Heinrich Roeder

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Heinrich Röder (born April 14, 1897 in Barmen , † September 25, 1954 in Wuppertal ) was a German architect , painter and sculptor .


Heinrich Röder's father was the building contractor Heinrich Röder senior.

From 1911 to 1914, Röder completed an apprenticeship as an architect, which was accompanied by three years of office and bricklaying work. From 1914 to 1915 he attended the arts and crafts school in Barmen with Gustav Wiethüchter . From 1916 to 1918 he participated in the First World War . Until 1920 he studied at the building trade school in Barmen. From 1920 to 1926 he was employed as an architect in Mengeringhausen / Waldeck, Bochum and Düsseldorf. In 1926 he started his own business as an architect in Barmen. Construction work followed at home and abroad, town and country houses, interior design and bridge construction, hotel and residential complexes, the latter partly with building sculptures by Carl Moritz Schreiner and Ernst Hahn , a member of the Bergische Kunstgenossenschaft , which belonged to Heinrich Röder's circle of friends. Around 1930 Hahn made sculptures for Heinrich Röder's buildings on Wilkhausstrasse and Windhornstrasse in Barmen, some of which are still there.

From 1928 Röder worked as a sculptor, graphic artist and painter. Since 1929 the member Röder has participated in various exhibitions of the Wupperkreis , in which “the human being and his spiritual existence were the focus”. In 1932 a larger exhibition of his sculptural work followed in the Barmer Hall of Fame . During the time of National Socialism he was not able to do any public artistic work in Germany.

In 1934 he was engaged in hotel construction in Italy, as a sculptor he ran his own studio in Chiavari . From 1939 to 1945 he devoted himself to building bridges, mainly in Lorraine, road and river bridges over the Saar, Moselle, Rur, over the autobahn and over the Ruhr near Hattingen. In 1943 his studio and many of his works were destroyed by the war. From 1945 he built other residential buildings and made architectural sculptures, portrait busts and figurative sculptures as a sculptor. Heinrich Röder also emerged as a lecturer at the Adult Education Center in Wuppertal after the Second World War . He also headed the anthroposophical "Working Group for Artistic Education Wuppertal" founded in 1947 . Among other things, he developed "series" - graphic, painterly metamorphoses of a motif, the structures of which change from realistic reproach (house, tree, mountain, star) to free associations. The painter, educator and student of Paul Klee , Paul Weißhuhn , entered into a closer relationship with Röder, whose working group Weißhuhn owed “decisive suggestions, especially Heinrich Röder himself”. He called Röder their "master". Weißhuhn wrote: "We experience art as a path to knowledge."

Heinrich Röder was also friends with Karl Otto Götz , a main representative of abstract art , who often stayed at Röder's during his visits to Wuppertal. The philosophy of Röder and Rudolf Steiner did not convince him, however. In 1950, Röder published an article about Götz in the magazine Das werk ( The artwork) , in which he refers to the "importance" "which he (Götz) rightly ascribes to the metamorphosis principle for design."

Röder was a member of the Association of German Architects .


As an artist:

Heinrich Röder made the bust, which was inaugurated on February 24, 1934 with a festive event in Wuppertal, in honor of the chemist and industrialist privy councilor Carl Duisberg . In preparation, Röder had visited Carl Duisberg several times in Leverkusen. The founder was the Association of Friends of the Oberrealschule , later the Carl Duisberg Gymnasium (CDG). The bust found its place near the chemistry hall in the school building on Diesterwegstrasse, later in the new building on Max-Planck-Strasse (school center east). For a long time there was a permanent exhibition on the namesake of the school, where the bust was also housed. On November 24, 1999, the bust was stolen by strangers. It was later seized by the police and returned to the CDG, but it was so damaged that it could no longer be exhibited.

In 1952, Röder designed the windows of the administration building of the former Schloemann AG in Düsseldorf with 39 panes based on the theme "The elementary nature of the plant". The glass cut was carried out by Hanns Model , Stuttgart. There is also the “phoenix”, a sculpture made of gray lava basalt on the garden side of the building, executed by Julius Haigis , Düsseldorf. The sandstone relief "The elements and the human" above the portal of the building was executed by Andreas Singer , Düsseldorf. The interior of the building included tapestries and murals, the latter no longer exist.

As an architect:
The following buildings were assigned to Heinrich Röder alone:

  • Wilkhausstrasse 29 in Wuppertal, for Heinrich Röder, 1925
  • Freiligrathstrasse in Wuppertal, for Walter Gonsberg, 1927
  • Schwanenstrasse 6 and 8 in Wuppertal, semi-detached house for Günsler and Schmock, 1927
  • Wilkhausstrasse 17 and 19 in Wuppertal, for Paul Seelig and Ewald Röder, 1928
  • To the sinkholes 68 (formerly In der Heide) in Wuppertal, for Eugen Hackländer, 1928
  • Wilkhausstrasse 52 in Wuppertal, for the painter Kurt Nantke , 1929
  • Hotel pension, Chiavari, Italy, for Hanns Westermann, 1933/34
  • Planning assistance under building officer Günther on the construction of the Wuppertal barracks , 1936
  • Königsberger Strasse 76 in Wuppertal, for H. Heinen, 1939
  • Buschenburg 60 in Wuppertal, for the painter Paul Weißhuhn, 1952/53

During his construction work in Wuppertal, Röder temporarily worked in different working groups.
The following buildings were built under the architects Heinrich Röder and Werner Strößer (Strösser), 1927–1929:

  • Föhrenstrasse 8 in Wuppertal, two-family house for Ernst Edelmann, 1928
  • Weddingenstrasse 8 in Wuppertal, for the chemist Fritz Steinberg, 1928/29
  • Wuppertal, various house types, two-storey two-family houses (= 138 apartments) for the building cooperative of war-disabled people, Reichsbund , 1927–1929
  • Horather Strasse 42-48 (today Zum Alten Zollhaus) in Wuppertal, 1927/28
  • Wilkhausstrasse 14-20, 22 and 24, 30 and 32, 34 and 36, 42 and 44, 46 and 50 in Wuppertal, 1927/28
  • Windhornstrasse 2 and 4, 6, (8), 10–12 in Wuppertal, 1927/28
  • On the Brahm 1 and 3, 2–12, 14 and 16 in Wuppertal, 1927/28
  • Hatzfelder Straße / Liebigstraße / In der Heide (today to the sinkholes 54 and 56) in Wuppertal and Schwelm , 1927/28

The following buildings were built under the Röder and Büsse architectural association, 1935–1938:

  • Dorner Weg 49 in Wuppertal, for the lawyer Erich Hertmanni, 1935
  • Dorner Weg 45 in Wuppertal, for Werner Hahn, 1937/38
  • Mackensenstrasse 48 (today Goerdelerstrasse) in Wuppertal, for the district judge Peter Hucklenbroich, 1938
  • Am Dausendbusch 23 in Wuppertal, for Franz Klauser, 1938
  • Bockmühle 8 in Wuppertal, factory hall of the company Robert Zinn, Engels & Co. (metal goods factory, metal and cold rolling mill), 1938
  • Hermannshöhe barracks, Parkstrasse and Lichtscheid, 1937/38

The following buildings were built by the Röder, Büsse and Halbach architects in 1938/39:

The following buildings were built under the architects' association Röder, Büsse and Karstein, 1938/39:

  • Otto-Hausmann-Ring 192–210 and 220–240 in Wuppertal, for the Gemeinnützige Kleinwohnungsbau GmbH, 1938/39
  • Düsseldorfer Strasse 8–28 in Wuppertal, for the non-profit small housing construction GmbH, 1938/39


  • Heinrich Röder: “From motif to composition.” Excerpt from Karl Otto Götz's invoice primer . Artwork No. 8–9, Baden-Baden 1950.


  • Ruth Meyer-Kahrweg : Monuments, fountains and sculptures in Wuppertal (biographies of the participating artists) , Born-Verlag, Wuppertal 1991, ISBN 3-87093-058-6 , pp. 55, 127
  • Ruth Meyer-Kahrweg: Architects, civil engineers, builders, property developers and their buildings in Wuppertal. Pies Verlag , Sprockhövel 2003, ISBN 3-928441-52-3 , pp. 420-424

Web links

  • Entry in the historical register of architects: "Robben - Roloff" → online

Individual evidence

  1. a b Manfred Krüger : The Goetheanum. Volume 72, General Anthroposophical Society , Dornach (Switzerland) 1922, p. 471 → online
  2. a b c d e f g Ruth Meyer-Kahrweg : Monuments, fountains and sculptures in Wuppertal (biographies of the participating artists) , Born-Verlag, Wuppertal 1991, ISBN 3-87093-058-6 , pp. 55, 127
  3. Ulrike Becks-Malorny: The art association in Barmen 1866-1946. Civil patronage between the German Empire and National Socialism. Born-Verlag, Wuppertal 1992, p. 70
  4. a b c d e f g Ruth Meyer-Kahrweg: Architects, civil engineers, builders, property developers and their buildings in Wuppertal. Pies Verlag, Sprockhövel 2003, ISBN 3-928441-52-3 , pp. 420-424
  5. ^ A b Karl Otto Götz : Memories: 1945–1959, with a selection of works from 1946–1959. Rimbaud 1993, 674S. → online
  6. a b Christa Lichtenstern: Metamorphosis. From myth to process thinking. Ovid reception. Surrealistic aesthetic. Transformation theme of post-war art. Wiley-VCH Verlag, 1992, ISBN 3-527-17764-7 , 425S. → online
  7. a b Heinrich Röder: From Motif to Composition. Extract of the invoice primer by Karl Otto Götz . In: The artwork No. 8–9, Baden-Baden 1950; quoted in: Bibliography Karl Otto Götzonline
  8. ^ Jan Niko Kirschbaum: Carl Duisberg bust. June 19, 2013 → online