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. 1946 to 1972 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. 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). After the war he was able to realise his architectural understanding, both ambitious and humanistic, in exemplary buildings; e.g., in the Stuttgart apartment towers of Romeo and Julia (1954–59), in the Geschwister-Scholl-Gymnasium in Lünen (1956–62) and in the famed Philharmonic concert hall in Berlin (1956–63). 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. The German Embassy in Brasília (1963–69) remains the only building that he built outside of Germany. After 1972 Some of his most important buildings were only finished after his 1972 death in Berlin, including the Deutsches Schiffahrtsmuseum (German Maritime Museum), the theatre in Wolfsburg and the Staatsbibliothek (State Library) in Berlin. The extension to the Berliner Philharmonie around the Kammermusiksaal and the Staatliche Institut für Musikforschung Preußischer Kulturbesitz mit Musikinstrumentemuseum (Institute for Music Research and Musical Instrument