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’.

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