Hanover school of architecture
[1]: 315 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.
[1]: 442 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.
[1]: 10–11 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.
[1]: 11 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."
[1]: 11 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").
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.
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).
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.
[1]: 561 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.
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.
[1]: 31–32 Other examples of the round arch style in Hanover are the House of the Military Clothing Commission (Hermann Hunaeus, 1859/1860),[1]: 41 the buildings of the Henriettenstift located to Marienstraße (Christian Heinrich Tramm, 1861–1863),[1]: 80 the Marstall at Welfenschloss (Eduard Heldberg, 1863–1865),[1]: 79 and the double townhouses Prinzenstraße 4 and 6 (Georg Hagemann, 1869).
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."
[1]: 442–443 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).
Börgemann's Heilig-Geist-Spital und Stift (Holy Spirit Hospital) received extensive ornamental surfaces and contrasting, colored glazed bricks on the walls.
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 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".
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.
The emerging gymnastics movement under the "turn father" Friedrich Ludwig Jahn served for leisure activities, but was also intended to get the Germans in shape for military conflicts.
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.
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.
In Hanover, the mechanical weaving mill was the first modern type factory to receive an external design according to Hanoverian round arch style.
Here Johannes Otzen and Alexander Wilhelm Prale created a series of brick buildings in the sense of the Hannover School, some of which still shape the cityscape today.
[The guiding principles advocated by Conrad Wilhelm Hase found their way to Norway, where Balthazar Lange and Peter Andreas Blix designed small station buildings in accordance with neo-Gothic ideals.
Johannes Otzen designed a residential building for the wholesale merchant Christian Nicolai Hansen in 1869, which was "one of the first major construction projects in Flensburg, now Prussia" by Eiko Wenzel.It was built on Große Straße No.
Green and brown glazed shape stones, a polychrome facade and a colored slate roof ensured that the building became a kind of "performance show"for the new style.
Together with layers of glaze bricks and the colored slate roof, these plaster surfaces gave the Olsen House a "strongly polychrome facade image".
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.
For the redesign of Hanover after the Second World War, Hillebrecht attached decisive importance to the aspects of "structure and transport": "The image of the modern city center is significantly influenced, perhaps determined by these two factors.
Among other things, the rectory of the Kreuzkirche (Paul Rowald, 1892) and the remains of Conrad Wilhelm Hase's house (hare, 1859) were affected by the buildings of Hanover School.
