Hans Scharoun and the aftermath of the First World War

Barnstone, DA

Hans Scharoun and the aftermath of the First World War

Barnstone, DA

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Publication Type:: Journal Article
Citation:: Journal of Architecture, 2014, 19 (6), pp. 825 - 848
Issue Date:: 2014-01-01

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Field	Value	Language
dc.contributor.author	Barnstone, DA https://orcid.org/0000-0002-2846-1226	en_US
dc.date.issued	2014-01-01	en_US
dc.identifier.citation	Journal of Architecture, 2014, 19 (6), pp. 825 - 848	en_US
dc.identifier.issn	1360-2365	en_US
dc.identifier.uri	http://hdl.handle.net/10453/41858
dc.description.abstract	© 2014 RIBA Enterprises. The connection between the First World War experience and the inter-war German avant-garde is axiomatic. Current scholarship focuses almost exclusively on artists and writers although it was architects such as Walter Gropius, Bruno Taut and Hans Scharoun who led the German avant-garde in the 1920s. It is, of course, easier to uncover connections between art and war than between architecture and war since artists often drew, painted or sculpted pieces that directly addressed the trauma of war whereas buildings do not. Nevertheless, architects were profoundly influenced by the events of 1914-1918 and commented on the significance of the war experience to their work. The little scholarship that does examine architects focuses almost exclusively on war memorials and ignores the effect the war had on aesthetic ideas and the direction of progressive architectural design. This paper explores the case of Hans Scharoun, who was one of Germany's most important architects in the first half of the twentieth century, to probe the ways his war service, and the events he participated in and witnessed, may have affected the course of his inter-war practice.	en_US
dc.relation.ispartof	Journal of Architecture	en_US
dc.relation.isbasedon	10.1080/13602365.2014.981843	en_US
dc.subject.classification	Architecture	en_US
dc.title	Hans Scharoun and the aftermath of the First World War	en_US
dc.type	Journal Article
utslib.citation.volume	6	en_US
utslib.citation.volume	19	en_US
utslib.for	1201 Architecture	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	closed_access
pubs.issue	6	en_US
pubs.publication-status	Published	en_US
pubs.volume	19	en_US

Abstract:

© 2014 RIBA Enterprises. The connection between the First World War experience and the inter-war German avant-garde is axiomatic. Current scholarship focuses almost exclusively on artists and writers although it was architects such as Walter Gropius, Bruno Taut and Hans Scharoun who led the German avant-garde in the 1920s. It is, of course, easier to uncover connections between art and war than between architecture and war since artists often drew, painted or sculpted pieces that directly addressed the trauma of war whereas buildings do not. Nevertheless, architects were profoundly influenced by the events of 1914-1918 and commented on the significance of the war experience to their work. The little scholarship that does examine architects focuses almost exclusively on war memorials and ignores the effect the war had on aesthetic ideas and the direction of progressive architectural design. This paper explores the case of Hans Scharoun, who was one of Germany's most important architects in the first half of the twentieth century, to probe the ways his war service, and the events he participated in and witnessed, may have affected the course of his inter-war practice.

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http://hdl.handle.net/10453/41858