Hermann Muthesius

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Hermann Muthesius

Hermann Muthesius (born April 20, 1861 in Großneuhausen , † October 26, 1927 in Berlin ; full name Adam Gottlieb Hermann Muthesius ) was a German architect and Prussian construction clerk . He worked as an author, privy councilor in the Prussian Ministry of Commerce, influential theoretician of “ modern ” architecture and product design , critic of Art Nouveau and co-founder of the German Werkbund .

life and work

Anna and Hermann Muthesius in their home The Priory in Hammersmith , around 1900
Title page of the most famous publication by Hermann Muthesius
Leyes Wood Cottage by Norman Shaw, illustration from The English House
Leyes Wood Cottage by Norman Shaw, illustration from The English House
Wendgräben Castle Mansion (1910–1912), 1991–2013 Konrad Adenauer Foundation
Elena Clinic in Harleshausen , a district of Kassel . The main building was originally built as a villa by Muthesius.
Samitz-Villa (ENT doctor) in Wels (Upper Austria), Pollheimerstraße 4, renovated from 1997, 2000–2015 Museum of Life Traces , from 2016 still trodat company museum and event location Villa Muthesius
Villa Podbielskiallee 42, today the Libyan embassy in Berlin
former women's fashion house Kersten & Tuteur in Berlin Mitte
Villa Sonneck for Heinrich Irenaeus Quincke in Frankfurt am Main, Zeppelinallee
Main building of the major radio station in Nauen , 1920

Hermann Muthesius was born in Großneuhausen ( Province of Saxony ) in 1861 as the son of a master mason and building contractor. He attended elementary school until he was fourteen, and at the same time received language lessons from the local pastor. Muthesius first learned the mason trade from his father. Then, after a one-year preparatory course, he attended the top four classes of the Realgymnasium in Leipzig. After graduating from school, in addition to his military service as a one-year volunteer from 1882 to 1883 at the Friedrich-Wilhelms-Universität in Berlin, he began studying art history and philosophy, but then switched to the Technical University, where he studied architecture until 1887 and the AV Motive joined. He also worked for Paul Wallot , the builder of the Berlin Reichstag building .

After completing his studies, Muthesius went to Tokyo for three and a half years as an employee of the architecture office Ende & Böckmann . There he designed a neo-Gothic church for the local evangelical community. In Tokyo he met the German lawyer Dr. Heinrich Weipert (1856–1905) became friends. After returning from Tokyo, which he combined with a four-month trip to Asia, he put 1891 his second major test for the civil service in the construction trade off. He started a civil servant career and initially worked as a government builder in a ministerial design office - there he designed, among other things, the Levensau bridge over the Kiel Canal . For a year he acted as editor for the semi-official Prussian magazines Zentralblatt der Bauverwaltung and Zeitschrift für Bauwesen . After a seven-month study tour through Italy, he married the singer Anna Trippenbach. As a designer of artistically designed reform dresses for women, Anna Muthesius herself gained some importance from 1903.

From 1896 to 1903 Hermann Muthesius went to the German embassy in London as a technical and cultural attaché . There he wrote countless reports on English architecture , arts and crafts education , art education, exhibitions and engineering innovations, most of which were published in the Zentralblatt der Bauverwaltung .

At the same time, he began his extensive writing activity, which eventually comprised almost 500 publications. In addition to numerous articles in relevant art magazines, he published the famous pamphlet style architecture and architecture in 1902 . There he propagated the overcoming of the academic (stylistic) architecture of historicism in favor of a factual and function-oriented construction method. In the second edition in 1903 he added a sharp criticism of the so-called Art Nouveau , which, like all styles that preceded the 19th century, in Germany inevitably ended in a temporary fashion wave. As an expert on the English reform movements in the arts and crafts and architecture, Muthesius gained special prestige and between 1904 and 1914 he became one of the most sought-after speakers within the German reform movements. As an architect, he created over 100 buildings from 1904 and was mainly known for his country houses inspired by English models. He was one of the initiators of the so-called country house movement in Germany.

Muthesius contributed to the development of the first German garden city, Hellerau , based on the English model , where he designed several individual houses, but also entire streets. It is likely that his dealings with the furniture manufacturer (Deutsche Werkstätten für Gestaltungskunst Hellerau) and social reformer Karl Schmidt-Hellerau , the founder of Hellerau and the main initiator of the German Werkbund , had an important influence on the founding of the garden city.

His main literary work consists of three books on English architecture that were written in England, of which The English House (1st edition 1904, three volumes) was best known. In it he propagated the (stately) English house as a methodical model of a functional design based on functions and comfortable use. The English architecture thus appears as a counter-model to the so-called "style architecture" in Germany, which, according to Muthesius' view, is guided solely by striving for a representative and "artistic" appearance and which thus altogether has something parvenu- like and unreal.

After his return from England, Muthesius was offered a professorship for art history at the Technical University of Darmstadt , which he refused, however, in order to move to the Prussian Ministry of Commerce (Landesgewerbeamt) as a privy councilor, where he was responsible for reforming the arts and crafts schools until his retirement in 1926 was.

A lecture given in 1907 at the Berlin Commercial College developed into a scandal that became famous as the "Muthesius Case" and triggered the establishment of the German Werkbund in a counter-movement in solidarity with Muthesius after protests by the economic interest group in the arts and crafts. Since Muthesius had to stay away from the founding meeting for political reasons and for reasons of his ministry, he was only elected as a member of the board in 1908. From 1910 to 1916 he held the office of second chairman and in this function he had a significant influence on the ideological orientation of the German Werkbund until 1914. With his organizational influence on the Cologne Werkbund exhibition of 1914, as well as his lecture at the Werkbund conference there entitled The Werkbund work of the future , it sparked a storm of protest from the artists. The debate about this lecture, which later became famous as the “type dispute”, brought the Werkbund to the brink of a split. In addition to a direct confrontation with Henry van de Velde , there were also arguments behind the scenes with the later founder of the Bauhaus , Walter Gropius , who tried in vain to have Muthesius deposed.

After the war, Muthesius still built a large number of houses and published some guides on house and settlement construction, but in view of the more recent developments in architecture (e.g. Bauhaus, Weißenhofsiedlung , New Objectivity ) he became an outside observer. Muthesius had a fatal accident in October 1927 while visiting a construction site in Berlin-Steglitz in a tram accident.

The architect Eckart Muthesius was his son.

Theory and reception

In the later reception literature and numerous representations on the history of so-called modern architecture (such as Julius Posener ) Muthesius is considered the father of functionalism . This view, inspired by the functionalism debate of the 1960s, is problematic in that this term is nowhere to be found in Muthesius' writings.

Muthesius' reform ideas are to be understood more in the context of concepts such as culture , style and objectivity and a rejection of the academic style tradition as well as those contemporary trends that he calls Art Nouveau .

"Culture" is understood by Muthesius, in the sense of Friedrich Nietzsche's cultural criticism , above all as "the unity of the artistic style in all expressions of life of a people". From such a perspective, Muthesius's art-historical “style phenomenon” appears as a special form of cultivated collective self-expression, which at the same time sees the lack of such a binding form of self-expression in the style pluralism of historicism that was prevalent at the time as a serious deficit in personal and national sophistication. Consequently, every search for the so-called “modern style” or the style of “our own time” becomes both a task for national collective self-creation and identity-giving.

In the associated search for the unity of a uniformly applicable style, Muthesius saw no possibility in continuing the academic style debates of the 19th century, for example in taking sides with a certain historical style, but saw the only solution in a claim to be renewed (collective ) Authenticity and authentic self-expression in the sense of the historical uniqueness of each (real) epoch style for the respective “culture” of a “people”. The most important initial question for the creation of a truly individual style was therefore the question of what is particularly characteristic of one's own culture or - in the perspective of romantic origins - really essential .

The programmatic answer that Muthesius gives is “Objectivity”: The more the arts and crafts and architecture penetrate into objectivity in their designs, the more clearly the typical cultural essence of their own modern times will be represented in their creations, and the sooner it will be you can someday achieve a truly modern style. Such a (objectivity) style will also - in contrast to all more or less merely individual or merely fashionable-artistic innovations of contemporary Art Nouveau artists - be of truly epoch-making durability. In order to establish objectivity as an all-encompassing characteristic of his own culture, Muthesius refers to the inexorably pervasive technical progress, which, in contrast to the English reformers William Morris and John Ruskin, he expressly welcomes. Muthesius also counts the industrial production method, which is increasingly displacing the (art) craft, as part of this progress, which is why he ultimately made the collaboration between artists and industry the founding idea of ​​the Deutscher Werkbund .

The importance of Muthesius for the so-called modern architecture of the 20th century is underestimated until today, because in numerous publications on the history of modern architecture only the Bauhaus and the reform movements of the 1920s were the focus of attention and in many cases the The very immediate continuity of the history of ideas, for example with the Werkbund before the First World War, was overlooked or even kept secret. The reason for this is not least to be found in the fact that Muthesius was seen in the role of the authoritarian Prussian official by many contemporaries and protagonists of so-called "modern architecture" at the latest after the great Werkbund dispute in Cologne. In the course of the ideological will to break new ground after the First World War, he almost became a kind of persona non grata (for example with Walter Curt Behrendt or Walter Gropius ) because he threatened to disavow the public image of radical renewal, which is why his name is different often deliberately omitted from mentioning Henry van de Velde, for example .

An exception was the architectural historian Julius Posener , who throughout his life endeavored to appreciate Muthesius's work in his emphatic depictions of the architecture. The former University of Applied Sciences for Art and Design in Kiel has also been named Muthesius Kunsthochschule in recognition of his work since it was promoted to art college in 2005 .

House Muthesius - example from the work of the architect Muthesius

The "Haus Muthesius" is Hermann Muthesius' private home. It was built in 1906 and an annex was added in 1909. It is located at Potsdamer Chaussee 49. The courtyard was later partially demolished and a six-story rental house was built on the property in the 1960s.

Muthesius called his house a " country house ". It is a kind of transfer of what impressed him so much about the English (gentlemen's) house to the (upper) middle-class German conditions, whereby Muthesius would have preferred to replace the word "conditions" with the more meaningful term " culture ", such as he always spoke of “home decor”. Today we would colloquially classify the house as a “suburban villa” or even speak of “suburban living in the countryside”, since it is located in the immediate vicinity of the city of Berlin. The house is a typical example of numerous other houses of this type that the architect Muthesius designed for his wealthy clients.

At the same time, it demonstrates Muthesius' conception of a “matter-of-fact” architecture, as he had already polemically opposed it in his writings to the “stylishness” of contemporary representative Berlin historicism and Art Nouveau architecture . The development of the building from the floor plan was particularly important to him, in particular from the idea of ​​interior use linked to the floor plan. Muthesius set this approach in a programmatic contrast to the primary striving of his contemporaries for a special artistic effect and the resulting compromises in comfort and everyday usability. This view of architecture of the later theoreticians and protagonists of the so-called. "Modern" architecture as functionalism referred. But in view of what Muthesius was actually striving for, this label is an extremely reductive description for his houses. In his emphatic building descriptions of English houses, Muthesius used terms such as: comfort, convenience, objectivity, solidity, refinement, elegant restraint, homeliness and coziness and strives for such qualities for his own buildings too. It can be said that use was the central theme of his architecture for him. But by use he understood far more qualities than a primitive pragmatism or mere utilitarianism , with the correspondingly crude conception of the functions of a house, as it finally became the epitome of modern building in the 1960s, in the age of “real functionalism”.

  • Exterior view

  • Garden view

  • Location map

  • Floor plans

  • Music room

  • Winter garden

  • Study

  • upper anteroom

  • Dining room

buildings

  • 1901–1902: Apartment building for master mason Ludwig Bosse in Berlin-Charlottenburg , Mommsenstrasse 65
  • 1904–1905: Hermann von Seefeld country house in Berlin-Zehlendorf , Knesebeckstrasse 5, corner of Stubenrauchstrasse Lage
  • 1904–1905: Two summer houses of the Neutravemünde terracing company for bathers in Travemünde , Godewind 3 location
  • 1905: residential building for the publisher Samuel Fischer in Berlin-Grunewald , Erdener Straße 8 (1936 home fixtures by Paul Zucker ) location
  • 1905–1906: Landhaus Eduard Bernhard in Berlin-Grunewald, Winkler Strasse 11, Lage
  • 1906: Single-Country House for Heinrich Jacob Neuhaus in Berlin-Dahlem , Bernadottestraße 56-58 (1973-1975 conversion to an apartment building) location
  • 1906–1907: Landhaus Muthesius in Berlin-Nikolassee , Potsdamer Chaussee 49a location
  • 1906–1907: Landhaus August Freiherr von Schuckmann in Berlin-Schlachtensee , Bogotastraße 15 location
  • 1906–1907: Landhaus Bloch in Berlin-Nikolassee, Schopenhauerstraße 71 location
  • 1907: Soetbeer house in Berlin-Nikolassee, Lohengrinstraße 28 (burned down in 1970)
  • 1907–1908: Landhaus Freudenberg in Berlin-Nikolassee, Potsdamer Chaussee 48 (executed by Joseph Fraenkel ) location
  • 1907-1908: Cottage Gustav von Velsen in Berlin-Zehlendorf, Limastraße 29-29b (Garden of Heinrich Wiepking-Jürgensmann ) location
  • 1908: Country house Kosmack in Alt-Ruppin (1946 destroyed) location
  • 1908: Schweitzer summer and holiday home in Berlin-Wannsee
  • 1908–1909: Landhaus Dr. Hermann Koch in Berlin-Zehlendorf, Beerenstrasse 51 location
  • around 1909: Country house for the Stave couple in Lübeck , Moltkestrasse 1 (destroyed?) Location
  • 1909–1914: Row of houses in the garden city of Hellerau in Dresden-Hellerau, Beim Gräbchen Lage
  • 1910: Sales room for the art dealer Charles A. de Burlet in the Hotel Adlon in Berlin-Mitte , Pariser Platz
  • 1910: Kitchenette houses in Berlin-Lichterfelde , Unter den Eichen
  • 1910: Landhaus Hoheneck for a bank director in Bad Frankenhausen am Kyffhäuser Lage
  • 1910: Villa Sonneck for Heinrich Irenaeus Quincke in Frankfurt am Main , Zeppelinallee Lage
  • around 1910: Summer house in Berlin-Hermsdorf
  • around 1911: Two villas, a gatehouse and a chapel with a cemetery, several stables and garages for the Büttner and Harms couple in Bodenwerder (ruinous) location
  • 1912: Villa Huffman in Cottbus , Diesterwegstraße 2 (since 1992 children's home) location
  • around 1913: Zum Lith settlement for the non-profit construction company Duisburg in Duisburg , Zum Lith
  • around 1914: Landhaus Wegmann in Rhede (Münster district)
  • 1910–1913: Altglienicke small house settlement ( Prussian settlement ) in Berlin-Altglienicke , Preußenstrasse
  • 1910–1911: Dryander mansion in Zabitz near Magdeburg location
  • 1910–1912: Wendgräben Castle for Majorate Lord Hans Waldemar von Wulffen in Wendgräben near Loburg Lage
  • 1911: Landhaus Justus Breul in Berlin-Grunewald, Oberhaardter Weg 27 and Gustav-Freytag-Straße 10 (?) Location
  • 1911: Landhaus Charles de Burlet in Berlin-Schlachtensee, Schlickweg 12 Lage
  • 1911: Landhaus von Strombeck in Kassel- Harleshausen (since 1937 Elena Clinic) location
  • 1911–1912: Landhaus Hans Cramer in Berlin-Dahlem, Pacelliallee 18, 20, corner Im Dol (The building fell into ruin after a gas explosion in the 1950s, was saved from demolition by the architectural historian Julius Posener and 1976 - 1977 partially reconstructed; it has been used by Stanford University since)
  • Single-country-for: 1911-1912 Kurt Klamroth in Halberstadt (1992/1993 restored according to the original plans; today Klamrothstraße 2 Parkhotel Unter den Linden ) location
  • 1912: Landhaus Schönstedt in Duisburg- Speldorf (?)
  • 1912: Michels & Cie. Silk weaving mill in Nowawes near Potsdam (destroyed)
  • 1912–1913: House and studio building for the artist Alfred Mohrbutter in Berlin-Schlachtensee, Schlickweg 6 Lage
  • 1913: Reconstruction of the women's fashion store Kersten & Tuteur in Berlin-Mitte , Leipziger Strasse 36 / Charlottenstrasse 24 Lage
  • 1913: Haus Stern in Berlin-Nikolassee, Kirchweg 27 (demolished in 1969)
  • 1913: Hirschowitz house in Berlin-Nikolassee, Schopenhauerstraße 46, location
  • 1913: 5 tenement houses in Duisburg , Mühlheimerstraße / corner of Bechemstraße and Keetmannstraße Lage
  • 1913: Villa Rümelin (Lerchenstraße 74) in Heilbronn , Lerchenstraße 74 (demolished in 1970)
  • 1913–1914: Suburban house for the Bredow couple in Berlin-Dahlem, Miquelstrasse 92 Lage
  • 1913–1914: Country house of the collector Eduard Gaffron in Berlin-Schlachtensee, Klopstockstraße 34 (demolished in 1971)
  • 1913–1914: Landhaus Erich Wild in Berlin-Nikolassee, Kirchweg 25 Lage
  • 1913–1914, 1919–1920: country house with garden pavilion for Robert René Kuczynski in Berlin-Schlachtensee, Terrassenstrasse 16 Lage
  • 1914: Renovation of the Zuckerkandl country house in Berlin-Grunewald, Königsallee
  • 1914: House in Berlin-Nikolassee, Schopenhauerstraße 62, location
  • 1914: Fritz Gugenheim town house in Berlin-Tiergarten , Tiergartenstraße 18 a
  • 1914-1915: Cottage Mittelhof for the Director-General Wilhelm Mertens in Berlin-Nikolassee, Kirchweg 33, corner (since 1975 by the Middle Busch Berlin Historical Commission used and since 1997 the center Modern Orient) location
  • 1914–1915: Pavilion of the Hamburg-America Line and Kaiserzimmer on the steamer "Bismarck" for the Cologne Werkbund exhibition
  • 1914, 1926: Erich Wild's residential and studio building in Berlin-Nikolassee, Kirchweg 24 location
  • 1916: Country house for the factory owner Ploberger in Wels (Upper Austria) , Pollheimerstraße 4 location
  • 1916–1918: Karl Muthesius house in Weimar
  • 1917–1920: Main building of the Nauen radio station in Nauen Lage
  • 1917–1920: Villa Simson as a widow's residence for Jeanette Simson in Suhl Lage
  • 1918: gatehouse in Berlin-Nikolassee, Libellenstrasse 7
  • around 1918: Settlement of Hermsdorfer Boden-Aktien-Gesellschaft, (with Rudolf Eberstadt ) in Berlin-Hermsdorf
  • around 1918: Settlement for rural workers of the Mahndorf manor in Halberstadt
  • around 1918: " Tannenwalde " settlement in Königsberg
  • around 1918: "Ackermannshöhe" civil servants' settlement in Stettin
  • 1920–1926: Workers' houses for the German wool goods manufacturer in Grünberg (Silesia)
  • 1920–1921: Vowinckel house in Berlin-Nikolassee, Schopenhauerstraße 53–55, location
  • 1921: Landhaus Plesch in Wohltorf near Hamburg
  • 1921–1922: Hans Gugenheim country house in Neubabelsberg , Rathenaustraße Lage
  • 1921–1922: Extension buildings for the Kaiser Wilhelm Institute for Fiber Chemistry in Berlin-Dahlem, Faradayweg 16 Lage
  • 1922: Landhaus Bouncken in Hamburg-Blankenese , Hirschparkweg 1 (?)
  • 1922–1923: Landhaus Alexander in Berlin-Charlottenburg, Insterburgallee / corner of Lyckallee
  • 1922–1924: Willi Kersten country house in Berlin-Charlottenburg, Am Rupenhorn 8 / Havelchaussee 12–14
  • 1922–1924: Landhaus Rassow in Heidelberg
  • before 1922: House Rasch in Wiesbaden (?)
  • 1923–1924: Jacob Tuteur house in Berlin-Charlottenburg, Strasse des 17. Juni 146–148 /, corner of Bellstrasse 2–4
  • before 1923: Landhaus Pfefferkorn in Arnau (Bohemia) (?)
  • 1924: Reconstruction and extension of the advertising building on Potsdamer Platz , Potsdamer Straße 1a (next to the Café Josty house ), owner Eugen Brasch
  • 1924–1925: Summer house for Jacob Tuteur in Berlin-Charlottenburg, Am Rupenhorn 4 / Havelchaussee 28–32
  • 1924–1928: Settlement in Berlin-Wittenau , Jathoweg 16 Lage
  • 1924–1926: Wittenau settlement in Berlin-Wittenau, Oranienburger Strasse etc.
  • around 1925: Landhaus Frank in Frankfurt am Main, Ditmarstr. 4 position
  • around 1925: Landhaus Neuburg in Leitmeritz in Bohemia
  • 1925–1926: Housing complex for the non-profit building association for housing seekers EGmbH in Berlin-Zehlendorf, Breitenbachplatz Lage
  • 1925–1926: Landhaus Wilhelm Mandler in Berlin-Zehlendorf, Limastraße 30a Lage
  • 1926: Landhaus Hildebrand in Grünberg (Silesia) location
  • around 1926: Landhaus Mayer in Plauen
  • 1927: Single-family house for Major Wolf Pabst von Ohain in Berlin-Dahlem, Im Gehege 9 Lage
  • 1927–1928: Reconstruction of the Eugen Brasch house in Berlin-Zehlendorf, Am Großen Wannsee 36 location
  • 1928–1929: Housing complex for the Charlottenburger Baugenossenschaft eG in Berlin-Westend , Kollatzstrasse
  • 1928–1929: Single-family house in Hamburg-Winterhude, Winterhuder Kai 19, location

Writings by Muthesius - selection from approx. 500 publications

  • Architectural Considerations of Time: A Look Around the Turn of the Century. Ceremonial speech given at the Berlin Architects' Association for the Schinkel Festival on March 13, 1900. Berlin 1900.
  • Art and machine. In: Decorative Art , year 1902, pp. 141–147.
  • Style architecture and building art. Changes in architecture in the 19th century and its current position.
    • 1st edition, Mülheim an der Ruhr 1902 ( digitized version )
    • 2nd, greatly increased edition, Mülheim an der Ruhr 1903.
  • Culture and art. Collected essays on contemporary artistic questions. Jena / Leipzig 1904.
  • The English house. Development, conditions, facility, structure, facility and interior. 3 volumes, Berlin 1904–1905. ( Digitized version ) (Reprint of the 2nd edition, Gebr. Mann Verlag, Berlin 1999, ISBN 3-7861-1853-1 .)
  • The importance of the arts and crafts. (Opening speech to the lectures on modern arts and crafts at the Handelshochschule in Berlin) In: Decorative Art , year 1907, pp. 177–192.
  • Country house and garden. Examples of modern country houses with floor plans, interiors and gardens. Munich 1907. ( Digitized version of the University and State Library in Düsseldorf ) (New edition as country houses. Gebr. Mann, Berlin 2001, ISBN 3-7861-2297-0 .)
  • Applied arts and architecture. Jena 1907.
  • Economic forms and applied arts. (Lecture given on January 30, 1908 at the Volkswirtschaftliche Gesellschaft in Berlin) Berlin 1908. ( digitized version )
  • The unity of architecture. Reflections on architecture, civil engineering and applied arts. (Lecture given on February 13, 1908 at the Verein für Kunst in Berlin) Berlin 1908.
  • The aesthetic training of our engineering structures. In: Journal of the Association of German Engineers , 53rd year 1909, pp. 1211–1217.
  • Where are we standing? (Lecture given at the annual meeting of the German Werkbund in Dresden in 1911) In: Deutscher Werkbund (Hrsg.): The spirit of German work. Paths and goals in connection with industry, craft and art. Jena 1912, pp. 11-12.
  • The Werkbund work of the future. (and discussion about it) In: Ferdinand Avenarius, Friedrich Naumann et al. (Ed.): Werkbund and world economy. The Werkbund idea in the Germanic countries. Jena 1914. (This reflects the Werkbund debate , which has become famous as the type dispute , with contributions from Henry van de Velde , Peter Behrens and Bruno Taut , among others .)
  • How do I build my house? Munich 1915.
  • Small house and settlement. Munich 1918.
  • The suggestion of form. In: Decorative Art , year 1924, pp. 94–96.
  • The last words of a master. The new construction. In: Berliner Tageblatt , year 1927, No. 512 (1st supplement).

literature

Biographical

On the writings of Muthesius

  • Fedor Roth: Hermann Muthesius and the idea of ​​harmonious culture. Culture as the unity of artistic style in all expressions of life of a people . Gebr. Mann, Berlin 2001, ISBN 3-7861-2330-6 (Contains a comprehensive list of the writings of Muthesius).
  • Fedor Roth: Hermann Muthesius, the harmonious culture, the modern style and the practicality . In: Yuko Ikeda (ed.): From sofa cushions to urban planning. Hermann Muthesius and the German Werkbund. Modern design in Germany 1900–1927 . ISBN 4-87642-165-X , pp. 28–41 (Japanese) and 374–383 (German) (catalog contribution to the exhibition Hermann Muthesius and Deutscher Werkbund. Modernes Design in Deutschland 1900–1927 , November 2 to December 23, 2002, The National Museum of Modern Art, Kyoto and Tokyo , January 17 to March 2, 2003).
  • Frederic J. Schwartz: The Werkbund. Design and Theory & Mass Culture before the First Word War . Yale University Press, New Haven / London 1996 (General on the theoretical debates in the context of the Werkbund ).
  • Werkbund-Archiv (Ed.): Hermann Muthesius in the Werkbundarchiv . Berlin 1990 (exhibition catalog).
  • Werkbundarchiv - Museum der Dinge , Renate Flagmeier, Fabian Ludovico (eds.): Writing & Building. Hermann Muthesius' estate in the Werkbundarchiv - Museum der Dinge . Berlin 2012, ISBN 978-3-943773-01-9 (showcase 2).

On the architectural work of Muthesius

  • Julius Posener: Berlin on the way to a new architecture. The age of Wilhelm II . Prestel, Munich 1979, ISBN 3-7913-1476-9 .
  • Deutscher Werkbund, Akademie der Künste Berlin (ed.): Hermann Muthesius 1861–1927. Exhibition at the Akademie der Künste from December 11, 1977 to January 22, 1978 . (Exhibition catalog. Contains a detailed, illustrated and commented directory of 105 buildings by Muthesius and also a directory of his writings).
  • Uwe Schneider: Herman Muthesius' ideas about garden architecture: his examination of the example of England . In: Die Gartenkunst  10 (1/1998), pp. 87–106.
  • Uwe Schneider: Hermann Muthesius and the reform discussion in garden architecture in the early 20th century . Wernersche Verlagsgesellschaft , Worms 2000, ISBN 3-88462-165-3 (Green Series 21).
  • Laurent Stalder: Hermann Muthesius (1861–1927). The country house as a cultural and historical design . gta Verlag, Zuerich 2008, ISBN 978-3-85676-219-3 .
  • Piergiacomo Bucciarelli: Le ville berlinesi di Hermann Muthesius . Gangemi Editore, Rome 2011, ISBN 978-88-492-2131-2 . (German edition: Piergiacomo Bucciarelli: The Berlin Villas by Hermann Muthesius . Vice Versa Verlag, Berlin 2013, ISBN 978-3-932809-69-9 . )

Web links

Commons : Hermann Muthesius  - album with pictures, videos and audio files
Wikiquote: Hermann Muthesius  - Quotes

Individual evidence

  1. ↑ Archive link ( Memento from May 1, 2015 in the Internet Archive ) Architect Hermann Muthesius, Lebensspuren.at -> Gebäude. Retrieved March 15, 2015.
  2. ^ Lebensspuren-Museum closes: Villa am Mühlbach becomes Event-Tempel nachrichten.at, September 10, 2015, accessed August 17, 2016.
  3. ^ Academy of the Arts Berlin, Hermann Muthesius Collection
  4. ↑ Entry in the Berlin State Monument List
  5. ↑ a b c Hermann Muthesius: Country house and garden . Bruckmann, Munich 1907
  6. ↑ Entry in the Berlin State Monument List
  7. ↑ Entry in the Berlin State Monument List
  8. ↑ Entry in the Berlin State Monument List
  9. ↑ Landhaus Eduard Bernhard
  10. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag Hermann Muthesius: Country houses . Bruckmann, Munich 1922
  11. ↑ Entry in the Berlin State Monument List
  12. ↑ Entry in the Berlin State Monument List
  13. ↑ Entry in the Berlin State Monument List
  14. ↑ Entry in the Berlin State Monument List
  15. ↑ Entry in the Berlin State Monument List
  16. ↑ Entry in the Berlin State Monument List
  17. ^ Muthesius in Nikolassee and Schlachtensee
  18. ^ Robert Breuer: A shop from Hermann Muthesius . In: German Art and Decoration Issue 26/1910 ( digitized version )
  19. ^ Haute couture in the diplomatic quarter
  20. ↑ Entry in the Berlin State Monument List
  21. ↑ Garden dreams: House Dryander
  22. ↑ Entry in the Berlin State Monument List
  23. ↑ Entry in the Berlin State Monument List
  24. ^ Fritz Hellwag: The new factory for the mechanical silk weaving mill Michels & Cie. in Nowawes near Potsdam In: Kunstgewerbeblatt . Issue 7/1914 ( digitized version )
  25. ↑ Entry in the Berlin State Monument List
  26. ↑ Entry in the Berlin State Monument List
  27. ↑ Entry in the Berlin State Monument List
  28. ↑ Entry in the Berlin State Monument List
  29. ↑ Entry in the Berlin State Monument List
  30. ↑ Entry in the Berlin State Monument List
  31. ↑ Silke Nagel: Wilhelm Mertens and the construction of the "Mittelhof" - the climax of an entrepreneurial career in Berlin's colonial economy . ( Digitized version )
  32. ↑ Entry in the Berlin State Monument List
  33. ↑ a b c d e Hermann Muthesius: The reduced country house . In: Schweizerische Bauzeitung . Issue 16/1923 ( digitized version )
  34. ↑ Entry in the Berlin State Monument List
  35. ↑ a b c d e f g h Dr. Hermann Schmitz: Newer buildings by Hermann Muthesius . In: Zentralblatt der Bauverwaltung . Issue 18/1927 ( digitized version )
  36. ↑ Entry in the Berlin State Monument List
  37. ↑ Entry in the Berlin State Monument List
  38. ↑ File inspection in the Landesarchiv Berlin , File A Rep. 010-02 / 31922
  39. ↑ a b Entry in the Berlin State Monument List
  40. ↑ International meeting center
  41. ↑ Entry in the Berlin State Monument List
  42. ↑ Entry in the Berlin State Monument List
  43. ↑ Zielona Góra: Willa Waltera Hildebranda
  44. ↑ Entry in the Berlin State Monument List
  45. ↑ Entry in the Berlin State Monument List
  46. ^ Restoration of a listed villa in Hamburg-Eppendorf
personal data
SURNAME Muthesius, Hermann
ALTERNATIVE NAMES Muthesius, Adam Gottlieb Hermann (full name)
BRIEF DESCRIPTION German architect, Prussian building officer, author and architectural theorist
DATE OF BIRTH April 20, 1861
PLACE OF BIRTH Großneuhausen
DATE OF DEATH October 26, 1927
Place of death Berlin