Walter Adolph Georg Gropius was a German architect and founder of the Bauhaus School, along with Alvar Aalto, Ludwig Mies van der Rohe, Le Corbusier and Frank Lloyd Wright, is regarded as one of the pioneering masters of modernist architecture. Gropius was a leading architect of the International Style. Born in Berlin, Walter Gropius was the third child of Walter Adolph Gropius and Manon Auguste Pauline Scharnweber, daughter of the Prussian politician Georg Schwarnweber. Walter's uncle Martin Gropius was the architect of the Kunstgewerbemuseum in Berlin and a follower of Karl Friedrich Schinkel, with whom Walter's great-grandfather Carl Gropius, who fought under Field Marshal Gebhard Leberecht von Blücher at the Battle of Waterloo, had shared a flat as a bachelor. In 1915 Gropius married Alma Mahler, widow of Gustav Mahler. Walter and Alma's daughter, named Manon after Walter's mother, was born in 1916; when Manon died of polio at age 18, in 1935, composer Alban Berg wrote his Violin Concerto in memory of her.
Gropius and Mahler divorced in 1920. On 16 October 1923, Gropius married Ilse Frank; the couple adopted a daughter together, Beate Gropius, known as Ati. Ise Gropius died on 9 June 1983 in Massachusetts. Walter's only sister Manon Burchard is the great-grandmother of the German film and theater actresses Marie Burchard and Bettina Burchard, of the curator and art historian Wolf Burchard. Gropius could not draw, was dependent on collaborators and partner-interpreters throughout his career. In school he hired an assistant to complete his homework for him. In 1908, after studying architecture in Munich and Berlin for four semesters, Gropius joined the office of the renowned architect and industrial designer Peter Behrens, one of the first members of the utilitarian school, his fellow employees at this time included Ludwig Mies van der Rohe, Le Corbusier, Dietrich Marcks. In 1910 Gropius left the firm of Behrens and together with fellow employee Adolf Meyer established a practice in Berlin. Together they share credit for one of the seminal modernist buildings created during this period: the Faguswerk in Alfeld-an-der-Leine, Germany, a shoe last factory.
Although Gropius and Meyer only designed the facade, the glass curtain walls of this building demonstrated both the modernist principle that form reflects function and Gropius's concern with providing healthful conditions for the working class. The factory is now regarded as one of the crucial founding monuments of European modernism. Gropius was commissioned in 1913 to design a car for the Prussian Railroad Locomotive Works in Königsberg; this locomotive was unique and the first of its kind in Germany and in Europe. Other works of this early period include the office and factory building for the Werkbund Exhibition in Cologne. In 1913, Gropius published an article about "The Development of Industrial Buildings," which included about a dozen photographs of factories and grain elevators in North America. A influential text, this article had a strong influence on other European modernists, including Le Corbusier and Erich Mendelsohn, both of whom reprinted Gropius's grain elevator pictures between 1920 and 1930.
Gropius's career was interrupted by the outbreak of World War I in 1914. He was drafted August 1914 and served as a sergeant major at the Western front during the war years and as a lieutenant in the signal corps. Gropius was awarded the Iron Cross twice after fighting for four years. Gropius like his father and his great-uncle Martin Gropius before him, became an architect. Gropius's career advanced in the postwar period. Henry van de Velde, the master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was asked to step down in 1915 due to his Belgian nationality, his recommendation for Gropius to succeed him led to Gropius's appointment as master of the school in 1919. It was this academy which Gropius transformed into the world-famous Bauhaus, attracting a faculty that included Paul Klee, Johannes Itten, Josef Albers, Herbert Bayer, László Moholy-Nagy, Otto Bartning and Wassily Kandinsky. In principle, the Bauhaus represented an opportunity to extend beauty and quality to every home through well designed industrially produced objects.
The Bauhaus program was experimental and the emphasis was theoretical. One example product of the Bauhaus was the armchair F 51, designed for the Bauhaus's directors room in 1920 – nowadays a re-edition in the market, manufactured by the German company TECTA/Lauenfoerde. In 1919, Gropius was involved in the Glass Chain utopian expressionist correspondence under the pseudonym "Mass." More notable for his functionalist approach, the "Monument to the March Dead," designed in 1919 and executed in 1920, indicates that expressionism was an influence on him at that time. In 1923, Gropius designed his famous door handles, now considered an icon of 20th-century design and listed as one of the most influential designs to emerge from Bauhaus. Gropius designed the new Bauhaus Dessau school building in 1925-26 on commission from the city of Dessau, he collaborated with Carl Fieger, Ernst Neufert and others within his private architectural practice. He designed large-scale housing projects in Berlin and Dessau in 1926–32 that were major contributions to the New Objectivity movement, including a contribution to the Siemensstadt project in Berlin.
Gropius moved to Berlin. Hannes Meyer to
Gravel is a loose aggregation of rock fragments. Gravel is classified by particle size range and includes size classes from granule- to boulder-sized fragments. In the Udden-Wentworth scale gravel is categorized into granular pebble gravel. ISO 14688 grades gravels as fine and coarse with ranges 2 mm to 6.3 mm to 20 mm to 63 mm. One cubic metre of gravel weighs about 1,800 kg. Gravel is an important commercial product, with a number of applications. Many roadways are surfaced with gravel in rural areas where there is little traffic. Globally, far more roads are surfaced with gravel than with tarmac. Both sand and small gravel are important for the manufacture of concrete. Large gravel deposits are a common geological feature, being formed as a result of the weathering and erosion of rocks; the action of rivers and waves tends to pile up gravel in large accumulations. This can sometimes result in gravel becoming compacted and lithified into the sedimentary rock called conglomerate. Where natural gravel deposits are insufficient for human purposes, gravel is produced by quarrying and crushing hard-wearing rocks, such as sandstone, limestone, or basalt.
Quarries where gravel is extracted are known as gravel pits. Southern England possesses large concentrations of them due to the widespread deposition of gravel in the region during the Ice Ages; as of 2006, the United States is consumer of gravel. The word gravel comes from the Breton language. In Breton, "grav" means coast. Adding the "-el" suffix in Breton denotes the component parts of something larger, thus "gravel" means the small stones which make up such a beach on the coast. Many dictionaries ignore the Breton language, citing Old French gravelle. Gravel has the meaning a mixture of different size pieces of stone mixed with sand and some clay. In American English, rocks broken into small pieces by a crusher are known as crushed stone. Types of gravel include: Bank gravel: deposited gravel intermixed with sand or clay found in and next to rivers and streams. Known as "bank run" or "river run". Bench gravel: a bed of gravel located on the side of a valley above the present stream bottom, indicating the former location of the stream bed when it was at a higher level.
Creek rock or river rock: this is rounded, semi-polished stones of a wide range of types, that are dredged or scooped from stream beds. It is often used as concrete aggregate and less as a paving surface. Crushed stone: rock crushed and graded by screens and mixed to a blend of stones and fines, it is used as a surfacing for roads and driveways, sometimes with tar applied over it. Crushed stone may be made from granite, limestone and other rocks. Known as "crusher run", DGA QP, shoulder stone. Fine gravel: gravel consisting of particles with a diameter of 2 to 8 mm. Stone dust: fine, gravel from the final stage of screen separation, such that the gravel is not separated out from fine dust particles. Lag gravel: a surface accumulation of coarse gravel produced by the removal of finer particles. Pay gravel: known as "pay dirt"; the metals are recovered through gold panning. Pea gravel: known as "pea shingle" is gravel that consists of small, rounded stones used in concrete surfaces. Used for walkways, driveways and as a substrate in home aquariums.
Piedmont gravel: a coarse gravel carried down from high places by mountain streams and deposited on flat ground, where the water runs more slowly. Plateau gravel: a layer of gravel on a plateau or other region above the height at which stream-terrace gravel is found. In locales where gravelly soil is predominant, plant life is more sparse; this outcome derives from the inferior ability of gravels to retain moisture, as well as the corresponding paucity of mineral nutrients, since finer soils that contain such minerals are present in smaller amounts. Construction aggregate Pebble Rock Media related to Gravel at Wikimedia Commons
Jacobus Johannes Pieter Oud called J. J. P. Oud was a Dutch architect, his fame began as a follower of the De Stijl movement. Oud was born in the son of a tobacco and wine merchant; as a young architect, he was influenced by Berlage, studied under Theodor Fischer in Munich for a time. He worked together with W. M. Dudok in Leiden, where he met Theo van Doesburg and became involved with the movement De Stijl. Between 1918 and 1933, Oud became Municipal Housing Architect for Rotterdam. During this period when many laborers were coming to the city, he worked on progressive residential projects; this included projects in the areas of Spangen and the Witte Dorp. Oud was one of a number of Dutch architects who attempted to reconcile strict, rational,'scientific' cost-effective construction technique against the psychological needs and aesthetic expectations of the users, his own answer was to practice'poetic functionalism'. In 1927, he was one of the fifteen architects who contributed to the influential modernist Weissenhof Estate exhibition.
In America Oud is best known for being lauded and adopted by the mainstream modernist movement summarily kicked out on stylistic grounds. As of 1932, he was considered one of the four greatest modern architects, was prominently featured in Philip Johnson's International Style exhibition. Johnson maintained a correspondence with Oud, tried to help him get work, commissioned a house for his mother, sent him socks and bicycle tires. In 1945, after the end of World War II allowed photographs of Oud's 1941 Shell Headquarters building in The Hague to be published in America, the architectural press sarcastically condemned his use of ornament as contrary to the spirit of modernism. After World War II, Oud designed the Dutch National War Monument in Amsterdam and the monument of the Military War Cemetery Grebbeberg. By he had let go of any Stijl influences, he continued to take a individualistic stance against mainstream modernism. He designed projects such as the Spaarbank in Rotterdam, office-building De Utrecht in Rotterdam and the Children's health-centre in Arnhem.
Oud's brother, Pieter Oud was mayor of Rotterdam. Oud died in 1963 at the age of 73 in Wassenaar. 1906 House in Purmerend. 1912 Movie theatre, block of worker housing and small individual houses in Purmerend. 1913 - 1914 Small houses in and about Leiden. 1915 Project for a municipal bath house, unexecuted. 1917 House in Katwijk-aan-Zee. House in Noordwijkerhout. Project for a row of seaside houses, unexcecuted. 1918 Spangen, Blocks I and V, Worker housing in Rotterdam. 1919 Spangen, Blocks VIII and IX. Projects for a factory and a bonded Warehouse, unexcecuted. 1920 - 1921 Tuschendijken, Blocks I to VI in Rotterdam. 1921 Project for a house in Berlin, unexecuted. 1922 Garden Village in Rotterdam at Oud-Mathenesse. 1923 Superintendent's office at Oud-Mathenesse, temporary. 1925 Café de Unie in Rotterdam 1926 Project for Hotel Stiassni in Brno, unexcecuted. Competition project for Rotterdam Exchange, unexcecuted. 1926 - 1927 Worker's Houses at the Hoek of Holland 1927 Row of 5 houses, Weissenhof Housing Exposition, Stuttgart.
1927 Additions to the villa Allegonda at Katwijk-aan-Zee. 1928 - 1930 Kiefhoek Housing Development in Rotterdam. 1931 Project for steel apartments in Rotterdam, unexecuted. Project for house in Pinehurst, unexecuted. 1933 Chair, Museum de Fundatie in Heino 1938-1948 Shell Headquarters, The Hague 1942-1957 Spaarbank, Rotterdam 1952-1960 Bio-herstellingsoord, Arnhem 1954-1961 Officebuilding De Utrecht, Rotterdam 1956, National Monument, Dam Square, Amsterdam Broekhuizen, Dolf, De Stijl toen / J. J. P. Oud nu. De bijdrage van architect J. J. P. Oud aan herdenken, herstellen en bouwen in Nederland, dissertation University of Groningen, Rotterdam, NAi publishers 2000 Taverne, Ed, Dolf, J. J. P. Oud's Shell Building. Design and reception, Rotterdam: NAi publishers 1995 Taverne, Ed. J. P. Oud Poetic Functionalist 1890-1963, Complete Works, Rotterdam: NAi publishers 2001 Media related to Jacobus Oud at Wikimedia Commons
Bruno Julius Florian Taut was a prolific German architect, urban planner and author active during the Weimar period. He is known for his theoretical works as well as his buildings. Taut was born in Königsberg in 1880. After secondary school, he studied at the Baugewerkschule. In the following years, Taut worked in the offices of various architects in Wiesbaden. In 1903 he was employed by Bruno Möhring in Berlin, where he acquainted himself with Jugendstil and new building methods combining steel with masonry. From 1904 to 1908, Taut studied urban planning, he received his first commission through Fischer in 1906, which involved renovation of the village church in Unterriexingen. In 1908, he returned to Berlin to study art history and construction at the Royal Technical Higher School of Charlottenburg, now Technical University of Berlin. A year he established the architecture firm Taut & Hoffmann with Franz Hoffmann. Taut's first large projects came in 1913, he became a committed follower of the Garden City movement, evidenced by his design for the Falkenberg Estate.
Taut adopted the futuristic ideals and techniques of the avante-garde as seen in the prismatic dome of the Glass Pavilion, which he built for the association of the German glass industry for the 1914 Werkbund Exhibition in Cologne. His aim was to make a whole building out of glass instead of using glass as a surface or decorative material, he created glass-treaded metal staircases, a waterfall with underlighting, colored walls of mosaic glass. His sketches for the publication "Alpine Architecture" are the work of an unabashed utopian visionary, he is classified as a Modernist and, in particular, as an Expressionist. Much of Taut's literary work in German remains untranslated into English. In 1910 after training in Berlin, working for Theodor Fischer's firm in Stuttgart, establishing his own firm in Berlin, the experienced architect Hermann Muthesius suggested that Taut visit England to learn the garden city philosophy. Muthesius introduced him to some of the Deutscher Werkbund group of architects, including Walter Gropius.
Taut had socialist sympathies, before World War I this hindered his advancement. Taut's practical activity changed with World War I, he so avoided military service. He began to write and sketch, less to escape from the brutalities of war than to present a positive utopia in opposition to this reality. Taut designed an immense circular garden city with a radius of about 7 km for three million inhabitants; the "City Crown" was to be in the center. "Mighty and inaccessible", it would have been the culmination of a community and cultural center, a skyscraper-like, purpose-free "crystal building". "The building contains nothing but one beautiful room which can be reached by either of two staircases to the right and to the left of the theatre and the little community center. How can I begin to describe what it is only possible to construct!", said Taut of the City Crown. Taut completed two housing projects in Magdeburg from 1912 through 1915, which were influenced directly by the humane functionalism and urban design solutions of the garden city philosophy.
The reform estate, created for a housing trust, was built in 1912–15 in the southwest of Magdeburg. The estate consists of one-storey terrace houses and was the first project in which Taut used colour as a design principle; the construction of the estate was continued by Carl Krayl. Taut served as city architect in Magdeburg from 1921 to 1923. During his time a few residential developments were built, one of, the Hermann Beims estate with 2,100 apartments. Taut designed the exhibition hall City and Countryside in 1921 with concrete trusses and a central skylight. A lifelong painter, Taut was distinguished from his European modernist contemporaries by his devotion to color; as in Magdeburg, he applied lively, clashing colors to his first major commission, the 1912 Gartenstadt Falkenberg housing estate in Berlin, which became known as the "Paint Box Estates". The 1914 Glass Pavilion, an illustration of the new possibilities of glass, was brightly colored; the difference between Taut and his Modernist contemporaries was never more obvious than at the 1927 Weissenhofsiedlung housing exhibition in Stuttgart.
In contrast to the pure-white entries from Ludwig Mies van der Rohe and Walter Gropius, Taut's house was painted in primary colors. Le Corbusier is reported to have exclaimed, "My God, Taut is colour-blind!"In 1924 Taut was made chief architect of GEHAG, a Berlin public housing cooperative, was the main designer of several successful large residential developments in Berlin, notably the 1925 Hufeisensiedlung, named for its configuration around a pond, the 1926 Onkel Toms Hütte Development in Zehlendorf, named for a local restaurant and set in a thick grove of trees. Both of these constructions became prominent examples of the use of colorful details in architecture. Taut worked for the city architect of Berlin, Martin Wagner, on some of Berlin's Modernist Housing Estates, now recognized as UNESCO World Heritage Sites; the designs featured controversial modern flat roofs. Political conservatives complained that these developments were too opulent for'simple people'; the progressive Berlin mayor, Gustav Böss, defended them: "We want to bring the lower levels of society higher."Between 1924 and 1931, Taut's team completed more than 12,000 dwellings.
In tribute to Taut, GEHAG incorporated an abstracted graphic of the Horseshoe Estate
Max Taut was a German architect. Max Taut was born in the younger brother of Bruno Taut. He, his brother and Franz Hoffman formed Taut & Hoffman, an architecture firm in Berlin, In the 1920s, Max Taut was known for his office buildings for trade unions. Between 1922 and 1925, he built one house a year on Hiddensee island, each one different from the others; the Deutscher Buchdrucker building on Dudenstraße in Berlin and the consumer cooperatives' department store on Oranienplatz are two of his most important buildings and are on the Berlin list of heritage sites. He was a member of the Novembergruppe, he was a member of the avant garde architectural society, which included Mies van der Rohe, Walter Gropius and Erich Mendelsohn. His primary importance exists in the development of framed buildings, which showed the construction of the building and symbolized a new, democratic openness in architecture. After the Second World War, he and Wilhelm Büning founded a new architecture school at the Berlin University of the Arts.
His postwar work includes Ludwig Georgs Gymnasium in Darmstadt. Taut was buried at the Choriner monastery cemetery. Janusz Korczak Gymnasium the Knabenschule in Finsterwalde Administration building, Allgemeiner Deutscher Gewerkschaftsbund in Berlin-Mitte Two houses in the Weißenhofsiedlung in Stuttgart Verband der Deutschen Buchdrucker building on Dudenstraße 10, designed with Franz Hoffmann. Alexander von Humboldt Oberschule in Berlin-Köpenick Oberlyzeum "Dorotheenschule" Trade union building, Frankfurt am Main Nöldnerplatz group of schools in Berlin-Lichtenberg Reichsknappschafthaus on Breitenbachplatz in Berlin, designed with Franz Hoffmann. Designed in the Bauhaus style with a steel frame and a ceramic-tile facade.. Block of flats with library on Dudenstraße 12–20, designed with Franz Hoffmann. 1963/64 Renovation of the Jagdschloss Glienicke, with bay windows added to the two lower floors Ludwig Georgs Gymnasium in Darmstadt Max Taut: Bauten und Pläne, Berlin Alfred Kuhn: Max Taut - Bauten, Berlin Max Taut: Berlin im Aufbau, Berlin Max Taut, exhibition catalogue with text by Julius Posener.
ADK Berlin Max Taut - Zeichnungen, exhibition catalogue. ADK Berlin Annette Menting: Max Taut. Das Gesamtwerk Munich: DVA Max Taut in the German National Library catalogue
Bernhard Hans Henry Scharoun was a German architect best known for designing the Berlin Philharmonic concert hall and the Schminke House in Löbau, Saxony. He was an important exponent of expressionist architecture. Scharoun was born in Bremen. After passing his Abitur in Bremerhaven in 1912, Scharoun studied architecture at the Technical University of Berlin until 1914, but he did not complete his studies, he had shown an interest in architecture during his school years. At the age of 16 he drafted his first designs, at 18 he entered for the first time an architectural competition for the modernisation of a church in Bremerhaven. In 1914 he volunteered to serve in the First World War. Paul Kruchen, his mentor from his time in Berlin, had asked him to assist in a reconstruction program for East Prussia. In 1919, after the war, Scharoun assumed responsibility for its office as a freelance architect in Breslau. There and in Insterburg, he realised numerous projects and organised art exhibitions, such as the first exhibition of the expressionist group of artists, Die Brücke, in East Prussia.
He received a professorship at the Staatliche Akademie für Kunst und Kunstgewerbe Breslau where he taught until its closure in 1932. In 1919 he had joined Bruno Taut's expressionist architects group the Glass Chain. In 1926 he entered the architects association Der Ring. In 1927 Scharoun built a house in the Stuttgart Weissenhof Estate, he had responsibility at the end of the twenties for the development plan of a large housing estate, Großsiedlung Siemensstadt, in Berlin. Hugo Häring's theory of the new building inspired Scharoun in a new architectural direction that departed from rationalism and from preformulated schemata, in order to develop buildings starting in each case from a unique functional character; the organisation of social living space played a central role. During the Nazi era he remained in Germany, whilst many of his friends and colleagues from the Glass Chain or Der Ring went abroad. In this time he only built a few family houses, one of, the remarkable Schminke house in the city of Löbau in Saxony.
Subsequent houses had to adapt outwardly to politically determined construction specifications, while on the inside they displayed the Scharounian sequences of spaces. During the war he was busy with reconstruction after bomb damage, he recorded his architectural visions secretly in numerous watercolors. With these imaginary architectures he prepared mentally for a time after the Nazis. After the end of the Second World War he was appointed by the Allies to the city building council and named director of the Abteilung Bau- und Wohnungswesen des Magistrats. In an exhibition in the destroyed ruins of the Berliner Stadtschloss titled Berlin plant — Erster Bericht, he presented his conceptions for the reconstruction of Berlin, he found himself in a political no-man's land as the division of the city was becoming apparent. In 1946 he became a professor at the faculty for architecture at the Technical University of Berlin, with a teaching post at the Lehrstuhl und Institut für Städtebau. After the war he was able to realise his architectural understanding, both ambitious and humanistic, in exemplary buildings.
Common to all these buildings is a new kind of entrance to an imaginative and differentiated organization of space. The school is planned like a small, child-friendly city, the apartment towers allow for flexible allocation of space and function; the Philharmonic Concert Hall, internationally recognised as one of the most successful buildings of its kind, is considered as Scharoun's best work. Around the center of the music podium the ranks of spectators rise in irregularly placed terraces, the ceiling planes layer themselves like a tent-like firmament over the architectural landscape; the German Embassy in Brasília remains the only building. Some of his most important buildings were only finished after his 1972 death in Berlin, including the Deutsches Schiffahrtsmuseum, the theatre in Wolfsburg and the Staatsbibliothek in Berlin; the extension to the Berlin Philharmonic Concert Hall around the Kammermusiksaal and the Staatliche Institut für Musikforschung Preußischer Kulturbesitz mit Musikinstrumentemuseum developed under the supervision of his office partner Edgar Wisniewski, who took over the office after Scharoun's death.
During the 1980s, the facade of the Philharmonic Concert Halls was provided with a cladding of gold-anodized aluminum plates. Scharoun's original designs had planned a similar cladding, not implemented at the time for cost reasons. After the reunification of Berlin Potsdamer Platz, adjacent to the east of the Kulturforum, was rebuilt. 1954 Honorary Doctorate from the Technical University of Berlin 1954 Fritz Schumacher Prize, Hamburg 1955 Berlin Arts Prize 1958 Bronze plaque of the Freie Akademie der Künste Hamburg 1959 Großes Bundesverdienstkreuz (Federal grand ord
Hans Poelzig was a German architect and set designer. Poelzig was born in Berlin in 1869 to Countess Clara Henrietta Maria Poelzig while she was married to George Acland Ames, an Englishman. Uncertain of his paternity, Ames refused to acknowledge Hans as his son and he was brought up by a local choirmaster and his wife. In 1899 he married Maria Voss with. Hans Poelzig was buried in the Old Cemetery in Berlin-Wannsee. On 18 November 2015, Friedrichstadt-Palast Berlin inaugurated a memorial at Friedrichstraße 107 dedicated to the theatre’s founders, Max Reinhardt, Hans Poelzig and Erik Charell. In 1903 he became a director at the Breslau Academy of Art and Design. From 1920-1935 he taught at the Technical University of Berlin. Director of the Architecture Department of the Prussian Academy of Arts in Berlin. After finishing his architectural education around the turn of the century, Poelzig designed many industrial buildings, he designed the 51.2 m tall Upper Silesia Tower in Posen for an industrial fair in 1911.
It became a water tower. He was appointed city architect of Dresden in 1916, he was an influential member of the Deutscher Werkbund. Poelzig was known for his distinctive 1919 interior redesign of the Berlin Grosses Schauspielhaus for Weimar impresario Max Reinhardt, for his vast architectural set designs for the 1920 UFA film production of The Golem: How He Came Into the World. With his Weimar architect contemporaries like Bruno Taut and Ernst May, Poelzig's work developed through Expressionism and the New Objectivity in the mid-1920s before arriving at a more conventional, economical style. In 1927 he was one of the exhibitors in the first International Style project, the Weissenhof Estate in Stuttgart. In the 1920s he ran the "Studio Poelzig" in partnership with his wife Marlene. Poelzig designed the 1929 Broadcasting House in the Berlin suburb of Charlottenburg, a landmark of architecture, Cold War and engineering history. Poelzig's single best-known building is the enormous and legendary I.
G. Farben Building, completed in 1931 as the administration building for IG Farben in Frankfurt am Main, now known as the Poelzig Building at Goethe University. In March 1945 the building was occupied by American Allied forces under Eisenhower, became his headquarters, remained in American hands until 1995; some of his designs that were never built included one for the Palace of the Soviets and one for the League of Nations headquarters at Geneva. In 1933 Poelzig served as the interim director of the Vereinigte Staatsschulen für freie und angewandete Kunst, after the expulsion of founding director Bruno Paul by the National Socialists. Poelzig died in Berlin shortly before his planned departure for Ankara. 1901 Church spire, Wrocław 1904 A Family house with garden pavilion for the arts and crafts exhibition 1908 Dwelling houses, corner of Menzelstraße and Wölflstraße in Breslau, 1908 Dwelling house, Hohenzollernstraße, Breslau 1907 - ca. 1909: mixed commercial offices and retail, Hohenzollernstraße, Wrocław 1911 Sulphuric acid factory in Luboń 1911 Grain silo and Roofed Marketplace in Luboń 1911 Exhibition Hall and Tower in Poznań for an industrial fair 1912 Department store in Junkernstrasse, Wroclaw 1913 Four Domes Pavilion, Wroclaw 1919 Grosses Schauspielhaus, in Berlin 1920 Festival Theater for Salzburg 1924 Office building, Hanover 1927 Deli cinema, Wrocław 1929 Haus des Rundfunks, Berlin 1929 Kino Babylon, Berlin 1931 I.
G. Farben Building in Frankfurt Palace of the Soviets League of Nations 1920 - Film sets for The Golem: How He Came Into the World 1921 - Friedrichstraße Station Skyscraper competition in Berlin 1925 - Capitol, Berlin, 1926 - German Forum for Sport, His works in library of TU Berlin Industry buildings Film production design sketches on the European Film Gateway