Analysis

We read a lot of articles and parts of books on expressionism and the related movements of modernism, the thing that intrigued us most was the importance people gave to the spaces they live in and what art they created and how they wanted their future to be like.

We got to know there is so much more to architecture than ornamentation or functional use of spaces. Self expression matters so much to mankind. We could see the shift that we had in the thought process or in prioritising, their approach towards buildings was much more poetic.

And this poetic approach should be brought back and we should respect and bring back the knowledge gained by the great minds of history.

To architects and historians at the end of the 1920's, monuments of an Expressionist past served as continual verification that they were moving in both a productive and enlightened manner. However, I believe the role of Expressionism in the 1920's was not just a dead phenomenon looked upon in hindsight, nor was it completely incompatible with Neue Sachlichkeit ideology. Instead my interpretation of Expressionism is through its effect on the imagination and visions of later avant-garde attitudes.expressionism was expression of one’s emotions through art and architecture.

Although the events and ideas of Expressionism range from around 1910 to the early 1920's, its greatest influence on architecture came after WWI in the formation of an avant-garde devoted to the spiritual renewal of German society. For most radical artists and architects, a feeling of desperation brought on by the war and recent political troubles indicated that society was in a period of decline. Numerous writings predicted the degeneration of German culture in a future that was doomed to spiritual unrest.

Within these gloomy prospects for the future, many architects placed their hope in the idea that a new form of society would be born from within the distress of their present day. Nietzche's idea of creation through destruction was pessimistic, but also implied that conscientious work toward spiritual regeneration could lead to a new future. Out of this hope, the younger radical architects attempted to find a new basis of life in the cultural redemption of the arts.

This distant glimmer of salvation was the bond that links most Expressionist architects together in the postwar years. Though not many buildings were built, as many of them remained on paper and many of the

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others were not fully constructed.Their understanding of art and their role in the avant-garde was determined by a larger sense of obligation to society and cultural rejuvenation. As the historian Kurt Junghanns has astutely characterized, "The idea of the unavoidability of catastrophe was slowly linked with the notion of a great turning-point, a powerful coming awakening to an existence with new relations between men and with novel forms of art and architecture.

In anticipation of a new world, most radical architects were united in the search for an architectural style to coexist with and manifest their social ideals. These investigations were shaped by their belief that architecture held primary responsibility for expression of the cultural zeitgeist and could guide the direction of spiritual regeneration. In a similar sentiment to much of how the avant-garde perceived their relation to society, Mendelsohn began to formulate his own direction in architecture as an extension of cultural will. Through the enthusiasm of painter groups such as Die Brucke (The Bridge) and Der Blaue Reiter (The Blue Rider) in the pre war years and radical organizations afterward, Worringer was adopted as the ideological source of how Expressionist artists and architects explained their work.

After the political revolution in 1918, the rebellious spirit of these artists created numerous organizations in an attempt to demonstrate the solidarity of artists united under one cause .Artists and architects perceived themselves as victim-heroes destined to sacrifice themselves in the hope that a better world would be achieved through their own demise.

The sculptural contours and streamlined mass suggested a building in motion that explored many of Mendelsohn's ideas on the dynamics of form. Like Taut's use of glass for a new architecture of utopia, Mendelsohn used concrete to explore new forms of expression. The opportunities offered in concrete were the basis for a new style and an organic conception of form. Like many other (Leiter, 1997)

Expressionist architects working at the time, Mendelsohn aimed at creating a symbol of the postwar commitment to harmony between art, science, and nature.How the environment and people’s thinking can shape architecture.With a different and changing environment, architecture also changes with time. It expresses how people lived and what they believed during those days.It is an expression of how people feel, just like communication, Architects communicate through buildings on behalf of people.Everything has an impact on one thing or another. The raw material available, economy, political issues, etc have an impact on many things just like architecture. The buildings tell a story. Why they were made the way they are. How it was constructed, etc. everything has a story behind it.It is interesting to study what goes around us will

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