The early sketches of Erich Mendelsohn (1887-1953)

This dissertation provides an interpretation of Erich Mendelsohn's early sketches, focusing on the analysis of the forms of the depicted projects. In contrast to earlier studies, Mendelsohn's letters are used as the primary interpretive instrument. A search for sources in earlier buildings, industrial design, the biographical, artistic-architectural and social context of the creation of these designs is conducted. This dissertation establishes a chronological sequence of Mendelsohn's early sketches.; After graduating from his architectural studies, Mendelsohn worked as a graphic artist and stage designer. In his theoretical development he was influenced by the Blue Rider group. He emphasized the power of the artist over his creations and the expressive quality of architecture. This inclination toward a painter's career is a new argument added to the interpretation of Mendelsohn's early period by this dissertation. It introduced a conflict between artistic freedom and practical requirements of architecture of Mendelsohn's design theory, that affected his later career.; In 1914, Mendelsohn began a series of tiny architectural sketches. Initially imitating the Vienna Secession style, he continued to design forms that exploited the tensile forces of new building materials, especially reinforced concrete. Mendelsohn also transposed formal features from industrial design to his projects. His designs look like abstractions from transportation vehicles. This dissertation provides a detailed account of the relationship between Mendelsohn's designs and industrial forms.; During 1915, Mendelsohn began to design buildings for reinforced concrete construction, with forms influenced by American grain elevators. He served in the German army, an activity which intensified his theoretical conflict between fantasy and practicality. During early 1917 the practical aspects came through in a series of observatory projects which eventually resulted in the design for the Einstein Tower. In the second half of 1917, Mendelsohn began to favor fantasy in designing. He accepted his designs as abstract recordings of his visions.; In winter 1917-18, his early work culminated in a series of highly abstract designs, drawn in a style imitating woodcut technique. These projects look like utopian machines and feature large cylindrical glass areas and cantilevered building parts.