Einstein Tower, 1919-1924, Potsdam
Columbushaus was an exercise with the infinite – the extremities of the structure remain undefined in that its slightly curved horizontal lines followed those of one of the most crowded intersections of interwar Europe. A thin wrapper wraps around the top and sides of the entire volume of glass, almost to stop the expansion of the building for a moment. The façade could be imagined by encircling the city as a symbolic manifestation of the modernization of Germany.
Columbushaus, 1932, Berlin
In contrast to modernist symbols such as Bauhaus or even its own Einstein Tower, Mendelsohn’s shops were urban. Their design was intended to make people associate the brand with the modern energy of the city. During the day, the glass of the façade reflects the adjacent traditional architecture, but the nightly, expressive interior staircase was lit up and could be seen shining through the curves of the building. Mendelsohn’s shop seemed to flow, despite its horizontal nature, created by commercial spaces and window lines. The entire building pivots on the corner cylindrical section, which creates a diagonal tension in the repetitive structure.
The Schocken universal store, 1926, Stuttgart
Text by: Claudiu C. Crețu
Source: Wikimedia Commons
© The Bunget 2018