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TEDU ARCH

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TEDU ARCH

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  1. Born in 1880, Bruno Taut was a GermanJewish architect and urban planner who was one of the pioneer of modern architecture. Taut was also a thinker who has made efforts for expression and theory of architecture and gave products in these subjects in addition to his architectural practice. He was one of the architects which are invited to Turkey and spent their exile years before and during World War II. He lost his life in 1938 in Turkey. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018 CrystalChain (1919), BrunoTaut Ekin Başkentli, E. Ayşe Karaarslan TEDUARCH

  2. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Taut’s architectural career starts in Building Trades School (Baugewerkschule) at the age of 17. From 1904 to 1908, he worked with his great master Theodor Fischer in Stuttgart. He moved to Berlin in 1908, and he opened an architectural office in partnership with Franz Hoffmann; at a later stage his brother Max Taut joined them. He became known with his pavilion ‘Monument to Iron’ for Leipzig Construction Fair in 1913 and Glass Pavilion in Cologne, 1914. MonumenttoIron, BrunoTaut, Leipzig, 1913 Bruno Taut studied urban planning when he was pupil of Theodor Fischer. In 1906, he took his first work through Fischer, which was the renovation of the village church in Unterriexingen. Regarding to his partnership with Franz Hoffmann, in 1913, he received his first large commission. Then he became a member of Garden city movement by their design for the Falkenberg Estate. FalkenbergEstate 2 TEDUARCH TheodorFischer Franz Hoffmann

  3. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut His life passed between the time of World War I and the preparation of the second. This time interval include uneasinesses, social changes and transformations and also different life quests. With the global industrialization and imperialist race, Germany joined the competition too. One of the moves to be competitor in global market in terms of industrialization was the Werkbund. With the start of World War I a lot of artists, designers and architects became a pacifist to avoid the war and started theoretical practices. After the first World War, with the German revolution (Novemberrevolution), the monarch had ended and a democratic parliamentary republic has formed. Later become known as Weimar Republic. The new democracy had many social problems to be solved such as inflation, economic hardship and relationships with the victors of the war.Public was shaming the new government because of the treaty of Versailles instead of former governors, which caused nationalist voices to gain majority in parliament later. Between this socio political problems, during Weimarperiod, arts and science had taken a lot of way with many innovators, artists, intellectuals, who are mostly Jewish, and such movements like Expressionism and New Objectivity. New Objectivity (NeueSachlichkeit) In 1920, the New Objectivity started against Expressionism. It was not a strict movement in terms of having manifestos or rules. The theme was mostly the facts such as effects of war, social hypocrisy, moral corruption, poor, rise of Nazism. 3 TEDUARCH

  4. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Around 1910, Expressionism arose as a new style in art, architecture, literature, music, theatre, film and continued effectively until the 1920s. The aim was to apply emotional attitude to their designs. Because of the negative atmosphere that the German society had, Expressionists discussed the possible and idealized solutions for city life. They represented their ideas in architectural drawings, manifestos, letters, books and also discussed these in communication networks such as ‘Crystal Chain’. LoverswithCat, OskarKokoschka, 1917 Ernst Ludwig Kirchner, Street, 1913 TheScream, Edward Munch, 1893 Emil Nolde ,Two Women In A Garden, 1915 4 TEDUARCH

  5. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut PaulScheerbart, who was a poet, dedicated his publication ‘Glass Architecture’ (Glasarchitektur) to Bruno Taut, in which he studied the colour and the transparency of the glass. In Taut’s work ‘Alpine Architecture’ (Alpine Architektur), he designed structures with coloured glass. Moreover, Hans Poelzig’s GreatTheatre, Eric Mendelsohn’s Einstein Tower, and Bruno Taut’s Glass Pavilion can be described as expressionist buildings due to combining glass, light and shapes. GlassPavilion, BrunoTaut, 1914 Einstein Tower, EricMendelsohn, 1921 Great Theatre, HansPoelzig, reopened in 1919 5 TEDUARCH

  6. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut One of the best-known projects of German expressionist architecture is Eric Mendelsohn’s Einstein Tower. Eric Mendelsohn who was a German Jewish architect and also one of the pupil of Theodor Fischer, wanted to depict the studies of Einstein’s most famous Theory of Relativity(1919) by this tower. The relativity affected his architectural understanding and his design approach. He make relation between tower and expressionism. The building has a dynamic form with its curvilinear lines which supports its function. He began to search for new construction materials which provide expressional freedom, that’s why he used sculpted reinforced concrete in his design. Thesketches of EricMendelsohn ‘…steel in combination with concrete, reinforced concrete, isthe building the building material for formal expression, for the new style… ‘…Towers mount and grow out of themselves with their own power and spirit and soul.’ EricMendelsohn, lettertoLuiseMaas, 14Mar. 1914, in Beyer, Letters, 29-32 17 TEDUARCH 6 TEDUARCH

  7. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Paul Scheerbart who was a poet, was enthusiastic about new technologies, constructions and especially glass/transparent materials, colour and guided Taut’s understanding of architecture. Scheerbart influenced not just Taut but many architects of the time with his poems which praise use of colour and the transparency. In 1914, Taut designed Glass Pavilion for the Werkbund exhibition in Cologne and dedicated it to Paul Scheerbart. ‘The surface of the earth would be very different if brick architecture were to be supplanted everywhere by glass architecture. It would be as if the earth were suddenly dressed in jewellery of gems and enamel… Then we would have a heaven on earth and would not need to look longingly intothe sky.’ Glass Architecture, Excerpt XVIII, Paul Scheerbart,1914 7 TEDUARCH

  8. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut GlassPavilion ‘Glashaus’ In 1914, Taut designed the ‘Glass Pavilion’ for the Werkbund exhibition Cologne and dedicated it to Paul Scheerbart. The Glass Pavilion is such a building which is a combination of both ancient tradition with its temple appearance and by its dome, also modernism with the usage of materials such as steel and glass. Even though, the aim of the building was to advertise the pavilion to the glass industry, the theoretical intentions behind it was about mysticism and utopian ideals. 8 TEDUARCH

  9. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut • Bruno Taut (Glas) • Walter Gropius (Maß) • Hermann Finsterlin (Prometh) • WillhelmBrückmnann (Berxback 7) • Paul Gösch (Tancred) • JakobusGöttel (Stellarius) • Wenzel Hablick (W.H.) • Hans Hansen (Antischmitz) • Carl Krayl (Anfang) • WassiliLuckhardt (Zacken) • Hans Luckhardt (Angkor) • Hans Scharoun (Hannes) • Max Taut (no name) In 1919, he set up a chain letter group called as ‘Crystal Chain’ (Die GläserneKette). It was a communication network which aimed to produce ideas in art and architecture by using pseudonym instead of their own names. What formed the basis of expressionist architecture in Germany was this correspondence between the German architects. Each member draw and write their ideas that they want to share in the chain, and they send to each other. In this way, they can criticise each other and exchange their ideas. The outsiders have difficulties about understanding them because of the terse language which they used. 9 TEDUARCH

  10. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Since the political revolution had changed in a wrong way (in Taut’s view), architects could not build anything new which leads them to become ‘imaginary architects’ who theorize about future utopias. ‘Today there is almost nothing to build, and if we can build anywhere, then we do it in order to live.’ He states that in that time to build nothing was a good thing. Because he claims that thing will be matured and they would gain strength by being together and when they started to build again, they all know their objectives and they will be strong enough to preserve their movements against to deterioration. 10 TEDUARCH

  11. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Between 1915 and 1919 Taut studied 4 urban concepts that were parallel to each other and which aimed to plan and rearrange European cities to overcome national and social disorders via architecture. The City Crown (DieStadtkrone) The city plan is designed for 300.000 habitants where transparent monumental structures placed, just as any cathedral in Europe, which would serve for citizens as a community center. The Earth is a GoodDwelling(Die Erde Eine gut Wohnung) In this proposal, though chaotic construction of cities, he suggested rural settlement systems. Actually, this was a proposal of lifestyle that away from the rules that society has adopted. Because according to that these settlements, which are made up small communities, will produce their own needs and Exchange the surplus with other communities. The World Master Builder (DieWeltbaumeister) It’s a play for a symphonic music which was dedicated to Paul Scheerbart. The search for a new society and the new life is also a topic here. 11 TEDUARCH

  12. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Alpine Architecture (AlpineArchitektur) In 1916, Taut worked on an utopic manifesto which was against to ongoing war. This proposal aimed to influence humanbeings to live a mark on the World, instead of dying for imperialist powers. Whytheyneedtocreate a newsociety? This project was conducted as a reaction to the events that caused World War I and the following situation.The processes that lead to WWI sustain the old social order and they have to replaced by a decentralized society which socialists believed. WhyAlps? For establishing the new society the Alps were far enough. He designed coloured crystal structures which were placed on top of the hills and next to the lakes and he worked on their relations. Why he usedcrystal? Crystal, transparency and flexibility symbolize a pure and different society and opposing the destructive nature of war. Taut constructed the project as a utopia and never expected to it to come to life. 12 TEDUARCH

  13. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut After his studies about the urban concepts, between 1924-1932, Taut cooperated with Martin Wagner to built housing estates. In this period 10.000 housing units were built to overcome Berlin’s housing deficit because of the war. The housing complex was named as ‘Horseshoe Estate’ because of its U shape. In these estates, Taut preferred to design common and collective spaces which are essential for communal life. In 1924, he founded the society GEHAG. Between 1924 and 1933,the society provide the seventy percent of Berlin’s housing by building thousands of residential units. In the early 1930s, when Nazis came to power, Wagner who was a socialist and member of the Social Democratic Party of Germany, he was under huge pressure. In 1933, he was removed from DeutscherWerkbund and then he left the country. Like Bruno Taut, his exile years passed in Turkey. He had always a connection with Taut and one of his work in Turkey was the city plan of Ankara. 13 TEDUARCH Martin Wagner

  14. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut In Japan, which he went to in 1933, he did not practical works except a few unrealized project and interior or façade design, but he continued to write about architecture. The spatial and cultural difference that he experienced in this period also helped him to develop a critical view on his understanding of architecture. Taut came to Turkey in 1936 and lost his life in 1938. Despite he was living there only for two years, he took on a lot of work. This can be said that he had contributions in 3 fields in the architectural environment of Turkey. One of them is to architecture education. During the period that he stayed in Turkey, he has a special place by working as a professor in Department of Architecture, as well as managing the department and the Architecture Bureau of the Ministry of Education. Secondly is to theoretical field of architecture through his book ‘Mimari Bilgisi’ which was published in Turkish in 1938. Finally, is to architectural practice through his constructions. Ankara UniversityFaculty of LanguagesHistoryandGeography, Atatürk High School, Cebeci Middle School, Trabzon High School of Science, Ortaköy House, İzmir CulturePavilionand M. Kemal Atatürk’scatafalqueareconstructswhich he designed. 14 TEDUARCH

  15. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Taut claims that architecture has not any prescription but it should be studied through the concepts. Throughout the book it is often repeated that architecture belongs to the art, which we can only reach by using proportion. In his book, Taut emphasizes the fact that architecture is not a tool to similarize every region and criticize modern architecture in this respect. ‘Bugün, güzel sanatlar, mimarîden ayrılmış olmalarına rağmen, mimarînin sanatların anası olduğu hakikati bâkidir.’ Taut, 1938, Mimari Bilgisi, pg.340. ‘MimariBilgisi’ is a book including 7 chapters which are ‘What is architecture?’, ‘Proportion’, ‘Technique’, ‘Construction’, ‘Function’, ‘Quality’ and ‘Relations with Other Arts and Human Society’. 15 TEDUARCH

  16. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut Ankara UniversityFaculty of LanguagesHistoryandGeography The faculty which is located in Sıhhiye, Ankara, is one of the most significant monumental structure in this era with its scale and architectural features. The building differentiates itself from the Atatürk Boulevard by its large garden that is placed on the front façade. The front façade which looks to Atatürk Boulevard is a composition of elevated and ‘put-forward’ (overlapped) layers. Atatürk High School The building which is located in the west of a large building area consists of masses with different architectural features that are not symmetrical. There are three separated masses adjacent o each other, are arranged according to their functions. 16 TEDUARCH

  17. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut ‘As I read his books I decided to make the Atami guesthouse an homage to Taut’ When Taut moved to Japan, he completed only two houses: one of them was the Villa Hyuga which is also known as Phantom House in Atami. He tried to understand and analyse the Japanese architecture and culture in his books. He influenced Kengo Kuma by his work and his books. Kengo Kuma, Introuction ,pg.15 The bamboo deck which is placed on Japanese Imperial Villa’s garden, admired Taut and expressed his admiration in his books. In Atami guesthouse, KengoKuma designed a water deck. Deck is an element that connects the garden to the building, so that, the environment merge with the human elements. The oval-shaped room in the middle is surrounded by glass walls. There is a harmony between inside and outside of the building thanks to glass. The deck acts like an island that floats on the water. AtamiGuesthouse (Water/Glass House) KatsuraImperial Villa Born in 1954, Kengo Kuma was a Japanese architect and he is also known by his writings. He reinterpret the Japanese tradition in his buildings. His architecture is much more frame of nature, by this, people can experience nature more deeply. He get transparency, which is a characteristic of Japanese architecture, by combining natural materials and light. In many of his works, he concentrate on the relation between the outside and the inside. 16 TEDUARCH 17 TEDUARCH

  18. ARCH222 HISTORY OF ARCHITECTURE II Presentation 29.03.2018CrystalChain (1919) BrunoTaut When Taut moved to Japan, he completed only two houses: one of them was the Villa Hyuga which is also known as Phantom House in Atami. Moreover Kuma influenced by Taut’s material usages such as Hyuga Villa’s bamboos, lacquers and wood work. These features played a key role in his design Noh Stage in the Forest (1996) pavilion in Miyagi. NohStagePavilion, KengoKuma, 1996 • ‘And then it will still take a great effort, not only to correct, but also to choose the materials, to check, decide the colors etc. […] The harmony of proportions […] is a wonderful thing. I am studying Kobori Enshu* on a pragmatical level and in detail.’Taut, diary note on May 7, 1935 • “All he had to do was to select each material, give it dimensions and decide on its detailing”.Kuma 2008:28 Hyuga Villa, BrunoTaut, 1936 18 TEDUARCH

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