表现主义乌托邦:布鲁诺·陶特、玻璃建筑和城市的消融

Expressionist Utopia:Bruno Taut,Glass Architecture,and the Dissolution of Cities

本文关注了德国建筑师、建筑理论家布鲁诺·陶特(Bruno Taut)在一战及其后一段时间里富于远见性的艺术行为。陶特发展了一系列新建筑类型,它们并非仅仅是一种对新建筑或新都市主义的想象,而是一种生产乌托邦式'新人类'的完整空间计划的概要。他平衡了现代都市和工业城市的高度组织性、空间性,日常经验中建造和功能在布置上的一体性,以及现代都市无秩序、未规划的扩张,还艺术性地预示了被异化和分隔的城市与乡村的再联合,并最终拉近了所有那些被分隔开的个体人、自然、宇宙。最后,作者思考了一种更宏大的外在语境条件,它支撑了这种表现主义的建筑乌托邦,并导致陶特从20世纪20年代中期开始突然完全放弃这一主张并转而支持更为冷峻、功能主义的建筑方案,直到其去世。

This paper focuses on the visionary artistic activity of the German-born architect and theorist Bruno Taut during and shortly after World War I. Taut developed a number of architectural visions that were not simply elaborations of a new architecture or new urbanism, but also schemata of a total spatial disposition to produce a utopian"new man." He counterpoised to the chaotic and unplanned growth of the modern metropolis and industrial city a vision of a highly organized, spatially and experientially coherent disposition of construction and functions, also artistically prefiguring the reunion of alienating divisions between city and countryside, and eventually the closing of all those divisions that separate man, nature, and cosmos. In the end, the writer consider the larger contextual conditions that supported the formation of this expressionist architectural utopia and Taut’s fairly sudden abandonment of it in favor of more sober, functionalist projects in the mid-1920 s until the end of his life.