Origins
The Hanover School was preceded by the phase of the ''Rundbogenstil'', which lasted from about 1835 to 1865. This current was also a manifestation of historicism; that is, a revival and recombination of elements of older styles of architecture. The Hanoverian strand of the Rundbogenstil was not only widespread in the city itself, but also in theThe Role of the Railway
The invention of the railway was of critical importance for nineteenth-century industrialization. In Lower Saxony, the development of the rail network and the formation of the Hanover School overlapped over several decades. Many architects who adhered to the architectural style were also active in railway construction, including Hase and some of his employees. The railway fueled the rapid transport of goods and people, opened up rural regions to development, and ensured a strong economy. Initially, economics played a major role and freight transport enjoyed greater interest before passenger transport also became more important 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 stations shaped the cityscape themselves. In Lower Saxony, brick construction was favored in station design after 1850. After a trip through Germany in 1857, theContemporary Reception
In 1882, Theodor Unger published the first comprehensive presentation of the buildings of the Hanover School. It appeared in the first architectural guide of the city - ''Hannover: Führer durch die Stadt und ihre Bauten'' (Hanover: Guide through the city and its buildings) - and consisted of a juxtaposition 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." Its supporters saw the Hanover School as a "universal style" that had to be used for all building types, from churches to buildings of secular and pedestrian functions. Because of this far-reaching claim, there were also numerous critical voices and rejections, which Unger also addressed in his publication. In Unger's architectural guide, the Berlin architect Hubert Stier, who had recently designedSupporters of the School
During his teaching at the Polytechnic School Hannover,Important Members
* Ludwig Droste (1814–1875): Droste studied with Gärtner in Munich and initially worked as a private architect in Mannheim before he was sworn in as a city builder in Hanover in 1849. Together with others, he founded the Architekten- und Ingenieur-Verein Hannover (Hanover Architects' and Engineers Association). Droste is considered a representative of the round arch style; his works in Hanover include the Kaiser-Wilhelm- und Ratsgymnasium Hannover (Lyceum) on Georgsplatz, the restoration of the Marktkirche, the Packhof, the entrance building of the Engesohder Cemetery and several other school buildings (Bürgerschule, Am Clevertore; Höhere Töchterschule, Am Graben; Stadttöchterschule, Am Aegi). *Die Bauhütte
In November 1880, Hase founded the association called the Bauhütte zum weißen Blatt (literally, "Construction Hut as a White Sheet") to counteract the dwindling influence of his work. In the late 1870s, the situation for the Hanover School had changed: After the founding of the German Empire, there was a construction boom, while the various architecture schools were increasingly consolidated. In addition, the importance of the Architekten- und Ingenieur-Verein Hannover grew at the expense of Hase's own activity. The chosen name addition "to the white sheet" is probably an allusion to the HanoverianStylistic Branches
Rundbogenstil Branch
In the middle of the 19th, the Hanoverian architects increasingly set themselves apart from Laves' "Klassizismus" (classicism). Between 1845–56, Ernst Ebeling and later Hermann Hunaeus built the General Military Hospital (now demolished) in the Calenberg Neustadt of Hanover. While Ebeling still envisioned a plastered facade for this building, Hunaeus changed the plans for a version with visible bricks and sandstone after Ebeling's death. Ludwig Droste already applied the Tramm-Style for the Lyceum (later the Kaiser-Wilhelm- und Ratsgymnasium) on Georgsplatz (now demolished), and red bricks and sandstone were also shown open here. Tramm himself designed the Welfenschloss between 1857–66, which later became the main building of the Gottfried Wilhelm Leibniz Universität Hannover . According to the architectural historian Günther Kokkelink, his characteristic spandrels and other structural details make it one of the "most mature form of the Tramm style. Kokkelink sees the later Künstlerhaus Hannover, built from 1853–56 as a museum for art and science, as a further development of the sculptural-spatial variety of the Rundbogenstil. The architect, Hase, designed the exterior with different colored bricks and some sandstone details, with which he emphasized the "beauty of the material." The Künstlerhaus marks the high point of the Rundbogenstil in Hanover, which spread quite late compared to other cities and had more variations than elsewhere. Other examples of the round arch style in Hanover are the House of the Military Clothing Commission (Hermann Hunaeus, 1859/1860), the buildings of the Henriettenstift located to Marienstraße (Christian Heinrich Tramm, 1861–1863), the Marstall at Welfenschloss (Eduard Heldberg, 1863–1865), and the double townhouses Prinzenstraße 4 and 6 (Georg Hagemann, 1869).Gothic-Revival Branch
Hase's architectural style - occasionally called "hatemic" by followers and critics - was characterized by medieval brick Gothic, whereby the statics of the buildings and the preferably domestic building material used (wood, brick, sandstone) should remain visible to the viewer. The brick shell facades, which are recognizable by the absence of external plaster, received brick decorations, often glazed bricks and forms German banded friezes and dentils. Staggered gables at the edges and segment arches are used frequently over windows and doors (as in the Rundbogenstil). "Moving" rooflines are a characteristic feature of the Hanover School. In addition to bay windows and turrets, the architects often used decorative gables in their designs. Conrad Wilhelm Hase started this trend in Hanover by adding to his own house a small, brick ornamental gable with radial finials in 1860/61. A short time later, in 1864–65, his students Wilhelm Hauers and Wilhelm Schultz took over these stylistic devices for the gym of the Turn-Klubbe Hannover on Maschstraße in Hanover. A superimposed gable was placed here on a triangular one, which, in the opinion of the architectural historian Günther Kokkelink, creatively deviated from the medieval models. Over the next few years, the brick industry made some technical advances and was able to deliver increasingly diverse molding stones, which allowed architects to design increasingly complex rooflines. Ludwig Frühling, who had the manufacturer's Villa Schwarz built in Hanover's Parkstraße (today Wilhelm-Busch-Straße) built in 1886, with decorative gables similar to those of the Hanover Town Hall also benefited from this. Karl Börgemann's ''Grönes Hus'' from 1899 in the Hanover Sextrostraße surpassed previous buildings in imaginative design with his facade and roof landscape, Kokkelink speaks here of a "fantastic development of the corner final gable." The house has thus moved further and further away from the peculiarities of medieval construction and marks the transition from Gothic-revival to Art Nouveau. The visible use of bricks to veneer facades played a decisive role in the Hanover School. The "brick dimension" determined the design of the walls and ensured an "even horizontal layering," as Theodor Unger put it in his architectural guide in 1882. The joints occurring between the stones divide the building; all surfaces, friezes, columns can be broken down into a certain number of brick layers. In order to ornament the buildings with decorative details, architects and master masons had numerous means at their disposal: they used shaped stones or used polychrome colored bricks on a facade (for example, in red and yellow, as in the Clementinenhaus). In addition, glazed bricks were used in different colors (for example in brown, black and green). However, Theodor Unger proved to be an outspoken opponent of the glazed bricks, to which he said an "offensive effect."He took the view that glazes belonged from brick construction "banished" or at least "rived back to an extremely modest level". Many pronounced decorative elements adorned the magnificent villas of the Hanover School, but numerous details also can be seen in more pedestrian structures, which often are only noticed at a second glance. According to Kokkelink, the architects Karl Börgemann and Karl Mohrmann proceeded particularly boldly; Kokkelink describes them as "brick virtuosos ..that span all levels of Hanoverian brick architecture." For example, in the :de:Villa Willmer by Börgemann, the tower and window bands show an "immense wealth of forms." Börgemann's Heilig-Geist-Spital und Stift (Holy Spirit Hospital) received extensive ornamental surfaces and contrasting, colored glazed bricks on the walls. According to Kokkelink, Jugendstil is already evident here with three-dimensional foliage visible in the ornament. However, the architect remains true to the concept of continuous joints and applies them both horizontally and diagonally. Börgemann's preference for glazed bricks is most pronounced in the ''Grönen Hus''. Here he worked particularly clearly with the complementary contrast between green and red stones. According to Kokkelink, "particularly attractive glazes...come into their own...in this house." Gröne Hus represents a transition from the Hanover School to Art Nouveau. Karl Mohrmann's own house on Herrenhäuser Kirchweg also deviates greatly from the "classic" teaching in his details, as the gables exhibit brightly plastered surfaces for decoration. In addition, many other lesser-known architects used the building material in creative ways. An example of this is Friedrich Wedel, another Hase student, who used decorative shaped stones for the residential and commercial building he designed at Callinstraße 4.Exemplary Building Typologies
Religious Buildings
The sacred buildings of the Hannover School occupy a special position. Many supporters worked primarily in the construction of churches, including Johannnes Otzen,Palaces
In castles, there was a similar enthusiasm for the medieval among architects and builders as with churches. The castles were built on the basis of former, fortified castles and therefore received their typical design means such as battlements or towers. After preserved castle ruins were restored in a first phase, it came from the middle of the 19th century. Century to a lively activity at new castle buildings, in which the Hanover School was also used. She undergone a change in the coming decades: The architects went away from symmetrical, cubic-regular castles, towards asymmetrically constructed systems. While the Marienburg designed by Conrad Wilhelm Hase still showed a quite orderly appearance, Julius Rasch designed Imbshausen Castle as the first irregular castle according to the principles of the Hanover School. In addition to the two mentioned, Edwin Oppler, Christoph Hehl, Karl Börgemann, Adelbert Hotzen and other architects also worked as castle builders.Town Halls and Government Buildings
Town halls have always embodied civil liberty and independence, which the buildings until the 20th century. century was the most important and representative civil buildings.The rapidly growing urban population 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 construction projects were not exclusively based on practical aspects, the town halls also fulfilled an important social function. They showed architecturally how proud and important a city had become. About the town hall in Hanover, Kokkelink judges that it had an exemplary character for other cities in northern Germany.The medieval building was expanded and restored several times between 1839 and 1891. This phase of transformation had already begun in 1826, when the city director Wilhelm Rumann planned to have the old town hall demolished.According to his idea, a larger new building was to be built in the same place, which would have offered twice as much usable space as the old building. The design came from the city builder August Andreae, who provided for a four-storey house in round arch style. However, the project met with massive resistance from the citizens and the Bürgervorher College, so Rumann moved away from the execution. Instead, he successfully applied for the new construction of an internal "prisoner 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 tract with previously largely unknown style elements. Andreae developed a design language via brick reliefs, two-storey glare arcades, segment arches and lisenens, which was later taken up by the Hanover School. Hanoverian_Association_of_Architects_and_Engineers_to_develop_a_restoration_and_use_concept_for_the_town_hall._The_discussions_about_the_concept_lasted_a_good_ten_years_before_Museums
Most museums during the neo-Gothic construction phase were created in the 1880s and 1890s, by which art historian Volker Plagemann describes as a time of ''state'' museum construction.Schools and Gymnasiums
Triggered by industrialization, it occurred in the second half of the 19th century. century to a strong increase in the urban population._Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as__Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as_Pesthaus">plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King__Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as_Pesthaus">plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King_Georg_V._(Hannover)">George_V_Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as_Pesthaus">plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King_Georg_V._(Hannover)">George_V_Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as_Pesthaus">plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King_Georg_V._(Hannover)">George_V_Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as_Pesthaus">plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King_Georg_V._(Hannover)">George_V_Hospitals_and_Monasteries
Church_hospitals_already_existed_in_the_Middle_Ages,_which_were_mostly_built_near_the_city_center._In_addition,_there_were_"seven_houses"(such_as_Pesthaus">plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King_Georg_V._(Hannover)">George_VHospitals and Monasteries
Church hospitals already existed in the Middle Ages, which were mostly built near the city center. In addition, there were "seven houses"(such as plague_houses),_which_were_created_outside_the_city_to_avoid_the_spread_of_epidemics._In_the_19th_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_developed._At_that_time,_the_concept_of_pavilions_also_became_popular._In_addition_to_the_general_hospitals,_specialist_clinics,_such_as_birthplaces_or_children's_hospitals,_were_also_created. For_mentally_ill_people,_King_Georg_V._(Hannover)">George_VVillas and Single-family Houses
Villa Willmer was the "most powerful and largest"villa, built according to the principles of the "classic" Hanover School. Karl Börgemann designed the building built in 1884-86 for Hanoverian brick producer Friedrich Willmer. The house was located in Hanover-Waldhausen and at the time cost the huge sum of around 2 million. Goldmark and was about three times the size of usual villas. Willmer had brought wealth thanks to the Hanover School, the brick buildings that were built everywhere generated generated large sales. The villa had an angular floor plan and contained about 75 rooms, over 50 of which were located on the three living floors. In its size and design, the house resembled a castle rather than a villa. The popular nickname Tränenburg probably stems from the fact that Willmer treated his workers badly and shed many "tears" for the construction of the house. The building survived the Second World War almost unscathed. Nevertheless, despite far-reaching citizen protests, it was demolished in 1971 for an ultimately never implemented new construction project. In Kassel, the so-called Villa Glitzerburg (actually Villa Wedekind) built by Wilhelm Lüer and Conrad Wilhelm Hase was a highly regarded building built in the style of the Hanover School. At the time, it was the largest private residence in Kassel. At the turn of the century, land prices often increased to such an extent that single-family houses were combined.An outstanding example of this is the residence of the architect Karl Mohrmann in Hanover, described in the sheets for architecture and handicrafts in 1913 as "one of the most successful and significant [residential houses] of the newer Hanoverian construction". Contrary to the usual design principles of the Hannover School, Mohrmann chose a rectangular fial 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 surroundings of Hanover. Mohrmann emphasized the corner of the house with a "powerful"tower, which had an observation deck reinforced by battlements. A few years before the house of Mohrmann, around 1890, a group of villas was created at the western end of Hanover's Callinstraße. The confluence with Nienburger Straße is highlighted with the left tower of the double villa no. 48/50. The towers with their pointed helmets form a typical feature of the Hanover School, as well as the decorative gable.Rectories
Rectories are a special form of residential building. The art historian Günther Kokkelink says that they were in the 19th century. century often with its own design claim._Mixed-Use_Apartment_Buildings
Hase_and_Adelbert_Hotzen_also_introduced_the_Hanover_School_to_apartment_buildings_in_the_1860s._At_first,_the_Gothic_style_was_well_received_by_nobles,_in_addition,_some_wealthy_and_art-interested_citizens_were_enthusiastic_about_it._The_brick_architecture_was_perceived_as_"German"_at_the_time,_unlike_plaster_buildings,_these_buildings_seemed_to_be_"honest."Some_freelance_architects_advertised_their_skills_by_building_"nexotic_'model_houses'"on_their_own_account,_which_they_then_sold_ready_for_occupancy._While_villas_were_built_on_extensive,_park-like_plots,_the_residential_buildings_had_to_make_do_in_less_elegant_residential_areas_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_of_land._According_to_Kokkelink,_this_achieved_a_uniform_style_and_thus_a_greater_urban_planning_effect._Corner_houses_often_received_a_tower_and_were_thus_able_to_have_an_even_greater_effect_than_terraced_houses.[These_striking_corner_buildings_were_often_used_as_residential_and_commercial_buildings._Although_development_costs_were_incurred_for_two_roads_at_the_same_time,_the_additional_use_as_a_commercial_building_increased_the_return.Advances_in_the_brick_industry_caused_falling_prices_of_building_materials_in_the_1870s_and_1880s,_brick_buildings_became_affordable_for_more_and_more_builders._The_argument_that_brick_facades_do_not_require_special_care_proved_to_be_particularly_sales-promoting,_unlike_plaster_buildings._Increasingly,_tenement_houses_were_also_increasingly_built_according_to_the_principles_of_the_Hannover_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._Factories,_Railway_Stations,_and_other_Industrial_Buildings
The_strict_representatives_of_the_neo-Gothic_styles_tried_to_transfer_the_design_features_of_medieval_architecture_not_only_to_churches,_town_halls_and_villas,_but_also_to_shape_other_civil_buildings._This_also_extended_to_buildings_where_practicality_was_in_the_foreground,_such_as_factories,_train_stations,_warehouses_or_barracks._While_many_aesthetic_teachings_failed_to_extend_their_formal_language_to_such_construction_tasks,_the_Hanover_School_was_widely_used_in_civil_engineering._At_the_end_of_the_19th_In_the_19th_century,_it_had_made_it_to_the_standard_of_style_in_northern_and_western_Germany_in_industrial_construction.[ Many_decades_before_the_advent_of_the_Hanover_School,_in_the_end_of_the_18th_century._century,_a_need_for_multi-storey_factory_buildings_arose._These_should_accommodate_large_work_rooms.The_multi-storey_structure_was_necessary_to_transmit_the_force_vertically_via_Transmission_(Maschinenbau).html" ;"title="he neo-Gothic has proven to be particularly suitable for this construction task. Their formal language of medieval sacred buildings was very suitable for underlining the purpose of the rectory. In the countryside, the rectories often received outbuildings for stables or as sheds, usually taken back creatively. End of the 19th Century often emerged in "painian group"ensembles of churches and rectories. Ludwig Frühling designed the rectory for the Marktkirchengemeinde am Marktplatz in Hanover in 1883–84. The house relates to the nearby town hall, which Hase had renovated a few years earlier, via its three large finial gables. The rectory of the Hanoverian Christ Church comes from Karl Börgemann. In addition to the apartments for several families, the large, "imposing"corner building also houses rooms for other church-relevant purposes, such as a library or meeting rooms. The house, built in 1905/06, has a corner tower and high stair gables, the facade is equipped with green glazed bricks. As usual for late buildings of the Hannover School, the house is provided with larger areas and shows less small details. After war destruction, it was rebuilt in its old form between 1946 and 1948.Mixed-Use Apartment Buildings
Hase and Adelbert Hotzen also introduced the Hanover School to apartment buildings in the 1860s. At first, the Gothic style was well received by nobles, in addition, some wealthy and art-interested citizens were enthusiastic about it. The brick architecture was perceived as "German" at the time, unlike plaster buildings, these buildings seemed to be "honest."Some freelance architects advertised their skills by building "nexotic 'model houses'"on their own account, which they then sold ready for occupancy. While villas were built on extensive, park-like plots, the residential buildings had to make do in less elegant residential areas 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 of land. According to Kokkelink, this achieved a uniform style and thus a greater urban planning effect. Corner houses often received a tower and were thus able to have an even greater effect than terraced houses._Factories,_Railway_Stations,_and_other_Industrial_Buildings
The_strict_representatives_of_the_neo-Gothic_styles_tried_to_transfer_the_design_features_of_medieval_architecture_not_only_to_churches,_town_halls_and_villas,_but_also_to_shape_other_civil_buildings._This_also_extended_to_buildings_where_practicality_was_in_the_foreground,_such_as_factories,_train_stations,_warehouses_or_barracks._While_many_aesthetic_teachings_failed_to_extend_their_formal_language_to_such_construction_tasks,_the_Hanover_School_was_widely_used_in_civil_engineering._At_the_end_of_the_19th_In_the_19th_century,_it_had_made_it_to_the_standard_of_style_in_northern_and_western_Germany_in_industrial_construction.[ Many_decades_before_the_advent_of_the_Hanover_School,_in_the_end_of_the_18th_century._century,_a_need_for_multi-storey_factory_buildings_arose._These_should_accommodate_large_work_rooms.The_multi-storey_structure_was_necessary_to_transmit_the_force_vertically_via_Transmission_(Maschinenbau)">transmissions._The_factories_were_often_designed_inside_as_a_skeleton_Skelettbau">building_Factories,_Railway_Stations,_and_other_Industrial_Buildings
The_strict_representatives_of_the_neo-Gothic_styles_tried_to_transfer_the_design_features_of_medieval_architecture_not_only_to_churches,_town_halls_and_villas,_but_also_to_shape_other_civil_buildings._This_also_extended_to_buildings_where_practicality_was_in_the_foreground,_such_as_factories,_train_stations,_warehouses_or_barracks._While_many_aesthetic_teachings_failed_to_extend_their_formal_language_to_such_construction_tasks,_the_Hanover_School_was_widely_used_in_civil_engineering._At_the_end_of_the_19th_In_the_19th_century,_it_had_made_it_to_the_standard_of_style_in_northern_and_western_Germany_in_industrial_construction.[ Many_decades_before_the_advent_of_the_Hanover_School,_in_the_end_of_the_18th_century._century,_a_need_for_multi-storey_factory_buildings_arose._These_should_accommodate_large_work_rooms.The_multi-storey_structure_was_necessary_to_transmit_the_force_vertically_via_Transmission_(Maschinenbau)">transmissions._The_factories_were_often_designed_inside_as_a_skeleton_Skelettbau">building_Factories,_Railway_Stations,_and_other_Industrial_Buildings
The_strict_representatives_of_the_neo-Gothic_styles_tried_to_transfer_the_design_features_of_medieval_architecture_not_only_to_churches,_town_halls_and_villas,_but_also_to_shape_other_civil_buildings._This_also_extended_to_buildings_where_practicality_was_in_the_foreground,_such_as_factories,_train_stations,_warehouses_or_barracks._While_many_aesthetic_teachings_failed_to_extend_their_formal_language_to_such_construction_tasks,_the_Hanover_School_was_widely_used_in_civil_engineering._At_the_end_of_the_19th_In_the_19th_century,_it_had_made_it_to_the_standard_of_style_in_northern_and_western_Germany_in_industrial_construction.[ Many_decades_before_the_advent_of_the_Hanover_School,_in_the_end_of_the_18th_century._century,_a_need_for_multi-storey_factory_buildings_arose._These_should_accommodate_large_work_rooms.The_multi-storey_structure_was_necessary_to_transmit_the_force_vertically_via_Transmission_(Maschinenbau)">transmissions._The_factories_were_often_designed_inside_as_a_skeleton_Skelettbau">building_Factories,_Railway_Stations,_and_other_Industrial_Buildings
The_strict_representatives_of_the_neo-Gothic_styles_tried_to_transfer_the_design_features_of_medieval_architecture_not_only_to_churches,_town_halls_and_villas,_but_also_to_shape_other_civil_buildings._This_also_extended_to_buildings_where_practicality_was_in_the_foreground,_such_as_factories,_train_stations,_warehouses_or_barracks._While_many_aesthetic_teachings_failed_to_extend_their_formal_language_to_such_construction_tasks,_the_Hanover_School_was_widely_used_in_civil_engineering._At_the_end_of_the_19th_In_the_19th_century,_it_had_made_it_to_the_standard_of_style_in_northern_and_western_Germany_in_industrial_construction.[ Many_decades_before_the_advent_of_the_Hanover_School,_in_the_end_of_the_18th_century._century,_a_need_for_multi-storey_factory_buildings_arose._These_should_accommodate_large_work_rooms.The_multi-storey_structure_was_necessary_to_transmit_the_force_vertically_via_Transmission_(Maschinenbau)">transmissions._The_factories_were_often_designed_inside_as_a_skeleton_Skelettbau">buildingFactories, Railway Stations, and other Industrial Buildings
The strict representatives of the neo-Gothic styles tried to transfer the design features of medieval architecture not only to churches, town halls and villas, but also to shape other civil buildings. This also extended to buildings where practicality was in the foreground, such as factories, train stations, warehouses or barracks. While many aesthetic teachings failed to extend their formal language to such construction tasks, the Hanover School was widely used in civil engineering. At the end of the 19th In the 19th century, it had made it to the standard of style in northern and western Germany in industrial construction. transmissions._The_factories_were_often_designed_inside_as_a_skeleton_Skelettbau">buildingExpansion Outside of Lower Saxony
The architects of the 19th century trained at the Polytechnic School in Hanover and the teaching opinions there spread throughout northern Germany and beyond. One example was Flensburg, which was still under Danish rule until 1864. HereFlensburg
Within Germany, the Hannover School spread north to the Danish border. In Flensburg, which was ruled byNorway
The Norwegian architects Balthazar Lange (1854-1937) and Peter Andreas Blix (1831-1901) worked in the railway construction of their home country in the 1880s. Both had studied underNorth America
The influences of the Hanover School reached as far as North America. Immigrant German architects and engineers applied the principles of teaching primarily in railway construction. This mainly concerned the US state ofDemise and legacy
The architectural influences of the Hanover School did not disappear abruptly, but sounded slowly for decades.In the late phase of neo-Gothicism, among other things, the administration building of Westinghouse AG on Goetheplatz in Hanover (not preserved) was built. The brick building designed by Karl Börgemann around 1900 had "an increased tendency to monumentalization"compared to previous buildings of the Hannover School. The Biermann commercial building at Herrenstraße No. 8 in Hanover comes from Alfred Sasse. Built in 1905/06, the house has a facade made of tuff stone and black Oeynhaus facing stones, which are grouted white. However, the "powerful and noble"facade also has many small-scale details that are in the sense of the Hanover School: The window dimension and the tower-like elevated staircase can still be recognized by the "filigree broken"gables of the staircase were not preserved.[At the residential and commercial building on Voßstraße, corner Jakobistraße, built in 1913, contemporary publications already read about a revival of brick building in Hanover. Wilhelm Türnau designed the "well-proportioned"corner semi-detached house. It has vertical outline 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 way, according to the building historian Günther Kokkelink, the house still sets a good example of the transition of the Hanover School to modernity. Further examples of foothills of the Hannover School are the Gertrud-Marien-Heim in Hannover-Linden Mitte and the extension of the Hanoverian biscuit factory Bahlsen in Hannover-List.[ The Anzeiger-Hochhaus, built in 1927–28 in the center of Hanover, is also in the tradition of the Hanover School, with its overangle finials. The architect Fritz Höger was a leading representative of brick expressionism, which otherwise used a little overarchal. The overarchal fials also sound in the "strict vertical division"of the Franzius Institute. This research building for the Hanover University of Technology was built in 1928-31 under the supervision of Franz Erich Kassbaum.Later Developments
After 1945, many of the buildings that had survived the Second World War, especially in Hanover, received little appreciation. Günther Kokkelink notes that in devotion to everything that seemed modern, the architecture of historicism had met with a general rejection. Representative buildings of well-known architects have been rebuilt in a simplified form or demolished completely, often to be replaced by "all-world architecture".[Eiko Wenzel stated in an essay published in 1999 that monument preservation is not yet able to improve the artistic quality of the buildings from the late 19th century in many places. century to present convincingly.[The reason is that monument preservation still lacks the evaluation criteria for this. The contempt for this stylistic era has its origin in the Heimatschutzstil, which rejected historicism. The Heimatschutz movement, like historicism, borrowed from historical role models.Redevelopment of Hanover after the Second World War
In the summer of 1948, Rudolf Hillebrecht was elected city planning councilor of Hanover.He was considered a representative ofDemolition of the Villa Willmer
Even after the demolitions of the 1950s, the monument preservation interest in buildings of the Hannoversche Schule remained partly low. Exemplary stands for this is the Villa Willmer ("Tränenburg") in Hanover-Waldhausen, the demolition of which accompanied a great public interest in 1971. Hannoversche Allgemeine Zeitung at the end of 1970, there were protests. In a public advertisement, citizens called on the city administration to prevent "the purposeless destruction of this precious architectural monument". Among the undersigned were many architects, members of the Hanover University ofReception
Hase insisted that the structure of the building and the building materials used, preferably local, remain visible to the viewer. Hase's students were not only senior engineering officials and well-known architects, but they also taught at trade schools, for example in Eckernförde, Hamburg, and Nienburg, Lower Saxony, Nienburg. At the first major North German building trade school in Holzminden, there was a group of Hase's admirers in the teachers' association ''Kunstclubb'' ("Art club") who sought to spread the ''Hanoverian school'' in the 1860s.Selected representatives
* Ludwig Droste (1814–1875) *Elements of style
* Adherence to medieval brick Gothic style * Preference for local building materials (wood, brick, sandstone) * Brick wall facades with brick ornaments * GermanExamples
* Artists' House, Hanover, 1853–1856, Conrad Wilhelm Hase * Marienburg Castle, Schulenburg (Pattensen), 1857–1867, Conrad Wilhelm Hase and Edwin Oppler * Church of Christ, Hanover, 1859–1864, Conrad Wilhelm Hase * Jewish sermon hall, Hanover, 1861–1864, Edwin Oppler * Synagogue, Hanover, 1863–1870, Edwin Oppler * St. Luke's Church, Lauenau, about 1875 * Old City Hall, Hanover, restoration from 1878 to 1882, Conrad Wilhelm Hase * Church of the Apostles, Hanover, 1880–1884, expansion from 1889 to 1891, Conrad Wilhelm Hase * ''References
Günther Kokkelink, Monika Lemke-Kokkelink: ''Baukunst in Norddeutschland. Architektur und Kunsthandwerk der Hannoverschen Schule 1850–1900.'' Schlütersche, Hannover 1998, ISBN 3-87706-538-4. '' Blätter für Architektur und Kunsthandwerk''. 26. Jahrgang, Nr. 11, November 1913, S. 41f. Erwähnt in: Günther Kokkelink, Monika Lemke-Kokkelink: ''Baukunst in Norddeutschland. Architektur und Kunsthandwerk der Hannoverschen Schule 1850–1900.'' Schlütersche, Hannover 1998, ISBN 3-87706-538-4. S. 130. Sabine Baumgart, Jürgen Knotz: ''Die Bauwerke der Eisenbahn in Niedersachsen.'' Teil 1: ''Bestandsaufnahme, Katalog des gesammelten Materials.'' Forschungsbericht des Instituts für Bau- und Kunstgeschichte der Universität Hannover. Selbstverlag, Hannover 1983. Günther Kokkelink, Eberhard G. Neumann: ''Vorwort.'' In: Sabine Baumgart, Jürgen Knotz: ''Die Bauwerke der Eisenbahn in Niedersachsen.'' Teil 1: ''Bestandsaufnahme, Katalog des gesammelten Materials.'' Forschungsbericht des Instituts für Bau- und Kunstgeschichte der Universität Hannover. Selbstverlag, Hannover 1983. Günther Kokkelink, Eberhard G. Neumann: ''Vorwort.'' In: Sabine Baumgart, Jürgen Knotz: ''Die Bauwerke der Eisenbahn in Niedersachsen.'' Teil 1: ''Bestandsaufnahme, Katalog des gesammelten Materials.'' Forschungsbericht des Instituts für Bau- und Kunstgeschichte der Universität Hannover. Selbstverlag, Hannover 1983. Die beiden Autoren zitieren aus einer Festschrift, die anlässlich des 150-jährigen Bestehens der Universität Hannover erschien. Für die Festschrift hatte Kokkelink einen Beitrag über Conrad Wilhelm Hase verfasst. Wolfgang Neß, Ilse Rüttgerodt-Riechmann, Gerd Weiß, Marianne Zehnpfenning (Hrsg.): ''Baudenkmale in Niedersachsen. 10.1. Stadt Hannover, Teil 1.'' Friedrich Vieweg und Sohn, Braunschweig / Wiesbaden 1983, ISBN 3-528-06203-7. Wolfgang Neß, Ilse Rüttgerodt-Riechmann, Gerd Weiß (Hrsg.): ''Baudenkmale in Niedersachsen. 10.2. Stadt Hannover, Teil 2.'' Friedrich Vieweg und Sohn, Braunschweig / Wiesbaden 1985, ISBN 3-528-06208-8. Ulrike Faber-Hermann: ''Bürgerlicher Wohnbau des 19. und frühen 20. Jahrhunderts in Minden.'' Lit, Münster / Hamburg / London 2000, zugleich veränderte Dissertation, Universität Minden, 1989, ISBN 3-8258-4369-6. Sid Auffarth, Wolfgang Pietsch: ''Die Universität Hannover: ihre Bauten, ihre Gärten, ihre Planungsgeschichte.'' Imhof, Petersberg 2003, ISBN 3-935590-90-3. Fußnote 23 auf S. 128. Theodor Unger (Hrsg.): ''Hannover 1882: Ein Führer durch die Stadt und ihre Bauten.'' Nachdruck des historischen Buches aus dem Klindworth's Verlag. Europäischer Hochschulverlag, Bremen 2011, ISBN 978-3-86741-493-7. ''"Es muss Schluss sein mit Abrissen".''Bibliography
* Gustav Schönermark: ''Die Architektur der Hannoverschen Schule.'' (The architecture of the Hanover School). 7 vols., Hanover, 1888-95. * Günther Kokkelink, Monika Lemke Kokkelink: ''Baukunst in Norddeutschland. Architektur und Kunsthandwerk der Hannoverschen Schule 1850-1900'' (Architecture in Northern Germany. Architecture and handicrafts of the Hanover school from 1850 to 1900). Schlütersche, Hanover 1998. * Saskia Rohde: ''Im Zeichen der Hannoverschen Architekturschule: Der Architekt Edwin Oppler (1831-1880) und seine schlesischen Bauten'' (Under the banner of the Hanover School of Architecture: The architect Edwin Oppler (1831-1880) and his Silesian buildings). In ''Hannoversche Geschichtsblätter'' (Hanoverian History Pages), Hanover, 2000, Hahnsche Buchhandlung, {{ISBN, 3-7752-5954-6. *External links