Amongst the architects who have carried out distinguished work on more or less traditional lines may be cited Ludwig Hoffmann, Alfred Messel, Paul Mebes, Albert Gessner and Bruno Paul.
English influences are sometimes apparent in the houses of Her mann Muthesius, as in those of Theodor Merrill, Hans Liepe, Paul Bonatz, Heinz Lassen, Otto Bartning and others of the mod ern German school. There is no type of domestic architecture which can be classified as typical of Germany; as a rule however German domestic work is characterized by somewhat squat pro portions, a certain massive quality of composition, emphatic roofs and heavy eaves. The tendency is towards solidity, and there is a general absence of light or fanciful detail.
Since 1914 there have been some interesting developments. A new school of architectural thought was in being prior to the World War, and manifested itself at the Cologne exhibition of 1914. Its tendencies were towards complete freedom in design, a return to the consideration of form, structure and practical requirements as the most important factors in architectural de sign. This movement, typifying an intellectual reaction against the often illogical restrictions imposed upon design by adherence to a chosen style, has been fostered by post-War conditions which imposed the strictest economy in building. The new architecture, reverting in its masses to the geometric constituents of architec tural form, was well adapted to the demands of economy. As a result, in Germany at the present day there exists a school of architects whose work is completely modern in ideals, and has in consequence many points of similarity with that of modernists in other countries such as France, Holland and Austria.
Amongst architects of this modern school may be cited Arthur Korn, Peter Behrens, Richard Docker, Walter Gropius, Ludwig Hilbersheimer, Mies van der Rohe, Hans Poelzig, Max Taut, Bruno Taut and Erich Mendelsohn. Their designs differ in char acter and expression, but in the majority of cases they have in common simple geometric masses, plain wall surfaces, large win dows—as a rule in metal—flat roofs and an almost complete absence of ornament. The work of Mendelsohn is in some direc tions the most original, but he is better known for his commercial than domestic work (see INDUSTRIAL ARCHITECTURE).
The new architecture ranges in expression between complete disregard of tradition and a type of design retaining simplicity while accepting certain traditional forms ; in this latter category is the work of E. Fahrenkamp, 0. Haesler and Thilo Schoder.
That of the extremists in modernism was exemplified in an interesting manner at the Stuttgart exhibition of 1927, where houses by modern designers from Germany and other Continental countries were erected as an illustration of the contribution of modern architects towards the solution of the housing problem. The houses erected were in many cases too strange in conception to make a popular appeal, but as a practical experiment they undoubtedly served a useful purpose in providing data for the future. The standard of comfort and equipment in German domestic work generally is second only to that of the United States and—in respect of housing—England.
Holland and Belgium.—The Dutch architecture of tradition, like that of other European countries, is blended of mediaeval and classic or Renaissance influences. In domestic work its best and most characteristic expression is typified by the tall and ele gant 18th century houses which line the canals of Amsterdam, and the crowstepped or curly gabled facades which reflect the earlier traditions. In the 19th century, and up to the commencement of the 20th century, these traditions were maintained, but with a gradual debasement as the spirit of individual craftsmanship and fine design became commercialized under the stress of modern conditions. The result of this degeneration was a reaction against tradition, a desire to create afresh in harmony with modern methods of building and commercialized production. An impor tant stage in this phase of reaction was marked by the building in 1898-1903 of the Bourse in Amsterdam by H. P. Berlage, a build ing marked by simplicity and sincerity, depending for its interest on a straightforward outward expression of its plan and structure. Its material of construction (brick), maintained the Dutch tradi tion of fine brickwork, but in style it had greater affinities with a simple Romanesque architecture (q.v.) than with that of the Dutch Renaissance (see RENAISSANCE ARCHITECTURE). This building had great influence on Dutch work generally, and largely to the work of Berlage and his followers can be traced the most characteristic modern Dutch development.