Architecture of the 1950s in Düsseldorf

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Garage facility at Erftstrasse 9–11 in Düsseldorf-Unterbilk, built 1953–1956

The architecture of the 1950s in Düsseldorf was determined by two trends - the traditional and the modern. Well-known architects were involved.

history

Urban planning 1930s

National Socialist planning envisaged Düsseldorf as a district capital. Heimeshoff condemns the urban planning of the 1930s: “This plan envisaged the most extensive demolition of the old town in favor of a gigantic administrative center, as well as the construction of a north-south axis including the Königsallee and an east-west axis as an extension of the Luegallee over the Oberkasseler Bridge. The intersection of the axes would have been the courtyard garden, which would have almost completely disappeared. The identity of the old royal seat would have been completely destroyed. The liberation from National Socialism, however dearly it cost the city, has preserved a historical continuity in the cityscape of Düsseldorf. "

Destruction in World War II and urban planning in the 1950s

In 1945, 92,000 of the 176,000 apartments were destroyed. At the beginning of the war, 540,000 citizens lived in Düsseldorf, after the war 235,000 people. 250,000 apartments were built between 1945 and 1954. The construction activity after the war was controlled by a building control law and a building ban (February 18, 1948 to July 31, 1950). Then the urban area was reorganized. Post-war urban planning was governed by various laws. So the reorganization order of December 2, 1940 and the supplementary order of July 14, 1942; based on this, the ordinance on provisional reorganization measures of the reconstruction minister of North Rhine-Westphalia of May 29, 1947.

In 1950, only 800 hectares in the inner city were designated as a reorganization area; the urban area at that time comprised 16,000 hectares. Further areas for reorganization were named on Bergische Landstrasse and in Oberkassel. The Bergische Landstrasse was to be expanded on a new route as an important east-west connection. The inner city received a new traffic order, such as Berliner Allee and Immermannstrasse.

Architectural dispute

The first movement was shaped by architects such as Heinrich Rosskotten , Paul Bonatz , Emil Fahrenkamp , Wilhelm Kreis , Konstanty Gutschow , Hanns Dustmann , Rudolf Wolters and Arno Breker as representatives of the Stuttgart School . It was thanks to them that urban planning was carried out, which wished to “pay more attention to a certain uniformity of the cityscape and thus to mediate between the existing and the new plans”. These can be seen in the old town, where "homeland-protecting adaptation was wanted". The two college friends Tamms and Hentrich played a central role: Friedrich Tamms as head of the city planning office and competition judge and Helmut Hentrich as architect and competition winner. Hentrich built the Weber house in 1951 , which is exemplary of the Heimatstil buildings that were built in the Kalkum district after 1950. In the beginning, Heinrich was also characterized by neo-classical designs. The industrial bank by Rudolf Wolters and the Kreissparkasse by Hanns Dustmann are new classical buildings with perforated facades made of travertine and shell limestone. Dustmann had moved to Düsseldorf in 1952, where he initially continued the homeland security architecture in numerous school and residential buildings; in administrative buildings and banks he represented the style of moderate modernity with "isolated [m] revisits of Nazi forms of representation". At Tamms' instigation, Julius Schulte-Frohlinde was appointed head of the building construction department, who led the reconstruction of the opera house, for which he was able to call in his teacher Paul Bonatz as an advisor. In his school buildings, too, he remained in the traditional, classical style, whereby he came somewhat closer to the modern. The Hotel Breidenbacher Hof was rebuilt in the classic style by Emil Fahrenkamp 1946–1948.

The second current was shaped by the “more radical modernists”. Their representatives were Paul Schneider-Esleben , Bernhard Pfau , Hans Schwippert and Josef Lehmbrock . They belonged to the Architektenring Düsseldorf , which criticized the (post) National Socialist urban planning. Pfaus Haus der Glasindustrie and Schneider-Esleben's Hanielgarage and Mannesmann high-rise were built against Tamms' resistance . Hentrich, who had started with neo-classical designs, later switched to the Pfaus and Schneider-Esleben line.

Home construction

The architecture developed after the Second World War "largely as a continuation of the design ways from before the war [...] was being dispensed generally symbolic to the use of decorative forms." Heimeshoff describes the architecture of the 1950s in housing construction as a continuation of home style of the pre-war period: “The mass of houses, especially in residential building, makes it clear that the architecture of the pre-war period was not overcome. The builders of small houses and villas tied with their taste to proven, conservative forms; Experiments were hardly asked .. " Even C. Hackelsberger follows this view: " It was for the German average citizen - Normal architects no good reason architectural phenomena which he had admired yesterday not to keep [...] on for successful and appropriate ". ( C. Hackelsberger, 1985)

  • Prefabricated wooden house, Max-Planck-Strasse 7 (1947, Heinrich Ruckteschler) The building was a type house of Bayerische Hallenbau GmbH, which was built under the supervision of the architect Heinrich Ruckteschler. It was built in the local style: "The wooden prefabricated house shows the common features of homeland architecture, as they appear in the majority of the settlement projects of the twenties and thirties."
Leuchtenberger Kirchweg 47
  • Half-timbered house, Leuchtenberger Kirchweg No. 47 (R. Hogrefe). In the early 1950s, the Bonn-Bad Godesberg architect Ralph (?) Hogrefe built a “rather unusual example of the architecture of the early 1950s. A half-timbered house with an outbuilding was created. Despite the contrast between the half-timbered structure and the surrounding buildings, the city's panel of experts had no reservations about granting the building permit. However, this design remained the exception. "
  • MAN steel house , Kreuzbergstrasse 97, Düsseldorf-Kaiserswerth (1952, MAN plant in Ginsheim-Gustavsburg)
  • Reichswaldallee 31
    MAN steel house, Reichswaldallee 31, Düsseldorf-Rath (1952, MAN plant in Ginsheim-Gustavsburg): In addition to the timber and masonry structures, steel houses were also built. The width of the steel house was set at 8 m by the certificate of approval. However, the length and layout were flexible. So the house could also be widened with side extensions. The house was technically well equipped: “The steel prefabricated parts were screwed together. The water pipes are led through a prefabricated installation wall. The steel walls, which are protected against corrosion, were given an oil paint on the outside. "
Beckbuschstrasse 15
  • Beckbuschstraße 16, Düsseldorf-Stockum (Helmut Rhode): The house was built in the local style of the 1930s. It differs from the older buildings in that it creates a connection to the garden. The building is one of the many residential buildings built after the Second World War that “at first glance remind you of the buildings in the former Schlageter town of 1937: clear, sober structures with restrained design options at the openings, plastered brickwork. In contrast to the houses of the thirties, however, their relationship to the surrounding garden is determined [where] a connection between house and garden is sought through large openings and the interposition of a covered seating area. "
  • Holbeinstrasse 18
    Holbeinstraße 18 (1958, Helmut Rhode): The building is characterized by its new objectivity style . Also noteworthy is the floor plan, which allocates a large area to the combined living-dining room: “Masonry construction in the more conventional style of the 1950s. The factual language of form has broken away from the influences that could generally be attributed to the 'Heimatstil'. The garden side is completely glazed except for narrow pillars. What is noticeable in the floor plan is the enormous space required for the combined living-dining room. It takes up about half of the ground floor plan area. In contrast, the kitchen and children's room look like small chambers. This relationship is evident in all buildings of this type that are dealt with here. "
  • Heinrichstrasse 12 (Joachim Neiser)
  • Niederrheinstrasse 327 (Joachim Neiser)
  • Freytagstrasse 4
    Freytagstraße 4, Düsseltal (1954, Walter Brune): It is characterized by a three-dimensional structure of the facade. The middle framed facade zone is remarkable. This is created by framing the facade with protruding narrow sides and cornices: “As with the building at Heinrichstrasse 12, the framing of the wall surfaces with protruding narrow sides and cornices in the Freytagstrasse 4 building (Düsseltal) by Walter Brune is also noticeable. The resulting large-format volume structure in connection with the different brightness values ​​in the facade make the structure of the building, completed in 1954, appear emphatically three-dimensional. By stepping back the ribbon of windows on the second upper floor and jumping back of the entrance, the middle, framed facade zone is given considerable weight: color and material differences do the rest. "
  • Am Bauenhaus 49, Rath (1954, Walter Brune): The listed house shows a combination of interior design and gardens: “Brunes spacious home at Am Bauenhaus 49 is characterized by a great lightness and transparency. The house was designed in 1954 in a parking situation. High-quality interior and park are interrelated. "
  • Leo-Statz-Strasse 14 (Hans Schwippert)
  • Kaiser-Friedrich-Ring 94 (Bernhard Pfau)
  • At the old mill 5 (Helmut Hentrich)
  • Stephanienstraße 26 (Bernhard Pfau)

  • House Neiser

  • House Schwippert

  • Atelierhaus Pfau (facade)

  • House Weber

The apartment building

Hardly anything remained of the housing construction from the 1930s, but many apartments remained from the 1920s, which were attributable to cooperative or municipal construction activity. The organizational forms of the 1920s were taken up again by planning communal laundry rooms in the house or washhouses. Post-war housing was intended for the millions of refugees and to replace the third of the housing stock that was destroyed in World War II. The buildings have various design features such as grid, color, lighting, floor plan design and access.

Grid

  • Bonner Strasse 18a to 18b

  • Bonner Strasse 20a to 20b (rear)

  • Bonner Straße 18 and 20 (1952, Walter Köngeter / E. Petersen):
    The two houses are characterized by their grid-like, traditional facade design on the back, which is supposed to be reminiscent of half-timbered architecture: “The back of the buildings are simply gridded. The structure is given life by color changes, folding shutters and reminiscences of the half-timbered architecture. "
  • Niederkasseler Lohweg No. [?] (1956, Kirchner / Rose):
    The house is characterized by its grid-like, modern facade design on the back, which shows the distant, loggia-like balcony structure: “The design here is less traditional than on Bonner Straße . Between inclined and clinkered gable walls, the long sides are horizontally divided into plaster and concrete surfaces. The structuring of the rear side is essentially done by pre-built loggias combined in groups. The entrances are designed as a grid with a warped triangle placed on the door. "

colour

  • At the Thomaskirche, Mörsenbroich (1957, Erich Reinl):
    In the street “An der Thomaskirche” there are two to three-storey terraced houses. It is noteworthy that color was specifically used as a design feature: “The color concept of these houses was already the subject of the building application. Color was not used here to support structuring elements, but was intended to structure surfaces independently. This design feature is often found in the architecture of that time. "
  • Berliner Allee 54 (1956–1959, Herbert Schlösser):
    This building also has color as a design feature and is stylistically related to the An der Thomaskirche building : “This design feature [color] is often found in the architecture of that time. As a comparison, the building at Berliner Allee 56 (city center) by Herbert Schlösser (1956–1959) should be mentioned. "

  • Berliner Allee 54

light

  • At the Thomaskirche, Mörsenbroich (1957, Erich Reinl):
    Light was a feature on which the architect oriented himself: “At the Thomaskirche, the structures could not be optimally aligned to the sun. The garden sides were placed diagonally in order to get the best possible light guidance from the east. "
  • Eller, Vennhauser Allee and Seitenstraßen (von-Krüger-Straße) (Neue Heimat):
    Light was a feature on which the architect orientated himself: “The strongly structured structures are oriented to the south over a curved ground plan. The balconies occur z. Sometimes to better utilize the location at an angle from the facade. "

Layout

Hansaallee 65
Friedrich-Lau-Straße 16-20 (back side)
  • Haus Hansaallee 65, Oberkassel (1959, Hubert Schlupp and FJ Becker):
    The building shows several design details that were typical for this period, in particular the floor plan: The floor plan of the house is star-shaped, the floor plan of the sanitary rooms is minimal, the sanitary rooms are centrally arranged, while the living rooms are arranged outside. Especially the cantilevered upper floor, the shape of the balconies, the shape of the staircase: “The house [...] has a star-shaped floor plan. Several design details are typical of the construction period. There is the ground floor, over which the upper floors protrude, the inwardly sloping wall templates, the 'kidney table balconies', the stairwell arched with glass blocks, etc. What is striking here too is the minimal floor plan of the kitchens and the fact that they - like the bathrooms - are arranged centrally in the building in order to offer the living spaces greater exposure options. "
  • House Brehmstraße 9–11, Düsseltal (1957–1959, Nobert Demmel):
    The individuality of the floor plan is remarkable: “Two floor plan types were planned for the residential floors. However, they were already z. Partly changed during construction according to the wishes of the users. "
  • House Friedrich-Lau-Straße 16–20, Golzheim (1953–1954, Friedrich Ernst Blume):
    It is an early example of the construction of large residential buildings with condominiums. Individuality of the floor plans for one- and five-room apartments: “As with the Brehmstraße house 9/11, the floor plans were also individually adapted to the requirements of the buyer. This type of building was still relatively young at the time. Its development is based on the Condominium Act of 1951. The apartment size varies between one-room apartments and five-room apartments. In an appreciation in 1956, this composition was described as sociologically interesting and trend-setting ”.

Development

  • Bonner Straße 18 and 20 (1952, Walter Köngeter / E. Petersen):
    The building is an example of its development, so the buildings are equipped with arcades : “The arcade development on the buildings at Bonner Straße 18 is completely unusual for the local building tradition and 20. At house no. 18, the arcades are glazed and thus form an additional buffer against traffic noise. The arcades at No. 20 were designed for later glazing, but this was not implemented. "
  • House Brehmstraße 9–11, Düsseltal (1957–1959, Nobert Demmel):
    The building is also an example of the open development of the same - signs of this are the arcades and external staircases and loggias: “The open development can be a variant of the 1950s Years of popular arcade access will be rated [...] Loggias are accessible from the external stairwells, from which a one-room and three-room apartment should be accessed. "
  • House Friedrich-Lau-Straße 16–20, Golzheim (1953–1954, Friedrich Ernst Blume):
    The building is an example of the development - an underground car park with 46 parking spaces is in front of the building on the north side, with shops being built into the ramp structure were: "The connection between residential building and underground car park is quite progressive for the time."
  • House Rochusstraße 49–50, Düsseltal (1954, Wilhelm Kreis):
    The building is an example of open access: “The residential building was completed in 1954 as the only building in a group that was to reorganize the area between Rochuskirche and Duisburger Straße. Several buildings, which were to be embedded in spacious green areas and accessible through equally generous traffic areas, were intended as independent residential quarters ”.

The vacant lot

In the post-war period, multi-storey apartment buildings were built to close gaps in one row. The design and construction had to adapt to the historical surroundings. Design features are the grid-like design, the use of porches (shop window systems on the 1st floor) and arched forms.

Grid

This list is intended to introduce houses with offset or offset windows / balcony grids or bodies:

  • Leostraße 72, Niederkassel (1953, Helmut Rohde):
    The motif of the detached window grid is particularly evident in the building: “[It] shows very clearly on the facade a motif that frequently appeared at that time: the window grid is made of the area. The grid thus has a distinctive intrinsic value compared to the structure ”.
  • Maxplatz 1, Carlstadt (Kurt Hesse):
    The building shows a window grid that is structured differently. This is because of the shifted axes on the 2nd floor and the reverse internal structure; it shows a "different understanding of the grid [...] The structure is brought into an inner tension by moving the axes on the second floor and reversing the internal structure."
  • Immermannstrasse / Oststrasse 65 (Herbert Frank and Hanns Baumgartinger)
    The building is stylistically related to the Maxplatz 1 house : "Let us remind you of the Maxplatz 1 house". This building also shows a grid that is offset in itself. The balconies are staggered: “The staggered balconies give the apartment house a lively relief effect; the storeys appear to be horizontally offset from one another [and it] belongs to one of the better architectural examples of this street ”. The corner building in the city center is a reinforced concrete frame structure that used to have a gas station on the ground floor. The
  • Hüttenstrasse 19, corner of Corneliusstrasse (1955/1956, Leopold de Waal and Lutz Spreyer):
    The building has a special window grid :     "Dark grid on a light background - and protruding from this as a separate window body." The building, which was disfigured in 1987 by modernization, became 1955 / 58 built as a residential building with access to the arcade. The strong cornice was an important motif of this time: "A frequently occurring motif in the architecture of this epoch is its well-grooved main cornice."
  • Lindemannstraße 4/6 (1955, Rainer Maria Schlitter):
    The window grid is dynamic: “The window grid is set off from the surface in terms of material and color. The grid thus has a distinctive intrinsic value compared to the building. This can [...] as with the buildings in Lindemannstrasse - extremely dynamically [happen] ”. In addition, there is an unusual balcony design: "The balcony design is quite unusual, the lines of which are decisive up to the dormers". Both houses are similar but not identical. What they have in common is the same building and floor height. Both have five floors and an attic. However, they differ in the design of the balcony shapes and the cantilevered eaves cornice . While in house no. 4 the balconies are drawn as a long, horizontal band, the balconies in house no. 6 swing concavely inwards. The same applies to the protruding eaves cornice and the shape of the dormer windows . While in house no. 6 these are straight, in house no. 4 they are concave.
  • Mozartstrasse 7, rear side (1952, Josef Lehmbrock)
    The house is characterized by its rear side, which shows the distant, loggia-like balcony bodies that are "very light and light-related. Characteristics of the high-quality architecture of the fifties." The light-related expansion of the courtyard shows a further development of the house itself: It "ultimately shows the further development of the typical house with courtyard wing of the 19th century, but at the same time also the completely different understanding of life in such buildings".

  • Leostrasse 72

  • Maxplatz 1

  • Oststrasse 65

  • Lindemannstrasse 4 and 6

Arch shapes

This list is intended to present residential and commercial buildings with arched
shapes : The arched shape had become fashionable at the beginning of the FRG: "Arched shapes played a decorative, invigorating role in building design in the first fifteen years of the Federal Republic".

  • Tonhallenstraße 10 (R. Hahne and E. Folten):
    The building is a reinforced concrete column construction. The arched facade makes the building stand out from the crowd: “[It] would hardly attract attention had it not been for the architect's idea of ​​livening up the grid of the upper floors and thus achieving an individual quality that it, albeit modest, stands out from the surrounding development ”.
  • Am Wehrhahn 10 (H. Wüst):
    Two different shapes are combined with one another. The building shows the “interpenetration of arches and diagonals” : the balconies show round shapes and the window axes diagonal shapes: “Rounded balconies with perforated screens meet the familiar, diagonally positioned window axis to optimize the lighting”.

  • Tonhallenstrasse 10

  • Am Wehrhahn 10 (2011)

Stem

This list is intended to introduce residential and commercial buildings from the fifties with a porch (shop window system on the first floor):

  • Am Wehrhahn 10 (H. Wüst):
    The building is also an example of a “characteristic residential and commercial building from the fifties with a shop window on the first floor”.
  • “Hotel Cristallo”, Schadowplatz 7 (1958; Hanns Derichs):
    The building is characterized in particular by its porch with special details and window elements: “One of the most remarkable porches of this type can be found at Schadowplatz 7 [...] The striking attention to detail as well as the Separately swinging window elements are a special feature of the Düsseldorf architecture of that time ”. The bay-like porch on the 1st floor with the five separate arched window elements has since disappeared (2011). In the past, lanterns were attached to the central axis of the facade (from the 2nd to the 5th floor). It housed the "Hotel Cristallo".
  • Haroldstrasse 34 (1954; Raimund Zieseniss):
    The building was completed in 1954. The stem is more typical of this time. There has already been an exchange of materials for the window system. The elaborate natural stone facade has since disappeared (2011). The facade was painted completely with white paint.

  • Schadowplatz 7 (2004)

  • Schadowplatz 7 (2011)

  • Haroldstrasse 34 (2011)

Administrative and commercial buildings

Examples of traditional architecture

Jörg Heimeshoff deals in detail with the architecture of the 1950s in Düsseldorf:

facade
  • Marktplatz 6 (1952/1956; Julius Schulte-Frohlinde ):
    This as an example of "Düsseldorf Classicism" existing administration building Marktplatz 6 show a "conservative, serene and homely attitude, as it was also distributed at the residential building of the fifties" The listed building was from 1952 built by the Düsseldorf architect Julius Schulte-Frohlinde on the market square by the city's building construction department until 1956 .
  • Trinkaus bank, Königsallee 17 (1950; Helmut Hentrich and Hans Heuser ):
    A "Another important conservative construction" is completed in 1950, designed by Helmut Hentrich and Hans Heuser building Trinkaus Bank on Königsallee 17. " The attitude which is revealed here is still based on the architecture of the prewar period: monumental structure of the lower floors, coupled pillars, etc. "
  • Karstadt department store, Schadowstraße (1952; Philipp Schaefer ):
    The Karstadt department store on the area of ​​the old Tonhalle in Schadowstraße was completed in 1952 according to plans by the architect Philipp Schaefer . The building even takes up the design language of architecture from the time before the First World War, when Joseph Maria Olbrich built the Tietz department store . The building thus takes up a reference “even further back in time” than the drinking bank at Königsallee 17. "Relationships to the monumental department store architecture of the years before the First World War are obvious (the architect was office manager at Joseph Maria Olbrich, who among other things built the Tietz department store - now a department store - on Corneliusplatz.)"
  • Gerling Group, Jägerhofstrasse 21 (1957/1958; Arno Breker ):
    An example of a "conservative building spirit" is the house built by Arno Breker in 1957/1958 for the Gerling Group at Jägerhofstrasse 21 with a "closed natural stone facade". Breker makes the " load-bearing elements as such by using the heavy, meaningful material “ The street front is five storeys high, the facade is divided into 13 axes. The building ends with a flat projecting roof; on this there is another storey set back. There are wide, rectangular posts between the windows. In front of each of these two free-standing slender columns were attached. The facade is clad with light natural stone.
  • Administration building at Kaiserwerther Straße 135 (1956; Hans Rompelberg ):
    The four-storey administration building at Kaiserwerther Straße 135, completed according to plans by Hans Rompelberg in 1956, was intended to be “designed with a decidedly conservative design” : “Stylized capitals and parapet panels come from an outdated canon of forms”
  • Ex-IKB Düsseldorf (1955; Rudolf Wolters and Karl Berlitz ):
    The building of the former IKB Düsseldorf also belongs to the conservative construction direction : "The [...] building from 1955 [...] is interesting because of some historicizing details." The architects Rudolf Wolters and Karl Berlitz had already worked together in the Todt Organization .
  • House of the retail trade association , Kaiserstraße 42 (1952, Helmut Hentrich and Hubert Petschnigg ):
    The building shows a grid facade clad in stone. It was still one of Hentrich's neo-classical designs, who "swung in after his neo-classical designs and a short transition phase [to] the line drawn up by Schneider-Esleben and Pfau" .
  • Steinstrasse 21 / Berliner Allee commercial building (1955; Hanns Dustmann ):
    The Steinstrasse 21 building is typical of commercial building architecture in the mid-1950s. The architect Hanns Dustmann represented the style of moderate modernity in administrative buildings and banks with "occasional [m] revisits of Nazi forms of representation". The building shows features "which are characteristic of the commercial building architecture of that time". Here, too, the elaborate, decorative cladding with natural stone is special: “The wall surfaces clad with natural stone take a back seat in favor of larger window areas. The horizontal is emphasized. The design of the shop window system and the decoration of the facades have been preserved ” .
losses
  • Dommelhaus (1955; Wilhelm Dommel ):
    The     Dommelhaus , built in 1955 according to plans by the client and architect Wilhelm (Will) Dommel (1914–1988), originally had a “closed-looking development between Oststrasse and Charlottenstrasse. Materials and shapes related to one another. Will Dommel's skyscraper formed a corner point on Charlottenstrasse, which developed from a single line and set its own accent ” . After the lavish, traditionally designed natural stone facade of the Dommelhaus was given a glass facade when it was redesigned as the Immermann Tower , the formerly uniform overall impression fell apart and the urban design was lost.
  • Insurance building on Kirchplatz, Friedrichstadt (Hans Schwippert, Wilhelm Riphahn , Eugen Blanck ):
    The high-rise originally had an elaborate, traditionally designed facade made of natural stone and plaster. During a renovation, the building was given a modern glass facade. Heimeshoff condemns the renovation:

“ The insurance building of Hans Schwippert, Wilhelm Riphahn and Eugen Blanck on Kirchplatz (Friedrichstadt) has also received a new facade design. The statement of the executed draft was rigorously reinterpreted. The vertical was placed in the foreground during the redesign; she does not get a degree. Thanks to the lighter material, the building is made up of an ensemble consisting primarily of natural stone and plaster. "

  • Dommel high-rise (after the renovation)

  • Insurance building on Kirchplatz, Friedrichstadt (after the renovation, today WestLB)

Examples of modern architecture

Stairwell
  • Vagedesstraße 1 (1955; Erich Mattern ):
    The pushed-out staircase became a design element of Düsseldorf office building architecture in the mid-1950s. The building at Vagedesstraße 1, built by Erich Mattern, shows a semicircular staircase that characterizes the cityscape: "The curve has a hinge function."
  • Merowingerstraße 103 (1956; Paul Steinebach ):
    A pushed out, angular staircase shows the high-rise built by Paul Steinebach in 1956 at Merowingerstraße 103. The building also shows details that “are characteristic of a current in the fifties [...] inclined Windows for better exposure, inclined supports and the material. "

  • Merowingerstrasse 103

  • Vagedesstrasse 1

facade
Glass or curtain wall
  • Commercial building Grabenstrasse 11 a (1956; Rudolf Wolters and Karl Berlitz ): In
    1956 Rudolf Wolters and Karl Berlitz built the commercial building Grabenstrasse 11 a (Carlstadt) , which “looked modern for the time of construction” , with the facades completely dispensed with natural stone. The glass facades should     "leave an advertising and exemplary impression for the building owner's building glass company and the specialist area."
  • American Consulate General (1953 SOM ):
    1953 was the American Consulate General , designed by Skidmore Owings & Merrill (SOM) erected a steel skeleton with steel frame elements: ". This building is certainly one of the designed on modern buildings of that time in Dusseldorf" "Architecture History is the Assigned to the “International Style” building after the Second World War. Characteristic of this direction, which differs from the traditional building and the organic style of the 50s, is a strict tectonic structure, which mostly creates transparency and lightness in a steel frame construction using a lot of glass and optically light materials. "
  • Administration building of the Rheinische Girozentrale and Provinzialbank, Elisabethstraße 65 (1952/1956; Heinz Thoma ):
    An example of the "development towards the end of the fifties" is the administration building of the Rheinische Girozentrale and Provinzialbank, Elisabethstraße 65 (Unterbilk) from 1959 to 1961 Heinz Thoma. The steel construction with aluminum curtain wall does without decoration. The technology determines the architectural design: “Every second vertical design element is designed as an installation support. The technical infrastructure became a design element. "
  • Mannesmann high-rise (1956/1958; Egon Eiermann and Paul Schneider-Esleben ):
    The Mannesmann high-rise is a steel frame construction made of Mannesmann tubes around a solid core. The lightness and independence of the structure determine the architecture: "Above the hall, the storeys protrude on all sides via pendulum supports, a solution that, in addition to the strong glazing, helps the house to be light and to be more independent from neighboring houses."
  • Dreischeibenhaus (1957/1960; Helmut Hentrich and Hubert Petschnigg ):
    The Dreischeibenhaus was built from 1957 to 1960 by the Düsseldorf architects Helmut Hentrich and Hubert Petschnigg as a steel skeleton construction with a curtain aluminum and glass facade and is an example of modern functionalism . The building served as a model: "The clear structure of the three narrow structures offset against one another and the floor plan with two centrally lit staircases became exemplary for many subsequent buildings."
  • Horten main administration building (1960/1961; Helmut Rhode ):
    The Horten main administration building was built from 1960 to 1961 according to a design by the architect Helmut Rhode. It has a meaning for the history of the building: "The [...] designed building is important in terms of building history, as it is the first building designed entirely as an open-plan office in West Germany." The building consists of a reinforced concrete construction with a grid module of 7.5 m × 7.5 m and a curtain-type aluminum-glass facade with a rung spacing of 3.5 m.

  • American Consulate General

  • Administration building of the Rheinische Girozentrale and Provinzialbank

  • Mannesmann high-rise

  • Dreischeibenhaus

Concrete facade
Tannenstrasse 2
  • Administration building of the Verein deutscher Zementwerke e. V. in Tannenstrasse 2 / Roßstrasse, (1954; Ernst and Peter Neufert ):
    Ernst and Peter Neufert designed the administration building of the Verein deutscher Zementwerke e. V. in Tannenstrasse 2 / Roßstrasse (Derendorf). The building is special in several respects: “The dynamic roof shape and entrance design evoke memories of similar forms of construction in Brasília or some of Le Corbusier's designs . It is a very remarkable example of architecture from the fifties in Düsseldorf and clearly differs from the large number of buildings in that it is designed in its own right ” .
losses

“ Further losses of important architecture from the 1950s are briefly mentioned here: […] A design by Georg Meistermann fell victim to the redesign of the Zatrahaus on Oststraße (city center) by Paul Schneider-Esleben. "

Heinrich Klotz describes the modernization of the Zatra house as destruction:

“At the corner of Oststrasse and Alexanderstrasse there was a bombed-out ruin with a dozen storey-high steel double T-pillars on which the house had stood on a very narrow piece of land along Alexanderstrasse, which was no more than 7 to 8 m deep. Therefore it was only enough for a one-hip office division. The existing steel supports were covered with white mosaic over a round casing. The entire glass facade consisted of steel profiles with single glazing, because double glass or aluminum profiles did not exist back then. The property widened towards Oststrasse. The closed office end side area at this point was given a large mosaic - designed by Meistermann - that slightly aroused the citizens. In the meantime, new owners have torn out the entire facade of this house and the mosaic by Meistermann and 'modernized' the new house .
This 'modernization' completely destroyed the earlier architecture of the building and deproportioned it with very rough facade parts, so that nothing is reminiscent of the former appearance. "

  • The Zatra house in 2011 without the facade design by G. Meistermann

Examples according to architects

Europahalle Düsseldorf with aluminum bridge on Venloer Strasse, 1952
  • Traditional architecture

  • The Düsseldorf Opera House today

  • West facade

  • Annette-von-Droste-Hülshoff-Gymnasium

  • KSK

  • Former IKB

  • Former "Breidenbacher Hof"

  • Town hall extension, south and east facade

  • Town hall extension, west facade

  • Modern

  • Wire house

  • Aluminum house

  • Paint box house

  • Petruskirche

  • House of the glass industry

  • Youth center

  • Hanielgarage

  • Rochus Church

  • Primary School Rolandstrasse

  • Karl Arnold House

  • Church of the Holy Cross

  • St. Reinold Church

  • Klarenbach Church

  • Former Evangelical Klarenbach Chapel, today St. Thomas Church

  • Atelier building of the Art Academy Düsseldorf

  • IHK building

  • St. Mary Queen

  • Bunker Church of Saint Sacrament

  • St. Maria in den Benden

literature

  • Jörg AE Heimeshoff : Residential house architecture of the fifties in Düsseldorf. In: Yearbook of the Rheinische Denkmalpflege , Volume 33 (1989), ZDB -ID 956168-7 , pp. 83-98.
  • State capital Düsseldorf (Ed.): Architecture of the 50s in Düsseldorf. Stadtmuseum Düsseldorf, Düsseldorf 1982.
  • Klaus Pfeffer: The structural development of the city center of Düsseldorf in the fifties. In: Yearbook of the Rheinische Denkmalpflege , Volume 33 (1989), pp. 77–82.
  • Jörg Schulze: Administration buildings from the 1950s in Düsseldorf. In: Yearbook of the Rheinische Denkmalpflege , Volume 33 (1989), pp. 99–127.

Individual evidence

  1. ^ Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the fifties of the 20th century in Düsseldorf - secular buildings without schools and bridges (issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 3 .
  2. ^ Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the fifties of the 20th century in Düsseldorf - secular buildings without schools and bridges (issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 3 and 4 .
  3. ↑ Prof. Hanns Dustmann. In: arch INFORM .
  4. ↑ a b Jürgen Vienna: Introduction to architectural history of Düsseldorf . In: Roland Kanz, Jürgen Wiener (Eds.): Architekturführer Düsseldorf , Dietrich Reimer Verlag, 1st edition, Berlin 2001
  5. ↑ AKNW: Plurality of styles and continuity
  6. ^ Roland Kanz, Jürgen Wiener (eds.): Architekturführer Düsseldorf , Dietrich Reimer Verlag, 1st edition, Berlin 2001, p. 198 [Historical Register]. 20th century ... Buildings from the 40s and 50s 4, 5, 22, 34, 49, 51, 52, 55, 56, 60, 61, 72, 76, 85, 88, 90, 102, 124, 127, 141, 145, 148, 153, 165, 168, 170, 173, 178, 183, 186, 188, 200, 209, 210, 215, 224, 235, 245, 251, 253, 258, 259, 268.
  7. ↑ a b c Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 5 .
  8. ↑ Entry in the monument list of the state capital Düsseldorf at the Institute for Monument Protection and Preservation
  9. ↑ a b c Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 6 .
  10. ^ A house made of steel rponline.de February 8, 2016
  11. ^ Renovation of the steel house in Düsseldorf-Kaiserswerth. ( Memento of the original from July 25, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.turck-architekten.de
  12. ↑ Entry in the monument list of the state capital Düsseldorf at the Institute for Monument Protection and Preservation
  13. ↑ a b Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 7 .
  14. ↑ a b Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 8 .
  15. ↑ Am Bauenhaus 49 in the monuments list of the state capital Düsseldorf at the Institute for Monument Protection and Preservation
  16. ^ Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 4 .
  17. ↑ a b c d e f g Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 10 .
  18. ^ Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 11 .
  19. ^ Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 11 and 12 .
  20. ↑ a b c d e Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 12 .
  21. ↑ a b c d Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 14 .
  22. ^ Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 16 .
  23. ↑ a b c d e f g h i Jörg Heimeshoff: Rheinische Kunststätten. Architecture of the 1950s in Düsseldorf - secular buildings without schools and bridges (Issue 360) . Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 15 .
  24. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 13.
  25. ↑ Roland Kanz, Jürgen Wiener (ed.): Architectural Guide Düsseldorf. Dietrich Reimer, Berlin 2001, ISBN 3-496-01232-3 , p. 105, no. 148.
  26. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , pp. 13 and 14.
  27. ↑ a b Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , pp. 19 and 20.
  28. ↑ a b c Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 20.
  29. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , pp. 20 and 21.
  30. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 21.
  31. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 22.
  32. ↑ a b c d Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 24.
  33. ^ Jürgen Wiener: Introduction to the architectural history of Düsseldorf. In: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf. Dietrich Reimer, Berlin 2001, ISBN 3-496-01232-3 , pp. XI – XXII, on this p. XX.
  34. ↑ Roland Kanz, Jürgen Wiener (ed.): Architectural Guide Düsseldorf. Dietrich Reimer, Berlin 2001, ISBN 3-496-01232-3 , p. 41, object no. 51.
  35. ↑ a b c d e Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 21.
  36. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 21.
  37. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , pp. 18 and 19.
  38. ↑ a b Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 25.
  39. ↑ a b Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 24.
  40. ^ Jörg AE Heimeshoff: Listed houses in Düsseldorf, with garden and ground monuments. Nobel, Essen 2001, p. 70.
  41. ↑ a b c Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 27.
  42. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 19.
  43. ↑ Bauen und Wohnen , 9th year 1954, issue 3, pp. 109–113.
  44. ↑ New German Architecture 1956 , pp. 146–147.
  45. ↑ Architecture 1957 , pp 382-385.
  46. ↑ http://www.nrw-architekturdatenbank.uni-dortmund.de/obj_detail.php?gid=1680
  47. ^ Photograph from 1956 by Walter Schmidt with the still preserved facade design by Georg Meistermann at www.bilderbuch-duesseldorf.de ( Memento from July 30, 2012 in the web archive archive.today )
  48. ^ Jörg Heimeshoff: Architecture of the fifties of the 20th century in Düsseldorf. Profane buildings without schools and bridges. (= Rheinische Kunststätten , issue 360.) Schwann, Düsseldorf 1990, ISBN 3-88094-671-X , p. 19.
  49. ^ Heinrich Klotz: Paul Schneider von Esleben. Drafts and buildings , Verlag Gerd Hatje, Ostfildern near Stuttgart 1996, p. 58.
  50. ↑ Baumeister , 53rd year 1956, pp. 609–617. (Bonatz); Die Bauverwaltung , 5th year 1956, pp. 524–530 (Weil); Die Deutsche Bühne , 1st year 1957, pp. 128–130 (Schulte-Frohlinde)
  51. ^ Die Bauzeitung , 64th year 1959, pp. 326–327.
  52. ^ Die Bauverwaltung , 8th year 1959, pp. 17-20. (Schirmer)
  53. ^ Die Bauzeitung , 64th year 1959, pp. 330–332.
  54. ↑ Die Bauzeitung , 64th year 1959, pp. 206–207.
  55. ^ Die Bauzeitung , 64th year 1959, p. 333.
  56. ↑ Die Bauzeitung , 64th year 1959, pp. 208–209.
  57. ^ Die Bauzeitung , 64th year 1959, pp. 328–329.
  58. ↑ a b Die Bauverwaltung , 3rd year 1954, pp. 35–41.
  59. ↑ Baumeister , 50th year 1953, pp. 10–15.
  60. ↑ Deutsche Bauzeitschrift , 4th year 1956, pp. 993–997.
  61. ^ Die Bauzeitung , 64th year 1959, p. 193.
  62. ^ Die Bauverwaltung , 7th year 1958, pp. 389–394.
  63. ^ Die Bauzeitung , 64th year 1959, pp. 194–195.
  64. ↑ Deutsche Bauzeitschrift , 5th year 1957, pp. 1078-1083. (Nail); Fig. In: Bauwelt , 48th year 1957, p. 255.
  65. ↑ Die Bauzeitung , 64th year 1959, pp. 210–211.
  66. ↑ Emil Fahrenkamp's neoclassical post-war building (destroyed)
  67. ^ Heike Werner, Mathias Wallner: Architecture and history in Germany. Heike Werner, Munich 2006, p. 142.