Architecture in Düsseldorf

The history of architecture in Düsseldorf stretches from the Middle Ages to the 21st century. Numerous typical buildings from different epochs are still preserved or have been rebuilt. Düsseldorf's architectural history begins with a large number of buildings in the pre-Romanesque style from the 11th century. One example of Gothic architecture in Düsseldorf is the Lambertus Church . In modern times , the Düsseldorf Palace was expanded in the Renaissance style. The Ratinger Tor is one of the few purely classical buildings in old Düsseldorf. The city experienced the high point of urban development and artistic development from 1890 to 1914 with historicism , reform architecture and Art Nouveau . After the First World War , Düsseldorf became known for its brick expressionism and neo-classicism. Large parts of the city center, rich in historical buildings, were destroyed during the air raids on Düsseldorf . Neoclassicism and modernism followed in the post-war period . Around the 1960s, Düsseldorf experienced its peak as an industrial, financial, administrative, trade fair and fashion metropolis. While the 1970s were characterized by brutalism , a return to classical modernism followed in the 1980s .

The journalist and travel writer Georg Forster visited Düsseldorf in 1790 and described the city in his Views of the Lower Rhine (1793):

“What a world of difference between Kölln and this nice, clean, wealthy Düsseldorf! A well-built city, beautiful massive houses, straight and bright streets, active, well-dressed inhabitants; how that does not cheer the traveler's heart! Two years ago the Kuhr prince had part of the fortifications demolished, and allowed his subjects to build on the square. Now there is a whole new city of several long streets drawn along a string; one competes with one another as to who should build his house most beautifully and most comfortably; The invested capital amounts to very considerable sums, and in a few years Düsseldorf will be as big as it was and much more splendid. "

Cityscape of Düsseldorf in 1647 (copper engraving after Merian the Elder )

Cityscape of Düsseldorf in 1729 (copper engraving after FB Werner )

Cityscape of Düsseldorf in 1749, fire of the residential palace

Düsseldorf from the Rhine side with the old residential palace around 1850

Cityscape of Düsseldorf, today

Architectural history

Pre-Romanesque and Romanesque

Düsseldorf-Kaiserswerth, collegiate church, vestibule

Düsseldorf-Gerresheim, Romanesque Altarmensa

In 1135 Düsseldorf was first mentioned as "Dusseldorp" and in 1189 it was pledged to the Count of Berg. The earliest preserved buildings in the city are the two large Romanesque sacred buildings in Gerresheim and Kaiserswerth , where a monastery was founded. From 1174 to 1184, the Kaiserpfalz Kaiserswerth was expanded as a mighty customs fortress for the delivery of Rhine customs . There are eight Romanesque churches in today's urban area. The house Suitbertus Stiftsplatz 14 in Kaiserswerth is of Romanesque origin.

• Martinskirche : The Carolingian building was a rectangular chapel made of Ratinger slate, Grauwacke quarry stones and brown coal quartzites, which were piled up with red clay and without the addition of mortar, which was replaced by a three-aisled, flat-roofed pillar basilica with a tower in the west. Instead of the flat wooden ceiling, a ribbed vault was built at the beginning of the 13th century .
• Suitbertuskirche : Of the collegiate church of St. Suitbert, built in 1050 from tuff stone , only the nave is still late Romanesque . The choir , consecrated in 1237, is already Gothic. The church was built in place of a Carolingian predecessor building from the beginning of the 8th century, the monastery church of St. Peter.
• Düsseldorf-Altstadt, Lambertuskirche already existed before 1159 as a Romanesque court chapel in the form of a two-bay, Romanesque basilica.
• St. Remigius : The original building was a hall church from the first half of the 12th century. In the first half of the 13th century there was an extension to the three-aisled pillar basilica with a built-in west tower from the Staufer period . The choir square with retracted apse in the east dates from the 13th century.
• St. Margareta : Originally it was an Ottonian building with a flat-roofed hall church and recessed choir. This was replaced in 1236 by a building in the Rhenish late Romanesque style in the form of a three-aisled basilica with a transept and an octagonal crossing tower .
• St. Nicholas was built in the middle of the 12th century as a four-bay pillar basilica with groin-vaulted side aisles and a flat-roofed central nave. A square choir with a retracted apse followed at the end of the 12th century. The west tower was built at the beginning of the 13th century and the central nave was raised and arched in the second quarter of the 13th century.
• St. Hubertus has its origins in a chapel that was founded by the Kaiserwerther Stift. It was originally a small, Ottonian hall building, to which a square tower was added on the west side around the middle of the 12th century. In the 13th century, a three-aisled, Romanesque pillar basilica was built in place of the hall building.
• Düsseldorf-Kalkum, Lambertuskirche was built as a three-aisled Romanesque basilica.

• Romanesque
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  St. Suitbertus

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  Kaiserpfalz, Kaiserswerth

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  Lambertus Church, Düsseldorf-Kalkum

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  St. Remigius

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  St. Margaret's Basilica

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  St. Nicholas Church

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  St. Hubertus Church

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  St. Peter and Paul

Gothic

In 1288 Düsseldorf was elevated to the status of a city. The Lewen or delivery house in the Gothic style came from this time . Major urban development changes to the street village with town charter took place in the late 14th century, when the County of Berg fell to the Count of Jülich in 1348 and the Count was appointed Duke of the new Duchy of Berg in 1380. The urban area increased as a result of the influx of residents from Golzheim , Derendorf , Bilk and Hamm , who were incorporated into the municipality in 1384 and 1384. A new Düsselgraben with a wall ring was drawn around the now emerging old town. Düsseldorf experienced an expansion of the city and the development into a residential city . The ducal castle was built in the form of a three-wing complex. The Lambertuskirche was expanded in 1394 as the grave church of the Dukes of Berg in the form of a three-aisled hall church in forms of the Lower Rhine brick Gothic with brick. The tabernacle is a work of art from the late Gothic period, as is the Quadenhof .

• Gothic
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  Düsseldorf old town, St. Lambertus, Madonna

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  St. Lambertus, tower

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  Düsseldorf-Kalkum , St. Lambertus, Madonna

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  Düsseldorf old town, St. Lambertus, Madonna

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  The Quadenhof around 1840, pen drawing by Caspar Scheuren

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  Gothic half-timbered house, Bolkerstr. 7?

Renaissance

Reconstruction and reconstruction of the Düsseldorf Palace according to plans by Pasqualini in 1549

In 1521 Düsseldorf became the capital of the United Duchies of Jülich-Kleve-Berg and now urgently needed a representative palace. Bertram von Zündorf led the reconstruction and renovation . But it was not until William the Rich summoned the Renaissance master builder Alessandro Pasqualini from Bologna to Düsseldorf in 1549 that building activity took off.

Pasqualini completed the only remaining tower of the castle in 1551 . He placed Tuscan columns in front of it. Pasqualini also added a Renaissance dome to the tower, crowned by a lantern with a Welsh dome. In the north-eastern corner of the castle courtyard, Pasqualini also installed a three-storey loggia which, in its "modern Renaissance form, stands out very much from the ancient half-timbered gallery to the left of the rectangular stair tower". Documented is an aedicula portal with pilasters on the wall rhythmized by bosses . The palace chapel with its altar wall and paneling with blind arcades , Corinthian wall pilasters and cranked cornice must also be considered a work of Pasqualini.

The format and art of Pasqualini can be seen in the preserved buildings of Rheydt Castle and Jülich Citadel .

A picture of Landgrave Moritz von Hessen-Kassel from 1629 shows the square in front of the palace; the façades show Welsch forms.

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  City side of Düsseldorf Castle in the Renaissance style , 1629, drawing by Landgrave Moritz von Hessen-Kassel

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  Düsseldorf Castle in the Gothic and Florentine Renaissance style with Pasqualini's three-storey loggia (right in the corner, next to the tower)

Residential houses and old town hall

Old Town Hall

At the beginning of the Düsseldorf renaissance there was still the “conservative direction” with its “curly pinnacle gables”. One example of this was the double-gabled old town hall, where the arch line corresponded to the gable curvature. The “Welschen” gables (also “curly dwarf gables”) in the Renaissance style of the old town hall are remarkable.

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  The old City Hall

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  Old Town Hall

Residential houses with curved pinnacles

The house at Burgplatz 12 also has a curved pinnacle gable, as does the former corner house at Kurzestrasse and Burgplatz. Both gables are stylistically related to the curved peg gable of the Old Town Hall, as is the Zum Goldenen Hirsch house on the market square from 1558.

The house at Kurz Strasse 6 shows a stepped gable, filled with a quarter circle from step to step, "that is how the gradual transition from the stepped gable to the volute gable in the area of ​​the Lower Rhine brick building was originally."

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  House Burgplatz 12

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  House Zum Goldenen Hirsch on the market square, 1585

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  Houses on Düsseldorf's market square, 1585

Residential houses with stepped gables

In addition to the "then modern French gables" of the renaissance of town houses, there were also Gothic stepped gables. The Gothic tradition of the stepped gable persists even in the period of the High Renaissance (from the middle of the 16th century) in northern and central Germany ( post-Gothic ). The Elector House is an example of this.

In Die Kunstdenkmäler des Stadt- und Landkreis Düsseldorf, Paul Clemen names various examples of houses with stepped gables:

“The shape of the stepped stepped gable persists into the 16th and 17th centuries; Good characteristic examples of this type can be found in the house at the golden crown , Altestadt 13, from 1625, the corner house at Burgplatz 16, the corner house on Bilkerstrasse after Karlsplatz, called Im Spiegel , again from 1625, 1887, the house at Zum Churfürst , Flingerstrasse 36, from 1627. Characteristic of the 17th century is the position of the gable facing the street, the narrowness of the façade at a fairly significant height, the large number of windows with stone crosses close together. A whole group of such houses can be found at Mühlenstrasse 16, 18, 20, 22, 28; the four-story houses 15 and 17 opposite have still retained the small panes. Similar groups in Kurzestrasse 9 (from 1697), 14.7, 6 and at Burgplatz 8 and 10, Flingerstrasse 36-44. "

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  House of the Elector

Other renaissance buildings

The Berger Tor , the Jan Wellem Chapel , the tomb of Duke Wilhelm von Jülich-Kleve-Berg in the style of the Italian High Renaissance and the Loreto Chapel in the style of the Tuscan Renaissance are also attributed to the Renaissance.

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  Loreto Chapel

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  Berger Tor, facade to Berger Allee.

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  St. Lambertus, tomb

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  Rhine gate

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  Jan Wellem Chapel

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  Flinger Gate

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  Ratinger Tor

decoration

Stucco decoration

The interior architecture of the renaissance of Düsseldorf is exemplified in a representation by Frans Hogenberg in the magnificent volume by Diederich Graminaeus about the wedding of Johann Wilhelm von Jülich-Kleve-Berg. In the hall of the old castle it shows an “open beamed ceiling, the beams resting on the sides on coffins” (Fig. 50a). The Renaissance stucco beam ceilings in the houses Kurz Strasse 10 and Altestadt 3 are stylistically related to the ceiling in the Old Castle.

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  Short street 10, Renaissance beamed ceiling

Wooden and half-timbered galleries

Wooden and half-timbered galleries were used in the Düsseldorf Renaissance to connect the front building and the side wing. Such open or closed galleries were still located in Mühlenstrasse 17, Ritterstrasse 36 (Fig. 51) and Citadellstrasse 5.

Baroque

During the Reformation, the Dukes of Düsseldorf built secular buildings in particular as an expression of a moderate, reform Catholic course.

Influence of South German-Italian architecture (St. Andreas, Jesuit College and Benrath Palace)

However, the urban accents changed due to the following crises. In 1613, Duke Wolfgang Wilhelm converted to Catholicism and initiated the Counter Reformation in Düsseldorf. From 1617 to 1677 Capuchins, Jesuits, Cölestines , Carmelites , Cellites , Franciscans and Ursulines settled under Wolfgang Wilhelm and his son Philipp Wilhelm . The branches of the various religious orders with their monumental buildings from the 17th century shaped the cityscape: the Jesuit Church of St. Andreas (1622–1632, Antonio Serro gen. Kraus) and the Jesuit College. The Hofkirche is the artistically most valuable church creation in Düsseldorf as a mediation of Italian-South German construction. The no longer preserved Benrath Palace (1660–1669, Johannes Lollio; called Sadeler) was designed in the same architecture . Images of the earlier baroque palace can be found in a painting by Jan van Nikkelen in the Schleissheim gallery and in a drawing in E. Ph. Ploennie's Topographia Ducatus Montani from 1715 (a manuscript in the Düsseldorf city archive). With the castle, too, there is a clear partitioning of the walls due to pilasters and tower domes, as in the Andreas Church. The influence of Italian baroque architecture in the time of Wolfgang Wilhelm and Philipp Wilhelm was not of direct nature, but arose through the mediation of South German masters.

In Das Düsseldorfer Wohnhaus up to the middle of the 19th century from 1922 Paul Sültenfuß describes the mediation of Italian-South German construction in Düsseldorf through the monumental buildings Andreaskirche and Schloss Benrath. These had a decisive influence on the Baroque building in Düsseldorf:

“The new monumental buildings from the 17th century and from the first two decades of the following century were primarily decisive for Düsseldorf's baroque town house. First of all, Düsseldorf received an extremely valuable addition to its cityscape at Friedrichsplatz, at the entrance to Mühlenstrasse, in the years 1622–1629 in the Hof- und Andreaskirche and the large-scale Jesuit college that was built in the following years. The Hofkirche has remained the most artistically valuable church creation in the city to this day. The master of the court church in Neuburg a. d. Danube had to provide the new Duke of Jülich and Berg, Wolfgang Wilhelm from the house of Pfalz-Neuburg, with a model and detailed plans. The Duke made suggestions for changes in his own hands and stipulated that 'a cupola, as you see in Italy, should be performed in the middle of the roof and the bells should be hung in it or on both sides of the choir or in view of its light towers'. The idea of ​​two towers on the sides of the choir was carried out. In the quiet city of the Lower Rhine with its ancient ties to the Netherlands, the clarity of the arrangement of the building dimensions of the church and the adjoining college with its exterior and courtyard wings, in the facade division, the exact arrangement of the pilasters, portals, windows, Towers and gables show the influence of Italian-South German architecture. And quite inevitably, this stately assembly had to gain a decisive influence on the bourgeois building method in the clear drawing of the details as well as in the symmetry of the facades and systems. Forty years later, in another monumental building, Düsseldorf received a further mediation in Italian-South German construction. Phillipp Wilhelm, Wolfgang Wilhelm's son and successor, had a new pleasure palace built in front of the city gates in neighboring Benrath in the years 1660–1669 by the Palatinate-Neuburg cameraman and court engineer Johannes Lolio, known as Saddeler. [...] Again the clear partitioning of the walls with pilasters and tower domes, in a similar arrangement to the St. Andrew's Church, plus terraces with Mediterranean baluster parapets with arcades. "

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  St. Andrew from the northeast

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  Old baroque palace Benrath

Influence of Italian-French architecture (Residenzschloss and Schloss Bensberg)

Matteo Alberti

In his dissertation on the development of the Düsseldorf residential building, Paul Sültenfuß describes the influence of Italian-French architecture in Düsseldorf by the Italian architect Alberti, who, inspired by Versailles , "dressed his extensive designs entirely in the formal language of his Italian homeland". He is considered to be the "creator of the grand design for a new residential palace in Düsseldorf". Matteo Alberti also designed Bensberg Castle, which is still largely preserved today. Richard Klapheck also shows reconstructions of Bensberg Castle in Baukunst am Niederrhein II . The Italian-French style of architecture also influenced the Baroque building in Düsseldorf:

“If the influence of Italian baroque architecture in the time of Wolfgang Wilhelm and Philipp Wilhelm was not of direct nature, but through the mediation of South German masters, then Johann Wilhelm, Philipp Wilhelm's successor, drew Italian masters directly into his service. The builder Riva had to draw up plans for the restoration of the old castle on Burgplatz in the 1990s. In the years between 1699 and 1701, at the instigation of Johann Wilhelm Domenico Martinelli from Lucca, at that time in Vienna, also because of the new palace building in Düsseldorf. [...] [We are] informed in more detail about the architect who was previously appointed to Düsseldorf, who later became the chief construction director, Count Mattio di Alberti from Venice. [...] He is the creator of the grand design for a new residential palace in Düsseldorf [...] and of the Bensberg Palace, which is still preserved today in its main parts. [...] Alberti has Ludwig XIV Versailles in mind for Bensberg as well as for the new palace project in Düsseldorf . But he dressed his extensive designs entirely in the formal language of his Italian homeland. Johann Wilhelm's marriage to Anna Maria Luise von Toscana intensified the husband's relationship with Italian art and artists in her homeland. Alberti's main employee at the Düsseldorfer Hof was Aloysius Bartoly from Venice. "

Jörg Gamer describes in Matteo Alberti. Senior Building Director of the Elector Johann Wilhelm von der Pfalz, Duke of Jülich and Berg the Venetian Alberti as the "most distinctive architectural personality" who worked under Jan Wellem in Düsseldorf. Alberti also created the Cölestinerinnenkirche in Ratinger Straße , the Herz-Jesu-Kirche of the Ursulines in Ritterstraße, the Palais Schaesberg , the Josephskapelle at today's Emilie-Schneider-Platz at the beginning of the Altestadt , the Grupello-Haus on the market square, the governorate and Residential houses on the citadel (Spee'sches Palais) and the war commissariat on Akademiestrasse (Hondheim'sches Palais). Alberti was a master builder who "conveyed the Venetian formal language to Düsseldorf and who in later works [...] established the classifying direction of the European Baroque, which was based on Palladio".

Another example of the influence of Alberti's monumental architecture on secular building in Düsseldorf is the Schaesberg Palace, which Johann Wilhelm (still electoral prince and regent) gave to his privy councilor, General War Commissioner and Marshal Friedrich Christian Freiherr von Spee .

“The stately building is the brilliant representative of the new monumental building spirit under Johann Wilhelm. [...] The beauty of the individual drawing of the window frames and profiles, the way in which the large windows are distributed over the facade and how the red brick surface is framed by house blocks, house block plinths and main profile must have caused a sensation in Düsseldorf, plus the beautiful one Stucco ceiling of the large hall [...]. "

- Sültenfuss (1922), pp. 63-64

Sültenfuß would like to ascribe the building to the circle around Alberti, the "essential bearer of the new monumental building philosophy in Düsseldorf. Compare the details of the house at Ritterstrasse 16 [Palais Schaesberg] with Alberti's castle in Bensberg in 1710 and his Düsseldorf castle project from the same year. "

Further examples of Alberti's influence are the twin house 12/14 and house no. 8 on Neusser Straße. "The detail of the window and door framing shows that exact drawing as on Alberti's creations and on the house at Ritterstrasse No. 16. And like this house, the buildings on Neusserstrasse most likely come from the Albertis district [...]".

The city palaces of Count Spee (on Spee'schen Graben / on Bäckerstrasse) and the Barons of Hondheim (on Akademiestrasse) are closely related to the buildings from the Alberti district. The Spee'sche and the Hondheim'sche Palais show similarities to the semi-detached house at Neusserstrasse 12 and 14 and to the old castle on Burgplatz.

The Hondheim'sche Palais (most recently welfare office / fire station) on the corner of Akademiestrasse and Dammstrasse suffered bomb damage in the air raid on Düsseldorf on June 12, 1943. The complex, which was built by Alberti between 1709 and 1713 on Hafen-, Akademie- und Dammstraße, formed a double complex of two palaces and was home to the Palatinate Central Authorities as well as the Secret Chamber Chancellery and the General War Commissariat. After the dissolution, the head of the authority, Baron Lothar Friedrich von Hontheim (Hundheim), acquired the property.

The Spee'sche Palais was destroyed in the war and later rebuilt; it is used today as a city museum. Count Karl Wilhelm von Spee acquired the building, which is one of the largest aristocratic palaces in the city, in 1806.

The Grupello House was built by Matteo Alberti for the sculptor Gabriel de Grupello . From 1769 Governor Count von Efferen lived in the house, which is why it is also called the Governorate House.

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  Bensberg Castle

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  Grupello house

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  House Citadellstrasse 14

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  Facade of the former Coelesterinnenkirche in Ratinger Strasse (Palais Spinrath)

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  Schaesberg Palace

Domenico Martinelli

Ultimately, Domenico Martinelli from Lucca, who worked in Vienna, was given the task of drafting plans for the Düsseldorf residential palace. During his stay in Düsseldorf in the summer of 1699, Martinelli presented his design, which was to integrate part of the old palace into the new residence. Martinelli planned a strictly symmetrical, rectangular four-wing complex with a southern and an eastern main facade facing the city. The draft was not implemented. However, his design influenced the renovation that Jan Wellem had carried out, during which the colonnade of the main wing and a new stair tower were built in the south-western corner of the courtyard. The interior was most splendidly decorated.

Gabriel de Grupello

In 1695 Gabriel de Grupello was called to Düsseldorf by Elector Jan Wellem , who planned to have his royal seat adorned with a cast of the equestrian statue of Mark Aurel from the Capitol in Rome. The Jan Wellem equestrian monument created by Grupello on the Düsseldorf market square represents the “most impressive and long-lasting contribution of the elector to the artistic design of his capital”.

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Italian artists in Düsseldorf

When Johann Wilhelm married the Italian Anna Maria Luisa de 'Medici , more Italian artists were called to Düsseldorf. Alberti's main collaborator at the court was Aloysius Bartoly from Venice. In addition, Antonio Bernardi (master builder, engineer and theater and decorative painter) and the plasterers Carlo Bonaveri, Francesco Orsolini, Gorini, Guarlardi, Antonio Rizzo, Bugliachi and Antonio Fabri worked in Düsseldorf as well as other Italian painters, sculptors and artisans.

Influence of Dutch architecture (Joseph's Chapel)

In addition to the Italian-South German, Italian and Italian-French relations, there were artistic connections to the Netherlands. This is how the chapel of the Carmelite Convent was created , as was the Dutch-style monastery building. The layout as well as the facade division of the pilaster brick architecture could easily be assigned to the architecture of Dutch classicism from the 17th century.

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  Joseph's Chapel

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Influence on the baroque gabled house

→ Main article : Gabled houses in Düsseldorf

decoration

The decorative and applied arts were particularly in demand during the Baroque period: local traditions alternated with Dutch and Italian influences.

“Today, of course, a large part of this artistic legacy has long since ceased to exist in the area of ​​living and building culture. But even what little we have left is an interesting reflection of the manifold artistic relationships of the art-loving elector: domestic traditions alternate with Dutch and Italian contexts. The century of the Renaissance in Düsseldorf, of course, as far as we can only learn from the thin-flowing sources, could not offer such a rich confirmation of the decorative and applied arts. "

Stucco decoration

Jörg Heimeshoff comments on a stucco ceiling in Altestadt 14 : “The baroque stucco ceiling in the western room on the ground floor is one of the most excellent examples of its kind on the Lower Rhine. It was probably made by the court chamber director and general commissioner Friedrich Christian Freiherr von Spee or his daughter Maria Margaretha, who owned the house after 1662 ”.

In Die Kunstdenkmäler der Stadt und der Landkreis Düsseldorf from 1894, Paul Clemen describes the stucco ceiling in the house with a central medallion and shell motifs:

“In Altestadt 14, which bears the Alliance coat of arms of Scheidt-Weschpfennig and von Tengnagel above the door, there is a well-preserved stucco ceiling in Peter Leven's specialty shop on the ground floor, with a large, ornamented central medallion and shell motifs, without figurative ones Jewelry (replicated in 1880 at the art and trade exhibition). "

The stucco decoration is also mentioned by Paul Sültenfuss and Josef Kleesattel . Sültenfuss attributes it to a baroque style, which was influenced by the stucco decoration of Benrath Palace and the Düsseldorf Residenzschloss:

“This stucco work like the one in the house at Ritterstraße 16 no longer has the broad-lobed baroque shape like the chimneys and ceilings of the houses Altestadt 14 and Citadellstraße 7 , which are influenced by the stucco decoration of Benrath Palace . With the delightful interplay of tendrils, putti, vases, medallions, female figures and moldings, which are also used in the stucco ceilings Citadellstr. 2 return to the Franciscan monastery, one may think of the numerous stucco artists who decorated Johann Wilhelm's hunting lodge in Bensberg and his city palace on Burgplatz. But it is not yet possible to list the individual artists. "

• Stucco decorations
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  Douvenhaus, stucco decoration

Stair decoration

Paul Sültenfuß describes the stair decoration in Düsseldorf in detail. As an example, he lists the stairs in the buildings Citadellstrasse 5 and Citadellstrasse 7 as well as in the town hall.

"On the layout of the staircases and their artistic end [...] I would just like to point out the previously unknown comfort of the staircase of the spacious staircases, how beautiful and exact the drawing of the profiles of the balusters, railings and posts everything, as the new artistic wealth that Johann Wilhelm's court gathered around him is reflected in the decoration of dolphins or volutes on the starting posts of the stairs of the houses. Compare the stairs at Citadellstrasse 7, in the town hall and the courtyard stairs at Citadellstrasse. 5. [...] "

Josef Kleesattel attributes the stairs in the building of the municipal men's choir to the French Empire . The staircase in the house at Grabenstrasse 4 is also attributed to the Empire, and its “beautiful, raised stair post deserves special attention”. The staircase in the Malkastenhaus is also said to be a "charming empirical staircase" that led to the upper chambers of the philosopher Jacobi.

• Stairwells and stair decorations
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  Grabenstrasse 4, stairs

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  Altestadt 14, stairs

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  Ritterstrasse 10, stairs

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  Old town hall, upper stairs

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  Old town hall, stairs in the side wing

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  Old town hall, lower stairs

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  Altestadt 3–13, stairs

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  Altestadt 14, stairs

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  Neubrückstraße 12, stairs

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  Palais Nesselrode, stairwell

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  Palais Spinrath, stairs

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  Citadellstraße 19 , stairs

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  Citadellstraße 19, stairs, detail

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  Citadellstraße 11, stairs, detail

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  Citadellstrasse 5, door in the courtyard

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  Jacobistraße, Jacobihaus - Malkasten-Haus, stairs

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  Maxkirche, sacristy, stairwell

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  Palais Nesselrode, staircase, detail

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  Benratherstraße 11, stairs

Door decoration

Sültenfuß describes the decorative shape of old baroque doors, which was so common in Düsseldorf that it can be referred to as a Düsseldorf school of carving for the time of Johann Wilhelm. The portal at Mühlenstr. 22 (Fig. 87), Ritterstr. 11 (Fig. 88), Liefergasse 30 (Fig. 89), Krämerstr. 22 (Fig. 90), Mühlenstrasse 8 (Fig. 91), Carmelite Convent (Fig. 92) and the Maxkirche (Fig. 93). The portal usually consisted of a garment ("house stone frame") with a rectangular skylight , dog-ears and base stones . The wooden doors were richly carved. In the lower part there was a base band. The main area in the middle showed carved zigzag lines, above it a transverse band with picture sculpture, consisting of tendrils, heads, putti and wreaths:

“The simplest form of the doors shows a house stone frame that only has a narrow bezel on the inside. Above it, just as unadorned, a rectangular skylight, dog-ears and base stones give it a richer shape [...] Or one or more panels are intended to structure these frames even more vividly. These in and for themselves simple forms are given a special charm by the rich carvings on the wooden doors. At the bottom a simple skirting tape or a skirting tape framed by profiles. Above that, the main area is divided with carved zigzag lines. Then at the top again a transverse band with varied decorations, tendrils, heads, putti, wreaths (Figs. 87-95). It is not uncommon for a stick with foliage to frame the individual fields or the entire door surface. This decorative form of the old baroque doors is still so common in Düsseldorf today and has such a down-to-earth character of its own that we can probably speak of a local carving school for the time of Johan Wilhelm. "

The gable decoration of the orangery of the Jägerhof from 1713 by the court sculptor Grupello and the lunettes above the gates of the Hondheim house in Akademiestraße (Fig. 98) and the semi-detached house in Neusserstr are considered to be the “highlight of this school of carvers” of door and portal decoration. 12 and 14 (Fig. 97). The main accent can be in the architectural framing of the house: Usually the framing of the house is just a simple "picture frame" or the frame represents the "main part of the door composition": "with a rich profile with pilasters or columns, consoles, volutes and lively door lintel appearance".

The house in Neusserstr is an exception. 8 (fig. 100) with a carved door: In the "upper part in the middle section with its own beautiful carved foliage circumscribed by a square. The house stone frames again show the most diverse forms. ”.

The middle section of the lintel of the Dammstrasse house "bulges [...] upwards like segments to create a small. Leave space for relief decoration ”(Fig. 75).

Another example is the door decoration of the Grupellohaus, where this “segment piece is structured into a semicircular skylight with the same profile as the lower door frame and with a framework”. (Fig. 79).

One of the door frames that were influenced by Dutch classicism is that of the Zum Goldenen Helm house : Their “main stimulation center” was the church and monastery of the Carmelites.

For other door frames, Alberti's buildings and the rich portal of St. Andreas "with its volute consoles adorned with acanthus leaves and the rosette decorations under the lintel" serve as models.

• Portals, front doors and decorations
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  Ritterstrasse 11, portal

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  Akademiestraße 2, portal

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  Carmelite Church, portal

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  Schulstrasse 1, front door

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  Hunsrückstrasse 54 and 56, entrance

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  Krämerstrasse 22, front door

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  Liefergasse 30, front door

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  Mühlenstrasse 8, front door

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  Palais Spinrath, portal

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  Mühlenstrasse 22, front door

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  Citadellstrasse 5, door in the courtyard

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  Citadellstrasse 21 , anteroom

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  Maxkirche, 1st portal

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  Maxkirche, 2nd portal

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  Neusserstraße 25, Hubertusstift, portal

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  Neusserstraße 12, entrance

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  Neusserstraße 8, entrance

Lattice decoration

The art locksmith Wilhelm Bird created the much admired banister in the gallery building for Johann Wilhelm. Another example of the Düsseldorf lattice decorations is the wrought-iron staircase in the Citadellstrasse courtyard. 5 (Fig. 84), the skylight Neusserstr. 8 (Fig. 100), the stairs in the town hall (Fig. 102) and the staircase decorations in Ehreshoven Castle. A particularly interesting example is the bell train translation on Marktstrasse 10.

• 

  Governor's Palace, stairs

Church decorations

An example of a baroque work of art was the high altar of St. Andrew's Church , which was destroyed in the war. Paul Clemen describes this in Die Kunstdenkmäler der Rheinprovinz :

“[The] high altar is a mighty, richly decorated structure, which is connected to the side walls by arches with doors, over which the figures of the hh. Ignatius, Aloysius, Franziskus, Xaverius, Aloysius Gonzaga, the two outer kneeling, are set up. The high polygonal architrave, which again bears the curved, broken gable, rises above a well-structured base on six columns with gilded Corinthian capitals. The coronation is a painting of the rising Madonna in an oval frame with radiant sun, on which two angels sit holding a crown. Angels kneel to one side, pointing out the process in the middle, behind them S. Ignatius and S. Aloysius, two urns at the end. The central field, which opens above the tabernacle crowned with a pelican, is closed by a drapery of purple velvet, behind which an older, life-size painted crucifix from the 16th century is visible. In the middle on a high attachment a small wooden figure of the Madonna with the child on earth and crescent between two angels, at the top the richly gilded electoral coat of arms "

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  Andreaskirche, view of the high altar.

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  Andreaskirche, high altar in the choir

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  Andreaskirche, high altar in detail

Rococo

Under Johann Wilhelm's successor Karl Philipp, Düsseldorf had been abandoned as a residence, because the court and nobility had moved to Mannheim. Artists were fired and emigrated. After Karl Philipp's successor, Karl Theodor (1742–1799), moved back to Düsseldorf in 1746, plans for new building projects were developed, such as the project by Johann Josef Couven from Aachen ( Jägerhof Palace ) and that of Nicolas de Pigage ( Benrath Palace ). However, the construction activity was interrupted by the Seven Years War. Düsseldorf suffered from the bombardment and the occupation. Work on the projects resumed in the 1760s, but the Rococo era was over. Paul Clemen mentions rare examples of the Düsseldorf Rococo in Die Kunstdenkmäler der Stadt und der Landkreises Düsseldorf from 1894:

“The physiognomy of the old city, especially the streets around the market, is most strongly determined by the lean forms of the Rhenish Rococo, with which older houses were partly clad on the outside. Good types of this period can be found on the market square and on Burgplatz, then Bilkerstrasse 42, Flingerstrasse 1. (1880 in a replica at the art and trade exhibition). "

decoration

Stucco decoration

Plasterers designed various stucco ceilings in the city, such as the stucco ceiling Altestadt 14 [built 1627 and 1878]. Paul Clemen describes in Die Kunstdenkmäler der Stadt und der Landkreis Düsseldorf the stucco ceiling in the house with a central medallion and shell motifs:

“In Altestadt 14, which bears the Alliance coat of arms of Scheidt-Weschpfennig and von Tengnagel above the door, there is a well-preserved stucco ceiling in Peter Leven's specialty shop on the ground floor, with a large, ornamented central medallion and shell motifs, without figurative ones Jewelry (replicated in 1880 at the art and trade exhibition). "

The Berger Tor showed further stucco decorations .

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  Altestadt 14, ceiling detail

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  Berger Tor, facade facing Bäckerstrasse.

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  Berger Tor, trophy

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  Berger Tor, trophy

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  Berger Tor, window framing

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  Berger Tor, arch stone

Lattice decoration

A rare example of the Düsseldorf Rococo are the lattice work on the town hall: "A few lattice work on the town hall [are] the only richer decorative expression of the Rococo in Düsseldorf".

• Lattice decorations on the old town hall
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  portal

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  detail

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  Lower stairs

Mirror frame jewelry

Another rare example is the interior design of the residential building at Citadellstrasse 5 , such as the rococo chimney superstructures with the mirror surfaces: "[The interior] shows rich chimney structures in two halls on the upper floor [...] Wide-lobed asymmetrical shellwork frames specially cut, irregular mirror surfaces above the fireplace. In the simpler surface treatment of the side pilasters, the architectural framing of the fireplace and its structure, the confused excitement of the mirror frame, which is about to move to the neighboring area beyond the fireplace structure, comes to rest. Apart from a few lattice work on the town hall, these two chimneys are the only rich decorative expression of the Rococo in Düsseldorf ”.

Church decorations

An example of works of art in the Rococo style was the church treasure of St. Andrew's Church . Paul Clemen describes this in Die Kunstdenkmäler der Rheinprovinz :

"Monstrance in the shape of a sun, 73 cm high, made of gold-plated silver, on an oval, curly foot medallion covered with embossed rococo ornaments, fastened by various pieces of jewelry from the 18th century, two diamond brooches, two crosses, two brooches with enamel painting, a collar with red stones, attached eight gold-plated medals, two oval medallions with enamel paintings and a cross made of red stones. "

Another example was the church decorations in the Maxkirche . Paul Clemen describes this in Die Kunstdenkmäler der Rheinprovinz :

“Two-row rococo choir chairs […] richly carved rococo pulpit with outside staircase and canopy. The other furnishings of the church are in the light and delicately curved forms of the Rhenish Rococo, the bench cheeks boldly rambling. "

classicism

In the 19th century, the Düsseldorf city area became a residential landscape. A whole series of buildings were rebuilt like a castle. One of the earliest examples is the Lohausen house, which was acquired at the turn of the century by the middle-class Lantz merchant family. She had the house demolished in 1804 and replaced by a “simple, classicist new building”. The expansion of the Kalkum house was more generous . This was rebuilt on behalf of the widowed Countess Maria Anna von Hatzfeldt from 1808 to 1814 according to plans by the architect Georg Peter Leydel . Count Franz Anton von Spee had Heltorf Castle renovated from 1822 to 1825 as a classicist mansion based on designs by Heinrich Theodor Freyses . The room was with frescoes from the life of Emperor Frederick I imagined. The Eller House , acquired by Baron Carl von Plessen in 1823, was rebuilt as a castle. The representative hall on the upper floor was given rich stucco in the Empire style . The architect is unknown. In 1836 the baroque castle Mickeln burned down in Himmelgeist . The owner, Duke Prosper Ludwig von Arenberg, had a “strictly classical” building built on the same site from 1839 to 1842 based on designs by Alexander Joseph Niehaus.

Düsseldorf architecture under Elector Karl Theodor

Lack of Rococo buildings. The new monumental buildings of classicism

The Louis-seize style was formative in Düsseldorf. This was evident in various state buildings, such as the Jägerhof Palace. At Schloss Benrath, this style was most evident in the two outer of the four side buildings and inside in the structure of the vestibule, the garden hall and the upper floor. The third state building of the early Classicism was broken in 1911 Governor's Palace by the court architect Kaes, the fourth former government building on the Thomas bastion of JH Ferier.

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  Government building on Thomas Bastion by J. H. Ferier

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  Stadthalterpalais, facade

The mansard roof house

The number of residential buildings in Düsseldorf with a mansard roof was low around 1922. The oldest example is the house at Citadellstrasse 11 . Further examples are the Palais Nesselrode , the house Citadellstrasse 14 and the Hofgärtnerhaus Düsseldorf .

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  Hofgärtnerhaus Düsseldorf

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  Theater Museum café

Expansion of Karlstadt

Under the Elector Karl Theodor in the south of the old town, the Karlstadt was built in the Rocococlassic style. Exemplary houses in Karlstadt are the houses in Bilkerstr. 7, Bilkerstr. 13, Hohestraße 6, Bilkerstraße 5 and Juppens Haus. The models were the Benrath palace building and the government building on the Thomas bastion.

This era was marked by well-known artists such as the master builders Rütger Flügel, court building officer Kaspar Huschberger , Peter Köhler, Engels, Max Joseph Custodis , Johann Peter Cremer, Peter Krahe, Wauters, Erb and Karl Friedrich Schäffer . They were still the witnesses and collaborators in the expansion of Karlstadt. Köhler built numerous buildings, among them the house at Neubrück-Strasse 12, houses on Karlsplatz and the house at Neustrasse 57.

• 

Door and window decorations

It was an old Lower Rhine tradition to use the brick material to concentrate the building sculpture on the central axis with the front door with framing and skylight - "to distribute picturesque decorations only sparingly over the facades, usually only to give the front door, its skylight and its framing a richer design" . This tradition was continued under Karl Theodor, in addition to the main decoration of the facade, the entrance, the keystones of the lintels were now also equipped with more architectural decoration, such as the houses at Kurzestraße 10, Flingerstraße 63 and Bolkerstraße 44.

The shapes were shell shapes, so the “real genre Rocail , d. H. asymmetrical structures of the early days, d. H. of the actual Rococo ”. The shell decorations on the gable and the consoles of the balcony of Jägerhof Palace as well as the “strictly symmetrical shapes” comparable to the wall frames of the two longitudinal halls of Benrath Palace served as a reference and inspiration.

The doors and door frames of the building at Hafenstrasse 7 are based on Jägerhof Palace: "It may be associated with those at Jägerhof Palace: inclined pilasters and projecting cover panels". The door panel of the house at Hafenstrasse 7 still shows the cumbersome baroque cartouche as in the house at Neustrasse 12. House Kurzestrasse 10 and Altestadt house 4 show a similar design.

The house at Kurzestraße 10 shows a cartouche with a richer interior structure. Citadellstrasse 17 is said to be the most beautiful of these, it shows the “most beautiful design of these front doors: door panels like skylights, a light scrollwork and shell work” stylistically related to the door of the house at Hunsrückstrasse 54. The chimneys at Citadellstrasse 5 were remarkable: “You won't find anywhere in Düsseldorf those asymmetrical shell shapes on the front doors and facades, like on the chimneys at Citadellstrasse 5 ”.

The doors on Haus Pempelfort and on the houses Flingerstrasse 36, Altestadt 11 and Orangeriestrasse 6 are classicistically influenced by Schloss Benrath. The portal Orangeriestrasse 6 shows rosettes, garlands, a vase of the skylight and columns and pilasters. Altestadt 11 shows remarkable strips, panels and door fittings: They are “of particular delicacy in the history of the Düsseldorf house”. The portal of the Nesselroder Hof shows a classicistic drawing of the frame, the consoles, profiles, especially the rosettes in coffers in the view from below of the portal crown. This portal was influenced by Benrath Castle and the portal of the St. Andrew's Church. The front doors at Citadellstrasse 23 and 25 show a special frame composition of door frame, skylight and side window: There are “ancient shapes of the door frame and the skylight, this side decorated with fruit wreaths. The entrance and skylight are framed in a common frame composition with the two narrow side windows. The balconies above are simple and supported by consoles.

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  Altestadt 11 (Schlösser Brewery), front door

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  Altestadt 4, front door

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  Jägerhof Palace, garden portal

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  Old town hall, portal

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  Altestadt 11 (Schlösser Brewery), portal

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  Hafenstrasse 7, portal

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  Orangerierstrasse 6, portal

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  Citadellstrasse 23 u. 25, inputs

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  Orangeriestraße 6, portal

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  Hafenstrasse 7, portal

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  Hafenstrasse 7, portal, detail

Interior design and the influence of Benrath Castle

The influence of Benrath Palace on the interior design was significant: "It shows, even more than in the exterior architecture, the great importance of the Benrath palace building for the Düsseldorf residential building". The Benrath Palace in the Rococo Classicism style also served as a model for the construction of the Nesselroder Hof .

“But an even clearer picture of the flourishing living culture in Düsseldorf in the last four decades of the 18th century is given by the interior design study. Here, even more than in the exterior architecture, the great importance of the Benrath palace building for the Düsseldorf residential building is evident. Perhaps less interesting in the structure of the pilasters on the ground floor of Haus Pempelfort, where one could think of the partitioning of the walls in the round garden room by Benrath. The small, hidden oval toilet rooms around the 'Chambre d'alcove' on the ground floor and the rooms on the top floor, which are wonderfully comfortable (plate 29), were far more stimulating than these state rooms. In his Benrath monograph, Edmund Renard aptly characterized the charm of these rooms and their importance for residential building [...] "

Düsseldorf architecture up to the founding renaissance

Düsseldorf and its surroundings - a city map from 1809, which shows the weakening of the city and its transformation through a classical system of parks and avenues

With the Peace of Luneville of 1801 the razing of the Düsseldorf fortifications was ordered. In contrast to the residential cities on the left bank of the Rhine, Düsseldorf remained the capital, capital of the Napoleonic Grand Duchy of Berg , which was ruled by Napoleon's brother-in-law Joachim Murat . The duchy then became a grand duchy that extended deep into Westphalia. The residence of the Grand Duchy called the best artists from the former Rhenish and Westphalian territories and residential cities. Düsseldorf became one of the “centers of classicist architecture on the Lower Rhine”. Maximilian Friedrich Weyhe came to Düsseldorf from the Electorate of Cologne in 1803 and was the ingenious designer of the Düsseldorf Hofgarten. Düsseldorf also became a “famous garden city” because Adolph von Vagedes - who came to Düsseldorf from Münster in 1806 - was allowed to work with the garden architect Weyhe. In 1805 Johann Peter Cremer from Paris entered the service of the Düsseldorf government, the Cremer's family was an old Cologne master builder family.

Adolph von Vagedes city plans and pilaster architecture

From 1806 to 1830, Adolph von Vagedes , who was influenced by the school of Jean-Nicolas-Louis Durand , the École Polytechnique in Paris and the early classicism of the city of Münster, was entrusted with building and urban planning in Düsseldorf under Georg Arnold Jacobi . From 1811 he worked as a grand ducal building director and then worked for the Prussian government. He built the Ratinger Tor, the portico of the Grupello Theater and was responsible for the refurbishment of the Hontheim Palace as a prefecture.

In 1815 Düsseldorf became the capital of a Prussian administrative district. In 1822, Vagedes tried to connect Düsseldorf to the major highways in a large-scale plan. He also planned a new capital east of Königsallee: A castrum of thirteen building squares was to structure the city expansion of Düsseldorf. Each of the 13 squares should have one side next to the Düsseldorfer Königsallee. The other three sides were to be enclosed by avenues with moats. In the middle, a large square - “a rotonda with portals facing the four corners of the world” - with four fountains was to be created.

Johann Peter Cremer's activity in Düsseldorf

Johann Peter Cremer was one of the architects who gathered around Vagedes in Düsseldorf. Cremer later became known as the state building inspector in Aachen. He worked in Düsseldorf from 1806 to 1817 as Vagedes' right hand man and built the Grupellotheater , the triumphal arch for Napoleon's entry in 1811, the bridges and guard houses in the Hofgarten and Königsallee. Klapheck believes that he built the house ( Malkasten-Haus ) for the Jacobi family on the Hindenburgwall .

• 

Buildings of Peter Koehler

Peter Köhler was one of the busiest architects, municipal councilor, court architect, later building inspector and owner of several houses. Ferber's historical walks through the old city of Düsseldorf describes Köhler's possessions. "According to the always reliable research of this Düsseldorf guide", Köhler built the very simple house Ratingerstraße 18 as a result of the bombing in 1794 in 1798. Likewise, the house at Neubrückstraße 12 and the 'House to the new haddock', Flingerstraße 42. It is one of the elegant new buildings from the days of the flourishing residential construction activity of the previous century ”, as well as the buildings on Karlsplatz.

Influence of the Schinkel School

From 1824 Düsseldorf became the meeting place for the provincial estates. The Royal Prussian Art Academy was founded in Düsseldorf . The result was a Biedermeier civil service town with classicist buildings by Adolph von Vagedes, Anton Schnitzler and Heinrich Johann Freyse . The influence of the Schinkel School made itself felt in Düsseldorf. Vagedes presented the plan to the senior building department in Berlin, and Schinkel approved it in 1829, but complained about the strict grid of the square city projected by Vagedes for Düsseldorf.

In 1830 Vagedes was replaced by Franz Anton Umpfenbach as the building officer. The local tradition of Düsseldorf classicism - shaped by Vagedes - was replaced by a Berlin classicism in Düsseldorf, whose representative was Anton Schnitzler. The builder Schnitzler tried to include Vagedes' plans in his plans and submitted them to Umpfenbach for approval. A plan by Schnitzler modified by Umpfenbach was finally approved.

Anton Schnitzler and the expansion of Königsallee

Anton Schnitzler was the best known among Vagedes' students. His buildings had a decisive influence on the Düsseldorf cityscape in the 1820s and 1830s, for example the Friedrichsbad on the corner of Hofgartenstrasse and Goltsteinstrasse, which was completed in 1831. The classicist house of the 18th century influenced princely buildings such as the government building on Thomas bastion and the governor's palace on Mühlenstraße. Another example of Düsseldorf classicism was the house at Neubrückstrasse 12 and the new buildings in Karlstadt. (P. 117)

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Examples of classical architecture

• Old Synagogue (1789–1792, Peter Joseph Krahe)
• Former Jesuit monastery (1823, Karl Friedrich Schinkel)
• Hofgartenstrasse 12 (before 1852)
• Corner house Poststrasse 24 (1843, Anton Schnitzler)
• House Schwanenmarkt 8 (1836, Anton Schnitzler)
• Ratinger Tor (1811–1815, Adolph von Vagedes)
• Lantz'scher Park (1806–1820, Joseph Clemens Weyhe)
• Kalkum Palace (1808–1814, Georg Peter Leydel; 1836–1841, Heinrich Theodor Freyse).
• Mickeln Castle (1839–1842, Alexander Joseph Niehaus).
• Grupellotheater (1832, Vagedes and Götz)

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  Ratinger Tor

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  Old synagogue, 1792

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  House Andreasstrasse 4–6

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  House Andreasstrasse 8

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  House Hofgartenstrasse 12

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  House Poststrasse 24

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  Schwanenmarkt house 8

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  Kalkum Castle

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  Casthouse converted into a theater in Düsseldorf, main facade and portico with four Ionic columns

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  Düsseldorf, Rosenstrasse 41–47, building application from Christian Hanraets 1872

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  Düsseldorf, Goltsteinstrasse 11–12 and Bleichstrasse 1, entry plan 1862–1863 by Anton Schnitzler

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  Düsseldorf, Schadowstraße 51, Early Classicist facade and Josef Krons' proposal for a facade change

Examples of classical institutions

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  Governor's palace, ballroom

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  Stadthalterpalais , stairwell

1870-1914

City map Düsseldorf from 1903

Topographical map of the land survey 1892, sheet Düsseldorf in the corrected version from 1907

Room plan

With the establishment of the empire in 1871, the urban development of Düsseldorf accelerated. In 1884 the city planner Josef Stübben created the Stübben plan named after him , which envisaged the first urban planning concept as a large city with large ring and radial streets. Compared to the city plans from 1854, the development was sevenfold. A first inner-city Rhine bridge was created, and the new Oberkassel district was created, which was also designed by Stübben. A preferred residential area of ​​the middle and upper classes became the area in the Rhine knee , where an "individual, decorative, sometimes bizarre, sometimes picturesque physiognomy made of plaster, stucco and stone between Art Nouveau and free historicism" was designed for each house.

Construction boom

From 1900 to 1914 the "real boom time of the city" took place, during which many architects such as Hermann vom Endt , Josef Kleesattel , Caspar Clemens Pickel , Johannes Radke , Fritz Hofmeister , Otto Engler , Theodor Balzer , Gottfried Wehling , Gustav Uttermann , Paul Lenz , Verheyen & Stobbe , Wilhelm Kreis , Emil Fahrenkamp , Heinrich Salzmann , Wilhelm Hoppe , Josef Schönen , Eduard Lyonel Wehner , Walter Furthmann and Carl Krieger were involved. In 1902 the large industrial and trade exhibition took place in Düsseldorf and the School of Applied Arts was founded. Its director was from 1903 to 1907 Peter Behrens . In “historical consciousness, modernity in Düsseldorf” is associated with the name von Behrens. Düsseldorf experienced a "phase of high building dynamics of international standing". Examples were nursing homes, orphanages and hospitals, hospices, churches, schools, swimming pools, administrative buildings for insurance companies, banks and industry, state and municipal authority buildings, theaters, concert buildings, museums, variety shows, exhibition halls, hotels, factories and warehouses.

The baroque district around the barracks was demolished for the large banks and administrations of the steel industry. A new city district was created between Königsallee and Carlstadt with oversized, purely functional streets, which, in view of the small-scale, baroque development of the rest of the district, formed a "foreign body".

In order to politically enforce the project and to compensate for the fact that a “significant part of the old Düsseldorf was sacrificed”, the city made “offers of acceptance of building policy” to the population. Schools, a theater, a synagogue and the AOK building were built. While historicism was lost from 1900 to 1914 even in state buildings, it lived on in the sacred buildings for the Jewish and Christian communities.

historicism

Neo-Romanesque

• Examples of neo-Romanesque architecture in Düsseldorf are:
  • Former Lambertus School (1844, city architect Bergius)
  • Rochus Church (1894–1897, Josef Kleesattel)
  • Great Synagogue (1903–1904, Josef Kleesattel)
  • St. Josef (1905–1909, Josef Kleesattel)
  • St. Antonius (1909–1910, Josef Kleesattel)
  • St. Adolfus (Düsseldorf-Pempelfort) (1903, Caspar Clemens Pickel)
  • Kreuzkirche (Düsseldorf-Pempelfort) (1907/1910, Carl Wilhelm Schleicher )

• Neo-Romanesque
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  Neo-Romanesque, St. Antonius Church

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  Neo-Romanesque, Great Synagogue

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  Neo-Romanesque, Kreuzkirche

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  Neo-Romanesque, St. Rochus

Neo-renaissance

Two preserved columns from the tower of the New Town Hall

• Examples of Neo-Renaissance architecture in Düsseldorf are:
  • Main building of the Düsseldorf Art Academy (1875–1879, Hermann Riffart )
  • Villa Leiffmann (1898, Adolf Schill )
  • Inselstrasse 26 (1882–1883, van Els and Schmitz)
  • Inselstrasse 27 (1887, van Els and Schmitz)
  • Hofgartenstrasse 14 (1879, Boldt & Frings)
  • Hofgartenstrasse 6 (1886, Boldt & Frings)
  • Old City Theater (1873/1875, Ernst Giese)

• Neo-renaissance
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  Neo-Renaissance, municipal theater

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  Neo-Renaissance, Inselstraße 26

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  Neo-Renaissance, Ernst Cramer's house, Hofgartenstrasse 6/7

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  Neo-Renaissance, Palais Max Trinkaus, Hofgartenstrasse 14 at the corner of Corneliusplatz

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  Gartenstrasse 61 u. 63

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  Extended garden street

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  New Town Hall (Düsseldorf)

Neo-Gothic

• Examples of neo-Gothic architecture in Düsseldorf are:
  • Old monastery church of the Franciscan order (1855/1856, brother Paschal (civil: Theodor Gratze))
  • Inselstrasse 17 (1897–98, Josef Kleesattel)
  • Sacred Heart Church (1905–1907, Josef Kleesattel)
  • Church of St. Trinity in Derendorf (1892/93, Caspar Clemens Pickel)
  • St. Mary's Assumption (Düsseldorf-Flingern) (1890–1892, Caspar Clemens Pickel)
  • Dominican monastery (1867/1870 and 1886/1887, master builder Friedrich von Schmidt from Vienna)
  • New St. Martin (1894–96, Alfred Tepe)
  • Mary Conception Church (1894–96, Ludwig Becker)
  • St. Petri Church (Caspar Clemens Pickel)
  • Friedenskirche (Düsseldorf) ? (1899, Georg Weidenbach)
  • Christ Church (Oberbilk) ? (1899, Georg Weidenbach)
  • Mater Dolorosa (Düsseldorf) ? (1905/1906, Caspar Clemens Pickel)
  • St. Apollinaris (Düsseldorf) (1904/1907, Caspar Clemens Pickel)
  • St. Suitbertus (Düsseldorf-Bilk) (1905/1906, Alfred Tepe / 1927, Hans Tietmann & Karl Haake)
  • Beethovenstrasse 21 (1905/1906, Carl Wilhelm Schleicher)
  • Monastery " Maidservants of Christ" (1883, P. Stulleberg)
  • Neumann House (1898, Leo von Abbema )

• Neo-Gothic
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  Neo-Gothic, Franciscan Church

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  Neo-Gothic, Holy Trinity Church

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  Neo-Gothic, St. Mary's Assumption

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  Neo-Gothic, St. Martin

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  Neo-Gothic, Dominican monastery church?

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  Neo-Gothic, St. Mary's Conception

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  Neo-Gothic, St. Peter?

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  Neo-Gothic, Inselstraße 17, portal

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  House Neumann

Neo-baroque

• Examples of neo-baroque architecture in Düsseldorf are:
  • Apollo Theater (Düsseldorf) (1900, Hermann vom Endt).
  • District government building Düsseldorf (1907–1911, Traugott von Saltzwedel)
  • Former district and regional court building (1911–1923, Felix Dechant)
  • Higher Regional Court Building Düsseldorf (1910–1911, Heinrich Quast)
  • Lambertusstrasse 6 (1882, Otto van Els and Bruno Schmitz)
  • Achenbachstrasse 24 (1905/1906, Richard Hultsch)
  • Rothes Haus , Josephinenstraße 9 (1887/1888, J. Görres, renovations in 1893, 1920 and 1923)

• Neo-baroque
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  Neo-Baroque, Kaiserstraße 48, facade

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  Neo-Baroque, portal of the Higher Regional Court

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  Neo-Baroque, Theresienhospital

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  House Lambertusstrasse 6

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  Rothes Haus, Josephinenstrasse 9

Orientalism

A variant of historicism was the erection of buildings in the Moorish style . So the old synagogue and the Arab café . Also the carpet sales room in the Tietz department store in Düsseldorf.

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  Old synagogue , inside in the Moorish style of historicism after the renovation in 1873/1875

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  Layout

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  Carpet sales room in the Tietz department store , Düsseldorf.

Neoclassical

• Examples of the architecture in the style of neoclassicism in Düsseldorf are:
  • Rheinisch-Westfälische Disconto-Gesellschaft (1906, Carl Moritz)
  • Barmer Bankverein (1911–1912, Carl Moritz)
  • Villa Horion (1910–1911, Hermann vom Endt)
  • Jägerhofstrasse 20 (1908, Ludwig H. Fettweis)
  • Front board Jägerhofstrasse 22

• New Classic
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  Neoclassicism, Rheinisch-Westfälische Disconto-Gesellschaft, facade

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  Neoclassicism, Rheinisch-Westfälische Disconto-Gesellschaft, sculptures

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  Neoclassicism, Jägerhofstrasse 20, facade

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  Neoclassicism, Jägerhofstrasse 20, sculptures

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  Neoclassicism, Jägerhofstrasse 22, Vordiele, Otto March

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  Neoclassicism, Breite Strasse 25

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  Neoclassicism, Villa Horion

• 

  Neoclassicism, Villa Horion

Interior design in the style of historicism

A striking example of historicist interior design was the Hotel Breidenbacher Hof , which was rebuilt by architects Klein & Dörschel from 1899–1901 .

“The architects Klein & Dörschel, to whom the Düsseldorfer Baubank commissioned the redesign, could on the one hand refer to the same taste of the times and on the other hand to their reputation with 'best references and multiple awards'. When it came to the interior fittings, they placed great emphasis on 'fine and tasteful furnishings and varied, artistic interior decoration' and the individual rooms such as the vestibule, conversation room, the large wine restaurant, the ballroom, the dining rooms, salons and accommodation rooms were equipped in the 'most comfortable way' '. "

Klein & Dörschel also designed decorative textiles with the interior architecture . They placed value "on fine and tasteful furnishings and varied artistic interior decoration."

Architecture in the Neo-Rococo style was more prominent in the interior design of castles and town houses. In Düsseldorf, Benrath Palace was an example of Rococo: “The pursuit of intimacy and comfort determined the interior design of the houses; Above all, Benrath Castle may have served as a model ”. A special example of the historicist interior design was the dining room of the house at Königsallee 13 by Jacobs & Wehling and that of the house at Kaiserstraße 48 by Kayser & von Großheim.

• 

  Breidenbacher Hof, stairwell in the Alleestraße wing

• 

  Breidenbacher Hof, salon

• 

  Breidenbacher Hof, salon

• 

  Breidenbacher Hof, large dining room

• 

  House Kaiserstraße 48, living room

• 

  House Königsallee 13, chimney with mirror

• 

  House Königsallee 13, dining room with ceiling painting by Hermann Emil Pohle

• 

  Benrath Palace , dining room with ceiling painting

• 

  House Haroldstraße 8, reception room (before 1905, by Heinrich Salzmann)

• 

  Franz Haniel junior house, hall

• 

  Franz Haniel junior house, hall and staircase

Art Nouveau and Reform Architecture

The Meistersiedlung , the Heimgarten housing estate and the model housing estate “Am Nordfriedhof” (also “Am Tannenwäldchen”) were designed as a garden city in the style of reform architecture based on the English model , such as the Margarethenhöhe Krupp housing estate in Essen or Hellerau in Dresden.

• Examples of the monumental and material style of reform architecture in Düsseldorf are:
  • Kasernenstrasse 63 (1905, Hermann vom Endt)
  • Stahlhof (1906–1908, Johannes Radke)
  • Former Luis School (1905–1907, Johannes Radke)
  • Volkshaus (1907–1909, Carl Moritz)
  • Tietz department store (1907–1909, Joseph Maria Olbrich)
  • Girardethaus (1905–1908, Hermann vom Endt)
  • Herderstrasse 59 (1909, Wilhelm May)
  • Schorlemerstraße 1, Luegallee 66–74 (1910–1911, Gustav Utermann)
  • Meliesallee 3 (1912–1913, Peter Krisinger)

• 

  Monumental style of reform architecture, Herderstrasse 59

• 

  Monumental style of reform architecture, Graf-Adolf-Straße 32 and 34

• 

  Monumental style of reform architecture, Kyffhauser block

• 

  Monumental style of reform architecture, Luisen-Gymnasium

• 

  Material style of reform architecture, residential building Ahnfeldstrasse 107

• 

  Material style of the reform architecture, old AOK administration building

• 

  Material style of reform architecture, House of the Chamber of Commerce (1904)

• 

  Garden city, settlement of the Gerresheimer Glashütte

• 

  Garden city, Heimgarten settlement

Art Nouveau

Alois Ludwig was a representative of the Viennese Art Nouveau and known for his figurative external representations with colored glazed ceramics at the Majolikahaus in Vienna. He later continued to work with this material: In Düsseldorf it was the house at Schadowstrasse 23 with “figuratively glazed faience paneling with figurative representations”, followed by Weling's office buildings at Blumenstrasse 7 and 9 with “graceful glass inlays” and the house at Schadowstrasse 52 with the "remarkable attempt to bring glass surfaces to clad wall structures on the outer front".

• From Gottfried Wehling and his colleague Alois Ludwig:
  • Residential houses at Prinz-Georg-Strasse 37/39/41 (1907, Gottfried Wehling)
  • Schadowstrasse 23 (1900, Gottfried Wehling & Alois Ludwig)
  • Schadowstrasse 52 (1900, Gottfried Wehling & Alois Ludwig)
  • Wehling's commercial buildings at Blumenstrasse 7/9 (1901/1902, Gottfried Wehling & Alois Ludwig)
• From Peter Paul Fuchs:
  • Wehrhahn 21 (1903, Peter Paul Fuchs)
  • Schadowstrasse 47 (1903/1904, Peter Paul Fuchs)
  • Schadowstrasse 31-33 (1900, Peter Paul Fuchs)
• Other architects:
  • Brend'amourstrasse No. 10, 12, 14, 16, 18, 20 in Oberkassel (1907–1909, Wilhelm Lenz )
  • Hohe Strasse 51 (1900, Fritz Niebel )
  • Oberbilker Allee 327 and 329 (1902/1903, Fr. Coppenrath)
  • Majolica house (1902, Anton Joseph Pleyer)
  • Flinger Strasse 8

• Art Nouveau
• 

  Schadowstrasse 31–33, front view

• 

  Schadowstrasse 31–33, side view

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  Schadowstrasse 23, front view

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  Schadowstrasse 23, side view

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  Schadowstrasse 47, side view

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  Schadowstrasse 47, front view

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  Schadowstrasse 52

• 

  Blumenstrasse 7 and 9

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  Majolica house by Villeroy & Boch in the Düsseldorf court garden, built in 1902 according to a design by Anton Joseph Pleyer

• 

  House at Oberbilker Allee 329

• 

  Düsseldorf commercial building at Königsallee 25, by architect H. vom Endt

• 

  Hohe Strasse 51

• 

  Hohe Strasse 51

• 

  Flinger Strasse 8

Art Nouveau interior design

Even before the turn of the century, the interior architecture in the Breidenbacher Hof was redesigned in Art Nouveau style, such as the breakfast and restoration room (restaurant): “Shortly before the turn of the century, Art Nouveau dominated the image in the Breidenbacher Hof. The ornamental decorative elements also shaped the ambience in the restaurant and breakfast room ”. The restaurant with chandeliers and Design designed in Art Nouveau style "sober directness and deliberate distance created the atmosphere in the preferred time of the turn of the century. The glow of sparkling crystal chandeliers had given way to the coolness of the emphatically simple lights ”. The “Vestibul” and the “Casse” of the Breidenbacher Hof were also “stylistically adapted to the taste of the turn of the century” in Art Nouveau style. Playfully ornate wicker furniture heralded the new era as a counterpoint to the heavy Wilhelmine interior ”.

• 

  Art Nouveau restaurant based on designs by Klein & Dörschel, around 1900.

• 

  Interior design of the breakfast room in Art Nouveau style based on designs by Klein & Dörschel, around 1900

1920s

Home style

In the 1920s there was the "Lower Rhine variant of the Heimatstil" in Düsseldorf, in which traditional, landscape-typical materials such as brick were used.

• Lindemannstrasse 66 and 68
• At the fir grove 7 and 10
• At the fir grove 4

Brick expressionism

Brick Expressionism and "Office Building Gothic": Silent House

After the Kunstgewerbeschule was affiliated to the Art Academy in 1918, it became the focus of architectural developments in Düsseldorf and one of the most important centers of modern architecture in Germany. There worked as teachers Wilhelm Kreis , Fritz Becker , Emil Fahrenkamp , Karl Wach , Heinrich de Fries and Clemens Holzmeister . Students and employees were Hans Tietmann , Karl Haake , Gotthold Nestler , Gustav August Munzer , Heinrich Rosskotten , Hanns Bökels , Ernst Schöffler , Carlo Schlönbach and Carl Jacobi and Bernhard Pfau .

There was a break with the architectural form of the pre-war period and it developed the Sun was in the exterior architecture - with reference to motives of the "Rhineland pattern of Brick Expressionism with reactionary impact." Brick Expressionism - largely the neoclassical adopted idiom: so the NRW-Forum , the Art museum , the Rhine terrace and the main train station.

• Brick Expressionism and Gothic:
  • Tonhalle
  • Mute house
  • Heerdt depot
  • Nerche house
  • Prinz-Georg-Strasse 100
  • Industrial building Düsseldorf
• Brick Expressionism and New Objectivity:
  • Uedesheimer Strasse 22-28, 30-48, 50-56
  • St. Bruno
• Brick Expressionism and New Classics:
  • Luther Church
  • Public Prosecutor's Office (former employment office)
  • Ehrenhof with Museum Kunstpalast and NRW Forum
  • Rhine terrace
  • Düsseldorf-Benrath stop

• Court of honor
• 

  loggia

• 

  Central projection, Rhine side

• 

  East wing entrance

• museum art palace, sculptures
• 

  Sculpture Aurora by Arno Breker

• 

  Sculpture groups of planets by Carl Moritz Schreiner

• 

New building / new objectivity

It was not until the end of the 1920s that brick became less dominant and “new building” settlements were built in a row in Flingern and Düsseldorf-Gerresheim .

• Extension of the AOK
• Oberbilker Allee 287
• Windscheidstrasse 25–31 / Harleßstrasse
• Breidenbacher Hof

• Architecture of the New Objectivity
• 

  Extension of the AOK

• 

  Corner wing at the junction of Windscheidstraße / Harlesstraße

• 

  Breidenbacher Hof, view of Walther-Rathenau- Strasse

• 

  House Oberbilker Allee 287

• Sculpture of the New Objectivity
• 

  Sculpture, Kasernenstrasse 61

• 

  Sculpture, Kasernenstrasse 61

Conservative modernity

The Hannemann house is considered an “English country house with echoes of Palladianism” and a “typical example of the almost exclusively conservative modernism in country house construction of those years”. Stylistically, the Hannemann house is comparable to the villas 24 , 17 and  7 in Meliesallee in Düsseldorf-Benrath or to Theodor Merrill's houses in Cologne. The renovation of the Hotel Breidenbacher Hof played an important role for the modern in Düsseldorf . Examples of conservative modern architecture are Industriehaus , Pressehaus , Wilhelm-Marx-Haus and Haus Henkel .

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  Industrial building at the Wehrhahn

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  House Martin-Luther-Platz 26

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  Wilhelm Marx House

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  House Henkel

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  House Meliesallee 24

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  Residential building Meliesallee 17

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  House Meliesallee 7

1930s

Heimatschutzstil / Neoclassicism

In the 1930s, the "Schlageter settlement" was also built in Düsseldorf-Golzheim . The district hardly differs from what was built after 1950. The red clinker surfaces of the brick expressionism of the 1920s were dispensed with. According to Jürgen Wiener, the "white, hygienic paint" was also part of the homeland security architecture of the 1910s and 1920s. According to Thomas Kuhn, the Nordpark settlement with 14 houses and the Schlageter town (today Golzheimer settlement) with their "single-storey, white-walled brick houses with gable roofs [...] should recreate village structures in the spirit of the 'Heimatschutz' idea".

• Rolled steel house
• Matthäikirche in Düsseldorf
• Head house
• War memorial in Düsseldorf-Golzheim
• Atelier for "young, unmarried painters and sculptors"

• Neoclassical architecture
• 

  Pillars of the Matthäikirche

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  Rolled steel house, west facade with portal

• 

  The head house

• 

  Studio house

• Neoclassical sculpture
• 

  Sculpture on the rolled steel house

• 

  Sculpture on the rolled steel house

• 

  Sculptures on the war memorial

• 

  Sculptures on the war memorial

New Objectivity

In 1937, the “ Reich Exhibition of the Creative People ” took place in Düsseldorf , with which a mostly moderate, and sometimes consistent, modern exhibition architecture was created. This was developed under the direction of the director of the art academy Peter Grund und Architekten, who had previously worked on the " GeSoLei ". Conceptually, the exhibition architecture of the "GeSoLei" was still the model, but this was realized in a less monumental version. The exhibition anticipated the “lightness of modern architecture” of the 1950s.

• House Kaesbach
• House Settegast
• Commercial building Ziem
• Wach residential and studio building
• House of the iron industry
• Parish hall of the Kreuzkirche

• Architecture of the New Objectivity
• 

  Ziemhaus, detail

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  Ziemhaus, facade

• 

  House Emmericher Strasse 28

• 

  House of the iron industry

An example of the New Objectivity of the 1930s was the exterior architecture of the Breidenbacher Hof , which "rigorously" broke with the earlier exterior appearance. The façade attracted attention with “strange things”, such as “large-scale structures”, “geometric area distribution” and “narrow windows” similar to a Gothic cathedral. The lower third of the building showed a "frieze-like, horizontally structured ring". The entrance on Hindenburgwall was "intentionally roofed over in a noticeable way" and showed a "very sober-looking band of light" with "extremely bulky grotesque letters".

With the new interior design, “this [strange] impression was reinforced”. A staircase was made of "conspicuously drawn" marble and thus "deliberately" formed a contrast to the "monotonous" staircase. The appearance resembled an "ancient temple complex". In terms of style criticism, it was “certainly positive to note” that there were no stylistic inconsistencies in the Palast Hotel Breidenbacher Hof. "Wust's earlier decorations" have been removed. The “formal rigor of the structure” was combined with color contrasts. Illuminated showcases, which were also used in the indirectly lit dance hall, formed artistic design elements. The bar also displayed a “formal rigor” as “an expression of the sense of style, as it had developed for a short time in the 1930s”.

1940s and 50s

The reconstruction of Düsseldorf as "a capital of the industrial and financial world", capital of the most economically important and most populous federal state at the time, was shaped by two architectural trends.

→ Main article : Architecture of the 1950s in Düsseldorf

• Neoclassical sculpture
• 
• 
• 

1960s / 1970s

Concrete brutalism

In the boom time of the 1960s, architecture represented a "less individual, [and more a] more uniform style", which "changed the ever new fashions - concrete brutalism , toy glass facades - to the models once achieved". "Concrete became the predominant surface material". Examples are the churches of Böhm and Lehmbrock , the Rheinstadtion of Tamms and Beyer, the Zindler house of Schneider-Esleben and the star house of HPP.

• Helmut Rhode:
  • Beton- und Monierbau AG head office 1970/71
  • VDI House Düsseldorf 1965/67

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  VDI Düsseldorf , entrance

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  VDI Düsseldorf , entrance

• 

  VDI Düsseldorf

• Bernhard Pfau:
  • Study House Düsseldorf (1964–1967, Bernhard Pfau)
• Hans Schwippert:
  • Holy Family (Düsseldorf-Stockum) (1960/1962)
  • Franz von Sales Church (Düsseldorf) (1969/1971)
• Josef Lehmbrock :
  • To the Holy Cross (Düsseldorf) (1958)
  • St. Reinold (Düsseldorf) (1964)
• Paul Schneider-Esleben :
  • House Zindler (1967)
  • Eichhorn House (1965/1966)
  • ARAG terrace house (1964/1967)
• Wolfgang Döring :
  • Nelly Sachs House (1969/1970)
• Gottfried Boehm :
  • St. Hildegardis (1962/1970)
  • Holy Spirit Church Erkrath-Hochdahl Sandheide (1969/1971)
• Heinz Kalenborn ?
  • Immanuel Church (1965/1966)
  • Garath-Nordost shopping center (1970)
• other architects:
  • Residential and studio building Ludwig (1967/1969, Eberhard Ludwig)
  • Zionskirche (1969, Lothar Kallmeyer )
  • St. Norbert (Düsseldorf) (1966/68, Gerhard Nitschke )
  • Golzheimer Strasse 120 ?
  • Münsterpark (Walter Brune)
  • Headquarters Rank Xerox (1966/1971, Helmut Hentrich, Petschnigg & Partner)
  • Star house
  • Varnhagenstrasse 38 (1966/1967, Thomas Fürst)

• Concrete brutalism
• 

  Zion Church

• 

  Holy Spirit Church

• 

  Holy Spirit Church

• 

  St. Hildegardis

• 

  St. Reinold

• 

  Immanuel Church

• 

  St. Norbert

• 

  St. Norbert

Organic architecture

In response to the “mix-up of material issues and artistic questions that were accused of brutalism” and as a reaction to the “criticism of the 68ers of the inhospitable cities”, a “return to the […] city before classical modernism” followed. Where a “ city ​​repair was aesthetically successful”, these became the preferred residential properties of the up-and-coming middle class. The art collection NRW or the Schauspielhaus with their curved, integrative high-gloss facades as examples of organic architecture became the epitome of this time.

• Organic architecture
• 

  Art collection NRW

• 

  Playhouse

• 

  Playhouse at night

structuralism

Structuralism, Schmela House

As an example of structuralism that applies Schmela house , 1967/71, designed by Aldo van Eyck built.

From 1980s

Postmodern

Examples of postmodern architecture can be found in the large Düsseldorf gallery buildings of the 1980s and 1990s. The Kö-Galerie and the Schadow-Arkaden were based on shopping arcades and commercial building architecture of the 19th century. In the 1980s there was also a return to classical modernism, especially with regard to its steel and glass constructions. The Südpark was created on the occasion of the Federal Horticultural Show in 1987, and the idea of ​​the sculpture garden was taken up again. The 1990s also represented a change in that increasingly internationally committed architects were commissioned.

• Sculptures by Bert Gerresheim
• 

  Bert Gerresheim, Hoppeditz

• 

  Bert Gerresheim, St. Joseph sculpture in Düsseldorf-Oberbilk

• 

  Bert Gerresheim, Nepomuk

• 

  Bert Gerresheim, Spee-Epitaph

Deconstructivist architecture

At the beginning of 1990 a competition was announced for the New Zollhof on the grounds of the Zollhof to be demolished. This was won by Zaha Hadid , whose "deconstructive design" was not implemented. Instead, “three deconstructivist buildings” were built between 1996 and 1998 based on designs by Frank Owen Gehry and Beucker, Maschlanka and Partner . The three building complexes (also known as Gehry buildings) appear as a sculpture without cornices or plinths. The curvature of the facade with a “flowing, undulating surface” is striking.

• 

  Neuer Zollhof (also known as Gehry buildings)

• 

  Neuer Zollhof (also known as Gehry buildings)

• 

  Neuer Zollhof (also known as Gehry buildings)

• 

  Mannesmann high-rise

realism

Christoph Pöggeler (* 1958) became internationally known for nine realistic sculptures on advertising pillars, the "pillar saints". The figures were erected in 2001 as part of the “Column Saints” project. For this, Pöggeler received the Rhenish Art Prize in 2008. The figures are located behind the Lambertus Church with a view of the Rhine, in the Medienhafen, in front of the Vodafone-Haus am Park, in front of the Hetjens Museum in the old town, on the banks of the Rhine at the level of the Oberkasseler Bridge , on Burgplatz in the old town, at the bus stop Oststraße, in front of the main train station and in Stockum in the direction of the exhibition center .

• Sculptures by Christoph Pöggeler
• 

  Pillar Holy Bride , Schulstrasse / Citadellstrasse

• 

  Column saint photographer , Central Station

• 

  Column saints strangers , bank of the castle / Lambertus church

• 

  Column saint businessman , Joseph-Beuys-Ufer

• 

  Column saint Marlis , Stromstrasse / WDR

• 

  Pillar saint couple 1 , Burgplatz

• 

  Pillar holy couple 2 , Harold- / Poststraße

• 

  Column saints father and son , Oststrasse

• 

  Column saint vacationers , Kaiserswerther Strasse

Other architecture

The house at Berger Straße 3 is an example of the historicizing architecture of the post-war period. In the 1980s, the building was given a historicizing extension on the left-hand side according to plans by the architects RKW Rhode Kellermann Wawrowsky .

• Residential office and commercial building at Mutter Ey-Strasse 5 (1981/1982, Hartmut and Marjanca Gruhl)
• New development / reconstruction of the old port (1988/1993, Albert Speer)
• Bertha-von-Suttner-Platz (1981/1985, Deilmann, Kalenborn and Spengelin)
• Port, entire facility and individual buildings
• Roncallis Apollo Variété Theater (1996/1997, Niklaus Fritschi , Benedikt Stahl , Günter Baum)
• TV tower (1982, Harald Deilmann)
• WDR building (1983, 1986/91, Christoph Parade and partner)
• City Gate (1992/1998, Overdiek, Petzinka, Pink and Partners)
• Houses at the harbor, Ernst-Groß-Straße 1–7 (1998/1999, Bob Gansfort)
• Office and studio building Kaistraße 16-18 (1995/1997, Steven Holl, Ingenhoven Overdiek and Partners, David Chipperfield)
• Medienzentrum Kaistraße 7-9 (1993/1995, Beucker Maschlanka and Partner)
• Russian trade center, Astron Hotel on Oberbilker Markt (1992/1994, JSK )
• Office building, Kaiserwerther Str. 135 (1998/1999, Petzinka, Pink and Partner)
• Deutsche Industriekreditbank, Uerdinger Straße 1 (1993/1997, Siegfried Müller, Maja Djordjevic-Müller, Werner Krehl)
• Aquazoo - Löbbecke Museum (1982/1987, Dansard, Kalenborn and partners)
• Administration building Provinzialversicherung, Provinzialplatz 1 (1992/1994, Hentrich, Petschnigg u. Partner)
• Neanderthal Museum (1994/1997, Günter Zamp Kelp and Julius Krauss / Arno Brandhuber)
• Victoria House (1983/86, 1994/1998, Hentrich , Petschnigg & Partner)
• Extension of the Landeszentralbank (1987)
• Breidenbacher Hof (2008, historicizing new building under Hentrich , Petschnigg & Partner)

Web links

Commons : Paul Sültenfuß (1872-1937), Das Düsseldorfer Wohnhaus up to the middle of the 19th century, (Diss. TH Aachen), 1922.  - Collection of pictures, videos and audio files

Individual evidence

1. ↑ Georg Forster: Views of the Lower Rhine. Vol. 1, Berlin 1793, p. 68
2. ^ Karl Bernd Heppe: Das Düsseldorfer Stadtbild I. 1585-1806 ( picture books of the Stadtmuseum Düsseldorf, No. 4). Düsseldorf 1983, p. 5.
3. ^ Moritz (Hessen, Landgrave) Düsseldorf, Residenzschloss. View from the city side with dimensions, Landgrave Moritz von Hessen-Kassel, 1629. Pen / paper. 11 × 21.7 cm. Labeled: "The place in front of the Düsseldorp Castle / MHL 1629. Aug 14:", recto various explanations and dimensions in the illustration, in the middle: "The place in front of the Düsseldorp Castle / MHL 1629. Aug 14:" , top left: "Stadtmauer / weg", next to it in the courtyard, in the middle: "der lustgart [en]." to the left: "Rathauß", "Cantzley", at the top: "Balhauß.", "gallery", in the middle of the Castle courtyard: "schloß hoff", at the top right "der Rhein", below: "holtzplatz", in front of the castle from left to right: "Bürg [er] hause.", "Gasse", "Bürgerhauser", "Bürgerhauser" ; verso "22.", 1629.
4. ^ Wilfried Koch: Architectural Style - European Architecture from Antiquity to the Present. Orbis-Verlag, Munich 1988, ISBN 3-572-05927-5 , p. 365 [Renaissance […] GERMANY […] High Renaissance , from the middle of the 16th century]
5. ^ ^{A b c} Paul Clemen: The art monuments of the city and district of Düsseldorf. Düsseldorf 1894, p. 66.
6. ^ Jürgen Wiener: Introduction to the architectural history of Düsseldorf. In: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf. 1st edition. Dietrich Reimer Verlag, Berlin 2001, pp. XI – XXII, on this p. XIII.
7. ^ Clemen: Art monuments of the Mülheim / Rhein district. 1901.
8. ↑ Düsseldorf Yearbook 1902.
9. ^ Jörg Gamer: Matteo Alberti. Senior Building Director of the Elector Johann Wilhelm von der Pfalz, Duke zu Jülich and Berg etc. (Die Kunstdenkmäler des Rheinlandes, edited by Landeskonservator Rheinland, Supplement 18). Düsseldorf 1978, pp. 198-208.
10. ^ Bomb damage at the Hondheim'schen Palais. On: duesseldorf.de
11. ↑ The Spee'sche Palais. On: duesseldorf.de
12. ↑ The Spee'sche Graben - yesterday and today (PDF; 62 kB). On: duesseldorf.de , June 4, 2010.
13. ↑ Lewin, DJBXX, 151st
14. ↑ Lau, ibid., XXVI, 242.
15. ^ Jörg Heimeshoff: Listed houses in Düsseldorf. Nobel, Essen 2001, ISBN 3-922785-68-9 , p. 12f.
16. ^ Paul Clemen: The art monuments of the city and district of Düsseldorf . Düsseldorf 1894, p. 66f.
17. ^ Paul Sültenfuß: The Düsseldorf house up to the middle of the 19th century (Diss. TH Aachen). 1922, Fig. 81 Stucco ceiling Altestadt No. 14.
18. ^ Josef Kleesattel: Old Düsseldorf in the picture. Düsseldorf 1909, No. 13 (detail of a ceiling Altestadt No. 14)
19. ^ Paul Sültenfuß: The Düsseldorf house up to the middle of the 19th century (Diss. TH Aachen). 1922, pp. 69f.
20. ^ Josef Kleesattel: Old Düsseldorf in the picture. Düsseldorf 1909, p. 11.
21. ^ Paul Clemen: The art monuments of the Rhine province. III. Volume I. The art monuments of the city and the district of Düsseldorf. Düsseldorf 1894, p. 28.
22. ↑ Entry in the monument list of the state capital Düsseldorf at the Institute for Monument Protection and Preservation
23. ^ Paul Clemen: The art monuments of the Rhine province. III. Volume I. The art monuments of the city and the district of Düsseldorf. Düsseldorf 1894, pp. 29-30.
24. ^ Paul Clemen: The art monuments of the Rhine province. III. Volume I. The art monuments of the city and the district of Düsseldorf. Düsseldorf 1894, p. 53.
25. ↑ Eduard Trier, Willy Weyres (Ed.): Art of the 19th century in the Rhineland. Vol. 2. Architecture: II, Profane Buildings a. Urban planning . Schwann, Düsseldorf 1980, ISBN 3-590-30252-6 , pp. 368 .
26. ↑ Eduard Trier, Willy Weyres (Ed.): Art of the 19th century in the Rhineland. Vol. 2. Architecture: II, Profane Buildings a. Urban planning . Schwann, Düsseldorf 1980, ISBN 3-590-30252-6 , pp. 369 .
27. ↑ Eduard Trier, Willy Weyres (Ed.): Art of the 19th century in the Rhineland. Vol. 2. Architecture: II, Profane Buildings a. Urban planning. Schwann, Düsseldorf 1980, ISBN 3-590-30252-6 , pp. 510 .
28. ^ Boris Becker: Düsseldorf in early photographs 1855-1914. Schirmer / Mosel, Munich 1990, plate 128.
29. ^ Hotel Breidenbacher Hof Düsseldorf (Ed.): The Breidenbacher Hof. A legend from Düsseldorf. Its art and its history. Düsseldorf 1991, pp. 116-120.
30. ^ Hotel Breidenbacher Hof Düsseldorf (Ed.): The Breidenbacher Hof. A legend from Düsseldorf. Its art and its history. Düsseldorf 1991, p. 271.
31. ↑ List of monuments, 5.1: Düsseldorf city center, hsrs. v. Landeskonservator Rheinland, Cologne / Bonn 1975, pp. 37, 86.
32. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history (published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary). Düsseldorf 1991, p. 40.
33. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history (published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary). Düsseldorf 1991, p. 264.
34. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history (published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary). Düsseldorf 1991, p. 268.
35. ^ Jörg AE Heimeshoff: Listed houses in Düsseldorf, with garden and ground monuments. Nobel, Essen 2001, p. 289.
36. ↑ Historical postcard of the palace hotel “Breidenbacher Hof”, Düsseldorf 1927. In: Ulrich Bücholdt: Emil Fahrenkamp - Between fashion and modernity. Retrieved April 5, 2012.
37. ↑ City Planning Office Düsseldorf: The New Zollhof (Gehry buildings).
38. ^ Heike Werner, Mathias Wallner: Architecture and history in Germany. Heike Werner Verlag, Munich 2006, p. 156.
39. ^ Jörg Heimeshoff: Listed houses in Düsseldorf . Nobel, Essen 2001, ISBN 3-922785-68-9 , p. 39f.

• A: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf. 1st edition. Dietrich Reimer Verlag, Berlin 2001, p. 198 [historical register].

1. ↑ ^{a b c} Pre-Romanesque and Romanesque 6, 119, 217, 218, 220, 223, 226, 230, 232, 246, 249, 264 and 267.
2. ^ Gothic 6, 8, 217, 222, 232 and 264.
3. ↑ Renaissance … 13… [City Hall]
4. ↑ Renaissance … 1… [Historic houses in the old town]
5. ↑ Renaissance … 126… [Jan Wellem Chapel / Kreuzkapelle]
6. ↑ Baroque and Rococo 1, 9, 13, 16, 103, 125, 227, 250, 256.
7. ↑ Classicism 17, 31, 48, 99, 193, 220, 222, 227, 238, 247, etc. 256.
8. ↑ Historicism 1, 7, 9, 10, 13, 14, 25, 53, 76, 97, 201, 122, 131, 139, 145, 163, 172, 199, 201, 202, 216, 219, 227, 228, 242, 247, 250, 255, 262, 264.
9. ↑ 20th century buildings of the early modern age (until 1918) 15, 32, 33, 35, 37, 39, 40, 41, 42, 44, 45, 54, 59, 62, 70, 71, 74, 77, 97, 106, 117, 123, 129, 133, 147, 149, 155, 156, 159, 171, 199, 202, 216, 225, 234
10. ↑ 20th century ... Buildings from the 1920s No. 2, 36, 43, 64, 65, 66, 67, 68, 79, 81, 83, 96, 104, 120, 123, 124, 135, 136, 137, 138 , 142, 150, 151, 154, 157, 158, 166, 167, 169, 171, 179, 180, 191, 194, 203, 204, 205, 206, 212, 213, 214, 233, 239, 240, 252 and 254.
11. ↑ ^{a b} 20th century ... Buildings from the 30s 38, 46, 62, 63, 75, 94, 104, 138, 143, 146, 182, 188, 195, 196.
12. ↑ 20th century ... Buildings from the 1960s 18, 20, 50, 76, 84, 87, 89, 92, 93, 105, 130, 139, 140, 160, 164, 165, 174, 175, 181, 183, 191 , 192, 197, 207, 208, 211, 221, 229, 236, 237, 248, 260, 261, 266.
13. ↑ 20th century ... Buildings from the 1970s 3, 21, 65, 78, 85, 86, 91, 98, 105, 107, 121, 161, 164, 174, 175, 176, 181, 183, 188, 190, 191 , 198, 236, 243, 263.
14. ↑ 20th century ... Buildings from the 80s No. 5, 19, 21, 28, 52, 62, 69, 76, 94, 95, 105, 109, 110, 111, 129, 181, 189, 198, 228.
15. ↑ 20th century ... Buildings from the 1990s No. 12, 27, 28, 29, 67, 69, 72, 76, 80, 82, 83, 87, 99, 100, 105, 108, 112, 113, 114, 115 , 116, 132, 134, 141, 144, 152, 156, 167, 177, 185, 190, 198, 244, 257, 269.

• B: Architects and Engineers Association in Düsseldorf (ed.): Düsseldorf and its buildings. L. Schwann, Düsseldorf 1904.

1. ↑ pp. 81–83, illustration. 64.
2. ↑ p. 101.
3. ↑ p. 333.
4. ↑ p. 333.
5. ↑ p. 347.

• C: Hugo Weidenhaupt: A short history of the city of Düsseldorf. Triltsch publishing house, Düsseldorf 1993

1. ↑ ^{a b c d e} p. 76.
2. ↑ ^{a b} p. 263.
3. ↑ p. 70.
4. ↑ p. 264.
5. ↑ p. 376.
6. ↑ p. 377.
7. ↑ p. 372.

• D: Paul Sültenfuß: The Düsseldorf house until the middle of the 19th century . In addition table work in large folio with 75 sheets, Aachen 1922.

1. ↑ pp. 32-33.
2. ↑ ^{a b} p. 47.
3. ↑ pp. 49-50.
4. ↑ p. 49f.
5. ↑ pp. 49-51.
6. ↑ ^{a b c} p. 52.
7. ↑ pp. 49-52.
8. ↑ pp. 51-52.
9. ↑ p. 64.
10. ↑ p. 65.
11. ↑ p. 65f.
12. ↑ pp. 66-68.
13. ↑ p. 51.
14. ↑ p. 74.
15. ↑ p. 71.
16. ↑ pp. 70-71.
17. ↑ p. 71.
18. ↑ p. 71.
19. ↑ p. 72.
20. ↑ p. 72.
21. ↑ p. 72.
22. ↑ p. 71.
23. ↑ p. 72.
24. ↑ pp. 72-73.
25. ↑ p. 73.
26. ↑ p. 73.
27. ↑ p. 73.
28. ↑ p. 73.
29. ↑ p. 75.
30. ↑ p. 75.
31. ↑ p. 76f.
32. ↑ p. 78.
33. ↑ p. 85.
34. ↑ p. 90.
35. ↑ p. 90.
36. ↑ p. 90.
37. ↑ p. 90.
38. ↑ p. 91.
39. ↑ p. 91.
40. ↑ p. 91.
41. ↑ p. 92.
42. ↑ p. 92.
43. ↑ p. 92.
44. ↑ p. 99.
45. ↑ p. 108.
46. ↑ p. 109.
47. ↑ p. 115.
48. ↑ pp. 75-97.

• E: Hans Vogts: The community center in the Rhine Province. Düsseldorf 1929 (from the series: Association of German Architects and Engineering Associations (ed.): The community center in the German Reich and in its border areas , printing and publishing house L. Schwann in Düsseldorf)

1. ↑ p. 213.
2. ↑ pp. 317-327.

• F: Richard Klapheck: New architecture in the Rhineland. An overview of our structural development since the turn of the century. (published by the Rheinischer Verein für Denkmalpflege und Heimatschutz) L. Schwann-Verlag, Düsseldorf.

1. ↑ Volume I, Figs. 341, 342
2. ↑ Volume I, Figs. 211, 212
3. ↑ Volume II, Fig. 27
4. ↑ Volume II, Figs. 28–35.
5. ↑ Volume II, Figs. 12-14.
6. ↑ Volume II, Fig. 40

• G: Jürgen Wiener: Introduction to the architectural history of Düsseldorf. In: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf. 1st edition. Dietrich Reimer Verlag, Berlin 2001.

1. ↑ ^{a b c d} pp. XI – XXII, on this p. XVI
2. ↑ P. XI – XXII, on this P. XVII.
3. ↑ ^{a b} pp. XI – XXII, on this p. XIX.
4. ↑ pp. XI – XXII, on this p. XX.
5. ^ Pp. XI – XXII, on this p. XXII.
6. ↑ ^{a b} pp. XI – XXII, on this p. XXI.

• H: The Bauzeitung 64 1959

• I: Roland Kanz, Jürgen Wiener (eds.): Architectural guide Düsseldorf. 1st edition. Dietrich Reimer Verlag, Berlin 2001.

1. ↑ p. 3, object no. 1
2. ↑ p. 135, object no. 194
3. ↑ p. 76, object no. 105
4. ↑ ^{a b} p. 83, object no. 114

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• Richard Klapheck: Architecture and Art Academy. An outline of the history of the architecture department of the Art Academy in Düsseldorf. In: Wasmuth's monthly magazine for architecture and urban development . 4.1919 / 20, issue 6/7, kobv.de (PDF; 27.5 MB).
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