Editing Modern architecture (section)

===Expressionist architecture (1918–1931)===
{{main|Expressionist architecture}} 
<gallery mode="packed" heights="150px">
File:Berlin Grosses Schauspielhaus Poelzig Foyer.jpg|Foyer of the Großes Schauspielhaus, or Great Theater, in Berlin by [[Hans Poelzig]] (1919)
File:Einsteinturm 7443.jpg|The [[Einstein Tower]] near Berlin by [[Erich Mendelsohn]] (1920–24)
File:Berlin, Mitte, Schuetzenstrasse, Mosse-Zentrum 05.jpg|The [[Mossehaus]] in Berlin by [[Erich Mendelsohn]], an early example of streamline moderne (1921–23)
File:Chilehaus - Hamburg.jpg|The [[Chilehaus]] in Hamburg by [[Fritz Höger]] (1921–24)
File:Berlin Hufeisensiedlung UAV 04-2017.jpg|[[Horseshoe Estate]] public housing project by [[Bruno Taut]] (1925)
File:Goetheanum im Winter von Süden.jpg|[[Goetheanum|Second Goetheanum]] in [[Dornach]] near [[Basel]] ([[Switzerland]]) by the Austrian architect [[Rudolf Steiner]] (1924–1928)
File:Amsterdam Het Schip 006.JPG|[[Het Schip]] apartment building in [[Amsterdam]] by [[Michel de Klerk]] (1917–1920)
File:Den Haag De Bijenkorf 001.JPG|{{lang|nl|[[De Bijenkorf]]|italic=no}} store in [[The Hague]] by [[Piet Kramer]] (1924–1926)
</gallery>
[[Expressionism]], which appeared in Germany between 1910 and 1925, was a counter-movement against the strictly functional architecture of the Bauhaus and Werkbund. Its advocates, including [[Bruno Taut]], [[Hans Poelzig]], [[Fritz Hoger]] and [[Erich Mendelsohn]], wanted to create architecture that was poetic, expressive, and optimistic. Many expressionist architects had fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the [[German Revolution]] of 1919, resulted in a utopian outlook and a romantic socialist agenda.<ref>Jencks, p. 59</ref> Economic conditions severely limited the number of built commissions between 1914 and the mid-1920s,<ref>Sharp, p. 68</ref> As result, many of the most innovative expressionist projects, including [[Bruno Taut]]'s ''Alpine Architecture'' and [[Hermann Finsterlin]]'s ''Formspiels'', remained on paper. [[Scenography]] for theatre and films provided another outlet for the expressionist imagination,<ref>Pehnt, p. 163</ref> and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate. A particular type, using bricks to create its forms (rather than concrete) is known as [[Brick Expressionism]].

[[Erich Mendelsohn]], (who disliked the term Expressionism for his work) began his career designing churches, silos, and factories which were highly imaginative, but, for lack of resources, were never built. In 1920, he finally was able to construct one of his works in the city of Potsdam; an observatory and research center called the [[Einsteinium]], named in tribute to [[Albert Einstein]]. It was supposed to be built of reinforced concrete, but because of technical problems it was finally built of traditional materials covered with plaster. His sculptural form, very different from the austere rectangular forms of the Bauhaus, first won him commissions to build movie theaters and retail stores in Stuttgart, Nuremberg, and Berlin. His [[Mossehaus]] in Berlin was an early model for the [[streamline moderne]] style. His [[Columbushaus]] on Potsdamer Platz in Berlin (1931) was a prototype for the modernist office buildings that followed. (It was torn down in 1957, because it stood in the zone between East and West Berlin, where the [[Berlin Wall]] was constructed.) Following the rise of the Nazis to power, he moved to England (1933), then to the United States (1941).{{Sfn|Bony|2012|page=95}}

[[Fritz Höger]] was another notable Expressionist architect of the period. His [[Chilehaus]] was built as the headquarters of a shipping company, and was modeled after a giant steamship, a triangular building with a sharply pointed bow. It was constructed of dark brick, and used external piers to express its vertical structure. Its external decoration borrowed from Gothic cathedrals, as did its internal arcades. [[Hans Poelzig]] was another notable expressionist architect. In 1919 he built the [[Großes Schauspielhaus]], an immense theater in Berlin, seating five thousand spectators for theater impresario [[Max Reinhardt]]. It featured elongated shapes like stalagmites hanging down from its gigantic dome, and lights on massive columns in its foyer. He also constructed the [[IG Farben building]], a massive corporate headquarters, now the main building of [[Goethe University]] in Frankfurt. [[Bruno Taut]] specialized in building large-scale apartment complexes for working-class Berliners. He built twelve thousand individual units, sometimes in buildings with unusual shapes, such as a giant horseshoe. Unlike most other modernists, he used bright exterior colors to give his buildings more life The use of dark brick in the German projects gave that particular style a name, [[Brick Expressionism]].{{Sfn|Tietz|1999|pages=26–27}}

The Austrian philosopher, architect, and social critic [[Rudolf Steiner]] also departed as far as possible from traditional architectural forms. His [[Goetheanum|Second Goetheanum]], built from 1926 near [[Basel]], [[Switzerland]] and [[Erich Mendelsohn|Mendelsohn]]'s [[Einsteinturm]] in Potsdam, Germany, were based on no traditional models and had entirely original shapes.