DOI Artikel:
Makała, Rafał: Nawiązania do tradycji nowożytnej w ceglanej architekturze wczesnomodernistycznej północnych Niemiec
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.52466#0111
Stórtkuhl Beate, Liegnitz - die andere Moderne. Architektur der 1920er Jahre, Miinchen Nawiązania
2007 (Schriften des Bundesinstituts fur Kultur und Geschichte der Deutschen do tradycji...
im óstlichen Europa, Bd. 32).
Turtenwald-Quiring Claudia, Fritz Hóger (1877-1949). Architekt zwischen Stein und
Stahl, Glas und Beton, https://www.researchgate.net/publication/35419479_Fritz_
Hoger_1877-1949_Architektur_zwischen_Stein_und_Stahl_Glas_und_Beton
[dostęp: 12.06.2018].
Wagemann Ines, Der Architekt Bruno Mohring (1863-1929), Bonn 1992.
References to the Modern Tradition in the Early Modernist Brick Architecture
of Northern Germany
One of the manifestations of the so called ‘conservative modernism’ was the ref-
erence to the brick building tradition in Northern Germany. The trend was primarily
associated with the activities of Fritz Schumacher and Fritz Hóger in Hamburg and Bremen
in the 1920s and 1930s, but the genesis of this architecture dates back to the first decade
of the 20th century and is associated with the attempts to shape North German patriotism.
Just as in the art of neo-Gothic, brick architecture of‘conservative modernism’ was meant
to express the ‘North German Identity’, and in fact help in the creation of identities of the
Bismarck Germany. Like the late neo-Gothic architecture, this architecture was perceived
as a kind of ‘Hanseatic style’, reflecting the specificity (perceived in a mythologized way) of
the Hanseatic League as a prefiguration of the New Germany and their power in maritime
trade. Early-modern architecture continued to refer to the art of the past. However, the
way of referring to the past changed: with only few quotes from the old art, with a con-
siderable simplification of historical styles’ and so did the historical point of reference. In
addition, the modernists became morę interested in the brick building of the 17th and 18th
centuries, the times of the Baroąue and early Neoclassicism. This is evident in the works of
the most important architects of North German modernism, including Fritz Hóger, Fritz
Schumacher, or Bruno Mohring but also works of lesser-known, though certainly inter-
esting artists like Johann Garleff, Erich Blunck or Eugen Prinz. The interest of the North
German architects of early modernism in brick construction is an element of a wider process
that had been thriving in Northern Germany sińce the early 1900s. Interestingly enough,
this process was eąually intense in great artistic centres (Hamburg and Bremen) as well as
in less-significant cities which were looking for their identity or tried to recreate it, as was
the case in Kieł, Eubec or Szczecin. This paper is an attempt to show the evolution of this
architecture and its most important features. The examples have been selected to show
the most important characteristics of this architecture and its geographical rangę.
2007 (Schriften des Bundesinstituts fur Kultur und Geschichte der Deutschen do tradycji...
im óstlichen Europa, Bd. 32).
Turtenwald-Quiring Claudia, Fritz Hóger (1877-1949). Architekt zwischen Stein und
Stahl, Glas und Beton, https://www.researchgate.net/publication/35419479_Fritz_
Hoger_1877-1949_Architektur_zwischen_Stein_und_Stahl_Glas_und_Beton
[dostęp: 12.06.2018].
Wagemann Ines, Der Architekt Bruno Mohring (1863-1929), Bonn 1992.
References to the Modern Tradition in the Early Modernist Brick Architecture
of Northern Germany
One of the manifestations of the so called ‘conservative modernism’ was the ref-
erence to the brick building tradition in Northern Germany. The trend was primarily
associated with the activities of Fritz Schumacher and Fritz Hóger in Hamburg and Bremen
in the 1920s and 1930s, but the genesis of this architecture dates back to the first decade
of the 20th century and is associated with the attempts to shape North German patriotism.
Just as in the art of neo-Gothic, brick architecture of‘conservative modernism’ was meant
to express the ‘North German Identity’, and in fact help in the creation of identities of the
Bismarck Germany. Like the late neo-Gothic architecture, this architecture was perceived
as a kind of ‘Hanseatic style’, reflecting the specificity (perceived in a mythologized way) of
the Hanseatic League as a prefiguration of the New Germany and their power in maritime
trade. Early-modern architecture continued to refer to the art of the past. However, the
way of referring to the past changed: with only few quotes from the old art, with a con-
siderable simplification of historical styles’ and so did the historical point of reference. In
addition, the modernists became morę interested in the brick building of the 17th and 18th
centuries, the times of the Baroąue and early Neoclassicism. This is evident in the works of
the most important architects of North German modernism, including Fritz Hóger, Fritz
Schumacher, or Bruno Mohring but also works of lesser-known, though certainly inter-
esting artists like Johann Garleff, Erich Blunck or Eugen Prinz. The interest of the North
German architects of early modernism in brick construction is an element of a wider process
that had been thriving in Northern Germany sińce the early 1900s. Interestingly enough,
this process was eąually intense in great artistic centres (Hamburg and Bremen) as well as
in less-significant cities which were looking for their identity or tried to recreate it, as was
the case in Kieł, Eubec or Szczecin. This paper is an attempt to show the evolution of this
architecture and its most important features. The examples have been selected to show
the most important characteristics of this architecture and its geographical rangę.