Hanover architecture school
The Hanover School Of Architecture (shortened: Hannoversche school ) denotes a predominantly spread in Northern Germany, historicist architecture - School of the second half of the 19th century . It is characterized by the departure from classicism and neo-baroque and the turn to neo-Gothic . Its founder, the architect Conrad Wilhelm Hase , created almost 80 new churches and over 60 secular buildings. In addition, Hase taught for 45 years at the Polytechnic University in Hanover , during which time he trained around 1,000 full architects, many of whom adopted his style principles. The advancing industrialization favored the development of the Hanover School. In the cities, a rapidly growing population created a great need for new homes, schools and hospitals. The expansion of the railway network called for high-rise structures such as station and operational buildings, and emerging industrial companies use representative factory structures to illustrate their economic importance. In the eponymous Hanover, numerous large town churches, school and factory buildings and several thousand residential buildings were built between the 1850s and the beginning of the 20th century. Stylistically, these buildings were characterized by their exposed brick facades, which was perceived as "honest". In the case of factory buildings in particular, the internal function of a building should already be recognizable from the external shape. A number of design elements were used to decorate the outside of the building: for example, corner pinnacle gables adopted from medieval church construction, shaped stones and decoratively placed bricks with a glazed surface.
For a long time after the Second World War, the preserved buildings, especially in Hanover, received little interest in the preservation of monuments. Large-scale redevelopment measures, the conversion of Hanover to a “ car-friendly city ”, led to numerous demolitions.
The term “Hannoversche Architekturschule” probably first appeared in 1882 with Theodor Unger . At the time, however, the expression referred equally to the previous arched style and the buildings influenced by Hase's influence, while in later times only the buildings according to Hase's teaching were counted as part of the “classic” Hanover school.
Origin and history
The arched style as a forerunner
The Hanoverian School was preceded by the phase of the round arch style , which lasted from about 1835 to 1865. This tendency was also a form of historicism , i.e. a picking up and recombining of elements from older styles. The Hanoverian form of the round arch style was not only widespread in the city itself, but also in the Kingdom of Hanover . Two forms can be distinguished here: the Tramm style developed by court building officer Christian Heinrich Tramm , characterized by framework and corner bar towers, and the style established by city architect August Heinrich Andreae with three-dimensional bricks.
The consistorial builder and architecture professor Conrad Wilhelm Hase (1818–1902) took up the variation of Andreae's round arch style from around 1853 and derived the form program of the Hanover School from it. On the other hand, the architecture theory of the Berlin artist Karl Friedrich Schinkel , the Schinkel School , had no influence . After a transitional period, the Hanover School developed its independence around 1860. Their phase lasted until around 1900, in exceptional cases until the beginning of the First World War, and extended across northern Germany, partly abroad.
In 1989, Ulrike Faber-Hermann said of the Hanover School that its “appearance can be described by certain characteristics”, but that a “further definition” must remain vague. At the time of its creation, its name was "more complex". For example, In 1882, Theodor Unger was part of the Hanover School, both in the Gärtner -influenced arched style and Hase's Gothic forms. In Faber-Hermann's view, only the latter were later associated with the concept of the Hanover School. On closer inspection, many of Hase's pupils could not, strictly speaking, be characterized as representatives of this school; only a few of the buildings assigned to the school were actually "stylish".
Conrad Wilhelm Hase as a builder and teacher
Conrad Wilhelm Hase's building activity became the driving force behind the Hanover School, and Hase also taught at the Technical University in Hanover (still a Polytechnic School until 1879) and thereby spread his ideas. From 1849 to 1894 his teaching activities there included, among other things, the subjects of designing public and private buildings , advanced architecture , the theory of forms in medieval architecture and ornamentation . In his work, Hase endeavored to break away from the classicist architectural style represented by Georg Ludwig Friedrich Laves and from the neo-baroque tendencies adopted from France in favor of medieval forms, which he regarded as stylistically pure. The architect Friedrich von Gärtner , who taught in Vienna , had a great influence on Hase. Von Gärtner took the view that the unplastered stone should be used as building material ("Reinbau"). In the 45 years that Hase taught at the university, around 35,000 students were enrolled in architecture subjects, of which, however, only around 1,000 completed a complete architecture course and can be regarded as direct students of Hase. The Hanoverian education in architecture enjoyed supraregional recognition, so that students came from all north German parts of the country, also from North and South America, England, the Netherlands and especially from Norway. Hase's successor at the university, Karl Mohrmann , continued the neo-Gothic teaching program of his predecessor until 1924.
The role of the railroad
The invention of the railroad was crucial to industrialization in the 19th century. In Lower Saxony, the development of the route network and the development of the Hanover School overlapped over several decades. Many architects who adhered to the architectural style were also active in railway construction, including Conrad Wilhelm Hase and some of his employees.
The railroad allowed goods and people to be transported quickly, opened up rural areas and ensured a strong economic boom. At first, economic considerations played a role and goods transport enjoyed greater interest, before passenger transport also gained in importance a few years later. The technical innovations emanating from the railway also had an impact on art and architecture, and they also determined village and urban development. In many places, the station buildings shaped the townscape. In Lower Saxony it was brick construction that predominated in station construction in the second half of the century. After a trip through Germany in 1857, the British architect George Gilbert Scott expressed his appreciation: “The best developments of railway architecture I have seen are on the Hanoverian lines”, in German: “The best developments in railway architecture that I have seen are on the Hanoverian routes ”. The development of the railway in Lower Saxony had already started some time earlier: The first section, the line from Braunschweig to Wolfenbüttel, began operation at the end of 1838. All important lines were built around 1880, in the following time only additional lines and branch lines were built.
At the beginning of the 1980s, scientists from the Institute for the History of Architecture and Art at the University of Hanover identified a total of 480 buildings in Lower Saxony, which they classified as "scientifically remarkable". In addition to reception buildings, they also looked at other buildings used for operations, such as signal boxes, repair halls, guard houses and railway workers' houses. The investigation revealed various architectural “style development stages” according to which the buildings were designed. According to the inventory published in 1983, an "independent formal language based on the arched style of the Hanover School" developed from 1852 to 1865, and in the following twenty years the neo-Gothic style of the Hanover School was used "selectively". According to this study, innovations took place particularly often in the area of the "small architecture" of less important stops, as well as in the first generation systems that were later replaced by larger successor structures (for example the train stations in Hanover , Uelzen or Oldenburg ). The innovations affected architecture as well as urban planning and technology.
Many station buildings in the neo-Gothic style were built along the Hanover Southern Railway from Hanover to Göttingen. The route was planned as early as 1845, but implementation was delayed due to the uncertain political situation in Vormärz . The first section, from Hanover to Alfeld , was inaugurated in May 1853, the section to Göttingen followed a good year later. Conrad Wilhelm Hase was entrusted with the planning of numerous buildings , presumably with the assistance of Julius Rasch and Adolf Funk . Stylistically, these buildings depict the transition from the round arch style to the Hanover School, for example the reception building in Sarstedt from 1855. The brick building, which is now painted, is structured vertically with pilaster strips . On the central transverse building, the house was given a blind gable , which was decorated with trusses. Other Hase train stations on this route can be found in Nordstemmen (built in 1858/1860), Elze (1855), Einbeck (then Salzderhelden , 1855) and Göttingen (1855). In Banteln and Freden , the reception buildings show elements of the round arch style, but were probably not built between 1865 and 1870.
Contemporary reception
In 1882 Theodor Unger published the first comprehensive description of the buildings of the Hanover School. It appeared in the city's first architecture guide - Hanover: Guide through the city and its buildings - and consisted of a comparison of the Hanover school with the Hanoverian buildings of the Renaissance. Unger attested that the new style had given the city a "highly characteristic and interesting external appearance". The proponents saw a “universal style” in the Hanover School, which was to be used for all types of construction tasks, from churches to functional buildings. Because of this far-reaching claim, there were also critical voices and rejection, which Unger also addressed in his publication.
In Unger's architecture guide, the Berlin architect Hubert Stier , who had recently created Hanover's main train station , also spoke about the “Renaissance buildings” in Hanover. He counted among these "artistically remarkable" monumental and private buildings, for which in the pursuit of "solid monumentality [...] real [r] materials" were used. The buildings are determined by the medieval echoes and are distinguished from other contemporary buildings as "advantageous".
Both critics, Unger and Stier, judged the Hannoversche Schule from a certain distance: Unger was influenced by the Viennese school around Friedrich von Schmidt , Stier belonged to the Berlin school .
Followers of the school
During his teaching at the Polytechnic School in Hanover , Conrad Wilhelm Hase trained around 1,000 full architects. Some of his students support Hase at the university and represented the teachings of Neo-Gothic as his assistants or as professors and private lecturers. This group included Wilhelm Lüer (from 1858), Arthur Schröder (from 1869), Werner Schuch (from 1872), Max Kolde (from 1883), Gustav Schönermark (from 1885), Theodor Schlieben (from 1890) and Eduard Schlöbcke (from 1895). After Hase left the Technical University, Karl Mohrmann succeeded him and continued to represent the doctrine of his predecessor in a partially modified form until 1924. In addition to teaching at the university, Hase's students also taught at the Hanover School of Applied Arts ( Otto Bollweg , Karl Gundelach , Adolf Narten , Hermann Narten ). Many students also worked at building trade schools, for example at the building trade school Eckernförde (Erich Apolant), in Hamburg ( Hugo Groothoff ) or in Nienburg (Otto Blanke, Wilhelm Schultz). At the first important North German building trade school in Holzminden , there was a circle of rabbit admirers in the 1860s with the teachers' association Kunstclubb , who endeavored to spread the Hanover School ( Carl Schäfer ).
Hase's pupils, who worked as building directors in the service of the cities (including in Bielefeld, Bremen, Düsseldorf, Duisburg, Essen, Göttingen, Hamburg, Hanover, Harburg, Hildesheim, Kassel, Kiel, Cologne, Lübeck and Lüneburg, also exerted a great influence , Osnabrück and Peine). In addition, many who had enjoyed their training in Hanover then worked as private architects. The building historian Günther Kokkelink estimated their number in northern Germany at over 500; For Hamburg alone, 30 architecture firms were known by Hase students.
Selection of important representatives
- Ludwig Droste (1814–1875): Droste studied with gardeners in Munich and initially worked as a private architect in Mannheim before he was sworn in as city architect in Hanover in 1849. Together with others, he founded the Hanover Architects and Engineers Association . Droste is considered a representative of the round arch style ; His works in Hanover include the Lyceum on Georgsplatz, the restoration of the Marktkirche, the Packhof, the entrance building of the Engesohder Friedhof and several other school buildings (Bürgererschule, Am Clevertore; Höhere Töchterschule, Am Graben; Stadttöchterschule, Am Aegidiendamm).
- Conrad Wilhelm Hase (1818–1902):Hase first learned at the Polytechnic School in Hanover (later the university), then at the University of Göttingen, which was followed by an apprenticeship as a bricklayer. Before he began teaching at the University of Hanover for 45 years in 1849, Hase worked for the Royal Hanover Railway Directorate . During his time as a university lecturer, he received the titles of building inspector (1852), building officer (1858) and professor (1878). The founder of the Hanover School was also a part-time consistorial officer at the Evangelical Lutheran Church in Hanover and an honorary citizen of Einbeck and Hildesheim. For the period 1848–52, Hase's designs can be attributed to the round arch style, after which he represented various neo-Gothic tendencies from 1853–59, in order to develop his personal neo-Gothic style from 1859 onwards. In the course of his life, Hase created a large number of very different buildings in large parts of northern Germany. Some examples are: Christ Church Hanover, Catholic Church Peine, Erlöserkirche Hanover, Apostle Church Hanover, tower extension of Martinskirche Linden (today Hannovor), extension of the Old Town Hall Hanover, Andreanum Hildesheim, train stations of Lehrte, Celle, Bremen, Wunstorf, Göttingen, Nordstemmen, Oldenburg , Marienburg Castle, Hildesheim Post Office, Hanover Artists' House, Hanover Klagesmarkt Pharmacy.
- Hermann Hunaeus (1812–1893): Like Ludwig Droste, Hunaeus also studied with gardeners in Munich. From 1836 he worked as a war builder in Hanover, then as a senior government and building officer, later as a secret building officer. Hunaeus, also a co-founder of the Hanover Architects and Engineers Association , is considered a representative of the round arch style . He created various wings of the royal dicastery building in Hanover (Am Archiv, Archivstrasse), the houses of Johann Egestorff, Wilhelm Glahn and Hermann Cohen, the military hospital in Adolfstrasse in Hanover , the house of the military clothing commission also in Adolfstrasse and the Teachers' seminar from Wunstorf. He also converted the Welfenschloss in Hanover into a technical university.
- Franz Andreas Meyer (1837-1901):Meyer studied at the Polytechnic School in Hanover and worked in Hase's office during the second phase of his studies. After completing his studies, he began as an engineering assistant for the Royal Railway Directorate in Hanover (1860) and then moved to Hamburg (1862), where he was promoted to chief engineer of the building deputation (1872). He kept in contact with Hase and got many of his students a job with the Hamburg building deputation. Meyer was a co-founder of the Lower Saxony and Hamburg construction works, and also chairman of the Hamburg Architects and Engineers Association. Meyer's plans include the supervision of the entire warehouse district in the free port of Hamburg, for which he designed numerous warehouse buildings himself. He also designed the customs building and the portal of the new Elbe bridge .
- Karl Mohrmann (1857–1927):Mohrmann studied with Hase at the Polytechnic School in Hanover (until 1879), where he would later become his successor. After completing his studies, he was initially in the Prussian civil service before becoming a private lecturer in architecture in Hanover. After working in Hase's office, he moved to Riga as a professor of building sciences for five years (1887–1892). Back in Hanover in 1894 he inherited Hase as a professor of medieval architecture. He also took over the chairmanship of the Bauhütte zum Weißen Blatt founded by Hase (from 1902). Mohrmann managed to further develop the principles of the Hanover School and to maintain their influence until the 1920s. His work includes the restoration of the cathedral in Riga, his own house on Herrenhäuser Kirchweg in Hanover, the Protestant Martin Luther Church in Bremen and other churches in Hanover, Bremen and Oldenburg.
- Edwin Oppler (1831–1880):Oppler was also one of Hase's students at the Hanover Polytechnic (until 1854) and worked in the teacher's office. After completing his studies, he gained experience in Belgium and France, after which he worked as a private architect in Hanover (from 1861); At the time, Oppler was also a member of the Hanover Architects and Engineers Association . His work in Hanover includes the Villa Solms, the Jewish cemetery An der Strangriede , the New Synagogue and the Israelite School, as well as Hagerhof Palace in Bad Honnef and other houses and synagogues in Wroclaw, Karlsbad, Norderney and Hameln.
- Julius Rasch (1830–1887): Rasch began his studies at the Polytechnic School in Hanover under Tramm and at the same time worked in the central office of the Hanoverian Railway, whose architect he became after graduating (1852). Here he rose from building manager to building inspector before moving to Alfred Krupp in Essen in 1875 . From 1875 he was active as a government and building councilor in Berlin. Together with Hase and Adolf Funk , he designed numerous train stations, including: Alfeld, Elze, Göttingen, Hann.-Münden, Leer, Papenburg, Nordstemmen. He also built the headquarters of the Hanover Railway in Joachimstrasse in Hanover, as well as some residential buildings.
- Christian Heinrich Tramm (1819–1861): Tramm first studied at the Polytechnic School in Hanover (from 1835) and then switched to gardeners in Munich (1838–40). After completing his studies, Tramm returned to Hanover to work as a court construction manager; he also worked for Laves . Tramm is considered a supporter of the round arch style , the frame version of which he developed. His works in Hanover include the horse stable in Georgengarten, Villa Kaulbach on Waterlooplatz and Villa Simon on Brühlstrasse. The Welfenschloss and the wing of the Henriettenstift building on Marienstraße are particularly significant in terms of urban planning .
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The construction hut
In November 1880 Conrad Wilhelm Hase founded the Bauhütte zum weiß Blatt to counter the dwindling influence of his work. In the late 1870s, the situation for the Hanover School had changed: After the founding of the empire , there was a building boom ( Wilhelminian era ), during which the various schools of architecture mixed more and more. In addition, the importance of the Hanover Architects and Engineers Association grew at the expense of Hase's activities. The chosen suffix “to the white sheet” is probably an allusion to the Hanoverian Freemason Lodge Friedrich zum white horse , whose members included Georg LF Laves . The concept of the construction hut stipulated that a member first had to present his drafts to his colleagues for review. By developing a uniform style, the artistic quality of the buildings should be further increased. The guiding principle of the Bauhütte was recorded in several motto, which coincided with Hase's principles:
- Equality before art! : The work of a teacher is not per se more valuable than that of his student, it is only the creative strength of a person that counts.
- Friendship in the hut! : The members of the Bauhütte compete against the advocates of other styles and are friends with one another. This was important because the members not only competed for contracts with the followers of other schools, but also among themselves.
- Truth in art! : This principle relates to the contentious use of exposed bricks as a visible raw material. Every material should be considered “real” if it is used correctly.
- Hold on to the old! : This was intended to encourage members to be self-critical. It is important to respect the art of the past and not to overestimate the importance of your own current construction projects. This principle has often been misunderstood as a backward agility on the part of the members.
As early as the 1880s and 1890s, however, more and more Hase's students deviated from his strict principles.
Style elements
Round arch style
In the middle of the 19th century, the Hanoverian architects abandoned more and more of Laves ' classicist style . From 1845 to 1856 Ernst Ebeling and later Hermann Hunaeus built the General Military Hospital (not preserved) in the Calenberger Neustadt of Hanover. While Ebeling planned a plastered facade for this, Hunaeus changed the plans after Ebeling's death to a shell version with visible bricks and sandstone. Ludwig Droste already used the Tramm style for the Lyceum (later Ratsgymnasium ) on Georgsplatz (not preserved) , and red bricks and sandstone were also openly shown here. Christian Heinrich Tramm himself created the Welfenschloss from 1857 to 1866 , which later became the main building of the University of Hanover . According to the building historian Günther Kokkelink, its characteristic framework and its structural details make it appear as an example of the “most mature expression” of the Tramm style. Kokkelink considers the future Künstlerhaus Hannover , built from 1853 to 1856 as a museum for art and science, to be “a further increase” in the three-dimensional variety of the round arch style . The architect, Conrad Wilhelm Hase , designed the exterior with differently colored bricks and some sandstone details, with which he emphasized the “beauty of the material”. The artists' house marks the high point of the round arch style in Hanover, which, compared to other cities, was spread quite late and showed more variations than elsewhere.
Further examples of the round arch style in Hanover are the house of the military clothing commission ( Hermann Hunaeus , 1859/60), the Henriettenstift building on Marienstraße (Christian Heinrich Tramm, 1861–63), the Marstall building at the Welfenschloss ( Eduard Heldberg , 1863– 65) and the duplex at Prinzenstrasse 4 and 6 ( Georg Hägemann , 1869).
House of the Military Clothing Commission in Hanover-Calenberger Neustadt ( location )
Double house Prinzenstrasse No. 4 and 6 in Hannover-Mitte ( location )
Neo-Gothic Hanover School
Overview
Hase's architectural style - sometimes also called "Hasik" by supporters and critics - was influenced by medieval brick Gothic, whereby the statics of the building and the preferably local building material (wood, brick, sandstone) used should remain visible to the viewer. The brickwork façades, recognizable by the lack of external plaster, were adorned with brick, often glazed bricks, and on shapes with a German band and a tooth cut . Typical are stepped gables on the verge and segmental lintels above windows and doors ( round arch style ).
Roofscapes
"Moving" roof landscapes are a specialty of the Hanover School. In addition to bay windows and turrets, the architects often used ornamental gables to decorate a building. In Hanover, Conrad Wilhelm Hase started this development by adding a small, brick decorative gable with corner pinnacles to his own house in 1860/61 . A short time later, in 1864/65, his students Wilhelm Hauers and Wilhelm Schultz adopted these stylistic devices for the gym of the gymnastics club in Hanover's Maschstraße. A corner angular gable was placed on top of a triangular gable, which, according to the building historian Günther Kokkelink, deviated creatively from the medieval models. In the course of the next few years, the brick industry achieved some technical advances and was able to deliver more and more diverse shaped bricks, which allowed the architects to develop ever more sophisticated roof landscapes. This also benefited Ludwig Frühling, who had the factory owner's villa Schwarz built in Hanover's Parkstrasse (today Wilhelm-Busch-Strasse) in 1886, with decorative gables similar to those of the town hall in Hanover . Karl Börgemann's Grönes Hus from 1899 in Hanover's Sextrostraße surpassed previous buildings in imaginative design with its facade and roofscape , Kokkelink speaks of an "imaginative increase in the corner gable". The house has thus moved further and further away from the peculiarities of medieval construction and marks the transition from neo-Gothic to Art Nouveau .
Use of bricks
The visible use of bricks for facing the facade played a decisive role in the Hanover School. The "brick size" determined the design of the walls and ensured an "even horizontal layering", as Theodor Unger put it in his architecture guide in 1882. The joints between the stones structure the building; all surfaces, friezes and columns can be broken down into a certain number of brick layers. The architects and master masons had numerous means at their disposal to decorate the buildings with decorative details: They used shaped stones or polychrome bricks on a facade (for example in red and yellow, as in the clementine house ). In addition, bricks glazed in different colors were used (for example in brown, black and green). However, Theodor Unger turned out to be an outspoken opponent of the glazed bricks, which he said had an "insulting effect". He took the view that glazes should be "banned" from brick buildings or at least "reduced to an extremely modest level".
A particularly large number of distinctive decorative elements adorned the magnificent villas, but there were also numerous details in the usual residential construction that can often only be seen at second glance. In the opinion of the building historian Günther Kokkelink , the architects Karl Börgemann and Karl Mohrmann proceeded particularly boldly; Kokkelink describes them as "brick virtuosos [...] who pulled out all the 'stops' of Hanoverian brick architecture". The Villa Willmer (Hanover), for example, came from Börgemann , and its tower and ribbon windows showed an “immense wealth of forms”. Börgemanns Heiligen-Geist-Stift (Hanover) received extensive ornament fields and colored glazed bricks that contrasted with the rest of the wall. With the three-dimensional foliage in the ornament fields, Art Nouveau already sounds like , according to Kokkelink. However, the architect remained true to the concept of continuous joints and applied them both horizontally and diagonally. Börgemann's preference for glazed bricks can be observed most clearly at Grönen Hus (Hanover). Here he worked particularly clearly with the complementary contrast between green and red stones. According to Kokkelink, "particularly attractive glazes [...] come into their own best [...]" on this house. The Gröne Hus represents a transition from the Hanover School to Art Nouveau. Karl Mohrmann's own house on Herrenhäuser Kirchweg in Hanover also deviates significantly from the "classic" teaching in its details: the gables were given brightly plastered surfaces for decoration. There were also many other, lesser-known architects who would have known how to use the building material in a “creative, playful way”. Friedrich Wedel, who learned from Hase, is an example of this. He used decorative shaped stones for the residential and commercial building he designed at Callinstrasse No. 4 (Hanover).
Decorated with foliage and ornament boxes central projection of the Holy Spirit pin ( location )
Brick fence post with rhythmically inserted glaze stones on the Holy Spirit pen ( location )
Use of shaped stones: House Callinstrasse No. 4 ( location )
Shaped stones at the entrance to the gymnasium of the Hanover gymnastics club ( location )
Typology of exemplary buildings
Sacred buildings
The sacred buildings of the Hanover School have a special position. Many supporters worked primarily in the construction of churches, including Johannes Otzen , Christoph Hehl , Johannes Franziskus Klomp , Johannes Vollmer and Eduard Endler . Even with Conrad Wilhelm Hase , the focus here: He worked 171 Church building projects (including 76 new buildings) to secular buildings he created 66. The Hannoversche school was therefore often classified as "church style" in the past. However, this assessment falls far too short in view of the countless residential buildings, factories, schools, post offices and hospitals.
In Germany there was brisk building activity at churches in the second half of the 19th century, the peak of which was between 1880 and 1914. The reason for this was essentially the growing urban population , triggered by industrialization. New parts of the city emerged outside the old city center, and new parishes were founded in many places. In Hanover, this phase began with the spectacular building of Christ Church in 1859. At Ulrike Faber-Hermann they considered "real original building of the Hannoversche [ sic ] school," Guenther Kokkelink writes of an "architectural [n] Sensation". The church turned out to be unusually large and grand. According to Kokkelink, the very finely designed, detailed roof landscape is typical of the early phase of the Hanover School . In the three-dimensional structure of the building, however, the Christ Church resembles later buildings. Hase also succeeded in creating a “bold composition” in the implementation of the entrance area: the western corner buttresses of the tower are pulled forward so far that there is space between them for a vaulted vestibule, which Hase crowned with a “mighty eyelash ”. The new building of the Christ Church in Hanover remained without further example for a long time. It was not until almost 20 years later, from 1878 to 1882, that the Zionskirche (today: Erlöserkirche) was built in Linden, the next big city church. The Apostle Church and Trinity Church followed in Hanover within a few years .
| image | building | year | place | architect | Description in architecture criticism | receipt |
|---|---|---|---|---|---|---|
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Christ Church | 1859-64 | Hanover-Nordstadt ( location ) | Conrad Wilhelm Hase | Particularly filigree roof landscape , the "plasticity" of the structure is comparable with later buildings of the Hanover School | |
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New synagogue | 1864-70 | Hannover-Calenberger Neustadt ( location ) | Edwin Oppler | destroyed during the November pogroms in 1938 | |
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Church of the Redeemer (Zionskirche) | 1878-80 | Hannover-Linden Süd ( location ) | Conrad Wilhelm Hase | three-aisled, vaulted hall church with subsequently added tower (1882), unit with rectory "disturbed" by its demolition in 1980 | |
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Trinity Church | 1880-83 | Hannover-Oststadt ( location ) | Christoph Hehl | Gallery basilica ; less detailed roof landscape than earlier designs, more plasticity in the lower area | |
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Apostle Church | 1880-84 | Hannover-Oststadt ( location ) | Conrad Wilhelm Hase | The design is similar to the Erlöserkirche in Hanover, but has a "new disposition"; through Hase's “astonishing creative ability” interpenetrating and abutting structures | |
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Church of the Redeemer | 1890-92 | Berlin-Rummelsburg ( location ) | Conrad Wilhelm Hase | slightly enlarged copy of the Hanoverian Apostle Church; Gallery basilica | |
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Elisabeth Church | 1888/9 | Langenhagen near Hanover ( location ) | Conrad Wilhelm Hase | large vaulted church with narrow aisles; new, high west tower discarded for cost reasons |
Castles
In the case of castles, there was a similar enthusiasm for the Middle Ages among architects and builders as in churches. The castles were based on earlier, well-fortified castles and were therefore given their typical design elements such as battlements or towers. After the castle ruins that were still preserved were restored in the first phase, there was lively activity in the construction of new palaces from the middle of the 19th century, which also included the Hanover School. It went through a change in the decades to come: the architects moved away from symmetrical, regular cubic forts to asymmetrical structures. While the Marienburg , designed by Conrad Wilhelm Hase , still had a fairly orderly appearance, Julius Rasch designed Imbshausen Castle as the first irregular castle based on the principles of the Hanover School. In addition to the two named, Edwin Oppler , Christoph Hehl , Karl Börgemann , Adelbert Hotzen and other architects also worked as palace builders .
| image | building | year | place | architect | Description in architecture criticism | receipt |
|---|---|---|---|---|---|---|
|
Marienburg Castle | 1858-62 | Pattensen ( location ) | Conrad Wilhelm Hase | largely symmetrical, four-winged fort complex based on a medieval model; partly simply designed structure, partly rich in detail | |
| Hastenbeck Castle | 1860 | near Hameln ( location ) | Adelbert Hotzen | angled floor plan with a large tower (upper part unfinished); many references to the Marienburg | ||
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Imbshausen Castle | 1862-64 | near Northeim ( location ) | Julius Rasch | new exterior architecture for an existing complex from the 16th century; fundamentally changed room layout |
Council and state houses, courts
Town halls have always embodied civil liberty and independence, which made the buildings the most important and representative secular buildings until the 20th century. The urban population, which grew rapidly in the course of industrialization , ensured that administrative tasks also increased significantly. For the town halls, this meant numerous conversions, extensions or new buildings. However, these building projects were not based exclusively on practical aspects; the town halls also fulfilled an important social function. They could be used to represent architecturally how proud and important a city had become.
The building historian Günther Kokkelink judges the town hall in Hanover that it served as a model for other cities in northern Germany. The building, which dates from the Middle Ages, was expanded and restored several times between 1839 and 1891. This phase of redesign had already started in 1826, when the city director Wilhelm Rumann planned to demolish the old town hall. According to him, a larger new building should be built at the same location, which would have offered twice as much usable space as the old building. The design came from the city architect August Andreae , who envisaged a four-storey house in the arched style . However, the project met with massive resistance from the citizens and the mayor council, so that Rumann abandoned the implementation. Instead, he successfully applied for the construction of a new interior "prison house" as an extension of the town hall. Andreae designed it from 1839 to 1841 based on the round arch style, but also equipped the wing with style elements that were largely unknown until then. Using brick reliefs , two-storey blind arcades , segmental arches and pilaster strips , Andreae developed a formal language that was later taken up by the Hanover School. The prison wing was followed by the court wing along Köblinger Strasse until 1850, for which the former pharmacy wing had to be demolished beforehand. Andreae executed the facade of the court wing with "northern Italian-Romanesque" shapes, which is why the building part was quickly nicknamed the "Doge's Palace" in popular parlance. In the next twenty years there were protests again, which prevented the construction of new wings. It was not until the end of 1863 that the magistrate commissioned the Hanoverian architects and engineers association to work out a restoration and utilization concept for the town hall. The discussions about the concept lasted a good ten years before Conrad Wilhelm Hase was called to draw up plans for the restoration in 1875 . Hase's designs were well received by the magistrate, who decided to carry them out in early 1877. In Hase's plans “the medieval state, omitting all later additions” was provided; During the execution, the plans were only slightly changed by adding a few stairs and partition walls. The restoration work for the exterior of the market wing was completed in 1879, while the interior work continued until 1882. At the time of the inauguration, a general assembly of German architects and engineers took place in Hanover. The participants praised Hase's designs for the "conceptual uniformity, the all-encompassing division of the interior and exterior" and "the total restoration of the Gothic state". In the opinion of Günther Kokkelink, Hase proceeded very cautiously at the town hall in Hanover, as he had demanded with his motto “stick to the old”. The "venerability of the old monument" was more important to Hase than the "subjective artistic ambitions". As the last part of the town hall, the new "Hase-Wing" on Karmarschstraße was built from 1890 to 1891. The south-east facing wing became necessary after the group road had previously been laid out. This, now called Karmarschstrasse, led through the old town as a breakthrough to ensure a quick connection between the train station and the city of Linden to the west . For the sake of representation, Hase gave the wing an additional floor and a "magnificent" central gable. On its front sides, the wing received corner pinnacles, which flank the town hall to the southeast in an almost symmetrical manner.
The Hanoverian fall had an "animating effect on other north-west German cities with Gothic town halls": the city planners now often preferred total restorations to selective partial restorations. Just a few months after the inauguration in Hanover, Heinrich Gerber drafted the plan for a complete restoration of the Göttingen town hall . This was realized between 1883 and 1886. In Hildesheim, Gustav Schwartz was in charge of the extensive restoration of the town hall, carried out from 1883 to 1887. In Lübeck it was Adolf Schwiening who in 1883 presented a plan for the overall restoration of the town hall there. All three - Gerber, Schwartz and Schwiening - had learned from Hase.
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Old Town Hall Hanover | 1878–82 (market wing, picture) and 1890/91 ("rabbit wing") | Hannover-Mitte ( location ) | Conrad Wilhelm Hase | extensive restoration of the medieval building; later addition of the south wing ("rabbit wing") to the newly laid out Grupenstrasse (today Karmarschstrasse); Market wing and hare wing with frontal corner angular gables, hare wing one floor higher than the market wing and with a “magnificent” central gable | |
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Old Linden Town Hall | 1883-84 | Hannover-Linden Mitte ( location ) | Christoph Hehl | at an “effective urban development” location at a fork in the road; Council chamber with three “splendid” segmented arched windows; Roof landscape with corner gable, corner turret and pointed roof turret with bell destroyed in the war | |
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Lübeck Town Hall | 1887-94 | Lübeck , Breite Strasse ( location ) | Adolf Schwiening | extensive renovation by Schwiening; new, "monumental" north facade as an expression of "Hanseatic self-confidence" | |
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Rostock State House | 1889-93 | Rostock , Wallstrasse ( location ) | Gotthilf Ludwig Möckel | approximately square building, "systematically [...] structured", similar to Schinkel's building academy ; covered inner courtyard with "representative" staircase | |
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Courthouse in Lübeck | 1894-96 | Lübeck , Große Burgstraße ( location ) | Adolf Schwiening |
Museum buildings
Most of the museums during the neo-Gothic construction phase were built in the 1880s and 1890s, described by the art historian Volker Plagemann as a time of state museum construction. This period was preceded by the phases of the princely (1815–1848) and civil (until 1870) museum building. From the latter, the principles of a “monumental external appearance” of the houses continued to have an effect until the turn of the century. Accordingly, the museums received representative buildings as important educational institutions. The Dresden picture gallery , built by Gottfried Semper in 1847–55 , served as a model for many building projects . Its neo-renaissance style has become the standard in museum construction alongside classicist art temples. The Hanover School was therefore only able to assert itself for such construction tasks in its strongholds.
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Künstlerhaus Hannover | 1853-56 | Hannover-Mitte ( location ) | Conrad Wilhelm Hase | early building made with exposed bricks; with multi-colored bricks and “carefully crafted sandstone elements”, plus decorative details that looked almost “exotic”; gold medal of honor of the king in honor of Hase | |
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Cumberland Picture Gallery | 1883-86 | Hannover-Mitte ( location ) | Otto Goetze | Appearance of an “outwardly simple functional building” reminiscent of industrial buildings; inside “representative” staircase with “decorative” iron constructions | |
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Museum for the Principality of Lüneburg | 1889-91 | Lüneburg , Wandrahmstraße ( location ) | Ferdinand Munzenberger | Combination of round arch style, Hanover school and Brandenburg architecture; Largely destroyed in World War II, renovated and expanded in 1970 |
School buildings and gyms
Triggered by industrialization, there was a strong increase in the city's population in the second half of the 19th century. In addition to other challenges in the area of housing construction and infrastructure, numerous school buildings had to be rebuilt within a few years. In Hanover, the number of pupils in elementary schools rose from around 7,500 in 1876 to almost 27,000 in 1905. Different types of schools were created for different requirements: grammar schools and reform grammar schools, higher secondary schools, secondary schools, middle schools, elementary schools, schools for the blind and deaf-mute, schools for members of the religious community Minorities and auxiliary schools. Within the school types there was a hierarchy in which grammar schools and secondary schools were at the top and were therefore the most elaborate in terms of design. The principle of the Hanover School of using the brick unplastered saved the city administration costs.
There were no premodern models for the gymnasiums built in the 19th century . The architects therefore initially derived their designs from assembly rooms such as those used in churches or schools. The emerging gymnastics movement under the “gymnastics father” Friedrich Ludwig Jahn served as leisure activities, but was also intended to get the Germans in shape for armed conflicts. The movement's logo, the Turner's Cross , first appeared in 1846. It is made up of four “F” which stand for the movement's motto “fresh, pious, happy, free” . Many gyms of the Hanover School received the cross as an ornament. The gym on Maschstrasse in Hanover was built by Wilhelm Hauers and Wilhelm Schultz. Built in 1864/65, it is probably the oldest surviving building in the Südstadt district . It is also one of the halls that were built very early on for a gymnastics association. The building is very broad with 15 window axes . Originally it only had two floors, but was increased when the damage caused by the Second World War was repaired. A special feature of the hall is its eccentrically arranged entrance project with a triangular gable and attached corner gable. Inside, the supporting structure can also be seen, it consists of pillars connected with pointed arches. According to the monument topographical atlas of 1983, the gymnasium is of great importance for Hanover despite the subsequent renovation .
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Former Middle School Davenstedter Strasse | 1885 | Hannover-Linden Mitte ( location ) | Friedrich Knust | simple appearance similar to that of industrial buildings, a few neo-Gothic elements, only two-storey blind arches, diamond friezes with green glazed tiles and an arch fries at the eaves cornice | |
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School Kestnerstrasse | 1887/88 | Hannover-Südstadt ( location ) | Eberhard Hillebrand | “Classic” Hanover school: simple design means for economical practicality of the brick; glazed bricks, sills and simple diamond friezes emphasize the horizontal; Risalites and stepped gables emphasize the vertical | |
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Former Citizens' School Edenstrasse | 1892/93 | Hannover-List ( location ) | Paul Rowald | Neo-Gothic over two-storey blind arches, stepped gables on the stairwell risalits and green glazed tiles, softening through entrance portals with round arches (to Edenstrasse), no pointed arches , but mansard roof | |
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Former Provincial Facility for the Blind | 1892/93 | Hannover-Kleefeld ( location ) | (Gustav?) Schaumann | Building set back from the street with three storeys, transverse wing to the street indicated as a risalite; structured and decorated with Gothic shapes; Main portal of the central wing with high pointed arch windows in the prayer room; used today as a school | |
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School Alemannstrasse | 1893-95 | Hannover-Vahrenwald ( location ) | Paul Rowald | School building for 28 classes; two-storey blind arches according to Wilsdorff's scheme, but with higher and prepared risalits at the corners than at the stairwells; flat basket arches , arched archivolts and light tracery fields differ significantly from the details of the “classic” Hanover school | |
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Hanover Gymnastics Club | 1864/65 | Hannover-Südstadt ( location ) | Wilhelm Hauers and Wilhelm Schultz | contemporary "figurehead" of the Hanover School; Entrance with Turner's cross on a triangular gable crowned with corner pinnacles; green or black glazed shaped stones |
Hospitals and homes
Church hospitals already existed in the Middle Ages, most of which were built near the city center. In addition, there were “infirmaries” (such as plague houses ) that were built outside of the city to prevent the spread of epidemics. In the 19th century, hospital buildings for specific needs were built for the first time after scientific findings on the requirements for certain therapies had been worked out. It was around this time that the concept of pavilions also became popular. In addition to the general hospitals, specialist clinics, such as maternity homes and children's hospitals, also emerged.
Around 1860 , King George V had two smaller state lunatic asylums built for mentally ill people . The two houses, one in Osnabrück and one in Göttingen, should be able to accommodate 200 people each. Adolf Funk and Julius Rasch designed the Göttingen facility as a closed, symmetrical complex with a garden in the center. Most of the buildings were designed by the architects in the arched style or in a “neo-Gothic style that was still more classicistic”, as the building historian Günther Kokkelink put it. For the chapel, Rasch decided on the Hanover School - probably quite deliberately, as the literature suggests. Within the complex, the chapel was of particular importance: with its "beautiful vaults" it was supposed to resemble a normal village church and thus help to alleviate physical suffering. A mere prayer room within the building was not considered sufficient to provide comfort and strength. Since there was not enough of the same building material available for the entire complex, Rasch had to mix different types of stone, including sandstone, tuff, brick and yellow facing bricks.
With yellow brick veneered Christoph Hehl the Clementinenhaus emerged 1885-1887 in Hannover-List . With bricks in red in a different color, he took up the idea of brick polychromy, which Conrad Wilhelm Hase had already used in 1856 in today's Künstlerhaus . The two and a half storey building that has been preserved is the oldest part of the hospital today. The building stands free and is set back a little from the adjacent Lützerodestrasse, facing east to west and the front facing south. The facade is constructed symmetrically with three gabled risalits . The middle one houses the entrance and is therefore somewhat wider and higher than the side risalits.
The St. Spiritus Hospital (Heiligengeiststift) was built in Hannover's Heiligengeistraße from 1892 to 1895 . Karl Börgemann chose design elements from the “classic” Hanover school. A south facade of 76 m length was created. It received a central projectile with a “magnificent” corner angular gable, as well as two side projections that point to the rear wing. In the horizontal direction, the facade is structured by differently colored brick strips, and the cornices also vary . The third floor is highlighted from the lower one, here double windows and blind arcades alternate. The central risalit also has dark green glazed tiles that give it additional structure. The building of the Heiligengeiststift is one of the “most impressive” secular buildings of the Hanover School that have been preserved.
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Asylum in Göttingen | 1866 (opening) | Göttingen ( location ) | Adolf Funk and Julius Rasch | mainly in the arched style, closed complex with central garden; Chapel after the Hanover school | |
 
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Old Bethesda (original building / extension) | 1873–75, 1884 (expansion) | Hannover-Kirchrode ( location ) | Heinrich Wegener, plans by Adelbert Hotzen | Original building: segmented arched window "originally designed" with "unusually bricked tracery" in a modified three-pass shape; Extension: Gothic-style mid-houses on the eaves, with stepped gables and fial-like crowning; coupled windows, glazed bricks, and sills | , |
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Clementine Hospital | 1885-87 | Hannover-List ( location ) | Christoph Hehl | polychrome brick facade in yellow with red accents | |
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Holy Spirit Pen | 1892-95 | Hannover-Bult ( location ) | Karl Börgemann | System based on the “classic” Hanover school, one of the “most impressive” secular buildings that has been preserved; "Elaborate [e]" south facade "adorned" with a corner branch gable on the central risalit, ornaments and foliage |
Villas and family houses
The Villa Willmer was the “most magnificent and largest” villa built according to the principles of the “classic” Hanover school. Karl Börgemann designed the building from 1884–86 for the Hanoverian brick manufacturer Friedrich Willmer . The house was located in Hanover-Waldhausen and at the time cost the enormous sum of around 2 million gold marks and was about three times the size of conventional villas. Thanks to the Hanover School, Willmer had made a fortune, and the brick buildings that were being built everywhere generated huge sales. The villa had an angular floor plan and contained around 75 rooms, of which over 50 were on the three floors. In its size and design, the house was more like a castle than a villa. The popular nickname Tränenburg probably stems from the fact that Willmer treated his workers badly and they shed many "tears" for the construction of the house. The building survived the Second World War almost unscathed. Nevertheless, despite extensive public protests, it was demolished in 1971 for a new building project that was ultimately never implemented.
In Kassel, the so-called Villa Glitzerburg (actually Villa Wedekind) built by Wilhelm Lüer and Conrad Wilhelm Hase was a highly regarded building in the style of the Hanover School. At the time it was the largest private residential building in Kassel.
At the turn of the century, land prices often increased so much that single-family homes were grouped together. An outstanding example of this is the home of the architect Karl Mohrmann in Hanover, described in the Blätter für Architektur und Kunsthandwerk 1913 as "one of the most successful and characteristic [residential houses] of the newer Hanoverian architecture". Contrary to the usual design principles of the Hanover School, Mohrmann chose a rectangular pinnacle or pillar gable for his house, into which he integrated painted plaster fields. Such a motif comes more from Gothic buildings on the Baltic Sea than from the Hanover area. Mohrmann emphasized the corner of the house with a "mighty" tower with a crenellated viewing platform.
A few years before the Mohrmann house, around 1890, a group of villas was built at the western end of Callinstrasse in Hanover. The confluence with Nienburger Straße is highlighted with the left tower of the double villa No. 48/50. The towers with their pointed helmets are a typical feature of the Hanover School, as is the decorative gable.
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Villa Willmer | 1884-86 | Hannover-Waldhausen ( location ) | Karl Börgemann | Outstanding magnificent building with a “castle-like” appearance, largest villa in the style of the “classic” Hanover school | |
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Villa Black | 1886 | Hanover-Nordstadt ( location ) | Ludwig Spring | two-storey villa with an irregular floor plan; more elaborate pinned gable, borrowed from the town hall , oriented towards the park; built for the manufacturer Carl Schwarz, later used by a student association | , |
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Callinstrasse villa group | 1890 | Hanover-Nordstadt ( location ) | Otto Goetze | typical magnificent buildings with ornamental gables and pointed helmets | |
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House Mohrmann | around 1900 | Hanover-Nordstadt ( location ) | Karl Mohrmann | Corner house for two families with a mighty observation tower and pillar gable with painted plastered gables; After being destroyed in the war in the 2010s, it was largely restored to its original state | , |
Rectories
Parsonage houses are a special form of residential building. The art historian Günther Kokkelink says that in the 19th century they were often executed with their own design standards. The neo-Gothic style has proven to be particularly suitable for this building task. Their formal language of medieval sacred buildings was very well suited to underline the purpose of the rectory. In the country, the rectories often received outbuildings for stables or as sheds, mostly with a restrained design. At the end of the 19th century, ensembles of churches and parsonages were often created in "picturesque groupings".
Ludwig Frühling designed the rectory for the market parish on the market square in Hanover in 1883/84. The house corresponds to the nearby town hall , which Conrad Wilhelm Hase had renovated a few years earlier , via its three “magnificent” corner angular gables .
The parsonage of the Christ Church in Hanover was designed by Karl Börgemann . In addition to apartments for several families, the large, “imposing” corner building also houses rooms for other church-related purposes, such as a library or meeting rooms. The house, built in 1905/06, has a corner tower and high stepped gables, the facade is equipped with green glazed bricks. As usual for later buildings of the Hanover School, the house is provided with larger areas and shows fewer small details. After being destroyed in the war, it was rebuilt in its old form between 1946 and 1948.
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Kleefeld rectory | 1877 | Hannover-Kleefeld ( location ) | Ludwig Spring | Brick building of "simple brick decoration", created at the same time as the nearby Kindergarten Kapellenstrasse No. 7 | |
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Rectory of the market parish | 1883/84 | Hannover-Mitte ( location ) | Ludwig Spring | Part of the new square front; House with three "splendid" corner pinnacles, matching the nearby town hall | |
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Rectory of the Christ Church | 1905/06 | Hanover-Nordstadt ( location ) | Karl Börgemann | "Imposing" corner house with tower; Execution in the later style of the Hanover school, more flat and with fewer small-scale details | |
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Rectory of the Luther Church | Hanover-Nordstadt ( location ) |
Residential, residential and commercial buildings
Conrad Wilhelm Hase and Adelbert Hotzen introduced the Hanover School in residential buildings in the 1860s. Initially, the Gothic style found favor with aristocrats, but also some wealthy citizens interested in art were enthusiastic about it. The brick architecture was perceived as "German" at the time; unlike plastered buildings, these buildings appeared to be "honest". Some freelance architects advertised their skills by building “neo-Gothic 'model houses'” for their own account, which they then sold ready for occupancy. While villas were built on spacious, park-like plots, the residential buildings in less upscale residential areas had to make do with small plots. Here the effect of a building depended directly on the surrounding houses, which is why an architect often built several contiguous plots at the same time. In the opinion of the building historian Günther Kokkelink , a uniform style and thus a greater urban impact was achieved. Corner houses often received a tower and could thus develop an even greater effect than row houses. These striking corner buildings were often used as residential and commercial buildings. Although development costs were then incurred for two streets, the additional use as a commercial building increased the return. Advances in the brick industry resulted in falling prices for building materials in the 1870s and 1880s, and brick buildings became affordable for more and more builders. The argument that brick facades do not require any special care, unlike plastered buildings, turned out to be particularly promotional. Therefore, apartment buildings were increasingly built according to the principles of the Hanover School. This was especially true for the rapidly growing districts of Hanover, the Oststadt and the Nordstadt , as well as the then still independent city of Linden .
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Pharmacy at Klagesmarkt, Postkamp 16 | 1860/61 | Hannover-Mitte ( location ) | Conrad Wilhelm Hase | the protruding, tower-like porch ensures a “very three-dimensional” facade, supported by the inclination on the property; Mixed construction of brick and sandstone; 1958 increased | |
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Double house Eichstr. 3 u. 5 | 1888 | Hannover-Oststadt ( location ) | Friedrich A. Ilse | Houses with green-glazed figure frieze; House No. 5 (right) is in better condition with the original gable and rose window above the door; both arenas now closed to verandas | |
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Postkamp House 18 | 1888 | Hannover-Mitte ( location ) | Otto Bollweg | high apartment building, illustrates the “urban concentration process”; with tower-like round turrets on the gable | |
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Ratsapotheke Karmarschstr. 44 | 1889-91 | Hannover-Mitte ( location ) | Paul Rowald | New building to replace the old Ratsapotheke, demolished for the construction of Karmarschstrasse; unusual combination of different elements of the round arch style with those of the Hanover School; Echoes of the Berlin Red City Hall , takes a back seat next to the City Hall; Statues by Wessel : Hygieia and Hippocrates | |
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Residential and commercial building Gretchenstr. 44 | 1891 | Hannover-Oststadt ( location ) | Heinrich Waldvogel (master mason) | has a “particularly good” workmanship with “elaborate” details, no. 44 a bit simpler than house no | |
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Residential and commercial building Bödekerstr. 58 | 1895-97 | Hannover-Oststadt ( location ) | Johannes Franziskus Klomp | Corner house "defining the cityscape" and "one of the most beautiful preserved corner houses" Hanover School; House with bourgeois 7-room apartments per standard floor; late example of the “classic” Hanover school with bay windows, balconies, corner pinnacles and pointed spire; In the 1970s, the Sparkasse branch on the ground floor was clad with concrete slabs and was restored to its original state | |
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Residential and commercial building Offsteinstr. 1-3 | 1897 | Hannover-Linden Nord ( location ) | August Ottleben (master carpenter) | Simpler “master craftsman architecture” with “skilful” mass distribution, “impresses” with little effort in the design | |
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Dat Gröne Hus , residential building Sextrostr. 1 | 1899 | Hannover-Südstadt ( location ) | Karl Börgemann | Transition from neo-Gothic to art nouveau; Facade rich in shapes and colors with lots of green-glazed bricks, presumably in allusion to the client Simon Gröne; Corner gable gable that grows out of the front and takes up space; green corner turrets with an echo of plant stems; "Unique connection" between the Hanover School and Art Nouveau | |
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Residential and commercial building Fridastr. 1 | 1900 | Hannover-Oststadt ( location ) | simpler apartment building, developed as a speculative property in the less popular area behind the train station at the time | ||
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Residential and commercial building Dohmeyers Weg 6 | 1900 | Hannover-Kleefeld ( location ) | Brick building with a "rich Gothic structure" and glazed shaped stones |
Factories, train stations and other functional buildings
The strict representatives of the neo-Gothic styles endeavored not only to transfer the design features of medieval architecture to churches, town halls and villas, but also to shape other secular buildings with them. This also extended to buildings where practicality was paramount, such as factories, train stations, warehouses or barracks. While many aesthetic teachings did not succeed in extending their formal language to such building tasks, the Hanover School in secular architecture was widely used. At the end of the 19th century, it had virtually made it to the standard of style in industrial construction in northern and western Germany.
Many decades before the Hanover School came into being, at the end of the 18th century, there was a need for multi-storey factory buildings. Large work rooms should be housed in these. The multi-storey structure was necessary to transfer the force vertically via transmissions . The factories were often built inside as a skeleton structure , which was clad with masonry on the outside. For a long time, the skeleton consisted of a wooden construction, against which more expensive cast iron constructions were only slowly asserting themselves at first . Iron support structures, however, had the great advantage of being fire-proof. Where the cross members of the skeleton rested, the outer walls mostly had to be reinforced with pilaster strips , which gave the outer facade a rhythmic structure. The outwardly legible inner construction was entirely in keeping with the neo-Gothic style, which was based on “constructive truth” as the basic principle. Schinkel's building academy in Berlin proved to be trend-setting here , with its distinctive brick pilaster strips in the construction axes becoming a model for other architectural trends. In Hanover, the mechanical weaving mill was the first modern type factory to have an exterior design in accordance with the Hanoverian round arch style. The building designed by Heinrich Ludwig Debo was built in 1857–58. What was new about it were the two tower-like head structures. In addition to the stairwells, they also contained ancillary and supervisory rooms and were clearly set apart from the production wing in terms of design. Mechanical weaving thus anticipated one of the basic ideas of the Hanover School. Their supporters later demanded that the building sections determined by floor plan requirements should be grouped “effectively”. In addition, it should be possible to read from the outside what purpose each part of the building serves.
In the early days of industrialization, manufacturers often had their production buildings constructed as purely functional buildings with only a minimum of decorations. The complex, which was often expanded in quick succession, was often given a certain cohesion only because the buildings were built in the arched style. It was seen as an economical construction method in which architectural decoration could be achieved simply by arranging the bricks accordingly. At that time the importance of a factory was measured almost exclusively by its spatial extent and not by its aesthetic appearance. It was not until the second half of the 19th century that there was a change of heart, and factories were increasingly given a representative shell. After the founding of the empire, the round arch style was finally replaced more and more in industrial construction by the Hanover School.
The stations of the rapidly growing railway network experienced a similar development as the factories. Here, too, the architects moved away from the arched style and towards neo-Gothic, whose design language expressed the pride of the operators.
| image | building | year | place | architect | Description in architecture criticism | receipt |
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Nordstemmen station | 1858-60 | Nordstemmen ( location ) | Julius Rasch , designs by Conrad Wilhelm Hase | Turning away from the round arch style : Triple window with straight lintel in the jamb area; polychrome brick use; Segment arch cover as in later works by the Hanover School | |
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Business books JC König and Ebhardt | 1874–76, expanded 1891–93 | Hanover-Nordstadt ( location ) | Ludwig Spring | Factory building of "constructive solidity" and at the same time "painterly composition", particularly extensive; Work rooms in long central wings with offset corner buildings for administration; representative appearance due to the “urban exposed” location between the city center and the royal gardens ; used today by the university | |
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Urban warehouse brewery | 1872–8 (first section) | Hannover-Südstadt ( location ) | Ludwig Frühling , later Ernst Wullekopf | first construction phase from a group 2- u. 3-storey buildings, constantly expanding, including a management building on Hildesheimer Str .; 1890 “castle-like” malt silo from Wullekopf; the multi-part building complex has the shape of "medieval castles and cities"; Redesign of the plant in the 1970s, only a fermentation building from 1913 preserved | |
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Speicherstadt in the Port of Hamburg (Image: Speicherblock V by FA Meyer ) | 1881-88, 1891-1912 | Hamburg, port ( location ) | Franz Andreas Meyer (management and design of some buildings), Georg Thielen | Major project to create 0.5 million m 2 of storage space in the free port; "Artistic" design of the buildings in order to avoid the "gloomy and clumsy" appearance of stores; Shapes with "painterly variety without exaggerated magnificence" ensure "uniformity in the overall appearance" and "manhood" in detail: pointed helmet towers, wall reliefs, decorative gables (including staggered and pillar gables) | |
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Expansion of the mechanical weaving mill (picture: original building by Debo , 1857) | 1885 | Hannover-Linden Mitte ( location ) | Eduard Heine | Building along Blumenauer Str. With “strong” brick relief and pointed helmets on the corner towers; Demolished in 1971 to make way for the Ihme-Zentrum to create | |
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Barracks at Kriegerstrasse 1 | 1894/95 | Hannover-List ( location ) | unknown | Team building with a "strict" structure and "balanced" proportions in the facade structure; narrow, slit-like high panels in stepped gables, wall structure with two-storey blind niches; Remaining buildings of the barracks ensemble in the Berlin and Hanover arches style | |
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North German wool combing & worsted spinning mill | 1897-1910 | Delmenhorst ( location ) | Henrich Deetjen | The water tower appears as an “effective urban monument”; Structure of the facade with pilaster strips , niches and arches ; The appearance of the factory continues in the associated workers' settlement | |
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B. Sprengel chocolate factory | 1899-1900 | Hanover-Nordstadt ( location ) | Eduard Werner | Extension to Schaufelder Straße: four-story building similar to those of Ludwig Frühling ; Few decorative elements on the facade, "simplicity and rigor" in the execution indicate objectivity |
Distribution outside of the Hanoverian area
The 19th century architects trained at the Polytechnic School in Hanover spread the doctrines there in northern Germany, and in many cases beyond. For example to Flensburg, which was still under Danish rule until 1864. Here Johannes Otzen and Alexander Wilhelm Prale created a series of brick buildings in the spirit of the Hanover School, some of which still shape the cityscape today. The guiding principles represented by Conrad Wilhelm Hase found their way to Norway, where Balthazar Lange and Peter Andreas Blix designed small station buildings in line with neo-Gothic ideals. The Hanoverian influences also reached as far as North America, and as in Norway it also affected the railway architecture there. The German architect Wilhelm Lorenz was in the service of a Pennsylvania railway company and thus had an influence on its station architecture. However, his designs followed the principles of the round arch style more than those of the "classic" Hanover School.
Flensburg
Within Germany, the Hanover School spread north to the Danish border. In Flensburg, which was ruled by Prussia after the German-Danish War in 1864 , Johannes Otzen and above all Alexander Wilhelm Prale shaped the cityscape. Both Otzen and Prale had learned from Conrad Wilhelm Hase in Hanover.
In 1869, Johannes Otzen designed a house for the wholesale merchant Christian Nicolai Hansen, which Eiko Wenzel counted "among the first major building projects in Flensburg, now in Prussia". It was built on Grosse Strasse 77 near the Nordermarkt . The eaves-facing Hansen House was given a three-axis risalit with a stepped pinnacle gable. Green and brown glazed molded stones, a polychrome facade and a colored slate roof ensured that the building turned into a kind of “performance show” for the new style. For Wenzel, in addition to its architectural and historical significance, the house is also relevant to contemporary history because it shows how the bourgeoisie are turning to the German-Prussian state.
Alexander Wilhelm Prale began his work in Flensburg near Otzen, under whose supervision he built two new church towers from 1878 as an architect or site manager: for the church of St. Marien on Nordermarkt and for the church of St. Nikolai on Südermarkt . With their neo-Gothic appearance and their colored slate roofing, the two towers shaped the city's silhouette from 1880 onwards. After completing the two projects, Prale received further orders for church building projects. From 1880 to 1883, for example, he worked on the renovation and expansion of the Diakonissenanstalt, a church hospital. For the representative facade facing the valley town, Prale designed a yellow brick facade, structured by stripes of red bricks. Wenzel attested the building an "important urban development effect" because of its multi-storey structure and despite its small size. However, the neo-Gothic exterior architecture disappeared completely through later extensions and renovations. During his time in Flensburg, Prale also created secular buildings. As early as 1880 he built a commercial building for JA Olsen on Südermarkt (not preserved). The house was in a visual relationship with the recently completed tower of the Nikolaikirche. With its four storeys, it turned out to be significantly larger than the surrounding medieval buildings, which for Wenzel was a “sensitive breach of scale”. The house embodied the “new urban aspirations of the Prussian Flensburg” and also demonstrated the “economic optimism” of the time. The facade held Prale in red bricks; He designed the window openings differently from floor to floor: the ground floor got pointed-arched windows (later replaced by a large shop window), while on the first floor the windows of the right part of the facade were combined in pairs with segmental arches. The ogival windows on the second floor were again in individual blind niches with a cloverleaf arch at the top. The windows on the third floor were closed in an ogival shape and framed in circumferential "molded stone beads", closed at the bottom with sills. A specialty of Prale were the plastered surfaces in the blind niches on which tendrils or functions of the house were depicted. Together with layers of glazed bricks and the colored slate roof, these plastered surfaces gave the Olsen house a “strongly polychrome facade”. Further residential and commercial buildings from Prale followed in the next few years. These include the office and residential building at Schiffbrücke No. 21 (1880/81), the residential and commercial building at Schiffbrücke No. 24 (1882) and the shipping company office and residential building at Schiffbrückstrasse No. 8 (1883). In his pastoral buildings for the St. Nikolai congregation on Südermarkt (1900) and the St. Johannis congregation at the Johanniskirchhof (1903/04), Prale took up the corner villa type. This had become a popular solution of the Hanover School since the 1870s.
In Flensburg, at the end of the 19th century, Alexander Wilhelm Prale had risen to become a leading architect, whose building quality, according to Wenzel, could only be achieved by projects by Johannes Otzen. Even after 1900 Prale remained firmly attached to the neo-Gothic style in sacred buildings and was subsequently unable to win any major orders. In the secular building he slowly turned to the emerging Art Nouveau around 1902. However, Prale did not succeed in developing the brick construction he represented up to the onset of homeland security architecture , comments Wenzel.
Norway
The Norwegian architects Balthazar Lange (1854–1937) and Peter Andreas Blix (1831–1901) worked in the railroad construction of their home country in the 1880s. Both had studied under Conrad Wilhelm Hase at the Polytechnic School in Hanover. The guiding principles of the Hanover School had already had a major influence on the architecture of Norway since the late 1850s, as many Norwegian architects had trained with Hase. In Christiania ( Oslo ) there was a special group of followers.
In an essay published in 2011, Mari Hvattum discusses the development of Norwegian railway architecture in the 19th century. The architects Lange and Blix created the station building on the so-called “ Jarlsberg route ” along the south-eastern coast of Norway between the cities of Drammen and Skien . While the stations in larger cities received buildings in a more common neoclassical style, the rural stops were provided with wooden buildings, the style of which varied and was determined by very diverse influences. Due to this different design, the contrast between the small and large stations was remarkable. According to Hvattum, the wooden appearance of the rural train stations was seen as a reflection of the regional environment - Nordic - while the urban stations reflected a European - classicist - character. The Jarlsberg route thus illustrates a cultural confrontation that defined the 19th century. For the German Romantics , based on Johann Gottfried Herder , the north was associated with “anti-classicist” motifs that were viewed as “unsophisticated” and “natural”. In contrast to this would be the “classicist south”. These two contrasts can also be found in architecture, in which neoclassicism and neo-Gothic form the two camps. The neo-Gothic stood for an expression of "spontaneity" and "liveliness". The rural train stations in their traditional, wooden construction are in line with Hase's doctrine. He saw medieval architecture as a Nordic style: a regionally credible alternative to the “rigid” and “artificial” classicism of the south.
North America
The influences of the Hanover School reached as far as North America. Immigrated German architects and engineers applied the principles of teaching primarily in railway construction. This mainly affected the US state of Pennsylvania , where most of the Germans emigrated.
The architect Wilhelm Lorenz (1826–1884), trained at the Hanover Polytechnic, played a special role . He had studied under Ernst Ebeling from 1844 to 1846 . Like many graduates of the time, Lorenz also suffered from paralyzing construction activity in the wake of the German Revolution . As a result, he left Germany to work in the United States for the Philadelphia & Reading Railroad . At that time there was no academic education for architecture in America, which is why German architects and engineers were often used. In Philadelphia, Lorenz was a peculiarity because most of his immigrant colleagues came from southern Germany. According to the art historian Michael J. Lewis, there are many indications that Lorenz was "the most important representative of the Hanoverian School in America". In 1860 Lorenz was promoted to chief engineer for a branch line of the Reading Railway Company and designed the railway structures as such. Until 1879, it was still customary in society for functional buildings to be constructed by engineers, while freelance architects designed buildings with a representative character, but mostly limited to the facade. The orientation towards the Hanover School was first shown at Norristown train station . For this purpose, the American architect Joseph Hoxie presented a revised draft in 1858, which showed a “finely structured building structure”, structured by a “network of slender pilaster strips and console cornices”. In Lewis' opinion, the building acquired a character that was more reminiscent of the "lively surfaces of medieval architecture" than of the calm forms of classicism . Lorenz, who had become the chief engineer of the entire railway company in 1871, ensured a growing German influence. Around 1873 he designed a station in the "strict" round arch style for the Reading junction . In its arrangement in the middle of a three-sided property surrounded by tracks, the station appears to Lewis more as a “peculiar central station” than a through or terminus station. However, Lorenz had not followed the principles of the “classic” Hanover School with his design, he had left Hanover too early for that. For cost reasons, the Reading station was ultimately built in a simplified "barracks style". At the end of the 1870s, the railway company's conception of architecture changed. In order to stand out from a competing company, the train stations should now be "dramatically emphasized by architectural means." To this end, the American architect Frank Furness was hired in 1879, which presumably waned Lorenz's influence. A little later, the railway company ran into financial difficulties, while Lorenz fell seriously ill and finally died in 1884.
Conclusion and continuation
The architectural influences of the Hanover School did not disappear abruptly, but slowly faded away over the decades. Among other things, the administration building of Westinghouse AG on Goetheplatz in Hanover was built in the late Neo-Gothic phase (not preserved). The brick building designed by Karl Börgemann around 1900 had "an increased tendency towards monumentalization" compared to earlier buildings of the Hanover School. The Biermann office building at Herrenstrasse 8 in Hanover was designed by Alfred Sasse . The house, built in 1905/06, has a facade made of tuff and black Oeynhauser facing bricks with white grouting. The "powerful and elegant" facade also has many small details that are in the spirit of the Hanover School: The window tracery and the tower-like raised staircase can still be seen, the "filigree openwork" gables of the staircase have not been preserved. In the case of the residential and commercial building built in 1913 on the corner of Vossstraße and Jakobistraße, contemporary publications could already read of a revival of the brick building in Hanover. Wilhelm Türnau designed the "well-proportioned" corner double house. It has vertical structuring elements in the gable fields, bay windows and a facade structure over two floors. Although the original roof structure was lost in the Second World War and was only restored in a simplified manner, according to the building historian Günther Kokkelink the house still provides a good example of the transition from the Hanover School to the modern age. Further examples of offshoots of the Hanover School are the Gertrud-Marien-Heim in Hanover-Linden Mitte and the extension of the Hanoverian biscuit factory Bahlsen in Hanover-List.
According to Kokkelink, the Anzeiger high-rise , built in 1927/28 in the center of Hanover, with its corner branches is in the tradition of the Hanover School. The architect Fritz Höger was a leading exponent of brick expressionism, who otherwise used corner pinnacles very little. The corner pinnacles can also be heard in the "strict vertical structure" of the Franzius Institute. This research building for the Technical University of Hanover was built in 1928–31 under the supervision of Franz Erich Kassbaum .
Commercial building Herrenstrasse No. 8 in Hannover-Mitte ( location )
Gertrud-Marien-Heim in Hannover-Linden ( location )
Franzius Institute in Hanover-Nordstadt ( location )
A German quarter is to be built in the Chinese city of Changde by 2016 , the shape of which is based on the Hanover School.
Later handling of the buildings
After 1945, especially in Hanover, many of the buildings that had survived the Second World War were only little valued. The building historian Günther Kokkelink stated that in its devotion to everything that appeared modern, the architecture of historicism met with a general rejection. Representative buildings by well-known architects have been rebuilt in a simplified form or even completely torn down, not infrequently to be replaced by “commonplace architecture”. In an essay published in 1999, Eiko Wenzel stated that in many places the preservation of monuments was not yet in a position to convincingly demonstrate the artistic quality of the buildings from the late 19th century. The reason is that the monument preservation department still lacks the evaluation criteria for this. The disdain for this style epoch has its origins in the homeland security movement , which rejected historicism. The homeland security movement, like historicism, borrowed from historical models.
Redesign of Hanover after the Second World War
In the summer of 1948 Rudolf Hillebrecht was elected to the City Planning Council of Hanover. He was considered a representative of modernism and was a great supporter of Walter Gropius . He could not gain much from the architecture training at the Technical University of Hanover at that time and criticized it as "poor" and "not exactly complex" during his studies. That is why he did not join the Bauhütte . For the redesign of Hanover after the Second World War, Hillebrecht attached decisive importance to the aspects of “structure and traffic”: “The image of the modern city center is decisively influenced by these two factors, perhaps determined.” The redesign should not be influenced by “aesthetic ideas”. but rather be determined by a “sensible economic use of the various quarters”. Hillebrecht tried to redesign the city car- friendly. For this he had tangential roads built (the expressways) and redesigned inner city squares into “traffic turbines”, including the Kröpcke and Aegidientorplatz . Between the rear of the station and the Raschplatz, traffic roads were created on two levels.
In order to preserve the old building fabric during the redesign, the Association of German Architects tried in 1964 to get the city to issue statutes for the protection of historic buildings. There was no monument protection law at that time. So that his plans would not be impaired, Hillebrecht prevented such statutes from becoming binding. Buildings from the 19th century were not valued by him, Hillebrecht attested to having “nothing more than borrowed from all stylistic epochs of European architecture”. He also speaks of an “embarrassing eclecticism of culturally weak decades”. Hermann Deckert , at the time state curator and previously rector of the Technical University of Hanover , shared Hillebrecht's views. In his inventory, The Preservation of Monuments in the Province of Hanover , he had already expressed derogatory comments about the houses on Karmarschstrasse in 1936 and called them "shame of the early days". The houses on the north side of the market square, including the rectory of the market church, were “lying 'Gothic' buildings” for Deckert. In the following years many buildings from the 19th century were demolished. The buildings of the Hannoverscher Schule affected , among others, the rectory of the Kreuzkirche ( Paul Rowald , 1892) and the remains of the house of Conrad Wilhelm Hase (Hase, 1859). The Ratsgymnasium at Georgsplatz ( Ludwig Droste , 1854) had to give way to a new building by Nord / LB ( Hanns Dustmann , 1957).
Demolition of the Villa Willmer
Even after the demolition in the 1950s, interest in the preservation of historical monuments in the buildings of the Hanover School remained low. An example of this is the Villa Willmer ("Tränenburg") in Hanover-Waldhausen, the demolition of which attracted great public interest in 1971. The castle-like house was only slightly damaged in the war and was inhabited until the beginning of 1971. The heirs of the brick manufacturer Friedrich Willmer had sold the villa with the property to a housing company in the previous year. The company planned to build a total of 150 new apartments on the property, for which the villa should give way. Since Rudolf Hillebrecht had prevented the monument protection initiatives so far, the city had no means of taking action against the demolition. After the new building plans were published in the Hannoversche Allgemeine Zeitung at the end of 1970 , protests broke out. In a public announcement, citizens called on the city administration to prevent "this valuable monument from being senselessly destroyed". The undersigned included many architects, members of the Technical University of Hanover and other people in (formerly) high offices. The Lower Saxony Chamber of Architects organized a demonstration, and various experts spoke out in favor of preserving the building. The city administration did not respond to the offer of the housing association to either give the property and villa to the city in exchange or to keep the villa and build on the remaining property more densely. An initiative that wanted to operate the house as an art and cultural center also failed. In a meeting of the building committee in April 1971, the city council finally decided to issue the demolition permit. This was pronounced at the end of August 1971 and the house was then immediately torn down.
Only at the end of the 20th century did a change set in, interest in monument preservation and city tourism led to increased efforts to preserve the existing buildings. Nevertheless, there have been demolitions in recent times: For example, a residential building was demolished for the construction of the Specialized Court Center in Hanover, and in Lehrte the administration building of a former print shop on Gartenstrasse disappeared.
literature
- Gustav Schönermark : The architecture of the Hanover School. 7 vols., Hanover 1888–1895.
- Günther Kokkelink , Monika Lemke-Kokkelink : Architecture in Northern Germany. Architecture and handicrafts of the Hanover School 1850–1900 . Schlütersche, Hannover 1998, ISBN 3-87706-538-4 .
- Saskia Rohde: Under the banner of the Hanover architecture school. The architect Edwin Oppler (1831–1880) and his Silesian buildings. In: Hannoversche Geschichtsblätter . Vol. 54, 2000 [2002], pp. 67-86.
- Klaus Mlynek : Hanover Architecture School. In: Klaus Mlynek, Dirk Böttcher (Hrsg.): Stadtlexikon Hannover . From the beginning to the present. Schlütersche Verlagsgesellschaft, Hannover 2009, ISBN 978-3-89993-662-9 , p. 257.
Web links
Supporting documents and comments
- ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo bp bq br bs bt bu bv bw bx by bz ca cb cc cd ce cf cg ch ci cj ck cl cm cn co cp cq cr cs ct cu cv cw cx cy cz da db dc dd de df dg dh di dj dk dl dm dn do dp dq dr ds dt du dv dw dx dy dz ea eb ec ed ee ef eg eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez fa fb fc fd fe ff fg fh fi fj fk fl fm fn fo fp fq fr fs ft fu fv fw fx fy fz ga gb gc gd ge Günther Kokkelink , Monika Lemke-Kokkelink : Architecture in Northern Germany. Architecture and handicrafts of the Hanover School 1850–1900. Schlütersche, Hannover 1998, ISBN 3-87706-538-4 .
- ↑ a b c d e f g h Günther Kokkelink, Eberhard G. Neumann: Foreword. In: Sabine Baumgart, Jürgen Knotz: The structures of the railway in Lower Saxony. Part 1: inventory, catalog of the material collected. Research report by the Institute for the History of Architecture and Art at the University of Hanover. Self-published, Hanover 1983.
- ^ A b Friedrich Lindau: Hanover. Reconstruction and destruction. The city in dealing with its architectural identity. Second, revised edition. Schlütersche, Hannover 2000, ISBN 3-87706-659-3 .
- ↑ a b c d Theodor Unger (Ed.): Hanover 1882: A guide through the city and its buildings. Reprint of the historical book from Klindworth's Verlag. European University Press, Bremen 2011, ISBN 978-3-86741-493-7 .
- ↑ Sid Auffarth , Wolfgang Pietsch: The University of Hanover: their buildings, their gardens, their planning history. Imhof, Petersberg 2003, ISBN 3-935590-90-3 . Footnote 23 on p. 128.
- ↑ a b c d e f g h Ulrike Faber-Hermann: Bourgeois housing of the 19th and early 20th centuries in Minden. Lit, Münster / Hamburg / London 2000, also modified dissertation, University of Minden, 1989, ISBN 3-8258-4369-6 .
- ↑ a b c d e f g h i j k l m Sabine Baumgart, Jürgen Knotz: The buildings of the railway in Lower Saxony. Part 1: inventory, catalog of the material collected. Research report by the Institute for the History of Architecture and Art at the University of Hanover . Self-published, Hanover 1983.
- ^ Günther Kokkelink, Eberhard G. Neumann: Foreword. In: Sabine Baumgart, Jürgen Knotz: The structures of the railway in Lower Saxony. Part 1: inventory, catalog of the material collected. Research report by the Institute for the History of Architecture and Art at the University of Hanover. Self-published, Hanover 1983. The two authors quote from a commemorative publication that was published on the occasion of the 150th anniversary of the University of Hanover. Kokkelink wrote an article about Conrad Wilhelm Hase for the Festschrift.
- ↑ a b c d e f Wolfgang Neß, Ilse Rüttgerodt-Riechmann, Gerd Weiß, Marianne Zehnpfenning (eds.): Architectural monuments in Lower Saxony. 10.1. City of Hanover, part 1. Friedrich Vieweg and son, Braunschweig / Wiesbaden 1983, ISBN 3-528-06203-7 .
- ↑ a b c d Wolfgang Neß, Ilse Rüttgerodt-Riechmann, Gerd Weiß (Ed.): Architectural monuments in Lower Saxony. 10.2. City of Hanover, part 2. Friedrich Vieweg and son, Braunschweig / Wiesbaden 1985, ISBN 3-528-06208-8 .
- ^ Leaves for architecture and handicrafts . Volume 26, No. 11, November 1913, p. 41f. Mentioned in: Günther Kokkelink, Monika Lemke-Kokkelink: Baukunst in Norddeutschland. Architecture and handicrafts of the Hanover School 1850–1900. Schlütersche, Hannover 1998, ISBN 3-87706-538-4 . P. 130.
- ↑ Mohrmann House is being renovated. In: HAZ.de , March 3, 2011. Accessed November 19, 2015.
- ↑ Contact ( Memento of the original dated December 8, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Sub-page of the website of the Nordstadt parish, including the address Lutherstraße 12. Accessed on November 19, 2015.
- ↑ Compare the documentation at Commons .
- ↑ a b Magnificent buildings in a variety of bricks In: Flensburger Tageblatt (online edition), August 15, 2015. Retrieved on December 11, 2015.
- ↑ a b c d e f g h i j k l m n o p Eiko Wenzel: Traces of the Hanover School in Flensburg - the architect Alexander Wilhelm Prale. In: Stefan Amt (Hrsg.): Festschrift for Günther Kokkelink (= writings of the Institute for Building and Art History of the University of Hanover. Volume 12). Hannover 1999, ISBN 3-931585-09-3 , pp. 171-184.
- ↑ a b c d e Mari Hvattum: Panoramas of Style. Railway Architecture in Nineteenth-Century Norway. In: Journal of the Society of Architectural Historians. Vol. 70, No. 2, 2011, pp. 190-209, doi : 10.1525 / jsah.2011.70.2.190 .
- ↑ a b c d e f g h i Michael J. Lewis: Wilhelm Lorenz: The Hannoversche School in America. In: Stefan Amt (Hrsg.): Festschrift for Günther Kokkelink (= writings of the Institute for Building and Art History of the University of Hanover. Volume 12). Hannover 1999, ISBN 3-931585-09-3 , pp. 143-150.
- ↑ Michael J. Lewis: The round arch style and the Karlsruhe-Philadelphia axis. In: Xenia Riemann (Ed.): Duration and change. Festschrift for Harold Hammer-Schenk on his 60th birthday. Lukas, Berlin 2004, ISBN 3-936872-20-1 , p. 138 Note No. 15.
- ↑ Anja Haufe: The Chinese are building their own Hanover. In: NDR.de , April 23, 2015.
- ↑ Note: Wenzel refers in his essay to the situation in Flensburg. There were Johannes Otzen and Alexander Wilhelm Prale built a series of sacred and secular buildings in the style of the Hanover school. Wenzel says about the homeland security movement that it has "just found a new, regional style in Schleswig-Holstein," see Eiko Wenzel: Traces of the Hanover School in Flensburg - the architect Alexander Wilhelm Prale. In: Stefan Amt (Hrsg.): Festschrift for Günther Kokkelink (= writings of the Institute for Building and Art History of the University of Hanover. Volume 12). Hannover 1999, ISBN 3-931585-09-3 , pp. 171-184, here p. 171.
- ↑ a b c d Friedrich Lindau : Planning and building in the fifties in Hanover. Schlütersche, Hannover 1998, ISBN 3-87706-530-9 .
- ^ Friedrich Lindau: Planning and building in the fifties in Hanover. Schlütersche, Hannover 1998, ISBN 3-87706-530-9 , p. 22: Lindau quotes here from a letter from Rudolf Hillebrecht to Walter Gropius from 1931.
- ^ Friedrich Lindau: Planning and building in the fifties in Hanover. Schlütersche, Hannover 1998, ISBN 3-87706-530-9 , p. 25: Lindau cites Hillebrecht here from a manual of modern architecture: an art history of architecture of our time from single-family houses to urban development. Edited by Reinhard Jaspert. Safari, Berlin 1957, p. 514.
- ^ Friedrich Lindau: Planning and building in the fifties in Hanover. Schlütersche, Hannover 1998, ISBN 3-87706-530-9 , p. 25: Lindau cites Hillebrecht here from The City Between Yesterday and Tomorrow: Planning, Administration, Building Law and Traffic. Edited by Rudolf Hillebrecht, among others. Kyklos, Basel 1961, p. 139.
- ^ A b Friedrich Lindau: Planning and building in the fifties in Hanover. Schlütersche, Hannover 1998, ISBN 3-87706-530-9 , p. 30: Lindau quotes here from a speech by Hillebrecht on the inauguration of the Continental high-rise , published in the Baurundschau . Issue 9, 1953, p. 346ff.
- ^ A b Friedrich Lindau: Planning and building in the fifties in Hanover. Schlütersche, Hanover 1998, ISBN 3-87706-530-9 , p. 30: Lindau quotes Deckert's essay on the recovery of the old town in Hanover , published in The Preservation of Monuments in the Province of Hanover. Hanover 1936, p. 6.
- ^ A b c Friedrich Lindau: Hanover. Reconstruction and destruction. The city in dealing with its architectural identity. Second, revised edition. Schlütersche, Hannover 2000, ISBN 3-87706-659-3 . Chapter Villa Willmer, popularly known as "Castle of Tears". An important building of the Hanover School of Architecture and its destruction . Pp. 215-251.
- ^ Friedrich Lindau: Hanover. Reconstruction and destruction. The city in dealing with its architectural identity. Second, revised edition. Schlütersche, Hannover 2000, ISBN 3-87706-659-3 , p. 237: Reprint of the protest advertisement.
- ^ The wording of the list of signatories: “Klaus Behrens, Prokurist; Ing. (Grad.) Helmut Dettmer, architect, state chairman of the Association of German Builders, Architects and Engineers; cand. arch. Horst Faltz, TU Hannover; Claus Harms, journalist; Dipl.-Chem. Adolf Helms, TU Hannover; Prof. Dr. phil. Georg Hoeltje , Full Professor, TU Hannover; Günter Kleindienst, journalist; Dr. phil. Heinrich Klotz , art historian, University of Göttingen; Dr.-Ing. Günther Kokkelink , TU Hannover; Dipl.-Ing. Friedrich Lindau , architect, President of the Lower Saxony Chamber of Architects; Dr. phil. Jochen Mangelsen, editor; Dr.-Ing. Hermann Mewes, former government builder D .; Prof. Dr.-Ing. Bruno Meyer-Plath; Gert Müller-Fehn, editor; Werner Rode, businessman; Dipl.-Ing. Karl Rogge, Federal Railroad Construction Director ret. D .; Dipl.-Ing. Friedrich Salfeld, Building Director, Vice President of the Lower Saxony Chamber of Architects; Dr. phil. Ludwig Schreiner, private lecturer, TU Hannover; Clara Stendel, painter; Dipl-Ing. Walter von Stülpnagel, church building director; Ursula Uthe, secretary; Dipl.-Ing. Gerhard Wattenberg , retired ministerial director D .; Dr. med. habil. Rudolf Wohlrab, Medical Director; Dipl.-Ing. Paul Wolters , Building Director. “From: Friedrich Lindau : Hannover. Reconstruction and destruction. The city in dealing with its architectural identity. Second, revised edition. Schlütersche, Hannover 2000, ISBN 3-87706-659-3 , p. 237: Reprint of the protest advertisement.
- ↑ "There has to be an end to demolitions". In: HAZ.de , September 16, 2013. Accessed November 11, 2015.
- ^ Demolition on Gartenstrasse. In: HAZ.de , August 4, 2015. Accessed November 11, 2015.
