EXPRESSIONIST ARCHITECTURE

IN DRAWINGS

WOLFGANG PEHNT
tm
iS BN 0-442-273S4-3

EXPRESSIONIST ARCHITECTURE
IN DRAWINGS

Wolfgang Pehnt

The freehand sketch is of particular importance

for the understanding of Expressionist architec-

ture - even more important, it might be argued,

than the finished building. For Expressionist

architects were above all concerned with the

spontaneity of the initial idea, a quality that

only rarely survived the transition from drawing

to reality, and that was often too fantastic even
to attempt. Many of their most striking

thoughts, therefore, remained on paper. Wolf-

gang Pehnt, whose Expressionist Architecture,

the standard work on the subject, appeared

in 1973, here brings together a representative

collection of drawings, many of which have

never been published before. They range from

the crystalline Utopias of Bruno Taut and the

almost Baroque exuberance of Hans Poelzig

to the clear, formulaic lines of Erich Mendel-

sohn and the organic forms of Otto Bartning,
Rudolf Schwarz and Rudolf Steiner. Among
those whose projects did achieve realization

are the young Mies van der Rohe and Walter

Gropius and the master of the Dutch school,
Hendrik Petrus Berlage, Michel de Klerk and
Piet Kramer. These are not meticulous draw-
ings or practical blueprints, but as records of

the white heat of architectural inspiration they

have few equals.

With 115 illustrations, 12 in color

On the cover: Peter Behrens (draughtsman

unknown). Color sketch for the Main Hall.

Hoechst Pigment and Dye Corporation,

c. 1920.

VAN NOS'l KrvND REINHOLD COMPANY

BOSTON
PUBLIC
LIBRARY
Expressionist Architecture in Drawings
EXPRESSIONIST ARCHITECTURE
IN DRAWINGS

Wolfgang Pehnt

VAN NOSTRAND REINHOLD COMPANY

2SE
New York
Translated from the German
ARCHITEKTURZEICHNUNGEN DES EXPRESSIONISMUS
by John Gabriel

Copyright © 1985 by Verlag Gerd Hatje, Stuttgart

Library of Congress Catalog Card Number 84-13122
ISBN 0-442-27384-3

All rights reserved. No work covered by

part of this
the copyright hereon may
be reproduced or used in any
form or by any means - graphic, electronic, or mechanical,
including photocopying, recording, taping, or
information storage and retrieval systems - without
written permission of the publisher.

Printed in the German Federal Republic

Published by Van Nostrand Reinhold Company Inc.

135 West 50th Street
New York, New York 10020

Van Nostrand Reinhold

480 La Trobe Street
Melbourne, Victoria 3000. Australia

Macmillan of Canada
Division ofGage Publishing Limited
164 Commander Boulevard
Agincourt, Ontario MIS 3C7, Canada

16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Library of Congress Cataloging in Publication Data

Library of Congress Cataloging in Publication Data

Pehnt, Wolfgang,
Expressionist architecture in drawings.

Translation of: Architektur Expressionismus in

Zeichnungen.
Architectural drawing - 20th century - Germany.
1.

Expressionism (Art) - Germany. I. Title.

2.
NA2706.63P4413 1985 720'.22'2 84-13122
ISBN 0-442-27384-3
Preface

In our days an architecture that neglects materials and pur-

pose, function and engineering and insists on the primacy of
individual expression would fly in the face of modern ar-
chitectural dogma. And just such an approach, whose pro-
tagonists dreamed of reshaping heaven and earth, stood at
the beginning of the modern movement - or, more precisely,
at one of its many beginnings, during the era of Expres-
sionism. Architectural drawing played just as important a
role during that period as it does now, though today's Post-
Modernism, with its historical references, cautious preci-
sion, and intellectualism, may seem worlds apart from the
stormy vitality and humanitarian zeal of the Expressionist
generation.
This comparison, which reveals a few similarities and many
differences, was one of the more immediate reasons for
compiling a volume of this kind. Another and better reason
was the sheer quality of these documents of a renewal illus-
trated here. Since Goran Lindahl's 1959 essay "From
Cathedral of the Future to Machine for Living", since Ulrich
Conrads and Hans G. Sperlich's Fantastic Architecture of
1960 and the overviews of Expressionist architecture writ-
ten by Dennis Sharp, Borsi and König, and myself, several
more specialized studies have been published on the struc-
tures and architects of Expressionism. The bequests and
archives still contain undiscovered material, however, and
this was yet another motive for compiling this book.
Even a slim volume like this depends on the assistance of
many people. If besides the indispensable and better-known
drawings I have been able to include many previously un-
published works, this would not have been possible without
the cooperation of heirs and bequest administrators, collec-
tors and museum people. My special thanks go to Mrs. Lis-
bet Balslev Jorgensen, Copenhagen; Mrs. Susanne Klinge-
berg, Itzehoe; Mrs. Marlene Charlotte Krüger, Ham-
burg ;Mrs. Claudia Lang-Pack, Aachen; Mrs. Loretto Mol-
zahn, Munich; Mrs. Marlene Poelzig, Hamburg;Mrs. Maria
Schwarz, Cologne; Mrs. Gemma Wolters-Thiersch, Über-
lingen; and to Professor Gottfried Böhm, Cologne; Mr.
Kasper König, Cologne; Dr. Helmut Lerch, Darmstadt; Mr.
Peter Magdowski, Berlin; Dr. Winfried Nerdinger, Munich;
Mr. Dieter Radicke, Berlin; Dr. Wolf Tegethoff, Kiel; Pro-
fessor Oswald Mathias Ungers, Cologne; Mr. Achim
Wendschuh, Berlin; Mr. Dirk van Woerkom, Amsterdam;
as well as to those lenders who wished to remain anonymous,
to the management and staff of the collections named in the
list of plates, and to the VEB Verlag der Kunst, Dresden.

It was Gerd Hatje, my publisher, who had the idea for the

present book. I am particularly indebted to him and his staff,

and especially to Mrs. Ruth Wurster, who shepherded the
volume through all stages of production, and to Mrs. Karin
Janthur for her untiring assistance in obtaining visual ma-
terial.

Wolfgang Pehnt
Introduction tive experience", and a "boiling over of sensibility" 4 ? "The
creative art of building", enthused Westheim, "is just as
1. much an imaginative projection into materials of humanity,
Building is not a profession for the lone individualist. Writ- intelligence, power and grandeur as is creation in paint or
ers, artists, and to a certain extent composers and sculptors, clay, the translation of a higher idea of the universe into ar-
can do most of their work alone in the studio, but architects tistic reality, the infusion of an inner musical rhythm into
depend on the cooperation of many other people - clients, space and stone; it means dreaming and dream-shaping, that
contractors, builders, engineers, officials, financing experts same ineffable, titanic, insatiable passion which attempted
and real estate agents. And if they want to communicate to rage itself out in both Rembrandt and Michelangelo." 5
some special message with their work, they have to explain it Westheim's no less enthusiastic colleague Walter Miiller-
to all concerned. Nor is the fact that they are tremendously Wulckow drew the uncontrovertible conclusion that this
moved by their own vision any guarantee that the other peo- passion was "bound to lead to an Expressionism that will
ple involved will be. Architects who create, as Bruno Taut seem unusual in architecture for some time to come" 6 .

put it, "out of a strong emotion" and whose buildings are Where the creative urge was so highly valued, the architec-
meant to speak "to the emotions only" 1 thus face much tural sketch became doubly significant. Sketches promised
greater difficulties than artists in other fields when it comes insight into the creative process, and with their aid artists
to finding acceptance for unfamiliar ideas. The Expres- could tap sources that would otherwise remain buried. Ex-
sionist architects never felt completely at home in three-di- pressionism banked on spontaneity and intuition, not on re-
mensional reality. They were able to execute their projects sults achieved through involvement and compromises with
only under the most favourable circumstances — where ar- reality. "The recording of a vision is so infinitely more im-
chitects' dreams met with such high public receptiveness as portant than the trimming down and pruning out required to
they did in Amsterdam, where a community of philosophic meet actual conditions . Because these sudden pyrotechnic
. .

interest existed as in Dornach, or where an experimental- bursts of genius illuminate in a flash the depths where the In-
ly-minded patron commissioned a private residence, as hap- conceivable lies." 7 Drawings were also expected to point to
pened here and there during the 1910s and early 1920s. the tasks of the future. Not only were they conceived as
But seated at the drawing board, these architects with a mes- opening channels to the primal source of all creative power,
sage were absolutely free. They could envisage crystal they were a challenge to the imagination: "An architectural
domes, bridges between Alpine peaks, skyscraping cities sketch continually restimulates the imagination, making it
and human-oriented settlements regardless of the division help work, help build, help will", declared Adolf Behne in
of labour and its strictures. Only when they were content to the brochure for an exhibition of drawings. 8 The unfinished
rule over a sheet of paper were architects truly kings, those character of architectural sketches was considered a guaran-
"leaders and masters of the visual artists" 2 and farsighted tee of their openness to the future - a Utopian quality that
shapers of human destiny that they imagined themselves to existed independently of the Utopian subject represented.
be during the Expressionist years. Pencil and charcoal, pen It is not surprising that exhibitions of architects' drawings

and brush enabled them to capture, far from the compul- burgeoned during the first months and years after World
sions of the building site, every passing fancy and heartfelt War I. In April 1919, the Berlin Arbeitsrat für Kunst
wish. If Expressionist architecture existed more on paper (Working Council for Art) organized an "Exhibition for
than in three-dimensional reality, it was because drawing is Unknown Architects", followed in May 1920 by "New
the medium that offers least resistance to imaginative vision. Building". The artists' society Novembergruppe, also of
It was no disadvantage in the eyes of their contemporaries Berlin and closely allied with the Arbeitsrat, included ar-
that architects should depend so strongly on the tools of fine chitects' designs, drawings, models and photographs in their
art. Though the architects may have claimed priority, declar- shows as a matter of course. The Paul Cassirer gallery, at
ing that their art was the mother of all, even some of their Henry van de Velde's suggestion, exhibited in 1919 the
sharpest critics recommended that they limit themselves to sketches that Erich Mendelsohn had made during the war
drawing and sketching as a beneficial means of self-reflec- and recasted the year after. Sections were devoted to ar-
tion. This was the only way in which the art of building could chitecture at other regularly scheduled events such as the
repair the link with the other arts which all too much Dresden Secession and Grosse Berliner Kunstausstellung.
utilitarian thinking had shattered. "If present-day architec- In Amsterdam, the group Architectura et Amicitia held
ture is almost completely cut off from the extremely vital ef- many exhibitions, of which their 1915 show, with Michel de
forts being made in sculpture and painting," wrote Paul Klerk, Johan Melchior van der Mey, and Piet Kramer, must
Westheim in 1919, "if it can fructify just as little in that di- have looked like a demonstration of Dutch Expressionists.
rection as it can receive new impetus in return, the reason The organizers of events like these appealed to a different
may well be that intense building activity has caused it to lose and more committed audience than that of normal art
A
touch with its true basis". 3 temporary return to the means shows. "To a much higher degree than non-applied art,"
of two-dimensional art (or, in the case of architectural mod- wrote Adolf Behne, "architectural designs appeal to the will
els, to the means of sculpture) was recommended as a rite of and thus fulfil a mission." 9 People who appreciated these
initiation to the insights that painters and sculptors had al- drawings of a future architecture were considered allies, who
ready achieved. were willing to accept more responsibility than the normal
During the 1920s such insights were labelled Expressionist, buyer and collector of art and who participated in the de-
and architecture began to be measured against the works of velopment of the new work of the building art from the be-
Expressionist painters and sculptors. Was architecture in- ginning.
deed an "emanation of indomitable personality", a "radia- Designs produced by Expressionist architects during this
tion of the spirtit" involving "creative audactity", "imagina- period seldom disappointed these high expectations. In
may appear either organic or man-made, function as enclos-
ing shell or enclosed sculpture, cavern or tower. Many of
Finsterlin's drawings show eroded, jagged formations pro-
jecting and impinging - glacial landscapes which the eyes
traverses without being able to tell us whether we are on ice
or solid ground. Of course, besides these geomorphic ap-
proaches other compositional techniques offered them-
selves, techniques derived from Cubism in which the synth-
esis of interior and exterior space could be expressed in
groupings of overlapping and superimposed fragments of
form.
As with exterior and interior space, it is impossible in many
of these drawings to distinguish beween organic nature and
the results of human intervention. In Wenzel August Hab-
Max Pechstein(?). Flysheet for the Arbeitsrat für Kunst (Working Council lik's early drawings, man seems to have burrowed into the
for Art). 1919 crystallizations of a primordial world, continuing to shape
them as if the human imagination were an anonymous force
Hans Poelzig's drawings, surfaces roughed in with charcoal of nature. Bruno Taut interpreted the intervention of man
or wash evoke a primordial layer out of which identifiable the building animal among the Alpine peaks as the work of
shapes and spaces begin to emerge. Ornamental sequences, some demiurgic jeweller who, carefully facetting and polish-
striving upward in pointed gothic spires or outward in force- ing, lent oresand minerals a beauty characterized by strange
ful baroque arabesques, mark off a dancing rhythm in which mergers of the as-yet-unformed with the already formed. In
the separate beats are linked into space-defining chains. The a sketch for his album Alpine Architecture, the main nave of
violence of these images suggests the rapidity with which a "Cliff Cathedral" overtops a narrow chasm while its aisles
they must have appeared to Poelzig's mind's eye. Speaking merge with caves and grottoes chipped out of the mountain-
of his studies for a Festival Hall in Salzburg, Poelzig once re- side, reversing positive and negative form. The ambiguity of
called that a "more or less mild frenzy" had seized him when this technique of representation is paralleled by the am-
he saw the natural theatre at Mirabell and Hellbrunn, driv- biguity of its content.
ing every thought from his mind except "how to supplement, These suggestions and borderline ambiguities are compli-
or even surpass, this world of form with something essen- cated by the fact that the means of material realization,
tially related". 10 In the case of Hans Scharoun, such conjur- beyond the drawing, have seldom been taken into consider-
ings-up of spirits took on an explosive character. His sheaves ation. Materials are indeed sometimes specified in Alpine
of form lick like flames, shoot like crystals, or break like Architecture and Finsterlin's "Wohnlinge", but the bridges
exotic fruits out of the earth; the streamlined shapes of the and piers of emerald green or ruby red glass, the crystal nee-
somewhat later drawings, like strange creatures made of dles of the mountaintops, the frosted glass domes and arbit-
some unknown kind of protoplasm, rush as if from afar into rarily tinted concrete shells, the porphyry boulders, ebony
the rectangle of the paper. In Rudolf Schwarz's drawings a structures, gilded copper roofs, and silver-plated columns
knotted and tangled network of energy-charged lines shape were evidently meant to evoke costliness, brilliancy and col-
themselves into the facades of sacred buildings. An indefi- our rather than as practical construction specifications. In-
nite spatial depth is evoked simultaneously with volume, as terestingly, it was a man untrained in architecture who de-
though the structures brought the atmosphere out of which voted most thought to the realization of his Utopian schemes.
they have materialized along with them. Wenzel August Hablik, in his designs for self-supporting
In works such as those of Poelzig and Schwarz (his former cupolas and exhibition towers erected on staggered, poly-
master-student), those of Jefim Golyscheff, and certain of gonal plans, took account of such practical problems as scaf-
Hermann Finsterlin's drawings, definition of space and vol- folding, wind forces and snow loads. But in many other
ume appears to have been achieved by letting the hand move drawings of this period, the architects appear to have relied
of its own accord. This spontaneous gestural automatism on some infinitely malleable substance to help them in the
prefigures Surrealist techniques of visual evocation. play of metamorphoses. No such material was available on
Moreover, these are the drawings that evince most clearly the market, of course, nor has it been invented since.
two further traits of the Expressionist approach to architec- Another technique of representation that answered well to
ture: an extremely close, reciprocal relationship between in- the quid pro quo of space and sculpture was a development
terior and exterior space, and the independence of Expres- and ramification of basic forms in seemingly endless series.
sionist designs from their material realization. The first as- Erich Mendelsohn used to sketch out morphological se-
pect, an interdependence of interior and exterior that dissol- quences with great rapidity (and with stimulating
ves the solid walls of traditional architecture, has since be- gramophone music in the background). Finsterlin's work in-
come a prime criterion of all modern architecture. The early, cludes drawings that almost systematically investigate the
Expressionist version of this integration, however, emp- potentialities of an embryonal shape, frequently crossing the
loyed means different from those of the later, classical mod- borderline into figurative, even sometimes physiognomic in-
ern. Instead of articulating space in terms of clearly defined terpretations. Yet such first, shorthand notes, attempts to
structural elements- point-like sections, precise planes, and record an idea that has not developed into complex figura-
platonic volumes - the Expressionists conceived both spaces tion, have less of the specific tone of the period than other,
and solid bodies as a plastically modelled continuum. In more finished drawings. There is an Expressionism of the
Poelzig's sketches, the earth bulges into configurations that moment that is found not only in the works of the Expres-
sionists.Gradually working up to and pinning down an idea the government saw compelled to administrate hous-
itself
in is something architects have practised
sketch after sketch ing, private investors lost interest in the housing field. A
whenever a notebook, the back of an envelope, or a paper scarcity of raw materials - particularly losses in coal produc-
napkin fell into their hands - an occupational habit and also tion capacity - runaway building prices, and high interest
a bit of prestidigitation that is good for one's status con- rates on capital prevented investment in other areas of
sciousness and part of the architectural game. building as well. As the letters of Bruno Taut and Walter
There was too much diversity of temperament among Ex- Gropius testify, even established architects often faced acute
pressionist architects to allow them to be subsumed under a problems in making a living.
unified aesthetic. If some of them seemed to develop their In these conditions, the sketchbook offered a substitute for
ideas in the process of sketching, letting the pencil glide non-existent commissions, and publication or exhibition
across the paper of its own accord, other artists obviously were the only ways to disseminate ideas in the absence of
had the finished structure in mind before they began to built architecture. Bruno Taut's 1919 and 1920 initiatives as
draw. And they worked out such conceptions to various de- spokesman of the younger generation were all on paper -
grees of finish. Exich Men delsoh n set his ideas down in preg- that exchange of graphic and written ideas he encouraged
nant contours and enlarged his original, tiny sketches "like among his friends and that later came to be known as
poster roughs", as Walter Curt Behrendt rather deprecat- Gläserne Kette; his project for a musical drama, Der Welt-
ingly put it. u Many of Finsterlin's ideas congealed in a cal- baumeister; and his planned film, whose scenes were to be
ligraphic shorthand, while Otto Bartning recorded his designed and drawn by his Gläserne Kette correspondents.
hesitatingly, and with an almost anxious precision. These drawings, done without any hope of practical realiza-
The differing states of these aggregates of form were not tion, informed by Utopian idealism, and, as in Taut's port-
only a function of the artists' personal idiosyncrasies. They folios, predicated on the emergence of a new audience, a
were also determined by opportunities for realization of the populace reconciled with art, were a product of unemployed
designs and thus by the purpose for which the drawings were years. Taut's great hope was that his and his friends' ar-
made. Where it was a matter of dimensioning and structural chitectural visions would strike "aspiring workingmen" with
reconsideration as in many of Michel de Klerk's sketches, or the imaginative force of art. "When you say they have,
where the client had to be provided with a lucid view of his brothers," he wrote, "we will be gratified beyond words. It
future real estate, the spontaneous gesture was out of place. will show us that you are prepared to help us build, and con-
The rendering as a means of communicating an idea to vince us that the early dawn of a new culture is already
others demanded a different approach from the monologue emerging on the horizon." 12
of the rapid sketch. Still different means were required by During the years - or was it only months? — when a spiritual
the educational and moral aims that members of Bruno and cultural revolution still seemed possible, many latent
Taut's circle pursued. Taut himself, not an extraordinarily developments appeared to be coming to a head. Even the
gifted draughtsman, frequently resorted to multiple views in term "Expressionism" harked back to a pre- 19 14 move-
his depictions, combinations of elevation and ground plan, ment. In painting, this stylistic label had found currency in
overall view and detail, a juxtaposition of characteristic the course of 191 1 it was first applied to architecture about
;

parts of the building accompanied by exhaustive commen- a year later by Adolf Behne, who was always quick to spot
tary. This combination of lettering and image was among the new trends. Writing about the work of Bruno Taut in the
typical visual means of the period. Concerned foremost with journal Pan for 1912-13, Behne obviously still felt that
dramatic effects, the Expressionists placed little weight on much justification was required for calling an activity so
purity of genre. Making one's message understood was the strongly dependent on real conditions "Expressionist". Ex-
prime thing, and hence Taut's or Hablik's drawings explain pressionist in the deepest sense, he stated, was whatever
their authors' intentions in words and pictures that recall "emerged solely from inside". A waiver of preconceived no-
popular illustrated sheets or even the comic strips that had tions of order, an intense involvement with every new chal-
just begun to appear at the time. lenge, and forms that were "truly inspired, truly organic"
The closer architects were to an actual commission, the less were for him unfailing signs of the new attitude. 13
subjective their methods became. The archives of the Am- But had not such "truly inspired, truly organic" forms only
sterdam architects, for instance, contain relatively few draw- recently been achieved, in Art Nouveau and Jugendstil, only
ings in which the furies of the subconscious have been al- to be rejected as ostentatious, arbitrary and artsy-craftsy?
lowed free rein. These men adapted their fantasies to realis- The first decade of the century had seen a neo-classical re-
able buildings, while many of their German counterparts vival inGermany, a return to late-eighteenth century art
considered drawing an end in itself. With the Dutch ar- that practised aGoethean serenity in domestic architecture
chitects a sketch was often a descriptive prediction of some and translated the requirements of the machine age into a
imaginative reality; with the Germans, it was that reality it- new brand of industrial classicism. Part of its adherents'
self. strategy was to represent the ideas and products of Art
Nouveau as belonging to the past, a fin de siecle rather than a
II. new beginning, the swan-song of a doomed era. Certain his-
The period immediately following World War I was a time of torians, who simplified their task by assuming that history
great deprivation for everyone in defeated Germany, but for was a linear process, lent support to this view by hindsight.
the architects it meant facing special professional problems. But the impulse of the Nineties was much too strong and the
Practising architecture during the first postwar years modern movement much too full of promise for it to suc-
amounted to managing shortages and dealing with need. cumb so easily. In many regions of Europe - Finland, Scot-
The construction business profited least of all branches of land, and Catalonia especially - Art Nouveau had been
trade from the inflationary tendencies of the market. When more than a passing style; it had contributed to the forma-
movement. That incunabulum of the Expressionist art of
building, Bruno Taut's glass pavilion at the 1914 Cologne
Werkbund Exhibition, contained a showcase full of the
fragile, shimmering creations of Louis Comfort Tiffany - a
younger man's homage to a forerunner who, like him, was
out to create a Gesamtkunstwerk. Taut's critics argued ac-
cordingly, accusing him of regressing into a past that had
long been overcome.
The idea of a total work of art, which Art Nouveau attempt-
ed to realize in terms of an aesthetic ensemble and the Ex-
pressionists in terms of a social unity, included the reshaping
of the natural environment. No less than a perfection of the
entire visible world was what it implied. Neither Paul
Scheerbart's literary fantasies - one of the Expressionist ar-
chitects' sacred texts - nor the graphic Utopias of Hablik and
Bruno Taut stopped short of visions of terrestrial, even cos-
Otto Kohtz. From Gedanken über Architektur (Thoughts on Architecture). mic redesign. Now, it is one of the paradoxes of expansive
Berlin, 1909 thinking that the larger its plans, the smaller the scale of their
visualization tends to be - a sheet of drawing paper is the
tion of a national or regional identity. Achievements of this Utopian's true medium. This tradition of visionary drawing,
scope are not discarded lightly. Catalonian Modernisme, for too, stretched back unbroken into the days of Art Nouveau.
instance, could not have been less concerned with art-histor- The students of Otto Wagner or Hermann Billing (who had
ical boundaries. Long after Art Nouveau had been buried by trained Hans Luckhardt and Max Taut) dreamed of mys-
general agreement, Puig Cadafalch, Josep M. Jujol, and
i terious mergings of nature with the works of man. They en-
above all Antoni Gaudi went on contributing to their re- visioned lonely temples accessible to only a few adepts, the
gion's modernist architecture with its characteristic amal-
gam of traditional brick construction, Gothic and northern Hermann Billing. Architectural Sketch. 1903. From Architektur- Skizzen
Arabian ornament, and international modern influence. (Architectural Sketches). Stuttgart, n. d. (1904)
This "Neo-Catalonian" style was known to the Expres-
sionist generation of architects in Central Europe thanks to a
few, scattered publications. Hermann Finsterlin even cor-
responded with Gaudi, and Walter Gropius visited him dur-
ing a trip to Spain in 1908. 14
Though Art Nouveau prepared the ground for Expres-
sionism in its use of architectural forms to convey signifi-
cance and emotion, the biomorphic tendencies of early Art
Nouveau found only partial acceptance among the younger
generation. Wherever organically inspired shapes occur in
the work, say, of Finsterlin, Mendelsohn, or Rudolf Steiner,
the Expressionist penchant fortfre-httfd and crystalline has
generally led them to choose the skeletons of living things as
models - branches of coral, snail or mussel shells, and bone
structures. But more importantly, the "expressive orna-
ment" of Art Nouveau had already well-nigh explored the
capacity of architectural configurations for conveying "the
whole range of human feeling and states of mind - joy and
pain, waking and dreaming, weakness and power", as Wal-
ter Curt Behrendt has written. 15
These similarities being what they were, it is no wonder that
contacts across the generations came about. The organizers
of the Exhibition for Unknown Architects invited Hermann
Obrist, the visionary but almost completely forgotten sculp-
tor and Art Nouveau ornament designer, to participate in
their 1919 show. Erich Mendelsohn quite frankly admired
both Obrist and Henry van de Velde, who for his part called
Mendelsohn his only true pupil. Wendingen, the organ of the
Amsterdam Expressionists, devoted long articles and even
entire special issues to such pioneers as Jan Toorop, Kolo-
man Moser, Gustav Klimt, and Josef Hoffmann. Michel de
Klerk, the boy genius of the Amsterdam school, which be-
gan earlier than its German counterpart and was thus closer
in time to Art Nouveau, took many of his motifs from the
English and Scottish or Austro-German branches of the
elect who bore Zarathustra's message in their hearts, high pers in the hope of discovering anonymous talents and en-
above precipitous chasms, and set the enigmatic eyes of hu- couraging popular participation in their programmes. Such
man habitations in forbidding mountain peaks. The work of exalted aims were not, however, backed up by practical
Hablik, who was fascinated from the beginning by mountain political involvement, either among the German Expres-
architecture and crystalline forms, provides the clearest evi- sionists or their Dutch counterparts, though Amsterdam
dence of a link across the generations from Art Nouveau to Expressionism would hardly have been conceivable without
Arbeitsrat and the group around Bruno Taut. Hablik's crea- the Social Democratic climate of that city and the housing
tive experience reached back to the turn of the century, programmes of the SDAP. As far as Expressionists were
when he studied at the Vienna School of Arts and Crafts, concerned, all political parties were moribund and the State
and these memories remained a catalyst in his work right was a relic of nationalist prestige thinking.
down through the postwar period. With social idealism and pacifism two types of building pro-
"An idea moved mountains - one thundering word blasted jects took on special importance, the Volkshaus or commu-
stars out of their orbits and, as if with arms of godlike power, nity centre and the religious building in the widest sense.
gripped deep, deep into infinite space - creating, shaping, Community centres had been planned and in a few cases
with intractable eternal force." 16 The words are Hablik's, even erected before the war, particularly in government
but the Utopian architects experienced their individual
all housing developments. In 1911, for example, the German
creative power in such demigod-like terms. Artists, they be- Werdandi Society held a competion for an estate with com-
lieved, were active creators and vessels of inspiration in one, munity centre, stipulating that this building was to occupy
both weak and strong, both servants and masters of art. In the middle of the site and was to include an auditorium, a
this notion of the lone genius called to renew the world, they swimming pool, and various shops. At the height of the war,
were of a mind with Nietzsche. The philosopher was one of in 1917, a Volkshaus Society was founded to put up com-
their prophets; another was Paul Scheerbart, the teller of munity centres that would double as war memorials. Among
tales. From Nietzsche they drew their pathos, their trust in the high-minded Expressionists, projects of this kind took
the sacredness of the visible and tangible world, their belief on a truly cultic aspect, being exalted to crystal domes and
that a Dionysian age was imminent, their horror of middle- palaces designed not only to cater to the inhabitants' mun-
class complacency and state paternalism, and their faith in dane needs but to serve as places of meditation in a worldly
the creative act as a transporting experience. Scheerbart religion. They called their shrines of shining crystal
represented the down-to-earth, witty antipode to Nietzsche, "cathedrals of humanity" where the transformed human be-
predicting that once his architecture of glass and crystal be- ings of the future could purge their souls. "A Meeting Place
came a reality, a new ethic would arise. His eccentric novels of Nations" was the theme of a competition organized in
also contained such practical tips for architects as this: "If 1919 by Shivsculptarch, the Soviet commission for a synthe-
you intend to build in comparatively large dimensions, it is to sis of painting, sculpture and architecture, and its results
be recommended that the natural environment be used such were shown in Moscow the following year. Bruno Taut's
that the final result looks as if you had created the existing temple projects, by contrast, were meant for the individual,
environment along with the rest. It is generally agreed that as places of self-communion and solitary meditation.
stylizing expanses of cliff is of higher value to an architect Nor was the older generation immune to the prevailing
than erecting the usual four-walled buildings", Paul Scheer- mood. During the war years in neutral Holland, Berlage de-
bart assures us already in a novel of 1900. 17 signed a "Pantheon of Humanity", sited on a hill with eight
What distinguished the Utopian Expressionists from their avenues leading up to it. The inner sanctum, watched over
Art Nouveau predecessors was their social commitment. by towers of Love and Courage, Inspiration and Prudence,
Most of the architects among them professed a universal Science and Power, Liberty and Peace, and surrounded by
socialism beyond all party squabbles, a "spiritual communi- courtyards of quiet contemplation, was intended as a
ty" without which, according to Wijdeveld, no general prin- monument to the unity of mankind. Berlage flanked this
ciple of style could emerge. 18 The reform movements of the central hall with galleries of Memory and Reconciliation,
pre-war period and the vanguard artists' groups of the war and spanned it with a dome of International Community.
and postwar years, with their pacifist, anarchist and activist Younger architects scoffed at the rather heavy-handed al-
new meaning to the repertoire of Art Nouveau
politics, lent legory of this pantheon, though really its pathos was only a
form they had inherited. Instead of addressing themselves to more rational variant of their own cult of crystal. This pathos
a select congregation gathered to celebrate an aesthetic cult, continued to inform Berlage's work as late as his 1926 pro-
they were out to win over the entire population. In 1903, ject for a Lenin Mausoleum.
Obrist had said that with due respect for folk art, fine art
all When those who built churches for the established faiths ex-
was a different thing, and that this luxury was a mental and pressed their longing for sacred spaces, they did so in terms
material cultural necessity. On the contrary, Adolf Behne, not much different from those employed by architects who
reflecting on the relation of art to society a decade and a half conceived crystal cathedrals for some unknown religion. A
later, reserved his praise for artists who found the source of pious person, said Otto Bartning, "finds his way to church
all creative power in the people. "There can be no ques- out of a conscious or unconscious need to immerse his ego in
tion", Behne wrote, "that the masses, and only the masses, the great melting pot of the community - in the hope not
still lead an uncorrupted, fruitful, independent life. This only to unite his voice with a thousand other voices in the
stratum alone is conceivable as the vehicle of a coming cul- same words but to lend his outcry from the depths of despair
ture, because it alone is virgin land, unadulterated soil." 19 a thousand tongues and a thousand mouths." 20 Ecclesiasti-
The Expressionist groups waxed euphoric both about the cal architecture seemed to provide the great communal task
people as an audience and also about its artistic products. that many had longed for, bringing the idea of a total work of
Thus the Berlin Arbeitsrat für Kunst advertised in newspa- art closer to realization and, moreover, promising contact

10
with the masses. Thus Adolf Behne could see the church cities to come." 22 Indeed the notion of a "cathedral of
building as "the form assumed by a tremendous emotion socialism", which got the Weimar Bauhaus into great politi-
that unites the multitude". 21 The church designs of both cal trouble, crops up just as often in the writings of the period
Protestant and Catholic architects favoured a unified space as the idea of a revived Bauhütte, a guild of pious and de-
in which private acts of devotion were secondary to services voted artisans who, "longing for community, make one last
that included the entire congregation. Within the Catholic attempt to reach out for heaven". 23 Among art critics and
Church, this idea was championed by the Liturgical Move- historians, those who paved the way for a contemporary re-
ment, while such Protestant architects as Otto Bartning ad- ception of the Gothic style were particularly Wilhelm Wor-
vocated what they termed "unanimous space". In both ringer in Abstraktion und Einfühlung (908) and Karl
1

cases, the exalted emotions and ideals typical of the period Scheffle r in Geist der Gotik (1917).
were bound up with actual projects, which is why visionary Gothic was seen as an embodiment of creative labour in
thinking remained vital for a longer time in this field of ar- which an isolation of architectural elements was just as un-
chitecture than in any other. Bartning, Dominikus Böhm, known as an isolation of artists and craftsmen from one
Rudolf Schwarz and many other ecclesiastical architects another or from their community. Its forms were so moving,
were still translating visions into reality long after the ecsta- Behne wrote, because we are always aware that "besides this
tic reawakening elsewhere had succumbed to disillusion. one gem, many other, equally beautiful and equally inex-
For both kinds of task, religious building and community haustible ones gleam, and that they are all solidly set in the
centre, Gothic was an obvious model. This needs no expla- strong, supple and grand body of space", and his words ap-
nation in the case of church architecture - besides plied not only to forms but to convictions and feelings as
Romanesque, Gothic had been the prime stylistic ideal of well. 24 In
terms of a synthesis of all the arts, the Baroque
the nineteenth century. Gothic forms would still answer to might have provided as good a model as the Gothic. A Ba-
modern needs, architects felt, if only they were divested of roque formal exuberance indeed echoes in many of the de-
archaeological pedantry and infused with high emotion. signs of the day, particularly in those of Hans Poelzig, who as
And the community spirit, integrating force, and religious City Architect in Dresden and planner of the Salzburg Fes-
strength associated with the Gothic style could also be ex- tival buildings worked in two strongholds of the Baroque
tended to those buildings which were to provide a new focus style. But the Expressionist generation as a whole found the
for the temporal community. "The architect's ideal building, Baroque imagination lacking in the "sublime aims of the
the community centre," wrote Paul Wolf, "will set the dom- Gothic will; tranquillity, contemplation, and nearness to
inant accent, a cathedral of the future, in the residential God were foreign to it. Ruled by the same blind and ever-
lasting drive, its flame shot outwards, while the flame of
Sigismund Vladislavovich Dombrovski. Meeting-place of the Peoples. Gothic had burned inwardly." 25
1919 A still brighter light, however, shone beyond the confines of

the Western world - ex Oriente lux. Behind the Gothic

cathedral shimmered an apparition of the Indian temple. "Is
not India much more than Gothic?" asked Adolf Behne.
Authors of the day, though most of them had seen the won-
ders of the East only in photographs, found no superlative
too strong when it came to describing them. "One can hardly
say where art begins in the monuments of India, with such
abundance, such breadth, such ease do they grow out of the
whole, out of the ponds, rivers and mountains, out of the
,i?> sunlight, the land, the countless hands and hearts. They can
be separated from the life of the populace as little as a living
brain can be cut off from the blood circulating in all the
body's arteries." 26 The Asiatic themes of Expressionist
poetry and such movements of philosophical renewal as
theosophy are records of the fascination exerted, in the
words of Theodor Däubler, by the "sensual presence of far
lands across the sea". 27 Stupa and pagoda, opulent domes
and swarming detail left their mark on Western architects'
drawings and on some of the few structures that were actu-
ally built during those years. Dutch architects, at least, could
fall back on the first-hand knowledge of the East provided
by their country's colonies. Their graphic and decorative
work in particular often echoes the fantastic planar pattern-
ing of Indonesian art.

III.

An architecture that shifted the relationship of function to

form strongly in favor of form, subordinating every other
consideration to expressive shapes and emotional appeals,
emerged almost simultaneously in many parts of Europe.
And as in Central Europe, these movements' plans to

11
change the face of the earth, a missionary zeal inherited from As might have been expected from their related language,
turn-of-the-century reform movements, Art Nouveau, and relations were very close between groups of architects and
Secessionism, seldom got off the drawing board. The Italian artists in Holland and Germany. Hendrik Petrus Berlage
Futurists would have liked to transform the world into a figured not only as the doyen of Dutch architecture (at least
dynamic totality, a gigantic urban machine. The Czech until he unmistakably distanced himself from the 1920s van-
Cubists, who were at least able to bring a number of their guard), but of the modern movement itself- that "solid cliff
projects to combined memories of Bohemian
fruition, in a restless sea", as Bruno Taut characterized him. 28 The
Gothic with the latest pictorial formulas imported from journal Wendingen, around which the Dutch Expressionists
Paris, developing an expressive approach opposed to the congregated, maintained close contacts with Germany. The
dogma of Vienna, the headquarters of the Austro-Hun- "worthy inn of Wendingen", as Hermann Finsterlin affec-
garian Empire. During its first project phase, Russian re- tionately named it, 29 devoted special issues to both Finster-
volutionary architecture achieved ecstatic configurations lin and Erich Mendelsohn. Bruno Taut's Architekturpro-
that came very close to those of the Central European Ex- gramm oTf918, his book Die Stadtkrone, and his magazine
pressionists, though they soon gave way to the technological Frühlicht were read and discussed in Holland, if not without
pathos of Soviet modernism. critical reservations. In the eyes of Jan Frederik Staal, Taut's
Many biographical and organizational crosslinks existed be- book offered not too much but too little Utopia: "We in this
tween these movements and Expressionism in the stricter tame country of flat, rectangular fields between straight,
sense. Despite a recognizable common impulse, however, shallow ditches hope, hope for anything that might relieve
their formal repertoires deserve to be defined independent- this monotony and foment a revolt against this parcelled-
ly. The existing stylistic categories are simply not flexible out, flat world (a bit of land for me, a bit of land for you) - we
enough to clearly distinguish the various streams and do jus- hope in our tranquil but oh so confined bay for at least a
tice to their significance. The hypothetical term "Expres- breeze from the storm that heaves the limitless ocean
sionist Architecture", in other words, can be construed more beyond our borders." Hoping this much, Staal concluded:
or less liberally depending on whether one's aim is to cover "A light, a torch, Taut's book is not." 30 In 1923, Taut gave a
as many relevant phenomena as possible or achieve the lecture before Architectura et Amicitia, as did Erich Men-
greatest possible focus. In this book the selection of draw- delsohn.
ings has been limited to German and Dutch artists. Contem- It was Hendrikus Theodorus Wijdeveld, the
particularly
poraries applied the term "Expressionist" to both. chief editor ofWendingen and hence a spokesman for Dutch
Expressionism, who maintained ties with Germany, ties that
Vlatislav Hofman. Study for a Tombstone. 1913 had been prepared not lastly by the architect J. L. Mathieu
Lauweriks, who lived and taught in western Germany for
many years. 31 Sketches by Wijdeveld have survived which
he made of Hans Poelzig's Grosses Schauspielhaus in Berlin.
He himself was working at the time on a project for a popu-
lar theatre, part of an extensive complex in the Vondelpark
in Amsterdam. Adolf Behne, who travelled in Holland in
1920 and intended to put on an exhibition of Dutch ar-
chitects at the Berlin Arbeitsrat für Kunst, quoted Wij-
develd's description of the young Amsterdam artist-ar-
chitects verbatim - those "rogues and incendiaries of the ar-
chitectural profession" who "dance like satyrs around the
hot smoking coals of the masses, singing a song of libera-
tion". 32
German architects kept a close eye on developments in the
Amsterdam School. Otto Bartning, who had also been to
Holland, praised their "structures growing from earth to
rooftop, soaring from one end to the other, radiating from
interior to exterior; space emerging effortlessly from space,
volume generating, impelling, ascending on volume". 33 The
fact that the architecture of De Stijl was emerging as an an-
tipode to this, as Bartning put it, "expression of a spontane-
ous will, a passionate growth" seemed to the German ar-
chitect to promise a future synthesis. Simplicity stood op-
posed to complexity, Cubist clarity to dynamic force, cool-
headed rationality to the spark of intuition; and the two
poles would exert a mutual attraction that could only lead to
a great reconciliation. This respect for the achievements of
the Amsterdam School remained strong even after de-
velopments in Holland, as in Germany, had been diverted
into different channels. As late as 1929, Bruno Taut could
still call it a miracle that collective architecture had emerged

there "in which the individual house was no longer impor-

tant but long rows of houses concentrated into streets, which

12
of works, the Rijksgebouwendienst, came to be headed by
affiliates of the Amsterdam School who obtained commis-
sions for its members, or sometimes even built in its style

themselves. Thus Piet Kramer was entrusted with the design

of no less than 400 bridges in the course of the city's adapta-
tion to increasing automobile traffic. The committees to
beautify Amsterdam, responsible for approving the facade
of every building erected on municipal property, were also
staffed by Wendingen affiliates after the war, and they
proved to be powerful instruments ofthat group's interests.
Any contractor who wanted to be sure of obtaining a com-
mittee's approval was well advised to employ an architect
who worked in the Wendingen style.
The exotic brickwork of the Amsterdam School had its cri-
tics nonetheless. Its expense was a main point of contention
from an early date, and the postwar housing shortage, more
serious than ever, fueled the debate. Yet as long as fine
craftsmanship and artistic inventiveness continued to be the
pride of the workmen who lived there, the style was able to
hold its ground. De Klerk was indeed an expensive architect,
admitted F. M. Wibaut, the Social Democratic deputy for
Amsterdam public housing. But de Klerk did not build too
expensively, he added, because that was something an ex-
traordinary artist could never do.
This epoch in Amsterdam came to an end about the middle
of the 1920s. Expressionist housing projects now began to
be valued aesthetically as what in many cases they had al-
ways been structurally - a masquerade, with imaginative
facades grafted like false fronts onto the run-of-the-mill
Nikolai Ivanovich Iszelenov. Meeting place of the Peoples. 1919 plans of private contractors and building companies. In
1923, when private housing got a stronger support, a profit-
in turn were concentrated into a larger unity, even though conscious clientele came into being who were no longer wil-
many architectshad worked on them". 34 ling to finance the exuberance of High Expressionist ar-
While in Germany the Expressionists' formal daring was
manifested without compromise only in certain, scattered J. L. Mathieu Lauweriks. Design for the title-page of Wendingen, issue of
structures - churches, a handful of apartment blocks, Poel- January 1918
zig's Grosses Schauspielhaus, Erich Mendelsohn's early
work, Rudolf Steiner's fortress of anthroposophy at Dor-
nach near Basel, and in Bernhard Hoetger's completed pro-
jects - the buildings of the Amsterdam School were almost
too numerous to count. It is true that these "graceful ar-
chitectonic sculptures that follow the cadences of developing
space in full swing" (Wijdeveld) 35 were concentrated on
certain quarters of Amsterdam such as Spaarndammer
Buurt and the southern and western parts of the city. But
many were located in other sections as well, and their influ-
ence was felt throughout the country. After beginning with
Willem Kromhout's pioneering work, after the designs pro-
duced by the emerging Amsterdam School during the first
decade of the century, after Michel de Klerk's Hillehuis in
Amsterdam and Piet Kramer's Sailors' Union in Den Hel-
der, both of which were erected in 1911-12, Amsterdam
Expressionism first culminated in the Scheepvaarthuis de-
signed by the architect trio of Johan Melchior van der Mey,
de Klerk, and Kramer (1912-16). The full-blown Expres-
sionist style lasted almost two decades in Holland. Not only
did it begin earlier and unfold more freely in Holland than in
Germany, but it was destined to be longer-lived.
This relative constancy, something the style did not enjoy in
other countries, had organizational reasons. In 1916 the
progressives took over the helm of Architectura et Amicitia,
the Dutch association of architects. Not only the crucial
municipal building boards but the government department

13
chitecture.The death of Michel de Klerk, the great magician
of theAmsterdam group- he died in late 1923 -marked the
end ol an era in many people's eyes. Both Architectura and
Wendingen devoted special memorial issues to him.
In Germany, too, where important commissions had had to
wait until the inflation was over, the vanguard set out to ex-
plore new shores. Expressionist building had never been as
firmly anchored there as in Holland. The pressing need to
economize, experiments in industrialized construction, and
particularly the attempt to create an anonymous architec-
ture for mass society and a technological aesthetic for the
machine age, made a reconciliation between the two ex-
tremes of individual creativity and the general spirit of the
people seem secondary. With their built architecture, the
former Expressionists left to their imitators a repertoire of
easily adaptable elements: pointed arches and triangular
windows, parabolic portals, diamond-shaped or wicker-like
ornament on facades, stepped or triangular gables, battered
pillars and crenellated cornices. Much the same can be said
of their drawing styles. Long after Expressionism's demise,
competition entries and presentations continued to exhibit
its overdrawn pathos and tempestuous rhetoric, though

these were no longer justified by any comparable aesthetic

or social vision.

14
Notes 1921-22, p. 6 - Hcndrikus Theodorus Wijdeveld, "Het Park
Meerwijk te Bergen", in: Wendingen, vol. 1/8, 19 IS, p. 5.
1 Bruno Taut, Die Stadtkrone, Jena, 1919. p. 17. 33 Otto Banning, "Die Baukunst als Deuterin der Zeit",
2 "Deutsche Architekten", in: Die Bauwelt, vol. 10/23, 1919. jn: Otto Bartning, Spann weite, Bramsche 1958, p. 38.

p. 5 ff. 34 Bruno Taut, loc. cit, 1929, p. 4 1.

3 Paul Westheim. "Architektur", in: Das Kunstblatt, vol. 3/4, 35 Hendrikus Theodorus Wijdeveld, loc. cit., 1918, p. 1.
April 1919, p. 98.
4 Paul Westheim, loc. cit.. p. 97 ff. - Walter Müller-Wulckow,
"Vom Werden architektonischer Form", in: Das Kunstblatt,
vol. 3/4, April 1919.
5 Paul Westheim, loc. cit., p. 98.
6 Walter Müller-Wulckow, loc. cit., p. 120.
7 Walter Müller-Wulckow, loc. cit., p. 122.
8 Adolf Behne, in: Ausstellung für unbekannte Architekten,
Berlin 1919, no pagination.
9 Adolf Behne, loc. cit.
10 Hans Poelzig, "Festspielhaus in Salzburg", in: Das Kunst-
blatt, vol. 5/3, March 1921, p. 77.
1 (Walter Curt Behrendt), "Kunstausstellungen",
1 in: Kunst
und Künstler, vol. 18/4, January 1920, p. 184.
12 Bruno Taut, "Idealisten", in: Freiheit, March 28th, 19 19.
13 Adolf Behne, "Bruno Taut", in: Pan, vol. 3/23, 1912-13,
p. 538 ff. have to thank Jürgen Scharfe for referring me to
I

this essay. Therefore the use of the term 'expressionist architec-

ture' can be dated earlier than 1 did in my book Die Architektur
des Expressionismus (Stuttgart 1973, p. 9).
14 Reginald R. Isaacs, Walter Gropius, vol. 1, Berlin, 1983,
p. 65.
15 Walter Curt Behrendt, Der Kampf um den Stil, Stuttgart,
Berlin, 1920, p. 65.
16 Wenzel August Hablik, introduction to: Schaffende Kräfte,
1909.
17 Paul Scheerbart, "Rakkox der Billionär", quoted from:
Paul Scheerbart, Dichterische Hauptwerke, Stuttgart, 1962,
p. 236.
18 Hendrikus Theodorus Wijdeveld, "Wendingen", in: Wen-
dingen, vol. 1/1, January 1918, p. 1.
19 Hermann Obrist, Neue Möglichkeiten in der bildenden
Kunst. Essays, Leipzig, 1903, p. 1 18. - Adolf Behne, Die
Wiederkehr der Kunst, Leipzig, 1919, p. 86 ff.
20 Otto Bartning, Vom neuen Kirchenbau, Berlin 1919, p.
111.
21 Adolf Behne. Die Wiederkehr der Kunst, op. cit., p. 107.
22 Paul Wolf, Städtebau. Das Formproblem der Stadt in der
Vergangenheit und Zukunft, Leipzig 1919, p. 3.
23 Karl Ernst Osthaus, Grundzüge der Stadtentwicklung, Ha-
gen, 1918, p. 37.
24 Adolf Behne, "Wiedergeburt der Baukunst", in Bruno
Taut, loc. cit., 1919, p. 116.
25 Hans Hansen, Das Erlebnis der Architektur, Cologne, 1920,
p. 42.
26 Adolf Behne, Die Wiederkehr der Kunst, loc. cit., p. 13.
27 Theodor Däubler, "Bernhard Hoetger", in: Der Cicerone,
vol. 13/22, 1921, p. 644.
28 Bruno Taut, Die neue Baukunst in Europa und Amerika,
Berlin, 1929, p. 41.
29 Hermann Finsterlin to Erich Mendelsohn, March 22nd,
1924, Kunstbibliothek, Berlin.
30 Jan Frederik Staal, "Die Stadtkrone von Bruno Taut",
in: Wendingen, vol. 2/4, 1919, p. 9 ff.
31 Here and in the following part see: Giovanni Fanelli, Ar-
ch itettura Moderna in Holla nda 1900-1940, Florence, 1968.
- Wim de Wit, De arcluiectuur der Amsterdamse School,
catalogue Stedeldijk Museum, Amsterdam 1977. - Giovanni
Moderne architectuur in Nederland 1900-1940, The
Fanelli,
Hague. 1978. - Wim de wit (ed.), The Amsterdam School.
Dutch Expressionist Architecture, New York, Cambridge
(Mass.), 1983.
32 Adolf Behne. "Holländische Baukunst in der Gegenwart",
in:Wasmuths Monatshefte für die Baukunst, vol. 6/1-2,

15
1 Wenzel August Hablik. Crystal Buildings. 1903.

17
2 Wenzel August Hablik. Crystal Buildings, c. 1903.

18
3 Wenzel August Hablik. The Deeper the Well you Descend, the Brighter Shine the Stars.

From a cycle of etchings completed 1909.

19
* Bv

SA

Alan of
gisonkgl on u-Guiralas-

SkalaÜ- Dauwd's
IfO

4 Wenzel August Hablik. Residence and Studio. 1921.

20
1

5 Wenzel August Hablik. Crystalline Chasm, c. 1920.

21
V f\*
4-A^
kÜ<r^
f/C-w K

6 + 7 Wenzel August Hablik. To/?: Canonical Buildings. Bottom: Explorers' Colony.

Both from a cycle of etchings completed 1925.

22
V, EKt-TESl 3 Hi AF TOD
5 io
J T6 KrtE
^<> c,4.S')r •
l/C.HT'3
.V PAS
A
\t
»t?

^ ss>.
N '0
*****

Ml«

4L v&'^&vi\ \
TAFecKc c£^ 7 rA^QCM- if rill
\ i
^,

f-
v *

r
w**

4- X
M nlj n ill wt. 3

^ rv*»4i e**^ ^<o «i««4«*v Vj^Ae^u*''":

^<<* Hr*w>c* *£ , «a/2 t/4^~

ft***« ^ v * t1 °^ ^iLwWi<M XieAJ-UejeA :

</U~V^ <S«e±x! ^vS^-WiN^^wmV-

WC'" nichts oRu^St 2ft. a. l?

8 Bruno Taut. Monument of the New Law. 1919.

23
Ä

9 Bruno Taut. The Crystal Mountain. 1918.

24
v/na ennqei t «-'SC

Glet.sc he a UMba^uucCit, .'Cd-

Gl- A 5
'
>= B

10 Bruno Taut. Snow Glacier Glass. 1918.

25
•"•
k /y^ '
'V'iN»» * •••'ill K ••/m* %ii *\*i -\>

11 Bruno Taut. Untitled. 1919-20.

26
1

•^«xt"» «Xctrl»£rv_

^ y\^ai^t^etC W 1

hoitterx U6r ae«w ßehrf

V**^« rV *vi* ein« flocke

ten C«.rCi-c)<r C|Cw&r\«)er,ver$iHic<)erv je r\«cch

Art Cbrtr rclUiiö$(rv £ ry«X lithe it. .Pa«A*h ordn4jk«~"
StraKlcvN. iur Mittle Kvn,.Aui ihr»erv teilei-v, ftich |«)(* .Sprecher ab ,»t,eberv -öcuhn ]•"**(• ^eh «^(UvC;u«t
•
M
i*m icrv Hobu|>tiprett>«r m
ö«r Mitte — CJhorLssificit - Oira.rvx-a.ti.sche /^vvUatchfc — ^cKclm.- Äe(eoo»tccr\A 2M»i-
5f»4«t ,wvi<w ^c« KeitAe *!•*« £c«%hect GUdeC - k«t*v 2cc*chac4*r't««x<> kec>v ^thou^^m« 5ti^e^' ^'^Jp^r-et-
C«r
T^ie kwu>v^lc «U Sack« ('a»- *uh cjt abaciotC - .Alle «t'*«> o©rv ihr ^««rcH trankt
dev NachC ^ et.rv-

12 Bruno Taut. In the Great Temple of the Stars. 1919-20.

27
kl
m<\
13 Max Taut. Untitled. 1919.

28
14 Max Taut. Blossom House. 1921

29
/

xViW *

15 Max Taut. House of the People. 1922.

30
ff»*tflfy^&*

16 Jefim Golyscheff. Untitled, c. 1

31
x

17 Hermann Finsterlin. Fortress, c. 1920.

32
X

18 Hermann Finsterlin. House of Worship, Museum. 1915 (?).

33
:

f /

KS

.V ^.

19 + 20 Hermann Finsterlin. Top: Assembly Room. c. 1920. Bottom: Dream in Glass. 1920.

34
21 Hermann Finsterlin. Sketchbook page. c. 1920 and later.

35
22 Carl Krayl. Untitled, c. 1920.

36
25 Wassili Luckhardt. Monument to Labour. 1919.

26 Hans Luckhardt. Fantasy in Form. 1920 or earlier.

39
27 Paul Goesch. City Hall. c. 1920.

40
28 Paul Goesch. Temple, c. 1919.

41
29 Hans Scharoun. Bismarck Tower, c. 1910-11

42
30 Hans Scharoun. Untitled, c. 1919.

43
31 Hans Scharoun. Gate and Door. c. 1919.

44
32 Hans Scharoun. Untitled, c. 1919.

45
33 Hans Scharoun. Theatre, c. 1922.

46
34 Hans Scharoun. Cinema II. c. 1922.

47
35 Hans Scharoun. Principles of Architecture, c. 1919.

48
36 Hans Scharoun. Sky, Waves, Wings, c. 1919.

49
/

37 Hugo Häring. Sketches of Apartment Buildings. 1921.

50
38 Hugo Häring. High-rise Building at Friedrichstrasse Station, Berlin. 1922.

51
39 Ludwig Mies van der Rohe. High-rise Building at Friedrichstrasse Station, Berlin. 1921.

52
40 Ludwig Mies van der Rohe. High-rise Building at Friedrichstrasse Station, Berlin. 1921,

53
TV ,. : r^man

41 Friedrich Hugo Kaldenbach. Large Country Residence. 1914.

54
VW-

42 Johannes Molzahn. Untitled. 1918.

55
> > .

,<»
—** /

15
— w Vv
'
-^.
;

«SOfe»»
\\

te ^

43 Rudolf Steiner (draughtsman unknown, possibly Carl Schmid-Curtius). Study for First Goetheanum. c. 1913.

56
(
-~4> s J W .70
^
.

[ffijpSgRjj
L h TVr^- <

- •

'w- -

/{ sc
ffftfpt

44 Rudolf Steiner. Motif for Second Goetheanum. 1924.

57
45 + 46 Walter Gropius and Adolf Meyer (draughtsman unknown). Kallenbach Residence, Berlin. 1921,

58
47 Walter Gropius (draughtsman unknown, possibly Farkas Molnär). Monument to the March Dead, Weimar. 1920-2 1

59
48 Uriel Birnbaum. Bridge City. 1921-22.

60
49 Uriel Birnbaum. Kaleidoscope City. 1921-22.

61
Tfr%

**%*
v

I i

50 Paul Thiersch. Central Building in a Large City. c. 1920.

4=

.-rar ~*8r»^£

.
---<«^---

^
51 Paul Thiersch. Academy of Philosophy, Erlangen. 1924.

62
-^

V I

'

*^i>

/# #*

52 Paul Thiersch. Central Building in a Large City. c. 1924.

63
53 Erich Mendelsohn. Becker Residence, Chemnitz. 1915.

64
54 Erich Mendelsohn. Becker Residence, Chemnitz. 1915.

65
<-o
M<^:^r}-zL
*;
^^sfer

55 + 56 Erich Mendelsohn. Top: Observatory. 1917. Bottom: Untitled. 1917.

66
57 Erich Mendelsohn. Small Dancing School. 1917.

67
,.•'•

'

58 Erich Mendelsohn. Film Studio, c. 1918. 59 Erich Mendelsohn. Warehouse. 1918.

68
IP '«••

60 Erich Mendelsohn. Tower in a Garden City, Haifa. 1923.

69
61 Erich Mendelsohn. High-rise Building on Kemperplatz, Berlin. 1922.

70
/lv

62 Erich Mendelsohn. Belligerent Credo. 1923.

71
-ffa%

63 Hans Poelzig. Columns, c. 1919.

72
4&

I T
-»ill **•'**

l 1 I jg -v*^

/!«£.,£ .'
„v i* *t<»v« «^

64 Hans Poelzig. Theatre, c. 1920.

73
***>! ÜP

65 Hans Poelzig. Untitled, c. 1920.

74
af

\ 4^iW&*MJ**~
HTtK^vA-

At!

h0f* '/VC

66 Hans Poelzig. Sketchbook page: Order, Un-Ordered Cloud Forms, c. 1920.

75
-

MN
'

MB

J^(

67 Hans Poelzig. Untitled, c. 1920.

76
68 Hans Poelzig. Untitled. Date unknown.

77
69 Hans Poelzig. Sketchbook page. c. 1920 or later.

78
70 Fritz Höger. Design Sketches for the Chile Building, Hamburg, c. 1922.

79
71 Peter Behrens (draughtsman unknown). Main Hall, Hoechst Pigment and Dye Corporation, c. 1920.

80
72 Peter Behrens (draughtsman unknown). Colour sketch for the Main Hall,
Hoechst Pigment and Dye Corporation, c. 1920.

81
^ii IIIlüii
! lit »5r*
In S£:fc 11/ ,Jj
h 'i 1

h U
i 3
•
k^*v w v i
rV^N.^ Ifc »kit

H MIO J ^ M

'to** fir 1 .-
" 'a

1
P^ L Nt gj^
k !'*'5i
*
1
••jSjW |J

9
•* LI 1
SS
;i« «mW«
1

i Hl

73 Erich Kettelhut. Metropolis, Second Version. The New Tower of Babel. 1925.

82
74 Erich Kettelhut. Metropolis, Second Version. Dawn. 1925.

83
.

If I
!

'ffP^ IFF
—

75 Otto Bartning. Schuster Residence, Wylerberg bei Kleve. 1921

84
76 Otto Bartning. Church, Constance. 1923.

85
77 Dominikus Böhm. Church Interior, c. 1925.

86
78 Dominikus Böhm. Soldiers' Memorial Church, Göttingen, c. 1923.

87
79 Rudolf Schwarz. Gloria, c. 1920.

88
«

hi
\ <fc

•
w>.

X "»

<r\ "i

fyp^S

•« •*
n

v -

Hi

m» w im »*
i
1
» »>»» «»<» , ^iwiiiii w «<n
i » i<«nh w —iWOniM i MOTtii W a

80 Rudolf Schwarz. Untitled, c. 1920.

89
81 Hendrik Petrus Berlage. Pantheon of Humanity. 1915.

90
of Humanity.
1915.
D. Roosenburg). Pantheon
Berlage (draughtsman
:

82 Hendrik Petrus

91
83 Hendrik Petrus Berlage (in cooperation with E. E. Strasser and B. Wille). Lenin Mausoleum, Moscow. 1926.

92
'» -N^NN

«I

84 Hendrik Petrus Berlage (in cooperation with E.E. Strasser and B. Wille). Lenin Mausoleum, Moscow. 1926.

93
f

85 + 86 AdolfEibink and J. A. Snellebrand. Small Country House in the Dunes.

Top: North elevation. Bottom: South elevation. 1917.

94
I J •*•»« ,£ L
*i 1 *

• *
*
km

__^_. ' -
w -- t-»»t!w^i

87 Adolf Eibink and J. A. Snellebrand. Church, Elshout. 1916.

95
%

Johannes Christiaan van Epen. Architectural Fantasy, c. 1920.

96
89 Johannes Christiaan van Epen. Skyscraper, c. 1920.

97
'

# K\
n.
\

" :

«1
M
'
ft)
Mi .

FS
tj '
\ i

i .^. ft

•^
«
I
•v-'-tol dH I
r '--
.

-v r;

1 21 1 sfV'

1 jfcii
4
h-
I 9 -

; <.j,
|

•
f; i
f

r
r,
1 4, 1 VI
li

'

90 Michel de Klerk. Architectural Study. 1915.

98
91 Michel de Klerk. Van Leening Bank Building, Amsterdam. 1915.

99
KOfcöUA**-

5^ i

•y»

92 + 93 Michel de Klerk. Apartment Block 2, Spaarndammerplantsoen, Amsterdam.

Top: perspective view. Bottom: exterior ornament, c. 1914-16.

100
.<*:£

94 Michel de Klerk. Apartment Block 2, Spaarndammerplantsoen, Amsterdam. Detail of entrance, c. 1914—16.

101
.-. V

V$*.

i^MB^" _,**»
** **«"«wfiS2SSB

95, 96, 97 Michel de Klerk. Apartment Block 3, Spaarndammerplantsoen, Amsterdam, c. 1917-20.

Above: perspectives. Right: chimney.

102
103
98 Michel de Klerk. Apartment Block 3, Spaarndammerplantsoen, Amsterdam. Chimney, c. 1917-20.

VO« fcjEMKNVFOKfVrH-
i»*

99 Michel de Klerk. Auction Hall for Flower Sales, Aalsmeer. 1923.

104
IKAQZ
:boop'
cNi¥a?pca?
NCCJVK

100 + 101 Michel de Klerk. De Hoop Boat Club, Amsterdam. 1922.

105
I

» »

f*
TTTT

ll [ / ^

*<:!.!>

<^^ t

1 " -X '4W
ML I ,1 - _

I
*

102 + 103 Pieter Lodewijk Kramer. Bridge over the Binnenamstel, Amsterdam. 1921

106
1

f ~f
I

107
104 + 105 Hendrikus Theodorus Wijdeveld. Bridge on the Leidseplein, Amsterdam, c. 1920.

108
106 Hendrikus Theodorus Wijdeveld. Large Popular Theatre, Vondelpark, Amsterdam, c. 1919.

109
107 Willem Kromhout. Heineken's Brewery, Rotterdam. First design. 1925.

110
List of Plates Signed ("Glas") and dated. 34.5 x 12 In the Great Temple of the Stars.
22 cm. The text reads: From Die Auflösung der Städte (Dispers-
Wenzel August Hablik Stars Worlds Sleep Death ing the Cities). Hagen, 1920. Plate 18.
b. 1881 Brüx, Bohemia - d. 1934 It- The great NOTHING the NAMELESS 1919-20. Inscribed: //; the great temple
zehoe. Became a master cabinetmaker (I lass of the stars. The devout receive coloured
in 1895; studied applied art and painting Inscribed tablets onyx, gold intarsias, garments before entering, differing ac-
from 1897 to 1906 at Teplitz Trade from (night-time) within. Plinth while
lit cording to their religious convictions.
School, the Vienna School of Arts and marble. All the res! majolica, mostly After that they arrange themselves in
Crafts, and the Prague Academy of turquoise blue. order. The most luminous colours shine
Arts. Lived in Itzehoe from 1907 on. You steal the Earth from me, Hut not towards the centre. I he speakers divide
Member of Arbeitsrat für Kunst, corres- the Sky! I Karl Liebknecht, Dec. [19]16 themselves from them, seven, then five
pondent of Die Gläserne Kette. Storm, my companion, I You call me! I round the chief speaker in the centre.
I cannot yet -II am still in chains! I Choral dramatic devotion. Performance,
1 Crystal Buildings. 1903. Watercolour I too am a Storm, I A part of you, I in which the mass forms a unity - no
and graphite. Signed and dated. 20 And the day will come again I When spectator and no actor. Art as a thing
x 15.2 cm. Susanne Klingeberg, Hablik I will break the chains, I When I will in itself has disappeared - all men are
Collection, Itzehoe. surge again, I Surge through the worlds, I impregnated with it. Music is distributed
2 Crystal Buildings, c. 1903. Coloured Storm round the Earth, I Storm through from The organ-parts go
the gallery.
pencil. Not signed or dated. 29.8 x the lands, I Storm intoMan, I Human inside the walls and make
the whole
31.4 cm. Susanne Klingeberg, Hablik brain and heart, I Storm wind, like outside and inside resound like a bell.
Collection, Itzehoe. you! I Spring 1919. The colours of the glass increase in inten-
3 The Deeper the Well You Descend, Tablets of the 7 colours. I Wherever sity towards the top. Illumination between
the Brighter Shine the Stars. From the you may seek refuge, I You will never the double walls. The house shines like
cycle Schaffende Kräfte (Creative come to the ulitmate goal. I Praise every a star at night for the arriving aviators.
Forces). 1909. Etching. 18.8 x 18.8 cm. World and also the Stars. I Tear not
4 Residence and Studio. 1921. Coloured pain and fear not death! I All that you Max Taut
pencil, graphite. Inscribed: Residence see here I Is only a cunning play of b. 1884 Königsberg - d. 1967 Berlin.
and Studio, reinforced concrete and lights, I A great Cosmic Magic Lantern! Trained in carpentry and at the Königs-
glass blocks, skeleton method of con- Monument of the new Law: I Written berg School of Building Trades. Member
struction, insulating foamed glass. Signed on tablets of glass — and read against of Arbeitsrat für Kunst, correspondent
and dated. 61.5 x 50 cm. Susanne Klin- the sky, or at night against the beams of Die Gläserne Kette. Head of Ar-
geberg, Hablik Collection, Itzehoe. of light from above: I 1) Luther: And chitecture Department, Berlin College
5 Crystalline Chasm, c. 1920. Graphite. if theworld were full of devils ...2) of Visual Arts, 1945-54.
Not signed or dated. 32.6 x 24.8 cm. Liebknecht: Storm, my companion ...
Susanne Klingeberg, Hablik Collection, 3) Nietzsche: Of the new idol ...4) Hag- 13 Untitled. 1919. Graphite. Signed
Itzehoe. gai 1, 1—17 5) Scheerbart: Wherever and dated. 15.5 x 9.6 cm. Private collec-
6 Canonical Buildings. From the cycle you may seek refuge ...6) Revelation tion, Berlin.
Cyklus Architektur - Übergangsbauten of St. John the Divine, chap. 21, 9—27. 14 Blossom House. 1921. Watercolour,
(Architectural Cycle - Buildings for 7) Scheerbart: Lesabendio: The Sun - india ink and graphite. Signed and
the Interim). Completed 1925. Etching. Our Law! - Glass Crystal Pyramid I dated. 35.5 x 22 cm. Private collection,
Inscribed: Canonical buildings, rein- CHRISTMAS GREETINGS! Berlin.
forced concrete, moulded, calcite, crystal. 23. 12. 1919. 15 House of the People. 1922. Water-
20 x 16 cm, trapezoidal format. Susanne 9 The Crystal Mountain (Alpine Ar- colour, graphiteand charcoal. Signed
Klingeberg, Hablik Collection, Itzehoe. chitektur. Hagen, 1919. Sheet 7). Orig- and dated. 19.5 x 25.5 cm. Private col-
7 Explorers' Colony. From the cycle inal drawing 1918. Watercolour and lection, Berlin.
Cyklus Architektur — Übergangsbauten india ink. Inscribed: The crystal moun-
(Architectural Cycle - Buildings for tain. Above the vegetation the rock is Jefim Golyscheff
the Interim). Completed 1925. Etching. rough-hewn and smoothed into many b. 1897 Kherson, Ukraine - d. 1970
Inscribed: Suspended meted sphere, light crystalline shapes. The snowy summits Paris. Trained as a concert violinist.
as aluminium, hard as steel, transparent in the background are crowned by glass- Studied painting at the Odessa Academy
as glass. Explorers' colony.20 x 16 cm, arch architecture. In the foreground of Art. Lived from 1909 to 1933 in
trapezoidal format. Susanne Klingeberg, pyramids of crystal needles. Over the Berlin, working as a composer, musician,
Hablik Collection, Itzehoe. ravine a trellis-like glass bridge. Not painter and graphic artist. Participated
signed or dated. 49.5 x 50 cm. Private in the "Exhibition for Unknown Ar-
Bruno Taut Collection, Berlin. chitects", Berlin, 1919. Emigrated in
b. 1880 Königsberg - d. 1938 Istanbul. 10 Snow
Glacier Glass (Alpine Ar- 1933; lived in Spain, France, Germany
Studied 1900-01 and 1908-09 at the chitektur.Hagen, 1919. Sheet 10). Orig- and Brazil.
Königsberg School of Building Trades inal drawing 1918. Watercolour and
and at Berlin-Charlottenburg Technical india ink. Inscribed: Snow glacier glass. 16 Untitled, c. 1919. India ink. Signed,
College. Chairman of the architectural Snowfields in the eternal ice and snow — not dated. 13.5 x 15 cm. Private collec-
committee, Arbeitsrat für Kunst, and built up and decorated by superstructures. tion, Berlin.

n
founder ot Die Gläserne Kette. City Surface and blocks of coloured glass.
Architect of Magdeburg from 1921-24. Mountain blossoms. The execution is Hermann Finsterlin
Professor of Housing at Berlin Technical certainly very difficult but not impossible. b. 1887 Munich - d. 1973 Stuttgart.
College, 1930-32. Emigrated to Japan '
Very rarely is the impossible asked Studied natural sciences at Munich Uni-
in 1933, then in 1936 to Turkey. of men' (Goethe). Not signed or dated. versity and, in 1913, painting at Munich
46 x 41.5 cm. Private Collection, Berlin. Art Academy. Member of Arbeitsrat
8 Monument of the New Law. From 1Untitled. From Die Auflösung der
1 für Kunst, correspondent of Die
the correspondence of Die Gläserne Städte (Dispersing the Cities). Hagen, Gläserne Kette. Lived in Stuttgart from
Kette. 23 December 1919. Photostat. 1920. Plate 1. 1919-20.
1 1926 on.

Ill
17 Fortress, c. 1920. Watercolour and second book publication of the Arbeits- den from 1899-1903. Headed former
graphite. Inscribed: castle building, sand- rat für Kunst, Berlin, 1920. Reimann School, Berlin, from 1935-43.
copper pebbles over
stone, patinated Moved to Biberach in 1943.
Not signed (signed on cardstock
the gate. Paul Goesch
mount), not dated. 36.7 x 28 cm. Staats- b. 1885 Schwerin - d. 1940 Hartheim 37 Sketches of Apartment Buildings.
galerie Stuttgart. an der Donau. Attended Berlin-Charlot- 1921. Graphite on tracing paper. Not
18 House of Worship, Museum. tenburg Technical College from 1903. signed or dated. Akademie der Künste,
L915(?). Watercolour and graphite. Government Architect. Member of Berlin.
Not signed (signed on cardstock mount), Arbeitsrat für Kunst, correspondent 38 High-rise Building at Friedrichstrasse
not dated (dated on mount: 1915). of Die Gläserne Kette. Internment in Station, Berlin. 1922. Charcoal. Inscrip-
37.8 x 28 cm. Staatsgalerie Stuttgart. psychiatric hospitals. Executed by the tion illegible. Signed and dated.
19 Assembly Room. c. 1920. Water- National Socialists. Akademie der Künste, Berlin.
colour and graphite. Signed, not dated.
24.1 x 34.8 cm. Ungers Collection, 27 City Hall. c. 1920. Watercolour Ludwig Mies van der Rohe
Cologne. and india ink. Not signed or dated. b. 1886 Aachen - d. 1969 Chicago.
20 Dream in Glass. 1920. Watercolour, 16.2 x 20.8 cm. Ungers Collection, Studied with Bruno Paul, 1905-07.
graphite and india ink. Signed and dated. Cologne. Collaborated with Peter Behrens,
19 x 29 cm. Staatsgalerie Stuttgart. 28 Temple, 1919. Watercolour and
c. 1908-11. 1930-33 Director of the
21 Sketchbook page. c. 1920 and later. india ink. Not signed or dated. Bauhaus, Dessau and Berlin. Emigrated
Graphite, red pencil and ballpoint pen 20.6 x 33 cm. Ungers Collection, to the U.S. in 1937. 1938-58 Chairman,
on tracing paper. Signed, not dated. Cologne. Department of Architecture, Illinois
Siegfried Cremer Collection, Landes- Institute of Technology, Chicago.
museum für Kunst und Kulturgeschichte, Hans Scharoun
Münster. b. 1893 Bremen - d. 1972 Berlin. At- 39 High-rise Building at Friedrichstrasse
tended Berlin-Charlottenburg Technical Station, Berlin. 1921. Charcoal and
Carl Krayl College, 1912-14. Member of Arbeitsrat graphite on tracing paper; motif cut
b. 1890 Weinsberg, Württemberg - für Kunst, correspondent of Die out and mounted on paper. Not signed
d. 1947 Werder, Havel. Attended the Gläserne Kette. Lived from 1919-25 or dated. 55.2 x 87.6 cm. Museum of
Stuttgart School of Applied Art and in Insterburg, East Prussia. 1925-32 Modern Art, New York.
Stuttgart Technical College, 1910-12. Professor at Breslau Academy of Fine 40 High-rise Building at Friedrichstrasse
Member of Arbeitsrat für Kunst and and Applied Art. 1945-46 City Ar- Station, Berlin. 1921. Charcoal and
correspondent of Die Gläserne Kette. chitect of Greater Berlin. 1946-58 Pro- pencil. Not signed or dated.
Lived in Magdeburg from 1921-38. fessor at Berlin Technical University. 173.5 x 122 cm. Museum of Modern
Art, New York.
22 Untitled, c. 1920. Graphite. Not 29 Bismarck Tower, c. 1910-1 1.
signed or dated. 32.8 (16.4 folded) x 21 Graphite on cardstock. Not signed or Friedrich Hugo Kaldenbach
cm. Ungers Collection, Cologne. dated. 23.7 x 31 cm. Akademie der b. 1887 Aachen-Burtscheid - d. 1918
23 Untitled, c. 1920. Graphite. Signed Künste, Berlin. Berlin. Studied at Düsseldorf School
in another hand, not dated. 25.7 x 31.8 30 Untitled, c. 1919. Watercolour and of Applied Art. 1911-14 Head of Arts
cm. Ungers Collection, Cologne. graphite.Not signed or dated. 47.6 x 36 and Crafts Seminar, Hagen. Collabo-
cm. Akademie der Künste, Berlin. rated with Walter Gropius and Adolf
Wassili Luckhardt 31 Gate and Door. c. 1919. Water- Meyer. Represented posthumously at
b. 1889 Berlin - d. 1972 Berlin. At- colour and graphite. Not signed or Exhibition for Unknown Architects,
tended Berlin and Dresden Technical dated. 49.8 x 35.4 cm. Akademie der Berlin, 1919.
Colleges. Member of Arbeitsrat für Künste, Berlin.
Kunst, correspondent of Die Gläserne 32 Untitled, c. 1919. Watercolour and 41 Large Country Residence. 1914.
Kette. Entered partnership with his graphite. Not signed or dated. 49.8 x Graphite. Signed and dated. 37.4 x 55.3
brother Hans in 1921, and collaborated 35.4 cm. Akademie der Künste, Berlin. cm. Karl Ernst Osthaus Museum,
from 1924-37 with Alfons Anker. 33 Theatre, c. 1922. Watercolour and Hagen.
graphite. Not signed or dated.
24 Crystal on Sphere, c. 1920. Gouache. 31 x 22.9 cm. Akademie der Künste, Johannes Molzahn
Not signed or dated. 47 x 97 cm Berlin. b. 1892 Duisburg - d. 1965 Munich.
Akademie der Künste, Berlin. 34 Cinema II. c. 1922. Watercolour Attended the Grand Duchy of Weimar
25 Monument to Labour. "An die and graphite. Not signed or dated. Drawing School and took a course in
Freude" (To Joy). 1919. Gouache on 32.3 x 24.6 cm. Akademie der Künste, photography. Participated in the Exhibi-
cardstock. Not signed or dated. 74 x 130 Berlin. tion for Unknown Architects, Berlin,
cm. Akademie der Künste, Berlin. 35 Principles of Architecture, c. 1919. 1919. 1928-32 Professor, State
Watercolour and graphite. Inscription Academy, Breslau. Emigrated in 1938
Hans Luckhardt illegible. Not signed or dated. to the U.S. 1938-52 professorships
b. 1890 Berlin - d. 1954 Bad Wiessee, 50.5 x 35.4 cm. Akademie der Künste, and lectureship in Seattle, Chicago,
Upper Bavaria. Studied at Karlsruhe Berlin. and New York. Returned to Germany
Technical College. Member of Arbeitsrat 36 Sky, Waves, Wings, c. 1919. Water- in 1959.
für Kunst, correspondent of Die colour and graphite. Inscription illegible.
Gläserne Kette. Entered partnership Not signed or dated. 35.4 x 25. cm. 1 42 Untitled. 1918. Charcoal and
with his brother Wassili in 1921, and Akademie der Künste, Berlin. graphite on tracing paper. Inscribed:
collaborated from 1924-37 with Alfons Entry: spiral suction form I Interior:
Anker. Hugo Häring Cascading coloured beams of light -
b. 1882 Biberach - d. 1958 Göppingen. space opening up more and more -
26 Fantasy Form. 1920 or earlier.
in Attended Technical Colleges in Stutt- ending in vault of great dome I Mural
From Ruf zum Bauen (A Call to Build), gart, Berlin-Charlottenburg, and Dres- paintings: Cosmic composition I Dis-

12
1

persed light filters: Tower-vault-dome I month in 1913. Seriously wounded 58 film Studio, c. 1918. From Wen-

Coloured glass windows. Signed, not in 1917. Wrote poetry, stories, short dingen, vol. October 1920.
3,

dated. 62.7 x 47 cm. Molzahn Bequest, plays and essays; painted, drew and 59 Warehouse. 1918. From Wendingen,
Munich. Emigrated in 1938
illustrated books. vol. 3, October 1920.
from Vienna to the Netherlands. M) Tower in a Garden City, Haifa.
Rudolf Steiner 1923. From Erich Mendelsohn,
b. 1861 Kraljewic, Jugoslavia - d. 1925 48 Bridge City. From Der Kaiser und Das Gesamtschaffen des Architekten.
Dornach bei Basel. Taught from sein Architekt. Leipzig and Vienna, Skizzen, Entwürfe. Hauten. Berlin.
1898-1900 at Workingmens' College, 1924. Original drawing 1921-22. Col- 1930.
Berlin. Became Head of the German oured ink. Signed, not dated. 61 High-rise Building on Kemperplatz,
Section, Theosophical Society, in 1902. 49 Kaleidoscope City. From Der Kaiser Berlin. 1922. Graphite and coloured
Founded Anthroposophical Society und sein Architekt. Leipzig and Vienna, peneil. Not signed or dated.
in 1913. 1924. Original drawing 1921-22. Col- 27.6 x 24.8 cm. Kunstbibliothek Berlin.
oured ink. Signed, not dated. Staatliche Museen Preussischer Kultur-
43 Draughtsman unknown (Carl besitz.
Schmid-Curtius?). Study for First Paul Thiersch 62 Belligerent Credo. 1923. Graphite
Goetheanum, view from northwest. b. 1879 Munich - d. 1928 Hanover. on tracing paper. Not signed or dated.
c. 1913. Photocopy (original graphite). Studied from 1897-1905 at Technikum 21.6 x 20.9 cm. Kunstbibliothek Berlin,
Not signed or dated. 43 x 67.5 cm. Winterthur, in the Department of Arts Staatliche Museen Preussischer Kultur-
Goetheanum, Freie Hochschule für and Crafts at Basel Trade School, and besitz.
Geisteswissenschaft, Dornach bei at Munich Technical College. Col-
Basel. laborator of Peter Behrens and Bruno Hans Poelzig
44 Motif for Second Goetheanum. Paul. 1915-28 Director, Halle School b. 1869 Berlin - d. 1936 Berlin. At-
1924. Coloured chalk on blackboard. of Applied Art. 1928 Professor, tended Berlin-Charlottenburg Technical
Not signed, dated in another hand. Hanover Technical College. College from 1889-94. 1900 Lecturer
and 1903-16 Director, College of Fine
Walter Gropius 50 Central Building in a Large City. and Applied Art (Academy), Breslau.
b. 1883 Berlin - d. 1969 Boston. c. 1920. Graphite. Not signed or dated. 1916-20 City Architect, Dresden.
Studied from 903-07 at Technical
1 16 x 21.3 cm. Thiersch Archive, Über- Member of Arbeitsrat für Kunst.
Colleges, Munich and Berlin-Charlotten- lingen. 1924-35 Professor, Berlin Technical
burg. Collaborated with Peter Behrens, 5 Academy of Philosophy, Erlangen. College.
1907-10. Named Chairman, Arbeitsrat 1924. Charcoal. Not signed or dated.
für Kunst, in 1919. 1919-28 Director 16.7 x 35 cm. Thiersch Archive, Über- 63 Columns (executed in connection
of the Bauhaus, Weimar and Dessau. lingen. with the Grosses Schauspielhaus, Berlin).
Emigrated to England in 1934, and 52 Central Building in a Large City. c. 1919. Coloured Chalk. Not signed

in 1937 to the U.S. To 1952 Head, c. 1924. Graphite. Not signed or dated. or dated. 25.2 x 40.8 cm. Marlene Poel-
Department of Architecture, Harvard 25 x 20 cm. Thiersch Archive, Überlin- zig Collection, Plans Collection, Univer-
University, Cambridge, Mass. gen. sity Library, Technische Universität
Berlin.
Adolf Meyer Erich Mendelsohn 64 Theatre (executed in connection
b. 1881 Mechernich, Eifel - d. 1929 b. 1887 Allenstein, East Prussia - with plans for a Festival Hall, Salzburg),
near Baltrum, North Sea. Attended d. 1953 San Francisco. Studied from c. 1920. Graphite. Not signed or dated.

the Düsseldorf School of Applied Art 1908-12 at Berlin-Charlottenburg Tech- 19.3 x 27.2 cm. Marlene Poelzig Collec-
from 1904-07. Collaborated with Peter nical College. Member of Arbeitsrat tion, Plans Collection, University
Behrens from 1907-08. Partnership für Kunst. Emigrated to England in Library, Technische Universität
with Walter Gropius from 191 1-25. 1933 and to the U.S. in 1941. Berlin.
Taught from 1919-25 at the Weimar 65 Untitled (perhaps executed in con-
Bauhaus, then joined Frankfurt City 53 Becker Residence, Chemnitz. 1915. nection with plans for a Festival Hall,
Building Administration. Watercolour. Not signed or dated. Salzburg), c. 1920. Chalk or charcoal
29.8 x 27.3 cm. Kunstbibliothek Berlin, on tracing paper. Not signed or dated.
45 Draughtsman unknown. Kallenbach Staatliche Museen Preussischer Kultur- 19.6 x 27 cm. Marlene Poelzig Collec-
Residence, Berlin. 1921. Charcoal. besitz. tion, Hamburg.
Not signed or dated. Busch-Reisinger 54 Becker Residence, Chemnitz. '915. 66 Order; Random Cloud Shapes
Museum, Cambridge, Mass. Watercolour on trac'ng paper. Not (sketchbook page), c. 1920. Charcoal.
46 Draughtsman unknown. Kallenbach signed or dated. 29.1 x 27.4 cm. Kunst- Inscribed: Order I Un-ordered cloud
Residence, Berlin. 1921. Charcoal. bibliothek Berlin, Staatliche Museen form I (?), see no longer little things I
Not signed or dated. Busch-Reisinger Preussischer Kulturbesitz. Correct the forms of the winds I Greatest
Museum, Cambridge, Mass. 55 Observatory. 1917. Graphite. Signed cosmic feeling, I Affinity with Chinese
Walter Gropius and dated. 12.1 x 12.1 cm Kunstbiblio- world map, Cosmic feeling in the
For biographical data, see entries 45 thek Berlin, Staatliche Museen Rococo. Not signed or dated. 32.8 x 25.6
and 46. Preussischer Kulturbesitz. cm. Marlene Poelzig Collection, Ham-
47 Draughtsman unknown (Farkas 56 Untitled. 1917. India ink. Signed, burg.
Molnar?). Monument to the March dated. 9.5 x 9.5 cm. Kunstbibliothek 67 Untitled, c. 1920. Charcoal. Not
Dead, Weimar. 1920-21. Lithograph. Berlin, Staatliche Museen Preussischer signed or dated. 25.2 x 40.8 cm. Marlene
Not signed or dated. 13.7 x 22 cm (sheet Kulturbesitz. Poelzig Collection, Plans Collection,
29.9 x 46.6 cm). Bauhaus-Archiv, Berlin. 57 Small Dancing School. 1917. University Library, Technische Univer-
Graphite. Not signed or dated. sität Berlin.
Uriel Birnbaum 14 x 12.6 cm. Kunstbibliothek Berlin, 68 Untitled. Chalk or charcoal. Not
b. 1894 Vienna - d. 1956 Amersfoort. Staatliche Museen Preussischer Kultur- signed or dated. 25.4 x 32.8 cm. Marlene
Attended a Berlin art school for one besitz. Poelzig Collection, Plans Collection,

113
University library, Technische Univer- Architecture, Weimar. 1950-59 83 (In cooperation with E. E. Strasser
sität Berlin. President, Association of German and B. Wille). Lenin Mausoleum, Mos-
69 Untitled (sketchbook page), c. 1920 Architects. cow. 1926. Graphite on tracing paper.
or later. Graphite. Not signed or dated. Not signed or dated. 92 x 77 cm. Neder-
32.8 \ 25.6 cm. Marlene Poelzig Collec- 75 Schuster Residence, Wylerberg bei lands Documentatiecentrum voor de
tion. Hamburg. Kleve. 1921. Graphite on tracing paper. Bouwkunst, Amsterdam.
Signed and dated. 54 x 72 cm. 84 (In cooperation with E. E. Strasser
Fritz Höger Otto Bartning Bequest, Technische and B. Wille). Lenin Mausoleum, Mos-
b. 1877 Bekenreihe, Holstein - d. 1949 Hochschule Darmstadt. cow. 1926. Graphite on tracing paper.
Bad Segeberg. Educated at the School 76 Church, Constance. 1923. Charcoal Not signed or dated. 92 x 77 cm. Neder-
for Building Trades, Hamburg, 1897-99. on tracing paper. Not signed or dated. lands Documentatiecentrum voor de
Became Professor for a short time in 62 x 86 cm. Otto Bartning Bequest, Bouwkunst, Amsterdam.
1934 at the Northern College of Art, Technische Hochschule Darmstadt.
Bremen. Adolf Eibink
Dominikus Böhm 1893- 1975
70 Design Sketches for the Chile Build- b. 1880 Jettingen, Bavaria - d. 1955
ing, Hamburg, c. 1922. Graphite and Cologne. Studied at Augsburg School J.A. Snellebrand
pen and ink on tracing paper. Not signed of Architecture and Stuttgart Technical 1891 - 1963
or dated. 29.6 x 21 cm, sheet irregularly College. 1908-26 Instructor and Profes-
trimmed and damaged by fire. Kunst- sor,Offenbach School of Applied Art; 85 Small Country House in the Dunes.
bibliothek Berlin, Staatliche Museen 1926-34 and 1946-53, Cologne Schools North elevation. 1917. Coloured pencil.
Preussischer Kulturbesitz. of Applied Arts. Not signed or dated. 16.5 x 37 cm.
Nederlands Documentatiecentrum voor
Peter Behrens 77 Church Interior (executed in connec- de Bouwkunst, Amsterdam.
b. 1868 Hamburg - d. 1940 Berlin. tion with the Christkönigskirche, 86 Small Country House in the Dunes.
Studied painting from 1886-89 at Mainz-Bischofsheim), c. 1925. Charcoal. South elevation. 1917. Coloured pencil.
Karlsruhe and Düsseldorf Academies. Signed, not dated. 14.5 x 14 cm. Profes- Not signed or dated. 16.5 x 37 cm.
Named member of the Darmstadt Ar- sor Gottfried Böhm, Cologne. Nederlands Documentatiecentrum voor
tists' Colony in 1900. 1903-07 Director, 78 Soldiers' Memorial Church, Göttin- de Bouwkunst, Amsterdam.
Düsseldorf College of Applied Art. gen, c. 1923. Charcoal on yellow paper. 87 Church, Elshout. Motto of the com-
Became artistic consultant to the AEG Signed, not dated. 76 x 56 cm. Professor petition entry "Leo, het brandend hart
Company, Berlin, in 1907. 1922-36 Gottfried Böhm, Cologne. der wereld". 1916. Charcoal on tracing
Director, Advanced School of Architec- paper. Not signed or dated. 28 x 19.5
ture, Vienna Academy. Returned to Rudolf Schwarz cm. Nederlands Documentatiecentrum
Berlin thereafter. b. 1897 Strassburg - d. 1961 Cologne. voor de Bouwkunst, Amsterdam.
Studied Berlin Technical College
at
71 Draughtsman unknown. Main Hall, and the Prussian Academy of Arts, Johannes Christiaan van Epen
Hoechst Pigment and Dye Corporation. Berlin. 1927-34 Director, Aachen b. 1880 Amsterdam - d. 1960. Trained
c. 1920. Charcoal. Not signed or dated. School of Applied Art. 1946-52 Head with the Amsterdam architect A.C.
66 x 37 cm. Farbwerke Hoechst AG of Town Planning, City of Cologne. Boerma, followed by three years of
Archive. 1953-61 Professor, Düsseldorf study in Paris.
72 Draughtsman unknown. Colour Art Academy.
sketch for the Main Hall, Hoechst Pig- 88 Architectural Fantasy, c. 1920. Char-
ment and Dye Corporation, c. 1920. 79 Gloria, 1920. Watercolour. Not
c. coal and wash on tracing paper. Not
From P. J. Cremers, Peter Behrens. signed or dated. 32.5 x 21.2 cm. Schwarz signed or dated. 41 x 22 cm. Nederlands
Essen, 1928. Archive, Cologne. Documentatiecentrum voor de Bouw-
80 Untitled, c. 1920. Graphite on trac- kunst, Amsterdam.
Erich Kettelhut ing paper. Not signed or dated. 26 x 28 89 Skyscraper, c. 1920. Charcoal on
b. 1893 - d. 1979 Hamburg. Worked cm, sheet irregularly trimmed. Schwarz tracing paper. Signed (in another hand?),
as a scene painter at the Berlin Munici- Archive, Cologne. not dated. Inscription illegible. 40 x 28
pal Opera, then began designing film cm, sheet trimmed irregularly. Neder-
sets in 1919. Collaborated with Otto Hendrik Petrus Berlage lands Documentatiecentrum voor de
Hunte and Karl Vollbrecht on the sets b. 1856 Amsterdam - d. 1934 The Bouwkunst, Amsterdam.
for Fritz Lang's film Metropolis. Hague. Studied from 1875-78 at Zurich
Technical College. Signed a five-year Michel de Klerk
73 Metropolis, Second Version. The contract in 1913 with the architectural b. 1884 Amsterdam - d. 1923 Amster-
New Tower of Babel. 1925. India ink office of Wm. H. Müller & Co. Became dam. Worked in the office of Eduard
and gouache. 45.5 x 55 cm. Stiftung Professor at Delft Technical College Cuypers from 1898-1910. Collaborated
Deutsche Kinemathek, Berlin. in 1924. from 1911-16 with Johan Melchior
74 Metropolis, Second Version. Dawn. van der Mey and Piet Kramer on the
1925. India ink and gouache. 45.5 x 55 81 Pantheon of Humanity. 1915. Char- Scheepvaarthuis, Amsterdam.
cm. Stiftung Deutsche Kinemathek, coal and graphite. Not signed or dated.
Berlin. 33 x 20 cm. Nederlands Documen- 90 Architectural Study. Motto of the
tatiecentrum voor de Bouwkunst, Am- competition entry "Herfst". 1915.
Otto Bartning sterdam. Graphite, coloured pencil and chalk.
b. 1883 Karlsruhe - d. 1959 Darmstadt. 82 Draughtsman: D. Roosenburg. Not signed or dated. 47.6 x 28. cm.
1

Studied from 1904-08 at Berlin-Charlot- Pantheon of Humanity. 1915. Graphite. Nederlands Documentatiecentrum voor
tenburg and Karlsruhe Technical Col- Signed, not dated. 41 x 26 cm. Neder- de Bouwkunst, Amsterdam.
leges. Member of Arbeitsrat für Kunst. lands Documentatiecentrum voor de 91 Van Leening Bank Building, Am-
1926-30 Director, State College of Bouwkunst, Amsterdam. sterdam. 1915. Graphite and coloured

114
pencil on tracing paper. Not signed, Scheepvaarthuis, Amsterdam. Designed
dated. 47.5 x 35 cm. Nederlands a great number of bridges for the City
Documentatiecentrum voor de Bouw- of Amsterdam between 1917 and 1952.
kunst,Amsterdam.
92 Apartment Block 2, Spaarndammer- 102 Bridge over the Binnenamstel,
plantsoen, Amsterdam (executed in Amsterdam. 1921. Graphite and col-
a different form), c. 1914. Graphite oured pencil on tracing paper. Not
and coloured pencil on tracing paper. signed or dated. 29.5 x 99 cm. Neder-
Not signed or dated. 16.2 x 34.8 cm. lands Documentatiecentrum voor de
Nederlands Documentatiecentrum voor Bouwkunst. Amsterdam.
de Bouwkunst, Amsterdam. 103 Bridge over the Binnenamstel.
93 Apartment Block 2, Spaarndammer- Amsterdam. 1921. Graphite and col-
plantsoen, Amsterdam. Exterior orna- oured pencil. Not signed or dated.
ment, c. 1914-16. Graphite and red 32.6 x 94 cm. Nederlands Documen-
pencil tracing paper. Not signed
on tatiecentrum voor de Bouwkunst, Am-
or dated. 28 x 39.4 cm. Nederlands sterdam.
Documentatiecentrum voor de Bouw-
kunst, Amsterdam. Hendrikus Theodorus Wijdeveld
94 Apartment Block 2, Spaarndammer- b. 1885 The Hague. Collaborated with
plantsoen, Amsterdam. Detail of entrance, Petrus Josephus Hubertus Cuypers from
c. 1914—16. Graphite. Not signed or 1899-1905. 1918-25 Chief Editor ot
dated. Nederlands Documentatiecentrum the journal Wendingen.
voor de Bouwkunst, Amsterdam.
95 Apartment Block 3, Spaarndammer- 104 Bridge on the Leidseplein, Amster-
plantsoen, Amsterdam. Hembrugstraat dam, c. 1920. Graphite on tracing paper.
elevation, c. 1917-20. Graphite and Not signed or dated. 22 x 43 cm. Neder-
red pencil on tracing paper. Not signed lands Documentaciecentrum voor de
or dated. 15 x 37.5 cm (detail), Bouwkunst, Amsterdam.
17.5 x 68.6 cm (entire sheet). Neder- 105 Bridge on the Leidseplein, Amster-
lands Documentatiecentrum voor de dam, c. 1920. Graphite on tracing paper.
Bouwkunst, Amsterdam. Not signed or dated. 22 x 42.5 cm.
96 Apartment Block 3, Spaarndammer- Nederlands Documentatiecentrum voor
plantsoen, Amsterdam, c. 1917-20. de Bouwkunst, Amsterdam.
Graphite on tracing paper. Not signed 106 Large Popular Theatre, Vondel-
or dated. Nederlands Documentatiecen- park, Amsterdam, c. 1919. Charcoal.
trum voor de Bouwkunst, Amsterdam. Not signed or dated. 49 x 66 cm. Neder-
97 Apartment Block 3, Spaarndammer- lands Documentatiecentrum voor de
plantsoen, Amsterdam. Chimney, c. Bouwkunst, Amsterdam.
1917-20. Graphite. Not signed or dated.
22.4 x 30.6 cm. Nederlands Documen- Willem Kromhout
tatiecentrum voor de Bouwkunst, b. 1864 Amsterdam - d. 1940. Studied
Amsterdam. from 1878-81 at the Ambachtschool
98 Apartment Building, Spaarndam- (Trade School), The Hague, followed
merplantsoen, Amsterdam. Chimney, by evening courses at The Hague Art
c. 1918-20. India ink and graphite. Academy. Taught from 1897-99 at
Not signed or dated. Nederlands the Quellinus School, Amsterdam, from
Documentatiecentrum voor de Bouw- 1900-10 at the Rijksnormaalschool
kunst, Amsterdam. voor Tekenonderwijzers, and from
99 Auction Hall for Flower Sales, 1910-15 at the Academie voor Kunst
Aalsmeer. 1923. Graphite and coloured en Wetenschappen, Rotterdam.
pencil. Not signed or dated. 20.5 x 46
cm. Nederlands Documentatiecentrum 107 Heineken's Brewery, Rotterdam.
voor de Bouwkunst, Amsterdam. First design. 1925. Photostat worked
100 De Hoop Boat Club, Amsterdam. over with charcoal. Signed and dated.
1922. India ink. Not signed, dated. 50 x 75 cm. Nederlands Documen-
13.5 x 37.2 cm. Nederlands Documen- tatiecentrum voor de Bouwkunst, Am-
tatiecentrum voor de Bouwkunst, Am- sterdam.
sterdam.
101 De Hoop Boat Club, Amsterdam.
1922. India ink. Signed and dated.
24.4 x 57.4 cm. Nederlands Documen-
tatiecentrum voor de Bouwkunst, Am-
sterdam.

Kramer
Pieter Lodewijk
b. Amsterdam - d. 1961 Amster-
1881
dam. Worked from 1903-13 in the
office of Eduard Cuypers. Collaborated
with Johan Melchior van der Mey and
Michel de Klerk from 191 1-16 on the

115
1 1 1 1 1

Index of names Kramer, Piet (Pieter Lodwijk) 6, 1 3, 1 06, Wibaut, F. M. 13

107, 114, 115 Wijdeveld, HendrikusTheodorus 10, 12,
Amsterdam, School of 12, 13, 15 Krayl, Carl 36, 37, 1 12 13, 15, 108, 109, 115
Anker, Alfons 12 1 Kromhout, Willem 13, HO, 115 Wille, B. 92, 1 14
Arbeitsrat für Kunst 6, 7, 10, 12, 111, Wit, Wim de 15
1 12, 113, 1 14 Lang, Fritz 14 1 Wolf, Paul 11, 15
Architectura et Amicitia 6, 12, 13 Lauweriks, J. L. Mathieu 12, 13 Working Council for Art see Arbeitsrat für
Liebknecht, Karl 1 1 1 Kunst
Banning, Otto 8, 10, 11, 12, 15, 84, 85, Lindahl, Göran 5 Worringer, Wilhelm 1

114 Luckhardt, Hans 9, 39, 1 12

Bauhaus 1 Luckhardt, Wassili 38, 39, 1 12
Behne, Adolf 6, 8, 10, 11, 12, 15 Luther, Martin 1 1 1

Behrendt, Walter Curt 8, 9, 15

Behrens, Peter 80, 8 1, 112, 113, 114 Mendelsohn, Erich 6, 7, 8, 9, 12, 13, 15,
Berlage, Hendrik Petrus 10, 12, 90, 91, 64, 65, 66, 67, 68, 69, 70, 71, 113
92, 93, 1 14 Mey, Johan Melchior van der 6, 13, 1 14,
Billing, Hermann 9 115
Birnbaum, Uriel 60, 61, 1 13 Meyer, Adolf 58, 112, 113
Boerma, A. C. 114 Michelangelo Buonarroti 6
Böhm, Dominikus 1 1, 86, 87, 1 14 Mies van der Rohe, Ludwig 52, 53, 1 12
Borsi, Franco 5 Molnar, Farkas 59, 113
Molzahn, Johannes 55, 112, 113
Cassirer, Paul 6 Moser, Koloman 9
Conrads, Ulrich 5 Müller- Wulckow, Walter 6, 15
Cremers, Paul Joseph 114
Cuypers, Eduard 114, 115 Nietzsche, Friedrich 10, 111
Cuypers, Petrus Josephus Hubertus 1 15 Novembergruppe 6

Däubler, Theodor 11, 15 Obrist, Hermann 9, 10, 15

Deutscher Volkshausbund 1 Osthaus, Karl Ernst 15
Dombrovski, Sigismund
Vladislavovich 1 Paul, Bruno 112, 113
Pechstein, Max 7
Eibink, Adolf 94, 95, 1 14 Poelzig, Hans 6, 7, 11. 12, 13, 15,72,73,
Epen, Johannes Christiaan van 96, 97, 74, 75, 76, 77, 78, 113
114 Puig i Cadafalch, Josep 9

Finsterlin, Hermann 7, 8, 9, 12, 15, 32, Rembrandt Harmensz van Rijn 6

33, 34, 35, 111 Roosenburg, D. 91, 114

Gaudi, Antoni 9 Scharfe, Jürgen 15

Gläserne Kette 8, 111, 112 Scharoun, Hans 7, 42, 43, 44, 45, 46, 47,
Goesch, Paul 40, 41, 112 48, 49, 112
Goethe, Johann Wolfgang von 1 1 Scheerbart, Paul 9, 10, 15, 111
Golyscheff, Jefim 7, 31, 111 Scheffler, Karl 1 1

Gropius, Walter 8,9, 15,58,59, 112, 113 Schmidt-Curtius, Carl 56,113

Photo Credits
Schwarz, Rudolf 7„11, 88, 89, 14 1

Hablik, Wenzel August 7,8,9, 10, 15, 17, Sharp, Dennis 5

18, 19, 20, 21, 22, 111 Shivsculptarch 10
Akademie der Künste, Berlin 24,
Hansen, Hans 15 Snellebrandt, J. A. 94, 95, 114
26-30, 38, 39, 42-51
Häring, Hugo 50, 51, 112 Sperlich, Hans G. 5 Bauhaus-Archiv, Berlin 59
Höger, Fritz 79, 1 14 Staal, Jan Frederik 12, 15
Nederlands Documentatiecentrum voor
Hoetger, Bernhard 13, 15 Steiner, Rudolf 9, 13, 56, 57, 113 de Bouwkunst, Amsterdam 90-1 10
Hoffmann, Josef 9 Stijl, De 12 Inge + Arved v. d. Ropp, Cologne 34
Hofman, Vlatislav 12 (top), 36, 41, 88, 89
Strasser, E. E. 92, 1 14
Hunte, Otto 114 Staatliche Museen Preußischer Kultur-
Taut, Bruno Kunstbibliothek mit
besitz, Berlin,
6, 7, 8, 9, 10, 12, 15, 23, 24,
Isaacs, Reginald R. 15 25, 26, 27, 1 1 1
Museum Architektur, Modebild und
Iszelenov, Nikolai Ivanovich 13 Taut, Max 9, 28, 29, 30, 1 1 1
Graphik-Design 64, 66, 67, 70,
Thiersch, Paul 13 71, 79
62, 63, 1

Jujol, Josep Maria Staatsgalerie Stuttgart, Graphische

9 Tiffany, Louis Comfort 9
Toorop, Jan 9 Sammlung 32, 33, 34 (bottom)
Kaldenbach, Fritz (Friedrich Hugo) 54, Stiftung Deutsche Kinemathek, Ber-
112 Velde, Henry van de 6, 9
lin 82, 83
Kettelhut, Erich 82, 83, 114 Volkshaus Society 10
Technische Universität Berlin 73, 74,
Klerk, Michel de 76, 77
6, 8, 9, 13, 98, 99, 100, Vollbrecht, Karl 114
101, 102, 103, 104, 105, I 14
VEB Verlag der Kunst, Dresden 1, 1

Klimt, Gustav 9 Wagner, Otto 9 13 (top)

König, Giovanni Klaus Westfälisches Landesmuseum für Kunst
5 Werdandi Society 10
Kohtz, Otto 9 Westheim, Paul 6, 15
und Kulturgeschichte, Münster 35
022 3
No longer the properly of um
Boston Public Library.
Me of this material benefited the Library

Boston Public Library

COPLEY SQUARE
flF.NF.ll AT. TTRKAKY

The DäTe^ue^SrTHnTHeTJocket indi-

cates the date on or before which this

book should be returned to the Library.

Please do not remove cards from this

pocket.
ISBN 0-442-27384-3