not that easy to shoot nicely................ that's from 1924 - 1926. a marvelous building! i couldn't believe it! regarding that this one is already 85 years old. front house. next to it: also Max Taut, from 1957. in the back of that building a 10 floor tower in the same language.
Mit einer großen Ausstellung in Köln wollte der Deutsche Werkbund 1914 seine Erfolge feiern. Doch dann begann der Erste Weltkrieg, und die Schau wurde geschlossen. Geschichte geschrieben hat sie trotzdem. Das Berliner Museum der Dinge erinnert jetzt an die epochale Ausstellung und ihre Glanzstücke.
Bruno Taut's Steel Pavilion (1913), Leipzig
max taut - Google Search
The Weißenhofsiedlung (Weissenhof Estate or Weissenhof Settlement) is a housing estate built in Stuttgart in 1927. It was an international showcase of what later became known as the International style of modern architecture. The estate was built for the Deutscher Werkbund exhibition of 1927, and included twenty-one buildings comprising sixty dwellings, designed by seventeen European architects, most of them German-speaking. The German architect Mies van der Rohe was in charge of the project on behalf of the city, and he selected the architects, budgeted and coordinated their entries, prepared the site, and oversaw construction. Le Corbusier was awarded the two prime sites, facing the city, and by far the largest budget. The twenty-one buildings vary slightly in form, consisting of terraced and detached houses and apartment buildings, and display a strong consistency of design. What they have in common are their simplified facades, flat roofs used as terraces, window bands, open plan interiors, and the high level of prefabrication which permitted their erection in just five months. All but two of the entries were white. Bruno Taut had his entry, the smallest, painted a bright red. Advertised as a prototype of future workers' housing, in fact each of these houses was customized and furnished on a budget far out of a normal workers reach, and with little direct relevance to the technical challenges of standardized mass construction. The exhibition opened to the public on 23 July 1927 and drew large crowds. Of the original twenty-one buildings, eleven survive as of 2006. Bombing damage during World War II is responsible for the complete loss of the homes by Gropius, Hilberseimer, Bruno Taut, Poelzig, Max Taut (home 24), and Döcker. Another of Max Taut's homes (23) was demolished in the 1950s. List of homes •1-4: Ludwig Mies van der Rohe •5-9: J.J.P. Oud •10: Victor Bourgeois Originally, the lot was to be built on by Adolf Loos, but he was scrapped from the list after run-ins with and criticism of the Werkbund. Instead, Bourgeois built a home that was more traditional than the planned design by Loos, which was to have an innovative relation between up and down. One unique feature is a wine cellar from gravel rather than concrete. The two-story family home was damaged during the war, and was turned into a two-family dwelling afterward. •11 and 12: Adolf Gustav Schneck •13-15: Le Corbusier and Pierre Jeanneret •16 and 17: Walter Gropius •18: Ludwig Hilberseimer Designed for a family of six, painted in light gray. For reasons of economy, Hilberseimer's planned sliding windows were replaced with cheaper, conventional buildings--when Hilberseimer visited the finished house, he did not recognize it. The building was destroyed in the war; a conventional home now occupies the plot. •19: Bruno Taut Taut was part of the group on the recommendation of his older brother, Max Taut. House 19 is a single-family, two-story home with a basement, designed as a "proletarian's home." His house was painted red, blue, and yellow, and was destroyed in the war. •20: Hans Poelzig Poelzig's contribution is a single-family, two-story home with a winter garden and a sun terrace as prominent features. It was destroyed in the war. •21 and 22: Richard Döcker Döcker was assigned two lots in van der Rohe's plan, between Rathenaustraße and Bruckmannweg. He originally designed two connected homes, based on his belief in connections between buildings and spaces, but changed the plans after seeing that none of the other buildings on the estate were connected. Both were single-family homes, no. 22 with one and a half stories, including a garage (the only home on the estate with one). Döcker wanted brightly colored homes; what color they were painted can no longer be determined since both were destroyed completely in the war. •23 and 24: Max Taut •25: Adolf Rading •26 and 27: Josef Frank •28-30: Mart Stam •31 and 32: Peter Behrens •33: Hans Scharoun A much more curved design than the other (angular) buildings, Scharoun's is a single-family home with two stories and a basement.
Bruno Taut is a local hero here in Berlin, a city that was a crucible for so much of the modern movement. Unlike his more famous colleagues such as Walther Gropius and Mies van der Rohe, Taut touted a softer, friendlier approach to architecture and new urbanism that really only started becoming fashionable from the 197
designed and built between 1925- 27. at that time taut was influenced pretty much by the school of Amsterdam. He visit the netherlands just before and met J.P.P. Oud . this is the only brick building from taut i know. the handcraft work is amazing by this complex. . d.teil of a typical entrance.
Taut bands are localized areas of muscle tension that can cause pain, stiffness, and reduced range of motion. However, taut bands are easily identified by palpation and treated with a variety of accessible techniques, including dry needling, acupuncture, foam rolling, ischemic compression, and massage.
The build of glass palace
Features: • High sensitivity DC20kΩ/V. • 1m drop-proof heavy duty designed taut-band movement. • Can measure line voltage up to AC 600V. (Voltage to ground MAX AC300V) (Protected by 600V ceramic fuse against accidental overload) • Continuity buzzer, battery check, LED check function. • Skeleton type robust and clear case with carrying handle furnished as standard accessory.
Bruno Taut in Berlin, architecture
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As it always turns out: it's really difficult to shoot a Taut Design. Either their are cars, Trees or as here shadow. I tried this already over the years plenty of times. However, this is part of the inner courtyard of the project I like so much from Taut.
Berlin Architecture is a love - and sometimes hate - affair. For better or worse, we still think Berlin has a lot to offer on the architectural front.
My Switchback is currently en route to 2Q & ZQ for some netting repairs (I sat on the net when returning from a late night nature call, then tried to lay down :cursing:). There are a few other mods I had in mind that she's going to be working on for me, but one thing that's been circling my brain is a way to improve the internal ridgeline as well as spreader bar attachment options. That, along w/ a proir mod to my Skeeter Beeter, have resulted in this idea for a pass through taut ridgeline
