HAPPY BIRTHDAY to great architects ALBERT KAHN & ERICH MENDELSOHN !

Albert Kahn’s Shipfitter’s Shop, Pearl Harbor, Hawaii

Erich Mendelshohn’s Einstein Tower, in Potsdam

SUNDAY, MARCH 21, 2021 WAS THE 152nd BIRTHDAY OF ALBERT KAHN—AND THE 134th BIRTHDAY OF ERICH MENDELSOHN—AND WE CELEBRATE THESE GREAT FIGURES OF MODERN DESIGN

ALBERT KAHN, Architect (1869-1942)

ALBERT KAHN

Can there be too many “Kahns” in Architecture? Not by our accounting! There’s Louis Kahn and Eli Jacques Kahn, and even Kahn & Jacobs (Eli Jacques Kahn’s successor firm, which did some quite interesting work)—all distinguished practitioners and creators. And there’s at least one more significant “Kahn” to add to the list, making a triad of excellence and achievement: Albert Kahn (March 21, 1869 - December 8, 1942).

Kahn’s oeuvre was gargantuan, as was his organization (ultimately growing to hundreds of staff, when he had to handle the creation of numerous war plants for World War II). He and his firm designed and almost unimaginable number buildings, with—to give you an idea of the scale of his oeuvre—more than 1,000 commissions for Ford alone.

Although most appreciated for his industrial structures, his nearly half-century of practice also included a significant number of buildings of other kinds: corporate offices, religious buildings, apartment houses, private homes, civic buildings, performance spaces, memorials, college buildings for a broad range of disciplines (especially at the University of Michigan), banks, and other building types (even an impressive monumental lighthouse!) And though it is Kahn’s “industrial aesthetic” which attracted the eyes of Modern architects, he worked in many other modes—and particularly showed mastery of the classical and deco styles. Indeed, George Nelson (who was a design journalist before launching his own industrial design career) noted the great irony that Kahn considered his traditionally-styled work to be his “real” architecture.

ABOVE: Albert Kahn’s Shipfitter’s Shop, Pearl Harbor, Hawaii. BELOW: Albert Kahn’s Chrysler Corporation Tank Arsenal Plant–Press Shop

[Nelson’s report on that aspect of Albert Kahn’s attitude to architecture is an occasion to point-out something important: While Kahn and his team’s process of designing industrial structures sometimes produced buildings of intensely striking form—ones that continue to be profoundly appealing to the Modern architectural “eye”—that was not their creators’ central goal. Kahn and his designers certainly had an aesthetic sense, but they were primarily problem-solvers. If a building could achieve a pleasing form, they might well have been glad—but such aesthetic results would be largely secondary to a preponderantly engineering-oriented mode of design and planning.]

While immensely successful, Albert Kahn was probably not widely known and appreciated beyond the prime region of his architectural work (Michigan), or outside of the clientele for which he designed buildings in his great specialty: large-scale industrial structures (which might be more geographically dispersed). Moreover, didn’t help his renown that architectural journals published industrial buildings only rather intermittently. That didn’t change until World War II, when professional magazines—joining in the spirit of the war effort—started showing buildings which highlighted the country’s productive capacity. That included the work of the Kahn firm—but he never rose to the level of fame of the architectural superstars of his era.

There was, however, a way in which Kahn’s industrial oeuvre (or at least his type of work) became the subject of the Modern movement’s affection—and that was because it was consistent with that community’s aesthetic and conceptual agendas and preferences. The demonstrably functional forms and spaces which Kahn designed were precisely in-line with Modernist thinking about creating “machines for living”—and Kahn’s buildings’ pared-down architectural palette appealed to their purist aesthetics.

THE IDEALIZATION OF ENGINEERING

One of the sources from which this admiration came from was the ideology of functionalism. Albert Kahn’s buildings looked more like the product of an engineering approach to design (as was, in large part, the case), without any malignant interventions from fussy traditionalist architectural values—or so the European Modernists imagined. The functionalists had great praise for the figure of the Engineer and his products—at least as those manifesto writers conceived him to be: one whose actions and decisions come from crystalline thinking, a creator of logical solutions, and one who would be dismissive of all that was not contributing to the function of factually-determined measures. In Le Corbusier’s view:

“The Engineer, inspired by the law of Economy and governed by mathematical calculation, puts us in accord with universal law. He achieves harmony.”

Among those Modern architects of the “Heroic” period of the 20’s and 30’s, this notion of how architectural problems were to be solved was expressed in its most distilled form by Hannes Meyer (the head of the Bauhaus who succeeded Gropius) in his stark formula:

Architecture = Function x Economy

THE AESTHETIC OF ENGINEERING

ABOVE: A US grain elevator, prominently pictured in Le Corbusier’s 1923 book, “Vers une Architecture.” Its clean, cylindrical geometries would have appealed to Modernists’ eyes—especially Corbusier, with his orientation to Purism. BELOW: The east tower of NYC’s George Washington Bridge—Mies’ candidate for the most beautiful building in New York.

The other reason that Albert Kahn’s work would have pleased the leaders of the Modern movement is the allure of the industrial—which is not just functionalist, but is also part aesthetic.

Industrial buildings (and similarly production-oriented structures) stand in strong contrast to “Buildings that look like buildings” (to use Robert Venturi’s phrase). Factories, water towers, processing facilities, chemical plants, storage tanks, great turbines (and the halls within which they’re made, like the famous AEG Turbine Factory by Behrens), and assemblages of titanic piping and ducts: they have a directness and power—and that gives them an attractive freshness to the eyes of designers who were seeking escape from the weight of centuries of accumulated architectural styles (and also an escape from those styles’ associations with a culture that was felt to be unjust, failed, and ossified.)

Thus the leaders of the Modern movements showed an appreciation for buildings which eschew ornament, which exhibit strong geometries, which celebrate their structural elements, and which are bold in form. Le Corbusier pointed to American grain elevators as platonic examples of what to aim for, writing:

“Thus we have the American grain elevators and factories, the magnificent FIRST FRUITS of a new age. THE AMERICAN ENGINEERS OVERWHELM WITH THEIR CALCULATIONS OUR EXPIRING ARCHITECTURE.”

And Mies van der Rohe, when asked what he thought was the most beautiful building in New York City, cited the George Washington Bridge—a complex of unadorned steel girders, which opened in the Northern part of Manhattan in 1931 (Othmar Ammann, chief engineer).

MIES NEEDS KAHN

Below is the interior of one of the factories which Kahn and his team designed: the Glenn Martin aircraft assembly plant, built in Maryland in 1937. The space, the spans, and the business-like organization of many layers of functional elements is indeed impressive. But….

But look at the below collage—for it is by this image that Albert Kahn’s reputation reached its apotheosis among architects.

It is, of course, one of the most famous images produced by Mies van der Rohe: his vision for a concert hall—created by him in 1942, and depicted using the medium of collage. The background is the same Albert Kahn-designed industrial building as in the photo above. Mies could certainly design buildings and structures that sit solidly (and immovably) upon the ground—-but there’s another, equally powerful motif that can be seen in his work: an urge towards weightlessness, a desire to have the power to make architectural elements levitate. That’s hard to pull-0ff in the real world—but it didn’t stop generations of architects (Mies, Kiesler, numerous Constructivists…) from creating dramatic visions of such possibilities. Here, in Mies concert hall design, the planes which define the musical performance space (and which assist in its acoustics) float or are suspended. It’s a alluring vision of purity, elegance, and even magic—-and it could only be set within a space big-enough to accommodate such architectural ambition. Such a space would need to have strong, long, open spans—a space of the kind which Albert Kahn designed!

Albert Kahn’s oeuvre was large, as was his organization (ultimately growing to hundreds of staff, when he had to handle the creation of war plants for World War II). He and his firm designed multiple-hundreds of buildings, with—to give you an idea of the scale if his work—more than 1,000 commissions for Ford alone.

Below is a selection of his work. As you can see, other than the large interior spaces (so appreciated by Mies), Albert Kahn’s work could appeal to Modernist architectural taste in other ways: the forms, materials, and detailing of his buildings had the boldness, sparseness, engineering feel—all creating an aura of directness and powerful, pure freshness which they sought. Even now, his firm continues onward: Albert Kahn Associates offers their expertise in “. . . .architecture, engineering, interior design, program management, and master planning, and spans through commissioning, business and management needs, strategic facilities planning, value and sustainability analysis.”

Below is a sampling of Albert Kahn’s work—and one can be continually nourished by these examples of design which is simultaneously meticulous in its’ planning and construction method, and yet bold in vision and resultant forms. For these gifts to us—expressions of architectural power emerging from rigorous problem-solving—we are eternally grateful.

Albert Kahn, We Wish You A HAPPY BIRTHDAY!

Chrysler-Dodge Half-Ton Truck Plant–Export Building, Detroit

Shipfitter’s Shop Building, Pearl Harbor, Hawaii

Willow Run Bomber Plant-Assembly & Engineering, Detroit

Detail of Chrysler DeSoto Plant–Press Shop, Detroit

Chrysler-Dodge Half-Ton Truck Plant–Assembly Building, Detroit

Chrysler Tank Plant, Warren, Michigan

ERICH MENDELSOHN, Architect (1887–1953)

ERICH MENDELSOHN

ERICH MENDELSOHN (21 March 1887 – 15 September 1953) had a long career which spanned three continents. Often, due to changes in the national and international situations of the countries in which he resided, he moved his home repeatedly: from Germany-to-England-to-Israel-to-America—and started (and restarted) his architectural practice in each of these locations.

A very successful architect, Mendelsohn’s practice encompassed residences, factories, scientific/medical centers, and buildings for recreational, religious, and, academic uses—and, during his time in Germany, he was also prolific as a designer of department stores.

Schocken Department Store, Stuttgart, Germany—showing how strongly (and with what vivacity) it contrasts with the city’s older, traditionally-styled buildings.

Those stores—most done for the Schocken department store chain—were high-profile designs, as they were strikingly Modern (often with prominent areas of curved glazing) and stood in lively contrast to the traditionally styled neighborhoods in which they were set.

But Mendelsohn’s designs were not limited to the zippy-curvy forms (some even verging on Deco/Streamline) with which he has been so strongly identified. Some of his work was gravely rectilinear—and that design tendency seems to have become ever stronger in the latter phases of his career. [Though his ability to use emphatic, non-orthographic forms was never blotted out—especially in his later work on religious buildings.]

The single work-of-architecture for which he is most famous is not geometric at all. Labeled as “Expressionist,” it relies neither on the right angles nor on the circles (or segments of circles) with which he composed most of his other works. Instead, it comes-off as a sculpture of freely-flowing curves (though symmetrically allocated). We are, of course, referring to Mendelsohn’s Einstein Tower (“Einsteinturm”) in Potsdam, Germany.

This building—which seems to grow and flow with the organic pulse of a living creature—was made for rigorous scientific research in physics. The earliest conceptions for it dated to 1917, and it was completed and ready-for-operation in 1924. It was constructed to house a solar telescope, with the intention of using the facility’s scientific instrumentation to help prove -or- invalidate Einstein’s theory of relativity. [Einstein didn’t work there, but he supported the project, and characterized the building as “organic.”] It is still in use as a solar observatory.

Below is a sampling of Erich Mendelsohn’s work—and we are continually nourished by such exemplars of vivid design. For these gifts to us—life-filled expressions of architectural creativity!—we are eternally grateful.

Erich Mendelsohn, we wish you a HAPPY BIRTHDAY!

The De La Warr Pavilion, at Bexhill on Sea, England; designed in collaboration with Serge Chermayeff.

Mossehaus in Berlin

Park Synagogue, Cleveland Heights, Ohio

Schocken Department Store, Chemnitz, Germany

Krasnoe Znamya factory-Power Plant, Russia

Petersdorff department store in Wroclaw, Poland

Haus des Deutschen Metallarbeiterverbandes, Berlin

A poetic portrait of the Einstein Tower in Potsdam, Germany, with a bow sundial in the foreground.

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IMAGE CREDITS

NOTES:

The Paul Rudolph Heritage Foundation (a non-profit 501(c)3 organization) gratefully thanks all the individuals and organizations whose images are used in this non-profit scholarly and educational project.

The credits are shown when known to us, and are to the best of our knowledge, but the origin and connected rights of many images (especially vintage photos and other vintage materials) are often difficult determine. In all cases the materials are used in-good faith in our non-profit scholarly and educational efforts. If any use, credits, or rights need to be amended or changed, please let us know.

Note: When Wikimedia Commons links are provided, they are linked to the information page for that particular image. Information about the rights to use each of those images, as well as technical information on the images, can be found on those individual pages.

CREDITS, FROM TOP-TO-BOTTOM, AND LEFT-TO-RIGHT:

Shipfitter's Shop interior: HABS photo, within the collection of the Library of Congress, via Wikimedia Commons;  Einstein Tower: © Astrophysikalisches Institut Potsdam, via Wikimedia Commons;  Albert Kahn photo portrait: Fair Use, via Wikimedia Commons;  Shipfitter's Shop interior: HABS photo, within the collection of the Library of Congress, via Wikimedia Commons;  Chrysler Corporation Tank Arsenal Plant–Press Shop: vintage photo, source unknown (see general notes above); Vers une Architecture: page from vintage book, published in 1923, (see general notes above); George Washington Bridge: photo by Beyond My Ken, via Wikimedia Commons; Glenn Martin plant interior: vintage photo, source unknown (see general notes above);  Mies van der Rohe collage: vintage image, source unknown (see general notes above);  Chrysler-Dodge Half-Ton Truck Plant–Export Building, Detroit: vintage photo, source unknown (see general notes above);  Shipfitter’s Shop Building, Pearl Harbor, Hawaii: HABS photo, within the collection of the Library of Congress, via Wikimedia Commons;  Willow Run Bomber Plant-Assembly & Engineering, Detroit: vintage photo, source unknown (see general notes above);  Chrysler-Dodge Half-Ton Truck Plant–Assembly Building, Detroit: vintage photo, source unknown (see general notes above);  Chrysler Tank Plant, Warren, Michigan: vintage photo, source unknown (see general notes above);  Erich Mendelsohn photo portrait: photographer unknown, via Wikimedia Commons;  Schocken Department Store, Stuttgart, Germany: photo by Manfred Niermann, via Wikimedia Commons;  The De La Warr Pavilion, Bexhill on Sea, England: photo by Dr-Mx, via Wikimedia Commons;  Mossehaus in Berlin: photo by Fred Romero, via Wikimedia Commons;  Park Synagogue, Cleveland Heights, Ohio: photo by stu_spivack, via Wikimedia Commons;  Schocken Department Store, Chemnitz, Germany: photo by Altsachse, via Wikimedia Commons;  Krasnoe Znamya factory-Power Plant, Russia: via Wikimedia Commons; phot by Rones, via Wikimedia Commons;  Petersdorff department store in Wroclaw, Poland: photo by Volens nolens kraplak, via Wikimedia Commons;  Haus des Deutschen Metallarbeiterverbandes, Berlin: photo by Alex1011, via Wikimedia Commons;  Einstein Tower: photograph by DrNRNowaczyk, via Wikimedia Commons

Happy 160th Birthday to RUDOLF STEINER (Was he "The Original Brutalist" Architect?)

The entry façade of the SECOND GOETHEANUM, a building for the exploration of the arts, in Dornach, Switzerland. It was designed by Rudolf Steiner in the early 1920’s—and construction started in 1924 and was completed in 1928. Replacing an earlier wooden building, also designed by Steiner, this version of the Goetheanum was constructed entirely of exposed, cast-in-place concrete.

CELEBRATING THE 160TH BIRTHDAY OF RUDOLF STEINER — BORN FEBRURARY 25, 1861

RUDOLF STEINER (1861-1925) was the ultimate polymath. Though he did not live to a great age, he squeezed several lifetimes of achievements into his 64 years—and that included his work in architecture.

The breadth of his interests, activities, and accomplishments are impressive—and those various foci had him taking on (and mastering) multiple roles:

RUDOLF STEINER (1861-1925)—a master of multiple arts, including Architecture. His 160th birthday is on February 25th.

• PHILOSOPHER

• EDUCATOR — including developing an educational system and founding schools, which evolved into the Waldorf Movement, (which includes schools around-the-world)

• PSYCHOLOGIST

• SOCIAL REFORMER

• RESEARCHER — including into advances in Agriculture, Medicine, and Pharmacology

• INNOVATOR IN THE PERFORMING ARTS — embracing Drama, Music, and Dance

• THEOLOGIAN-ESOTERICIST — intense research, teaching, and movement founder

• AUTHOR and LECTURER — his Collected Works constitutes about 420 volumes, and that includes 43 volumes of his writings (books, essays, plays, and correspondence), over 6000 lectures, and some 80 volumes documenting his work in architecture, design, and the arts

• PAINTER

• SCULPTOR

STEINER AS ARCHITECT

But it is his work as an ARCHITECT that focuses our attention upon him. Rudolf Steiner designed numerous buildings, but it is crowning achievement—the GOETHEANUM, an architectural work of significant size and complexity, built entirely of exposed, cast-in-place concrete—that makes him a candidate to be called: “THE ORIGINAL BRUTALIAST” ARCHITECT.

THE TWO GOETHEANUMS

Actually, there were two “Goetheanum” buildings, both built in Dornach, Switzerland—and both designed by Rudolf Steiner, in association with a number of collaborators, craftspeople, and artists, most notably the sculptor Edith Maryon.

In considering Rudolf Steiner’s architectural work, it is important to keep in mind that central to his work and world-view was his focus on spiritual matters—not only his deep research, writing, and teaching on that subject, but he also led a growing community devoted to such explorations. He asserted that his designs (and his artworks within them) were guided by his philosophy—and you can find more about his thoughts on architecture and design (and how they grow from his larger concerns) here.

By-the-way: Steiner, as an architect, was unusual in another way: he was entirely self-taught—neither having gone to architecture school, nor having worked for another architect.

The FIRST GOETHEANUM, named after Johann Wolfgang von Goethe, was begun in 1913, and housed events (especially musical and performance) of the Anthroposophical Society—the organization he founded (which has branches all around the world today.) Dornach became the center for people devoted to Steiner’s work, and the Goetheanum was one of seventeen buildings in the area which he designed between 1908 and 1925. The First Goetheanum was preponderantly made of wood, set upon a concrete base—and it had an unusual double-dome wooden structure. Unfortunately, it was lost to a fire at the end of 1922.

The First Goetheanum, under construction. It was built of wood on a concrete base, and was begun in 1913.

The First Goetheanum, as finished. Unfortunately, it was lost to a fire less than a decade after completion.

After the first Goetheanum was lost to fire, Steiner soon designed and started construction on the Second Goetheanum—shown above at sunset.

A side view of the Goetheanum. It was constructed entirely -both inside-and-out- of exposed, cast-in-place concrete—and Rudolf Steiner’s design handled the raw material with boldness.

The SECOND GOETHEANUM was designed in the year after the first one was lost, and construction started in 1924 (being completed in 1928—just a few years after Steiner’s passing in 1925). 

It houses a variety of cultural facilities: performance spaces (including a 1,000 seat auditorium), a gallery, lecture spaces, and a library—as well as administrative spaces for the organization which Steiner founded, the Anthroposophical Society. It also includes stained-glass windows of richly luminous colors.

You can get an idea of the of the Second Goetheanum’s form and scale—and as a creation by an architect-artist of great power—in the brief video below: “Das Goetheanum” [included here courtesy of Moving Image, and its filmmaker: Roger Maeder.] In the video, it’s also worth noting the smaller buildings surrounding the Goetheanum: most were also done in Steiner’s Anthroposophical architectural mode—either by Rudolf Steiner himself, or subsequently by his followers.

Every view of the Second Goetheanum—like the side view (above) and a window (below)—reveals the plasticity of Rudolph Steiner’s architectural design.

Architectural historians seem to have had a hard time “placing” Rudolf Steiner within the evolutionary tree of Modern architecture. For example: Charles Jencks did not even mention him in the original edition of “Modern Movements In Architecture.” Henry-Russell Hitchcock, in his magisterial "Architecture: Nineteenth and Twentieth Centuries,” only gives Steiner the briefest mention—and that is with reference to Erich Mendelsohn’s work at his Einstein Tower (which was built in the same period as the two Goetheanums).

It was up to the historians Dennis Sharp and Conrads & Sperlich, in their fascinating books, to bring Steiner to the wider architectural community. In more recent years, one of the significant books to come out on Rudolf’s architecture is “Eloquent Concrete” by Raab, Klingbord, and Fant.

Despite his under-appreciation by some architectural historians, architects—including some of the most distinguished practitioners—have admired Steiner’s work. Henry van de Velde, Frank Lloyd Wright, Hans Scharoun, and Frank Gehry have all visited the Goetheanum.

Today, there are numerous books on Steiner’s thought, and even his architecture—and one that’s a good introduction to the Second Goetheanum building is this book by Hans Hasler.

The GOETHEANUM was constructed—inside and out—of exposed, cast-in-place concrete.

At below-left is a partial exterior view of the side, and below-right is a a close-up exterior view of a window. Below that are two views of the Goetheanum’s interior. All these images show how Steiner-as-architect used exposed concrete with “a sculptor’s hands” to create dramatic, effusive forms and interiors—including the details and the stairways.

WAS STEINER “THE FIRST BRUTALIST” ARCHITECT?

Rudolf Steiner sought, in all his works, an ultimate unity of spirt, action, humanity, and art—and he aimed for true harmony in every endeavor, seeking to unite the human and divine. So we doubt, if Steiner could have been asked, that he’d have embraced the seemingly hard term, “Brutalism.” But—words (and their associations) aside—his work at the Second Goetheanum most decidedly participates in the spirit and character of Architectural Brutalism (and that would also be true for the other buildings which he constructed for his community at Dornach.)

Those characteristics include:

• boldness of form

• use of materials (like exposed, cast-in-place concrete) in an unabashed manner—often “raw”—as a potent part of the pallete of a talented designer

• shunning of the pretty or merely decorative, and, instead: aiming for a astonishing form of beauty that partakes of the sublime

• not (or more often: not just) “form following function”—but rather: a sculpting and composition of forms to create works-of-architecture that are expressive of the creative spirit

Rudolf Steiner included all of these in his designs—with sensitivity, honesty, artistry, and a powerful exuberance.

And he did this early on, during the formative years of the emergence of Modern architecture. So—while there may be other contenders for the title—in celebration of Rudolf Steiner’s 160th Birthday, we crown him: The First Brutalist Architect !

The Goetheanum as seen from the air. The building’s main entry is at its lower-left. Numerous other buildings, surrounding the Goetheanum, were also designed by Rudolf Steiner (or later by his followers, in the mode in which Steiner worked). Perhaps the most famous of these other Steiner designs, second only to the Goetheanum in renown, is the Heizhaus: it contains the boiler for the Goetheanum’s heating system—and its flame-like chimney can be seen near the top-center of this photo.

FURTHER INFORMATION

The official website of the Goetheanum is here.

A matrix of other buildings, designed by Rudolf Steiner (and access to other information on his multi-faceted life and career) is available here.

Numerous documents, relating to Steiner’s architecture and philosophy of design, can be accessed here.

IMAGE CREDITS

The Paul Rudolph Heritage Foundation thanks all the individuals and organizations who have made their images available for this scholarly and educational work.

Note: Each Wikimedia Commons link is to the information page for that particular image. Information about the rights to use each image, as well as technical info, can be found on those pages.

Credits, from top-to-bottom, and left-to-right:

Front entrance view of the Second Goetheanum: photo by Wladyslaw (talk), edits by: Dontpanic (aka Dogcow), via Wikimedia Commons; Photograph of Rudolf Steiner, circa 1905, Abbildung übernommen aus Wolfgang G. Vögele, Der andere Rudolf Steiner - Augenzeugenbrichte, Interviews, Karikaturen, 2005, S. 116, in the Public Domain, via Wikimedia Commons; First Goetheanum, under construction: image from Jjdm at Hungarian Wikipedia as original uploader; edited by Jaybear, via Wikimedia Commons; First Goetheanum, completed: photo in public domain, via Wikimedia Commons; Second Goetheanum, at sunset: photo by Taxiarchos228, courtesy of Wikimedia Commons; Side view of Second Goetheanum: photo by Wladyslaw, via Wikimedia Commons; “Das Goetheanum”—the video of the second Goetheanum: courtesy of Moving Image, and its filmmaker: Roger Maeder; Side view of Second Goetheanum (with blue sky): photo by Barbara Steinemann, via Wikimedia Commons; Partial view of exterior side: via Wikimedia Commons; Window of Second Goetheanum: photo by Soare, via Wikimedia Commons; Staircase inside Second Goetheanum: photo by Maioting, via Wikimedia Commons; Interior of Second Goetheanum, with figure: via Wikimedia Commons; Aerial view of the Second Goetheanum: photo by Taxiarchos228, via Wikimedia Commons