut, one of the contributors in the development of modern
architecture at the turn of the Century, was, besides being an
architect, a writer of books on architecture, an editor, a city
planner and an educator.
Taut's earlier experiments during his individualistic and
imaginative period which covered roughly the years of the
First World War, concentrated primarily on the use of glass
as a building material.
Among the experimental projects that were executed, his glass
pavillion for the 1914 Werkbund Exhibition in Cologne stands out;
and was influential on the subsequent developments of building
with glass.
After the War, Taut remained a significant figure within the
expressionist movement in Germany and participated in the
'Arbeitstrat für Kunst' and 'Die Glaseme Kette'. The
expressionistic and Utopian projects he designed for the
Alpine summits, using glass and reinforced concrete, were
truly extraordinary. The proposal for the crowning of the
summits has also influenced his later designs for an ideal
city where he emphasizes the city center as the crown of
the city.
The other distinctive phase in Taut's work starts from about
1924 with housing projects in Berlin and presents a rational,
functionalistic approach which leaves out most of his previous
aesthetic speculations.
During his 'siedlung' period, Taut was among the few prominent
architects invited by Mies van der Rohe to contribute with a
house to the Weissenhof Settlement near Stuttgart, undertaken
by the Werkbund Organization in 1927.
The years Taut spent outside of Germany, he worked in Russia,
Japan, and then in Turkey. He was, in Turkey, the author of
several buildings the best known being the Faculty of Letters
in Ankara. He also taught at the Academy of Fine Arts where
he was the chairman for the two years he stayed in Turkey.
Despite his short stay, Taut deserves a special place among
the other foreign architects working in Turkey at the time.
This may largely be attributed to his sound approach to
architecture that negated the accustomed monumental,
neo-classical style of the 1930's.
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