Hanover school of architecture

The Hanoverian school of architecture or Hanover School is a school of architecture that was popular in Northern Germany in the second half of the 19th century, characterized by a move away from classicism and neo-Baroque and distinguished by a turn towards the neo-Gothic. Its founder, the architect Conrad Wilhelm Hase, designed almost 80 new church buildings and over 60 civil buildings alone. In addition, Hase taught for 45 years at the Polytechnic University in Hanover and trained around 1000 full-time architects, many of whom adopted his style principles.

The expanding industrialization of nineteenth-century Germany favored the development of the Hanover School, especially in urban areas, where a rapidly-growing population led to a great demand for new homes, schools and hospitals. The expansion of the railway network required new structures such as station and company buildings, and emerging industrial corporations built impressive factory structures that reflected their economic importance. Hanover itself saw the construction of numerous large municipal churches, schools, and factories as well as several thousand residences between the 1850s and the beginning of the 20th century. Stylistically, these buildings were characterized by their unplastered brick facades, which were perceived as "honest." Especially for factory buildings, it was already possible to recognize its internal function by the outer shape of a building. Exterior ornament used a number of design elements: stepped gables with finials, carved stone, and decoratively set bricks with a glazed surface derived from medieval church buildings.

For a long time after the Second World War, during which most large German cities were heavily bombed, the remaining buildings, especially in Hanover, garnered little interest in monument preservation. Large-scale transformation measures and the conversion of Hanover into a car-friendly city led to numerous demolitions.

The term "Hanover School of Architecture" probably first appeared in 1882 with Theodor Unger. At the time, however, the term also referred to the previously-popular ''Rundbogenstil'' ("round-arched style" or Romanesque revival style) and the buildings shaped by Hase's influence. It was only later on that only the buildings designed according to Hase's teachings were counted as the "classic" Hanover School.

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 the Kingdom of Hanover. Two branches of it can be distinguished: (1) the "Tramm style" (Tramm-stil) developed by court councilor Christian Heinrich Tramm, characterized by staves and corner pole towers, and (2) the style founded by city builder August Heinrich Andreae with three-dimensional brickwork.

The Hanoverian Church consistorial master builder and architecture professor Conrad Wilhelm Hase (1818–1902) took up the variation of Andreae's Rundbogenstil starting around 1853 and from it developed the formal vocabularies of the Hannover School. It is worth noting that the architectural theory of Berlin's Karl Friedrich Schinkel, the "Schinkelschule," at the Bauakademie, had no influence here. After a transitional period, the Hanover School coalesced independently around 1860. Its heyday lasted until about 1900; in exceptional cases it was used until the beginning of the First World War, and extended over northern Germany, as well as to a certain extent abroad.

Ulrike Faber-Hermann observed in 1989 that the Hanover School's "appearance can be described by certain characteristics," but that a precise "definition" remains vague, partly because at the time of its creation the style was "multilayered." For example, in 1882, the Hanover School architect Theodor Unger was employing both the Rundbogenstil and the Gothic forms of Hase. According to Faber-Hermann, only the latter were later associated with the concept of the Hanover School. On closer inspection, many students of Hase did not allow themselves to be characterized as strict representatives of this school, and only a few buildings assigned to the Hanover School are actually precise classic examples of its designers' work.

Conrad Wilhelm Hase's design work became the driving force for the Hanover School, aided by Hase's teaching position at the Technical University in Hanover (until 1879 it was still called the Hanover Polytechnic School), which obviously ensured the dissemination of his ideas. From 1849 to 1894, his teaching activities there included, among other things, subjects such as designing public and private buildings, sacred architecture, formal theories of medieval architecture, and ornament. Hase tried in his work to detach from the classicism represented by Georg Ludwig Friedrich Laves as well as from the neo- baroque tendencies borrowed from France in favor of medieval forms, which he considered stylistically pure. The architect Friedrich von Gärtner, who taught in Vienna, exerted great influence on Hase with his position that unplastered stone should be used as the primary building material (otherwise called "pure construction"). In the 45 years that Hase taught at the university, around 35,000 students were enrolled in architecture subjects, of which only around 1000 completed the degree program in architecture and thus can be regarded as a direct student of Hase–still an impressive number. Hanoverian training in architecture enjoyed supra-regional recognition, so that students came from all over northern Germany, as well as from the Americas, England, the Netherlands and especially from Norway. Hase's successor at the university, Karl Mohrmann, continued the Gothic-revival program of his predecessor until 1924.

The 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, the British architect George Gilbert Scott expressed his appreciation: "The best developments of railway architecture I have seen are on the Hanoverian lines." The development of the railway in Lower Saxony was already well-established by this point, as the first section, the route from Braunschweig to Wolfenbüttel, had begun operation at the end of 1838. By 1880, all of the most important lines had been completed, and in the following decades only additional feeder lines and secondary railways were constructed.

Scientists from the Institute of Building and Art History of the University of Hanover identified a total of 480 buildings in Lower Saxony in the early 1980s that they classified as "scientifically remarkable." In addition to the principal passenger railway depots, they also looked at other auxiliary railway structures, such as signal boxes, repair halls, post houses and railway housing. Their research revealed various architectural "style development stages" according to which the buildings were designed. According to the inventory published in 1983, an "independent design language based on the round arch style of the Hannover School" developed from 1852 to 1865, while over the next two decades the neo-Gothic of the Hannoversche Schule was then applied "irregularly." According to this study, many innovations took place in the field of "small architecture"–that is, minor stations, as well as in the first-generation structures that were later replaced by larger successor buildings (for example, the stations in Hanover, Uelzen or Oldenburg). The innovations concerned architecture as well as urban planning and technology.

Many Gothic-revival railway stations were built along the Hannöversche Südbahn from Hanover to Göttingen. The route was already planned in 1845, but its completion was delayed due to the uncertain political situation before the Revolutions of 1848. The first section, from Hanover to Alfeld, was inaugurated in May 1853, and the section to Göttingen followed a year later. Hase was commissioned to design many of these buildings, presumably in cooperation with Julius Rasch and Adolf Funk. Stylistically, these buildings reveal the transition from the Rundbogenstil to the Hanover School, especially structures such as the main station building in Sarstedt from 1855. The brick building, painted today, is divided vertically with lisens. Its middle transverse section uses a blind gable, which was decorated at the roofline. Other Hase stations on this route can be found in Nordstemmen (1858–1860), Elze (1855), Einbeck (then Salzderhelden, 1855) and Göttingen (1855). In Banteln and Freden, the stations show elements of the Rundbogenstil, but probably were only built between 1865 and 1870.

Contemporary 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 designed Hanover Central Station, also commented on the "Renaissance buildings" in Hanover. He counted among these "artically remarkable" monumental and private buildings, for which "real materials" had been used in the pursuit of "genuine monumentality." The buildings are determined by the medieval echoes and distinguished themselves as "advantageous" compared to other contemporary buildings. Both critics, Unger and Stier, judged the Hanover School from a certain distance: Unger had belonged to the Vienna School around Friedrich von Schmidt, while Stier belonged to the Berlin School.

Supporters of the School

During his teaching at the Polytechnic School Hannover, Conrad Wilhelm Hase trained about 1000 full-time 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. These circles 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's departure from the Technical University, Karl Mohrmann succeeded him and continued to continue his predecessor's teaching opinion in a partly modified form until 1924. In addition to the university, Hase's students also taught as teachers at the Hanover School of Applied Arts ( Otto Bollweg, Adolf Narten, and Hermann Narten). Many students were also working at building trade schools, for example at the Baugewerkschule Eckernförde (Erich Apolant, in Hamburg ( Hugo Groothoff) or in Nienburg (Otto Blanke, Wilhelm Schultz. At the important first North German building trade school in Holzminden, there was a circle of Hase admirers with the Lehrerverein ''Kunstclubb'' in the 1860s, who sought to spread the Hanover School ( Carl Schäfer).

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).
* Conrad Wilhelm Hase (1818-1902): Hase first learned at the Polytechnic School Hannover (the later university), then at the University of Göttingen, which was joined by a masonry apprenticeship. Before starting his 45-year teaching at the University of Hanover 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 councilor (1858) and professor (1878). The founder of the Hannover School was also a part-time consistory official at the Evangelisch-lutherische Landeskirche Hannovers (Protestant Lutheran State Church of Hanover) and 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 tendencies of neo-Gothic in 1853–59, and then trained his personal style of neo-Gothic from 1859. In the course of his life, Hase created a large number of very different buildings in large parts of northern Germany. Some examples are: Christuskirche Hannover, katholische Kirche Peine, Erlöserkirche Hannover, Apostelkirche Hannover, tower extension of Martinskirche Linden (today Hanover), extension of the Old Town Hall Hannover, Andreanum Hildesheim, stations of Lehrte, Celle, Bremen, Wunstorf, Göttingen, Nordstemmen, Oldenburg, Marienburg Palace, Hildesheim Post Office, Hanover Künstlerhaus, and the Klagesmarkt-Apotheke Hannover.
* Hermann Hunaeus (1812–1893): Like Ludwig Droste, Hunaeus also studied with Friedrich von Gärtner in Munich. From 1836 he worked as a military engineer in Hanover, then as a senior government and building councilor, later as a secret building councilor. Hunaeus, also a co-founder of the Architekten- und Ingenieur-Verein Hannover, is considered a representative of the Rundbogenstil. Among other things, he created various wings of the royal Dicasterien building in Hanover (Am Archiv, Archivstraße), the residences of Johann Egestorff, Wilhelm Glahn and Hermann Cohen, the military hospital on Adolfstraße in Hanover; the house of the military clothing commission, also on Adolfstraße; and the teaching seminary of Wunstorf. He also converted the Welfenschloss in Hanover into a Technical University (Teschnischen Hochschule).
* Franz Andreas Meyer (1837-1901): Meyer studied at the Polytechnic School Hannover and worked during the second phase of his studies in Hase's office. After his studies, he started as an assistant engineer for the Royal Railway Directorate in Hanover (1860) and then moved to Hamburg (1862), where he became the chief engineer of the building deputation (1872). He continued to keep in touch with Hase and provided many of his students with the Hamburg building deputation. Meyer was co-founder of the Niedersächsische and Hamburger Bauhütte, as well as chairman of the Architekten- und Ingenieur-Verein Hamburg. Meyer's plans include the supervision of the entire Speicherstadt in the Free Port of Hamburg, for which he designed numerous storage buildings himself. In addition, the customs building and the portal of the new Elbe bridge are his work.
* Karl Mohrmann (1857-1927): Mohrmann studied at the Polytechnic School Hanover with Hase (until 1879), whose successor he would later become there. After 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 (1887-1892) for five years as a professor of civil engineering. Back in Hanover, he inherited Hase in 1894 as a professor of medieval architecture. He also took over the chairmanship of the Bauhütte zum weißen Blatt (see below) founded by Hase (from 1902). Mohrmann managed to further develop the principles of the Hanover School and to maintain its influence until the 1920s. His work includes the restoration of the cathedral in Riga, his own residence at 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 Polytechnic School Hannover (until 1854) and worked in his teacher's office. After his studies, he gained experience in Belgium and France and then worked as a private architect in Hanover (from 1861); Oppler was also a member of the Hanover Architects' and Engineers Association. Among others, he has the Villa Solms, the Jüdischer Friedhof An der Strangriede (Jewish Cemetery on Strangriede), the New Synagogue, and the Israelite School as well as Hagerhof Castle in Bad Honnef and other residential buildings and synagogues in Wroclaw, Karlovy Vary, Norderney and Hamelin.
* Julius Rasch (1830-1887): Rasch began his studies at the Polytechnic School Hannover under Christian Heinrich Tramm and at the same time worked in the central office of the Hanover Railway, of which he became an architect after his studies (1852). Here he rose from construction contractor to construction inspector before moving to Alfred Krupp in Essen in 1875. From 1875, he worked as a government and building councilor in Berlin. Together with Hase and Adolf Funk, he designed numerous stations, including: Alfeld, Elze, Göttingen, Hannover-Münden, Leer, Papenburg, Nordstemmen. He also constructed the management building of the Hannoversche Eisenbahn in Joachimstraße in Hanover, as well as some residential buildings.
* Christian Heinrich Tramm (1819-1861): Tramm first studied at the Polytechnic School Hannover (from 1835) and then moved to Gärtner in Munich (1838–1840). After his studies, Tramm returned to Hanover to work there as a farm construction conductor; he also worked for Laves. Tramm is considered a follower of the round arch style, whose stave variant he developed. His works in Hanover include the horse stable in Georgengarten, Villa Kaulbach am Waterlooplatz and Villa Simon on Brühlstraße. The Welfenschloss and the building wing of the Henriettenstift to Marienstraße are particularly influential in urban planning.

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 Hanoverian Masonic lodge ''Friedrich zum weißen Pferde'', whose members included Georg Ludwig Friedrich Laves. The concept of the Bauhütte provided that a member first had to submit his designs to his colleagues for examination. By forming a unified style, the artistic quality of the buildings was to be further increased. The mission statement of the Bauhütte was recorded in several mottos that coincided with Hase's principles:

* ''Equality before art'': The work of a teacher is not per se more valuable than that of his student, only the creative power of a person counts.
* ''Friendship in the hut'': The members of the Bauhütte compete together against the advocates of other styles and are connected to each other in friendship. This was important because the members competed not only with the supporters of other schools, but also with each other for commissions.
* ''Truth in Art'': This principle refers to the controversial use of unplastered bricks as a visible raw material. Any material should be considered "real" if it is used correctly.
* ''Stick to the old'': This should encourage members to self-criticize. It is important to respect the art of the past and not to overestimate one's own current construction projects in their importance. This principle was often misunderstood as a reactionary tenet of the members.

However, as early as the 1880s and 1890s, many students of Hase deviated from his strict principles.

Stylistic 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).

Former Militaer Bekleidungskommission Adolfstrasse 8 Calenberger Neustadt Hannover Germany.jpg, House of the Military Clothing Commission in Hannover-Calenberger Neustadt ()
Hospital Henriettenstiftung Marienstrasse Suedstadt Hannover Germany.jpg, Henriettenstift in Hanover's Südstadt ()
Marstall building Leibniz Universitaet Hannover Welfengarten Hanover Germany.jpg, Marstall in Nord (Hanover) ()
House Prinzenstrasse 4 6 Hanover Germany.jpg, Double townhouses Prinzenstraße 4 and 6 in Hannover-Mitte ()

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.

Retirement home Stift zum Heiligen Geist Heiligengeiststrasse 20 Bult Hannover Germany 06.jpg, Holy Spirit Hospital and Monastery decorated with foliage and ornamental elements ()
Retirement home Stift zum Heiligen Geist Heiligengeiststrasse 20 Bult Hannover Germany 08.jpg, Brick fence pillar with rhythmically applied glazed stones on the Holy Spirit Hospital ()
Apartment house Callinstrasse 4 Nordstadt Hannover Germany.jpg, Apartment house on Callinstrasse 4 in the Nordstadt ()
Special shaped bricks Turnclubb gym building Maschstrasse Suedstadt Hannover Germany.jpg, Special shaped bricks on the Turn-Klubbe gymnasium ()

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, Christoph Hehl, Johannes Franziskus Klomp, Johannes Vollmer and Eduard Endler. Conrad Wilhelm Hase also focused on this: He worked on 171 church construction projects (including 76 new buildings), he created 66 on civil buildings. The Hanover School was therefore often classified as a "church style" in the past. However, this assessment falls far short in view of countless residential buildings, factories, schools, post offices and hospitals.

In Germany, it occurred in the second half of the 19th century. century to a lively construction activity at churches, the peak of which was between 1880 and 1914. The reason for this was essentially the growing urban population, triggered by industrialization. New districts outside the old city center were created, new parishes were founded in many places. In Hanover, this phase began with the sensational construction of the Christian Church in 1859. For Ulrike Faber-Hermann, this is considered "the actual founding building of the Hannoversche 'sic''Schule", Günther Kokkelink writes of an "architectural sensation". The church became unusually large and magnificent. According to Kokkelink, the very finely designed, detailed roof landscape is typical of the early phase of the Hanover School. In the plastic structure of the building, on the other hand, the Christ Church resembodies later buildings.Hase also succeeded in implementing the entrance area "cooked composition": The western cornerstones of the tower are so advanced that in between there is space for an arched vestibule, which crowned hare with a "powerful eyelash". The new construction of the Christuskirche in Hanover remained without further an example for a long time. It was only almost 20 years later, from 1878 to 1882, that the next large city church was built in Linden with the Zion Church (today: Erlöserkirche).Within a few years, the Apostle Church and Triple Church followed in Hanover.

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_Conrad_Wilhelm_Hase_

Conrad_Wilhelm_Hase_(2_October_1818,_Einbeck28_March_1902,_Hanover)_was_a_German_architect_and_Professor._He_was_a_prominent_representative_of_the_Neo-Gothic_style_and_is_known_for_his_preservation_work.
__Biography
He_was_one_of_ten_children_bo_...