Hans Scharoun [1893-1972] drew from this language. Along with many of his contemporaries—Mies, Taut, Mendelsohn, and Häring himself—he was shaped by the expressionist milieu of postwar Germany, studying under Poelzig at his Breslau School. This expressionism first appeared in a series of watercolors he contributed to the *“Gläserne Kette” (“Glass Chain”)*, the famous correspondence network among architects and artists in Germany at the time. Conceived by Bruno Taut, this chain of letters served as a medium of communication among the group's members. In these letters, liberated from the constraints of feasibility, the members outlined their visions of an ideal society and a benevolent architecture.
By the 1920s, however, on the cusp of another conflict, a culture of resourcefulness and efficiency took root once again globally. Economic recovery demanded austerity, a trend reflected not only in household management but across many artistic avant-gardes of the period—a collective quest for material, formal, and, consequently, economic efficiency. Rationalism emerged as the dominant trend, championed by architects like Hannes Meyer and André Lurçat, who sought to strip the communicative attributes of architectural language down to zero in favor of addressing the organizational tasks demanded by technological and political developments.
__Flickr_bajo_licencia_CC_BY-NC_2.0_.jpg?1545531480 "Hans Scharoun: Architecture, Space, and Imagination")
