Bruno Taut

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Bruno Taut

Bruno Taut (born May 4, 1880 in Königsberg i. Pr. , † December 24, 1938 in Istanbul ; full name: Bruno Julius Florian Taut ) was a German architect and city ​​planner . As a representative of the New Building , he was best known for the large estates in Berlin-Britz ( horseshoe settlement ) and Berlin-Zehlendorf ( Uncle Tom's hut ). Bruno Taut had been working with Franz Hoffmann in a joint architectural office since 1909 , which his younger brother Max Taut (1884–1967) joined in 1912, who later became known primarily for his functional office buildings.

Life

Degree and first architecture office

Bruno Taut grew up as the second son of the businessman Julius Taut in Königsberg in East Prussia. Until 1897 he attended the Kneiphöfische Gymnasium and then took up training at the Königsberg building trade school , which he successfully completed after three semesters. In 1902 he worked for Fritz Neugebauer in Hamburg and Franz Fabry in Wiesbaden . A year later he got the opportunity to come into contact with Art Nouveau and the new construction methods of combining steel and stone in the office of the well-known Berlin architect Bruno Möhring . From 1904 to 1908 Taut worked for Theodor Fischer in Stuttgart , where he acquired knowledge of urban planning in particular. Through the mediation of Fischer, Taut received his first order in 1906 with the renovation of the village church of Unterriexingen near Ludwigsburg, which he designed with the Hamburg painter Franz Mutzenbecher . In 1908 he returned to Berlin to study art history and urban planning at the Technical University of Charlottenburg . A year later he opened the architecture office Taut & Hoffmann in Berlin together with the architect Franz Hoffmann . Together they completed their first orders up to 1914, such as the construction of a new tenement group in Berlin-Neukölln , Kottbusser Damm 90 / Spremberger Strasse 11 / Bürknerstrasse 12–14, with apartments and shops on the ground floor (1909–1910), extensions to the Jandorf department store , which opened in 1906 , Wilmersdorfer Straße / Pestalozzistraße in Charlottenburg (1912–1913) and the renovation of the small old patronage church in Nieden (Uckermark) in 1911, which Franz Mutzenbecher also painted with colors. All the design measures by Taut and Hoffmann are still there today. In particular, the colored version of the altar grilles is one of the early key works of her colored conceptions.

First big projects

Bruno Taut's glass house pavilion at the Cologne Werkbund exhibition in 1914

Taut's first major projects began in 1913, when his younger brother also became a member of the architects Taut & Hoffmann. In both Berlin and Magdeburg, the office received orders for the planning of garden settlements, a new design that had come to Germany from England. Taut used new construction methods and design features in his plans, which will continue to characterize his work in the future and which brought a new style to life in Germany, the “New Building”. The residential buildings, which were mainly designed for workers, were given streets facing north-south so that the apartments were adequately supplied with light and air. In addition, he designed facades and facade elements with intense colors, which earned the Berlin settlement “ Gartenstadt Falkenberg ” the name “Kolonie Tuschkasten”. With the design of the “glass house” for a pavilion for the German glass industry in the Cologne Werkbund exhibition , the Taut / Hoffmann trio achieved international recognition for the first time in 1914. During the First World War Bruno dealt with theoretical questions, as his partner had to do military service until January 1919, but he refused to do so himself. For this he took over the construction management of a powder factory in Brandenburg in order to be classified as indispensable. In 1917 he wrote an anti-war manifesto and designed peace monuments. As a result of the predominant theoretical work, Bruno Taut published the two large picture cycles Alpine Architecture and Dissolution of Cities on the subject of the fusion of architecture and nature in 1918 and 1919 . Impressed by the revolutionary currents of the post-war period, he called the “Arbeitsrat für Kunst” into being, which was supposed to transform the ideas of the November Revolution of 1918 into the field of art. In addition, he started a secret exchange of letters with like-minded architects, including Walter Gropius and Hans Scharoun , under the title “ The Glass Chain ” . In 1920 he designed a guard house for an exhibition in Magdeburg, which the city did not choose. Therefore, Taut was only able to present his design in the magazine Frühlicht in 1921 . Five years later, the Worpswede writer Edwin Koenemann built the “ Worpswede cheese bell ” under his own name according to these plans . It was only discovered in the 1980s that the structure was plagiarized. In the absence of other commissions, Taut worked as a set designer, for example in 1921 for the Schiller drama “Jungfrau von Orleans” for the Berlin German Theater.

Time in Magdeburg

Halle “Stadt und Land” Magdeburg, 1922

With the design of the “Garden City Colony Reform” in Magdeburg , Taut and Hoffmann had earned a great reputation there. Since there was an urgent need for extensive urban development, the social democratic mayor Hermann Beims appointed the avant-garde and creative architect Bruno Taut to the town planning council in 1921 with the task of drawing up a general settlement plan for Magdeburg. Taut surrounded himself with a staff of young and like-minded architects such as Johannes Göderitz and Carl Krayl . In addition to the completion of the general settlement plan, which continued to have an impact in the following decades, Taut consistently implemented his architectural coloring in Magdeburg. To this end, in the year of his appointment, he started a newspaper campaign entitled “Call for Colored Building”. Until the opening of the major “Central German Exhibition in Magdeburg” in 1922, 80 house facades in the city center had been colored according to Taut's designs. Although Taut received strong criticism from Magdeburg's citizens, the campaign turned into a successful advertising factor for the city, which at times earned it the title "Colorful City of Magdeburg" and a considerable response in the daily and specialist press. In connection with the exhibition, Taut designed the “City and Country” exhibition hall , which was completed in 1922 as his only single building in Magdeburg.

Return to Berlin

The east facade of the Taut House at Wiesenstrasse 13 in Dahlewitz near Berlin as seen from the street
Schillerpark settlement (1924)
Horseshoe settlement, door variants (1925–1930)

Taut had lived in Dahlewitz since 1920 , where he built a two-story house with a quadrant as a floor plan and a flat roof from 1925 to 1926 . This house with five living rooms is described in detail in his book Ein Wohnhaus and was declared a monument in 1989 . The curved side faces east to the street and has a black facade, the two flat facades are white and face northwest and southwest. To the north of this part of the building there is a garage with utility rooms in clinker construction. The original color scheme of the interior and exterior surfaces was reconstructed in 1994 and supported by the German Foundation for Monument Protection . Today the Taut house is privately owned.

Since Taut saw no further prospects in Magdeburg after the work on the general settlement plan was finished, he asked for his release on April 1, 1924 and returned to Berlin. Here he worked again with Hoffmann and his brother. Between 1924 and 1931 they carried out several orders for the construction of housing estates. For example, the Schillerpark settlement in Berlin-Wedding, the horseshoe settlement in Britz, parts of the " Freie Scholle " settlement in Tegel, the " Carl Legien residential area " and the " Onkel Toms Hütte " forest settlement in Zehlendorf were created. In these eight years, Taut created around 12,000 apartments in Berlin.

Together with the school reformer Fritz Karsen , Bruno Taut designed the concept of an integrated comprehensive school for 2500 to 3000 pupils around 1928. The project, known under the name “Schule am Dammweg”, was an attempt to give a reform pedagogical concept an adequate architectural form. Although there were already permits for the new building, it failed due to resistance from conservative-opposing currents in the school administration. The economic crisis of 1929/30 led to further delays, which then resulted in a final end to the project. Only one pavilion built by Taut in 1928 as a trial building, which was restored between 1998 and 2001, still bears witness to the plans of that time. A few years later, the “Project Dammwegschule” developed by Bruno Taut together with Fritz Karsen was the inspiration for the “Project University City Bogotá”, which Karsen, who emigrated to Colombia in 1936 , planned together with the architect Leopold Rother , who also emigrated there , and which was then implemented by Rother . The architectural historian Bray also sees the designs by Karsens and Rothers for the Bogotá university campus in the tradition of the horseshoe settlement :

“As mentioned before, it was Karsen who suggested a circular shape with a free space in the middle, and he thus agrees with Rother. Rother, with his theoretical knowledge of expressionism and modern urban planning, developed this concept further. Both Karsen and Rother were familiar with these movements. Karsen, who had worked with Bruno Taut in Berlin, was of course familiar with the horseshoe settlement, which Taut designed according to the rules of the garden city. Taut was also commissioned in 1912 to draw up the development plan for the Falkenberg garden city. The concept of the horseshoe settlement, with a spacious park in the middle, can be compared with the original plan by Karsen for the university town. Rother had already made suggestions for modern housing developments, for example in the competition for the design of a police accommodation in Essen in 1929. For two of the variations that Rother proposed for this competition, he created a housing development scheme in the form of a horseshoe with a central open space , very similar to the Taut project built a few years earlier. In his lectures, Rother also emphasizes housing development projects that have the dynamism of Expressionism. An example of this is the vocational and technical school in Berlin Charlottenburg by Hans Poelzig from 1927, which was a model for his school town in Santa Marta. With his knowledge of the European avant-garde and his interest in expressionism, it is not surprising that Rother took up Karsen's idea of ​​a circular preliminary design for the campus in Bogota and developed it. "

In 1930, the Technische Hochschule Berlin Taut appointed honorary professor for settlement and housing to the chair of Hermann Jansen . Even his appointment was contested by the conservatives. He took over a seminar for housing and settlement and introduced community work at the university by forming student groups and having designs worked on together. Taut became a member of the Prussian Academy of the Arts , and the Japanese International Association of Architects accepted Taut as an honorary member. Still fascinated by the revolutionary ideas that he saw implemented in the Soviet Union , Taut went to Moscow in 1932 , where he set up an office for new buildings for the city administration. Disappointed with the development of Soviet architecture and the economic and technical difficulties, he returned to Berlin in February 1933.

During the National Socialism

Shenshintei at Shorinzan Temple in Takasaki, Taut's residence 1934–1936 (photo from 2013)
Philological Faculty of Ankara University (1937)

But in Germany Taut was deprived of his basis for action. The National Socialists , who had come to power in the meantime, had branded Taut as a cultural Bolsheviks and withdrew his professorship and membership at the Academy of Arts. Taut left Germany again just two weeks after his return. After a short stay in Switzerland , he settled in Japan at the invitation of the Japanese architect Isaburō Ueno . In Japan, however, Taut received no construction contracts except for the renovation of the villa of the merchant Rihē Hyūga in Atami , a seaside resort south of Tokyo . He carried out this job together with his befriended architect Tetsurō Yoshida . Today (2011) the building is a cultural monument and an attraction of Atami. In the years 1933 to 1936 Taut turned back to theoretical publications in which he mainly dealt with "New Building". He kept his head above water financially by selling handicrafts he designed himself.

When Turkey , which was looking for foreign architects to modernize the country, offered him the professorship for architecture at the Academy of Arts in Istanbul in 1936 , he relocated there with the mediation of his colleague Martin Wagner there . He became dean of the academy and replaced Ernst Egli . In addition to his teaching activities, he was given the opportunity to work as an architect again; Among other things, he created plans for the construction of the University of Ankara and, as director of the construction office of the Ministry of Education, for a number of schools in Turkey. In 1938 his "theory of architecture", which he had already begun in Japan, appeared in Turkish. In the same year, the Turkish Academy of Arts organized an exhibition on all of Taut's work. Taut received his last building contract to design the katafalks for the state founder Mustafa Kemal Ataturk, who died in 1938 . Taut had suffered from asthma for several years . The 58-year-old succumbed to this after a severe attack on December 24, 1938. He was the only foreigner and non-Muslim to date to be buried in the Turkish state's honorary cemetery in Edirnekapı, Istanbul.

Private

Bruno Taut was the middle of three sons of Julius Josef Taut (1844–1907) and Auguste Henriette Bertha Taut nee. Müller (1858-1933). His older brother Richard Taut (born 1876) is believed to have died in the First World War. On April 27, 1906, Bruno Taut married Hedwig Wollgast (1879–1968), the daughter of the innkeeper and blacksmith from Chorin . The marriage had two children: Heinrich Taut (1907–1995), a Marxist sociologist and historian, and Elisabeth Taut (1908–1999), whose daughter Christine Hellwag (* 1941) married the lawyer and later politician Otto Schily in 1966 . Their daughter and thus a great-granddaughter of Bruno Taut is the actress Jenny Schily . Since his younger brother Max Taut married Margarete Wollgast, Hedwig's sister, in 1914, the brothers were also “ Schwippschwager ”. From 1917 until his death, Bruno Taut lived in an extramarital relationship with Erica Wittich (1893–1975), from whom their daughter Clarissa Wittich (1918–1998) came. However, his marriage to Hedwig Taut did not end in divorce.

Appreciation

Memorial stone in the Berlin Hufeisensiedlung

Bruno Taut was an honorary member of the Rostock Artists' Association , which focused on progressive architecture in several exhibitions in the 1920s .

Taut's architectural concept received a belated appreciation in 2008 when the Berlin settlements Gartenstadt Falkenberg , Carl Legien in Berlin-Prenzlauer Berg , Ringiedlung in Siemensstadt , Hufeisensiedlung Britz, Schillerpark Estate in Wedding and White City were included in the list of the world cultural heritage of Unesco . According to the UNESCO justification , these settlements represent a new type of social housing from the time of classical modernism; they exerted a considerable influence on the development of architecture and town planning.

The holiday home "Tautes Heim", which was restored to the original from 2010–2012 by two committed residents of the Hufeisensiedlung and completely furnished in the style of the 1920s , offers a special opportunity to experience the color scheme typical of Taut in the interior of the real property . The house with garden and terrace also has all the original fixtures and fittings, components and tiled stoves and was awarded the prestigious European Prize for Cultural Heritage / Europa Nostra Award in 2013 as well as the Berlin Monument Preservation Prize, the Ferdinand von Quast Medal .

Quote

"In the case of cooperative buildings, the will of a whole must be felt"

Trivia

  • In an episode (“Suit off!”) Of the TV series How I Met Your Mother , Barney Stinson wears a T-shirt with the cover of Taut's book The New Apartment .

Buildings and designs

During his professional career, Bruno Taut worked in a joint architecture office with his brother Max Taut and the architect Franz Hoffmann (Taut & Hoffmann) . Individually or together they created:

Fonts

For a complete list of literature by Bruno Taut up to 1936, see Web links: City of Magdeburg

  • Three settlements . In: Wasmuthsmonthshefte für Baukunst und Städtebau 4, H. 5/6, 1919/20, S. 183–192.
  • with contributions by Paul Scheerbart , Erich Baron , Adolf Behne : Die Stadtkrone . Jena 1917 (reprint Gebr. Mann Verlag, Berlin 2003, ISBN 3-7861-2404-3 ).
  • Alpine architecture. Folkwang-Verlag, Hagen 1919 (new edition published by Matthias Schirren, ISBN 3-7913-3156-6 ).
  • The dissolution of the cities, or: the earth, a good apartment, or also: the way to alpine architecture . Folkwang-Verlag, Hagen 1920.
  • The world builder. Architectural play for symphonic music. Dedicated to the spirit of Paul Scheerbart . Hagen 1920.
  • (Ed.) Frühlicht . Four issues, 1920–1922 (reprint by Gebr. Mann Verlag, Berlin 2000, ISBN 3-7861-1862-0 ).
  • The new apartment. The woman as creator . Leipzig 1924 (Reprint Gebr. Mann Verlag, Berlin 2001, ISBN 3-7861-2362-4 ).
  • A house . Series of Kosmos-Baubücher, Verlag Franckh'sche Buchhandlung, Stuttgart 1927 (reprint Gebr. Mann Verlag, Berlin 1995, ISBN 3-7861-1894-9 ).
  • To build. The new residential building . Published by the architects' association “Der Ring”, Klinkhardt & Biermann Verlag, Berlin 1927.
  • The new architecture in Europe and America . Stuttgart 1929.
  • together with Heinrich Taut: Bruno Taut. Nature and imagination. 1880-1938 . Published by Manfred Speidel, Ernst & Sohn, Berlin 1995, ISBN 3-433-02641-6 .
  • People and Houses of Japan. Tokyo 1937 (German The Japanese House and Its Life . Based on the original Tauts manuscript, published by Gebr. Mann Verlag, Berlin 1997, ISBN 3-7861-1882-5 ).
  • I love japanese culture. Small writings on Japan . Edited by Manfred Speidel, Gebr. Mann Verlag, Berlin 2003, ISBN 3-7861-2460-4 .
  • Ex Oriente Lux. The reality of an idea. A collection of writings 1904–1938 . Edited with an introduction and explanations by Manfred Speidel, Gebr. Mann Verlag, Berlin 2007, ISBN 978-3-7861-2549-5 .
  • Nippon seen with European eyes . Edited with an afterword and explanations by Manfred Speidel. Gebr. Mann Verlag, Berlin 2009, ISBN 978-3-7861-2612-6 .
  • Japan's art seen through European eyes . Edited with an afterword and explanations by Manfred Speidel. Gebr. Mann Verlag, Berlin 2011, ISBN 978-3-7861-2647-8 .
  • Bruno Taut in Japan: The Diary . Vol. 1-3 (1933-36). Edited by Manfred Speidel, Gebr. Mann Verlag, Berlin 2013–2016.

literature

  • Markus Breitschmid : The Architect as “Molder of the Sensibilities of the General Public”: Bruno Taut and his architecture program. In: Shawn Chandler Bingham (Ed.): The Art of Social Critique. Painting Mirrors of Social Life. Lexington Books of Rowman & Littlefield, Lanham, Maryland 2012, ISBN 978-0-7391-4923-2 , pp. 155-179.
  • Markus Breitschmid: Glass House at Cologne. In: David Leatherbarrow, Alexander Eisenschmidt (eds.): The Companions to the History of Architecture, Volume IV, John Wiley & Sons, Inc., London 2017, ISBN 978-1-444-33851-5 , pp. 61-72 .
  • Markus Breitschmid: Alpine Architecture - Bruno Taut. In: Disegno - Quarterly Journal for Design, No. 14, London 2017, pp. 62–70.
  • Winfried Brenne: Bruno Taut. Master of colored building in Berlin. Verlagshaus Braun, 2005, ISBN 3-935455-82-8 .
  • Olaf Gisbertz: Bruno Taut and Johannes Göderitz in Magdeburg. Architecture and urban development in the Weimar Republic. With a foreword by Tilmann Buddensieg, Gebr. Mann-Verlag, Berlin 2000, ISBN 3-7861-2318-7 .
  • Astrid Holz: The colourfulness in the architecture of Bruno Taut. Conception or intuition? Dissertation, University of Kiel, 1996.
  • Unda Hörner: The architects Bruno and Max Taut. Two brothers - two paths in life. Gebr. Mann, Berlin 2012, ISBN 978-3-7861-2662-1 .
  • Norbert Huse (Hrsg.): Four Berlin settlements of the Weimar Republic. Argon, Berlin 1987, ISBN 3-87024-109-8 .
  • Leo Ikelaar: Paul Scheerbart and Bruno Taut. To the story of an acquaintance. Letters from 1913–1914 to Gottfried Heinersdorff, B. T. and Herwarth Walden . Igel, Paderborn 1999, ISBN 3-89621-037-8 .
  • Kurt Junghanns : Bruno Taut 1880–1938. Architecture and social thought. Deutsche Verlags-Anstalt , Stuttgart 2001, ISBN 3-363-00674-8 .
  • Winfried Nerdinger , Kristiana Hartmann, Matthias Schirren , Manfred Speidel : Bruno Taut 1880–1938. Architecture between tradition and avant-garde. Deutsche Verlags-Anstalt, Stuttgart 2001, ISBN 3-421-03284-X .
  • Bernd Nicolai: Bruno Taut's revision of modernity. Stratigraphies from the Turkish exile 1936–1938. In: Hermann Haarmann (Ed.): Inner life. Views from exile. Fannei & Walz, Berlin 1995, ISBN 3-927574-34-1 , pp. 41-55.
  • S. Noma (Ed.): Taut, Bruno . In: Japan. An Illustrated Encyclopedia. Kodansha, 1993, ISBN 4-06-205938-X , p. 1533.
  • Regine Prange: The crystalline as an art symbol. Bruno Taut and Paul Klee. To reflect on the abstract in modern art and art theory. Olms, Hildesheim u. a. 1991, ISBN 3-487-09487-8 .
  • Manfred Speidel (Ed.): Bruno Taut. Nature and Imagination 1880–1938. Catalog for the exhibition “Bruno Taut Retrospective, Nature and Fantasy”, which was shown in 1994 in Tokyo and Kyoto and in 1995 in the Kulturhistorisches Museum Magdeburg and the Technikmuseum Magdeburg. Ernst & Sohn, Berlin 1995, ISBN 3-433-02641-6 .
  • Manfred Speidel:  Taut, Bruno. In: New German Biography (NDB). Volume 25, Duncker & Humblot, Berlin 2013, ISBN 978-3-428-11206-7 , pp. 814-817 ( digitized version ).
  • Heinrich Taut: Bruno Taut, my father and friend. In: Architektur der DDR , Volume 29 (1980), pp. 129–136.
  • Heinrich Taut: B. T. - Person and work. In: Symposium Magdeburg , report volume 1995, Doc. 48, 1 & 2, pp. 19–39 (online see web links).
  • Barbara Volkmann: Bruno Taut 1880–1938. Catalog for the exhibition of the Academy of the Arts in Berlin. 1980, ISBN 3-88331-915-5 .
  • Deutscher Werkbund Berlin (ed.): Bruno Taut - visionary and global citizen. Wagenbach, Berlin 2018, ISBN 978-3-8031-3676-3 .
  • Beate Ziegert: Bruno Taut. Bauhaus and Mingei. Architect and Designer. East and West. Seikatu Bunka Kenkyu, Seikatsu Bunka Center, Nagoya Municipal Women's College, Nagoya (Japan) 1993.
  • Bettina Zöller-Stock: Bruno Taut. The interior designs of the Berlin architect. Deutsche Verlags-Anstalt, Stuttgart 1993, ISBN 3-421-03034-0 .

Web links

Commons : Bruno Taut  - collection of images, videos and audio files

Individual evidence

  1. ↑ Ulrike Eichhorn : Taut & Hoffmann in Berlin. Edition Eichhorn, Berlin 2014, ISBN 978-3-8442-8120-0 .
  2. ↑ Brenne: Bruno Taut ...
  3. ^ Marcel Bois: Art and Architecture for a New Society. Russian avant-garde, labor council for art and the Viennese settler movement in the interwar period. In: Work - Movement - History , Volume III / 2017, pp. 12–34.
  4. ↑ Monuments Online: The Dizziness with the Cheese Bell
  5. ↑ Vera Seidel: Das Taut-Haus in Dahlewitz , material collection of the Association Historisches Dorf Dahlewitz eV, January 23, 2009, accessed on October 7, 2018
  6. ^ Residential house (Wiesenstr.) , German Foundation for Monument Protection, accessed on October 7, 2018
  7. ↑ Pictures of the restored Taut pavilion
  8. ↑ Fritz Karsen and the Karl Marx School in Berlin-Neukölln. The plans for the school and photos of the pavilion are well documented: Experimental pavilion for a school by Bruno Taut ( Memento of the original from March 24, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF). Most informative is the page created by Potsdam students: Bruno Taut's architectural implementation of Fritz Karsen's concept of a work, comprehensive and community school. The pavilion is now on the grounds of the Carl-Legien-Oberschule (Dammweg 216–226) in Berlin-Neukölln. @1@ 2Template: Webachiv / IABot / baugeschichte.a.tu-berlin.deWorld icon
  9. ↑ Ernesto Vendries Bray: Leopold Rother and the modern movement in Colombia. Dissertation at the Department of Architecture at the Technical University of Darmstadt , Darmstadt 2014, p. 191 ( online, pdf ).
  10. ↑ Goethe-Institut Ankara: Becoming a Capital goethe.de
  11. ↑ Otto Schily: The earth a good apartment. In: Bruno Taut: Masters of colored building in Berlin, published by Deutscher Werkbund Berlin e. V., Wilfried Brenne, Berlin 2008, ISBN 978-3-935455-82-4 , p. 10.
  12. ^ Spring exhibition of the Rostock Artists Association 1926. Catalog
  13. ↑ Tautes Heim
  14. ^ Renate Amann: Bruno Taut as a cooperative architect. In: Symposium Bruno Taut. Work and life stages. Appreciation and critical consideration. State capital Magdeburg, city planning office. Self-published, Magdeburg 1995, p. 176.
  15. ↑ Entry in the Berlin State Monument List
  16. ↑ Borchard: The hall for iron construction at the building exhibition in Leipzig. In: Zentralblatt der Bauverwaltung , Vol. 33, 1913, pp. 425–427 ( digitized version of the Central and State Library Berlin ).
  17. ↑ Entry in the Berlin State Monument List
  18. ↑ http://www.markkleeberg.de/de/stadt_verwaltung/leben/geschichte/beruehmte_lösungen/taut.html
  19. ↑ Historical Forays - Monuments of the City of Senftenberg
personal data
SURNAME Taut, Bruno
ALTERNATIVE NAMES Taut, Bruno Julius Florian (full name)
BRIEF DESCRIPTION German architect and urban planner
DATE OF BIRTH May 4, 1880
PLACE OF BIRTH Koenigsberg
DATE OF DEATH December 24, 1938
Place of death Istanbul