The early decades of the 20th century were marked by significant transformations in the artistic world of most of Europe. Although the phenomena were diverse in nature, they were united by a common departure from the realism characteristic of previous epochs.
Deep societal changes were also anticipated – the era of capitalism was approaching its conclusion. The anti-populist nature of this period was reflected in the arts, reinforcing the alienation of creators from the masses. This led to a noticeable deterioration in the quality of artistic creation. In such an environment, expressionism was born, which later gained notoriety as one of the most convoluted and dualistic movements in modern art, combining both reactionary and progressive elements.
The term "expressionism", meaning "expression", first appeared in 1911 on the pages of the "Der Sturm" journal thanks to philosopher Worringer. It became entrenched in culture after the publication of the exhibition catalog "The Blue Rider" in 1912 and came to denote artworks in which reality is distorted to enhance the expressiveness of the artist's inner world. In Germany, this style found particularly fertile ground. E.L. Kirchner, considered the ideologue of German expressionism, asserted that this style was a reflection of the unique traits of German culture. Perhaps this is why expressionism was most actively developed mainly in Germany and Austria. However, Germany's unstable post-war situation hindered the realization of the most ambitious projects by expressionists. Mostly, architects were confined to designing exhibition pavilions and scenographies.
As mentioned, the uniqueness of 20th-century architecture was conditioned by complex historical processes. However, functional, compositional, and technical innovations from the end of the 19th century played the decisive role in its creation. It's also worth noting the development of new building materials with unique technical properties, allowing architects to bring their boldest ideas to life, based on the possibilities and characteristics of new materials and the creation of unconventional forms.
Architectural creations made in the spirit of "expressionism" are characterized by emotional richness of composition. Various methods were used to achieve this effect, including sharp forms, their grotesqueness, deformation, and even a departure from traditional compositional construction in favor of sculptural principles. The constructions of the expressionism era are biomorphic; their shapes resemble objects of inanimate nature. Some experts consider projects created by expressionists during this period as forerunners of bionic directions in architecture.
Among the bright representatives of this artistic direction are masters such as E. Mendelsohn, H. Scharoun, H. Poelzig, and H. Haring.
An example that reflects the essence of architectural expressionism is the Einstein Tower. Its forms, made of reinforced concrete, are monolithic, making the building resemble a sculpture. The architectural elements of the tower clearly dominate the design of its internal spaces.
The sculpture-building "Goetheanum", erected in 1923 in Dornach, is also of interest. It was designed by the well-known philosopher-anthroposophist R. Steiner.
The application of innovative constructive solutions of that time – frameworks, ribbon windows, and flat roofs – became possible in combination with the rejection of the asceticism of their composition. In Mendelsohn's work, a clear opposition between rectilinear and curvilinear forms, asymmetry, is expressed. He gives volume to corner sections and facades, including voluminous towers (housing staircases) in the composition.
In designing the "Universum" cinema, Mendelsohn played with the contrast of polychromatic decorations on the facades, their texture, and finishing. Two volumes shaped like horseshoes are set on column-like supports. The volumes themselves create a contrast: the lower one is wider than the upper. Ribbon windows are located across the entire surface of the lower volume, while the upper volume lacks windows. The vertical advertising tower, cutting into the concentric volumes, also serves as a contrasting element. The tower is faced in light tones, unlike the dark cylinders.
Dynamic to the constructions of the hat factory in Luckenwalde and the factory workshop in Leningrad were provided by tower-inserts built into their main elongated forms.
Expressionism as an architectural style existed in Europe for a short duration. Moving into the twenties, architects began to rethink priorities, paying more attention to the rationalization of space rather than decorative elements. The style experienced a revival in the post-war period.