how the fundamental forms and functions of the expressionist movement were both adopted and adapted as it moved across europe and the world

While the expressionist movement was dominant in Europe in the twentieth century with most expressionist architects based in Germany and Europe, architects like Erich Mendelsohn brought the style concerned with massing and forms to express a sociopolitical and cultural identity and circumstances from Germany to other parts of the world, including, Israel and the United States. While other architects such as Hans Scharoun were also concerned in the expressionist ideals and movement, the core ideals that dictate expressionist architecture, that being the "want [to] imagine, and create the new architectural concept co-operatively. Painters, sculptors, break down the barriers around architecture and become co-builders and comrades-in-arms towards art's ultimate goal: the creative idea of the Cathedral of the Future1," created a divide whereby expressionist architecture found in its origin of Germany and Europe differs from its counterparts across the globe. However, while these architects brought the communicative design approach outside ofGermany and Europe, fundamentals characteristics of the movement remained true in all regions such as the form and massing approach to architectural designs.

Expressionist architects in Germany defined the style through the use of large massing that aimed to express a sociopolitical and/or cultural significance, and while many built environments responded to their timely surroundings, majority of German architects were more concerned with the cultural factors that created a balance where expressionism becomes that of a glimpse into the unknown of a building, expressing the buildings function through its exterior structures. Erich Mendelsohn, one of the most well known expressionist architects was born in Poland in 1887 and studied architecture in Munich at the technical academy. Mendelsohn was a prominent expressionist architect across Europe and Germany, conceded with dynamics and functions whereby "the individual creation can be understood only within the context of the totality of the phenomena of the age2." His form of expressionist architecture is embodied in his 1917-1921 observatory in Potsdam for Albert Einstein where elements of "Van de Velude's Werkbund Theatre and the overall profile of Bruno Taut's Glass Pavilion3," are combined with the observatory function to create "a much more structural approach than the highly plastic and folkish preoccupations4," whereby the tower itself becomes the physical representation to the outside world of the theoretical research within. This expressive notion is exemplified by Mendelsohn's own sketches where the dynamic wave like structure appears to be at great speed, signifying that of Einstein's own relativity theory while unilaterally remaining true to its fundamental function. It is the expressionist balance of functionalism and modernism whereby "the primary element is function but function without sensibility remains mere construction5." His Luckenealde Hat Factory (1921-1923) becomesan epitome of this balance whereby Mendelsohn uses the structure itself as an expressive form. The high pitched lower portion of the roof met with a high and drastic outward rise, becomes an abstract visualisation of a hat itself through "the intrinsic structural expressiveness of materials,6" something that becomes key to Mendelsohn's expressive style, "drastic tall pitched industrial forms against horizontal administrative elements.7" This balance of function and expressive design can also be seen through the lens of Hans Scharoun's Berlin Philharmonic where the structural facade expresses the the music inside. The notion of "tall pitched industrial forms8," shows prominence at the peaks of the collection of pitched like roofs as the strong vertical cladding begin to rise out of the horizontal grounding entrance foyer, a common typology amongst German Expressionism. Further cementing the similarity between the two buildings, the centre placement of the orchestra and raised seating allows space for visitors to accumulate, while being a distinctive design choice typical of the German expressionist balance of factionalism and design. The centred stage allows for both optimal viewing and auditory benefits while the draped seating allows for a multifunctional space whereby the draped seating and entered stage become an utterance that "leads to every object receiving and retaining its own essential shape,9" a notion akin to that of Mendelsohn's Germanic work of both the Einstein tower and the Hat Factory where the expression of the structure is bolstered by both its function and by its exterior articulation of what it contains beyond. While expressionist architects like Scharoun and Mendelsohn were concerned in the narrative of the sociopolitical and cultural factors that surrounded their architecture, their main form of expression was that of projecting a clear image of what lies further, when the exterior becomes a window into the interior.

Although Mendelsohn defined his expressionist style across Europe and Germany, his formulaic expression through structure stretched far beyond tothe likes of Israel, adapting to the new cultural and socio-political positions. With the Nazi Party gaining momentum and being elected to power, Mendelsohn was thrown out of the German Architects Union due to him being Jewish. He sought to leave the expressionist haven of Germany for (known at the time) The British Mandate of Palestine (now known as The State of Israel) where he stayed between 1935 and 1941. During this time Mendelsohn drew on his "definitive ideas about contemporary architecture and culture10," where he believed that the "dominion over the natural elements should be given up11." These ideas are exemplified in Mendelsohn's Weizmann House (1937) in Rehovot where the large strong structure responds to the eleven hectare environment that surrounds the building, a typology that becomes an exaggeration of previous German built environments due to the "constructive element of a new, living organism12". Mendelsohn communicates the importance of the natural elements surrounding the building through the centred spiralling staircase tower, leading to a high conservatory that overlooks the natural elements beyond. This grounding structure becomes "both a symbol of intensified decay and an element in a life that is ordering itself anew13," as it becomes the roots of the building, expressing the notion that it is planted into the ground, becoming part of the living landscape while also highlighting the new life of the inhibitors, "provid[ing] a justifiable basis for rebirth amidst the misery produced by world-historical disasters14." This becomes a direct departure from the established expressionist fundamentals of the exterior as a window into the interior as a blunt outer exterior becomes a protective barrier for the private courtyard's exterior facades. However, the balance of function and expression of cultural and socio-political narratives, are evident in the house. The adapted balance becomes "salvation in the exaggeration of a form15," as the watchtower style centred column and the protected walled in swimming pool area are a reflection of the hostilities of the region at the time, where the house becomes a haven, a "cultivation [of] the essential form enclosed within16." Mendelsohn's constant use of "drastic tall pitched industrial forms against horizontal administrative elements.17" becomes a further standard in which he adapts his expressionist style practices for the Middle East location. While the Weizmann house does include elements such as the series of vertical columns that surround the centre tower, it is the focus on the horizontal that forms the basis of this adaptation. This horizontal focus is exemplified in the dominating and floating horizontal bridge like entrance of the house as well as the courtyard extended roof lines where the "forms break up [and] are merely thrust[ed] aside by new forms that are already present but only now come to light.18" This focus on the horizontal as well as the departure from the exterior as an expression of a buildings interior becomes a key adaptation for Mendelsohn's built environments outside of Europe when compared with his 1924 - 1926 Red Banner Factory in St. Petersburg. The cacophony of vertical structural elements as well as layering of horizontal massing to create a seamless vertical structure, a key stylistic constant across Mendelsohn's European architecture. Further, while the Red Banner Factory formally does not express its use in its exterior to great extents such as the Einstein Tower and Hat Factory, its use of ornamentation such as the 'zig zag' roof railing and towering vertical ventilation columns provide insight into the function of the building whereby "its existence [is] neither to the whim of an unknown.19" While some design choices remain constant between Europe and Israel, these contrasts in the fundamental function and aspects of Mendelsohn's expressionism become a clear and definitive divide where, "the style found a wonderful fit in structures,20" that "made adjustment even while standing by its fundamental premises.21" Hence, despite some fundamental aspects of form and massing being able to directly translate in Israel from Germany, expressionism in Israel was not a direct extension of Europe and Germany, rather an exemplification of the accommodations that were required to evoke the divergence in the face of the new cultural and socio-political events as well as building requirements that differed.

After adapting his style in Israel, Mendelsohn brought his expressionism to the United States were the fundamentals of forms and massing were altered to accommodate the new cultural and socio-political agenda. Mendelsohn became a university lecturer at Berkley while unilaterally applying his expressionist style to buildings across America. His last building, the Mount Zion Shule (1954) was a final exemplification of the use of forms and massing, and key expressionist fundamentals, yet in some cases, adapting these fundamentals to the American eyes. Mendelsohn's focus on "drastic tall pitched industrial forms against horizontal administrative elements.22" is once agin a main principal which he is seen to adapt in his American work. The mount Zion Shule holds a focus on the vertical and tall extrusions that line the main 'ark' like forms of the exterior, a "strong contrast to the smooth, flat roof,23" horizontal focus of the Weizmann House. The horizontal aspect however is not void, but rended insignificant, as "every single element [of the horizontally influential area, the lower portion of the building], [...] each line, each spot of colour, blends with, and is subordinate to, the whole - which coaxes from us this lofty impression.24" However, the Mount Zion Shule resurrects an identifying quality of European expressionism, missing in his Israeli works, the notion of thexterior of a building, expressing that of its use, a glimpse inside. The formal massing of the shule consists of the lower horizontal entrance and main building which becomes visually small and the support structure of the dominating overlayed rectangular type structures. The structure resemble that of the biblical 'ark', a concept that underpins Judaism, to form the exaggerated ceiling in the interior prayer room. This becomes a visual representation but differs from that of other European expressionist buildings that revel itself on the exterior, as these masses allow for multiple expressions, on the exterior they provide a core visual cue that the building is a Shule while allowing to express as sense of divinity and transcendence from the interior whereby the forms become, "the impassively religious element in its nature.25" These adaptations are exemplified when compared to Scharoun's Romeo and Julia Appartments in Stuttgart (1957) as the strong emphasis on tall vertical structural elements become a defining element in each structure. Scharoun's appartments use a series of identical layers to create a set of encompassing vertical structures, where, "typical and repeatable forms were able to fulfil generalised needs.26" Further, Scharoun's use of theses strong vertical structures seperate the two halves of the building alluding to its narrative, this is exemplified in plan where the two halves are fragmented from this split and no longer line up, an "unparalleled leap from absolutism.27" This form of the built environment becoming a personification of a narrative, a direct correlation to the Mount Zion Shule's 'ark' like protruding form whereby both express their own individualised narrative through their architectural typology, a notion where "only the active hand, the active mind has a right to life.28" As a result, expressionist architecture in the United States becomes a truer representation to the original fundamentals of the German and European Expressionist style.

While design differences can be established between European and global expressionist architecture, differences can also be identified between architects in the same region. While differences can be attributed to the 'functionalists' who "created unique, non-reputable buildings whose forms were shaped around their functions29",and 'rationalists' who "looked for typical and reputable forms that were able to fulfil generalised needs30", they delve further into the personal stylistic choices and styles of the architect. This notion is epitomised by Hans Scharoun who, while being further towards functionalism, expressed his architecture through linear and curvaceous forms and masses, a departure from the "rectilinearity, typical of the movement as a whole31". Scharoun's' departure from the rectilinear norm of other expressionist architects, was founded on his understanding that "the idiosyncratic nature of the 'organic' [...] has [...] been given little chance to prevail32", while unilaterally designed with the "unconscious33" in mind. This inadvertent natural deviation of traditional expressionist Architecture is given credence when comparing the curvaceous nature of Scharoun's' Schminke House (1930-1933) to that of other expressionist architects such as Mendelsohn early work in Germany such as the Einstein Tower. While both have the formal massing, rounded elements and long flat portions of the facade akin to expressionist architecture. it is Scharoun's complete removal of the harsh corners, most evident in the roof lines, and replacing them with a fluid and subtle, rounded corner that forms the basis of his departure. While Scharoun's deviation from the normative practices of expressionism may indicate a rejection of the architectural style as a whole, it is rather a total and fundament personification of the true nature of expressionist architecture. The exaggerated rounded corners partnered with the continuous set of stairs that gracefully extend to hug the entire building and morph into its roof line as well as the subtle curve at the end of straight facade elements exemplify "the unconsciousness of its chaotic impetus,34" responding to that of its surroundings, whereby the architectural language is created through the formal interaction and expression of the landscape that revolves around it while also being generated by the functions that its occupants require. This combination of formal response to the landscape and function response to its inhibitor, is a fundamental act of modernist expressionism as a "'structural intensity' based on expression, rhythm and dynamics, as well as new materials such as glass, steel and concrete,35" where the Shminke house becomes an epitome of the "crystal building [...] that would shine [...] over each new garden city.36" Scharoun's Shminke house exemplifies expressionist architecture as a furthering of architecture response to, and becoming the sociopolitical and cultural realm of where it sits, but with its fundamental role as "a universal architecture of glass and steel [...] that would usher in a new age of social harmony.37" His departure becomes a true testament to the core of expressionist architecture, a "'utopian correspondence'38," in which the built environment becomes the repository for its occupant while either becoming apart of its surroundings or challenging them and the status quo. Thus, while the expressionist architects in Germany respond to the impious of the function and rationalism in articulating the cultural and sociopolitical environments, the formal qualities and use of massing are not a constant amongst expressionist architects across Germany.

While expressionist architects like Sharon and Mendelson stayed true to the fundamental function of expressionist architecture, such as the massing and formal qualities, their enforcement of these characteristics were not set in stone. These characteristics were kept, adapted and deemed null and void in repose to the location of the architect and of the structure. While, German and European expressionist architecture in some cases holds true to the core of the expressionist style, they are not immune to the adaptation and change. Thus, it is mealy a fundamental of expressionists to change and adapt in order to fufill the main form of the style, to become a personification of the cultural and socio-political world and itself. It is a "reveal [of] a complete comprehension of the character and the causality of our creations.39"