Cologne Werkbund exhibition

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External website

Poster for the exhibition of the Deutscher Werkbund in Cologne in 1914. Design: Peter Behrens ; Lithography / stone printing : A. Molling & Comp.
Poster by Fritz Helmuth Ehmcke for the Cologne Werkbund exhibition in 1914 in Hohenhof

The big Cologne Werkbund exhibition of 1914 was the first exhibition of the German Werkbund (DWB) founded in 1907 . The exhibition was located on the right bank of the Rhine on Deutz, north of the Deutz train station and across from Cologne's old town with a view of the cathedral; it comprised an area of ​​200,000 m² (today the Cologne Exhibition Center and Rheinpark ). The presentation began on May 16, 1914 and ended prematurely on August 6, 1914 because of the start of the First World War . Despite the predominantly German exhibitors, art historians assign the DWB exhibition the status of a world exhibition . 

history

Five years after its founding, the German Werkbund decided to present its goals, tasks and achievements publicly in an exhibition. The then 36-year-old Konrad Adenauer - Werkbund member and at that time First Alderman of the City of Cologne - managed to bring the exhibition to Cologne. In addition to Konrad Adenauer , the driving force behind this exhibition was Carl Rehorst , the head of the Cologne Department for Construction and local representative of the Werkbund for the Cologne district. Rehorst designed and implemented the overall site plan for the German Werkbund exhibition in Cologne in 1914.

The planning of the exhibition began in 1912. A staff of 115 employees from Cologne administration and politics prepared the exhibition. The city of Cologne invested an astronomical sum of 5 million gold marks for the time and became internationally known with the Cologne Werkbund exhibition. Further sponsors of the exhibition were Cologne's Lord Mayor Max Wallraf and the Hagen entrepreneur, art patron and main initiator Karl Ernst Osthaus .

On May 16, 1914, Henry van de Velde opened the exhibition "in the presence of some Prussian ministers, many politicians and notables from Cologne, the Rhine Province and the Reich". The exhibition grounds comprised more than 50 exemplary buildings, the appearance, use, equipment, furnishings and gardens of which were intended to present the general public with exemplary examples of contemporary, modern design. The main hall of Theodor Fischer possessed solely by 242 showrooms. Individual subject areas were selected in order to receive a separate representation in their own buildings, such as the House of Colors ( Hermann Muthesius ), the transport hall ( Hugo Eberhardt ), tea house ( Wilhelm Kreis ), main café ( Adelbert Niemeyer and Hermann Haas ), Beer hall with terraces ( Bruno Paul ), wine house (Bruno Paul), house of the woman with garden (Margarete Knüppelholz-Roeser), Werkbund-Theater (Henry van de Velde).

Hohenzollern Bridge , 1912, with a view of the Deutz bank of the Rhine

In addition to the Hohenzollern Bridge , the exhibition grounds could also be reached by ship via two piers: One was in front of the music pavilion on the central green square in front of the large main hall ; the other further downstream at the small farmstead of the New Lower Rhine Village. An amusement park at the right end of the Deutz area should also interest laypeople in the exhibition.

The German architect Walter Gropius designed a modern factory hall, the Werkbundfabrik , where he could fall back on his experience in building the Fagus factory .

The Austrian Werkbund exhibited together with the Bohemian Werkbund in the Austrian House built by Josef Hoffmann , whose inner courtyard was designed by Oskar Strnad . In the "Hamburg area" was shown the work of the professors and students of the new school of applied arts Hamburg - today University of Fine Arts Hamburg (HFBK) Lerchenfeld. The large clear glass window by Carl Otto Czeschka was presented in Cologne - before it was installed in Hamburg (in the foyer).

The exhibition was supposed to last until the end of October, but ended prematurely on August 6, 1914 after the beginning of the First World War . With the exception of one structure, all exhibition buildings and pavilions were gradually demolished. Despite general regret, it remains unclear to this day who drove the demolition that began quickly. Although the exhibition area and its facilities had been used by the German Army as a troop deployment area for various purposes, for reasons that remained unknown, the demolition was to be carried out and completed during the war. This insistence on the contractual agreement later even took precedence over the billeted military. Only the amusement park in what would later become the Rheinpark survived the war.

A follow-up exhibition took place in Stuttgart-Weißenhof in 1927 . Unlike in Cologne, the model houses in Stuttgart remained in order to rent them out and continue to use them after the end of the exhibition.

According to Adenauer's plans, the second Cologne Werkbund exhibition was to follow 10 years later, but was canceled in 1932 as it could not be financed. The third Werkbund exhibition then took place in Cologne after the end of the war in 1949 under the title: “Die Gute Form” and “Neues Wohnen”.

Dispute over goals

One of the goals of the Werkbund members was not only to design “buildings and consumer goods” of high quality, but also the associated reform of working and living conditions, preferably of workers. For this purpose, a model settlement, the so-called "Niederrheinische Dorf", was built, furnished and equipped with exhibition objects designed by artists. For the bourgeoisie there was a summer house as a detachable wooden house and a model villa with upscale interior fittings and furniture - designed by Richard Riemerschmid - which were ahead of their time, but were received with mocking distance by the visitors. ( Source? )

Above all, there was a dispute over direction at the Cologne exhibition, which came to a head in Muthesius' speech and van de Velde's answer. It was about the conflict between typification and individualism, core issues that preoccupied the Werkbund from the start. Already in the preparation phase, the influence of the group around Muthesius dominated over the artistically oriented circle around Osthaus. The exhibition committee preferred to appoint “architects [.] Who erected less unusual and experimental buildings than conventional exhibition halls.” In addition, exhibitors without Werkbund membership were also admitted, “in principle all manufacturers whose products were economically important”.

The conflict occurred between the representatives of the tradition of handicrafts (Van de Velde, Osthaus, Bruno Taut , Peter Behrens ) and the modern (Muthesius, Josef Hoffmann ). The struggle against ornament in particular was seen by the modernists as an increasingly important criterion for modernity and thus as proof of quality in itself. The handicraft traditionalists, on the other hand, saw the quality of the objects as a unity of aesthetic form and functional function. The problem that persists in both camps to this day, not only in the German Werkbund, is the implementation of this basic requirement in mechanical or industrial production.

  • Glass house by Bruno Taut , glass blocks as a spiral staircase.
    Exhibition of the German glass industry

  • Water cascade from the mezzanine floor of the glass pavilion, glass mosaics by Puhl & Wagner

  • Austrian House , 1914, ( Hoffmann Pavilion), access to the inner courtyard in the middle

  • Open inner courtyard ( patio ) of the Austrian House with a fountain by Oskar Strnad , 1914

  • Exhibition of the Bohemian Werkbund in the Austrian House , 1914

  • Youth hall , 1914, by Schreiterer & Below , today a listed youth hall in Essen-Schonnebeck

Exhibitors

External website

- Alphabetical -

The following Werkbund architects, artists and designers exhibited in 1914:

Bremen-Oldenburg House 1914 by Abbehusen & Blendermann u. a. with coffee restaurant from Kaffee-HAG Bremen from Runge & Scotland
Decorative window by Carl Otto Czeschka in the Hamburg area , later in the Hamburg University of Fine Arts , 1914, before that sculpture "Elbe"
  • In the Hamburg area, Carl Otto Czeschka showed the large decorative and clear glass window Beauty as a message for the new School of Applied Arts in Hamburg, today Hamburg University of Fine Arts ,
  • Hugo Eberhardt the transport hall ,
  • August Endell managed and designed the department for wallpaper, linoleum and lighting fixtures in the main hall , showed a dining car with kitchen and sideboard in the traffic hall ,
  • Eduard Endler the catholic church in the main hall
  • Alfred Fischer the Essen house in the Niederheinischen Dorf, the Heinersdorf house and a dining room in the main hall, room art department
  • Theodor Fischer and Frhr. von Schmidt the main hall   with the Goethe monument for Chicago by Hermann Hahn in the vestibule
  • Hermine Goossens two monumental portals in blue ceramic for the woman's house
  • Walter Gropius a contemporary-modern model factory , a hall and a living room in the main hall, room art department, a sleeping car facility in the traffic hall
  • Hermann Haas the main café (with Adelbert Niemeyer), the pavilion of the company Villeroy & Boch Keramische Werke and the Wallerfanger stoneware
  • Max Heidrich designed the summer house , executed by the workshops Bernhard Stadler , Paderborn (detachable wooden house, patent from Siebels Holzhaus- und Barackenbau , Düsseldorf-Rath)
  • As a professor for interior design, Hans Heller designed the Hamburg area and the "Hall of the Hamburg School of Applied Arts"
  • Oswin Hempel the shopping street ,
  • Josef Hoffmann the Austrian House , in the main hall seating and interior design , room art department
  • Arthur Illies showed etchings
  • Anton Kling showed the wall painting
  • Wilhelm Kreis the tea house    and the representation room in the main hall, room art department
  • Carl Langhein showed a painting and that was for the space arrangement in the room Delmenhorst Linoleum Factory anchor responsible
  • Otto Linnemann showed several glass windows
Richard Luksch : Elbe , white granite
  • Richard Luksch showed sculptures, a. a. the "Elbe",
  • Lossow & Kühne the Saxon House , 
  • Oskar Menzel an altar in the Saxon House , in front of it a baptismal font from Schilling & Gräbner,
  • Georg Metzendorf the New Lower Rhine Village , 
  • Hermann Muthesius the house of colors   and the pavilion of the Hamburg-America line with Kaiser apartment on the express steamer › Bismarck ‹ , 
  • Adelbert Niemeyer the main café (with Hermann Haas) and a dining room in the main hall, room art department
  • Ludwig Paffendorf the Cologne house , the pavilion of the tobacco shop Alenfelder and the furnishing of the two-storey villa house of the exhibition
  • Bernhard Pankok a cupboard in the main hall
  • Bruno Paul the yellow house , the wine house with anteroom, reception, gentlemen's, dining room, garden room ; the dining room with dining room ; the beer hall with a large dining room ,
  • Friedrich Pützer the Protestant church with baptistery and sacristy in the main hall
  • Johan Thorn-Prikker designed the wall covering and stage framing for the chamber music hall of the new Hagen music hall , main hall
  • Richard Riemerschmid a living room in the main hall, room art department
  • Rudolf Rochga the 2nd class rail car compartment in the main hall, Württemberg area
  • Alfred Runge & Eduard Scotland the coffee restaurant of Kaffee-Handels-Aktiengesellschaft Bremen in the Bremen-Oldenburg house ,
  • Schreiterer & Below the youth hall in the New Lower Rhine Village (wooden construction that can be dismantled)
  • Karl Siebrecht Bahlsen's biscuit house , 
  • Oskar Strnad the court of the Austrian house
  • Bruno Taut the famous glass house ,
  • Heinrich Tessenow opened the room of the KK Kunstgewerbeschule in Vienna in the Austrian House with drafts and works carried out by the institution
  • Paul Ludwig Troost the dining room in the Bremen-Oldenburg house
  • Henry van de Velde the Werkbundtheater   and the "Henry van der Velde Weimar room: living room made of polished rosewood" in the main hall
  • Else Wenz-Vietor a tea room in the main hall, room art department

Literature (selection)

- chronological -

Exhibitions

  • 100 years of the German Werkbund exhibition. Cöln 1914 - Cologne 2014. Design Post arch hall, Cologne, May 16 - May 22, 2014.
  • L'esposizione del Werkbund a Colonia, maggio - agosto 1914: produione di pace in tempo di guerra. (The Werkbund exhibition in Cologne, May - August 1914: Peace production in times of war.) Central library of the Faculty of Architecture of the University of Rome - La Sapienza , Via Gramsci 53, the Goethe-Institut Italy, the German Foreign Ministry and the Galleria Embrice. 

Symposia

Web links

Commons : Cologne Werkbund exhibition  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d 100 years of the German Werkbund exhibition. Cöln 1914 - Cologne 2014. In: koelnarchitektur.de , 2014.
  2. ↑ a b c d e f g Christiane Heiser: "Original achievement, German style". The German Werkbund and its exhibitions. Attempt to reassess the Cologne Werkbund exhibition after 100 years. In: Portal Rheinische Geschichte , 2017.
  3. ↑ Sabine Oelze: Visionary Forms - 100 Years of the Werkbund Exhibition in Cologne. In: Deutsche Welle , May 16, 2014.
  4. ^ Wolfram Hagspiel : The development of the Cologne city building authorities (until 1945) and their contribution to building culture. In: Architektur Forum Rheinland eV (Hrsg.): Kölner Stadtbaumeister and the development of the municipal building authorities since 1821. Cologne City Museum 2007, ISBN 978-3-940042-03-3 , pp. 37–70, here p. 52.
  5. ^ Rainer-Berthold Schossig: First Werkbund exhibition. Craftsmanship versus industrial design. In: Deutschlandfunk , May 16, 2014.
  6. ^ Klaus Martinetz: 100 Years of the Werkbund Exhibition in Cologne. ( Memento from May 5, 2017 in the Internet Archive ). In: Rheinische ART , 2014, No. 5.
  7. ↑ Photos: Hermann Muthesius, The Color Show. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, pp. 177-178, digitized version of the ZLB .
  8. ↑ Photo: Fig. 173. Frau Knüppelholz-Roeser, Das Haus der Frau. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, p. 176, digitized version of the ZLB .
  9. ↑ Photo: ferry, in the background the Werkbund exhibition. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, p. 161, digitized version of the ZLB .
  10. ↑ a b Photos: Werkbundfabrik. Part of the illustration from pp. 226 to 249. In: Karin Wilhelm : Walter Gropius. Industrial architect , Vieweg, Wiesbaden / Braunschweig 1983, ISBN 3-528-08690-4 , (PDF; 33.24 MB).
  11. ↑ a b Peter Jessen: The German Werkbund Exhibition Cologne 1914 . German form in the war year. In: Deutscher Werkbund (Hrsg.): Yearbook of the German Werkbund . tape 1915 . F. Bruckmann A.-G., Munich 1915, p. 9 ff . ( uni-weimar.de ).
  12. ↑ a b Max Raphael : From the sense of touch in art. [= Exhibition space of the City of Hamburg at the German Werkbund Exhibition 1914] In German art and decoration ., Vol 19, Volume 35, October 1914 - March 1915, 1914/1915, pp 144-157, Digitalisat the Heidelberg University Library .
  13. ↑ a b Window by CO Czeschka in: From the sense of touch in art. In: German Art and Decoration , Vol. 19, Volume 35, October 1914 - March 1915, 1914/1915, p. 144, digitized version of the Heidelberg University Library.
  14. ↑ Photo: Decorative window by Carl Otto Czeschka in the entrance hall of the University of Fine Arts in Hamburg, Lerchenfeld. In: Wikimedia Commons , 2010.
  15. ^ Holdings: Werkbund exhibition from 1914. In: Historical archive of the city of Cologne .
  16. ↑ a b The Lower Rhenish Village at the German Werkbund exhibition in Cologne. In: German Art and Decoration , Vol. 18, 1914/1915, pp. 93–98, digitized version from Heidelberg University Library.
  17. ↑ a b Georg Metzendorf (ed.), The new Lower Rhine village at the German Werkbund exhibition in Cologne 1914 , Wasmuth, Berlin 1915.
  18. ↑ cf. Joan Campbell : The German Werkbund, 1907-1934 . Munich 1989, ISBN 3-423-04492-6 , p. 73.
  19. ↑ Robert Breuer : Type and Individuality. For the conference of the German Works Association, Cologne, 2. – 4. July 1914. In: German Art and Decoration , Vol. 18, Volume 34, April - September 1914, pp. 378–387, digitized version of the Heidelberg University Library.
  20. ^ Eugen Kalkschmidt : Mobilization in the arts and crafts. In: Decorative Art. An illustrated magazine for applied arts , vol. 18, October 1914, pp. 11–24, with illus. And 2 color photographs, digitized from the Bavarian State Library.
  21. ↑ Patrik Schumacher : The function of art and design in the economic process. Analysis of the coining phase using the example of the Deutscher Werkbund. In: patrikschumacher.com , 1985 - 1995: "Similar to the demand for quality, the demand for the appropriateness of everyday objects seems to be taken for granted [in the Deutscher Werkbund] to even have to be explicit."
  22. ↑ Video: Virtual tour of Taut's glass house. In: YouTube  / Duplicon , February 9, 2012, 0:56 min.
  23. ↑ Photo: Reconstruction of the glass colors in the Taut glass house. In: Bruno Taut's Glashaus made by Clemson Architecture students under Dr. Ufuk Ersoy , Clemson University , January 1, 2020, English.
  24. ↑ a b Photo: Fig. 114. Youth hall, courtyard view. Architects: Schreiterer & Below, Cologne , pp. 99–103, in: The youth hall of the Lower Rhine village, built by the Deutsche Barackenbaugesellschaft mbH, Cologne. By architects Schreiterer & Below , Cologne. In: Georg Metzendorf (ed.), The new Lower Rhine village at the German Werkbund exhibition in Cologne 1914 , Wasmuth, Berlin 1915, digitized version of the Heidelberg University Library.
  25. ↑ Anja Böttcher: Wanted: Photos and stories from 100 years of Schonnebeck youth hall. In: lokalkompass.de / essen-nord , March 27, 2015.
  26. ↑ Photo: Coffee restaurant in the Bremen-Oldenburger Haus 1914, in: digitalesammlungen.uni-weimar.de .
  27. ^ Ernst Schäll: Glass painting drafts by Friedrich Adler. The stained glass window "12 Tribes of Israel" in the synagogue of the German Werkbund Exhibition 1914 in Cologne. In: ggg-laupheim.de , October 4, 2019, accessed on July 5, 2020.
  28. ↑ Photos: Peter Behrens, Die Festhalle. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, pp. 174-175, digitized version of the ZLB .
  29. ↑ Photo: main hall, room for writing. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , p. 83, digitized version of the Bauhaus University Weimar .
  30. ↑ Photo: Fig. 180. Hugo Eberhardt, Die Verkehrshalle, entrance. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, p. 182, digitized version of the ZLB .
  31. ↑ Photos: Sideboard in August Endell's dining car, Berlin, etc. In: Peter Jessen, Die Deutsche Werkbund-Ausstellung Köln 1914 , pp. 134-138.
  32. ↑ Photos: Theodor Fischer, The main hall. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, pp. 167–168, digitized version of the ZLB .
  33. ↑ Photo: Sleeper furniture by Walter Gropius. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , p. 133.
  34. ↑ a b Carlo Severati (eds.), Documenta Cologne. L'Esposizione del Deutsche Werkbund a Colonia 1914 , preview in the Google book search.
  35. ↑ Picture gallery: Bauartikel-Fabrik A. Siebel. In: albert-gieseler.de , 2009.
  36. ↑ Photos: Design: Max Heidrich - Paderborn. "Dismountable summer house" Ausf .: Siebel, Düsseldorf-Rath. In: German Art and Decoration , 1915, Volume 36, pp. 71–73.
  37. ↑ Photo: Oswin Hempel's shopping street, Dresden. In: Peter Jessen, The German Werkbund exhibition Cologne 1914 , p. 142, digitized version of the Bauhaus University Weimar.
  38. ^ Berta Zuckerkandl : The Austrian House. At the German Werkbund exhibition, Cologne 1914. In: German Art and Decoration , Vol. 18, Volume 34, April - September 1914, pp. 348–373, digitized version from Heidelberg University Library.
  39. ↑ Photos: The tea house of Wilhelm Kreis, Düsseldorf. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , pp. 164–165, digitized version of the Bauhaus University Weimar.
  40. ↑ Photos: Wilhelm Kreis, Das Teehaus. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, pp. 182-185, digitized version of the ZLB .
  41. ↑ Photo: The sense of touch in art. In: German Art and Decoration , Volume 19, Volume 35, October 1914 - March 1915, 1914/1915, p. 14.6
  42. ↑ Photos: The Saxon House of Lossow & Kühne, Dresden. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , pp. 17–19, digitized version of the Bauhaus University Weimar.
  43. ^ Adolf Behne : The Saxon House at the German Werkbund exhibition in Cologne 1914. Art, taste and imitation. In: Kunstgewerbeblatt NF, Vol. 26, 1914/1915, Issue 8, May, pp. 141–144, digitized version of the Heidelberg University Library.
  44. ↑ Photo: Altar with baptismal font. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , p. 20, digitized version of the Bauhaus University Weimar.
  45. ↑ Carlo Severati (eds.), Documenta Cologne. L'Esposizione del Deutsche Werkbund a Colonia 1914 , preview in the Google book search.
  46. ↑ Photos: Pavilion of the Hamburg America Line Hermann Muthesius, Berlin. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , pp. 127–130, digitized version of the Bauhaus University Weimar.
  47. ↑ Carlo Severati (eds.), Documenta Cologne. L'Esposizione del Deutsche Werkbund a Colonia 1914 , preview in the Google book search.
  48. ^ Photo: Haupt-Café, Cologne, Deutz, German Werkbund exhibition. In: Photo archive Photo Marburg .
  49. ^ Fritz Stahl : Bruno Paul's "Yellow House". In: Decorative Art , vol. 18, October 1914, pp. 1–26.
  50. ↑ Photos: The Yellow House. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , 1915, pp. 21–29, digitized version of the Bauhaus University Weimar.
  51. ^ Eugen Kalkschmidt : Mobilization in the arts and crafts. In: Decorative Art. An illustrated magazine for applied arts , vol. 18, October 1914, pp. 11–24, with illus. And 2 color photographs, digitized from the Bavarian State Library.
  52. ↑ Photos: Bruno Paul's Wine House , Berlin. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , pp. 154–158.
  53. ↑ Photos: The beer hall by Bruno Paul, Berlin. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , pp. 159–160.
  54. ↑ Photos: Coffee restaurant of the Bremen coffee trading company. In: Peter Jessen, The German Werkbund exhibition Cologne 1914 , p. 16, digitized version of the Bauhaus University Weimar.
  55. ↑ Carlo Severati (eds.), Documenta Cologne. L'Esposizione del Deutsche Werkbund a Colonia 1914 , preview in the Google book search.
  56. ↑ Photos: Design: Architect K. Siebrecht - Hanover. Leibnitz biscuit pavilion. DWB exhibition - Cologne. In: German Art and Decoration , Vol. 18, Volume 34, April - September 1914, pp. 440–442.
  57. ↑ Photos: Bruno Taut's glass house, Berlin. In: In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , pp. 77–82, digitized version of the Bauhaus University Weimar.
  58. ^ Photo: Bremen-Oldenburger Haus, corner from Paul Ludwig Troost's dining room. In: Peter Jessen, The German Werkbund Exhibition Cologne 1914 , p. 15, digitized version of the Bauhaus University Weimar.
  59. ↑ Photos: Werkbundtheater. In: Photo archive Photo Marburg .
  60. ↑ Photos: Henry van de Velde, Das Theater. In: Wasmuth's monthly magazine for architecture and urban development , 1914/1915, Volume 1, Issue 4, April, pp. 182–194, digitized version of the ZLB .
  61. ↑ Program: Werkbund exhibition in Cologne • 100 Years • 2014. In: aracneeditrice.it , 2016, Italian, (PDF; 1.52 MB).
  62. ↑ a b Germania 1914 tra arte, artigianato e industria. Eventi in occasione del centenario della Mostra del Werkbund di Colonia. In: professionearchitetto.it , 2014, (Italian).