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1900-1906

Reactions to Art Nouveau impelled partly by moral yearnings for a sterner and more unadorned style and in part by rationalist ideas requiring practical justification for formal effects.
Art Nouveau had however, opened up a language of abstraction and pointed to lessons to be learned from nature.

1905

Formation of the Dresden Die Brücke expressionist art movement.

1907

The poet Paul Scheerbart independently offers a Science fiction image of Utopian future.

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1909

The New Munich Artist's Association, Neue Künstlervereinigung München is established by Wassily Kandinsky and others in Munich.

1910

Publication in Berlin of the journals, Der Sturm by Herwarth Walden and Die Aktion by Franz Pfemfert as counterculture mouthpieces against the Deutscher Werkbund.

1911

Hans Poelzig sets up practice in Breslau. Designs a water tower for Polzen, described by Frampton as a certain Stadtkrone image, and an office building which led to the architectural format of Eric Mendelsohn’s later Berliner Tageblatt in 1921.
Wassily Kandinsky resigns chairmanship of the Neue Künstlervereinigung München.
Walter Gropius and Adolf Meyer (architect) build the Fagus Factory, Alfeld an der Leine.
Der Blaue Reiter forms and has first exhibits in Munich, and Berlin.

1912

Hans Poelzig designs a chemical plant in Luban with strongly expressively articulated brick massing.
Wassily Kandinsky publishes Über das Geistige in der Kunst, (Concerning the spiritual in art)

1913

Michel de Klerk starts work at the Eigen Haard Estate in Amsterdam to be completed in 1921.
Rudolph Steiner commences work on the first Goetheanum. Work is completed in 1919.

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1914

Paul Scheerbart publishes Glasarchitecktur
Cologne Werkbund exhibition demonstrates idealogical split between:-
Normative form (Typisierung) - Behrens, Gropius, and,
Will to form (Kunstwollen) - Taut, Van de Welde

1915

Death of Paul Scheerbart.

1917

Michel de Klerks starts building the Het Schip housing development for Eigen Haard in Amesterdam. Work is completed in 1921.
Bruno Taut publishes Alpine architecture.

1918

Adolf Behne expands the socio-cultural implications Scheerbarts writings about glass.
Armistice – Republican revolution in Germany. Social Democrats form Workers and Soldiers Councils. General strikes.
Free expression of the Amsterdam School elucidated in the Wendingen (Changes) magazine.
November - Arbeitsrat für Kunst (Worker's Council for the Arts), founded by Bruno Taut and Adolf Behne. They model themselves consciously on the Soviets and attach a leftist programme to their Utopian and Expressionist activities. They demand; 1. A spiritual revolution to accompany the political one. 2. Architects to form ‘Corporations’ bound by ‘mutual aid’.
November - Novembergruppe formed only to merge with Arbeitsrat für Kunst the following month. It proclaims; 1. Creation of collective art works. 2. Mass housing. 3. The destruction of artistically valuless monuments (This was a common reaction of the Avant Garde against the elitist militarism that was perceived as the cause of World War I.
December - Arbeitsrat für Kunst declares it's basic aims in Bruno Tauts Architeckturprogramm. It calls for a new 'total work of art', to be created with active participation of the people.
Bruno Taut publishes Die Stadtkrone.

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1919

Spring manifesto of Arbeitsrat für Kunst is published. Art for the masses. Alliance of the arts under the wing of architecture. 50 artists, architects and patrons join lead by Bruno Taut, Walter Gropius and Adolf Behne.
April - Eric Mendelsohn, Hannes Meyer, Bernard Hoetger, Max Taut and Otto Bartning stage exhibition called 'An Exhibition of Unknown Architects'. Walter Gropius writes the introduction, now considered to be a first draft for the Bauhaus programme published later in the month. Called for a ‘Cathedral of the Future’, to unify the creative energy of society as in the middle ages.
Bauhaus established and begins expressionist phase, to last until 1923.
Adolf Behne publishes Ja! Stimmen des Arbeitsrates für Kunst in Berlin (Yes! Voices from the art Soviet in Berlin).
Spartacist revolt ends the overt activities of Arbeitsrat für Kunst. The group starts the first Utopian letter of the Glass Chain by Bruno Taut. They are joined by previously peripheral architects; Hans Luckhardt, Wassili Luckhardt and Hans Scharoun. The letters demand; 1. Return to medieval integration of the building team. 2. Irregular form. 3. Facetted form. 4. Glass monuments.
Opening of the Grosses Schauspielhaus by Hans Poelzig in Berlin. Hanging pendentive forms create a ‘luminous dissolution of form and space’.
Bruno Taut launches the magazine Frülicht (Early Light).
Bruno Taut and Hans Scharoun stress the creative importance of the Freudian unconscious.
Hans Poelzig is made chairman of the Deutscher Werkbund.
Design work starts on Piet Kramers De Dageraad. Construction is completed in 1923. Mendelsohn see it as more structural than the work of Hendrikus Wijdeveld.

1920

February 26, the film The Cabinet of Dr. Caligari premiered at the Marmorhaus in Berlin.
Hans Poelzig declares affinity with the Glass Chain. He designs sets for The Golem.
Solidarity of the Glass Chain is broken. Final letter written by Hermann Finsterlin. Hans Luckhardt recognises the incompatibility of free unconscious form and rationalist prefabrication and moves to Rationalism.
Taut maintains his Scheerbartian views. He publishes ‘Die Auflösung der Städt in line with Kropotkinian anarchist socialist tendencies. In common with the Soviets, it recommends the break up of cities and a return to the land. He models agrarian communities and temples in the Alps. There would be 3 separate residential communities. 1. The enlightened. 2. Artists. 3. Children. This authoritarianism is noted in Frampton as although socialist in intent, paradoxically containing the seeds of the later fascism.

1921

Taut is made city architect of Magdeburg and fails to realise a municipal exhibition hall as the harsh economic realities of the Weimar republic become apparent and prospects of building a ‘glass paradise’ dwindle.
Walter Gropius designs the Monument to the March Dead[2] in Weimar. It is completed in 1922 and inspires the workers 'Gong' in the 1927 film, Metropolis by Fritz Lang.
Frülicht loses its impetus.
Eric Mendelsohn visits works of the Dutch Wendingen group and tours the Netherlands. He meets the rationalists JJP Oud and W M Dudek. He recognises the conflict of visionary and objective approaches to design.
Eric Mendelsohn’s Berliner Tageblatt opens. Construction is complete on the Einstein Tower. It combines the sculptural forms of Van de Weldes Werkbund Exhibition theatre with the profile of Taut’s Glashaus and the formal affinity to vernacular Dutch architecture of Eibink and Snellerbrand and Hendrikus Wijdeveld. Einstein himself visits and declares it ‘organic’.
Mendelsohn designs a hat factory in Luckenwalde. It shows influences of the Dutch expressionist De Klerk, setting dramatic tall pitched industrial forms against horizontal administrative elements. This approach is echoed in his Leningrad textile mill of 1925 and anticipates the banding in his department stores in Breslau, Stuttgart, Chemnitz and Berlin from 1927 and 1931.
Hugo Häring and Ludwig Mies van der Rohe submit a competition entry for a Friedrichstrasse office building. It reveals an organic approach to structure and is fully made of glass.

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1922

Ludwig Mies van der Rohe publishes a glass skyscraper project in the last issue of Frülicht.
The film Nosferatu by F.W. Murnau is released.

1923

Bauhaus expressionist phase ends. Standard arguments for the reasons for this are 1. Expressionism was difficult to build. 2. Rampant inflation in Germany changed the climate of opinion to a more sober one. Jencks postulates that the standard arguments are too simplistic and instead argues that 1. Expressionism had become associated with extreme utopianism which in turn had been discredited by violence and bloodshed. Or 2. Architects had become convinced that the new (rationalist) style was equally expressive and more adequately captured the Zeitgeist. There is no large disagreements or public pronouncements to precipitate this change in direction. The only outwardly visible reaction was the forced resignation of the head of the basic Bauhaus course, Johannes Itten, to be replaced with the, then constructivist, László Moholy-Nagy.
Chilehaus in Hamburg by Fritz Höger.
Walter Gropius abandons expressionism and moves to rationalism.
Bruno and Max Taut begin work on government funded low cost housing projects.
Berlin secession exhibition. Mies van der Rohe and Hans and Wassili Luckhardt demonstrate a more functional and objective approach.
Rudolph Steiner designs second Goetheanum after first was destroyed by fire in 1922. Work commences 1924 and is completed in 1928.

1924

Germany adopts the Dawes plan. Architects more inclined to produce low-cost housing than pursue utopian ideas about glass.
Hugo Häring designs a farm complex. It uses expressive pitched roofs contrasted with bulky tectonic elements and rounded corners.
Hugo Häring designs Prinz Albrecht Garten, residential project. Whilst demonstrating overt expressionism he is preoccupied with deeper inquiries into the inner source of form.
Foundation of Zehnerring group.

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1925

Hans Poelzig abandons expressionism and returns to crypto-classicism.
Zehnerring group becomes Der Ring. Hugo Häring is appointed secretary.

1926

Founding of the architectural collective Der Ring largely turns it's back on expressionism and towards a more functionalist agenda.

1927

Anzeiger-Hochhaus, Hannover by Fritz Höger
Release of Fritz Lang's Metropolis.
Weissenhof Estate is built in Stuttgart. Expressionist architects, Taut, Poelzig, Scharoun, build in international style.

1928

Congrès International d'Architecture Moderne (CIAM) convenes in Switzerland. Hugo Häring fails to move consensus away from Le Corbusiers call for rationalism towards an organic approach. Finally the Scheerbartian vision is eclipsed as the non-normative ‘place’ orientated approach is cast aside.

1931

Completion of 'The house of Atlantis' in Böttcherstraße (Bremen).

1940's

The Berlin Philharmonic concert hall is destroyed in 1944 during WWII.

1950's

Le Corbusier constructs Notre Dame du Haut signaling his postmodern return to an architectural expressionism of form. He also constructs the Unité d'Habitation, which emphasizes the architectural expression of materials. The brutalist use of beton-brut or reinforced concrete, recalls the expressionist use of glass, brick, and steel.

1960’s

Expressionism reborn without the political context as Fantastic architecture.

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Organic architecture and other styles Expressionist architecture Form and Materials of Expressionist architecture Legacy of Modern architecture Streamline Moderne Functionalism in architecture Ludwig Mies van der Rohe Consumerism