Bernhard Hans Henry Scharoun (20 September 1893 – 25 November 1972) was a German architect best known for designing the Berliner Philharmonie (home to the Berlin Philharmonic) and the Schminke House in Löbau, Saxony. He was an important exponent of organic and expressionist architecture.
Scharoun was born in Bremen.[1] After passing his AbiturinBremerhaven in 1912, Scharoun studied architecture at the Technical University of Berlin until 1914 (at the time called Königliche Technische Hochschule, the Royal Technical University of Berlin), but he did not complete his studies.[2] He had already shown an interest in architecture during his school years. At the age of 16 he drafted his first designs, and 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.[3]Paul Kruchen, his mentor from his time in Berlin, had asked him to assist in a reconstruction program for East Prussia.[2] In 1919, after the war, Scharoun assumed responsibility for its office as a freelance architect in Breslau.[4] There and in Insterburg (Chernyakhovsk), he realised numerous projects and organised art exhibitions, such as the first exhibition of the expressionist group of artists, Die Brücke, in East Prussia.[5][6]
During the Nazi era he remained in Germany, whilst many of his friends and colleagues from the Glass ChainorDer Ring went abroad. In this time he only built a few family houses, one of which is the remarkable Schminke House[10] (publicly accessible) in the city of Löbau in Saxony (1933). Subsequent houses had to adapt outwardly to politically determined construction specifications, while on the inside they displayed the typically Scharounian sequences of spaces. During the war he was busy with reconstruction after bomb damage. He recorded his architectural ideas and 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 (Department of Building and Municipal Housing). In an exhibition in the destroyed ruins of the Berliner Schloss (Berlin City Palace) titled Berlin plant — Erster Bericht (Berlin plans – First Report), he presented his conceptions for the reconstruction of Berlin and the palace itself.[11] Immediately 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 (Institute for Urban Building).[12]
Common to all these buildings is a new kind of entrance to an extremely imaginative and socially differentiated organization of space. The school is planned like a small, child-friendly city, and 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, and the ceiling planes layer themselves like a tent-like firmament over the architectural landscape.
Some of his most important buildings were only finished after his 1972 death in Berlin, including the German Maritime MuseuminBremerhaven, the theatre in Wolfsburg and the Berlin State Library.
The extension to the Berliner Philharmonie around the Kammermusiksaal, the State Institute for Music Research and Berlin Musical Instrument Museum 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; originally it was a white and ocher painted concrete facade.
Scharoun's original designs had planned a similar cladding, which was not implemented at the time for cost reasons. After the reunification of Berlin Potsdamer Platz, adjacent to the east of the Kulturforum, was rebuilt; by this Scharoun's designs concerning city redevelopment of the area could finally be recorded as complete.
Jones, Peter Blundell; "Hans Scharoun: Buildings in Berlin", 2002, ISBN0-9714091-2-9
Kirschenmann, Jörg C. und Syring, Eberhard: "Hans Scharoun", Taschen Basic Architecture, Taschen, Köln 2004, ISBN3-8228-2778-9
(in German)
Barkhofen, Eva-Maria: Hans Scharoun – Architektur auf Papier. Visionen aus vier Jahrzehnten (1909–1945), Berlin Munich 2022, ISBN978-3-422-98763-0
Bürkle, J. Christoph: "Hans Scharoun und die Moderne — Ideen, Projekte, Theaterbau", Frankfurt am Main 1986
Janofske, Eckehard: "Architektur-Räume, Idee und Gestalt bei Hans Scharoun", Braunschweig 1984
Jones, Peter Blundell: "Hans Scharoun — Eine Monographie", Stuttgart 1980
Kirschenmann, Jörg C. und Syring, Eberhard: "Hans Scharoun — Die Forderung des Unvollendeten", Deutsche Verlags-Anstalt, Stuttgart 1993, ISBN3-421-03048-0
Pfankuch, Peter (Hrsg.): "Hans Scharoun — Bauten, Entwürfe, Texte", Schriftenreihe der Akademie der Künste Band 10, Berlin 1974, Neuauflage 1993, ISBN3-88331-971-6
Ruby, Andreas und Ilka: Hans Scharoun. Haus Möller. Köln 2004.
Syring, Eberhard und Kirschenmann, Jörg C.: "Hans Scharoun — Außenseiter der Moderne", Taschen, Köln 2004, ISBN3-8228-2449-6
Wendschuh, Achim (Hrsg.): "Hans Scharoun — Zeichnungen, Aquarelle, Texte", Schriftenreihe der Akademie der Künste Band 22, Berlin 1993, ISBN3-88331-972-4
Wisniewski, Edgar: "Die Berliner Philharmonie und ihr Kammermusiksaal. Der Konzertsaal als Zentralraum", Berlin 1993
^Peter, Markus; Tillmann, Ulrike (24 October 2019). Hans Scharoun und die Entwicklung der Kleinwohnungsgrundrisse (in German). Zürich: Park Books. ISBN978-3-03860-156-2.
