„Oswojona awangarda”*. Gmach dawnej Szkoły Rzemiosł Artystycznych w Szczecinie jako przykład ceglanej architektury Republiki Weimarskiej
The “Tamed Avant-Garde”. The Former School of Artistic Crafts Building in Szczecin as an Example of Brick Architecture in the Weimar Republic

Summary/Abstract: The article is a case study concerning interwar Modernist architecture in brick. Brick and terracotta, usually associated with industrial structures, were perceived in Central and Northern Europe as traditional regional materials. Brick was used as such a material by, among others, members of the so-called Amsterdam School, as well as by Scandinavian architects (e.g. Kay Fisker, Peder Vilhelm Jensen-Klint, or Lars Sonck). In what was then north-eastern Germany, at that time seeking to buttress its national identity in the new circumstances that emerged after the First World War, brick architecture began to be perceived as a national one. This approach is evident in the statements of, among others, Fritz Höger, Fritz Schumacher, Bruno Möhring, or Erich Blunck. Hence, the interwar period saw various interesting projects being completed in this region, combining features of radically different tendencies in Modernism. One of those was the building of the School of Artistic Crafts (Städtische Handwerker- und Kunstgewerbeschule / Werkschule für gestaltende Arbeit) in Szczecin (germ. Stettin), a work by Carl Weishaupt and (most likely) Gregor Rosenbauer.

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