House of Broadcasting

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House of Broadcasting
Berlin - Haus des Rundfunks.jpg
Data
place Berlin-Westend
builder Max H. Berling
architect Hans Poelzig
Client Magistrate of Berlin
Architectural style New Objectivity
Construction year 1929-1931
height 21 m
Floor space 8140 m²
Coordinates 52 ° 30 '28.9 "  N , 13 ° 16' 36.7"  E Coordinates: 52 ° 30 '28.9 "  N , 13 ° 16' 36.7"  E
particularities
The building consists of four separate complexes: the main part (outside), large broadcasting hall, small broadcasting hall and radio play complex. In 2008 another building was opened for the info radio in one of the courtyards .

The House of Broadcasting is a 1929-1931 built Grade II listed building opposite the radio tower in Berlin district Westend the district Charlottenburg-Wilmersdorf . Its main facade extends along Masurenallee . The building designed by Hans Poelzig is of great importance both architecturally and in terms of radio history .

Since May 2003 it has been the seat of the Berlin-Brandenburg Broadcasting Corporation (RBB). The radio programs rbb 88.8 , Kulturradio and Inforadio are produced in the Haus des Rundfunks . The two broadcasting halls are also used for public concerts.

history

Competition (1927/1928)

A bird's eye view of the building complex, 1957

The Reichs-Rundfunk-Gesellschaft (RRG) commissioned Hans Poelzig with a design for the planned new radio building as early as 1927. The construction had become necessary because the radio was enjoying increasing popularity and the makeshift studio in the Vox house was insufficient. The RRG suggested that he work with another architect on this major project. Poelzig probably wanted the sole construction contract without cooperation with another architect and the associated artistic restrictions. He therefore proposed a competition for his part. Bauernfeind offers another explanation for the waiver, who suspects that Poelzig refused the direct assignment because he understood broadcasting as a democratic medium that required “a democratic selection process”.

The RRG followed his suggestion and launched a closed competition in which two other groups of architects took part: the architects Bonatz & Scholer and Richard Riemerschmid . Poelzig prevailed against his two comrades-in-arms and received the building contract in April 1929.

The decision was probably not based on the facade, but above all on the layout of the various designs. In addition, the reference to the proposed axis of the exhibition grounds in Poelzig's proposal seemed to be more successful. The Reich Ministry of Post determined the winner, as it was responsible for broadcasting at the time. Reasons for choosing Poelzig could also have been his fame since the 1920s. His experience in the field of building acoustics at the Great Playhouse, the concert hall in Breslau and his professorship at the Technical University of Charlottenburg explain his reputation in architecture that serves acoustics . From the winter semester of 1925/26, Poelzig offered a building acoustics course at the Technical University together with Johannes Biehle , an acoustics expert. In the course catalog of 1925 it says for event 273a:

"Designing rooms according to acoustic aspects, (for the participants of 273 [Poelzig's design course: designing buildings] and 291 [Biehles acoustics course: room acoustics and the acoustic design of rooms]), Poelzig and Biehle, 5th to 8th semester, W. u. P. By appointment, free of charge. "

The two TH lecturers offered this event in succession from 1925 to 1934, with an interruption (1929/30) during which Biehle led the course together with Erich Blunck .

Hans Poelzig was already selected as a favorite before the actual competition. The RRG had approached him directly and probably only launched the competition because it was one of his conditions. The competition was therefore only a sham competition. Poelzig was already certain as the winner in advance.

The specifications for the competition were: two large broadcasting halls measuring 30 m × 45 m × 10 m, several small studios, rehearsal rooms, cloakrooms, technical rooms, sufficient space for (especially small) offices, a maximum of three upper floors. The main entrance of the building should be on Masurenallee, near the "Funkstadt Witzleben" which is currently under construction. The length of the property in Masurenallee was around 200 m. The building site was around 18,000 m² in size and sloped around three meters to the east. The subsoil consisted mainly of sand, in deeper layers of sharp-edged gravel.

House of Broadcasting, 2014

Paul Bonatz writes about the location of the construction site and the surrounding buildings that the building site was on the connecting road between Reichskanzlerplatz (today: Theodor-Heuss-Platz ) and Kantstrasse . To the north of this connecting road were the (automobile) exhibition halls I and II. To the south of the road were Heinrich Straumer's radio tower and radio hall . To the west of Straumer's buildings and thus directly opposite the building site for the Haus des Rundfunks, was the exhibition center , which was also just being designed and was still under construction.

The surrounding buildings mentioned, with the exception of Auto Hall I, were all built in the 1920s or were still under construction. The area in which Hans Poelzig built the Haus des Rundfunks also reflected the aspirations for growth of broadcasting and its still young history. Above all, the choice of the location on the outskirts shows the future thinking in the 1920s. The Vox house showed that the steadily growing medium of broadcasting also created steadily growing demands that had to be met with a new house.

The plot of land on which the House of Broadcasting was to be built was only opened up with the construction. The south-eastern part of the property was on the former Scholzplatz, which was dissolved with the construction. The building thus also brought about an urban change.

Building history and use (1929–1932)

Reichspostminister Georg Schätzel laying the foundation stone in May 1929

The building with the ground plan of a triangle rounded on two sides was erected in the years 1929-1931 under the supervision of Poelzig's master student Max H. Berling . Kurt Liebknecht was responsible for the interior design and two decades later, as the first President of the German Building Academy, he was to have a decisive influence on the orientation of architecture studies in the GDR . The foundation stone for the building was laid on May 29, 1929. It was inaugurated on January 22, 1931. The area is bounded to the north by Bredtschneiderstrasse. To the east, Soorstraße forms the boundary of the property. From 1931, the Funk-hour Berlin , Deutsche Welle GmbH (from 1933: Deutschlandsender ) and the Reichs-Rundfunk-Gesellschaft broadcast from the house of broadcasting.

Takeover and conformity in the Nazi regime (1933–1945)

Joseph Goebbels (center) at the radio exhibition in 1938

With the takeover of the Nazis in January 1933, also the home of broadcasting fell into the hands of Joseph Goebbels the Reich Minister of Public Enlightenment and Propaganda . He had an office in the house ever since. The new station manager Eugen Hadamovsky (also a Nazi functionary) also played a central role . The leading figures in Weimar broadcasting until then ( Alfred Braun , Hans Flesch and Heinrich Giesecke ) were deported to the Oranienburg concentration camp in August 1933 . Even Hans Bredow came in October 1933 custody. As a result, there was a show trial. This dragged on until 1935. The defendants were only fined. The short, imposed prison sentences were considered served with the remand. The sculpture by Georg Kolbe in the large atrium was removed and replaced by a bust of Hitler . A Reich program was set up from the House of Broadcasting, which was broadcast on the regional broadcasters (Reich broadcasters) . This enabled broadcasting to be brought into line from Berlin. Almost all of the regional broadcasters lost their independence in 1934. From 1939 to 1945 the Haus des Rundfunks was the headquarters of Großdeutscher Rundfunk .

On March 22, 1935, the German Television Broadcasting Corporation (DFR) began operations in the broadcasting house. The first regular television program in Germany was broadcast on the neighboring radio tower by the television station Paul Nipkow (→  History of television in Germany ). From 1937 the DFR program was produced in the Deutschlandhaus on the nearby Reichskanzlerplatz (during Nazi times: Adolf-Hitler-Platz , today: Theodor-Heuss-Platz ).

Under Soviet direction (1945–1956)

Behind the BVG bus is the Haus des Rundfunks in what was then the British Sector in West Berlin , at that time the seat of the Soviet-controlled Berlin Radio of the GDR, 1955

On May 2, 1945, Major Popov and a company of the Red Army occupied the Radio House, which had almost been spared from war damage. As a radio specialist, he knew the building because he had worked here as an engineering intern from 1931 to 1933. From May 4, the first calls and messages were sent under Soviet leadership. Regular broadcasting began again on May 13, 1945.

After the Second World War , the house became the plaything of the Cold War . With the division into four sectors , the British , French and Americans began with their own radio programs in their sectors ( Nordwestdeutscher Rundfunk and RIAS ).

Although located in the British sector , the building served the Berlin radio controlled by the Soviet occupying power until 1950 . The Soviets quietly dismantled the technical equipment and moved it to their sector in the newly built Nalepastrasse radio station in the eastern part of Berlin .

In 1952, the British Army cordoned it off in response to the lockdown of Steinstückens .

Until the handover from the Soviet military command on July 5, 1956 to the Berlin Senate , represented by West Berlin's Governing Mayor Otto Suhr , a 10 to 15-man guard took turns guarding the empty building every 14 days. It was during this time that the Cyrillic characters were probably scratched into the plaster. This “ graffiti ” was discovered during renovation work on the facade in 1998/1999 and, because of its importance as a document for the checkered history of the house, was preserved and documented. In addition, there was considerable vandalism , as the guards burned a lot of wood for heating, among other things.

The condition inside the building was catastrophic after the handover. From the outside, the building was almost unchanged. The large broadcasting hall and the atrium, however, were badly damaged. There was damage to the windows, the heating systems, the technology and the water systems. The renovation took place mainly from 1956 to 1957. The costs were ten million marks (adjusted for purchasing power in today's currency: around 24.4 million euros). From July 8, 1956, the building was cleared out. The emergency work was carried out by the building construction department of the Charlottenburg district office.

Sender Free Berlin (1957-2003)

The broadcasting house with the lettering Sender Freies Berlin , 1958

After extensive renovation work, the building was used by the Sender Free Berlin (SFB) to produce and broadcast its radio programs from the end of 1957 . Since the Soviets had dismantled and taken all of the studio technology with them, the building had to be equipped with completely new technology. This made the SFB in the Haus des Rundfunks a pioneer for the development of stereophony and its use in radio . During the renovation, the facade was largely restored to its original state. The biggest changes took place in the interior. They deviated greatly from Poelzig's original plans and mainly concerned the large atrium and the large broadcasting hall. The new appearance of the Great Atrium was particularly shaped by two factors. On the one hand, there are “explosion lamps ” instead of the lamps created by Marlene Moeschke-Poelzig . Secondly, the yellow were brick parapets of the galleries in the foyer completely removed in the restoration and replaced by gray wire glass plates. The coloring of the walls and ceilings as well as the window frames were not compared with the original design, but reinterpreted. The interior of the building was last reconstructed between 1986 and 1987, with the large atrium, lamps and corridors being returned to the original design of the building. The changes from the restoration from 1956 to 1957 were reversed because they were not listed as appropriate.

Broadcasting Berlin-Brandenburg (since 2003)

On May 1, 2003, the SFB merged with its programs and buildings and the Ostdeutsche Rundfunk Brandenburg (ORB) to form Rundfunk Berlin-Brandenburg (rbb).

In 2008, a completely glazed new building for the Inforadio was completed in the inner courtyard between the building front and the small broadcasting hall . The architect responsible, Hans-Joachim Thunnat, used the ability to move the walls that had already been created by Hans Poelzig for the new building.

The most recent, listed facade renovation took place from 2010 to 2014. Ceramic tiles , which had changed in color over time or were no longer intact, were mainly replaced. The work was carried out by Bräunlin + Kolb Architekten Ingenieure GbR, Berlin .

architecture

The Haus des Rundfunks was one of the first broadcasting buildings in Europe in 1930, only the Munich Funkhaus is older . It is therefore remarkable that the building still offers ideal spatial conditions for radio operations. At that time, Hans Poelzig had hardly any role models and made considerations that are still valid today: The office and editorial rooms are on the outside of the building and enclose the three large studio complexes inside (large broadcasting hall, small broadcasting hall and radio play complex) Road noise are largely shielded. They occupy the areas between the four courtyards. In the office and editorial wing, only the outer walls are load-bearing; all partition walls can therefore be removed and installed variably depending on the size of the room. Since changes frequently occur in the composition of the editorial offices and partition walls are moved, the exact number of rooms varies constantly. The building complex comprises a total of 164 window axes (vertical) with 717 windows in a typical perforated facade. The distance between the windows is 90 cm. Most of the windows are on the facade facing Masurenallee.

Here we find a total of 60 window axes. 14 window axes each over four floors on the left, 32 over five floors in the middle and then again 14 over four floors to the right of it. The transition from the middle five-storey part of the building to the sides is formed by three vertical, continuous ribbon windows of the stairwells. At the very edge of the five-storey part of the building. The building has numerous different staircases, elevators and paternoster elevators for accessing the various floors of the building.

The facade is made of matt brown bricks, some of which differ significantly in color. Some stones are lighter, others are darker; they shimmer when exposed to light.

In addition, ceramic tiles serve as brightening architectural decorations. These dark brown to reddish ceramic plates emphasize the protruding cornice . They are also used to frame any vertical ribbon of windows. They surround the top of the tallest window in each row and descend to the base of the building. In this way they accentuate not only the ribbon windows, but also the verticals of the building. Within these framed ribbon windows, the space between the windows is also accentuated by the glazed ceramic tiles. They differed only in size from the framing ceramics. The ceramic tiles were attached from the outside as cladding and thus represent an increase in these facade areas. The clinker bricks are no longer visible within the framed window axes due to the ceramic facing. As a result, they are only visible on the extreme left and right of the main facade, at the top between the uppermost window and the cornice, and in the narrow section between the individual window axes.

The executed ceramics are glazed. That is why they reflect the light and work differently with different light incidence. This leads to an additional effect especially when you pass the facade of the building. An interesting play of light develops, also in interaction with the shimmering clinker bricks.

The accentuation of the vertical ribbon windows means that the façade on Masurenallee looks very lively. The alternation of the retracted window sections and the clinker brick sections creates a dynamic that is particularly noticeable compared to the wing structures.

Another important part of the facade facing Masurenallee is the main entrance in the middle of the facade. Above the entrance is in capital letters the word "HOUSE OF BROADCASTING", then as now, mounted in gold letters. Two rectangular pillars support the entablature of the first floor and create a colonnade with three openings of the same size. The two pillars are also framed by the ceramics. The entire entrance area within this colonnade is covered with the ceramics, so you can only see the clinker bricks when you are really in front of the building. Behind the pillars, ten steps mediate between the street and the ground floor, which is raised at this point. At the end of the stairs you reach a vestibule inside the building through three double doors . Two rooms border the vestibule on the left and right. The room on the right has remained the porter's room to this day. The room on the left was then a waiting room. Today it is used as a small cloakroom. The representative large atrium is reached behind the vestibule.

Large atrium

Der Große Lichthof 2019, sculpture Die Nacht by Georg Kolbe (right)

The large atrium, now mostly called the “ foyer ”, is the distribution room for the entire building. It is a gallery with a skylight supported by pillars. All corridors, all broadcasting rooms and the various connection options to the higher floors lead from here.

The shape of the floor plan has been enlarged compared to the competition design. The foyer is trapezoidal . This trapezoid is isosceles and symmetrical. The axis of symmetry corresponds to that of the entire building. The longest side of the trapezoid points towards Masurenallee and thus towards the main entrance. The short sides of the trapezoid lead to the side aisles in the direction of the wing structures. There are also stairs with red linoleum covering that lead to the first floor of the gallery and next to the stairs to the vestibules of the smaller broadcasting halls II and III.

The fourth side leads to the corridors that lead to the rear entrance. The large broadcasting hall can also be reached from these corridors. There are also doors to an anteroom in front of the large broadcasting hall, which is now used as a cloakroom for events.

The large atrium is not only the distribution room where all paths come together, but also the important element that mediates between the exterior and interior, i.e. between the administration wing and the broadcasting rooms.

The foyer is divided in the middle by eight pillars arranged in a rectangle. These support the gallery, which extends over five floors to the highest point of the building. The gallery and the pillars have a steel skeleton as a basic structure. The eight pillars are walled on the outside with black, shimmering bricks . The tile joints are white. This makes the individual bricks clearly visible. The parapets of the galleries are made of yellow bricks that show a grid consisting of regular sequences of rectangular holes. Only the top row, the handrail, is made of horizontal, flat, black bricks.

The yellow stones on the parapet of the gallery are hollow stones. They are placed over the metal frame and cover this, which actually holds the whole thing together. The articulating iron bars are also connected to the steel beams of the pillars. The parapet is not only attached in the gallery, but also on the stairs of the foyer on the right and left.

Daylight streams from the ceiling through the skylight made of opaque glass panels. The rectangular skylight is almost congruent with the space in the foyer, which is bordered by the pillars.

In the foyer there is not only the rectangular skylight above the gallery. The stairs that connect the ground floor and the first floor in the foyer also each have a skylight that is triangular - adapted to the floor plan of the stairs.

The sculpture Die Nacht by Georg Kolbe stood on the ground floor of the atrium until 1933 . They were removed by the National Socialists . Today's sculpture is therefore a replica that is on permanent loan from the Berlin Senate .

The lamps, the originals of which were designed by Marlene Moeschke-Poelzig , are also a reconstruction from 1987.

Small atrium

The small atrium was a distribution room for the back entrance at the top of the building. It only existed until 1934. In that year, a false ceiling was installed between the ground floor and the upper floor so that the space on the upper floor could be used for a larger switch room. It was constructed fundamentally differently from the large atrium. The floor plan was also trapezoidal and symmetrical. However, the relationships between the two sides were designed differently. The longest side of the trapezoid was opposite the shortest side, which was barely wider than a door. This makes the floor plan look almost like a triangle. The shortest side of the trapezoid was towards the rear entrance, the longest side towards the large broadcasting hall. On this long side, two pillars support the construction. At the southern end of the pages you come to the corridors of the wing buildings and the corridors that flank the large broadcasting hall. The small atrium is not only significantly smaller in terms of length and width than the foyer at the main entrance. Also in height it is inferior to the Great Atrium. It only extends over two floors (ground floor and first floor) and thus only forms a gallery on the upper floor. Above that was the trapezoidal skylight.

The balustrade of the gallery of the small broadcasting hall was also designed much simpler. It was a simple iron railing. A handrail, presumably made of plastic, marked the upper end of the parapet and stood out from the other iron bars that structure the parapet horizontally and vertically. The artificial lighting was also designed more simply than that of the Great Atrium. There are no large chandeliers hanging from the ceiling. Instead, vertical, elongated lamps were attached to the side of the walls. They were made of frosted glass and had a metal border.

Today the rooms in the place of the small atrium serve mainly as storage and technical rooms.

Large broadcasting hall

The large broadcasting hall after the reconstruction in September 1959
The Great Broadcasting Hall, 2019

The large broadcasting hall is the heart of the building. Its dimensions are: 47.5 m in length, 25.3 to 33.8 m in width and up to 12 m in height. At the time the house opened in January 1931, it was still in the shell, "special room acoustic investigations" were still being carried out. There were two reasons for the delayed expansion of the large broadcasting hall. On the one hand, they did not know exactly how to develop a hall of this size acoustically for radio operation, as there was no comparison. The large broadcasting hall was the largest broadcasting hall up until then. There were also problems with the building regulations . The building police had previously forbidden that the hall could be used for the public. So they left this part in the shell for the first time and wanted to get on with the expansion once they had gained enough experience and convinced the construction police of the project. On August 31, 1932, the RRG announced that the acoustic investigations had shown that the final expansion would be postponed further. A building application to equip the large broadcasting hall was submitted on March 24, 1933. It is a different extension than that of the small halls. Mainly the large broadcasting hall was to be equipped for public visits.

The equipped large broadcasting hall was only approved for acceptance by the building police on October 30, 1933. The final execution was carried out by the Chief Postal Director Nissle according to the basics of Poelzig's planning.

Compared to the rest of the building, the expansion of the large broadcasting hall took significantly more time. It was only put into operation more than two years after the completion of the small broadcasting hall and the peripheral buildings. With one small exception (installation of upholstered chairs), the design of the large broadcasting hall was retained from this point until 1952.

After the handover by the Soviets, the large broadcasting hall was in a very poor condition, which is why it was decided to fundamentally redesign it. Lothar Cremer is largely responsible for its current appearance . The only part of the large broadcasting hall that has been preserved from the Poelzig design is the suspended ceiling with a wooden grid.

The wall paneling consists of elm veneer from a single Scottish elm in order to ensure that the wood ages evenly. The offset installation of these elements avoids a smooth surface. Acoustic scattering that is advantageous for the sound occurs. A large part of the 1,081  folding seats already had different perforations at that time, which means that they have almost the same absorption behavior when unoccupied as when a spectator is present. The acoustics of the hall are very similar when occupied and unoccupied, which makes it easier to prepare the sound recordings. The reverberation is 1.6 seconds. The large broadcasting hall also has its own foundation - independent from the rest of the building - to prevent vibrations from being transmitted through the floor. This construction method was also used for the small broadcasting hall and the radio play complex. Since the importance of orchestral music in radio has continued to decline in recent decades, there are now considerably fewer public concerts than in the 1960s and 1970s. The large broadcasting hall also serves as a rehearsal site for the Berlin Radio Symphony Orchestra .

Small broadcasting hall

The Kleine Sendesaal comes closest to the original state of the Poelzig design from 1931 today. The dimensions of the small broadcasting hall are: 24.24 m long, 11 to 14 m wide and 7.20 to 7.50 m high. It can be accessed from the foyer via a small anteroom. The floor plan is, like that of the other two broadcasting rooms, conical or trapezoidal. A gallery runs along the western long side on the first floor. A corridor runs under this gallery on the ground floor, which connects the foyer with the east wing. On both long sides of the broadcasting hall complex, double, some even triple windows are embedded in the walls, which can be closed with curtains. The idea behind the multiple execution of the windows is to build an air buffer to intercept the sound from outside. The longer narrow wall contains the control room (also control room or listening room) on the ground floor. Two-sided, door-like wooden panels are located above and next to the windows of the control room. The side walls are also clad with these wooden panels, which can be folded down using hinges to dampen the sound. One side (wood) reflects , the other side (Celotex) absorbs the sound. A wide variety of reverberation times can be set in this way.

The ceiling, both above the gallery and above the actual broadcasting hall, and the floor were also made of wood. All windows, doors and the opening to the gallery can be completely closed by the fabric curtains to change the sound.

In the past the hall was used for live music on the radio when it was not yet possible or too expensive to record and play music. For example, the opening concert of the house took place here on January 22, 1931. The hall is now used for chamber music , jazz concerts , and a number of special events.

Radio play complex

The radio play complex is a mirror image of the small broadcasting hall to the west of the large broadcasting hall. Its history as a radio play complex, then as a live radio play, can be traced back to the time after the first renovation in 1934–1936. In 2005 it was completely modernized spatially and technically. This modernization included a large recording room with a longer reverberation time and a staircase with different coverings. This front hall is also used for smaller public events, for example for the preview of radio plays and features . A medium-sized recording room roughly the size of a living room has adjustable wall elements to change the acoustics, and there are other built-in components optimized for sound recordings, such as a kitchen and a toilet. None of these rooms have parallel walls in order to prevent the formation of flutter echoes . In addition, an anechoic room enables the acoustics to be simulated as they exist outside of closed buildings. In this room there are different accessible surfaces such as wooden floorboards and gravel in order to be able to create the most realistic acoustics possible. As a house-in-house construction, the entire radio play complex is decoupled from the ambient noise. All rooms are technically connected (partly also via studio windows) with the control room, in which the sound engineer and the radio play director design and monitor the recording.

See also

literature

  • Fritz Lothar Büttner: The House of Broadcasting in Berlin. Haude & Spener, Berlin 1965 (book series of the SFB ), ISSN  0522-9782
  • Hans-Joachim von Braunmühl: Acoustic aspects in the construction of broadcasting houses , in: Bauwelt, Heft 51, 1933, 1377-1378.
  • Sender Free Berlin (Ed.): Hans Poelzig. Haus des Rundfunks , Ars Nicolai, Berlin 1994, ISBN 3-89479-059-8 .
  • Wolfgang Bauernfeind: Soundtracks. The House of Broadcasting in Berlin. Ch. Links, Berlin 2010, ISBN 978-3-86153-598-0 .
  • Marc Stuntz: This is Berlin speaking. The Haus des Rundfunks - a house of radio history . 4th revised edition, publisher: Rundfunk Berlin-Brandenburg , Berlin, October 2011.
  • Günther Kowalke: The "Haus des Rundfunks" 1931 to 1945 (=  series of publications on radio history , vol. 24), Dessau-Roßlau 2016. ISBN 9783939197683 .
  • Marie-Luise Kreuter: The House of Broadcasting. Masurenallee 8-14 , in: Andreas Hoffmann u. a. (Ed.): Berlin History Landscape; Places and Events , Volume 1: Charlottenburg . Part 2: The New West (= Charlottenburg, Vol. 2), Berlin 1985, pp. 76–97.
  • Karl-Hermann Zehm: The "House of Broadcasting" in Masurenallee. Building history and fate of an architectural monument of the twenties of the 20th century , in: Wolfgang Ribbe (Hrsg.), From the residence to the city . 275 Years of Charlottenburg , Berlin 1980, pp. 459–495.

Web links

Commons : House of Broadcasting  - Collection of pictures, videos and audio files

Individual evidence

  1. Inventory numbers HP 039,001-017 ( https://architekturmuseum.ub.tu-berlin.de/ ) show preliminary drafts presumably from 1927 or 1928. These drafts were probably created before the competition draft, as they were both in structure and in form do not offer a correlation to the competition design and later design phases. Who made them and when exactly, cannot be clearly determined without a signature and signature. The only thing that is certain is that they come from the Poelzig office.
  2. ^ A b Fritz Lothar Büttner: Das Haus des Rundfunks in Berlin . Berlin 1965, p. 17 (Büttner refers to oral statements made by Poelzig's then colleague Max Berling in 1964.).
  3. a b Wolfgang Bauernfeind: Soundtracks. The House of Broadcasting in Berlin . Berlin 2010, p. 20 .
  4. ^ Theodor Heuss: Hans Poelzig. Buildings and designs . Berlin 1939, p. 64 .
  5. Martina Sönnichsen u. a .: The reconstruction of the atrium in the "Haus des Rundfunks" in Berlin. An interview with Max Berling, a Poelzig student . In: Studienkreis Rundfunk und Geschichte . tape 14 , no. 3 , 1988, pp. 251–252 ( rundfunkundgeschichte.de [PDF]).
  6. ^ Theodor Heuss and Hans Poelzig: Hans Poelzig. Collected writings and works . In: Julius Posener (ed.): Series of publications of the Academy of Arts . tape 6 . Berlin 1970, p. 28 .
  7. Excerpt from the digitized course catalogs of the TU Berlin 1925/26 to 1933/34 from the website of the TU University Archive: [1] , last accessed on September 2, 2019 The course is under the number 273a to 1926; 372 from 1927 to 1931; 322 from 1931/32 to 1932/33; 2075 in the academic year 1933/34 and 2352 in the academic year 1934/35.
  8. ^ A b Marie-Luise Kreuter: Das Haus des Rundfunks. Masurenallee 8-14 . In: Andreas Hoffmann u. a. (Ed.): Berlin History Landscape; Places and events . tape 1 Charlottenburg, part 2 The New West. Berlin 1985, p. 76 .
  9. ^ A b Werner Hegemann: Rundfunkhaus in Berlin-Westend . In: Wasmuth's monthly magazine for architecture and urban development . tape 13 , no. 7 , 1929, pp. 300-301 .
  10. ^ Dietrich Noack: Buildings for the radio . In: Architects and Engineers Association of Berlin (ed.): Berlin and its buildings. Part X . B Systems and structures for traffic, 4 post offices and telecommunications. Berlin 1987, p. 125 .
  11. a b Albert Dürbeck: The steel structure for the "House of Radio" in Berlin . In: Steel construction . tape 4 , no. 18 , 1931, p. 210-211 .
  12. ^ Hall I built by architect Hans Alfred Richter and engineer Hans Schmuckler. Autohalle II in 1924 by Johann Emil Schaudt, Jean Krämer and also Hans Schmuckler, both destroyed in the Second World War.
  13. ^ Karl-Hermann Zehm: The "House of Broadcasting" in Masurenallee. Architectural history and fate of an architectural monument from the 1920s . In: Wolfgang Ribbe (ed.): From the residence to the city. 275 years of Charlottenburg . Berlin 1980, p. 462-463 .
  14. ^ Fritz Lothar Büttner: Das Haus des Rundfunks in Berlin . Berlin 1965, p. 25-26 .
  15. ^ A b Fritz Lothar Büttner: Das Haus des Rundfunks . Berlin 1965, p. 49 .
  16. Wolfgang Bauernfeind: Soundtracks. The House of Broadcasting in Berlin . Berlin 2010, p. 45-47 .
  17. ^ A b c Fritz Lothar Büttner: Das Haus des Rundfunks in Berlin . Berlin 1965, p. 35 .
  18. Note: probably Markian Michailowitsch Popow .
  19. http://www.bpb.de/73992/haus-des-rundfunks
  20. a b c Notice board on the building.
  21. a b Wolfgang Bauernfeind: Soundtracks. The House of Broadcasting in Berlin . Berlin 2010, p. 106 .
  22. ^ A b Marie-Luise Kreuter: Das Haus des Rundfunks. Masurenallee 8-14. In: Andreas Hoffmann u. a. (Ed.): Berlin History Landscape; Places and events . tape 1 Charlottenburg, Part 2: The New West . Berlin 1985, p. 78 .
  23. ^ Karl-Hermann Zehm: The "House of Broadcasting" in Masurenallee. Architectural history and fate of an architectural monument from the 1920s . In: Wolfgang Ribbe (ed.): From the residence to the city. 275 years of Charlottenburg . Berlin 1980, p. 478 .
  24. Haus des Rundfunks celebrates its 80th anniversary . In: Der Tagesspiegel , January 24, 2011
  25. Wolfgang Bauernfeind: Soundtracks. The House of Broadcasting in Berlin . Berlin 2010, p. 145-147 .
  26. Bräunlin + Kolb Architects: Renovation of the facade in accordance with the requirements of the Haus des Rundfunks Berlin. Retrieved July 29, 2020 .
  27. ^ Fritz Lothar Büttner: Das Haus des Rundfunks in Berlin . Berlin 1965, p. 37 .
  28. ^ Fritz Lothar Büttner: Das Haus des Rundfunks in Berlin . Berlin 1965, p. 33 .
  29. There are various details about the colors of the clinker bricks that surround the entire building. Bauernfeind's suggestion (matt brown) seems to be the most appropriate based on today's photographs. Berling says they were originally anthracite, bluish, shiny silver. See interview from 1988: Sönnichsen u. a. P. 258.
  30. Johann Friedrich Geist: The face of the house . In: Hanspeter Krüger and Sender Free Berlin (ed.): Hans Poelzig. House of Broadcasting . Berlin 1994, p. 54 .
  31. Martina Sönnichsen et al. : The reconstruction of the atrium in the "Haus des Rundfunks" in Berlin. An interview with Max Berling, a Poelzig student . In: Studienkreis Rundfunk und Geschichte . tape 14 , no. 3 , 1988, pp. 263 ( rundfunkundgeschichte.de [PDF]).
  32. Wolfgang Bauernfeind: Soundtracks. The House of Broadcasting in Berlin . Berlin 2010, p. 27 .
  33. ^ A. Wedemeyer: House of radio in Berlin . In: Deutsche Bauzeitung . tape 65 , no. 31/32 , 1931, pp. 193 .
  34. ^ MO: The New Broadcasting House. Hans Poelzig's building at Reichskanzlerplatz . In: Vossische Zeitung . No. 5 , January 23, 1931, p. 5 .
  35. ^ Fritz Lothar Büttner:. Berlin 1965: The House of Broadcasting . Berlin 1965, p. 45-46 .
  36. ^ Fritz Lothar Büttner: Das Haus des Rundfunks . Berlin 1965, p. 46-47 .
  37. ^ Marie-Luise Kreuter: Das Haus des Rundfunks. Masurenallee 8-14 . In: Andreas Hoffmann et al. (Ed.): Geschistorlandschaft Berlin; Places and events . tape 1 Charlottenburg, part 2 The New West. Berlin 1985, p. 77 .
  38. ^ Günther Kowalke: The "House of Broadcasting" 1931 to 1945 . In: Series of publications on radio history . tape 24 . Dessau-Roßlau 2016, p. 8-9 .
  39. ^ A b Karl-Hermann Zehm: The "House of Broadcasting" in Masurenallee. Architectural history and fate of an architectural monument from the 1920s . In: Wolfgang Ribbe (ed.): From the residence to the city. 275 years of Charlottenburg . Berlin 1980, p. 483 .
  40. ^ Karl-Hermann Zehm: The "House of Broadcasting" in Masurenallee. Architectural history and fate of an architectural monument from the 1920s . In: Wolfgang Ribbe (ed.): From the residence to the city. 275 years of Charlottenburg . Berlin 1980, p. 481-482 .
  41. ^ A b Fritz Lothar Büttner: Das Haus des Rundfunks . Berlin 1965, p. 41 .
  42. ^ Werner Hegemann: The Berlin building exhibition . In: Wasmuth's monthly magazine for architecture and urban development . tape 15 , no. 5 , 1931, pp. 198 .
  43. ^ Günther Kowalke: The "House of Broadcasting" 1931 to 1945 . In: Series of publications on radio history . tape 24 . Dessau-Roßlau 2016, p. 24-25 .