ABSTRACT
Keywords: Glasarchitektur, glass houses, Metropolis
These images could be seen through the layer of the big city glitz exposing what one tried to hide from the view of an average city dweller, ripping off the mask of official culture and revealing its margins, the phenomena undergoing under surface, inseparably fused with the external mask. The other side of the city, its underworld immorality, poverty, and crime was perceived primarily as a threat to the souls of those lost in the solitude of an anonymous crowd. Expressionist paintings wanted to make this cry of the soiled soul heard, while the subsequent architectural projects sprang up from the hope of recovering the spirituality in a world designed by visionary artists, the precursors of a new society. Comparing expressionist painting, architecture, and film we could talk about the two scenarios of the future, of a utopia and a dystopia; the vision of the ultimate collapse or restoration of the harmony of the universe.
