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Form and Materials of Expressionist architecture

Form played a defining role in setting apart expressionist architecture from its immediate predecessors, art nouveau and jugendstil. While they had an organic freedom with ornament, expressionist architecture strove to free the form of the whole building instead of just it's parts. Examples of this are evident in the paper projects of the movement, as well as in it's built works. Hermann Finsterlin's Formspiels depict the form of buildings turned into organic amorphous massing. Bruno Tauts Alpine Architecture depicts luminescent structures whose entire fabric is moved towards a crystalline form. An example of a built expressionist project that is inventive formally is Erich Mendelssohn's Einstein Tower. This sculpted building shows a relativistic and shifting view of geometry. Devoid of applied ornament, Form and space are shaped in fluid concrete to express concepts of the architect and the building's namesake.

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As expressionist architecture utilized curved geometries, a recurring form in the movement is the dome. The interior of the Grosses Schauspielhaus was domed. Hermann Finsterlin's Form spiels are a form of asymmetric, anthropomorphic dome. Many of the works of Bruno Taut were also domed, such as the Glass Pavilion and the Worpsweder Käseglocke. Taut's Alpine architecture have the exotic charm of the domed pleasure palaces of Samuel Taylor Coleridge's Kubla Khan. Curved architecture requires a curved covering, so expressionist architecture's roofs were often domes.

Another expressionist motif was the emphasis on either horizontality or verticality for dramatic effect, influenced by new technologies such as cruise liners and skyscrapers.

Peter Behrens, Walter Gropius, Mies van der Rohe and others took on a normative form {with some exceptions}, using orthogonal geometries to suggest other architectural concepts.

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Materials of Expressionist architecture

A recurring concern of expressionist architects is materials. There was often an intention to unify the materials in a building so as to make it monolithic. Bruno Taut and Paul Scheerbart's doctrine of glass architecture is an example of this. They published texts on this subject and built the Glass Pavilion at the 1914 Werkbund exhibition. Inscribed around the base of the dome were aphoristic sayings about the material, penned by the poet Scheerbart. "Colored glass destroys hatred"," Without a glass palace life is a burden"," Glass brings us a new era, building in brick only does us harm"- Paul Scheerbart, inscriptions on on Glass Pavilion Another example of expressionist use of monolithic materials was by Erich Mendelssohn at the Einstein Tower. Though not cast in one pour of concrete (due to technical difficulties, brick and stucco were used partially) the effect of the building is an expression of the fluidity of concrete before it is cast. Brick was used in a similar fashion, in a way that expressed the nature of the material. Bruno Taut used brick as a way to show mass and repetition in his Carl Legien Housing Estate.

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The performing arts held a significant place in expressionist architecture. Many architects designed theatres for performances on the stage and film sets for expressionist films. These were defining moments for the movement. Built examples of theatres are Henry van de Velde's construction of the model theatre for the 1914 Werkbund Exhibition, and Hans Poelzig's grand remodeling of the Grosses Schauspielhaus. Poelzig also designed scenographic sets for Paul Wegener's 1920 film, Der Golem. Like film, and theatre, expressionist architecture created an unusual and exotic environment to surround the visitor. Another film, Metropolis by Fritz Lang, demonstrates a visually progressive 'Futurist' society dealing with relevant issues of 1920's Germany in relation to labor and society.

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