did build a Glass Pavilion with Scheerbart's participation at the Cologne Werkbund Exhibition of 1914 (Fig.
After Bruno Taut
(Devotion to Drift) (2013) was inspired by modernist architect Bruno Taut
and his glass architectural fantasies.
This volume comprises three sections: an essay on the villa's history (by Japanese scholar Arata Isozaki); photographs of the complex by Yoshiharu Matumura); and essays on Japanese architecture and interpretations of the villa, by Bruno Taut
, Walter Gropius, and others.
ade, the German architects Martin Wagner and Bruno Taut
used different colours like red or orange.
Spurred by the recondite history of glass (not to say art history or political theory), McElheny, on the occasion of this exhibition, has invented (or reinvented) a rivalry between two prophetic German modernists: Mies van der Rohe and Bruno Taut
, the latter perhaps best known for his Glass Pavilion at the Cologne Werkbund Exhibition of 1914.
The traditional Japanese house was a big influence on the early Modernists, Bruno Taut
wrote a book about it, so it is appropriate that the compliment is now returned by a Western architect melding Japanese and Western traditions in a splendid house in Japan.
(1880-1938), a major figure in Berlin architecture for many years, came to Japan in May 1933 and was taken to see Katsura on his first day in the country.
Among the latter, this year, an Expressionistic mountain with antecedents in the drawings of Bruno Taut
nearly engulfed Josef Hoffmann's modernist Austrian pavilion, and a bright red roof extension made of 20,000 plastic fast food containers nearly doubled the height of the Korean pavilion.
When German architect Bruno Taut
visited the area in 1935, he praised the ''rationalism'' of the farmhouses.
Why, some will wonder, does Bruno Taut
urge in his "Artistic Film Program" (1920) that film be used in a documentary manner to show audiences the superiority of hand-made crafts to similar machine-made products (183), while Ludwig Hilberseimer in "Film Opportunities" (1922) celebrates the motion picture camera in modernist terms as he declares the opposite: that film must go beyond the reproduction of external reality to discover its creative potential.
The key role given to colour both refers back to early Modernist architects such as Bruno Taut
and echoes the pastel blues, greens, yellows and pinks of Munich's historic buildings.
Rising to the Future" looked at the fascinating subject of visionary architecture, but it was a pity that at the Pompidou the extraordinary proposals of Hermann Finsterlin, Wenzel Hablik, Hans Scharoun, Bruno Taut
, and others were crammed into a very small corridor.