The Controversy in the Deutsche Werkbund
The Werkbund Exhibition staged in Cologne, Germany, in 1914 presented the primary architectural differences during those times. The debate was based on industrial methods and standardization against craft and fine artistry. Hermann Muthesius, a German nationalist, led the standardization supporters while Henry de Velde, a Germany-based Belgian, was the leader of the individualism group.
Muthesius’ Perspectives
Muthesius argued that the architectural community and the Werkbund wanted standardization which was the only option left if Germany wanted to reinstate her universal significance in the architectural field. Muthesius thought that if standardization were employed in production for the right reasons and produced a high-quality product, the outcome would develop an international taste and attract many nations. Because of the standard quality, he argued that large export companies would distribute the product, making German art known to the world.
Henry de Velde Argument
Henry de Velde on the contrary, disapproved of all of Muthesius’ arguments Henry believes that the Werkbund’s hard work and financial resources should be used in mentoring the German’s architectural inventions. Henry also debated that a real artist will never follow regulations that limit his operations and force him to meet specific standards. Velde views Muthesius’ desire to build prototypes before planning the style, as like expecting results before action. On export, Henry believed that none of the quality products was created for export and viewed quality as exclusive to those who appreciated it. However, Henry de Velde agreed with Muthesius that the exhibitions would only be relevant if they focused on exemplary work.
Incorporation on New Material and Technology
In the quest to improve the German architectural inventions and produce, the artists were forced to search for new designs and materials. The architects sought to start using materials for their composition properties. And the plan was to be based on elementary geometrics preferences. The German architects conducted more experiments on new materials and technologies and incorporated them into constructing new building types. Through their studies, they impressed on the use of steel and concrete in construction. Further research led to the establishment of the Fagus factory and Turbine factory. Architects such as Gropius incorporated new materials and technology to set up tilted masonry, therefore, providing a pragmatic solution.
The Bauhaus and Cologne Cathedral Buildings
The Bauhaus building is the most historical building constructed in the 20th century. From its name, Bauhaus is a translation of Architecture House in the German language. Bauhaus building was an art school building in the 20th century. Walter Gropius designed the building, and later on, it was the reason behind the start of the Bauhaus movement. Cologne Cathedral building is another perfect example of German Gothic architecture. The building which hosts the Archbishop of Cologne is the tallest twin-spired structure on the globe.
Impacts of World War One and German Revolution on Architecture
The results of world war I and the German Revolution were very impactful on Berlin’s art and architectural work. Before the war, the tension of war had caused the government to introduce exhibitions to help identify plans for all existing built-up areas and unoccupied districts. The primary focus was on transport and open fields though no restrictions were put on architectural housing and public building schemes. The impacts of the war and the revolution made the government introduce the Great Berlin Law of 1920. The law eliminated the existing tension and merged all municipalities to form a more prominent city of Berlin.
Prussian Law on Housing Construction of 1918
Another bill referred to as the Prussian Law on Housing Construction of 1918 was passed. The law provided the base of the building ordinance and the zoning plan of 1925. The zoning plan gave legality on which urban planning that is proactive and social could be elaborated. This new planning, construction, and expansion of the city of Berlin provided an excellent opportunity for architecture. Each architect and planner was provided with a chance to initiate his views on current social-oriented house construction. Various ideas that had been formulated before the war but faced challenges in implementation were completed. These plans included the Garden City planning and the Bauhaus concepts. After the war, further research was conducted, and the projects were effectively implemented.
The post-war and revolution period led to great historical architects such as the Taut brothers, Gropius, Mendelsohn, the Luckhardt, and many more who provided architectural solutions to building and construction problems. Large structures, both private and public buildings, were constructed all over Berlin, and also small single residential houses were built. The emergence of public utility companies that make public and commercial homes in areas such as the Hufeisensiedlung in Britz demonstrated rationalization. The companies were relating the new architectural inventions to Muthesius’ argument on the demands of standardization. The Berlin development resulted from architecture, the field of architecture grew, and the ideas were sold out to other European nations.
Visionary Work After the War
After the war and the revolution, Berlin hosted galleries open to any contemporary art. The enthusiasm for the color and shapes used by the artist came from the natural setups. One of the visionary workings is the “Nolde”, which I an art by Emily Hansen close to the Brucke style. The art consolidated his composition by the way the color structure was used. The Nodle painting clearly defined the mystery of a soothsayer. The workings are a reflection of the north German in the protestant content. Tappert used paintings of naked women as the motifs and a demonstration of his animal-oriented love of life. Daniel used paintings and cartoon pictures to show the life of the Germans and the enlightenment of the Germans mentally.
The Dada Movement
Dada movement began in Zurich, Switzerland, as a reaction against world war I and the concept of nationalism which is believed to be the primary cause of the war. The movement’s output was diversified, including poetry performance, paintings, sculpture, collage, and photography. Dada’s aesthetics expressed its hatred of nationalism, and worldly desires were influential on artists in different locations. In Berlin, members of the Dada organized protests, protests, and public meetings where they criticized the stupidity of humankind. The movement’s influence was so strong that it had martyrs who gave their lives to the beliefs of the action. Though the Dada movement was finally disbanded because of the emergence of Surrealism, its teachings led to modern art.
The Bauhaus Movement
The Bauhaus was considered the most influential art school of the 19th century in the modern world. The movement had an exceptional understanding of relating art, society, and technology. The campaign was founded by Walter Gropius, who first started it as a school rather than a movement. The school provided teachings that have influenced modern architectural designs and arts. They wanted to bridge the gap by combining crafts and fine arts. The school finally morphed to be a movement with outstanding aesthetics that relate to fine arts and crafts.