CHAPTER 20 - Notes

Footnote 422:

Reviving interest in Expressionism has already led to considerable significant publication. See, for example, Dorfles, G., _Barocco nell’architettura moderna_, Milan, 1951, especially the second part; Gregotti, G., ‘L’Architettura del’Espressionismo’, _Casabella_, August 1961, [260]-48; Conrads, U., and Sperlich, H. G., _Phantastische Architektur_, Stuttgart, [1960]; and, for a particularly significant figure, Joedicke, J., ‘Haering at Garkau’, _Architectural Review_, CXXVII (1960), 313-18. For a remarkable Expressionist publication by an architect who was very active and influential in Germany in the 1920s, see Taut, B., _Die Stadtkrone_, Jena, 1919.

Footnote 423:

For the development of Van de Velde’s ideas in these years see _Die Renaissance im modernen Kunstgewerbe_, Berlin, 1901, and _Vom neuen Stil_, Leipzig, 1907. Van de Velde was a prolific writer, and it is impossible to give a complete list of his books and articles here. They will be found in Madsen’s _Sources of Art Nouveau_, 469.

Footnote 424:

See Bauer, C. K., _Modern Housing_, Boston and New York, 1934; and my _Early Victorian Architecture in Britain_, Chapters XIII and XIV.

Footnote 425:

See Schumacher, F., _Das Wesen des neuzeitlichen Backsteinbaues_, Munich, 1917. The rich and decorative use of brick is as characteristic of the Hamburg School as of the Amsterdam School in these decades (see Chapter 21).

Footnote 426:

See Bie, O., _Der Architekt Oskar Kaufmann_, Berlin, 1928; Hegemann, W., _German Bestelmeyer_, Berlin [n.d.] and Mayer, H., and Rehdern, G., _Wilhelm Kreis_, Essen, 1953. In the twenties a large number of such well-illustrated monographs on individual German architects were published; it is much more difficult to find adequate documentation on the work of several architects in other countries who are of considerably greater originality and historical importance.

Footnote 427:

Paraboloid domes of ferro-concrete were used with brilliant spatial effect by Jacques Droz (b. 1882) at Sainte-Jeanne-d’Arc in Nice. This was built in 1932, just at the same time that Böhm was building Sankt Engelbert. The plan, consisting of three intersecting ellipses, is very nearly identical with that of J. B. Neumann’s Baroque masterpiece Vierzehnheiligen; the result is very different, however, because of the continuity of the walls and roof here. Unfortunately Droz’s church was elaborated with a tower and other features of a rather ‘Jazz-Modern’ order.

Footnote 428:

Another German church-architect of the twenties who has still a very considerable reputation is Otto Bartning (b. 1883). He moved much earlier in this direction than Böhm. For a statement of his intentions, see Bartning, O., _Vom neuen Kirchbau_, Berlin, 1919.

Footnote 429:

See _Maria Königin_ [Cologne, n.d.].

Footnote 430:

This is not the place to discuss these churches. It may be remarked here, however, that Candela’s church is considerably more Expressionist in appearance, especially the interior, than anything Böhm ever built in the twenties. Yet its strangely angular piers and vaults that _look_ so much like the settings for the ‘Cabinet of Dr Caligari’, the most famous German Expressionist film, result from this engineer’s consistent use of the hyperbolic paraboloid forms which he favours primarily for technical reasons. De la Mora, Niemeyer, and Moya were content to use barrel-vault elements of plain parabolic section such as were first introduced by Böhm in 1925-6.

Footnote 431:

The triangular bay-window lighting the stairs is still somewhat Expressionist, but the interior treatment is in general more related to geometrical abstract art. The decoration approaches what came to be known as ‘Jazz-Modern’ when it became vulgarized in the next ten years or so in England. The contrast of the interiors that Behrens designed with the fine examples of Mackintosh’s furniture, brought from a house that he had remodelled earlier for the Bassett-Lowkes, appears rather shocking a generation later. What must have been considered a bit _démodé_ in 1925 now represents to posterity—at least in the field of furniture design—the main line of advance in the early twentieth century; what then seemed in England to be ‘the last word’ has dated badly.

Footnote 432:

‘New Objectivity’: A generic term for some of the advanced movements that succeeded Expressionism in the arts; in architecture, roughly equivalent to ‘Functionalism’.