notable Expressionist architect of the period. His Chilehaus was built as the headquarters of a shipping company, and was modeled after a giant steamship, a triangular building with a sharply pointed bow. It was constructed of dark brick, and used external piers to express its vertical structure. Its external decoration borrowed from Gothic cathedrals, as did its internal arcades. Hans Poelzig was another notable expressionist architect. In 1919 he built the Großes Schauspielhaus, an immense theater in Berlin, seating five thousand spectators for theater impresario Max Reinhardt. It featured elongated shapes like stalagmites hanging down from its gigantic dome, and lights on massive columns in its foyer. He also constructed the IG Farben building, a massive corporate headquarters, now the main building of Goethe University in Frankfurt. Bruno Taut specialized in building large-scale apartment complexes for working-class Berliners. He built twelve thousand individual units, sometimes in buildings with unusual shapes, such as a giant horseshoe. Unlike most other modernists, he used bright exterior colors to give his buildings more life The use of dark brick in the German projects gave that particular style a name, Brick Expressionism. The Austrian philosopher, architect, and social critic Rudolf Steiner also departed as far as possible from traditional architectural forms. His Second Goetheanum, built from 1926 near Basel, Switzerland the Einsteinturm in Potsdam, Germany, and the Second Goetheanum, by Rudolf Steiner (1926), were based on no traditional models, and had entirely original shapes. Constructivist architecture (1919–1931) After the Russian Revolution of 1917, Russian avant-garde artists and architects began searching for a new Soviet style which could replace traditional neoclassicism. The new architectural movements were closely tied with the literary and artistic movements of the period, the futurism of poet Vladimir Mayakovskiy, the Suprematism of painter Kasimir Malevich, and the colorful Rayonism of painter Mikhail Larionov. The most startling design that emerged was the tower proposed by painter and sculptor Vladimir Tatlin for the Moscow meeting of the Third Communist International in 1920: he proposed two interlaced towers of metal four hundred meters high, with four geometric volumes suspended from cables. The movement of Russian Constructivist architecture was launched in 1921 by a group of artists led by Aleksandr Rodchenko. Their manifesto proclaimed that their goal was to find the "communist expression of material structures". Soviet architects began to construct workers' clubs, communal apartment houses, and communal kitchens for feeding whole neighborhoods. One of the