By David Nielsen

As a formative exemplar of early architectural modernism, Bruno Taut’s seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically a part of the real debate of rethinking the origins of modernism. in spite of the fact that, the historic checklist of Bruno Taut’s Glashaus has been basically demonstrated via one paintings historian and critic. for this reason the ancient checklist of the Glashaus is considerably skewed towards a singlular suggestion of Expressionism and strangely excludes Taut’s different factors for the layout of the development.



In an attempt to explain the tricky historic list of the Glashaus, this publication exposes Bruno Taut’s reasons and inspirations for its layout. the result's that Taut’s causes are available in but unacknowledged precedents just like the botanical thought of the Victoria regia lily; the industrial pursuits of Frederick Keppler because the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived brazenly from the Gothic. the result is a considerable contribution to the re-examination of the commonly approved histories of the trendy move in structure.

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