List of architectural monuments in Viersen (A – F)

The list of architectural monuments in Viersen (A – F) contains the listed buildings in the area of ​​the city of Viersen in the district of Viersen in North Rhine-Westphalia (as of September 2011). These monuments are entered in the list of monuments of the city of Viersen; The basis for the admission is the Monument Protection Act North Rhine-Westphalia (DSchG NRW).

→ Main article : List of architectural monuments in Viersen

image	designation	location	description	construction time	Registered since	Monument number
more pictures	Old water tower Viersen	Viersen Aachener Weg 21 map	The water tower on Aachener Weg, visible from afar, is an important landmark for Viersen. The 27.5 m high round brick building with a flat roof and the associated auxiliary building was built in 1890. Strictly divided into eight window axes, with brick pilaster strips and plaster as well as horizontal cornices, the tower ends at the top with a balustrade. The three-storey base zone below the central horizontal cornice houses living rooms around the spiral staircase that climbs up around the inner wall cylinder. In this living area there are three windows - renewed during the restoration in 1983/84 - one above the other, the middle of which is accentuated with plaster walls and simple decorations. Above that, behind narrow-height, still original steel profile windows, the container zone begins with the approx. 500 m³ wrought-iron Intze reservoir. With the development of a systematic central water supply for the rapidly growing cities in Germany at the end of the 1970s, a new type of building emerged, the water tower. The so-called “Intze container”, a type of water tower with a wrought-iron reservoir, the bottom of which is made up of spherical and conical segments, acquired special significance in this context was composed. This shape was structurally very favorable and leads to the tower shape, which is executed hundreds of times, with a deliberate, encased and steeply protruding water container and the conically tapering tower shaft. Very rarely, this Intze container has also been designed as a cylindrical tower, with a cylinder of smaller diameter carrying the wrought iron container, while a second, larger masonry cylinder enclosed the container and the inner masonry. The Viersener water tower is such a rare type of water tower. It represents the special technical form of a widespread building type and is therefore of great importance for the development of water tower architecture. For scientific, in particular for landscape-defining and here in particular technical-historical reasons, the maintenance and use of the water tower according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia is in the public interest.	1890	July 10, 1985	49
	Old Dülken water tower	Dülken Albert-Einstein-Straße 1a map	Old Dülken water tower	1889	05th Sep 1989	220
	Devotion Chapel Viersen Hamm	Viersen Alte Bachstrasse map	The chapel on Alte Bachstrasse in Viersen-Hamm was built in 1911 according to a design by the city architect Eugen Frielingsdorf (completed perhaps not until 1913), at the instigation of the parish of St. Josef and a committee specially formed for this purpose. The land was made available by the farmer Wellers. Because of the efforts to separate a separate parish in the growing district of Hamm, the parish had to assure the city that the neo-baroque chapel with its porch (triangular gable above columns) should not be used for worship purposes, but only as a "holy house". The furnishings, including several figures of saints, were donated by v. a. Kommerzienrat Josef Kaiser and wife as well as farmers from the Donk. On its hipped roof, the chapel had its own roof turret with a bell that rang in devotion to the deceased of the section. The parish processions also included the chapel. In 1926/27 a memorial for those who died in the First World War was set up next to the chapel . In the early 1960s, the chapel was in dire need of renovation. Together with the newly established parish of St. Marien, the local associations then decided to completely redesign this, which was implemented in 1962. The exterior was radically changed, and the memorial that was originally located next to the chapel was integrated into the chapel, giving up the old furnishings. The renovation in 1962 fundamentally changed the appearance of the chapel. The porch porch was demolished without replacement and a new façade in "Expressionist" forms, as they were actually typical for the 1920s, was added to the chapel room. Formative are now v. a. the pure pointed arch portal (i.e. the apexes of the arch sit directly on the ground) and the sides that are initially inclined inwards from the floor, the line of which is then briefly outwards again below the eaves. The portal and window walls are left facing the clinker brick, the facade itself and the entire structure are lightly plastered. Behind the facade, the core of the old building from 1911 was retained, but it was given a new roof (saddle roof, hipped over the three-sided choir) and new, also triangular, ogival window openings on the sides and on the choir. The roof turret has been removed. The front wall of the choir is not windowed through, it forms the closed background for the memorial inside, a masonry altar table, above which a natural stone with a carved cross rises, with the inscription “They died for you”. As a devotion chapel and since the 1960s until today as a memorial for the fallen of the two world wars, the chapel at Alte Bachstraße 1 in Viersen-Hamm is important for Viersen. For the historical reasons described, there is a public interest in their preservation and use. In terms of architectural history, it is also of interest how typical expressionist forms of the 1920s, mediated by similar stylistic tendencies of the economic boom, were taken up in the 1962 redesign. This was done in a very high quality, so that the chapel can also be described as worthy of preservation in terms of design. The memorial stone inside itself has no artistic intrinsic value, but is worth preserving as an integral part of the chapel use that was redefined in 1962. The chapel on Alte Bachstrasse in Viersen-Hamm is a monument within the meaning of Section 2 of the NRW Monument Protection Act. It is important for Viersen. Preservation and use are in the public interest for scientific reasons, here for reasons of local history and architecture.	1911	Apr 30, 2009	488
more pictures	Catholic parish church of St. Cornelius	Dülken Alter Markt 1 card	The St. Cornelius Church is a brick building with neo-Gothic style elements. The floor plan is divided by a nave with five bays and a non-protruding transept with a choir bay each in the width of the three central aisles and a straight end, which is due to the lack of space. The spatial restriction also explains the relatively large extension of the church. The three middle aisles form a mighty hall with groined vaults over bundle pillars. The two outer naves are very low and basilically attached behind low round pillars. High tracery windows in the outer walls structure each yoke. The high west tower has a high vaulted entrance and side chapels. It goes over three floors, recognizable from the outside by three pointed arches or acoustic arcades on each side, and ends in a slate helmet. The outer aisles are covered by pent roofs, over which buttresses rise. Buttress arches support the outer walls of the main nave, each ending in five gables with gable roofs. The north transept facade and the west portal in the tower are particularly splendid. Above the portal entrance of the north transept a Mother of God stands on a central pillar, below her angels kneel with the city coat of arms, and two other angels pray above her. Above the west portal of the tower there is a tyrannical relief, which depicts Jesus with his disciples. Saint Peter and Saint Cornelius are carved to the right and left, standing separately on consoles. On the south-east side of the choir is the Marienkapelle, which was built according to a plan by Heinrich Wiethase. The Marienkapelle originally built in 1625 elsewhere in Dülken is demolished. Carefully executed building sculptures stand above the portal of the Marienkapelle. B. an Annunciation and a Pieta. The stained glass windows of St. Cornelius Church are all renewed after the last world war.	1871-1908	June 20, 1989	196
	Marian column	Dülken Alter Markt 1 card	The Marian column was erected in 1838 instead of a small chapel that had existed for centuries and was demolished in 1838. The original location of the column is in a small complex at the junction of Süchtelner Strasse and Viersener Strasse, surrounded by a protective grille. The column was designed by Vincent Statz, master builder in Cologne, the figure by Peter Fuchs. On October 21, 1968, the Mariensäule was moved into the green space in front of the Lunapark due to a road correction. On a two-tier substructure, the Marian column made of sandstone rises up with an octagonal base in which the year 1838 is engraved. Another inscription, of which faint traces of color can still be seen, can no longer be deciphered. The also octagonal column shaft towering above it is formed from slim pointed arches with inscribed three-pass shapes. This is followed by a smaller, again eight-sided structure, which repeats the design of the lower one. A wreath with finial motifs closes the column at the top. The crowning statue of Mary made of sandstone, depicted in a praying posture, stands on a hemisphere. She is wrapped in a long robe. The formerly colored design of the figure, as well as that of the rest of the column, was removed in 1948 in favor of the natural sandstone color. The beginning of the erection of Marian columns in Italy at the time of the Renaissance around 1487. In the Baroque period, due to a widespread Marian popular piety, there was an increased installation of Marian columns. In the age of the Enlightenment, the devotion to Mary and the erection of the pillars of Mary experienced a renewed upswing through the proclamation of the dogma of the Immaculate Conception of Mary by Pope Pius IX in 1834. At the same time, the Dülken Marian column was erected, which, as a symbol of its era, conveys both religious and political content. On October 21, 2001, a replica of the Marian column will be inaugurated at its historical location. The original sandstone figure was erected in the entrance area of ​​the parish church of St. Cornelius in 2002 to protect it from harmful weather conditions and to prevent further stone decay. For scientific, in particular religious-historical reasons, the preservation and use of the Marian Column (original) are in the public interest in accordance with Section 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1838	0Feb 1, 1991	253
	Residential and commercial building	Dülken Alter Markt 2	The building in an exposed location, in the immediate vicinity of the church, is a three-story corner house facing Börsenstrasse. The brick plaster facade with historicizing decorative shapes is divided into 3 to 1 to 4 axes, whereby the corner axis with gable and a balcony is particularly emphasized. The upper floor, originally exposed to brick, was painted like the rest of the facade. The ground floor facade has been changed by installing larger windows. However, the entrances to the apartments and shops with the pilaster strips blinded to the side have been preserved. The apartment entrance door. with carving, has been preserved in its original state. The original windows have been replaced by modern aluminum windows. A wide cornice, supported on consoles, leads over to the roof. The interior of the house has largely been changed through modernization. There is still the old wooden staircase with a covered railing as well as some doors with frames and panels. The basement floor is paved with bricks and covered by a cap construction. The representative house as a focal point in the center of Dülken is also of urban significance due to its location on the market square. It also presents the type of contemporary, state-owned residential and commercial building, which today reveals the historic cityscape through its facade. For scientific, in particular urban planning and architectural-historical reasons, the maintenance and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1887	Sep 14 1988	162
	Residential and commercial building	Dülken Alter Markt 4 map	The two-window house built on the Alter Markt in Dülken in the last third of the 19th century has three floors. In 1890 the previous shop window systems of the residential and commercial building were renewed. The entrance has been moved to the center using cast iron columns and T-beams. At the same time, the half-timbered building received a plastered facade. When it was converted into a restaurant in 1892, the building was renovated. The entrance was moved laterally again, namely below the left window axis. The door and window on the first floor now step back behind the supporting structure of the cast columns. Inside, the old wooden stairs and the floors were renewed. The deep cellar has capped ceilings. A valley frieze and a stucco rosette have been preserved on the first floor. The plastered facade with historicizing decorative shapes was retained. The symmetry of the four narrow-high windows is emphasized vertically by the frame with bosses on both sides of the front (until at least 1964 up to the basement plinth!) On the two upper floors. The plaster fields between the windows are geometrically structured. The windows in the attic have finishing stones. The plaster decorations on the roofing of the upper floor windows go directly into those of the areas below the windows above with rod and plate motifs. The eaves house, which runs diagonally to the street to the rear and then kinks (later extension), apparently had to adapt to older structures. Its old internal staircase was in the middle of the narrow building. The original plastered facade from 1890 in its historicized decorative forms with stucco structure, window divisions and design of the ground floor contribute significantly to the unmistakability of the street space, especially since both neighboring buildings have been significantly changed in their facade. For scientific, in particular urban planning, space-defining, location and architectural-historical reasons, preservation and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	End of the 19th century	Apr 10, 1982	37
	Residential and commercial building	Dülken Alter Markt 6 card	The five-axis typical residential and commercial building built on the Alter Markt in Dülken at the end of the 19th century has three storeys. After a later change to the ground floor, the original design in the form of cast iron supports has been preserved. The plastered facade with neo-renaissance decoration forms is separated from the lower shop area by a horizontal cornice and sill. The window openings above are alternately covered with round and flat triangular gables, with the windows on the upper floor being overlaid by a beam. The windows were replaced by new plastic windows. The formation of the highly structured cornice is remarkable. Here the consoles are designed as women's heads. Inside the building, the ceilings are designed with valley friezes in individual rooms. The old wooden stairs have been renewed. The storage space is exceptionally low. The height was probably due to the adaptation to the roof of the neighboring building. The basement is spanned by cap ceilings. The stylish original plastered facade of the house is to be regarded as an essential identification feature of the old market and thus contributes to the unmistakability of the street space. For scientific, in particular urban planning, space-defining, location and architectural-historical reasons, preservation and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1888	0May 5, 1986	95
	Residential building	Dülken Alter Markt 7 map	The corner house, which was erected in 1888 after a previous building was demolished, has three floors. In relation to its corner, it is built with a 3: 6 axis structure (Blauensteinstrasse). In a corner solution typical for the time of construction, the corner of the house is sloped towards the intersection in the width of a window axis and provided with a two-storey bay window. The plastered facade of the residential and commercial building bears decorative forms of the Neo-Renaissance, which are mainly shown in the semicircular window canopies with rocaille on the upper floor and those of the attic with plate motifs. A strong horizontal structure of the building, held in ashlar plaster on the ground floor, is achieved by the main, window sill and the strong cornice. Structural changes were made in the courtyard at the end of the 20th century, including in 1906 and then in 1945 when the window system on the ground floor facade was changed. In 1982 a renovation and conversion took place. The upper floors were given apartments (stucco remained under the suspended ceilings) and a restaurant was built on the ground floor. The renewed windows were based on the old model. The courtyard entrance doors remained. The skylight on the entrance door has been renewed. The stucco motif with grapes is preserved in the side entrance. The stained glass skylight of this entrance is still there. The old wooden staircase with z. T. turned railing exists, the floorboards are now covered. The large hall on the 1st floor, held by 2 cast supports, has 6 stucco rosettes, hidden by the now suspended ceilings. A vaulted cellar extends towards the side street (approx. 4.50 m wide, 2.25 m high, 4-5 m long). The representative building in an accentuated corner position has a significant impact on the street space with its original external appearance, namely its plastered facade with neo-Raisist decorative shapes, its window openings and divisions. As a focal point in the center of Dülken, it can also be seen in the urban context. Instead of an older development, the contemporary building type of the stately residential and commercial building with a more urban character, which today supports the historic cityscape, appeared. For scientific, in particular architectural and art-historical reasons, as well as urban planning and townscape-shaping reasons, the maintenance and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1888	26th Mar 1985	31
	former Latin school / gym	Viersen Am Alten Gymnasium 4 / Wilhelmstr. 12 map	It is a two-winged brick building with two floors above a windowed basement. Still recognizable in old photos, the enclosure wall, which no longer exists today, is set back from Wilhelmstrasse. Some dormers and ornamented chimney heads are also missing on the hipped roof. The facades on Wilhelmstrasse and on the city side are relatively well structured by color (yellow or dark) contrasting pilaster strips, pointed arch eaves friezes, brick strips and cornices, lintels, corner observatories and gabled central axes. This extends to the preserved historical mortar joints, which are designed as small bulges. The window openings are cut into the wall with segments. The steep gable surfaces of the central axes are markedly filled with rising pointed arches, the middle one lancet-like, and filled with a rectangular acroter. The facade facing Wilhelmstrasse opens up in ten window axes, the two in the middle as a gabled central emphasis and with a segmental arched entrance on the ground floor. A double tooth frieze ("German band") separates the first and second floors. In the gable field there is a plate with the city coat of arms and the year 1876. The side facade is divided into twelve window axes, of which the middle six have been moved together to form pairs of two accompanied by pilaster strips. Instead of the coat of arms, the gable has a small round arched window. The rear wall surfaces are, as usual, simple, essentially without any ornamental structure. Windows and entrance doors have been renewed, the windows show an appropriate cross-storey division. Inside, the main features of the original floor plan with a central aisle and a rear staircase at the angle of the two wings have been preserved. The stairwell is open to the side and to the corridors in pointed arches. Additions / outbuildings In 1952/53, when viewed from Wilhelmstraße, the school received an extension on the right that was pulled forward to the street for scientific rooms and a caretaker's apartment (architect: August Reiners, Viersen). This is without monument value. A single-storey gym with a flat gable roof is located on the rear site. As an assembly hall, it is essentially part of the original building or will be built a little later. The present condition is mainly due to a renovation in 1930 (Freihoff & Rutsch construction company). The facade facing the courtyard is simply but finely structured by pilaster strips and tall rectangular windows. The two-winged entrance door with horizontally subdivided window inserts and the characteristic, small-scale grooved windows probably originate from the renovation in 1930. The well-designed gym was a functional part of the school and has been preserved as a historic building. It is therefore part of the former grammar school Wilhelmstrasse monument, including its low sanitary extension. Monument value: Wilhelmstrasse represents the development of Viersen as a rapidly growing city in the second half of the 19th century in terms of its course and structure. In terms of urban planning, the straight streets on both sides of the main street with their large number of historical buildings are an essential characteristic of Viersen. The basis for this is the town plan from 1858/60, to which Wilhelmstrasse also goes back. Based on the contemporary plans that have been preserved, the development of the street was essentially created in the 1870s. A large part of these buildings is still preserved today and gives the street a very vivid historical character. As the former grammar school of the city of Viersen, the successor to the Latin school that has been in attendance since the 17th century, the Wilhelmstrasse 12 building is important for Viersen. Since its high-quality historicizing design has essentially been substantially and vividly preserved, there is a public interest in its preservation and use for scientific, in particular architectural and local historical reasons. As the largest building and at the same time the focal point of the Wilhelmstrasse ensemble, it is also of urban significance. It is therefore, including its gym, a listed building in accordance with Section 2 (1) of the NRW Monument Protection Act.	1875-1876	Aug 30, 2005	462
	former ev. elementary school	Viersen Am Alten Gymnasium 6 card	It is a two-storey building above a high basement, on a transverse rectangular floor plan with a partially hipped pitched roof. The base and ground floor are bricked up to half the height. The originally light plaster above is currently being replaced by a dark rough plaster. On the south-western long side, half of the facade is a risalit slightly drawn in front of the escape and ends with a tail gable. With the planned second construction phase, this risalit would have had a counterpart on the other corner side, and another entrance risalit on the other long side would have emphasized the center. The building has retained its asymmetrical shape and access to this day. The centrally arranged window axis of the risalit, ending in a standing oval oculus, marks the stairwell behind it. On the north-eastern long side, six window axes combined into two groups of three mark the classrooms. This should have been the main facade facing the connecting path between Wilhelmstrasse and Heimbachstrasse. The windows on the back are narrower than hallway windows. Corner and center strips, shown in the design drawing from 1910, are currently only faintly recognizable. Access is now at ground level from the southern narrow side (the entrance on the northern narrow side, still with the original door, is raised on the ground floor and would have become a corridor if the building had been further built). You enter the interior through an original double-leaf wooden door with small window inserts and a skylight. On the glass inserts of the door, as on some of the windows, there are decorative wrought iron grilles. Inside, in addition to the one-hip floor plan and windows, the stairwell with stone steps and metal railings as well as old door frames have been preserved. Architectural-historical appraisal and monument value The design of the exterior building, which is no longer historicist, but continues to work in a factual manner with traditional structural structures and forms, corresponds to the usual practice of moderately conservative reform architecture before the First World War. Although the building remained a torso and the original external structure is currently somewhat impaired, the original design intent is still present and legible. Windows and their division make a major contribution to this. Moderate reform ideas also shape the layout. The fact that the classrooms are oriented to the (north) east for urban planning reasons contradicts already known findings about their optimal lighting. The one-hip design (directly illuminated side corridor instead of dark central corridor), on the other hand, is remarkably progressive. Eugen Frielingsdorf (1869–1946) was the first town planning officer in Viersen from 1906 to 1934. Numerous public buildings in the city, which was growing at the time, came from his office, including the festival hall and numerous school buildings. In terms of time and design, the Protestant school stands between the Klosterstrasse school (1908) and the Körnerschule (1914), the distance between them being described by Werner Mellen as follows: “The axial structure of the Klosterstrasse school on Körnerstrasse is replaced by a more flexible and relatively rich floor plan Façade decorations with slight echoes of Art Nouveau motifs give way to restrained plaster structures in the façade of the Körnerschule. ”The time before the First World War was a high phase of school construction in Viersen, as in many other places. In 1930, on the other hand, the administration (in the book Deutschlands Städtebau : Viersen, Dülken, Süchteln) had to determine that after the war in Viersen there had been no more significant structural developments in this area. It was not until the primary school in Hamm that a contemporary new building was brought back, whose remarkable architectural design by Willy Esser in comparison with u. a. the evangelical school Wilhelmstrasse illustrates a noticeable architectural change. As a former Protestant primary school in the center of Viersen, the building at Wilhelmstrasse 12 is important for Viersen. There is a public interest in their preservation and use for the aforementioned scientific, in particular architectural and school development-historical reasons. It is therefore a monument in accordance with Section 2 (1) of the NRW Monument Protection Act.	1909	Aug 30, 2005	459
more pictures	Town hall Dülken	Dülken Am Alten Rathaus 1 card	The old town hall of the city of Dülken was on the market. It is said that it was restored in 1660 and was in very poor condition in 1765. It burned down in 1791. The administration at the time also temporarily found accommodation on the market. From 1835 it was housed in the Kreuzherrenkloster, and from 1857 in the opposite von Heisterschen house. On October 11th, 1895 the foundation stone of the first part of the town hall was laid in the presence of the founder Eduard Wünnenberg, who donated an amount of 30,000 marks for the new town hall building. The inauguration took place on November 21, 1896. The total cost was 78,800 marks. The design came from Ulrich, the town construction worker. The extension building on what was then Friedensstrasse, completed in 1909, was planned by the Viersen architect Esser with regard to the existing building fabric. The façade, which is structured in colors with red and white bricks in neo-renaissance forms, is irregularly divided into axes. The designed components are based on the urban planning conditions. The high, richly ornamented gable with turrets towers over the old part of the town hall square and demonstratively dominates the spatial situation to the park on the city wall. The mighty gable is preceded by a smaller, curved bent gable, which also enlivens the corner of Turmstrasse / Theodor-Frings-Allee with an oriel on the left. Via Theodor-Frings-Allee, coming from Venloer Straße, the tower typical of town halls with an attached copper helmet marks the purpose of the building. The tower, crowned with an eagle, arranged here on the corner, defines the town hall square. In addition, a smaller ornate bent gable marks the main entrance of the building. The later extension of the town hall, strong in its form of expression, nonetheless blends in with the old in terms of material and detail. In the older part of the town hall, a strongly structured cornice leads over to the roof structures. The foot, belt and base cornices, partly in light brick or in consoles, extend horizontally around the building. The white bricks are used in the horizontal structure of the building and for framing the window openings covered with arches and lintels. Inside the building, the hallway is spanned with cross vaults and the floor is left with the original tiles. There is a memorial plaque in the entrance area. The boardroom with wood paneling from the time it was built is decorated with a painting on canvas. The subject of the picture is “The ride around the jester mill”, inscribed and signed: “Gloria Tibi Dülken, Hans Deiters 1892”. In addition, two pictures can be seen here: 1. Early fair in Dülken 1809. Painting on canvas, signed H. Schündelen 1910 (market square and parish church in the old state), 2. Martinszug on the old market. Painting on canvas, signed H. Schündelen (year under the frame, therefore illegible). The town hall at a preferred location is to be seen as an expression of the new urban planning that took place outside the medieval city center through the expansion of Theodor-Frings-Allee (former Friedensstraße) designed in 1895. It reflects the building spirit of an economic, prosperous and aspiring small town at the end of the 19th century. From the outset, the town hall designed the plaza and street scene, and in terms of material and detail, it was the directional design for other buildings on what was then Friedensstraße. For scientific, in particular urban planning, square and street design, architectural, urban and art-historical reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1895-1909	Aug 21, 1985	60
more pictures	Semi-villa	Dülken Am Alten Rathaus 2 map	The half-villa in the direct vicinity of the old town hall is part of a group of double villa and detached villa that form the spatial closure to the west of the former town hall square. The building with a hipped roof is accentuated by a tower-like extension on the corner of the town hall, as well as a bay window above the entrance and a pointed roof gable. The house is given a horizontal emphasis on the bay window and annex due to the friezes used sparingly in the area of ​​the floor ceilings and the sill. The floral stucco in the facade is just as finely dosed. The windows of the house are modernized. The interior of the building has also largely been changed in its original equipment as a result of intensive modernization. Some of the original door reveals and the original wooden staircase have been preserved in the corridor area. On the upper floor, the floorboards are partially visible, as is the old roof structure. The rear of the building has been completely changed. The basement of the building is covered by a cap ceiling. The representative semi-villa in the immediate vicinity of the town hall has a significant impact on the area. In addition, the facade design characterizes the contemporary building type of the stately home, which here reflects the historic cityscape. For scientific, in particular urban planning, site and architectural-historical reasons, the maintenance and use of the building according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1914	Sep 14 1988	160
more pictures	Semi-villa	Dülken Am Alten Rathaus 3 map	The semi-villa in the immediate vicinity of the town hall is part of a group of double villa and detached villa that form the spatial closure to the west of the former town hall. The year on the bay window refers to the year of construction 1914. The two-storey building with a hipped roof is accentuated by a corner-emphasizing tower with a helmet roof and a roof gable with a segmental arch over the bay. The windows of the house have been preserved in their original condition. The villa is given a horizontal emphasis on the bay window and tower thanks to friezes that are used sparingly in the area of ​​the storey ceilings and the sill. The floral stucco in the facade is just as finely dosed. Inside the building, the doors are original. The additional fixtures, such as two wooden pillars that separate a kind of winter garden from the living room and at the same time delimit a wooden coffered ceiling through the lintel, probably date from the time of construction. The other rooms are adorned with a strongly structured stucco ceiling with a floral decoration, with the rooms on the upper floor being equipped with a hollow frieze to close off the ceiling. The original wooden staircase, illuminated by a skylight, is located in the middle of the entrance area. The back of the house is unchanged. The villa in the immediate vicinity of the town hall, also representative in its furnishings, has a significant impact on the area. In addition, the typical facade and interior design characterize the contemporary building type of the stately home, which here reflects the historic cityscape.	1914	Sep 14 1988	161
more pictures	villa	Dülken Am Alten Rathaus 4 map	In the immediate vicinity of the former town hall, which is part of the space “Am Alten Rathaus”, the two-storey detached villa is adjacent. The entrance axis, set back like a tower, with a hooded roof, leads to Doergensstrasse. The plastered facade with historicized decorative shapes is structured in irregular axes and is shaped by the attached gable with a bay window in front, a balcony and a ground floor porch. A heavily structured cornice leads to the roof structure. The windows, set off by stucco on the reveals, have largely been preserved in their original condition. The façade is also decorated with lily anchors, which are stylized as a motif and also recur in the door reveals inside the building. The house is surrounded by a wrought iron fence with a floral decoration between an arrangement of columns. The initials CL (presumably Carl Lüning, client) are incorporated into the gate. The interior of the villa as a whole must be regarded as well preserved. The original, heavily profiled stucco ceilings and parquet on the ground floor and floorboards on the upper floors are in good condition. The floor in the hall is made of marble and the ceiling above is made of coffered stucco. Worth mentioning are the finishing work in wood, such as the room doors with carving in the frames and brass handles as well as the original oak stairs. The hall lamp also comes from the time it was built. The former kitchen with colorfully patterned tiles is located in the basement of the house. The lavishly designed villa has a decisive influence on the Theodor-Frings-Allee, which was laid out at the end of the 20th century and which is expanding the street space on the former town hall square. It can also be seen as an example of the building spirit at the end of the 19th century in an economically prosperous and up-and-coming small town. The original stucco facades as well as bay windows, gables and tower contribute to the urban ensemble at the town hall. For scientific, in particular urban planning and architectural-historical reasons, the preservation and use of the building are in accordance with § 2 (l) of the Monument Protection Act of North Rhine-Westphalia in the public interest.	1904	July 30, 1986	123
	Entrance building at Dülken station	Dülken Am Bahnhof 1 card	The reception building of the Dülken train station, located on the Gladbach-Venlo line that was inaugurated in 1866, was built around 1880. Of the seven axes of the two-storey building with a flat gable roof, the three in the middle are slightly projected as a gabled central projection. A three-storey, rectangular tower with a flat hipped roof is attached to the right-hand side, to which the goods shed is attached. The banded plaster facade and the arched windows follow classicist models. The motif of the twin arched window with a continuous window ledge in the gable is repeated on the second floor of the tower in a larger dimension. Some of the arched profiles above the windows have been preserved. The strip plastering is only carried out on the ground floor below the surrounding windowsill cornice. The round-arched openings on the ground floor, which were formerly symmetrical under the upper floor windows, have all been changed, now rectangular and in some cases widened. Towards the tracks there is a canopy in typical cast iron construction with cast iron pillars. Inside the lobby there is a slab floor and stone slab wall cladding. The Dülkener Bahnhof is one of the few remaining, typical early train station buildings in the Rhineland that was built more frequently, and its special feature is the side tower. Such is so far otherwise unknown or not preserved. The train station, which was initially laid out far outside the city, had the effect of urban planning, as can be seen on city maps of different times, in that the area near the city developed into residential areas, the outside into industrial and commercial areas. A street axis that was laid out as part of the Dülken city expansion leads to the station building. Therefore, from an urban development point of view, the maintenance of the Dülken station building is urgently required. In the event of a demolition, the industrial site behind it would be clearly visible from the street. Despite the major changes in the openings on the ground floor, the building provides evidence of Dülken's early transport links, which can be seen in the economic context of the city's flourishing industrialization. For scientific, here traffic and local economic as well as urban planning reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	around 1880	June 25, 1987	154
	Old children's hospital	Viersen Am Klosterweiher 40 card	The two-storey brick building with steep pitched roofs presents itself in a uniform design language, but on closer inspection, colored and formal contrasts in the masonry can be seen, which indicate several construction phases. Towards the street, the eaves of the left main building, loosened up by a high gable, the receding of the middle wing behind a terrace and the inclination of the right, small part of the building, which again protrudes towards the street, are characteristic of the building. The main building on the left is originally (1912), but only the three axes of the gable and the entrance axis on the left. The gable façade is characterized by slender, high-rectangular, cross-frame windows arranged with muntins, which are emphasized on the upper floor by natural stone parapet fields. The small windows in the gable do not have a cross. The entrance, flanked by two small windows, is deeply embedded, above it it is highlighted by a stepped stone relief and vegetal ornamental shapes. An ashlar cornice separates the first and second floors. The left, three-axis extension (1927/28) takes over the shape of the original building in terms of window format and parapet fields; On the ground floor, however, there are wide sliding windows with panes that can be pushed upwards. In contrast to the original building, a basement floor emerges below these with relatively large window openings to illuminate the kitchen.The converted attic can only be seen from the front through three small, gabled dormers, while at the rear it forms a second full floor. The steep gable roof is covered with dark (gray-anthracite) tiles. The window axis (1937) created to the right of the original gable instead of an entrance has the same window format. However, the stone parapet fields are missing on the upper floor. On the ground floor of the side gable there is a three-part round-arched window, which may have come from the adjoining back wing and has been recycled here. The upright rectangular French windows that are visible to the terrace today also come from this renovation phase. When this wing was extended in the 1950s, a balcony was attached to a thin concrete slab over the terrace. The expanded attic above is stretched as a dormer ribbon like a mansard between the two structures facing the street and its color is adapted to the dark areas through its slate. The right part of the building finally shows elements of the original building on the ground floor with the high rectangular cross-storey windows and the stone relief-crowned entrance; the proportions and the window formation are simple post-war forms. The terrace, which is located on a brick substructure, is now closed with a simple metal fence; an ornamental parapet wall was installed here in the 1920s. The garden side of the building still has original masonry, doors and windows, especially on the ground floor; the round-arched window type that is still present in an example at the front can partly be found here. In front of the first floor there is a glass roof over the former terrace, which leads into the garden. A balcony is located in front of the former hospital rooms on the upper floor in the middle wing. Inside, the building has also been changed several times in accordance with the additions and conversions of the building chronology, but numerous basic structures and details of its use have been preserved and remain clear. The floors are accessed through two stairwells: an original wooden staircase in the left and an artificial stone staircase with metal railing from the 1950s in the right part of the building. The queue that was still at the inrun post on the ground floor in 1997 is no longer there. From the first landing of the older staircase, through a breakthrough, you get to the extension that was added in 1927/28 and is located higher on the ground floor. The central part of the hospital is formerly the bedroom and the lounge, which are located in the rear part of the left part of the building and in the rear central wing. The originally large, non-subdivided rooms of the children's institution are initially subdivided by glass walls, then since the 1930s divided into "insulating boxes" by inserted partition walls, which is justified by changing contemporary attitudes towards the accommodation of sick children. Today, the floor plan appears to have been confused by the use of offices in recent years, but it can still be clearly read in the existing plan based on the representation of the massive walls. Two of the historic lightweight construction walls that function as room dividers are coffered or provided with glass windows. It is also characteristic that the former reclining rooms are open to the terrace or garden through large windows (doors). The small room to the left of the street-side terrace was only created through the renovation in the thirties. Formerly, its back is an external facade and accommodates a large double-winged door that leads directly into the lounges. After this entrance solution is closed, an operating room will be housed according to the plan. In this room, whose new outer wall is provided with wall cupboards arranged symmetrically under and next to the window, there is also the well-known "Nikolaus relief" by the Viersen artist Heinz Peter Dreimüller, which, contrary to other representations, is probably not moved, but only through the renovation from the outside got inside. Equipment and experience of a historical room are still given in this room to a special degree; the window of the thirties to the front and probably the original building to the side contribute to this. The left part of the building is characterized by a small-scale room division, as individual treatment rooms, but also individual hospital rooms and common or staff rooms can be identified here. The upper floor of the central wing, on the other hand, again shows larger rooms for hospital wards and isolation cubicles, which were previously divided by lightweight walls. Here, too, French doors lead outside onto the balconies. In the building on the right, which is bent to the street, there was an X-ray room on the ground floor and an isolation room on the upper floor. The characteristic middle corridor of the upper floor, which reflects the cramped space conditions, is still clearly legible in today's floor plan. Particularly noteworthy in the attic above are the small sleeping cells for the nurses and carers, which are also lined up along a central corridor. The names of the room owners can still be read on their doors. Overall, a large number of windows from the 1910s to the 1930s with original fittings and original interior doors with coffered door leaves have been preserved. Construction type: A building typological classification of the building is only possible to a limited extent, as it was initially built as a “child care facility”, also a “child care school” (comparable to today's kindergartens) and was only rededicated as a children's hospital in the twenties. What both types of building have in common, in addition to their focus on children, is their emergence in the 19th century, so that both are building tasks of the modern age and the industrial age. The establishment of day nurseries, day care centers, schools for small children, etc. is closely related to industrialization, since the children of working parents / mothers who cannot afford private care have to be housed and cared for during the day. Likewise, according to forerunners in the 18th century, the establishment of separate children's hospitals for children up to 12, 14 or 16 years of age, separate from the actual large hospitals, began around the middle of the 19th century. Here, too, it is in the nature of things that these are primarily institutions for poor circles who cannot afford private medical care. The beginnings are initially created on a private basis by socially committed doctors and reformers. In 1897, the Handbuch der Architektur found that children's hospitals were set up, especially in large cities. As a result of the specialization, the children, as particularly susceptible patients, were to be isolated from the rest of the sick and at the same time they were to be protected from the mostly very contagious infectious diseases of the children (e.g. diphtheria, scarlet fever, whooping cough, measles). In general hospital construction, the period before the First World War was marked by a decline in the pure pavilion construction, which was still very advanced and frequently used during the 19th century, towards a renewed concentration of medical facilities, since the pavilion construction is very expensive on the one hand and in terms of its quality on the other positive properties (good insulation and connection to the open air) is replaced by other structural measures. These include the stricter arrangement of the buildings facing the sun (e.g. in the case of loungers facing south) and the integration of terraces, verandas and balconies in the building and therapy. The children's hospital in Viersen shows exactly these elements. With its preserved terrace of the original building, the balcony (s) above, but also with the integration of a rear garden, it testifies to current trends in hospital construction of its time, which were already laid out and taken over in the original children's institution. Monument value: As a former children's detention center and then children's hospital and thus as a testimony to the (church) social and health care system, the building at Am Klosterweiher 40 is important for the city of Viersen. There is a public interest in its preservation and use for scientific, in particular socio-historical and architectural-historical reasons. The former result from its testimonial value for the public child welfare system in the city of Viersen, the latter from its building typological position and from its design characteristics and quality. The outside of the building is kept in very traditionalist, landscape-typical forms and materials: brick, saddle roof, lattice windows, economical decorative forms. Particularly noteworthy is the adaptation of all renovations and extensions to the original structure. The extension of Frielingsdorf can only be distinguished from the "old building" by the slightly lighter stone material. Even the more easily identifiable, somewhat less qualitative parts of the fifties carry on the original concept of form, such as B. the easy towing of the gable roof on the right part of the building. The urban integration of the building is well resolved, which overcomes or mediates the change in direction of the street, which writes a slight curve in front of it, by withdrawing the central wing and the terrace in front, so that the right and left parts of the building are oriented differently. At the time of its basic conception in 1912/13, the building, with its anti-historical, factual traditionalism, can be seen as “at the height of its time” in terms of design, especially when compared to the only marginally older rear building at Am Klosterweiher 42 from 1905. For the subsequent modifications and additions this can no longer apply, but this is due to their adaptation to the original building. However, the parts in question do not appear unshaped or anachronistic, as evidenced by the continuity of traditionalist building, one of the important trends in architectural history of the 20th century, which continued into the 1950s. The external structure also expresses different functions of the internal use of space. This is particularly evident on the French doors in front of the terrace and balcony, which characterize the dormitories or rooms behind. The former children's hospital at Am Klosterweiher 40 in Viersen is important for the city of Viersen. For scientific, in particular social and architectural-historical reasons, the maintenance and use of the building at Am Klosterweiher 40 is in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1912	June 23, 1999	373
	Residential building	Viersen Am Klosterweiher 42 map	According to the building file 1904/05, the building was built for Otto Körfer. It is a three-storey brick residential building with an ornamented plaster facade facing the street. The plaster on the ground floor, painted in a dark ocher tone, imitates brickwork. The house entrance is on the right axis. Windows and doors have a white, profiled wall with a rounded arch. The arch is additionally accentuated by warp and wedge stones. A windowsill cornice gives the facade a horizontal structure. The first floor is dominated by a large three-sided bay window that takes up the two right window axes. The parapet zone under the windows and on the bay window, between the storey cornice and the windowsill cornice, which is also present here, is each filled with ornaments, with a surrounding tracery around the bay window. The windows are crowned by a flat, stuccoed "top" made of small lateral pilasters and an arched, raised field, the surface of which is filled with a head figure and other floral-vegetable decorative shapes. At the transom and eaves height, a white plaster strip supports the horizontal structure of the wall surface. The bay window has an ornamented frieze below its eaves. The second floor is designed more simply. The windowsill cornice visually marks the storey boundary, which is actually given by the flatter plaster strip underneath. The four windows, which are smaller in size, are crowned by a stepped plastered surface, the lower end of which is gathered like a curtain as the lintel of the window. A pointed gable frieze with tracery infills forms the transition to the eaves. In the roof area, two windows combined to form a wide central dormer window reflect the later roof extension. The building still has its original T-floor windows; the round-arched skylights of the ground floor windows are filled with small bars. The basic structures of the interior are essentially unchanged: floor plan, staircase with simple wooden stairs, ornamented tiled floor in the side ground floor entrance hall and doors. On the first floor, a breakthrough to the left-hand side building at Am Klosterweiher 40 (children's hospital) will be created in the 1950s. At the rear of the building there is a two-storey rear building with muddy brick outer walls, which has round-arched passageways with small capitals inside. Overall, there is a remarkably large total area. The stately home at Am Klosterweiher 42 is important for Viersen as a residential building from the early 20th century, with its original structure and design detail, which was used after the Second World War as part of the neighboring children's hospital and then as a municipal administration building. In terms of building typology and the design style, the building still follows the late historical tradition of the previous decades and is therefore an example of how much the "Art Nouveau" of the years after 1900 still adheres to the ideas of the previous decades. This position in the history of architecture becomes particularly clear in comparison to the subsequent building at Am Klosterweiher 40, which was planned only a few years later (1912/13), which is kept in a new-object, traditionalist design language that deliberately sets itself apart from Art Nouveau and historicism as "down-to-earth" reform architecture. As a typical and substantially clearly preserved testimony to this building-historical transition phase, there is a public interest in the maintenance and use of the building at Am Klosterweiher 42 in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1904/05	June 23, 1999	374
	Bosch holy house	Viersen Am Klosterweiher map	The chapel, which was built in 1720 and is popularly called “Booschhellijehüske” (Bosch-Heiligenhäuschen) after its founder, is located in front of the site of the lost St. Pauli monastery. It was and is today again the end of the footfall station path from St. Remigius to the former monastery. A sandstone slab above the entrance bears the name and date of the donor as an inscription: AD 1720 IHS [with heart and cross] Antonvs Bosch. Margareta Bratel. Antonius Bosch was the manager of the St. Pauli Monastery and had the chapel built in honor of the Queen of Heaven. At the beginning of the 20th century the chapel fell into disrepair and therefore had to be extensively repaired in 1927. The Madonna originally located in the chapel (2nd half of the 15th century, from the St. Pauli Monastery) ended up in the art trade, but could be bought back for the St. Joseph Church. Since then, there has been a clay statue of the Queen of Heaven in the Holy House (Tönisberger Tonwerke). The brick chapel rises on a rectangular floor plan with a three-sided end. The roof is covered with slate, the entrance is arched and framed by strongly profiled brick fighters. The side walls are divided by rectangular glare fields. In the gable there is the mentioned inscription plate made of sandstone, another donor inscription is attached to the wrought-iron gable cross: a heart-shaped copper plate with embossed inscription TBMB 1720. A heavy oak door with a window (traljen) closed by turned rods leads into the interior, which is covered by a groin vault . On the back wall is the altar with Our Lady, the floor is covered with decorative tiles. As a centuries-old and still living testimony to popular piety, the Bosch-Heiligenhäuschen is important for Viersen. The preservation and use of the substantially well-preserved chapel from the beginning of the 18th century, which u. a. The end of the former station path and the location of the submerged monastery also illustrate, there is a public interest for scientific, in particular local history and folklore reasons. It is therefore a monument in accordance with Section 2 of the NRW Monument Protection Act.	1720	Dec 14, 2007	473
	Süchteln waterworks	Suchteln Am Wasserwerk 9–11 map	The central water supply in Viersen, Dülken and Süchteln was set up separately for the three cities in the years 1890–1907. Everywhere their own waterworks and the associated supply network were built. The Süchteln waterworks was built in 1907 on a parcel with particularly suitable water intake near today's Butschenweg. The building complex consists of the former machine house, the container tower and the associated residential building. The machine house contained two gas engines and two double-acting, horizontally positioned plunger pumps, which were installed in the lower part of the hall. The hall is divided into four axes parallel to the gable roof and closes in a pre-blinded gable, which is closed off to the eaves and the gable by means of tower-like, square structures. The façade surfaces, which are predominantly faced with bricks, include plastered fields, the shape of which is very diverse. The original windows of the hall are in front of the new wooden windows. Inside the hall, which has been converted into an apartment, the filigree steel truss construction retains the spatial structure of the interior. The former container tower is arranged next to the hall, enclosed by the residential building. The main entrance is on the ground floor and is covered with a round arch, above which the various functional areas were accessed. The original double-leaf entrance door is in very good condition. The four-storey tower towers above the entire building complex and ends with the pre-blinded framework of the container floor, which is covered by a half-hip roof. The two-storey residential building with a mansard gable roof is arranged slightly offset from the machine house. The roof is interrupted by the prestigiously designed curved arched baffle immediately next to the main entrance. The symmetrically structured gable resulting from the mansard gable roof has a rather simple design, with a half-timbered structure in the upper part. The interior of the house has been preserved in its original form. The old wooden staircase and the original wooden doors have been restored and are in good condition. The technical and functional structure of the machine house is given a representative design from the gable to the final roof turrets of the container tower. The small waterworks is one of the well-preserved supply buildings that were typical for small towns. The designed brick facade with plastered surfaces and the type of machine house are characteristic. It is therefore of importance for the development of the town of Süchteln and as a testimony to the former working and production conditions. Preservation and use of the building complex are therefore in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia for scientific, in particular technical and architectural-historical reasons.	1907	June 26, 1985	40
	Wayside shrine	Dülken Amerner Weg / Hochfeldweg L 372 map	A 2.80 m high and 1.50 m wide, inwardly curved red brick wall is erected on a stepped base made of concrete. Darker bricks, slightly protruding, form a cross with unequal legs. An approx. 1.70 m high figure of Christ crucified is attached to it. Originally, like the other reliefs, the figure was made of sandstone. However, after it had been destroyed several times by vandalism, the sculptor Krautwald made a bronze cast based on his original figure. This was installed in 1998. The strongly protruding rib bones and elongated limbs are particularly striking. A sandstone relief with two 1.10 m high figures depicting Mary, the mother of Jesus, and John, the evangelist, on the cross is attached to the larger wall area on the left. While Mary, holding a cloth in front of her mouth with her right hand, holds her head bowed down, Johannes, standing behind her, looks upright at the cross. John's right arm is stretched over to Maria so that he can take her left hand. Under the cross there are four more figures, around 70 cm high, the four patrons of protection. Their names are stamped under the figures: Nikolaus von der Flühe (1417–1487): He is a lean, bearded hermit with an upright posture and uncombed hair, crossed arms, shown holding a rosary in his right hand. As the patron saint of farmers, he refers to a large number of residents of the Nette. Krispiano (+ 287): As the son of a noble Roman family, he earned his living as a shoemaker in France and gave shoes to the poor free of charge. He became the patron saint of shoemakers, saddlers, tanners, tailors, weavers and glove makers. Here he is wearing a shoe in his left hand. Krispiano is dedicated to Otto Vogels as patron of the anniversary shooting festival and patron of the wayside shrine. Barbara (late 3rd century-306): Barbara was perhaps a martyr under Galerius Valerius Maximus, but she is a historically unlikely figure. There are a multitude of legends. These refer to the dispute between Barbara, who is devoted to the Christian faith, and her pagan father. After she was unwilling to renounce her belief despite imprisonment and torture, she is said to have been beheaded by her own father. In the relief of the wayside shrine, which shows strong signs of weathering on the surface, she is holding a tower with both hands, which probably originally had three windows as a symbol of the Trinity. As the patron saint of miners, but also of iron foundries, she is dedicated to the many residents of the Nette who work in the nearby foundries. Cornelius (+253): Coming from a noble Roman Cornelier family, he was elected Bishop of Rome in 251. He died in exile just two years later. He is one of the four holy marshals who are called “court marshals of God and the heavenly citizens because of their unique merit and daily help”. Cornelius is shown as a bishop with a crown and staff. He also holds his attribute, a horn, in his right hand. He is the parish patron of the parish St. Cornelius in Dülken. Originally there was a small pillar with an inscription in front of the wayside shrine. In its place a flower bed has been laid out, on the stone border of which it says: St. Cornelius Brotherhood 1460–1960. The sculptor Joseph Krautwald, born in Borkendorf / Silesia in 1916 and died in Rheine / Westphalia in 2003, completed an apprenticeship as a stonemason and sculptor, attended a wood carving school and the academies for fine arts in Munich and Dresden, before setting up as an independent artist in Rheine. He mainly worked on sculptures of Christian art. The diversity of his sacred work includes the design of choir rooms, for example with an altar, tabernacle, ambo and cross that he created. He designed and created around 300 ways of the cross, as well as bronze church portals, crosses, wayside shrines, baptismal fonts, grave reliefs and steles as well as nativity scenes, mainly in the dioceses of Westphalia and Lower Saxony, but also in the Rhineland. A crucifix and the Stations of the Cross can be found in the Dülken Church of the Sacred Heart of Jesus in the city of Viersen as works by Joseph Krautwald. The wayside shrine in the Dülkener Honschaft Nette is important for Viersen. For scientific, in particular local and religious history as well as folklore reasons, the conservation and use of the wayside shrine are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1961	0July 6, 2004	453
	Hoferhof	Süchteln Amrather Weg 13 map	With the exception of the components to the north of the residential building, the closed courtyard complex was built in 1884 instead of two older courtyards, as Agnes Sleuwen brought a dowry of 100,000 gold marks into the marriage. Except for the Göpel (1 HP generator around 1900) on the east side of the barn, these brick buildings are still there. They are characterized by similar designs and details. The roof pitch is uniformly about 40 °. Depending on their function, the structures are individually emphasized by vertical pilaster strips and upwards by rectangular friezes. In addition to the necessary windows with brick lintels in the gable triangles, blind windows are arranged in groups of three in the brick surfaces. In the cowshed there are remarkable cast columns with capital and base that support brick arches. The 2-storey residential building, attached on both sides, is divided into 3 fields by means of pilaster strips. Around the central axis with the entrance and a window on the upper floor, 2 window axes are attached to each side. The eaves are closed at the top with a round arch frieze and above with a German band. (The arched frieze does not harmonize with the pilaster strips ...!) Inside, the normal floor plan of the residential building type with transverse rectangular access can be found. On both sides of the corridor there are almost square rooms, which are repeated on the upper floor. The lavish furnishings with stucco ceilings and original doors have been preserved on the ground floor. The windows are renewed in white plastic. Built as a uniformly built complex at the end of the 19th century, this courtyard is a rare example of importance. For scientific, in particular architectural, historical and folkloric reasons, the preservation and use of the building are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1884	May 29, 1991	269
	Weaver house	Suchteln An der Bleiche 6 card	The two-storey brick house with a flat gable roof extends over a rectangular area at the eaves facing the street. The street front is divided into four window axes, with the arched house entrance in the second axis from the left. The bluestone window sills of the flat segment arched window openings are new. The left side of the gable is covered by an extension on the ground floor; window openings that have subsequently been closed can be seen from the inside; the right side of the gable is inappropriately clad. The garden side is brick-facing, z. Partly disturbed by patches and modern window format. Inside there is a characteristic floor plan that supports the assumption that it is a former "weaver's house". From the house entrance, a hallway leads straight to the rear exit into the garden and thus divides the ground floor into roughly two halves. To the left of it is a large room, typically the weaving room, which received generous light through windows on both the eaves and the gable sides. To the right of the hall there are smaller living rooms. While terrazzo flooring and wall cladding in the hallway belong to a more recent era (perhaps 1920s or 30s), the age of the stairs and isolated doors or walls (on the upper floor) are closer to the time the house was built. The type-like execution of the house, evidenced by the similarity z. B. with the also two-storey former Weberhaus Bruchstr. 22, and the above-mentioned characteristic floor plan features support the assumption that this could be a former “weaver's house”. This formerly characteristic form of living and working under one roof had a major impact on the social and economic life of Süchteln before it was superseded by the industrialization of textile weaving from around 1870 onwards. Clear structural evidence of this type, d. H. Buildings largely free from disfigured modernizations or extensions with the typical floor plan of the interior have become very rare in Süchteln today - and regardless of the specific question of whether it was a weaver's house or not, the house on Bleiche 6 is in everyone Case an unusually well-preserved example of simple living and working from the second half of the 19th century. It is precisely these inconspicuous buildings, whose simplicity is just as typical as they are endangered by modern overuse, that require protection through the preservation of monuments in order to be able to preserve them as evidence of local and social history. The residential building at An der Bleiche 6 is significant for Viersen as a clearly preserved testimony to a house that was once typical for addicts, the room layout of which reflects the old work processes. There is a public interest in its preservation and use for scientific reasons, in particular for reasons of local history and social history. It is therefore a monument in accordance with Section 2 of the NRW Monument Protection Act.	before 1900	06 Sep 2000	396
more pictures	Catholic parish church St. Joseph	Alt-Viersen ( Rintgen ) An der Josefkirche 15 map	Three-aisled, neo-Gothic brick basilica with five bays in the nave, a wide transept, two fore-choir bays, choir chapels and high choir with five-eighth end. Sacristy on the north side of the choir, baptistery on the south side (since 1934). The west facade is dominated by the tower with a square floor plan; lower floors supported by buttresses arranged at right angles, which end in high pinnacles above the 2nd floor. Behind this, an octagonal third floor begins, crowned by an octagonal helmet with a cross (89 m). All-round gallery with tracery parapets at the roof approach replaced by metal parapets in the 1970s, pinnacles and finials on the transept removed. Outer walls of the aisles divided by buttresses, on each side a polygonal chapel on the first yoke (Marienkapelle in the north, Josephskapelle in the south); Aisles with high, two-lane tracery windows. Main portal with archivolts with acanthus flowers, gargoyles and Medusa heads, portal eyelash with tracery rosette, behind a church window that was replaced by mosaic in 1962. Inside: Ribbed vault in the central nave with pointed arch arcades, above it instead of a triforium, plastered masonry, top window (Joseph Höttges, 1952). Round pillars made of sandstone with three-quarter services, which rise steeply past the masonry and end in the upper capital with acanthus flowers. Transition in vault ribs that meet in the round keystone. Horizontal structure of the wall structure by cornices. The crossing is emphasized by thicker bundle pillars. Contemporary floor tiles are still preserved in the side aisles and crossing, replaced in the central nave. The Church of St. Joseph is one of the typical historicist houses of worship that Josef Kleesattel built in several cities on the Lower Rhine towards the end of the 20th century. It has a major impact on the cityscape and still has a large part of the original furnishings and fittings. The organ is of particular importance as it has become rare in the meantime. For scientific, in particular architectural, urban and art-historical reasons, the preservation and sensible use of the church are in the public interest according to § 2 of the Monument Protection Act of North Rhine-Westphalia.	1889-1891	Feb 23, 2000	378
	Kaisermühle	Viersen An der Kaisermühle 20 card	Probably one of the mills mentioned in a document in 1246 is the Abraham or Emperor's mill. At that time there were already 11 mills in Viersen, which is characterized by brooks. The Kaisermühle was built in the headwaters of the Viers, the stream that gave the city its name. It was also one of the most powerful water mills in Viersen. The original mill building was only made of adobe timber framework. This previous building burned down completely in 1730. As a result, the mill was rebuilt as a brick building in 1732. Only the southern gable wall facing the stream with the crooked hip still consists of half-timbering. This wall was probably covered with brickwork in 1890. Here the renewed, overshot mill wheel turns. In this area, a semicircular window and a window opening to the door next to it were expanded as part of the renovation. A footbridge over the stream leads from this door to the terrace. The mighty, two-storey roof structure between the north and south gable wall rests on five pairs of studs at a distance of approx. 2.50 m - 3.00 m. For reasons of grinding technology - the building is lower than the dammed up mill pond - there is a grinding pit in the first southern gable compartment, which is deep in the ground. Above this is an oak stand construction that had to bear the weight of the millstones. The northern gable wall bears the year 1732 in anchor pins. The first letters of several names are carved into a ceiling beam on the ground floor: ABHAHIA HF.I. 1731. The fact that it is a farmhouse not only in terms of the house type and that milling was usually also associated with agriculture and modest animal husbandry can be proven from the records of 1756 and 1815. In 1801 the last prior of the disbanded Kreuzherrenkloster in Dülken, Peter Dohr, son of the miller Wilhelm Dohr, retired to the mill, which had meanwhile passed into the possession of the Dohr family in the middle of the 18th century. As a retirement home, he had a half-timbered extension built on the brook side of the building directly on the central nave with two living rooms one above the other. This small annex of the prior, which is now integrated into the restaurant as a "Priorstübchen", is shown on an ink drawing from 1837. In 1905, when Johann Heinrich Kesselburg, whose family had owned the mill since 1828, built a massive, two-storey brick extension with half-timbering in historicizing Art Nouveau, components of this older side wing were included. The new, large adjoining structure has since pushed the actual mill building, which had been free-standing, into the background. An enclosure wall with a gate forms an inner courtyard towards the intersection. The new wing of the angular building in three to one axis is glued in brick. It has gable framework and its hipped dwarf gables are decorated with round arches with wooden framework. The north elevation shows three axes, the middle of which takes up the entrance door as a projected central projection. It ends at ridge height with its own roofed gable structure, which encloses a round window. The building is structured by wide, plastered corner pilaster strips and plaster strips running horizontally between the floors. The accentuated window frames, the decorative roofing of the windows and door openings as well as the attached framework give the facade structure. Since the middle of the last century, the grindability has steadily decreased due to lack of water. As a result, the mill building housed a first restaurant from 1877. When the waterworks in the catchment area of ​​the Viersbach was opened on November 1st, 1890, the mill pond barely reached the required water level. Presumably related to this, a few extensions and ancillary buildings as well as a garden pavilion for the restaurant were built at the end of the 19th century. The parts of the building, which have long since been demolished, have become a popular destination. In 1905, the last miller at the Kaisermühle, Johann Heinrich Kesselburg, gave up milling for good. In the long-running border dispute (mid-13th century to mid-14th century) between Dülken and Viersen, the miller Peter to Abrahams is mentioned by name. Keyser T 'Abrahams is attested as the owner of the mill from 1575 to around 1599. After him, the mill was given the additional name "Kaisermühle". After several changes of ownership, the entire mill building, including the attached Art Nouveau wing, was renovated from 1976 to 1978. The character of the building was not impaired on the inside either, despite the various necessary conversions and installations such as B. the round tower staircase in the rooms of the restaurant. The renovation also included a new roofing and renewal of the facades as well as the removal of the infills in the inner area of ​​the restaurant. The Abrahams or Kaisermühle is one of the most significant buildings in Alt-Viersen for the history of the town and settlement, as it clearly marks the historical continuity in terms of the topography of the settlement. The oil and grain mill located in the oldest settlement center of Viersen has no less testimony value due to the uninterrupted tradition of the miller's trade, which has been supplemented by the tradition of the restaurant trade for over 100 years and then replaced in 1905. The property at the corner of the Kaiserstraße / Noppdorfer Straße intersection also has a defining effect on the situation thanks to the street-side gable of the extension, which is designed as an eye-catcher in Swiss country house style. Here, too, architecture becomes an expression of the zeitgeist. From the high-lying mill pond, the actual, lower-lying mill building with a rotating mill wheel reflects past times. In addition to the historicity of the house on this square, there is also the history of ownership and family that is linked to it. In the traditional genealogy of the Müller family, the social events of Viersen also unfolded, as well-known names such as Abrahams, Dohr and Kesselburg appear, the bearers of which have influenced and shaped the history of the city. The Abrahams or Kaisermühle, in which the landscaped building barrels created from the possibilities of the 19th century are combined, is an important testimony to the history of Viersen as well as to the construction methods of the respective time of origin. Preservation and use of the Abrahams or Kaisermühle are therefore in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia for scientific reasons, in particular settlement history and settlement topographical, local history and genealogical reasons.	1732	Jan. 11, 1985	6th
	Residential building	Boisheim An St. Peter 1 card	The two-story building with a gable roof is a residential building. It is part of a row of houses with gables and eaves houses dating from the 18th and 19th centuries. Century. Overall, the development is brick-view, but the five-axis facade was muddy here. On the left axis of the house two original windows with bars and shutters have been preserved. The other windows and the front door were replaced by modern ones. The original vaulted cellar of the house is located under the right rear side and was subsequently made accessible through an external staircase. The house built in the immediate vicinity of the church is part of the old town center and is therefore of importance for the historical development of the city of Boisheim. Despite the changes in connection with the overall still harmonious development on St. Peter Street, the building is to be regarded as a monument in the ensemble. For scientific, in particular urban development and settlement history reasons, the maintenance and use of the building on St. Peter l are in the public interest in accordance with Section 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	18./19. Century	13 Mar 1986	76
more pictures	Catholic parish church St.Peter (Boisheim)	Boisheim An St. Peter 15 map	This description of the parish church is taken from the home book of the district of Viersen and comes from a work by Ms. Eva Brües, which she carried out for the inventory on behalf of the Rhineland state curator. “The first documented information about the certainly older chapel at this location is the Liber procurationum et petitionum archidiaconi Xantensis, written between 1258 and 1291. A controversial document from 1304, according to which Walram von Kessel left the Rottzehnten to the Abbey of S. Pantaleon in Cologne, testifies that the church must have been owned by the Cologne monastery at that time. Until secularization, S. Pantaleon provided the pastor. Gerhard de Bell was the first known by name before 1322; Series pastorum without gaps since 1414 In 1487, according to an inscription on the north side, the church that is still standing today was built. In 1898 it received an extension to the west, to which the old tower fell victim (architects: Rüdell and Odenthal from Cologne), in 1901/02 the church was painted by the painter Jakob Rensing from Cologne. After damage in the Second World War, the entire church has been repaired since 1952; the entrances next to the neo-Gothic tower were converted into chapels and two entrances on the south and north sides were rebuilt (1953) and the entire church was redesigned by Gangolf Minn, Brühl (1954). Restoration of the choir in 1960. 1976 restoration of the exterior, restoration of the interior planned. Brick construction; on the old building strips of tuff; Window ashlar. Three-aisles to five bays with a front-built west tower, narrow choir bay and five-eighth end. The three-storey tower in neo-Gothic shapes, with polygonal side chapels, rises in front of a transept-like western building; the old building is connected to it. Pointed arch windows between buttresses here and there. On the north side of the old building, an arched portal with the inscription plate decorated with quatrains and angel heads (trachyte): in the iar ons here MCCCC LXXXVII .. On l. Choir bay on the same side, the single-lane window is lower, underneath it a double arcade encompassing a double arcade; also a buttress that was built into the east wall of the north aisle; does it suggest that the choir should originally be given greater depth? Above the entrance, in the west tower, the organ gallery. The two bays of the eastern, hall-like extension have a greater width and depth than those of the old building, but rib vaults like this one; but the ribs rest on pillars with superiors. Star vaults in the chapel-like rooms to the side of the tower. To the west is the three-aisled, pseudo-basilical old building. Two round pillars or half pillars on polygonal plinths and with a polygonal cover plate over a leaf frieze support the stepped pointed arch arcades and the coffin walls with the pointed floor panel. The ribs are placed on short wall pillars supported by consoles, also on the outer walls of the oblong aisle bays. In the choir, the pillars are rotated and end on finely crafted head masks or on angel consoles bearing coats of arms. On the Gospel side (south) coat of arms Kessel: in the silver field five red diamonds, and Krickenbeck: in the red field silver glaive; on the epistle page the coat of arms of Vincenz von Moers-Saar werden : black crossbar in the golden field, silver double eagle in the black field, offset. Step-like triumphal arch, a head console on the outer wall of the south aisle probably represents the builder (see Kempen, choir of the provost church). Two more head consoles on the inner wall of the south aisle. Short three-part tracery windows with four and three passes in the nave, high two-part windows in the choir. The old building belongs to a group of late Gothic Lower Rhine pseudo-basilicas together with Amern St. Anton, Waldniel and Dilkrath, but is more finely worked out than the buildings mentioned. The new building adjoins harmoniously; the solution is similar to that in Dilkrath, but here, because the extension was placed on the entrance side, it is more favorable for the visual impression of the interior. Of course, the old tower had to give way. ”In 1981 an organ gallery was built inside and a portal on each aisle. The extension of the sacristy was completed in 1985. A detailed list of the associated furnishings and fittings as well as a further description by Paul Clemen from the book Die Kunstdenkmäler des Kreises Kempen are attached. For scientific reasons, in particular for reasons of art, architecture and local history, the preservation and use of the parish church of St. Peter is in the public interest in accordance with Section 2 (l) of the NRW Monument Protection Act.	1487/1898	13 Mar 1986	77
	Peetzen estate	Suchteln Anrather Str. 70 card	The farmstead is a settlement farmstead, the construction of which is modeled on the typical rural stable house. However, the residential part of the building is a solid construction between two transverse compartments. The hall, the central room, forms a transition area between the living area and the stable area. The stable part comprises three compartments. In the main nave is the feeding hall and in the side aisles are the stables. The central nave is higher than the two aisles in accordance with the framework construction. When planning the homestead, the attempt is made to accommodate a modern, agricultural operation in a traditional house form. As can be seen from the construction file, the expansion of the facility is planned from the start. However, it differs from the typical closedness of a square courtyard. The settlement farmstead was built according to the zeitgeist of the time in the traditional construction of the Lower Rhine stable house. A synthesis of traditional form structure and modern living requirements is sought. For scientific, in particular historical and architectural reasons, preservation and use are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1939	June 20, 1989	198
more pictures	former bridge keeper's house north canal	City Park Robend Antwerpener Platz 1 map	The bridge keeper's house is a single-storey brick building on a high plinth closed off by a cornice made of basalt lava; A gable roof covers the building above a high jamb. Broad chimneys with a rectangular floor plan emerge from the gables. The eaves sides each have three axes: towards the city, three arched windows with sills made of ashlar (apparently sandstone or marl); on the former side of the canal in the central axis there is a round arched door - the arched field was bricked up recently - and rectangular windows with lintels and sills made of ashlar on the side. Another window of this type is offset to the side in the north gable; the gable triangle is broken through by two more rectangular windows without lintels, which apparently were broken into afterwards. The roofing consists of hollow interlocking tiles, the verges are provided with wind boards. Above the entrance door there is a small attic house with a hipped roof, which in comparison with the other well-known guards' houses should be original. Obvious later changes are the plastering of the south gable and today's high staircase. The so-called “varicose vein grouting” that covers the building today certainly dates from the 1920s and is probably related to the construction of the neighboring gatehouse. Furthermore, the masonry shows patches; the south-west corner may have been renewed once. Inside, the main floor has a central corridor. The area south of the corridor is divided into two rooms; on the north side there is a single room, which has a former open fireplace made of straight cut stones on a brick plinth in the middle of the gable wall. Its very massive substructure in the basement shows that it is an old system and not a later installation. The staircase situation was probably changed around 1900 according to the details of the railing. The exit to the cellar breaks through an old wall below; next to it the walled opening of the original basement exit can be seen. The cellar ceilings were probably renewed at the same time in concrete or pumice stone caps between double T-beams. The floor plan doesn't seem to have been significantly changed. The floor plan on the upper floor also seems to be old, but the type of floorboards as well as the doors also suggest a renovation around 1900. The roof structure corresponds - as far as it can currently be seen - the traditional constructions of the canal houses. As a result of the French Revolution and the Revolutionary Wars, the French occupied the lands to the left of the Rhine in 1794 and united them with France in 1797, where they stayed until 1814. The left Lower Rhine belonged to the department de la Roer with the capital Aachen. The remnants of the northern canal - the "Grand Canal du Nord" - whose construction was suggested as early as 1797 and which was supposed to connect the Rhine with the Meuse and Antwerp and draw off trade from the Dutch ports, are among the few architectural evidence of this "French era". After several years of preliminary investigations into the best route, work began in 1808. After the Netherlands had become part of France in 1810, one of the main reasons for building the canal, which was discontinued in 1811, no longer existed. Among other things, several canal keeper's houses were completed, two of which were previously known: a single-storey low building with a hipped roof in Neuss, Kölner Str. 1, and a two-story house with a gable roof in Straelen-Niederdorf, Schlousweg 5. Another bridge keeper's house south of Willich-Neersen on the road from Krefeld to Gladbach was apparently stopped only a few years ago in ignorance of its importance. About these houses known in the relevant literature (especially Hans Scheller: Der Nordkanal between Neuss and Venlo. (= Series of publications of the Neuss City Archives. Volume 7). Neuss 1980; furthermore Gudrun Loewe: Kreis Kempen-Krefeld. (= Archaeological finds and monuments des Rheinlandes, Volume 3). Düsseldorf 1971, bes, pp. 83-88) now comes the Viersener bridge keeper's house, which is the only one that still shows the originally intended appearance of a brick building. In addition, the house testifies that the canal houses were less uniform than expected, although the principles of dimensions, floor plan and design were the same. The building is significant for human history because it is one of the few structural documents from the “French era”. Despite the numerous hardships that this period - especially in the first few years - brought with it for the population and although it only lasted twenty years in total, it laid an essential foundation for a modern development of the Rhineland. In particular, the introduction of a uniform legal system should be mentioned here, which was not repealed by the subsequent Prussian administration. There are artistic reasons for its preservation and use, because the building represents a well-preserved example of so-called revolutionary architecture despite some changes, an architectural style that is essentially characterized by the use of stereometric basic forms. There are also scientific reasons for the preservation and use, because the comparison of the Viersener house with the two other well-known canal keeper's houses shows what deficits still exist in the research of this era and its legacies.	1810	Feb 25, 1998	366
	Cross of the East	Dulken Arnoldstrasse cemetery map	The "Cross of the East" on the Dülken cemetery is a plain Latin cross made of steel (possibly Corten steel) about 7.50 m high. In front of the cross there is a stele made of the same material with two inscription panels, starting with the left panel: "THE CROSS OF THE GERMAN EAST ESTABLISHED IN 1951 BY THE FORMER CITY OF DÜLKEN ON THE INITIATIVE OF THE DISPLACED PEOPLE FROM EAST PRUSSIA WEST PRUSSIA DANZIG POMMERCE OSTBRAN-DENBURG LOWER SILESIA UPPER SILESIA SOUTHERN SOUTHERN" and the right side bears the inscription: "IN MEMORY OF THE VICTIMS OF THE DISPLACEMENT IN THE GERMAN EAST IN THE SECOND WORLD WAR AND THE LOSS OF HOME AS A WARNING AGAINST WAR AND DISPLACEMENT". The Latin cross made of steel has replaced the original oak cross since 1966/1969, which was inaugurated on November 25, 1951. The stele with the inscription plaques made of bronze was erected in 2005 in place of a copper plate. Reason for monument status: Significance for Viersen-Dülken The "Cross of the German East" is the first memorial site of the expulsions in connection with the Second World War in the Viersen district. In the first post-war years, over 40,000 people found refuge and a new home in what is now the district area, while over three million people died during this period of displacement. A total of around 15 million were expelled from the former East German areas. It is also said to represent a representative of the graves in the east. As early as the spring of 1951, the location of the cross was discussed in Dülken and Süchteln, the forecourt of the Dülken town hall, the location on the old city wall and the installation in the Dülken cemetery were all available. The latter option was chosen in July 1951. The oak cross, which cost DM 1200, was financed by donations and the participation of the city of Dülken. The initiators were primarily the country teams in Dülken. Its founding goes back to organized communities of destiny of the displaced after the Second World War. Initially, these organized associations were banned by the British military government, but close contact with family members and compatriots was particularly important for the displaced, especially since the local residents, themselves war-damaged, initially did not approach the homeless with open arms. The ban on refugee associations was relaxed by the British in 1948 and mergers were allowed on a "cultural and welfare basis". In August 1948, representatives of 78 interest groups came together in Rheydt, where the foundation stone was ultimately laid for the establishment of the Association of Expellees in North Rhine-Westphalia. In Dülken, the interest group appeared in the form of an umbrella organization for the expellees in Dülken from 1949. The cross was consecrated on the Sunday of the Dead, November 25th, 1951. Around 1000 people were present - including returnees, war invalids, widows, orphans, refugees and displaced persons. In the following years the memorial was often the target of rallies and silent marches by the displaced. In the meantime the number of country teams has been reduced from five to two, the local BdV association in Dülken no longer exists. Nevertheless, an initiative to restore the cross was formed in 2005. Members of the "Verkehrs- und Verschönerungsverein Dülken e.V." cleaned the steel cross, the surrounding plaza was provided with a cross-shaped cobblestone paving and they had the copper plates and the texts replaced, especially since the inscription "Gedenket der Toten im Deutschen Osten" is no longer understandable for today's generations, in their opinion. The local master blacksmith Klaus Dommers made the stele with the two panels. This initiative shows another aspect of the local historical significance. If the memorial was originally intended as a place of remembrance of the deceased and expelled compatriots, it was also intended to symbolize that the expellees were welcomed and accepted in Dülken. In Dülken alone, 3,000 displaced people have settled down permanently. The latest initiative proves that the integration of the displaced persons in Dülken has been successful and that they are an integral part of society. Scientific, here cultural-historical reasons for the preservation and use Shortly after the escape, displacement and deportation in the former East German area, the survivors in West Germany began to erect memorials for relatives, friends and neighbors who were violently or due to exhaustion, hunger and illness Deaths had come. The main motivation was to give the deceased from home, whose graves remained unknown or could not be looked after due to the spatial distance, a place of lasting memory and thus to preserve the memory. The Association of Expellees documents and collects knowledge about the memorial sites, and its database currently includes around 1400 memorials and memorials. The oldest of the documented memorials was erected in Immenhausen in Hesse in 1947 and the youngest site was only inaugurated in 2005, which underlines the ongoing importance of the topic to this day. The memorials that have been erected in western Germany since the early 1950s vary greatly in form, shape and material. Some of them are simple crosses or memorial stones, but some are also real works of art with high artistic standards. Ultimately, the form is also of secondary importance, after all the symbolic character of the memorials is in the foreground. Since reunification, numerous memorials have also been inaugurated in Brandenburg, Mecklenburg-Western Pomerania, Saxony-Anhalt, Saxony / Silesian Lusatia and Thuringia. Documenting and preserving this divergent and varied landscape of memorial sites in this part of German history is an essential contribution to preserving the memory of German history. The "Cross of the East" in Dülken and its preservation also contribute to the preservation of cultural-historical and historical knowledge in the memory of society and the following generations. Scope of protection: The "Cross of the East" described above with the flanking stele.	1951/1969	23rd July 2014	514
	Burial place of the Tonnar family	Dulken Arnoldstrasse cemetery map	The tomb of the Tonnar family is located in the city's third cemetery, which was newly laid out in 1873 (municipal cemetery). The construction of the new cemetery in 1873 took into account the rapid growth that the city of Dülken experienced between 1830 and 1900 due to its importance as an industrial location. In 1826/30 the first cemetery at the church was closed. The second cemetery was founded a few hundred meters north of the old city wall, because for hygienic reasons the dead should no longer be buried within the city. The construction of the train station north of the city in 1866 meant that it was soon in the middle of a rapidly developing district, so it was decided to build a new cemetery on the other side of the railway line. The new location was chosen at some distance from the existing urban structure, as one had optimistic expectations for the future development of the city. a. the development plan from 1894 proves. However, these expectations are not fulfilled, which is why the cemetery is still only loosely integrated into the urban development. Description The tomb of the Tonnar family was created around 1912 by the Cologne sculptor Wilhelm Fassbinder . In a frame made of black granite there is a life-size figure of Christ made of white marble. It stands face-to-face on a white marble base with the artist's inscription on the left. Christ, who is wrapped in a floor-length robe, is shown with gestures of blessing. The left foot steps a little over the base. There is a ray nimbus over the head of Christ. It is designed as the Redeemer after the Christ figure "Christ Consolator" by Bertel Thorvaldsen from 1821; even if a bit simpler in its execution. However, it is precisely in the design of the face that it is very similar to its famous role model. The head is turned slightly downwards; the features are narrow. He has a beard and long hair parted in the middle. The Christ figure is not a completely free-standing statue. A framework architecture is built around the figure, consisting of a façade with a pointed gable and a round arched opening with multiple steps towards the inside, similar to that of a Romanesque archivolts portal. This archway can be understood as the gate to heaven where Jesus Christ receives the deceased. Granite pillars emerge on both sides of the portal, each crowned by a Greek cross with four equally long arms made of the same material. Representations of Christ are less common in comparison to crosses and angels. The most common is the standing Christ. The design, the expression, the folds and the position of the hands vary, depending on whether Christ is shown on the cross as savior, mediator and teacher or sufferer. Middle of the base: REST OF FAMILY FELIX TONNAR Stele left side from top to bottom: FELIX TONNAR BORN 16 MAY 1829 GEST. May 27, 1912 PAULINE TONNAR BORN REQUEST GIVING 8 FEBR. 1840 GEST. 2nd OCT. 1928 Stele right side from top to bottom: ALPHONS TONNAR BORN APRIL 19, 1863 GEST. May 24, 1926 The family grave, which includes ten grave sites, was acquired by Felix Tonnar in 1910. Only three of the grave sites are occupied. The grave complex is framed by a low hedge in which a stone step is set in the middle. Family Felix Joseph Tonnar was the son of Arnold Lambert Tonnar and his wife Maria Elisabeth geb. Hoen. He was born on May 16, 1829 in Eupen, the second youngest child of seven siblings. He studied mechanical engineering in Liège and came to Dülken in 1859 as an engineer and specialist in gas works. There he built Dülken's first gas plant. Felix Tonnar managed the Dülkener gasworks for 29 years before he founded the mechanical engineering institute and iron foundry Felix Tonnar. He mainly had looms made, but also other textile machines such as winding machines and accessories for machines. Initially, business relationships were largely limited to Germany, especially to the vicinity of Dülken. On May 27, 1862, at the age of 33, he celebrated his wedding to his wife, Pauline Ford, who was almost 11 years his junior from Dülken. The Tonnar couple had seven children between 1863 and 1882; three sons and four daughters. The Tonnar family lived appropriately for an upper-class, wealthy family in a representative house on Marktstrasse. The former home of the Tonnar family can still be found today, now restored, at Marktstrasse 22 and has been a listed building since 1986. The family seat was in the immediate vicinity of the new factory that Tonnar had built from 1873. Separated only by the garden, this was quite a common occurrence in the 19th century. From 1893 to 1910 he was a city councilor and from 1881 a member of the church council. He was also a member of the construction, library, gas and waterworks, school and church and transport commissions, as well as the board of trustees of the commercial advanced training school. Felix Tonnar died on May 27, 1912 at the age of 83 on the day of his gold wedding anniversary. After the death of his father, Alfons Tonnar became head of the company. At this point in time Alfons, born on April 19, 1863, was 49 years old, a mechanical engineer and had been working for the company for some time. In the meantime, the business relationships of the Tonnar company were no longer limited to Germany and the surrounding area; it was also delivered to Vienna, Lodz, Moscow, Barcelona and France. During the First and Second World Wars, production shifted to the manufacture of war bullets, although looms continued to be built and sold. Alfons Tonnar died between the two world wars on May 25, 1926 at the age of only 63. Two years later, his mother Pauline also died. Later, Paul Born, Alfons Tonnar's son-in-law, took over the management of the company as sole managing director, who brought his son Alfons Born into the company in 1970. Alfons Born tried to increase the company's liquidity by changing the company structure and to remedy serious deficiencies. This step came too late, however; the company had to file for bankruptcy in 1977. Artist The tomb is signed in the marble base: Fassbinder, Cologne The sculptor Wilhelm Fassbinder was born on April 20, 1858 in Cologne. He received his training from his stepfather, the Cologne sculptor Johann Nothen, in decorative and figurative sculpture; otherwise he was self-taught. Within a very short time his work achieved high quality and wide recognition. His creative focus lay in the monument and portrait subject. He became known nationwide through his imperial and war memorials in the Prussian provinces of Rhineland and Westphalia. He created such monuments in Langerwehe (1897), Dortmund (1903), Euskirchen (1903), Malmedy (1904), Altenkirchen (1905), Bernkastel (1906), Heinsberg (1908), Arzfeld (1908), Dessau (1911), Daun (1911) and Gerolstein (no date). A significant part of his work in the field of sepulchral art can be found in the Melaten cemetery in Cologne. There he created 71 tombs with partly larger than life natural stone sculptures and bronze applications. Stylistically, his works can be assigned to eclecticism up to around 1900, then preferably to reform art and neoclassicism. He was a member of the "Association for the Promotion of Sculpture in the Rhineland and Westphalia" founded in Düsseldorf in 1890, which tried to defend itself against the dominance of Berlin sculptors in the Rhine Province. He was also a co-founder of the "Association of Cologne Sculptors" in the late 1890s, which organized the participation of Cologne sculptors in the restoration of the Cologne Council Tower and the renewal of its figure program. He was also a member of the "Artists Association of German Sculptors", in the committee for the "Cologne House" in the Cologne Werksbund exhibition in 1914 and chairman of the "Meister Wilhelm Association" in Cologne. Wilhelm Fassbinder, who was married to the daughter of the rector of the cathedral school, Gertrud Hinsen, died unexpectedly of a stroke on August 10, 1915, at the age of only 57. Monument value The grave site, built around 1912, with its exquisite materials and monumental grave figure is typical of the representative claim of the wealthy bourgeoisie of the time. The design of the tomb and the associated complex reflected the social position of the population; a typical development of the sepulchral culture of the 19th century. While the less well-off were buried in a row grave, mostly unadorned and spatially separated, the upper middle-class circles acquired large graves or crypts and adorned them with elaborate monuments. With the location of their election grave, they showed their prominent position in society. The family grave of the Tonnar family is located in the south of the Dülken cemetery, directly at one of the two entrances on Arnoldstrasse, alongside other important Dülken families. In addition, the family commissioned Wilhelm Fassbinder, an important stonemason from Cologne at the time, with the design and construction of the tomb. The possibilities given by technology and industrialization in the processing of grave monuments in the course of the 19th century are also reflected in the materials used. The transport of hard stone from distant regions and countries was made possible by railways and steamships and brought a large selection. The figure of Christ reflects the family's piety and closeness to the Catholic Church. He interprets belief in the redemption and resurrection of the dead. For scientific, artistic and local historical reasons, the preservation and use of the Felix Tonnar family's grave complex in accordance with Section 2 (1) Monument Protection Act are in the public interest. Sources Viersen City Archives literature Gunnar Schirrmacher: The Dülken company Felix Tonnar - A contribution to the social and economic history of the Lower Rhine 1829–1988. Association for home care e. V. Viersen and Viersen City Archives. Josef Abt, Joh. Ralf Beines, Celia Körber-Leupold: Melaten - Cologne graves and history. Greven Verlag, Cologne. Josef Abt: The Cologne Melaten Cemetery: Encounter with the past a. Forgotten from the Rhine. History and Art. Greven Verlag, Cologne 1980 KG Saur: General Artist Lexicon - The visual artists of all times and peoples. Volume 37, Saur, Leipzig 2003.	around 1912	0Apr 8, 2015	516
	Grave site of the Gatzenmeier / Schmitz family	Dülken Arnoldstrasse cemetery block 1, grave site 320-237 map	The construction of the cemetery on Arnoldstrasse in 1873 took into account the rapid growth that the city of Dülken experienced between 1830 and 1900 due to its importance as an industrial location. In 1826/30 the cemetery at the church of St. Cornelius in the center of the village was abandoned because, for hygienic reasons, the dead were no longer to be buried within the city. A new cemetery was initially established a few hundred meters north of the old city wall. Last but not least, the construction of the train station north of the city in 1866 meant that it was soon in the middle of a rapidly developing district, so that it was decided to build a new cemetery on the other side of the railway line. The location was chosen at some distance from the existing urban structure, as one had optimistic expectations for the future development of the city, as evidenced by the development plan from 1894. However, these expectations were not fulfilled, which is why the cemetery is still only loosely integrated into the urban development. In the cemetery there is a large number of noteworthy tombs and memorials that are important testimonies to the history and importance of Dülken. Description A high, multi-level granite pedestal rises on a base made of sharpened natural stone that protrudes on all sides and is flanked by curved supports. The pedestal is structured by geometric shapes. For example, a polygonal "plaque" is worked out in the base area on the front side with the inscription: Far from the eye, always close to the heart. The surnames of the tomb are carved in the upper middle section: Family Gerhard Gatzenmeier PW Schmitz On the pedestal there is an angel in profile in the form of a young woman. The life-size figure has Nazarene features. Your medium length curly hair is parted by a center part. Her long flowing dress is adorned with a necklace with a small cross pendant. With her head bowed, her facial features serious and internalized, she looks at a ribbon adorned with blossoming flowers, which she embraces in her hands with her outstretched arms. Their angel wings resemble the plumage of a bird of prey. The angel stands with one bent leg in front of a cross that rises on the roughly sketched depiction of a rock. Its crossing ends are "broken off". A garland of flowers winds around the cross stem. Both the cross and the angel are made of marble. Angels play an important role in many cultures. In Judaism, Islam and Christianity, angels are messengers or spirit beings who act as mediators between heaven and earth. As grave angels, they are supposed to establish a connection between the deceased and his family. As protection for the deceased, here a child, the angel should accompany them on their last journey. With its heterogeneous combination of elaborate materials and monumental grave figure, the tomb, built in 1890, is typical of the representative claim of the bourgeoisie at the time, to which the Gatzenmeier family belonged. Gerhard Hubert Gatzenmeier was born on October 21, 1853 in Coerrenzig near Erkelenz. In 1878 he founded a trading business for leather and shoemaker's supplies in Dülken, which over the years has become one of the most important in this branch and has international operations. The company headquarters was at Viersener Straße 6. After the death of the company founder on March 5, 1905, his son Hubert initially took over management of the company. After his early death at the age of 27, the company was continued in 1912 under the name of GH Gatzenmeier Successor under the management of Messrs Carl Lünger and Alfred Linkenbach. Gerhard Gatzenmeier married the Dülkenerin Thekla Klingen. From this marriage there were four children. The eldest daughter Maria died at the age of 8 in 1890. The second oldest daughter Agatha married the tax inspector Peter Wilhelm Schmitz from Dülken. Only the youngest daughter Laura moved with her husband to his hometown Mainz. The Gatzenmeier family last lived in the representative villa at Am alten Rathaus 4. For scientific, in particular art historical and local historical reasons, the preservation and use of the tombstone are in the public interest in accordance with Section 2 (1) Monument Protection Act. Sources Viersen City Archives Source research Verein Geschichte für Alle e. V. Viersen literature Eva Brües: The monuments of the former town of Dülken, Part 1: The sacred monuments. In: Oberkreisdirektor Viersen (Hrsg.): Heimatbuch des Kreis Viersen 1980. 31st episode, p. 129. Hugo Doergens: Chronicle of the city of Dülken. Dülken 1925, p. 303.	around 1890	15th Mar 2012	501
	former mortuary cemetery Dülken	Dülken Arnoldstrasse 48 map	The former morgue with gravedigger's apartment stands at the western end of the main transverse axis of the cemetery area laid out in a right-angled grid in 1873 (expanded to the north and east in 1914 and 1925). The two-story brick building rises above an almost square floor plan and is adorned with elaborately designed stepped gables on the north and south sides. The entrances are on both sides of the eaves. According to the functional inner division of the building into two roughly equal areas (morgue and grave digger's apartment), the two entrance facades are designed differently. On the side facing the cemetery, the entrance to the morgue is marked by a porch with a gable on the central axis of the building. To the left of the porch, a door leads into the room, which is designated as the autopsy room on the construction plan. The window to the right of the porch belongs to the former morgue, which takes up two thirds of the width of the building. While the side facing the cemetery shows only one floor, the opposite side is designed as a two-story, three-axis facade, behind the apartment and office of the gravedigger occupy about half of the building. The door, which is also in the middle here, leads to a hallway that opens up the rooms on the ground floor across. Finally, on the north side, which is least visible from the main access routes, there is a low, flat-roofed extension. The character of the extension reveals its original function as a shed and storage place for cemetery utensils. The design of the exterior reveals a remarkable, representative claim of the municipality. The most important showpiece of the building are the two stepped gables, which are located on the north and south side: a five-lane stepped gable rises above a low ground floor with three window strips separated by simple protrusions and a final console cornice. The two outer steps are above the outer window strip while the middle of the gable occupies the entire width of the middle window strip. While the side steps are simply composed of a pillar-like border and recessed areas with lancet panels, the middle is designed as a gable in the gable. The field with three staggered and combined lancet panels is crowned by a three-stepped gable, the smaller steps of which form a moving contrast to the wider steps of the side gable panels. The desire for formal enrichment and liveliness is also echoed in the four side gables, where two narrower lancet panels are followed by a larger one towards the center. In addition to the gable sides, the entrance to the morgue is particularly highlighted: a triangular gable with a stepped interior structure rises above the pointed arched portal of the porch. Because of the narrow proportions, an area is created between the portal and the gable field, which is decorated with a round panel. The steps of the internal structure rest on consoles. The center of this gable is also particularly emphasized. The chimney-like gable crown rises from strong projections that form a lancet arch. The console cornice at the roof extension on both sides of the porch is stronger and higher than the other cornices of the building and serves to give the eaves-facing entrance facade more height and thus more weight next to the side gable front. In addition to the means mentioned to achieve a diverse and representative design of the exterior, the use of differently colored bricks is another one that should be mentioned. Aligned to the height of the windows and doors and to indicate the division of the floors, strips of two rows of darker bricks are attached at regular intervals. This color change can also be found on the reveal of the ogival portal of the morgue and on the flat-arched window closings on the ground floor. It is noteworthy that the banding is missing on the north side, the side of the building facing away from the main access route, which was therefore clearly designed as a lower-quality viewing side. However, the outer walls of the shed extensions have the same console cornice as the upper connection that can be found on the other, the front sides. The most drastic change to the exterior concerns these shed extensions: the originally two wings were combined at an unknown point in time by an installation between them. The windows are new, but the window openings are largely unchanged (only on the upper floor on the west side they have been expanded a little). The doors are also new, with the exception of the entrance door to the gravedigger's apartment. Of the interior fittings, only the staircase to the upper floor from the time of construction remains. Justification of the monument value: The building is dated by the year 1876 on the keystone of the portal arch at the entrance to the morgue. The dating probably refers to the year of completion. The builder is currently unknown; Since Dülken did not yet have his own town builder at that time, the then district builder, possibly even the building department of the royal government in Düsseldorf, could be considered. The latter, represented by its head of building counselor Krüger, had drawn up the design for the Higher Citizens' School on today's Theodor-Frings-Allee in 1872, i.e. shortly before, which also reminiscent of the brick Gothic create a representative exterior. The former morgue is not only a defining part of the appearance of the historic cemetery, but also a testament to the history of the city in the late 19th century. The industrial city of Dülken, which was emerging in the second half of the 19th century, erected a public building here with remarkable design requirements, one of the earliest in a series of other elaborate municipal buildings from the period between 1870 and the First World War (in addition to the high school, e.g. town hall , District court, synagogue, indoor swimming pool). The construction of the new cemetery in 1873 at some distance from the city also testifies to the optimism of planning at the time with regard to an expansive urban development, which subsequently took place much less quickly than expected. The building for the urban grave digger therefore reflects the optimistic spirit of that time in its shape and urban development position. The former mortuary with grave digger's house is therefore important for Dülken, City of Viersen. Its above-described, remarkably elaborate design in forms that echo the brick Gothic, which is actually atypical here in the region, is essentially unchanged and clearly preserved. Because of its existing testimony value for public building at the end of the 19th century and for a high-quality solution to this special building task, there is a public interest in its preservation and use for scientific, here architectural-historical reasons. In addition, there are the mentioned reasons of urban development history. It is therefore a monument in accordance with Section 2 of the NRW Monument Protection Act.	1876	0Dec. 4, 2007	471
more pictures	Bongartz mill	Unterbeberich Bachstraße 39 a map	The brick-facing building complex of the Bongartzmühle, stretching between Hammer Bach and Bachstrasse, includes extensive stables and ancillary buildings as well as servants' houses, which form a triangular inner courtyard on the rear gable side of the actual mill building. At the mill building on the eaves side facing the street, the gatehouse adjoining building joins hard along what is now the slightly elevated street. A large barn - renewed and enlarged in 1864, renewal of the burned-down roof structure in 1955 - which stands across the street and to the front gable side of the mill, marks a larger courtyard in front of it, on which there is a recently found old pebble floor (Keienboden, Kieselboden). The entire courtyard is largely made of brick, with individual wall parts of the outbuildings in half-timbered construction and with field fire bricks or plastered surfaces facing the inner courtyard. The side of the mill facing the Hammer Bach still shows the remains of ashlar walls from a previous building as well as various construction seams. The window openings are arranged irregularly there. The mill yard, in the place of which there was a previous mill in the 14th century and which is presumably to be found among the 12 Viersen mills mentioned in 1246, is made of a post construction (oak construction). The stud work and other remains of the construction date from the 17th-18th centuries. Century (ca.1780). Today's appearance is essentially based on structural changes in the 19th century. On the front gable side of the two-storey mill building, to the right of the entrance door, there are stacked window and door openings with the guide roller for the grain elevator. Windows and doors are covered by brick arches. Inside the mill, the stand work and the still completely preserved grinder dominate, while the mill wheel itself is lost. The old millstones are embedded in the floor of the hall - when it was lifted, an old well was found - as well as the vaulted cellar under the Opkamer. The chimney is still in its old place. Cologne ceilings decorate the living / sleeping rooms. The Bongartzmühle has been restored since 1981. The current owner strives for a complete functionality of the grinder after the completion of the repairs and the return of the Hammer Bach to the mill building. The watermill on the Hammer Bach was built in place of the previous mill mentioned in 1569 as Herdermolen, documented in 1408 as Molen-ter-Poertzen, in 1423 as a fiefdom ("with the good to the Portzen, with mills, with ponds, with grinding, Service and interest people ”) came into the possession of the Lords of Tüschenbroich and has been known as the Bongartzmühle since 1578; it experiences its importance as a typical example of the numerous, mostly submerged, former water mills in the Viersen settlement area. The age and historicity of the Bongartzmühle are therefore of great importance for the local history of Viersen. In addition, it must be regarded as a typical example of the significant topographical settlement organisms that once shaped the Viersen area and is therefore essential for the history of the settlement. In addition to conveying the visual perceptibility of previous work and production conditions, the well-preserved grinder offers technical and scientific information. The preservation of the Bongartzmühle is therefore in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia for historical, folkloric, local and settlement history, technical-scientific reasons and as evidence of the history of work and production conditions.	1569	0Jan. 8, 1985	4th
	Elementary school Hamm	Hamm Bachstrasse 201 map	The "Hammer Elementary School" has a constructive L-shape. It is divided into the school wing, the gymnasium and the living area, the former principal's apartment, now the caretaker's apartment. The school wing, a three-story building with a flat roof, has a profiled clinker brick facade. This is presented in different colored clinker bricks, in the colors dark red and light red, with the color scheme being dominated by dark red. The profiling of the facade consists in the interplay between the runner and binder stones, with the trusses protruding slightly from the runner masonry. The school building is accessible via the main entrance. This is inserted into the eastern longitudinal shape of the school building and raised by an angled stair landing and covered with a flat roof. The main entrance is emphasized on the one hand by the architectural framing, an ashlar frame, and on the other hand by the original main entrance door. This is a double-leaf wooden glass door. On the east side, the school building has an interruption in the structural straight lines. This side of the building is emphasized in the middle of the building, the stairwell area. The stairwell is characterized on the one hand by the structural design and on the other hand by the window area. The stairwell window, a tall rectangular window that extends over two floors, is held in an ashlar frame. The window has three window areas lying next to one another and five window areas lying one below the other. The glass insert is held in colored lead glazing. Due to its structural design, the stairwell crystallizes as an independent cube from the otherwise continuous residential building. The façade to the left of the stairwell, with the classrooms behind it, shows two vertical rectangular window areas next to each other on the ground floor and first floor area and a ribbon of windows on the second floor. The windows are provided with a stone frame. The facade design of the existing school building to the right of the stairwell is remarkable. Between the l. On the 2nd and 2nd floor lattice windows are lined up with geometric clinker brick ornaments. In terms of their structure, these stand out from the otherwise predominant profiled clinker brick facade that appears here in the background. The clinker ornaments are square to rectangular. They are provided with an outer ring made of light red clinker. On the other hand, the inwardly offset square or rectangle is held in a dark red clinker brick, with the clinker bricks being bricked up differently, on the one hand in the horizontal and on the other hand in the vertical setting direction. The center of this ornament form is a square or rectangle built in light red clinker stone. In addition to the clinker brick ornaments, the rows of windows in the l. On the 1st and 2nd floors adorned with a band of ashlar, on the one hand as the upper window closure and on the other hand as a cornice. The west side of the school wing towards the school garden is simple in the facade design. In the ground floor area, the windows are provided with a clinker brick lintel. On the 1st and 2nd floors there are four rows of windows each, which are surrounded by an ashlar frame. The gable side, the south side of the building, experiences a loosening up and a slight playfulness of the facade by the ground floor. There, on the one hand, the masonry jumps back slightly in the area of ​​the window or door openings and, on the other hand, the openings are provided with a round arch. The windows above are rectangular in shape with an ashlar frame. The north gable side of the school building sets accents in the upper corner area. The same square clinker brick ornaments were used there as on the eastern longitudinal shape of the building. Here they show a visual limitation of the building width. The residential building on this gable side, the caretaker's apartment, forms a seamless transition with the school building. The residential building is two-story and has a flat roof. The house entrance and the windows are surrounded by a stone frame. Like the school building, the facade also has a profiled clinker brick facade. The gym, which is adjacent to the east side of the school building, is a single-storey structure with a flat roof. The gym has tall rectangular windows on its northern longitudinal shape, facing the schoolyard, and square windows in the southern direction. The windows are surrounded by a stone frame. The eastern gable end of the gym building is decorated on the one hand with clinker brick ornaments, which are lined up horizontally, and on the other hand with four wall pillars, which are also made of clinker brick. The clinker ornaments are surrounded by a band of ashlar. The eaves of the three parts of the building, the school building, the residential building and the gymnasium, are made of ashlar. The layout of the school building is almost unchanged. Coming from the main entrance you enter the porch and then the stairwell. Both rooms are separated by a double-leaf glass door divided by rungs. The stairs in the stairwell provide access to the individual floors, here the first floor, l. and 2nd floor, given. The staircase shape is straight, three-way with a change of direction in the same direction. The banister shows a geometric ornamentation. The stairwell is supplied with daylight through a tall rectangular window that spans two floors. Staying on the ground floor you go from the staircase to the corridor on the west side. With its straight lines and continuity, the hallway underlines the longitudinal shape of the school building. The hall area is equipped with a colored stone floor. The hallway has separate changing rooms for girls and boys and a changing room for the teachers on its right. The laundry and school kitchen are located next to it until 1970. These last two rooms were converted into a school kindergarten in 1971. The gym is located on the left side of the hallway, i.e. towards the east. Washrooms (formerly a school bathroom) and changing rooms can be found in front of the gymnasium. The gym is equipped with a parquet floor. The teaching staff's offices are also located on the ground floor in the former caretaker's apartment. These rooms are accessible via the vestibule of the main entrance or directly from the entrance portal. An anteroom leads to a small hallway, which is equipped with colored floor tiles, behind which the secretariat and the other offices are located. Viewed from this hallway, there is a staircase on the right-hand side that leads to the basement. The l. The upper floor is divided into a narrow, continuous corridor, the teachers' room to the left of the staircase and a meeting room. The classrooms can be found opposite. On the 2nd floor, to the left of the staircase, there is the former drawing room, now the class and theater room, and on the other side the hallway with the classrooms. The caretaker's apartment is located on the northwest side of the school building in the former principal's apartment. The caretaker's apartment is accessible through the apartment entrance on the north gable side. The building echoes the expressionism of architecture, on the one hand the restrained facade design and on the other hand the eye-catching details such as the geometric clinker brick ornaments and the stone frame used. The building parts form a stylistically one unit through the conscious striving for symmetry. They are arranged in the form of cubes, whereby they differentiate in height and width. The modern design language should be emphasized. It can be seen here in the clinker brick design of the facade, the flat roof that has been retained throughout and the number of storeys in the building. In 1930 the Viersen architect Willy Esser designed the Hammer Volksschule, now a primary school. At this time, Willy Esser was of regional importance. He became known through various designs of historical buildings, such as the town hall extension in Dülken, the Stadtbad in Viersen, the Pongs & Zahn factory and his villa in Carl-von-Ossietzky-Straße 2, as well as a large number of other houses in the city area. It is noticeable that he chose a modern architecture, expressionism, for the construction of the elementary school. This shows that he is breaking away from the architecture of historicism, which influenced his work in the 20th century, and finding a modern architecture. For scientific, in particular architectural and urban history reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1930	Dec 11, 1991	296
	Emergency house	Viersen Bachstrasse 329 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	313
	Emergency house	Viersen Bachstrasse 331 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	314
	Emergency house	Viersen Bachstrasse 333 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	315
	Emergency house	Viersen Bachstrasse 335 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	316
	Emergency house	Viersen Bachstrasse 345 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	317
	Emergency house	Viersen Bachstrasse 347 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	318
	Emergency house	Viersen Bachstrasse 349 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	319
	Emergency house	Viersen Bachstrasse 351 map	In 1949/50, the city of Viersen built 9 prefabricated houses with the type designation HBW 49 on Bachstrasse based on drawings by the architect Hans Rangette, Dülken. The houses are constructed according to the basic concept of half-timbered construction, with the space previously filled with clay or stones being replaced by cladding with lightweight panels and insulation with heat-retaining materials. The outer walls are provided with a fine plaster. The house with a full cellar and a gable roof is built over an area of ​​4.60 m × 6.26 m - 28.80 m². The interior is cleverly divided. The hallway and an adjoining toilet only make up just under three square meters, the rest of the space is completely used for residential purposes. The living room (4.34 m × 3.10 m) and kitchen (2.62 m × 2.17 m) are connected on the ground floor. A wooden staircase next to the kitchen leads from the living room to the upper floor. Two bedrooms are arranged one behind the other on the upper floor. The attic, which runs over both rooms on the upper floor, can be reached through a ceiling hatch. The bathroom and laundry room are located in the 23 square meter basement, which is accessible from the outside. The “emergency houses”, also known as “fat houses”, are unique in their size, shape and design in the city of Viersen and clearly characterize the area in front of and behind the railway bridge / tunnel on Bachstraße. Dr. Fetten from Holz- Baustoffwerke Dülken is developing a house type 49, whose large-scale heat and sound-insulating construction elements can be prefabricated and assembled on the building site. The erection of the houses is therefore quick and inexpensive. The price (approx. 9,000 DM) corresponds to the meager budget of those looking for accommodation and the limited financial power of the municipalities. At the meeting of the building and property committee on August 30, 1949, it was decided to erect 9 “fat houses”. The press takes an active part in setting up the prefabricated houses. It praises the short and tight construction time and its cost-effectiveness. The individual construction phases are documented in the press releases. The houses are unusual examples of addressing the post-war housing shortage. They agree on the unavoidable need to create apartments as quickly as possible in the post-war period and the no less urgent requirement to keep the building price as low as possible. Such apartments or houses from the first post-war years must be of interest to the preservation authorities, because examples of this are extremely rare in the nationwide overview. Added to this is the excellent state of preservation of the Viersen houses and their importance for human history. For scientific, in particular architectural, historical and housekeeping reasons, the maintenance and use of the buildings Bachstrasse 329, 331, 333, 335, 345, 347, 349, 351, in accordance with Section 2 Paragraph 1 of the Monument Protection Act of North Rhine-Westphalia, are in the public interest.	1949/50	May 13, 1993	320
	Viersen station entrance building	Alt-Viersen ( Rintgen ) Bahnhofsplatz 1 map	1st story: Since 1848 Viersen was included in the newly emerging network of the German railways. On October 5, 1849, the Viersen-Homberg line of the Ruhrort-Crefeld-Kreis Gladbacher Eisenbahn was opened, which was completed at the end of 1851 to Gladbach. 1865 saw the opening of the line to Dülken, since 1861 better connections to Cologne and Duisburg via Neuss existed. The Cologne-Netherlands transit line then ran via Grevenbroich from shortly before the First World War. As a result of the increased traffic on the now more rapid rail connections, shortly before the First World War it was necessary to rebuild a situation appropriate to these conditions, for which today's location on the then vacant site "Am Eichelnbusch" was chosen outside the center. At the same time and analogous to other cities, the railway line was relocated to the higher level to facilitate the crossing with road traffic, which led to the embankment to the north of the station and corresponds to the current situation. In 1917 (according to other sources in 1921, which presumably refers to the completion of the entire railway system) the building was put into operation. 2. Description: Around a dominant central building with a front central projecting under triangular gables and pilasters in a colossal arrangement, receding intermediate tracts and a protruding, pavilion-like corner building are grouped in a baroque layout. The central hall is covered with a hipped roof, in the middle of the ridge of which there is a belvedere-like attachment. The triangular pediment above the main entrance is adorned with a clock-bearing ocular that was originally surrounded by a stucco framework. Above the square base zone, five tall rectangular window areas between the pilasters illuminate the reception hall behind the classifying facade. To the west, under the roof of the plinth, the lower-level gastronomy wing, illuminated by five window openings, connects to the pavilion-like corner building three axes wide, the hipped roof running at right angles to the connecting wing. Multiple stepped reveal zones of the two-storey elevation ensure that the corners are emphasized, while the parapet areas are emphasized with decorative plaster motifs. To the east, the reception hall is followed by a four-axis-wide, two-storey wing structure on an angular floor plan, which leads to a right-angled, recessed side wing, again parallel to the track structure. This wing also shows the ornamental motifs of the western corner pavilion. The interior of the reception hall has a triple ceiling mirror set back over multiple grooves with closely spaced plaster consoles, in the middle of which sits the central ventilation opening, closed by an ornamented grille and leading to the Belvedere. This is not the only ornamentation of the otherwise sober and austere reception building. In the west wing, original wooden paneling over coves on the ceiling of the restaurant has been preserved on the track side, as well as very high-quality, diamond-shaped stuccoing in the part of the building facing the station square. Underpasses and bridges as well as platform structures are no longer of historical interest. Changes in the original state have blurred too far here. 3. Evaluation: The Viersener Hauptbahnhof, which was created in the course of the comprehensive modernization and simultaneous elevation of the railway line, is a monument within the meaning of Section 2 (1) of the NRW Monument Protection Act to the extent described above. Its preservation and use is in the public interest, since the building is important for the cities and settlements as well as for the development of working and production conditions. There are artistic, scientific and urban planning reasons for preservation and use. This applies to the exterior, but also to the equipment details mentioned under Roman two. The building, which was set up in the context of a specially newly created station forecourt, shows the importance of the Viersen station, which had increased significantly up to the First World War, with its classifying individual forms and baroque floor plans. Its prestigious claim underlines the self-esteem of the prosperous industrial city of Viersen in the network of the Rhenish economic and transport area. In 1922, 12 express trains, 20 express trains and 64 passenger trains stopped in Viersen every day at the Cologne – The Hague station, which is still important today for cross-border traffic. In terms of architectural history, the system stands for the design of the classifying plastered building according to the Art Nouveau style. The calm, but not inanimate front end worthily closes the area of ​​the station square, which is enclosed by other listed buildings. The simplistic renovation (Belvedere, gable triangle) did not affect the quality of the building. The building is an exemplary representative of the second generation of medium-sized station buildings, which have become necessary since the 1890s after the elevation of the railway lines.	1917	June 21, 2002	440
	Apartment block Kaisers Kaffee Goethestr. 2	Viersen Bahnhofsplatz 6, 7, 8, 9, Lessingstrasse 1 map	Outside the center of Viersen, shortly before the First World War, a new train station was built in the course of a new and elevated railway line. The station building was put into operation in 1917. In the course of this measure, the station forecourt was also laid out, which, however, initially remained without further development and therefore without any urban development on its other sides. It was not until the thirties that attempts were made to improve this unsatisfactory situation by means of the block of flats in question, so that Kaiser's coffee could be won over as a client for a corresponding project. For this purpose, according to the documents received, the city began negotiations in 1935 with the company. Perspective sketch from March 1937 is part of a larger development that continues into Bahnhofstrasse. Probably due to the war, however, it remained the only part that could be carried out. Emil Fahrenkamp is the author of the building plans (building application April 1937). Building description The group of houses consists of two corner houses and four double houses, which are combined to form a uniform two-storey structure with an extended pitched roof (old black Ludowici hollow interlocking tiles) along the station square. It has a total of four entrances (and thus stairwells) to the station square, and one to each of the two side streets. Each stairwell on the station square side gives access to four residential units on two floors. In contrast to the usually simpler apartment blocks of that time, this one has a striking architectural shape, in accordance with its urban planning function, in a moderately neoclassical-traditionalist design language. Firstly, the strict axiality of the facade contributes to this: the doors and windows as well as the skylights are each located on one axis. The axis of the door and the staircase behind it (each with two round windows one above the other) is also particularly emphasized by differently colored plaster and a frame on the sides. The windows also have their own plaster framing. There is also a plaster tape under the eaves. Another special design element is the highlighting of the corner blocks of the station square / side streets in a corner pavilion-like manner by slightly protruding in front of the flight and hunching of the roof. The corner building facing the city center was formerly a shop (converted into an apartment in 1969). The apartments each have a balcony facing the rear garden. The strict row of windows on the front has been dissolved here in favor of a stronger bundling according to the residential units. The apartments in the middle residential units have a simple floor plan with a central hallway and the surrounding rooms: kitchen, bathroom, bedroom, children's room, living room. Since the apartments already had bathrooms with a toilet from the beginning, which is quite unusual for the time it was built, the floor plan has not been changed to this day, according to the owners. The attic, which was also originally developed, also offered an additional usable chamber for each apartment (today generally out of use) and a shared storage area. The apartments in the corner houses have the same room layout, but on a slightly larger area. As a result of modernization measures, only a few original doors (staircase doors; house doors all new) and wooden windows (including the round windows of the stairwells) have survived. Floor slabs of the stairwells and stairs themselves (wooden stairs with simple bar railings) have also been preserved. The architect Emil Fahrenkamp (1885–1966) must be regarded as one of the most important German architects of the 20th century. Born in Aachen, he received his training at the local arts and crafts school and technical college, and above all in Düsseldorf, in Wilhelm Kreis' office and at the arts and crafts school. As early as the twenties he was active as a lecturer at the Düsseldorf Art Academy. Even his early work in those years encompassed the entire range of architectural expression, from neoclassical stance such as the Hotel Breidenbacher Hof in Düsseldorf or his contribution to the League of Nations competition in 1927 to functionalist buildings of the highest quality such as the famous Shellhaus in Berlin or the Michel department store in Elberfeld. With these buildings, Fahrenkamp also achieved international recognition. In the Third Reich, Fahrenkamp's neoclassical designs fit in brilliantly with the regime's architectural policy, whereby he predominantly maintained a pure classicism, with clear cubes and strict perforated facades. He was involved with buildings and thus in the “front row” of German architects in the redesign of Berlin, as well as with buildings and designs in the Rhineland (urban planning Düsseldorf; exhibition “Schaffendes Volk” Düsseldorf; painting school Kronenburg; administration building Bayerwerke, Leverkusen, etc.) he continues to teach at the Düsseldorf Academy (from 1939 as its director). After 1945 he was only occasionally active as a victim; after his removal from office at the academy, he withdrew from public activities. Monument value The residential block Bahnhofstrasse 6,7,8,9 / Goethestrasse 2 / Lessingstrasse 1 in Viersen is significant for human history as a testimony to the building industry of the thirties, in which a typical form of urban rental housing construction of those years was combined with urban planning intentions. A special level of demands is expressed in the generous layout of the apartment and the well-designed facade look of the building. The fact that it was not a question of “mass housing”, but a measure initiated for other reasons, also corresponds to common practice in housing policy under the difficult conditions of the 1930s (building material restrictions; National Socialist planning control). The complex is also important for Viersen as a testimony to urban planning and the expansion of the city in the 20th century, here the design of the new station area. The importance of this measure for the city is also expressed in the fact that the city administration itself commissioned a private client to build this and that an extraordinarily renowned architect was hired to do this. There is a public interest in the preservation of the residential group for scientific, in particular architectural-historical reasons, as it is a stylistically typical of the time, but in terms of design but above-average quality for the building project, which was planned by one of the most important German architects of the time. An architectural history dissertation on Emil Fahrenkamp, ​​in which the residential group will also be mentioned, is currently in preparation (by Christoph Heuter). The buildings are also worth preserving for urban planning reasons, as a high-quality and important wall of the station square and opposite the station building from 1917. The buildings Bahnhofstrasse 6,7,8,9 / Goethestrasse 2 / Lessingstrasse 1 in Viersen are important for human history and the City of Viersen. There is a public interest in their preservation for scientific, in particular architectural-historical and urban planning reasons. They are therefore a monument according to § 2 of the Monument Protection Act of North Rhine-Westphalia.	1937	Feb 23, 2000	377
	Old city garden	Viersen Bahnhofstrasse map	At the general request for a city garden in Viersen, a former vegetable garden in front of the former train station is selected as a suitable park area. After commissioning a Düsseldorf garden architect, work began in 1901. The complex is a baroque garden with contemporary style elements of garden art. The garden is constructed symmetrically in its design features. The central focus is the water basin in its original form. On one side there is a curved parapet with sandstone candelabra. The wall parapet protruding in the middle bears three bronze gargoyles in the shape of lions' heads. Although it can only be seen in fragments as a typical park from the turn of the century, the preservation and use of the Old City Garden are in the public interest for scientific, in particular garden art and local historical reasons, in accordance with Section 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1901	0Nov 6, 1990	240
	Viersen town hall	Viersen Bahnhofstrasse 23–29 map	History: The oldest town hall in Viersen was built in 1538 on the Alter Markt / Remigiusplatz. In 1854 Dr. Corty a house on the corner of Hauptstrasse / Petersstrasse. During the renovation of this building there were plans for a new building on Hauptstrasse in 1855/56 (draft by Friedrich-Wilhelm Heyden, city architect in Krefeld), but this failed. In 1856, the year the city was granted town charter, the new town hall was moved into; the peace court remained on the market square. In 1863 the town hall received a rear extension for the prison and the justice of the peace (design: Frenken with city architect Raschdorf, Cologne). Constant expansion of the city administration and its necessary space requirements are henceforth a recurring topic. According to Löhr, the entire administration including the police consisted of 13 people in 1865, compared to 20 in 1900. In 1887 the city council decided to buy a warehouse and office building from Gebhard & Co. on Casinostraße, today's Bahnhofstraße, as the town hall; the Mönchengladbach architect Wilhelm Weigelt redesigned the previously unplastered brick building (Bahnhofstrasse 29). The growing lack of space for the city administration (the Stadtsparkasse complained about lack of space as early as 1909) made it necessary to purchase a neighboring house as a mayor's apartment (Bahnhofstrasse 25) in 1915. Furthermore, the former Preyer house on Hauptstraße (town house II) and the casino building on Bahnhofstraße (town house III) are used for administrative purposes. To remedy this spatial fragmentation, a competition for a new town hall building was prepared in the 1930s (1934/35 on Langmaack-Straße); Town house I is to be demolished for this, town house II (main street) to be converted into a museum or similar. The war put an end to this project for the time being. After the Second World War, the existing town hall on Bahnhofstrasse (29 and 25) continued to be used and, in 1949-52, a new building was built immediately afterwards to the corner of Königsallee (23). The three parts of the building, Bahnhofstrasse 23, 25, and 29, are described separately from one another, reflecting their different histories of construction and use. Bahnhofstrasse 29: Year of construction: 1872 Client: Gebhard & Co., Vohwinkel Original use: Storage building conversion to town hall: Year of construction: 1887 Architect: Wilhelm Weigelt, Mönchengladbach Executing contractor: Gebr. Quacken (front, plastering), Cuylen (back, jointing) Client: City of Viersen Use: Administration building (town hall, originally with the mayor's apartment) The stately three-storey building extends with 11 axes along Bahnhofstrasse. The building was erected in 1872 as an office and warehouse. After it was bought by the city in 1887, it received a representative plaster decoration on its street-side facades (Bahnhofstrasse and Burgstrasse) for its new use as the town hall. The architect Wilhelm Weigelt from Mönchengladbach provided the design. In addition, a “syringe house” was built in the rear courtyard (plan: C. Schnitzler, execution: Gebr. Gormanns). 1900/09 the sources list the following spatial program: Ground floor: Sparkasse, police office; 1st floor: city council hall, registry office, mayor's room; 2nd floor: tax office, registry, poor charity, city secretary; the mayor's apartment was spread over all floors. The plaster facade is provided with strong plaster bands on the ground floor; the straight lintels of the window openings accented with wedge stones are crowned by volute stones set with lion heads. The two plastered upper floors rise above a broad floor / sill cornice with a water wave frieze with a dense structure of wall pilasters placed between the window axes and running across both floors with high pedestals decorated with vegetal ornamentation, fluted shafts and Corinthian capitals. The four-axis right part of the house, formerly probably the mayor's apartment, is set apart from the rest of the building by a double pilaster position; in addition, the two central window axes are combined with a figured relief field without pilasters in between. The windows have a wide, aedicule-like frame, on the first floor they are alternately crowned by brackets or cartouches. The windows on the second floor are also designed in an alternating manner: the windows on the first floor sit on small side brackets above straight beams and have wide plaster frames with straight roofs, the framing above the cartridges is simple, but the crowning there is with bracket stone and curly suspicions. A profiled plaster cornice closes this plaster structure, which is set off in color from the remaining wall surface, at the top. A narrow plastered area then leads to the classifying beam head eaves frieze and the flat hipped roof. The stucco side façade facing Burgstrasse is structurally corresponding, but has a simpler design, with only two widely spaced window axes and accordingly larger wall surfaces. The windows are closed as screens. The back of the building has been left unadorned and exposed to brick. The rear wing as well as the historic vehicle parking garages form a courtyard situation that is closed to Burgstrasse with a design that is adapted to the main building. The old house entrance with two-winged front door and arched skylight is not arranged in a central axis, but moved to the side of the former mayor's apartment. A cartouche with the coat of arms of Alt-Viersen is mounted above the entrance. Remains of the historical furnishings have been preserved inside. The vestibule with decorative tile floor and a secured remnant of old wall decoration as well as the old wooden staircase, two-lined with a turning platform and turned balusters, are to be emphasized. Old double-leaf wooden windows with split skylights correspond to the design plan. The still young city of Viersen did not commission a local master builder for this prominent building project, but rather the well-known Mönchengladbach architect Wilhelm Weigelt. Weigelt is tangible as an architect between 1876 and 1900. From him come in Mönchengladbach u. a. the casino of the company "recovery" in the Abteistraße 11 and the 1880 new building of the castle Zoppenbroich. At seventeen he was in Rheydt. Some prominent buildings demonstrated, mostly in the style of the Italian or French Renaissance. He also provided the design for MA Rossié's villa in Süchteln, Düsseldorfer Strasse 25, and for the building at Bahnhofstrasse 36 (now the Society for Recreation). The building at Bahnhofstrasse 29 has been important for Viersen for over a hundred years. Its high-quality decorative facade, based on the Italian Renaissance, makes it a far-reaching focal point within the ensemble of historical buildings on Bahnhofstrasse, the urban layout of which goes back to the city plan of 1860. As the interior details have been substantially preserved, it is a valuable testimony to the representative urban architecture of the late 19th century. There is therefore a public interest in the maintenance and use of the Bahnhofstrasse 29 building for scientific, in particular architectural and local history as well as urban planning reasons. Bahnhofstrasse 25: Year of construction: 1877 Builder: C. Schnitzler Builder: Mathias Lüps; Owner approx. 1880 to 1915: Wilhelm de Joncheere, linen manufacturer Original use: residential building (from 1915: mayor's apartment) current use: administration building (town hall) 1899 rear extension (L. Hansen) 1915 conversion to mayor's apartment (city building authority) 1937 conversion of mayor's apartment to office space (Stadtbauamt) After the research on the occasion of the exhibition “On the way to the city”, this building was constructed in 1877 for the client Mathias Lüps. The existing building file did not begin until 1880, when Wilhelm de Joncheere applied for a sidewalk in front of "his" home. The Lüps and de Joncheere families were closely related: Anna Susanna Lüps, the wife of Johannes Mathias Lüps jr., Was a de Joncheere from Dordrecht and thus a relative of the Viersener de Joncheere, a partner in the linen weaving mill de Joncheere & Küppers (Ulrich, P. 127 and ibid., Note 497). In 1915, de Joncheere was referred to as “Rentier, Cleve, Wasserburg” in the purchase negotiations with the city. The building was owned by de Joncheeres until it was taken over by the city in 1915. After that, it was initially used as the mayor's apartment, and in 1937 it was converted into office space, which structurally connected the building, which had previously been self-contained, with the neighboring town hall. It is a three-storey building that, with its height and a total of four window axes, continues the cubature of the older town hall building on the left. Another axis, as the entrance axis, recedes significantly behind the alignment line and today mediates to the right to the continuing, also receding new building from the 1950s. The ground floor is rusticated as a roughly banded plastered facade, the windows there are arched; the floors above are left exposed to bricks (1st floor) or plastered (2nd floor), the windows have straight lintels. Between the ground floor and the first floor there are two horizontal lines made up of a cornice and a sill. The first floor is also characterized by the varied window roofing consisting of triangular gables over the two left axes, straight beams on the right and then again triangular gables in the entrance axis as a bel étage. Only a thin cornice leads over to the second floor, with simple lower rectangular windows and a final block frieze. The back of the building is designed in a simple manner, as is customary for the time, and is almost entirely characterized by the former utility wing and the veranda room on the ground floor that protrudes like a risalit. The path to the house entrance, designed with decorative tiles, is accompanied on the right by a small wall, on the left by a side wall without windows on the upper floors, which has a niche with a woman statue on the rusticated ground floor: "Replica in fired clay, manufactured by E. March Söhne, Charlottenburg near Berlin, approx. 1.60 m. hoch, um 1880 ”(from the catalog On the Road to the City, No. 73). The original double-leaf front door with a semicircular skylight is lavishly designed with an antique-style pilaster pedestal structure. Despite the change in use, numerous furnishings have been preserved inside, which testify to the former lordly claim of the house. This includes the floor plan of the room, in particular the representative rooms “salon”, “room” and “veranda room” as well as the stairwell on the ground floor, right up to the legibly preserved former rear utility wing. On the first floor of the stairwell (two-flight staircase with a turning platform) there is a decorative tiled floor, and ceiling and wall stuccoing should also be emphasized here, with room dividers made of beamed wall pilasters and multi-profiled ceiling fillets. In the rooms on the ground floor there are further designed ceilings: in the front, former “salon”, rod-like friezes subdivide the area with a central rosette, accompanied by a console frieze in the throats; in the middle "room" central rosette with stuccoed throat frieze, in the rear "veranda room" finally an elaborate coffered ceiling made of wood, the fields of which are separated from one another by walkways accompanied by little brackets. The historical building stock also includes old wooden windows, mostly two-winged with skylights. As part of the town hall, formerly the mayor's apartment and originally the home of important entrepreneurs, the building at Bahnhofstrasse 25 is important for Viersen. As a well-preserved testimony to the upscale living culture of the late 19th century, right down to the details of the interior, and because of its historical significance as a mayor's apartment / town hall, there is a public interest in its preservation and use for scientific, in particular architectural and local historical reasons. Since it is a defining part of the ensemble of historical buildings at about the same time on Bahnhofstrasse, there are also urban planning reasons. Bahnhofstrasse 23: Year of construction: 1949-52 Architect: Stadtbauamt Client: City of Viersen Original use: Administration building (City Hall) Today's use: Administration building (City Hall) Up until the Second World War, the space between the City Hall and Königsallee was divided into small pieces and built on with various buildings. In 1877/78 hotelier Caspar Walrafen, in 1899 hotelier Jos. Dikob occupied by property (hotel with hall building on the corner of Königsallee / Casinostraße). Further parcel ownership is found in 1892 in the hands of Johann Heinrich Lüps, Johann Mathias Lüps and Gebr. Müser, in 1899 by Dinsing. Completely new structural conditions were only created in 1949–1952 by the new town hall building, which extended the existing town hall building to Königsallee. It is an elongated three-storey brick building with a hipped pitched roof and a natural stone-clad entrance projecting over the pavement in front of it with an open colonnade. The windows, which are arranged in a regular axial row, have ashlar walls and rest on the facade facing Bahnhofstrasse on the ground floor and top floor on a thin cornice. The two-sash windows are rectangular with a cross-section and further sprouting of the partial areas; those on the first floor of the risalit are emphasized by their size and thus characterize the council chamber behind. The side and rear facades are designed accordingly, but with a reduced structure or as smooth perforated facades. In the risalit on the back there is a rear entrance with an original double-leaf wooden glass door. The roof areas are open through dormers or ribbon windows. One enters the building via flat steps through a double-winged glass door with gold anodized framing, which already indicates that the interior of the original period in the public and representative areas of the entrance, foyer, stairwell, council chamber and in some corridors is still extensively preserved. The entrance porch with half-height marbled wall cladding, gold anodized radiator cladding and the same handrail leads over a few more steps and another double-leaf door with a skylight in the style of the entrance door into the foyer. From there, the regular floor plan of this part of the building opens up: the foyer on each floor is followed by a central corridor on which the offices are lined up on both sides. The storeys are connected by the staircase at the rear of the entrance risalit, accentuated by rectangular openings, with a straight, three-flight staircase with a change of direction and colorful glazed windows. In the foyer itself, rectangular, marble-clad pillars support the joists of the ceiling. Various types of wall lamps from the original period have been preserved on the pillars and walls of the foyer on the individual floors, as well as ceiling lamps. The balustrade of the stairs is designed as a low parapet with a marble cover and a gold anodized handrail stilted on it. Important details such as radiator cladding and showcases integrated into the wall, but also the small-scale slab floor on the ground floor with the preserved wooden waiting benches in the corridors, contribute significantly to the historical impression of the room. In the foyers and corridors, the building's girder construction is emphasized as a room-creating and rhythmic element. The meeting room (old council chamber) on the first floor is particularly representative and has thus been recognized as the most important room. It can be reached from the foyer through two high entrances with double-leaf wooden doors in a frame-infill construction. The hall itself has a parquet floor and a ceiling that is coffered across the floor of the building by bridges in rectangular fields. The row of large, lancet-like, upright rectangular windows with cross and muntin division, combined with wooden wall paneling with integrated radiator cladding, represents a dignified form in keeping with the function. Folding doors that are almost room-high separate the hall from the adjoining rooms. On the first floor (hall, old council chamber), large-format paintings by the painter Matthäus Schiestl (1869–1939) decorate the walls. The partly religious, partly allegorical motifs as well as scenes from the world of legends and minnows of the Rhineland were commissioned by Josef Kaiser in 1924/25 for the "Schiestl-Zimmer" in Haus Clee in Waldniel. In 1950, Kaiser gave his brother Heinz Schiestl's paintings and furniture to his hometown. In his time, Schiestl was a painter and graphic artist who was particularly well-known in southern Germany, who devoted himself almost exclusively to religious and popular ("old German") subjects in representational representation. Through reproduction graphics ("Schiestl-Bildchen") his pictures found wide distribution. After his death, Schiestl was largely forgotten until his “rediscovery” through a dissertation in 1988/90. The Viersen pictures from Haus Clee are some of the very few works by Schiestl for clients outside Bavaria (to be mentioned: paintings for St. Elisabeth in Bonn, 1911-21). The connection to Josef Kaiser was probably made by the Bonn restorer Hermann Goldkuhle. In terms of architectural history, the building is strongly committed to the forms of representation and dignity of the 1920s and 1930s, which is typical of the early planning in 1949. At this point in time the equation of New Building with democratic architecture was not yet established in the new Federal Republic, and public building authorities in particular still preferred conservative, “solid” building forms. The natural stone-clad entrance project with its overbuilding on the sidewalk also takes up a classic iconographic motif of the town hall building since the Middle Ages, the open arbor, in an abstract form. Traditionalist-conservative forms of dignity also characterize the interior furnishings, which have been preserved to a considerable extent. The paintings by Matthäus Schiestl are consistent with the building concept, even if they were not originally made for this building. As the town hall and the most important representative building in the city from the period of reconstruction after 1945, the building at Bahnhofstrasse 23 is important for Viersen. Together with the neighboring evangelical parish hall, it forms an urban focus of public buildings with high-quality traditionalist design language from the 1950s in the center of the city. There is a public interest in its preservation and use due to the presented scientific, in particular local and architectural-historical as well as urban planning reasons. Overall, the Bahnhofstrasse 23-29 building is important for Viersen as the town hall. There is a public interest in its preservation and use for the architectural and local history as well as urban planning reasons mentioned in detail. According to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia, it is therefore a total of an architectural monument.	1856/1863	Aug 30, 2005	458
	Residential building	Viersen Bahnhofstrasse 24 map	The two-storey building with a mezzanine (knee floor) and gable roof was built in 1893 as a residential building. The original plastered facade with elaborate, historical decor is horizontally structured by plastering bands on all floors, by plinth, sill and floor cornices. Of the four window axes, the left one is highlighted by the entrance with stairs, the second from the right by a cantilevered bay window on the first floor. The original entrance door, richly decorated with carvings, is flanked by two volute-crowned pillars, on the fighters of which a lintel with plant ornaments rests. The windows on the ground floor are crowned by console-like keystones. The window parapet (blind balustrade) of the bay is repeated on the left window of the upper floor, as is the curved roof with rocaille ornamentation. The parapets of the windows to the left and right of the bay are decorated with plant motifs, the roofs, here pointed gables, also have rocaille shapes. The cladding of the bay window's roller shutter boxes takes up the entire arched part of the central bay window. The windows of the mezzanine floor are covered by stucco-decorated round arches over which the eaves, supported on consoles, are supported. The interior of the house is overall in very good condition; many details of the original furnishings still exist. The elaborately designed staircase with antique wall paintings (e.g. painted wall cladding with imitation marble coffering, figurative and plant motifs) is striking. The original marble floor of the stairwell has been preserved, as has most of the stucco ceilings throughout the house. In the hallway, minor repairs were made to the ceiling and walls. The old room doors are still there, as well as the wooden stairs with turned railings and fluted starting posts with candlesticks. The original furnishings also include the windows, the floor and wall tiles in the kitchen and the toilet, and an original ceramic stove in the salon (Villeroy & Boch). The old cellar door leads from the vaulted cellar into the garden. Together with the buildings at Bahnhofstrasse 26 and 28, the building forms part of the former development that characterizes Bahnhofstrasse. The town plan from 1860 was the basis for the development of the city center of Viersen. The remaining part of the old building line is the result of this urban planning and therefore a testimony to the history of the city's development. In addition, the high proportion of the original substance and the good state of preservation give an unadulterated impression of the bourgeois living culture of the late 19th century. For scientific, in particular art-historical as well as architectural and urban development-historical reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1893	06 Sep 2000	394
	Residential building	Viersen Bahnhofstrasse 26 map	The residential building at Bahnhofstraße 26 is the left part of a double residential building that was built in 1893 by the client Peter van der Straeten. The author of the plan is Jos. Lusch. It is an eaves-standing two-storey residential building with three window axes. The roof is designed as a slate mansard roof facing the street with two small dwelling houses. The facade design of the two halves of the house is, in principle, kept mirror-symmetrical. Storey, eaves and suggested sill cornices accentuate the horizontal, tall rectangular window and door openings the vertical. The ground floor is provided with a strip of plaster above the base. The entrance to the house sits deeply embedded and raised over several steps, in the right axis, in the left axis there is a cellar inlet under the window. The plastered, unadorned walls of the wall openings are crowned by volute-shaped console stones. The upper floor shows a brick plaster structure and is highlighted by its elaborate decorative shapes. In particular, the window above the house entrance is particularly distinguished by its banded plaster framing with a blend baluster and a shell-like crown. This entrance axis is elevated by a slated tower structure that extends well beyond the mansard bend. The other two windows are also provided with an, albeit narrower and flatter, plaster frame and a straight roof. The entrance niche is designed with plaster mirrors on the side and on the ceiling. The double-leaf wooden front door comes from a repair of the house after the Second World War. With its slim, cross-sectioned glass inserts, it is an appropriate addition in terms of style and quality. The entrance hall still has its original decorative tile floor from the construction period. It leads to the staircase, which is located roughly in the middle of the house depth, with its original staircase positioned horizontally. The tiled floor here probably comes from the renovation in 1931/32. The staircase with a simple, multi-part rotating body designed for beginners leads to the upper floor with drawn steps instead of a platform. A glazed light shaft illuminates the stairwell from above. The floor plan laid out in the construction plans only underwent a notable change in terms of its constituent elements when the new owner Josef Booms closed the formerly open veranda in 1931/32 in order to enlarge the living room. The three-part sliding window that closes off the room today comes from this conversion (there is a second window of this type on the upper floor above). The living room and the front “salon” are separated by a wide double-leaf frame panel door. In the other rooms, too, old frame panel doors and wooden windows with T-division have been preserved. In 1896, the builder of the double house at Bahnhofstrasse 26/28, Peter van der Straeten, took over the string and spinning needle factory (later roofing felt factory) Peter Genenger, which was built in 1867 and then expanded again and again. Together with his partner Wilhelm Doussier, he set up a shoemaker's shop in the company halls. A document in the Viersen city archive shows that van der Straeten was 41 years old in 1902, i.e. must have been born around 1861 (but not in Viersen). In 1902 he lived in the house at Kloster 2. The layout of Bahnhofstrasse, formerly Casinostrasse, goes back to the Viersen town plan from 1856/60. It leads from the main street to the train station, which was formerly at its end at about the level of today's Freiheitsring, before it was moved to its current location in the 1910s. Numerous inner-city residential buildings from the late 19th and early 20th centuries have been preserved over the course of this period, giving a clear picture of the growing city of Viersen at that time. The functional and urban dominant feature of this street is the town hall, whose now three-part complex extends across the intersection with Königsallee diagonally across from the residential building at Bahnhofstrasse 26. In its immediate vicinity, the residential building described here is part of a small ensemble of comparable house types, together with the two already listed buildings at Bahnhofstrasse 24 and 28, the latter being an almost mirror-inverted counterpart in the manner of a semi-detached house. The series of this ensemble is continued opposite the town hall with the houses Bahnhofstrasse 32, 34, 34a, 34b and 36, so that overall a highly valuable urban situation of historical buildings results. The residential building at Bahnhofstrasse 26 derives its value not only from this urban development relationship, but also from its character as a very well preserved exterior and interior testimony of a typical inner-city residential building in the core of the 1890s with a few changes from the mid-20th century that were appropriate to its style Century. As part of the historically shaped Bahnhofstrasse and well-preserved evidence of its construction time, the residential building at Bahnhofstrasse 26 is important for Viersen. There is a public interest in its preservation and use for scientific, here architectural and historical reasons as well as for urban planning reasons. Since the requirements of § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are thus met, it is a monument.	1893	Apr 18, 2002	428
	Residential building	Viersen Bahnhofstrasse 28 map	The two-storey residential building with a mansard roof was built in 1893 at the same time and in a design unit with the neighboring building at Bahnhofstrasse 26. The brick plaster facade with historical decor is divided horizontally through the heavily structured plaster of the ground floor as well as through the base, storey and sill cornices. Of the three window axes, the left one is accentuated by the entrance with stairs located deep in the house, the middle axis by a fluted window frame on the 1st floor. The openings on the ground floor are crowned by stylized animal heads, on the first floor the brick facade and the bricked window parapets form a lively contrast to the bright window frames and roofs. In the attic there are two dormers with arched roofs between the axes. The windows and the entrance door were renewed after the war, the doors inside the house are still original. Inside the building, the stucco ceilings with floral and geometric decorations have been preserved in some of the rooms on the first and second floors. The stairwell and the hall are in almost unchanged condition: an original wooden staircase with a turned railing and decorated starting post, colored floor tiles, stucco work in the reveal of the entrance arch. There are also old cast-iron radiator panels and lamps. The Bahnhofstrasse 28 building, together with the Bahnhofstrasse 26 building, is part of an ensemble that characterizes Bahnhofstrasse. The town plan from 1860 was the basis for the development of the city center of Viersen. This still preserved, coherent part of the old building line is the result of urban planning in the 19th century and therefore a testimony to the history of urban development. For scientific, in particular architectural, historical and urban planning reasons, the maintenance and use of the building in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1893	Feb 23, 2000	381
	Villa, including remise and enclosure wall	Viersen Bahnhofstrasse 31 map	The main view of the two-storey villa with a mansard roof is five axes towards Bahnhofstrasse and three axes towards Burgstrasse. In the rear area, the house, built in the shape of an "L", opens up to a park-like structure. The main view is designed symmetrically with an entrance in the middle. The central axis is emphasized by a flat risalit. The forms of jewelry correspond to those of the New Renaissance. Overall, the façade is given a horizontal structure thanks to the strip plaster on the ground floor as well as the sill and the cornice. A wide cornice forms the conclusion to the mansard roof. The facade facing Burgstrasse is decorated on the upper floor in the windowless axes with a medallion on each side. The left contains the representation of Mercury or Hermes. He is the patron saint of merchants, shepherds and trade, as well as the messenger of Zeus. His attributes are the winged traveling hat and the serpent-wrapped herald's staff, as well as two wings on his feet and a purse in hand. The right medallion depicts Vulcanus or Hephestus, originally the god of lightning, then the god of fire, art and craft. It is characterized by a semicircular cap, a hammer or similar tool; he is depicted as bearded. Further figures decorate the entrance area. Two cupids or erots (lively boys who are employed by adults) are placed in wall niches. On the left is the figure of a boy with hammer, tongs and anvil, who is emulating Vulcanus here. Opposite this stands a boy with anchor, purse and barrel, who is depicted in the clothes of Hermes. The entrance area inside the house is divided into pilaster strips in marble decor. The hall area continues to the wooden staircase with artistic carvings. The stair post is crowned by a wooden bust of Anna Susanna Lüps, the client's wife. The other equipment, on a high technical and artistic level, is in the symbolism and the figural representation, z. B. in the gable of a room door, based on Roman mythology. Particularly noteworthy are the fine paintings on the panels of the panel doors. The colored stucco ceilings appear just as magnificent. Here, garlands separate the individual cassettes made of filigree floral stucco with angel heads and musical instruments such as B. violin and flute. On the rear garden area there is a former utility building, which was built in 1880 and converted into a garage in 1927. As a result of the renovation, the wall facing Burgstrasse, in which there are two windows, is enlarged into an opening the size of a garage door. The formation of two dormer windows with decorative carvings is remarkable. The building is further accentuated by a horse's head and a weather vane. The architectural quality of the house as well as the representative interior and the proximity of other representative buildings around the park make the building an extraordinary document of current demonstrative construction in the center of the city. For scientific, in particular urban, art-historical and architectural-historical reasons, the maintenance and use of the house and the garage are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1880-1927	Aug 30, 1990	234
	Residential building	Viersen Bahnhofstrasse 32 map	The residential building, which was probably built around 1897, is a corner building facing Bahnhofsstraße and Königsallee. The house has three storeys (including the mansard floor) and is based on the corner, in a structure of 5: 2 axes. In a corner solution that is typical for the building tent, the corner of the house is rounded to the intersection and provided with a small corner tower, which towers over the entire building with its lance-like tip. The house is further emphasized in the main facade facing Bahnhofstrasse. Here the middle of the five axes is emphasized by the bay window supported by columns and the decorated roof house above. The back entrance covered with arches lies below. In addition, there are two continuous window axes that end in the dormer windows of the mansard roof, which are decorated with stucco. The facade facing Königsallee has two window axes, with the windows on the right axis being faded in. A man's head with decorative stucco can be seen in the middle of the upper floor between the two axes. A strong horizontal structure of the building, held in ashlar plaster on the first floor, is achieved by the main sill, window sill and a strongly structured cornice. The upper floor is faced with a yellow brick. Inside the building there are stucco ceilings structured on the ground floor. The original flooring in the hallway is badly damaged. The entire building has a basement. The cellar ceiling is designed as a cap ceiling. The representative building in a pronounced corner location with its original exterior except for the windows and its brick plaster facade with neo-renaissance decorative shapes has a significant impact on the street space. It is located as a focal point in the city center of Viersen and can also be seen in the urban context. With a number of other houses of the same date of construction, Bahnhofstrasse led from the former train station to Hauptstrasse and was one of the most representative streets in the city at the time. Here the contemporary building type of the stately home reflects the historic cityscape. For scientific, in particular architectural-historical as well as urban development and townscape-shaping reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1897	June 26, 1985	41
	Public house	Viersen Bahnhofstrasse 33 map	The building is in a prominent corner at Bahnhofstrasse / Parkstrasse. Its urban development effect is particularly emphasized by the fact that it stands free, without any immediate neighboring buildings; on both sides there is only a high, contemporary brick wall that shields the adjacent garden plots from the street. At the time of its construction, it was located directly at the city's old train station, which was located in the area where the Bahnhofstraße joins the Freiheitsstraße and which the Bahnhofstraße (then still Casinostraße) ran directly onto. The function and arrangement of the building are explained e.g. T. from this former location. According to local oral tradition, the house was built for a “lover” by the owner of the neighboring house at Bahnhofstrasse 31, the banker and entrepreneur Lüps. It originally housed an inn, which is already indicated in the exterior by the sloping corner with the former entrance to the inn, a typical feature of this use. Although no building files can currently be found, the relevant concession files are preserved in the city archive. Accordingly, the economy was run by a Peter Heinrichs or his widow, who previously ran a pub in Heierstrasse. The widow's application for a license dates from 1890; Since the neighboring building at Bahnhofstrasse 31 was built in 1880, the construction time for the building at Bahnhofstrasse 33 can be assumed to be in the 1880s. It is a stately three-story plastered building with a historicizing facade decor. It has five regular window axes towards Bahnhofstrasse, one in the sloping corner and three towards Parkstrasse. Entrances are in the middle axis to Bahnhofstrasse and, today walled up, in the corner axis. The ground floor is accentuated by plaster bands. The entrances are framed in an antique style (pilasters on pedestals with entablature), the high rectangular windows connected by a sill cornice are crowned by small volute-shaped keystones. A surrounding cornice separates the first and second floors. Above that, a sill cornice connects the richly framed and suspicious windows of the first floor, which is characterized as a main floor-like main floor. The windows above the entrances are particularly emphasized by elaborate antiquing framing (three-quarter columns on the corner, pilasters on the side) with parapet blinding balusters and crowning segment gables. Consoles and shafts on the window of the corner axis are provided with mask heads and vegetal decoration. The second floor is accentuated horizontally by a sill cornice, framing and roofing of the windows are less complex here than on the main floor, triangular gables characterize the windows of the entrance axes. A strong cornice leads to the gently sloping, hipped roof. The facades facing the garden are brick-facing, with openings simply cut into the wall without framing or profiling, but with arched lintel walling. Inside, the typical restaurant floor plan is still legible. Characteristic are the large former taproom with its own entrance in a sloping corner and the adjacent separate entrance for the other rooms, which also leads to an internal staircase. In the corner of the two gardens, reaching into a single-storey extension, the kitchen was formerly located. According to the license application from 1890, further "utility rooms" were accommodated in the other two rooms on the ground floor and in the corner room on the first floor. Unfortunately, the original furnishings were largely removed due to later modifications. Only remnants of the stucco ceiling in the entrance hall and in the corner room on the first floor (both with a rose window) and the simple wooden staircase have been preserved. A high brick wall along the park road with corner pylons and portal belongs to the building. As a testimony to the urban development of Viersen around 1900, directly belonging to the former train station area and therefore in a prominent location in terms of urban development and urban history, the building at Bahnhofstrasse 33 is significant for Viersen. It is also an important part of the historical structures and building ensembles in the Bahnhofstrasse / Stadtgarten / Parkstrasse and Poststrasse area. It is a typical example of the building around 1880/90 in general and the restaurant building task in particular, which is typical in terms of design and with its historicizing ornament decoration. The exterior is largely intact, and the interior, despite the later change in use, still reflects its original purpose as a restaurant. There is therefore a public interest in the preservation and use of the building for scientific, in particular architectural and local history reasons. In addition, there are urban planning reasons, as the building is in an exposed corner location at the beginning of one of the main access roads into the city center of Viersen and forms a historically and aesthetically coherent background for the upstream public green spaces and gardens. Added to this is the already mentioned ensemble effect of the area, to which the house makes an important contribution. Finally, the garden wall facing Parkstrasse is also of importance in terms of urban development and, together with its counterpart on Bahnhofstrasse, indicates the assumed relationship to the house at Bahnhofstrasse 31 (Villa Lüps). Since the requirements of Section 2 of the Monument Protection Act of North Rhine-Westphalia are therefore present, the building at Bahnhofstrasse 33 in Viersen, including the adjacent garden wall, is a monument.	1880-1890	Feb 23, 2000	382
	Residential building	Viersen Bahnhofstrasse 34 map	The two-storey residential building with a mansard was built in 1897 together with the corner building at Bahnhofstrasse 32 / Königsallee 24 and its design is based on its appearance. The house with the original brick plaster facade is strongly structured horizontally by square plaster on the ground floor and base, sill and storey cornices. The upper floor is faced with bricks, which are interrupted by horizontal plaster strips. The structure of the facade continues in the building at Bahnhofstrasse 32. Of the three window axes, the middle one is highlighted by the entrance flanked by pilaster strips with an original front door. Above this, a balcony decorated with balusters juts out over two consoles. The historicizing stucco ornaments concentrate on the window parapets and straight window roofs with garland motifs on the 1st floor, the blind pillars and the curved dormer windows of the attic floor. The interior of the house has been intensively modernized, with the stucco ceiling and stairs with turned railings and fluted starting posts with plant motifs still remaining in the stairwell. The building with its close design based on the building at Bahnhofstrasse 32, together with the neighboring buildings, forms an ensemble that characterizes Bahnhofstrasse from the early days. The town plan from 1860 was the basis for the development of the city center of Viersen. The contiguous row of houses is the result of this planning and thus represents a testimony to the history of the city's development. For scientific, in particular architectural-historical and urban planning reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1897	06 Sep 2000	395
	Residential building	Viersen Bahnhofstrasse 34 a map	The three-storey building with a gable roof was built, just like the neighboring house 34b, in 1914 on the as yet undeveloped land between the residential buildings along the former Casinostraße that were built shortly before the turn of the century. The original plastered façade with three window axes is only subtly structured horizontally by stucco decoration, the vertical structure is more dominant due to the bay window with arched windows protruding in the central axis above the ground floor and the curved ornamental gable, which spans almost the entire street side of the house. The entrance in the right axis is not emphasized in terms of design, the door with a small arched window was renewed based on the model of the original door, with decorative parts (pre-blinded posts with capitals, fittings) being taken from the first door. Under the bay window on the 1st floor and all windows on the 2nd floor, stucco cassettes with garland motifs are attached, which take on the structuring function of a cornice, as is the case between the first and second floors. The windows have been renewed throughout. The interior of the house has been modernized except for the stairwell. In addition to the original wooden staircase with a decorated starting post, the original black and white floor tiles, a cloakroom and two cast-iron radiators decorated with Art Nouveau vegetal motifs have been preserved, as well as the porch door and a ceiling lamp. The building, with its restrained elegant facade design, forms an ensemble with the neighboring buildings that characterizes Bahnhofstrasse. The town plan from 1860 was the basis for the development of the city center of Viersen. The connected row of houses is a result of this long-term plan that has been preserved and is therefore a testimony to the history of the city's development. For scientific, in particular architectural-historical and urban planning reasons, the preservation and use of the building are in accordance with § 2 (1) of the Monument Protection Act of North Rhine-Westphalia in the public interest.	1914	Feb 23, 2000	380
	Residential building	Viersen Bahnhofstrasse 34 b map	The three-storey building with a gable roof, like the neighboring building at Bahnhofstrasse 34a, is being built in 1913 on one of the two undeveloped lots between the residential buildings built shortly before the turn of the century along the former Casinostrasse (today Bahnhofstrasse). The street-side original plastered facade is divided vertically as well as horizontally in different storeys and shows stylistic features of late classicism and art nouveau. On the right-hand side of the ground floor is the entrance to the mezzanine floor, which is framed on both sides by two fluted pilasters with Ionic capitals. Above this, above a profiled cornice, there is an upright oval window, which is surrounded by a festoon-like vegetable wreath. On the left-hand side, the facade, structured with ashlar plaster, is divided by two window axes and a door to the basement. The two windows are secured by two decorative grilles. The mezzanine floor is covered in plaster and is characterized by the oval skylight on the right side of the entrance to the house by a three-winged window with vertical skylights divided into small pieces. The second floor, in turn, has a three-sided bay window in the axis of the mezzanine floor, which ends in a parapet for a balcony on the top floor. On the right side, outside the entrance axis, there is a double-winged window with a skylight. The facade is divided to the mezzanine floor by continuous cornices in the base area of ​​the bay window and the parapet area of ​​the windows. The bay window is divided by two above the windows and by a plaster cornice to end the parapet. The parapet itself is decorated with inlaid plaster cassettes with vegetable decorative shapes. The top floor is dominated by an ornamental gable almost at ridge height, which is curved once in the lower area and in the upper area has a triangular gable attributed to late classicism. The transition between these two gable sections is visually visible through three window axes in the lower area. These are crowned by a continuous vegetable cornice. In the upper gable area there is a round decorative window in the middle and a meander decoration on the left and right in the eaves area of ​​the triangular gable. On the back, the facade presents itself as a simple plaster facade. The rear windows have the same subdivisions as the street side. Inside, the floor plan of the house is unchanged. The separation of the living area from the kitchen area by a mezzanine and basement floor should be emphasized. The former kitchen is generously cut and characterized by a continuous wall cladding with white tiles and white and dark floor tiles laid in a check pattern. A white marble staircase leads to the basement. The banister is to be assigned to the design language of Art Deco. Wooden stairs with simple turned bar railings lead to the other floors. A large number of the interior doors and a skylight glazing for illuminating the stairwell have been preserved in their original form. The building with its restrained, but undecided facade design (Art Nouveau / late classicism) is to be seen in connection with the neighboring building Bahnhofstrasse 34a in the ensemble that characterizes the street scene. The town plan from 1860 is the basis for the development of the city center of Viersen. The contiguous row of houses is a result of this long-term planning and is therefore a testimony to the history of the city's development.For scientific, in particular architectural-historical and urban planning reasons, the maintenance and use of the Bahnhofstrasse 34b building in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1913	June 23, 1999	375
	Villa Corty	Viersen Bahnhofstrasse 36 map	History: The house at Bahnhofstrasse 36 was built in 1883 by Ewald Corty as a residential building with an extension. The subsequent owner, Walter Kaiser, had the building converted in 1926, mainly inside, and part of the roof expanded into a roof terrace. In 1932, the “Verein Recreation e. V. “the house for 35,000 marks after the“ Aktiengesellschaft recovery ”, founded in 1877, split into the public limited company and the recovery association. Founded as an association "for sociable recreation", which bought and sold wine and ran a social bar to entertain the members, the "Gesellschaft Recreation" developed more and more into an institution with costume and carnival events, lectures and discussions, balls and celebrations. The construction of a bowling alley at the end of the property had already been requested in 1939, but it was not carried out until 1951. Since November 1972, the city's registry office has been a tenant on the first floor of the house. The Society for Urban Development has had its headquarters there since 1997. Description: The building is a two-story villa with five window axes and a hipped mansard roof. The entrance portal with two windows on the upper floor is set back a few meters on the left. The original plastered facade, on the ground floor, made of strip plaster, is divided horizontally by a base cornice with basement windows, floor cornice and sill cornice. the roof cornice is supported by leaf-decorated consoles, the window parapet on the ground floor is interrupted by stucco cassettes and stucco rosettes. The vertical structure is made by corner blocks and five window axes, of which the middle one is emphasized by a protruding balcony on the first floor, supported by two columns. In addition, the middle window on the upper floor shows a console-supported, arched window crown with garland and volute decoration and the letters "EC" (Ewald Corty). The form of the balustrade of the balcony is continued under the other windows on the upper floor. The gussets above the original arched windows on the ground floor and the triangular gables above the renewed windows on the upper floor are adorned with neo-Renaissance vegetal ornaments. Over the central axis and between the outer axes are three dormer windows with triangular gables (windows are new). The entrance hall, accessible via a staircase, is flanked by two columns supporting the cornice; a triglyph frieze leads to the triangular gable with the decorated letters "EC". Inside, the representative staircase, largely preserved in the original, with richly decorated stucco ceilings and a wooden staircase with an elaborate cast-iron grille is striking. The rooms on the ground floor and first floor are creatively determined by the stucco ceilings with geometric and floral patterns. The windows on the 1st floor facing the street have been renewed, otherwise the old windows and doors have largely been preserved. Some of the windows in the extension still have the old lead glazing. The town plan from 1860 was the basis for the development of the city center of Viersen. The building is a part of the original building line that has been preserved and forms an ensemble with the neighboring houses, which essentially defines the character of Bahnhofstrasse. The house is a testimony to the history of urban development and also has a high proportion of high-quality original substance, which is in a well-preserved condition and provides information about the sophisticated living culture of the last quarter of the 19th century. For scientific, in particular urban development and architectural-historical reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1883	Feb 23, 2000	379
	War memorial	Viersen Bahnhofstrasse / corner of Freiheitsstrasse map	A war memorial will be erected in memory of fallen soldiers. Already during the First World War, the entrepreneur Otto Pongs from Viersen donated a war loan of 15,000.00 Marks to the “memory of the fallen sons of our city”, which was lost after the end of the war due to inflation. In 1925 he made 10,000 marks available for the same purpose. Other associations supported the project, including a. through collections in the citizenry. Reservations from the population about making the money available for a warriors' home or the establishment of a youth home with a youth hostel for children of former warriors in social emergency were not taken into account. On November 23, 1925, the "Monument Committee" met for the first time. It was composed of 3 representatives from the city council (Mr Hendricksen, Mr Blankartz, Mr Scholl), 3 representatives from the Viersen military association and 2 representatives from the citizenry (Mr Pongs as founder and architect Esser). The committee decided, in accordance with the wishes of the founder, for a location on the former train station premises against the alternatives Neumarkt and Hoher Busch. A newspaper report from 1925 reports on an ideas competition for “obtaining artistic designs”. Whether this was carried out or how the contract was awarded to Fritz Behn can no longer be traced. The foundation stone was laid on May 9, 1926, the first Sunday after the occupation forces had withdrawn, in the form of a folk festival. After a visit by committee representatives from Fritz Behn's studio in Munich, during which the finished memorial, a grieving mother with her dead son made of shell limestone, was viewed, the memorial committee decided in June 1926 to award the contract accordingly. The base and the foundation were to be manufactured in Viersen. Contrary to the original design, after protests from the citizens, the naked son was provided with a loincloth. On August 9, 1926, the ceremonial unveiling of the war memorial took place, again as part of an extensive program with open-air concerts, a pageant and a torch star race. Description: A multi-stepped plinth made of the same material rises on a two-tier base made of shell limestone. This pedestal carries the group of figures, which is also made of shell limestone. The larger-than-life version, about 4.00 m high, depicts a grieving mother holding a dead soldier, her son, on her lap. The woman is wearing a long robe. Her head is covered by a veil that is elongated from a fine-grained limestone and covers the original naked soldier. The son lies bent back, his head and arms fall back, on his mother's lap. His right hand is clutching a broken sword. The group of figures, based on the traditional representation of the Pietà, is strictly frontal. The strict lines are underlined by the sparingly used folds of the garment and the rough facial features. There are only two words on the front of the base: FÜ RSVATERLAN D. On the back there are the years 1914–1918. Furthermore, the two benches belonging to the monument, which are arranged in front of it on the right and left, are to be mentioned. A seat plate is supported by three low, curved supports. These components are also made from shell limestone. Fritz Behn came from a Lübeck patrician family. Born in 1878 in Klein-Grabow / Mecklenburg on the family estate, he grew up in Lübeck. From 1898 to 1900 he studied sculpture with Wilhelm von Rümann in Munich. From 1907 he traveled to Africa and South America several times, some of which he lived there. In the early 1920s he worked as a freelance artist in Scharnitz / Tyrol. From 1925 he taught at the Munich Art Academy, from 1936 to 1946 he was a professor at the Vienna Academy. He then ran his own sculpture school in Ehrwald / Tyrol, and finally returned to Munich in 1951, where he died in 1970. Fritz Behn emerged with his independent contributions in the field of figurative representation and small sculptures at the beginning of the 1920s. In particular his animal sculptures (e.g. Bremen colonial monument) and portraits (e.g. Rainer Maria Rilke, Gerhart Hauptmann, Maria Callas, Ricarda Huch, Albert Schweitzer, Theodor Heuss, Pius XII.) Enjoyed an international reputation. He showed "generous" pictures combined with an extraordinary technical perfection. Since the beginning of the First World War he represented z. T. anti-democratic and anti-nationalist positions, which has been clearly expressed in his work since the end of the 20 years. His contradicting stance during the Nazi era also led to critical scrutiny and declining recognition of his works from the 1970s onwards. Today, however, a more positive appreciation of his contribution to figurative sculpture in the 20th century has prevailed. The war memorial in this version is a typical example of its time, in which memorials are understood as symbols of self-sacrifice and heroism as well as an appeal to give everything “for the fatherland”. After the French Revolution and the Wars of Liberation, the war was democratized through the introduction of general conscription and the social position of the soldiers was significantly increased. A war memorial is intended to comfort relatives, give death a meaning and oblige the survivors to follow the example of the victims. The speeches held for the laying of the foundation stone and the unveiling of the Viersen war memorial reflect the zeitgeist. Nevertheless, it is a decidedly unheroic monument that focuses on grief and suffering by showing a dead soldier and a grieving mother. Thus, the Viersen monument stands in clear contrast to the not uncommon back then and especially 10 years later normal hero representation such as B. Willi Meller's “Siegfried” in Dülken. The chosen motif of the Pietà was one of the most popular representations for war memorials. Taken from Christian iconography, it represents a familiar image, but experiences a new context. The Pietà becomes secular and transformed into a mother-son group. In particular, the grieving mother's pain for her beloved son is discussed. Civil and Christian values ​​come together. It represents the "attempt to come to terms with the war morally that the survivors in the memorial believe they have made". From today's perspective, the war memorial is a high-quality monument by a nationally known artist who modified a classic motif from art history, the Pietà, for a new symbolic content. For scientific, in particular local historical and artistic reasons, the conservation and use of the war memorial are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1926	Nov 29, 2005	464
more pictures	Catholic parish church of St. Mary's helper for Christians	Dornbusch Barionstrasse 12 map	History: The church of St. Maria Hilfe der Christisten in Dornbusch is the parish church of the surrounding farmers' communities Dornbusch, Kölsum and Rennekoven. Because of the great distance from the loosely populated rural area to the existing parish churches in Süchteln, Dülken or Lobberich, it was built in 1855-58, initially as a chapel, based on a design by the Cologne master builder Vincenz Statz. Dornbusch was first mentioned in a document in 1465 in a tithe contract of canon Matthias zu Rade (as "dor den Busch"; StA Cologne, Pantaleon, 421). Along with Dorp / Vorst, Sittard and Hagenbroich, Dornbusch is one of the four honors of the late medieval parish of Süchteln. The courtyards that can be reached “through the (Hohen) Bush” are subject to the Schultheißenhof and the parish church in Süchteln. In 1663 an Irmgardis brotherhood Dornbusch is founded. On March 20, 1854, the parish of St. Clemens (Süchteln), pastor Ringelhoven, applied to the Vicariate General Cologne to build their own chapel in Dornbusch because of the remote location of the Honschaft. The building site is chosen outside of the actual honors in order to get closer to the other honors Rennekoven and Kölsum intended for care. The foundation stone was laid on November 21, 1855, and the new chapel benefited on December 1, 1857. After the final completion, on October 12, 1858, Hermann Josef Koch was appointed as the first rector. Further important steps in the church development of Dornbusch are the establishment of a primary school in 1862, the establishment of the chapel congregation on October 30, 1889 and the consecration of the chapel on August 22, 1892. In 1903-09 the chapel was expanded to become a church. For this purpose, a tower with the adjoining main nave yoke is listed (Johannes Feldges, Lobberich). The church painter Heinrich Brey from Geldern painted the new church interior in 1912 (with Heinrich Froitzheim). The last major structural measure for the time being was the installation of a heating system. On October 6, 1918, Dornbusch finally obtained the desired parish elevation. The church is fundamentally repaired from 1968 to 1973 (construction management: Lorenz Henenkes) and 1987/88 (tower renovation; architect: Bolten). Description: The Catholic parish church of St. Maria Hilfe der Christians is a gothic, three-aisled brick basilica with five bays and a choir with a three-sided end, without a transept. According to Brües (see below), the entire length of the central nave is 23.35 m, the width 13.28 m. The sloping roof landscape shows itself as a gable roof above the central nave, and as monopitch roofs above the low side aisles, rhythmic with buttresses. The outer walls are mainly structured by short pointed arch windows between flat pilaster strips in the upper storey and two-lane windows between buttresses on the nave walls and in the choir. The half-built tower, towering over the nave, with a semicircular stair tower at the side, closes in four corner turrets and a central pointed helmet. Inside, the central and side aisles are separated by four bluestone columns on octagonal plinths on both sides; the five bays are crowned by ribbed vaults. In the west, a wooden organ loft with a pointed arched blind arch protrudes into the room across the nave. The end of the choir, also in the width of the central nave, is raised by two flat steps and is flanked by a square annex room on each side (in the south: sacristy). The main and side aisles have an old flagstone floor. While the choir, including the altar and other furnishings, was redesigned in the 1990s (the furnishings were already partially renewed in the 1940s), the interior is still impressed by the non-original old stalls and the extensive painting program from 1912. As old pieces of equipment are Also worth mentioning are the window glazing (figurative in the choir), the Klais organ from 1912 and a few other neo-Gothic pieces of equipment. As the religious center in the north of Viersen (Dornbusch) including the farmers Kölsum and Rennekoven, which are now part of Nettetal, the church in Dornbusch is important for Viersen and the surrounding cultural landscape, within which it is a striking focal point. There is a public interest in their preservation and use for the artistic as well as for scientific reasons, in particular for local and architectural-historical reasons. It is therefore a listed building in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1855-1857	July 18, 2001	418
	Catholic elementary school Dornbusch	Dornbusch Barionstrasse 31 map	History: Dornbusch, first mentioned in 1465, is one of four honors, along with Sittard, Vorst and Hagenbroich, that have always been addicts. Dornbusch developed on the main terrace along the old military road from Lobberich to Süchteln on a watercourse flowing down from the heights to the west. The Pletschbach or Hanersgraben formed the border to Lobberich. 1827 Dornbusch belongs to the diocese of Cologne as part of the Süchteln parish of St. Clemens March 20, 1854 Application from the parish of St. Clemens to the General Vicariate in Cologne to build its own chapel in Dornbusch because of the remote location of the Honschaft. The building site is chosen outside of the actual honors in order to accommodate the other honors Rennekoven and Kölsum intended for care 1855-1857 construction of a chapel 1862 Decision of the city council of Süchteln to found a one-class school in Dornbusch to save the children the long way to school. Up until then, most of Dornbusch's children had attended school in Lobberich-Dyck. In addition, there was the abundance of children among the rural population, which led to a lack of space. Order from the royal government to the teacher Jakob Kösters to turn to Pastor Lambertz to take over the lessons. Jakob Kösters taught at the Dornbuscher elementary school until his death in 1898. August 2nd, 1862 start of lessons in the bar in Gerhard Naus' house. The rental was made by the community of Süchteln. The rear building of the house was later used for the school. 14.10.1869 Inauguration of the new school building including the teacher's apartment and extension for toilet facilities and bicycle shed by Pastor Lambertz 1870 Establishment of his own pastorate September 3rd, 1877 Introduction of the two-class system and half-day lessons due to a lack of teachers. As a rule, two teachers gave lessons. 1891 raised to the chapel community 1903-1909 Structural expansion of the chapel to a church 1918 elevation to the parish 1940-1944 permanent occupancy of one or both classrooms by billeting soldiers April 8, 1940 Donation of the school bell for Adolf Hitler's birthday 01.03.1945-26.04.1945 quarters for American soldiers, all teaching materials were taken away as "souvenirs". September 1945 resumption of classes 1946 Introduction of school meals by the British military government 40% of the pupils at the Dornbuscher elementary school are malnourished due to the famine. 1959 Construction of a break hall and enlargement of the bicycle shed 1966 Introduction of the 9th year of elementary school, structure of elementary school into elementary school (grades 1-4) and secondary school (grades 5-9) 1968 Dissolution of the "dwarf school" Dornbusch 1969 Sale of the school building Description The two-storey brick building with a gable roof, erected in 1869, faces the Barionstraße on the eaves. The two façades on the eaves are regularly structured by five window axes. The two gable sides are not originally windowed through. Only the school entrance door is on the north gable. As a purely functional building, the building has no decorations in the masonry. The characteristic floor plan elements have been preserved inside. Above all, it should be emphasized that the two equally large classrooms are still undivided and therefore clearly available. You enter a hallway through the school entrance door, which occupies the entire transverse axis and is therefore lit from both sides. Two doors each lead into a classroom. Due to the transverse division of the building, there is one room facing the street or school yard and one room facing the garden, each with four window axes. In the hallway a wooden staircase with a central platform leads to the upper floor in the original teacher's apartment. The floor plan on the upper floor is mirrored over the transverse axis. The staircase leads to the top floor, which according to archive files was already used for residential purposes at the beginning of the 20th century. In addition to the churches as public buildings, elementary schools played a major role in establishing identity in what are often very extensive honors. The ways to participate in religious or school life were long for the community, especially for the children, and not infrequently impossible in bad weather or in winter. This also applied to the Dornbusch honors with their connection to the parish of St. Clemens in Süchteln. Since 1852 the inhabitants of the Dornbusch Honschaft tried to find their own parish, which they finally got after the parish church was built in 1918. Also, due to the long way to school, it was decided in 1862 to build a school. This will be built in the vicinity of the recently built chapel, so that a church “service center” with a parish church, rectory, Josefsheim and elementary school will gradually emerge in Dornbusch. In Süchteln the honors received their own school buildings around 1870, only the school building in Hagenbroich (Heerbahn / Mühlenheuweg) is older, built in 1845. With the abandonment of the dwarf school system in the second half of the 20th century, this use became a complete historical epoch. The building at Barionstrasse Strasse 31 is therefore important for Viersen as the former Catholic elementary school of the Dornbusch family. There is a public interest in its preservation and use due to the clear tradition of the shape and the functional conception for scientific reasons, especially for reasons of local history and architecture. Sources Chronicle of the Dornbusch School - 1917–1968 Inventory number April 15, 131, Department 50 / II - City Archives Sü 3007 - School administration: school building, repair ... 1949-1962 Department 50 / II - City Archives Sü 3069 - School administration: reorganization of the school system in Süchteln department 50 / II - city archive File Barionstrasse 31, Department 80 / II - Building Regulations / Building Archive literature Abrosius Sleegers: The elementary school in Süchteln-Dornbusch. In: Suchteln 1558–1958. A city publication. (= Publication series of the district of Kempen-Krefeld. Volume 5). Suchteln 1958. History for everyone e. V. / City Archives Viersen: The parish chronicle of Süchteln-Dornbusch. Viersen 2010, p. 171ff.	1869	15th Mar 2012	500
	Villa, farm building u. garden	Süchteln Beckstrasse 28 / Düsseldorfer Strasse 19 map	LOCATION AND DATES OF CREATION: To the southeast of the old town area in Viersen-Süchteln, on Düsseldorfer Straße, the architect Balzer from Oberkassel built a two-story country house style villa with half-timbered gables for Carl Freudenberg in 1904/05. It is located in a situation-rich, detailed garden and park, most of which were laid out after Eduard Bong bought the villa in 1926. Land acquisitions by Bong between 1926 and 1956 indicate a gradual expansion of the facility during this period. THE STRUCTURE OF THE PLANT: The facility extends over an irregular, walled area that extends to Düsseldorfer Strasse in the south-west and Beckstrasse in the south-east. A distinction is made between several garden sections: a) the front garden in front of the villa on Düsseldorfer Straße with the entrance gate and the driveway, b) the lawn ground floor with a fountain at the intersection of a crossroads, c) a landscape garden with varied tree flora to the north-east adjacent to the lawn ground floor ; this part of the landscape continues in a south-easterly direction as far as Beckstraße, enclosing a pond region free of tree vegetation, which in turn is bordered by a terraced rock garden as a special feature, d) the kitchen garden on Beckstraße adjoining the landscaped garden area. THE GARDEN AND PARKING PARTS: a) Driveway and front garden: The driveway, closed by a lattice gate, is flanked by two tall, rectangular ashlar gates made of heavy ashlar blocks with a cornice and a lantern in the middle, whose round, console-like base with an egg-shaped ornament is fused with the wedge of the gates. The paved access road is bordered on the right by a brick wall with arched niches in which majolica putti sculptures are placed. On the left side of the driveway, lanterns on cast stone posts alternate with trees. The entrance gate and the adjoining wall with majolica sculptures date from 1928 (architect Willy Esser, Viersen). The front garden of the villa is limited by the driveway in the southeast, a wall with bars on Düsseldorfer Straße and a high brick wall to the northwestern neighboring property. At the driveway comes a small piece of lawn, planted on three sides by shrubbery, mostly rhododendrons. From this lawn, a few steps lead to the villa in a lower area with a roundabout . A sturdy quarry stone staircase rises from here to a higher garden level in front of the front of the house, the main part of the front garden. This consists of a piece of lawn, which in turn is deepened, sharply demarcated from the house by a stone wall, partially gently sloped on the sides. At the end of the lawn near the lattice on Düsseldorfer Strasse there is an oval ornamental bed, divided into a cross with stone-paved paths and repeating the oval shape in the middle; it was decorated with roses (remains have been preserved). The front garden is shielded from the street by a hornbeam hedge; it follows the oval path around the rose bed. On the north-western border wall there is an octagonal garden pavilion made of ornate laths, and in the line of this pavilion, near the road, there is a covered hill, a special model of the front garden area at this point. b) The lawn ground floor: At the rear of the villa, a four-step quarry stone staircase leads down to a large lawned ground floor, which is divided by a cross (land acquired in 1926 and 1928). Since the longitudinal axis is related to the stairs and ultimately to the villa, the axis cross appears asymmetrically shifted within the lawn. At the intersection of the axes of the path there is a round fountain with four frog sculptures on the edge of the pool covered with quarry stone. Path axes and round fountain are accompanied by flower borders. A path made of stone slabs surrounds the fountain. This rustic material plays an important role in the appearance of the system. Either paths are laid out with quarry stone and quarry stone stairs built, or the paths are neatly bordered with raised quarry stone slabs. c) The landscaped garden part: To the north-east of the grass parterre there is a landscape garden with varied botanical rarities and winding paths (land acquired in 1926). The transition from the open space of the lawn parterre to the forest section is not designed hard, but solitary trees have been drawn into the lawn, creating a picturesque transition. The paths in the landscape section are also bordered with quarry stone in the same way as in the front garden and on the lawn ground floor. A special experience in the landscaped part of the garden is the interaction between dense shrubs and individually placed trees. It is striking how conscious value is placed on small, gripping natural scenes that emerge when walking through; the use of dark conifers in contrast with deciduous trees in various shades of color is ideal. The landscaped garden offers a beautiful view of the villa over the axis of the fountain. A swimming pool with a log cabin is cleverly placed in the northeast part of the landscape garden. A long stretch of lawn stretches to the southeast in the direction of Beckstrasse, surrounded by groups of trees, which the path follows (acquired in 1951 and 1952). Formerly there was an asymmetrically curved pond in the middle of the lawn; it has silted up today, but is still clearly visible in the area. A hilly rock garden rises up on the southwest side of the pond region, structured in terraces with rubble stone blocks, deliberately irregular in design. Paths open up this garden area, and small stairs lead from step to step. The rock garden is u. a. planted with conifers, junipers, rhododendrons and other shrub plants that are cleverly related to each other: this creates a picturesque picture of pyramidal and shrub-like shapes - a sight that is one of the most visually appealing phenomena of the garden and the visitor as soon as he enters the landscape the open space of the pond region comes, offers a special element of surprise. d) The kitchen garden; The large garden area (acquired in 1956) adjoins the elongated, landscaped part of the garden with the former pond to the northeast and bordering Beckstrasse. It is structured by a regular network of paths. Raised quarry stone slabs also border the paths here, on which the fruit trees and bushes are usually arranged. They also emphasize the strict, regular disposition of the system. This belongs equally to the other parts of the garden in the overall garden design concept and is formally linked to the shape of baroque kitchen gardens. In 1957 a tennis court was laid out in a square in this garden. The garden and farm buildings on the northwest side of the kitchen garden also date from 1957 (architect Willy Esser, Viersen). ASSESSMENT AND REASON FOR THE MONUMENT PROPERTY: In the garden and park of Villa Bong, various garden design concepts from the early 20th century can be recognized. On the one hand, the facility is still obliged to the landscape garden, the slope to use a large number of woody plants, some solitary plants, led to a dendrological sample collection of trees and shrubs (they deserved a special botanical study). Such efforts are characteristic of villa gardens at the end of the 19th century (1). In addition, there is a new element - typical for the development of garden art after 1900: the formation of areas and order references (lawn parterre with path axis system), which draws on elements of baroque garden design (2). The residential building is formally integrated into the overall complex through the axes of the ground floor. The kitchen garden, which is regularly structured by way axes, is also an expression of the time-typical return to baroque order, but now justified by economic requirements. Garden design efforts of the early 20th century, formulated by architects such as Hermann Muthesius (3), are also evident in the differentiation of the garden image in the vicinity of the house: through the design with different levels, through embankments, walls and stairs in rustic quarry stone Tree, hedge and bush plantings are artistically covered. The garden ideal of the time around 1920, to achieve a perfect garden with the most economical means (4), can also be felt. The gardens and parks around Villa Bong are in an excellent state of preservation; all the structures of the garden design concept can still be clearly seen today. The complex offers an unusual variety of garden images and forms typical of the time, the various trends in garden art around and after 1900 and merged here in an artistically meaningful way. A comparable example is not yet known in the Rhineland, so that the complex has exemplary informative value for the history of garden art in this region. The gardens and parks of Villa Bong are worth protecting and preserving in the public interest for artistic and scientific reasons, in particular for reasons of garden history.	1904/05	0Feb 7, 2005	339
	War memorial / section cross Oberbeberich	Oberbeberich Bebericher Strasse map	While the associations and parishes initially erected monuments to commemorate their deaths in World War I between 1919 and 1925, the civil parish of Viersen and its sections followed from 1926 to 1932. In the Oberbeberich section, this was combined with a church celebration. The war memorial was also to be erected as a cross section on the space provided by the Heinrichs family. Under the direction of the teacher Thoma and supported by the pastor Andreas Gilles and the city administration, a commission proposed a design by the Krefeld sculptor Wilhelm Röttges to the residents. It was financed through donations from the residents of Oberbeberich. The consecration of the section cross took place on May 17, 1928 by Pastor Gilles. Description: Four steps lead to an altar plinth on which an oak crucifix stands under a protective roof. The horizontal beam is supported on the right and left by stepped struts with the vertical beam. The figure of Christ shows the three-nail type, which has been used since the Gothic period, in which the legs are crossed and both feet are pierced by just one nail. In addition, a support board is attached under the feet of the crucified. The figure is only dressed in a loincloth. Christ has a body and face marked by suffering and is already dead. There is an INRI label above his head. On the front of the altar base there is a shell-limestone relief on which two kneeling angels in long, wide robes hold a banner in their hands. On it are the words: O crux ave vitae lignum. An oval, 1.80 m high and 40 cm wide wall made of bricks is built around the base of the altar. In each case, 5 shell limestone plates with the names of the fallen soldiers of the First World War are embedded. On the left is the heading. "Out of gratitude 1914" and on the right "Our fallen in 1918" can be read. The design for the war memorial in the upper area was made by the Krefeld sculptor Wilhelm Röttges. It is not of supraregional importance. In 1927, a memorial for the fallen soldiers of the First World War was erected according to his design on the church square in Schiefbahn. Röttges depicts a dying soldier who sits up and looks up at the sky. Röttges designed another memorial for those who fell in the First World War for the Krefeld butchers' guild. In 1933 the monument was inaugurated in the slaughterhouse. The monuments after the First World War show a great variety of motifs. Christian attributes, alone or in connection with secular symbols, are often found. Since the reign of the Roman Emperor Constantine the Great (324–337 AD), the cross has been the most frequently designed object in Christian art, since the 6th century mostly in the form of the crucifix. On the one hand, the cross symbolizes the sacrificial death of Jesus Christ. On the other hand, it symbolizes the bond between humans and the earth and fellow human beings (horizontal axis of the cross) and the divine (vertical axis of the cross). It is supposed to comfort the grieving in their pain. So said Pastor Gilles at the consecration of the section cross: “The cross fits the spirit of sacrifice of the heroes who carried the sacrificial cross, heavy and angular.” The two angels in the relief create the connection between heaven and earth. They receive the soul of the dead and guide them into the hereafter. As beings of light, they make known God's will. War memorials, which remind not only of generals or officers, but also of ordinary soldiers, only emerged in the modern era (French Revolution). After the introduction of general conscription, the broad mass of the population was affected by the war. The conscription system favored ruthless warfare with huge losses by mobilizing a hitherto unimaginable number of soldiers. The first mention of the names of common soldiers on plaques and memorials was intended to comfort relatives by giving meaning to the death of their relatives. The name plaques are the most impressive way of preserving the memory of the dead. The name identifies the individual beyond his death. The war memorial, also a section cross in Oberbeberich, is an example of the community spirit of the citizens of a section. The executed monument reflects their deep roots in the Catholic faith. For scientific, in particular local and art historical reasons, the preservation and use of the war memorial are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1928	Nov 30, 2007	469
	Kamphof with Kamp	Viersen Bebericher Strasse 175 map	The stately farmhouse is the Kamphof. It is located on the southern, somewhat elevated part (perhaps artificial) of the seat of the city, still known today as "Kämpken". The house, which was built in the 17th and 18th centuries, is known for the former Stappen wine tavern, a popular excursion destination. The former single-storey half-timbered courtyard is now mostly visible in brick. The entrance side is drawn in and covered with a half-hip roof. A two-storey residential part with a hip roof as a crossbar and five window axes is connected to the earlier business section, which was built on a T-shaped floor plan, probably in the 18th century. The windows are hung in block frames. The old door was changed in the 20th century. The single-storey business section has been converted for residential purposes. The landscape-defining farmhouse not only points to the type of a T-house, but also clearly shows the progressive structural development of the Lower Rhine farmhouse architecture. The Kamphof is surrounded by an island-like open space, which is limited to the west by the course of the Hammer Bach and to the east by today's Bebericher Straße. Today, as on the oldest reliable maps of the 19th century, this area stands out clearly and forms a kind of center of the settlement area. The illustration in Norrenberg, p. 81 shows a wall hedge as the boundary of the elevation with a "tree garden". Historically, in the Lower Rhine / Viersen area, a "Kamp" denotes an "originally (...) larger, coherent field enclosed by a rampart and hedges and trees" or a fenced meadow behind the house, mostly with fruit trees (Rhenish field names, p. 128). The open space that gave its name to the "Kamphof", which was already mentioned around 1600, still reflects its historical significance today. Visually, topographically and in terms of settlement history, the building and camp form an essential unit for understanding the monument. For scientific, in particular architectural-historical, landscape-related and settlement-topographical reasons, the maintenance and use of the Kamphof (building and Kamp) is in the public interest in accordance with Section 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	17.-18. Century	0Oct 9, 1985	69
	Könneshof	Viersen Bebericher Strasse 341 map	The four-winged brick courtyard with a half-timbered entrance is today on the eaves side on Bebericher Strasse, which was called "Viehweg" around 1800. The facade has been changed - as can be seen directly in the masonry: In the 18th century (1779?) The 1½-storey gable was removed by hemming in the upper area and supplemented on the sides, so that a continuous 2-storey building was created - with better space and light conditions. This change is an important testimony to the development from the hall house in the Lower Rhine to the T-type, in which the living and stable parts are separated in a T-shape - in accordance with the increased space requirements. (Zippelius, p. 76/77) The facade is irregularly structured in 5 axes, the three inner ones correspond to the central nave of the stable house, so they jump back. Above a former relief arch there is a small sandstone plaque with an inscription framed in baroque style: JHS ANNO 1770 H N M N H EL NN (oder M?) in the corners again in 1770. Above that niche with the new Mother of God (Clasen, p. 27) It is also very unusual that the functions of the residential stable house are still in operation today! In the stable area, the wooden construction has been replaced by cast supports and iron girders. In the living area, the off-sides are preferred in line with tradition, the entire floor plan has not changed much. The other farm buildings are from the 19th and 20th centuries. The barn was rebuilt after a fire in 1937. The half-timbered entrance to the farm yard is divided into the entrance gate and door, exemplary in idea and design. On the lintel the words (in capitals) PETER EVEKERMANS + MARIKETRIN BURGERS 1805 For scientific, in particular architectural, historical and folkloric reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	18th century	03rd June 1987	148
	Residential building	Süchteln Bergstrasse 27 map	The 2-storey building was erected on what was then Heiligenbergsweg outside the former town fortifications of Süchteln. The corner of the house with its hipped roof and unbroken axes is emphasized by arranging two windows one above the other on each side. A bay window constructed in a visible half-timbered structure briefly protrudes from the upper storey. Above the original entrance door, the window for illuminating the corridor with colorful glass blocks interferes with the otherwise unchanged facade. The hipped roof covers the side extension as well as the bay window and thus has different eaves heights. The base of the house is faced in bricks. The windows of the house with the architect's typical muntin details, each delimiting the upper corners of a window, have been preserved in good condition. Inside the house, all of the wooden fittings such as doors and wooden stairs have been preserved. On the doors, in the light section of the door, the detail of the window munt can be found, here in a different form due to the design. The rectangular balusters are also bevelled towards the handrail. The wrought iron railing of the entrance door is designed accordingly. In some of the rooms, stucco friezes with 3 grooves have been preserved. The house in conventional construction by the well-known architect Karl Buschhüter (1872–1956) from Krefeld with the forms of Art Nouveau in the windows, brings with its overall concept the harmony between facade and interior through the consistent continuation of the details. Furthermore, the high quality workmanship and the almost preserved original condition make the house a document of the architect's artistic work. For scientific, in particular artistic and architectural-historical reasons, the preservation and use of the building are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1902	Sep 14 1988	176
	Gravesite Rossie Cemetery Süchteln	Suchteln mountain road map	The object is a family burial site with a front of approx. 20 m, which is separated from the main path of the cemetery by eight half-height columns connected with chains. The sandstone pillars, the shafts of which are made of green granite, have spherical capitals. These spheres are covered with friezes, which present numerous vegetal and geometric ornamentation (e.g. acanthus, palmettes, foliage and leaf frieze, braided ribbon). From an approx. 5 m high round arch with a triangular gable, a semi-arched pergola construction is symmetrical on both sides. It runs over three pillars (sandstone / granite) and a classical grave pillar (tent roof) in a parapet and ends at right angles in three further half-height pillars, of which the front-bounding pillar is adorned with a chalice shell with rich ornamentation. The bases and capitals of the columns as well as the friezes of the grave pillars also bear elaborate ornamentation. (see above) In the sandstone parapet, the grave inscriptions - set in a Romanesque round-arched frieze - alternate with unlabeled parts that are pierced by Maltese crosses. The grave inscriptions - letters cast in lead - read outwards to the right: Mrs. C. Adolph Rossié / b. Elisabeth Dütting / b. December 16, 1850 / d. Jan. 3, 1937. Carl A. Rossié / royally. Commerzienrat / born June 11, 1842 / d. Dec. 27, 1917 / RIP The inscription in the lower grave pillar and the following grave inscription in the parapet have been destroyed. Elisabeth Rossié / born Dütting / born. 16.12.1850 / d. 9.1.193 () Mayor / Carl Odendal / b. Aug. 5, 1840 / d. Jan. 2, 1919 / RIP Sophie Odendal / b. Rossié / b. March 31, 1834 / d. Dec. 14, 1914 / RIP The inscriptions running to the left are Mrs. Math. Rossié / b. Marie Moubis / b. 1st October 1846 / d. June 15, 1926 / RIP Mathias Rossié / b. May 5, 1840 / died March 5, 1911 / RIP In the pillar above Alfred Rossié / b. June 14, 1888 / d. June 19, 1953 / RIP Thomas Rossié / b. Jan 25, 1838 / d. April 17, 1909 / RIP August Rossié / b. Feb. 24, 1836 / d. Feb. 22, 1899 / RIP Clara Rossié / May 18, 1832 / Dec. 20, 1851 / RIP The center of the complex is the round arch - made of sandstone blocks - with a classicistic triangular gable, which carries another triangular gable with acroter. The acroter is decorated with a relief of poppy seed capsules (attribute of the Greek god Thanatos = allegory of sleep). The gable top is finished with a Romanesque round arch frieze and bears the relief JHS carved into the stone as a medallion. The main gable is decorated with Romanesque zigzag gables. The round arch is framed in the upper interior by a twisted hedge of thorns carved into the sandstone. Below that are two pairs of pillars (sandstone / granite) on the left and right, the Romanesque cube capitals of which are richly decorated with alternating palmette ornaments. The arch holds a white marble cross on which the head of the crucified Jesus can be found - as an attached relief. With a beard, long hair and a crown of thorns, he corresponds to the Bycentine image of Christ. In front of the base of the cross with the inscriptions family Carl Jos. Rossié carries a female figure made of white marble in profile on two steps. With her head bowed, her posture slightly bowed, absorbed in prayer, she embodies Mary Magdalene, who has been a penitent since the 14th century as an accompanying figure in the crucifixion scene. The grave site was acquired by the CJ Rossie family in 1898. The facility was built in 1906 in the "Atelier for Grave Monuments and Figures D. Meinardus". It is signed in the right outer grave column: D. Meinardus 1906. This renowned Düsseldorf workshop, which is run in the third generation by Siegfried Meinardus (1874–1932), designs numerous gravestones in Rhenish cemeteries. Carl Josef Rossie (1794–1871) is a goldsmith in Süchteln. His sons Carl Adolph, Thomas, Mathias and August founded the textile factory Gebr. Rossié in 1864, which has existed in Süchteln for almost a hundred years. Carl Odendal is married to a sister of the Rossié brothers. From 1872 to 1908 he was mayor of Süchteln-Carl Adolph Rossié, the youngest of the Rossié brothers, was appointed royal councilor in 1912. The tomb is an example of the sepulchral art of the upper middle class of the Wilhelmine era. In the style of historicism, Romanesque, Gothic and Classicist elements are mixed here in terms of shape, materials and ornamentation. The elaborately crafted, decorative, representative grave complex is intended to reflect the economic importance of the entrepreneurial family. For scientific, in particular cultural and local historical reasons, the preservation and use of the grave complex are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1906	0Feb 1, 1991	248
	Residential building	Süchteln Bergstrasse 26 map	The two-storey house with a pitched roof and a dwarf gable facing the street, built around 1906 by Mr. Joh. Korsten as site manager and builder, extends along Bergstrasse. The brick plaster facade is given a horizontal and vertical structure by the stone bands. This creates a division into four fields in which window openings in irregular axes enliven the facade. The attic is a half-timbered construction from which a gabled house, constructed in uprights and arched struts, protrudes. Furthermore, a small dormer with a helmet roof, point and three-sided window arrangement enlivens the roof. The door in the facade is original; the windows are renewed. The rear facade as well as the two-storey extension with a monopitch roof and decorated rafter heads are entirely exposed to brick. The interior of the building must be viewed as altogether unchanged. In the hallway of the house there is a finely detailed staircase with turned ends on the underside of the intermediate landing and a railing with vertical and horizontal decorative rods and a connecting stile. Furthermore, in some rooms there are plaster cove friezes to finish off the ceiling. The interior doors with frames and panels as well as carved frames are present in almost all rooms. The building is modernized. The residential building, which is located in the center of Süchteln, outside the former city wall, represents the typical town house architecture of the 19th and early 20th centuries and at this point reflects the historic cityscape. In addition, the rather simple facade design and the high-quality furnishings have largely been left in their original condition, making the building a historical document. For scientific, in particular architectural and historical reasons, the preservation and use of the building according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1906	Sep 14 1988	169
	Irmgardis pen	Süchteln Bergstrasse 54 map	The mighty building of the Irmgardis monastery, erected between 1907 and 1909, consists of a three-storey, three-wing complex on a U-shaped floor plan. The building has a high basement and a slate-covered mansard hipped roof with a ridge turret (serving as a bell chair) and wide dormers. The central axis of the entrance is projected like a risalit and is additionally emphasized by a curved bent gable. The Gothicizing forms are here enriched by Renaissance elements. Above an inscription band: Pensionat St. Irmgardis there is a stone sculpture (St. Imgardis?) On a console. A side axis is also designed in terms of risk at the corner. There is a tracery window on the second floor of the corner risalit. The brick-plastered facades with historicized ashlar decor (mainly made of yellow sandstone) are used as dividing elements. The two upper floors are plastered, the basement, entrance, corner and staircase projections are brick-view. There is also ashlar masonry in the base area. In order to additionally structure the tall building horizontally, window and base cornices run around. The different forms of the original windows can be seen as a design element, while the windows are not structured in solid axes, but rather through an arrangement in pairs or in relation to one another. Round-arched windows with brick-walled arches, high double windows with shared sandstone lintels, stepped triple windows with ashlar lintels and sill, rows of windows with ashlar friezes and brick-walled arches, small, narrow-high arched windows and the smallest windows alternate. All are still with original window frames z. Partly preserved in tracery and original layout. The chapel wing has tracery windows in the neo-Gothic style. The attic storey above is clapboard. The side entrance there is also projected like a risalit and ends with a stepped gable. A loggia with wooden parapets and colored lead-framed windows underneath decorate this wall. Another staircase is designed as a protruding polygonal stair tower with its own helmet roof. Likewise, the entrance door to the courtyard is pulled forward like a risalit and has its own gable. The accentuated entrances have ornate wooden doors with iron fittings. A two-sided flight of stairs with a grill leads to the main entrance in the central projection of the front facade. Above the decorated wooden entrance door there is a tracery supraport with head consoles and a window with lead-framed colored glass panes. At the side entrances there are skylights set in ashlar in colored, leaded glass. From the main portal a staircase with a narrow cross vaulted stone cross vault leads through a wooden door with small-format windows into a vestibule with two stone columns. They have a high base, their neck is fluted and their column head swings out to support the tracery vault. Here, as in the entire area of ​​the corridors and corridors, the floor is tiled with gray, white and red tiles. The brick staircase is designed here with arched openings with sandstone walls. All high wooden doors inside have skylights and are z. Some of them have wrought iron door handles. The wooden chapel door with ornate wrought iron fittings and door handle has an ashlar wall and a tympanum-style stone lintel. Two coats of arms show the year of construction from 1907. The chapel with its flat, new wooden ceiling and square choir still has the original wooden gallery and the stained glass windows from the time it was built. Brown floor tiles have a lily pattern and a lion pattern, which forms a circle of four tiles, each with a running lion. The building is located in a park-like property, which still shows the original division of the orchard, vegetable garden and flower garden in a rectangular shape by paths, some of which are bordered with boxwood. This characteristic convent building, built in the tradition of historicism, was built by the architect Kaspar Clemens Pickel (1847–1939), who stood out primarily through numerous church buildings in Romanesque and Gothic styles. He was characterized by peculiar further developments of the style models in floor plan and spatial effect. In general, he is one of the most important builders of the 19th century in the field of sacred architecture. The type of monastery building offers few starting points for the development of architectural skills. This is an essentially Gothic structure. The quality of the architect is particularly evident in the detail with which he has taken the monotony of the architecture, which is primarily designed to fulfill a large spatial program. The most important means here was the variation of the window shapes and their assignment to one another, which here show a particularly great ingenuity. The entire system is almost symmetrical. In the simplicity and monumentality of the overall effect, time movements from the period of construction can also be recognized, which have been integrated into historicizing architecture. Within the group of comparable school buildings, the Irmgardis pen stands out because of its successful design. The stately building is built in neo-Gothic forms and, in addition to the vaults of the staircase and the old tiled floors, has numerous original wooden doors that are of good quality. The chapel with the original gallery, the glass windows and the tiled floor also deserves attention. The condition, especially of the details inside, is good. After a school history that goes back to the middle of the 20th century, the Irmgardis monastery was inaugurated by the Franciscan nuns in 1909 as a boarding school for girls. From 1939 the building suffered an eventful history. As an example of architecture from the beginning of the century in Süchteln, the building today forms a striking accent in the cityscape with an outstanding silhouette. Therefore, use and preservation of the Imgardis pen for scientific, in particular cultural (here school history), site and architectural history as well as urban planning reasons are in accordance with § 2 (1) of the Monument Protection Act of North Rhine-Westphalia in the public interest.	1907-1909	June 26, 1985	42
	7 foot drop stations	Süchteln Bergstrasse / Heiligenberg map	In Süchteln, seven foot drop stations have accompanied the way from the parish church of St. Clemens in the center of the village to the Irmgardiskapelle, built in 1664 on the Süchtelner heights, since 1704. This path, today's Bergstrasse, is already recorded in the church inventory book of St. Pantaleon from 1589 under the name "Naffers Wegh". The term footfall is derived from the kneeling of the prayer in front of the stations. It was customary before the footfalls for special concerns such. B. To pray in the event of illness and death. The Way of the Cross devotion arises in the late 15th century as a replacement for the pilgrimage to Jerusalem. The Passion of Christ is taken over in position and distance according to the real conditions. The seven stations of the cross on Bergstrasse in Süchteln are modeled on the so-called Roman journey. The depictions of the Passion of Jesus displayed in seven different churches in Rome show the following scenes: On the Mount of Olives Flagellation Crowning of thorns Mockery Carrying the Cross Nailing Death on the cross. An inscription on the gable of the original first station, now the second station, gives the Süchtelner mayor Peter Hermann May and his wife Maria Agnes Halveren as donors and May 4, 1704 as the date of construction: EX VOTO. PETRUS HERMANN (US) MAY / PRO TEMPORE PRAETOR ET MARIA (-) / AGNES HALVEREN. CONIUGES. 1704, / the 4th MAY All 7 stations have the same external shape: in a pillar-like structure made of ashlar blocks there is a deep, square niche that is closed with a wrought iron grille. Each niche contains a terracotta relief by the sculptor Bernhard Imhoff from Cologne, who designed it in 1880 as a replacement for older ones. Since a restoration in 1984, the reliefs have been protected by armored glass panes. Above the niche there is a protruding cornice and a somewhat recessed gable-shaped attachment with various reliefs in the gable field - e.g. B. Skull, flower motifs, Christ head. To top it off, there is a small cross on the top of the gable. These crosses represent those that were knocked off during the French occupation at the end of the 18th century. The end of the station path is formed by a high cross made of basalt lava at the chapel. Footfall station: On the Mount of Olives The relief of the first footfall shows the scene in the Mount of Olives , in which Jesus watches and prays while his disciples sleep. In the background the viewer sees a faintly indicated hilly landscape, the closer surroundings are characterized by individual trees. Christ kneels on the ground, arms raised, he seems to be submitting to his fate. A hand protrudes from the clouds and extends the goblet to him. Footfall station : Flagellation The second footfall bears the relief-like representation of the head of Christ in the gable field. The portrait in the niche contains the flagellation of Christ in the house of execution. The interior is a kind of prison because the windows are barred. 3 soldiers flagellate Christ, who is bound and clad only in a loincloth. He stands in a slightly hunched position in front of the fragment of a column, the so-called scourge column. The soldiers wear short skirts, 2 of them beat Jesus with rods, one with a rope. Pedestal station: crowning of thorns The relief in the 3rd wayside shrine probably represents the crowning of thorns in the governor's palace of Pilate. The interior is characterized by round arches, columns, round windows and step floor. Jesus wears the crown of thorns while 2 soldiers stand next to him with sticks in their hands. On the right of the picture appears a man in a long robe with a scroll in his hand. Presumably it is Pilate. Foot drop station: Mocking In the gable of the 4th foot drop station a rosette-shaped floral motif appears. The pictorial representation in the wayside shrine demonstrates the scene of mocking Christ that takes place here in front of the city wall. The latter is shown as a smooth, continuous wall with a round arch frieze at the top. Houses appear above the city wall, with a hilly landscape in the background. Jesus stands on a 3-tier pedestal that tapers upwards. He is dressed in a long cloak and wears the crown of thorns. He is flanked on each side by 2 men who mock him. The first man to the right of Jesus wears a short robe and trousers that reach to his knees, the second with a turban on his head is wrapped in a long robe and has his left arm raised high. On the left side someone kneels down in front of Jesus with his hands raised up as if in prayer. The other is on the far left, somewhat set apart from the others. He is depicted in full gear with a shield, lance, helmet and boots. Due to his turning away from the scene, he does not seem to participate in the mockery. Pedestal station: carrying the cross A flower or plant motif that is difficult to recognize appears in the gable of the 5th station of the cross. The bearing of the cross is the subject of the niche relief. Urban architecture appears in the foreground with a city wall and a gateway. In the background a hilly landscape with the mountain Golgotha, on which two crosses have already been placed; a reference to the two thieves who were crucified together with Jesus. The latter in a long robe carries the cross. A soldier, presumably the captain of Cyrene, helps him. 3 women, the 3 Marys, follow Jesus out of the city to the crucifixion site. A soldier, armed with a lance and a shield, leads the group. The artist's signature appears at the bottom left: Bernhard Imhoff. Foot drop station: nailing in the relief of the 6th station the nailing to the cross is shown. The cross of Christ lies on the ground on Mount Golgotha, he himself is already tied to it. 2 soldiers nail Jesus' hands and feet to the cross. A third soldier stands next to the scene with a shield and a lance. Far in the background appear the three desperate, weeping women, one of whom raises her arms to the sky. The signature is also on this relief: Bernhard Imhoff. Footfall station: Kreuzestod The 7th and last station of the cross is located on the hill near the Irmgardiskapelle. The niche portrait shows Christ's death on the cross. This is not the three-nail crucifix, which has been common since the Gothic period, but the four-nail crucifix, here Jesus' feet, which rest on a small console, are nailed to the cross next to each other. In the foreground, the three women appear with grieving, desperate gestures, one of them, presumably Maria Magdalena, lying on her knees clutching the cross base. The popular religious tradition of the seven footfalls originated in the late Middle Ages and was most important in the 17th and 18th centuries, starting in southern Germany and then extending to the Netherlands. It is based on the story that Christ fell under the cross seven times during his passion. However, it has been proven that the symbolism of the number “7” in itself also plays a major role in the various forms of prayer rituals for the dying or the dead that took place on such footfalls. The Rhineland is considered to be a center of Fußfall tradition with an afterlife well into the 19th and 20th centuries, when the newer and then also "church official" variant of the 14 Stations of the Cross was used to depict the Passion of Christ. The 7 Süchteln footfalls from the beginning of the 18th century are important evidence of this, as they are among the few systems of this type in the Rhineland that have been completely preserved in their old location (only changes in the street space required minor repairs on Bergstrasse). As a result, the historical reference points at the beginning and end of the Stationsweg remain unchanged (town center on the one hand, Heiligenberg with Irmgardiskapelle on the other), so that overall a historical entirety of high conciseness is preserved. The seven footfalls on Bergstrasse in Süchteln are therefore important for Viersen and human history. For the stated scientific, in particular religious-historical and folklore reasons, the maintenance and use of the footfall stations according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1704	23 Mar 2004	449
	Residential building	Viersen Bismarckstrasse 5 map	The double dwelling at Bismarckstraße 5/7 was built in 1925 based on a design by Josef Gormanns jun. built. The client was the company M. Arnold Hüpkes; according to the site plan, the building site belonged to Heinz Hüpkes in 1925, who, according to the current owners of Bismarckstrasse 7, did not move into the house himself. The right-hand half of the house at Bismarckstrasse 5 is known as the home of the long-standing Viersen city councilor Max Lawaczeck. Immediately after construction, the semi-detached house received an extension at the rear according to the design by Josef Gormanns (dining room / winter garden). In 1934 an enclosure wall facing the street was built according to plans by FW Söndgerath. Both parts of the house also have younger garage extensions. The two-storey building with a hipped roof, broadly positioned on a rectangular plan, extends 5.00 m away from the street, behind a small front garden, in accordance with the building alignment line specified at the time. In front of it is a single-storey porch, which is open to the front in four and to the side in a round arch and serves as an exit to the upper floor. Like the high plinth that extends all the way to the sill of the ground floor window and the surrounding sill cornice, it is set off in color from the plastered wall surface. The roof areas are slightly towed away at the bottom, a wide dormer window with a retracted pointed triangular gable accentuates the center of the house. The two windows on the ground floor to the right and left of the porch are three-part and almost square in format, with small triangular accented lintels. Here, as with the other, usually two-part windows, the muntin division into horizontal fields is typical and characteristic of the time. On the upper floor, two narrow individual windows are arranged between the two windows of the two halves of the house with shutters in the middle, which are connected by a continuous roof with a central triangular tip. As a free-standing house, the building - as was the rule in the 1920s - is designed on all sides in the same way as the front, i.e. above all with plastering and painting as well as similar, largely regularly arranged windows also on the rear. The house entrances are arranged under the porch, the arches of which rest on herringbone chiseled pillars that have been left stone-transparent, each accompanied by a further window. Triangular motifs can be found again on the windows of the original double-leaf doors as well as on the low parapet grille of the exit on the upper floor. The two apartment floor plans are mirror-symmetrical to each other. You first enter a hallway, from which two of the three rooms on the ground floor and the stairs to the upper floor with three further (bedrooms) rooms are accessed. The two rooms on the narrow sides, intended as living and dining rooms in the design, are connected to one another by a wide passage. In 1926, the right half of the house at Bismarckstrasse 5 received an extension to the rear of the living rooms, which was intended to serve as a dining room and has recently been converted into another, winter garden-like living room; For this purpose, the garden side, which had been closed until then, was opened up through a window and door with an adapted horizontal muntin division. Until then, the only light in this room was in a bay-like porch with windows on three sides on the right side of the house. This component is separated from the adjoining living room by a wide double door with integrated wall cladding or cupboards. The stairs in both halves of the house, in the right half of the house with somewhat more elaborate, angular approach posts and handrails on the ground floor, otherwise consistently with slender turned handrail posts, are placed one-way parallel to the ridge direction, with inlets and outlets turned into the room. On the ground floor, under the stairs, an arched passage leads into the kitchen. Old windows, some still with inner shutters, and frame panels have been preserved. The company Martin Arnold Hüpkes, which acted as the owner of the house, was founded in Viersen in 1860 as a timber, coal and building materials trade. In 1899 a brick factory was added, and a record shop in 1910. In 1960, on the 100th anniversary of the company, Heinz Hüpkes was the fourth generation to be the head of the company. Hüpkes, born on September 1, 1900, is known locally because he held various functions in the "Third Reich" (NSKK-Standartenführer, head of the local group Viersen-Mitte of the NSDAP). In the 1950s he was a member of the council (SPD). The building at Bismarckstrasse 5/7 is said to have been built for Heinz Hüpkes, but according to information provided by today's owners, he never moved into it himself. The most famous resident of the house at Bismarckstrasse 5 in terms of town history was the long-standing town planner Max Lawaczeck, who worked in the Viersen building administration from 1932 until his retirement in 1958 and played a formative role in Viersen's town, traffic and new building planning, especially in the reconstruction after 1945. In addition, u. a. the allotment gardens in the Rahser, the stadium at Hohen Busch, the renovation of the festival hall and the new town hall building from 1951 were already important focal points of Lawaczeck's work. His involvement in social housing, which he promoted as a leading member in several cooperatives and building associations, was also remarkable. In terms of architectural history, it is a high-quality residential building in a sophisticated style in the form language typical of the construction period in the mid-1920s. The basic shape with a hipped roof and the arched "portal building" as a sign of dignity is quite traditional, but is enriched with modern elements such as the horizontal sill cornices that visually elevate the ground floor or the recurring triangular or diamond motifs. The broad positioning of the structure, the ribbon-like, even row of windows and shutters on the upper floor and the horizontal muntin division are typical design elements. The six-room apartments inside are not larger than average and traditionally divided, with living rooms connected by a passage on the ground floor. In the building half at Bismarckstraße 5, separate "mansion" and "living room" could be distinguished due to the rearward expansion. Today's Bismarckstrasse already existed as a path at the end of the 19th century, but it was not expanded into a residential street until the 1920s. It thus extended the existing Florastraße between Süchtelner and Rahserstraße and initially also bore her name before it was renamed in 1933. The first planning and construction phase, which lasted from 1924 to 1927, included the houses on the right-hand side (odd house numbers) up to Bismarckstraße 15, a total of nine residential buildings, including three semi-detached houses. According to the current state of knowledge, clients were predominantly entrepreneurs, which was also reflected in the building stock, which is still representative today. The urban development of this original section with free-standing two-storey residential buildings and almost uniform escape and fencing lines contribute to this character. The house is exceptionally well preserved both inside and out and is therefore of high testimony value both for the sophisticated residential building architecture of the 1920s and within the valuable urban context of Bismarckstrasse. As a high-quality, largely unchanged residential building from the 1920s and part of a valuable urban context, the residential building Bismarckstrasse 5, right half of the twin house Bismarckstrasse 5/7, is important for Viersen. For the reasons described, there is a public interest in its preservation and use for scientific, in particular architectural-historical and urban planning reasons. In addition, there may be local historical reasons due to the person of the temporary resident of the semi-detached house at Bismarckstrasse 5, the long-standing city building officer Max Lawaczeck. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia. The rear annex to the semi-detached house at Bismarckstrasse 5 is part of the monument as well as the component that belongs to the original building, as is the front enclosure because of its urban development effect on the overall appearance of the street. On the other hand, the garage on the side is without monument value.	1925	0May 6, 2003	442
	Residential building	Viersen Bismarckstrasse 7 map	The double dwelling at Bismarckstraße 5/7 was built in 1925 based on a design by Josef Gormanns jun. built. The client was the company M. Arnold Hüpkes; according to the site plan, the building site belonged to Heinz Hüpkes in 1925, who, according to the current owners of Bismarckstrasse 7, did not move into the house himself. The right-hand half of the house at Bismarckstrasse 5 is known as the home of the long-standing Viersen city councilor Max Lawaczeck. In 1934 an enclosure wall facing the street was built according to a plan by FW Söndgerath. Both parts of the house also have younger garage extensions. The two-storey building with a hipped roof, broadly positioned on a rectangular plan, extends 5.00 m away from the street, behind a small front garden, in accordance with the building alignment line specified at the time. In front of it is a single-storey porch, which is open to the front in four and to the side in a round arch and serves as an exit to the upper floor. Like the high plinth that extends all the way to the sill of the ground floor window and the surrounding sill cornice, it is set off in color from the plastered wall surface. The roof areas are slightly towed away at the bottom, a wide dormer window with a retracted pointed triangular gable accentuates the center of the house. The two windows on the ground floor to the right and left of the porch are three-part and almost square in format, with small triangular accented lintels. Here, as with the other, usually two-part windows, the muntin division into horizontal fields is typical and characteristic of the time. On the upper floor, two narrow individual windows are arranged between the two windows of the two halves of the house with shutters in the middle, which are connected by a continuous roof with a central triangular tip. As a free-standing house, the building - as was now the rule in the 1920s - is designed on all sides in the style of the front, i.e. above all with plastering and painting as well as similar, largely regularly arranged windows also on the rear. The house entrances are arranged under the porch, the arches of which rest on herringbone chiseled pillars that have been left stone-transparent, each accompanied by a further window. Triangular motifs can be found again on the windows of the original double-leaf doors as well as on the low parapet grille of the exit on the upper floor. The two apartment floor plans are mirror-symmetrical to each other. You first enter a hallway, from which two of the three rooms on the ground floor and the stairs to the upper floor with three further (bedrooms) rooms are accessed. The two rooms on the narrow sides, intended as living and dining rooms in the design, are connected to one another by a wide passage. The stairs in both halves of the house, in the right half of the house with somewhat more elaborate, angular approach posts and handrails on the ground floor, otherwise consistently with slender turned handrail posts, are placed one-way parallel to the ridge direction, with inlets and outlets turned into the room. A skylight illuminates the stairwell in the pointed loft. On the ground floor, an arched passage under the stairs leads to the kitchen. The corridor floor consists of Solnhofer panels. Old windows, some still with inner shutters, and frame panels have been preserved. The company Martin Arnold Hüpkes, which acted as the owner of the house, was founded in Viersen in 1860 as a timber, coal and building materials trade. In 1899 a brick factory was added, and a record shop in 1910. In 1960, on the 100th anniversary of the company, Heinz Hüpkes was the fourth generation to be the head of the company. Hüpkes, born on September 1, 1900, is known locally because he held various functions in the "Third Reich" (NSKK-Standartenführer, head of the local group Viersen-Mitte of the NSDAP). In the 1950s he was a member of the council (SPD). The building at Bismarckstrasse 5/7 is said to have been built for Heinz Hüpkes, but according to information provided by today's owners, he never moved into it himself. In terms of architectural history, it is a high-quality residential building in a sophisticated style in the form language typical of the construction period in the mid-1920s. The basic shape with a pitched roof and the arched "portal building" as a sign of dignity is quite traditionalist, but is enriched with modern elements such as the horizontally emphasizing the basement cornices that visually elevate the ground floor or the recurring triangular or diamond motifs. The broad positioning of the structure, the ribbon-like, even row of windows and shutters on the upper floor and the horizontal muntin division are typical design elements. The six-room apartments inside are not larger than average and are traditionally divided, with living rooms on the ground floor connected by a passage. The house is exceptionally well preserved both inside and out and is therefore of high testimony value both for the sophisticated residential building architecture of the 1920s and within the valuable urban context of Bismarckstrasse. Today's Bismarckstrasse already existed as a path at the end of the 19th century, but it was not expanded into a residential street until the 1920s. It thus extended the existing Florastraße between Süchtelner and Rahserstraße and initially also bore her name before it was renamed in 1933. The first planning and construction phase, which lasted from 1924 to 1927, included the houses on the right-hand side (odd house numbers) up to Bismarckstraße 15, a total of nine residential buildings, including three semi-detached houses. According to the current state of knowledge, clients were predominantly entrepreneurs, which was also reflected in the building stock, which is still representative today. The urban development of this original section with free-standing two-storey residential buildings and almost uniform escape and fencing lines contribute to this character. As a high-quality, largely unchanged residential building from the 1920s and part of a valuable urban context, the residential building Bismarckstrasse 7, left half of the semi-detached house Bismarckstrasse 5/7, is important for Viersen. For the reasons described, there is a public interest in its preservation and use for scientific, in particular architectural-historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia. The front enclosure is part of the monument because of its urban development effect on the overall appearance of the street. On the other hand, the garage on the side is without monument value.	1925	0May 6, 2003	443
	Wayside cross	Dülken bistard card	The cross in the Honschaft Bistard was erected in the 19th century as a station cross on the occasion of the processions to Vorst. The whitewashed cross with crucifix is ​​originally still today. Only the base and the roof covered with Eternit will be renewed. Due to the land consolidation in Dülken, the cross will be moved a few meters from its original location. A narrow paved path leads to the cross, in front of which there is a small knee bench. The cross with the figure of Christ rises on a high wooden plinth, also painted white. The cross arms end in the shape of a clover. A small anchor, the symbol of the resurrection hope, is attached to the upper cross beam, directly under the top of the gable. For scientific, in particular religious-historical and folklore reasons, the maintenance and use of the crossroads according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	19th century	0Sep 7 1994	350
	Karmannshof	Dülken Bistard 25–25 c card	The four-wing courtyard, situated in a typical landscape, bears the name Karmanns-Hof. It basically consists of the residential building with an adjoining gate, barn and the stable wing. The two-storey residential building with a gable roof is divided into five to two axes, with the middle entrance axis projecting like a risalit. The axis system continues into the interior of the building. The entrance axis is also a two-story access axis with original wooden stairs. The floor covering in the corridor area is made of black natural stone. The brick-facing courtyard in the residential building is given a special design through masonry details such as tooth cuts that follow as a cornice and floor cornice as well as the course of the verge and the corners of the house. The windows of the house were redesigned during the modernization. The door is left in its original state. The former cowshed with arched windows and blind pilaster strips in the facade adjoins the gable end of the house. The eastern wing is formed by the gate. It was rebuilt with the south and west wings according to the plan in the building file in 1892 after it was destroyed by the cyclone on July 1, 1891. A fire on May 29, 1897 destroyed part of the facility again. It was restored in the same year. The south wing forms the barn with a carriage house that is dragged far into the courtyard. The formation of a single cast iron column with floral cast work on the capital, which supports the roof structure, is remarkable. The horse stable closes the yard. The courtyard, which has been preserved relatively undisturbed in the landscape, can be seen as a closed unit with a distinct character. Disregarding minor changes, the courtyard clearly forms the typical four-wing courtyard complex with the corresponding economic buildings and thus also provides folkloric information about the working and production conditions of the commercial enterprises of the time. For scientific, in particular landscape-defining, architectural-historical and as evidence of agricultural production facilities at that time, the maintenance and use of the building are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1879/1897	June 15, 1990	230
	Courtyard	Dülken Bistard 38 card	The closed, brick-view, multi-wing courtyard, typical of the landscape, essentially consists of a residential building, 2 stable wings, the barn and the gate. The house, 2-storey with a gable roof, is built in 6 to 2 axes and experiences at the. Corners are emphasized with pilaster strips, which are connected to a circular arched frieze via verge and eaves. The windows, here originally with arched arches and natural stone sill, are still to be closed on the ground floor with folding shutters. The entrance is changed. The gate is attached to the gables of the house. Here you can find the year 1867 with the inscription CM underneath AMA in the Torkeilstein. The barn, which was built later, connects to the northeast. It is open to the outside with 2 different arches, one with a basket arch and one with a flat arch construction. Here we find a wedge with the inscription II NCW. l. July. An open coach house was later added to the outside of the barn. The north-eastern wing of the courtyard is formed by a cowshed with internal steel supports. It was built in 1911 according to the plan. The gable of the steel structure faces the street and is given a special design. The stable with a towed roof is stepped with blind pilaster strips that protrude crenellated over the verge. The verge of the gable is provided with pre-blinded steps and has 4 axes in its facade division. The courtyard area clearly shows the typical, progressive development of a square courtyard around 1900. The technical and functional structure of the cowshed, which is representative of the street from the gable to the verge of the annex, also makes the urban influence clear. For scientific, in particular architectural-historical reasons, as well as a testimony for work and production facilities, Hof Bistard 38 is in the public interest according to Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1867	Nov 26, 1992	311
	Nießenhof	Dülken Bistard 41 a card	The former stable house is located in what was then a preferred agricultural settlement area, which is already shown in the maps of Tranchot and von Müffling. It extends between Dülken and Boisheim, directly following the course of the Pletschbach. The house, built in brick, includes an internal structure in post construction (oak wood construction). The structure is essentially preserved and consists of five fields. This is the typical construction of a residential stable house in the main nave and the two offsides. In the living area, the chimney block is preserved without an extractor hood. The entire stud frame and the brick facades are in their original condition. As the smallest economic unit, the stable house is one of the few buildings that have been able to stay in this settlement area. The building is also an example of rural architecture from the Lower Rhine and is also important as a document for the settlement history of the city of Dülken. For scientific, in particular architectural-historical, folklore and settlement topographical reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia is in the public interest.	18th century	Sep 14 1988	175
	Wayside chapel	Dülken bistard to the right of house no. 15 card	The wayside chapel in Bistard is a brick building, at the back of which there is a half-height brick wall on the right and left, which is covered with sandstone slabs. Pilaster strips structure the wall at regular intervals. The front of the chapel is defined by the pointed arch opening that extends to the surrounding, stepped cornice and is closed by a wrought iron door. In addition, the outside of the chapel is characterized by the pilaster strips protruding at the corners. A curved tent roof with a crowning wrought iron cross closes the chapel at the top. The plastered interior has a large wooden cross on the back with a console-like lower end and wooden body. On the right wall there are 2 inscription panels that take up the ogival shape of the entrance. The names of the fallen soldiers of the First World War are entered here. On the left panel the inscription: Erected in gratitude by the sections Bistard-Loosen-Schündelenhöfe For scientific, in particular religious-historical and folkloric reasons, preservation and use of the chapel according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	End of the 19th century	Nov 26, 1992	308
	Residential building	Dülken Blauensteinstrasse 1 map	The building is part of a two-three-story row of houses that was built as a successor in the middle of the 19th century on Blauensteinstrasse (before 1825 on the "Slav stone") within the old city wall. The house was probably built in the middle of the 19th century and, as can be seen from the plans in the building file, underwent a renovation in 1890. Extensive changes to the floor plan and the ground floor facade were carried out here. The rear extension of a production hall with a smoke chamber, which was built around the same period, suggests that it may have been the establishment of a butcher's shop. The workshop was replaced around 1930 by the construction of a new warehouse. The plastered facade of the house is divided into five axes. From the left axis there is a passage to the courtyard, which, like the shop facade, is to be assigned to the renovation. A wide parapet cornice separates the probably older strip plaster facade of the upper floor. Here two lily anchors are visible under the sweeping cornice. The windows and doors of the house have changed. Inside the building, a simple wooden staircase with simply turned balusters and a colored patterned tiled floor, which can also be assigned to the renovation in 1890, have been preserved. The residential and commercial building is a focal point in the center of Dülken. With its largely original facade, it reflects the historic cityscape and has a significant impact on the street space. For scientific, in particular architectural-historical as well as urban planning and townscape-shaping reasons, the preservation and use of the building is in the public interest.	Mid 19th century	05th Sep 1989	214
	Residential building	Dülken Blauensteinstrasse 3 map	The house on Blauensteinstrasse was built by Carl Kusenberg in 1884 as a residential building. It is located in the old town area of ​​Dülkens near the old market. The house has been converted into a residential and commercial building. The original floor plans have largely been changed. Only the street front and the cellar are preserved from the old structure. The two-story house with a low mezzanine floor and gable roof faces the street at the eaves. The facade is divided into four axes. It is a plastered facade with neo-renaissance jewelry forms and the subsequent shop fittings typical of the turn of the century on the ground floor. The ground floor is provided with a joint cut. Above this there is a plaster band, which is interrupted by plaster decorations similar to keystones in the middle above the window and door openings. The window openings on the upper floor are framed by pilasters. The two outer windows on the right and left are roofed with triangular gables, the two inner windows have basket arches, in each of which a vase is worked out with surrounding floral ornaments. There is a lion's head under each window. The original floor plan provided for a passage to the courtyard in the right axis, with the house entrance next to it. Now only the side passage remains and is used as the apartment entrance. The facade, designed in the neo-renaissance style, documents the increased need for jewelery in architecture after the objective classicism. In addition, the facade has a decisive influence on the spatial effect of a grown old town area. For scientific, in particular space-defining and architectural-historical reasons, the maintenance and use of the street-facing facade including the visible roof area and the vaulted cellar of the building at Blauensteinstraße 3 according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1884	June 15, 1990	229
	Residential building	Dülken Blauensteinstrasse 5 map	The house on Blauensteinstrasse was built in the 2nd half of the 19th century as a pure residential building in the classical style. As the files show, the house was rebuilt in 1884 by the owner Eulenpesch at the time. The rear front, which was previously made of half-timbered construction, has been replaced by solid masonry and the right-hand shop window has been built into the street front. The second shop window was only added in 1950. Both the facade and the floor plan and interior fittings with the narrow, steep stairs have been preserved. The original entrance door, which is hidden behind planking that was added later, is remarkable. Despite some renovations, the house has a uniform character and serves to illustrate the design of a classical building. The facade is divided into four regular axes on the two upper floors, while the entrance door is located in the middle between two large shop window openings on the ground floor. The plastered wall surface has no decoration apart from the pre-blinded framing of the openings on the first and second floors and the stylized keystones above the lintels on the first floor. For scientific, in particular architectural-historical as well as spatial design reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia is in the public interest.	2nd half of the 19th century	June 20, 1989	207
	Residential building / pub	Dülken Blauensteinstrasse 11 map	The residential and commercial building is part of a two-three-story row of houses, which were built as a successor in the mid to late 19th century on Blauensteinstrasse (before 1825 on the “Blawen Stein”) within the old city wall. The ashlar plaster facade is divided into seven axes. On the extreme right-hand axis, a passage on the ground floor leads to the courtyard of the neighboring building. The upright rectangular window openings were provided with modern windows without a division. The doors, however, are still original. The facade, kept in calm symmetry, closes off the roof with a wide relief-like frieze, which was created around 1900. The interior of the building has been largely changed due to renovations and additions for the restaurant business. The old wooden stairs with turned balusters and posts as well as some doors with frames and panels as well as the old roof structure with wooden wedge connections have been preserved. The building in the middle of the center, in the vicinity of other historical buildings, with its largely original facade, shapes the former cityscape. Furthermore, due to its exposed location in the city center, it is also of importance for urban development. For scientific, in particular architectural, historical and urban planning reasons, the preservation and use of the building are in the public interest.	Early 19th century	05th Sep 1989	215
	Residential and commercial building	Dülken Blauensteinstrasse 15 map	The residential and commercial building is part of a two- to three-storey row of houses, which was built as a successor in the middle to the end of the 19th century on Blauensteinstrasse (before 1825 on the “Blawen Stein”) within the old city wall. The three-storey house with a gable roof, facing the street on the eaves side, is divided into three axes. The brick plaster facade is provided with strip plaster on the ground floor. The upper floor, however, is set off in brick. A wide, continuous parapet cornice separates the two parts of the facade. The window openings of the house decrease in height towards the top, with the windows on the upper floor being provided with a flat, blind lintel. The wide, structured cornice is supported on four consoles. The building was completely modernized in 1980, with the windows and front door being renewed. The rear facade is brick-view. The original floor plan of the house remained almost unchanged. The original wooden stairs with turned railings and posts are still in the hallway. The facade of the residential and commercial building in the center of Dülken contributes significantly to the uniqueness of the street space and is important for the urban development context. For scientific, in particular architectural, historical and urban planning reasons, the preservation and use of the building are in the public interest.	Mid to late 19th century	Sep 14 1988	163
	former agricultural school	Dülken Bodelschwinghstraße 126 map	Since the existing agricultural winter school (Bruchweg 7) in Dülken - founded in 1907 - no longer met the needs, the district council of the Kempen district decided in 1927 to build a new building on a plot of land on Gartenstrasse, which was later renamed Bodelschwinghstrasse. The foundation stone was laid on February 29, 1928. On November 15, 1928, school operations began. Before moving to Viersen, the school was in Dülken for 79 years, 58 of which were on Bodelschwinghstrasse. The school was divided into a lower and upper class, a girls class and a horticultural training school in three classes. In the course of time, other departments were taken over: parts of the former Kempen Agricultural School, the Krefeld-Dülkener educational institution merged in the Dülken advice center. In 1976 the school was recognized as one of the four main schools in the chamber area. Up to the 75th anniversary (1982) it was attended by 800 female and 1675 pupils. Description: The L-shaped two-storey solid building faces the Bodelschwinghstrasse with the main view (class wing). The school building clearly reflects its functions in the facade: 4 classes with associated side rooms in the risalit-like protruding side wings are arranged symmetrically around the access. The actual artistic statement is also based on the expressionist zeitgeist: the middle section of the facade wall pushes upwards over the roof zone, it pierces the eaves, whereby the break points are softened by short horizontal strips. In a further increase, the middle section is pushed up even further, at the same time emphasized by the brick structure and provided with an ornamented open space for a symbolic figure (sower). Above this figure, the wall forms a closure zone within which the restless broken cornices come to rest. Interestingly, two facade designs were submitted to the approval authority on March 2, 1928, of which the one corresponding to the direction of Expressionism (signed by the district architect Koch) was carried out. The one signed by the district builder Ledschbor is more committed to the tradition with neo-Gothic ingredients. Except for two figures above the entrance and the ornamental glass in the window behind it, the exterior view is unchanged. The flagpoles are a later ingredient. Unfortunately, the original enclosure, which consisted of white horizontal wooden elements between pillars, has been lost. It supported the expressive expression of the facade. The interior is entered through an octagonal vestibule, which is lined with square red-brown mosaic. In the axis is the memorial plaque for the fallen from 1914-18 with an ornamental glass window above it and closed off at the top by a chiseled artificial stone plate. The side frame is limited by brick templates in which cross shapes are incorporated. The classes on the ground floor and first floor were renovated around 1950. Fitted wardrobes, floors, doors and windows in wood are still preserved. As a modification to the building application, a hallway is arranged on the upper floor as on the ground floor - the position of the stairs is to be understood in connection with this change. The residential wing adjoins the northeast corner of the building - two good quality apartments are located in the quietest area of ​​the property. Most of the equipment has been preserved. The woodwork is particularly striking: parquet floors, doors based on the frame-filling principle, windows and roller shutters made of wood, built-in cupboards, room dividers - the old fittings with oval signs are also available. The bathrooms are white / gray, the kitchens are tiled in black / gray with meandering strips as a finishing touch. Terraces and winter gardens increase the quality of living. Urban planning: By jumping back from the Bodelschwinghstraße, the representative intrinsic value is increased on the one hand, and a free space is created on the other, which structures the course of the street and thus has a defining effect on the area. The Dülken Agricultural School is - among other things - important as a high-quality architectural example of Expressionism. For scientific, in particular architectural, local and school-historical reasons, the maintenance and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1928	31 Mar 1987	143
	Wayside chapel	Dülken Boisheimer Strasse 130 map	The brick chapel on Boisheimer Straße in Dülken, which is being renovated in 1960, was probably built on the occasion of an accident that happened here. There are sloping pillars at the four corners of the chapel. Above this, a double-stepped cornice runs around the entire building. A large rectangular opening reaching to the roof approach leads into the interior via a step. A tent roof covered with slate shingles closes the chapel at the top. To top it off, there is a small cross on the top of the roof. Inside, a large oak cross with a Christ body made of the same material hangs on the back wall. Above Christ: the INRI sign, under the crucifix is ​​the inscription: RENEWED MISSION_ 1960; in an embedded wooden tablet underneath ANNO 1768 (probably a remnant of the original cross). A small prayer bench is set up in front of the cross. A wrought iron door closes the lower part of the entrance. For scientific, in particular religious-historical reasons, the preservation and use of the chapel are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1768	0Sep 7 1994	343
more pictures	Residential building	Dülken Börsenstrasse 10 map	The residential and commercial building, which was probably built in the last third of the 19th century, is a corner building facing Börsenstrasse and Hühnermarkt. The building has three floors (including the mansard floor) and is based on the corner, in a structure of 5 to 2 non-continuous axes. In a corner solution typical for the time of construction, the corner of the house is bevelled towards the intersection in the width of a window axis and provided with a corner door, a window with a rich plaster roof on the upper floor and a window with an ornamental gable in the attic. The house has a slate mansard roof. The main entrance is neither axially nor symmetrically on Börsenstrasse. A last stucco lion head (the others are chipped off) with house number emphasizes the very beautiful, original wooden entrance door in the historicizing style. Set asymmetrically above between the row of upper floor windows, there is a stucco-decorated window. The last dormer window on the long side has a stucco-decorated gable structure. The windows on the upper floor, which were renewed at the beginning of the 1950s, are framed by decorated plastered window frames and partly blown, ornate roofs. The windows of the dormers on the street side have also been renewed. The strip plaster facade is divided horizontally. The building is given structure by the surrounding cornice, windowsill cornice and cornice. The facade of the first floor was tiled in the 1960s. The building encloses an inner courtyard together with an extension built in 1890 and two storeys in 1898. The brick-facing, timber frame extension on the upper floor is plastered on the ground floor. A richly decorated, carved, windowed wooden balcony with a very beautiful, colorfully patterned tiled floor on the upper floor connects the parts of the building. The courtyard-facing, continuous, dormer-high toilet tower extension with its own curved pyramid roof with tower button is remarkable. It is also built in half-timbered construction with red and yellow bricks. The woodwork and pattern of the bricks are coordinated with one another in terms of color changes. Most of the beautifully crafted window frames on the courtyard side are still in their original state. The consistently tall and narrow stairwell window has colorful glasses. The ornate wood-carved consoles of the dormers are also worth preserving. All dormers have curved pyramid roofs with a tower button. The original floor plan is still preserved inside. From the wood-carved main entrance door, a hallway with a colorful, original tile floor and stone lamperia leads to the staircase with a turned and carved railing. A richly decorated stucco frieze and stucco ceiling center as well as stucco fields on the walls, the original wooden doors and wooden door frames are preserved in the entrance hall. Where the ceilings are not suspended on the ground floor, there are still stucco friezes and richly decorated stucco ceilings. There are also very beautiful stucco ceilings on the upper floor. All are designed differently, including one with angel heads (corner room). The coffered wooden doors and wooden frames as well as wooden lamperia are preserved almost throughout the house, some of them still with the original door handles. The floorboards are still available on the upper floor and in the attic. The building has two brick vaulted cellars with floors and a newer cellar with a concrete ceiling. The exposed location of the house in the center of Dülken, which, as the middle of three square-forming, monument-worthy corner buildings, must be counted among the important urban planning components of Dülken, makes it a direct focal point. The time-typical, elaborate facade and roof design from the 20th century characterizes the contemporary building type of the stately residential and commercial building with a more metropolitan character, which here reflects the historic cityscape. In addition, thanks to the original floor plan, the original toilet tower construction and the high-quality interior with stucco decoration, colorful mosaic tile floors, wooden coffered doors and wooden staircase, it is one of the Wilhelminian style residential and commercial buildings that have become rare in terms of quality and state of preservation. For scientific, in particular urban, spatial, architectural and historical reasons, the maintenance and use of the building is in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1897	Dec 21, 1984	18th
	Lemmejanshof	Viersen Brasselstraße 110 map	In the Viersener Hofverzeichnis, Blatt XXI, the farm is referred to as "Lemmejanshof". "Hermen Lemen-Jans" is mentioned in 1462, in 1613 the court name is "to Lemejans" (Mackes, p. 110) Located on the eaves facing Brasselstrasse, the courtyard building has lost its outbuildings over time. The original cadastre from 1812 shows a building to the west (8.00 × 13.00 m) - probably the former barn. The most important points have been taken from G. Eitzen's extensive study in "Niederrheinische Bauernhäuser": The building is a rare testimony to the transition from the smoke house to the stable house. The subdivision of the building by the chimney wall means that a clear distinction is made in the areas of life between humans and animals and will be retained in the future. The further development of the floor plan on the living side also leads to better utilization of the ancillary rooms in the off-sides. The beds previously set up in the kitchen-cum-living room now find a permanent place in the chambers. The chimney itself leads the development to the point that the high air space is no longer necessary as a smoke outlet and consequently makes the installation of storage areas possible. They appear first on the living side, later on the stable side. This is the case here. The approximately 5.00 m high air space on the stable side is reminiscent of the smoke houses. Eitzen concludes: (Quote :) “It can therefore be assumed that this house is one of the oldest hall houses in our area with a double chimney. In all parts it looks older than the houses built in the early 17th century and will therefore go back to the 16th century. ”For scientific, in particular architectural, folkloric and local history reasons, the preservation and use of the building are in accordance with § 2 (1) of the Monument Protection Act NRW in the public interest.	16th century	June 20, 1989	199
	Weaver house	Süchteln Bruchstrasse 22 map	In 1998, the former weaver's house at Butschenweg 31 was placed under protection in Süchteln as one of the last not yet unrecognizable evidence of this formerly typical landscape of handicraft and living. The corresponding report by the Lower Monument Authority also contained general statements on the history of house weaving in Süchteln, to which reference is made at this point. In summary, it can be said that house weaving continued until around 1880/90, i.e. H. up to the establishment of the mechanical loom and the associated factories, which was the usual form of textile manufacture and which determined working life alongside agriculture. In the 18th and 19th centuries, an organization like a publishing house meant that house weavers were not independent craftsmen, but dependent wage workers. The typical weaver houses built around the middle and in the third quarter of the 19th century can be described as a landscape and production-specific form of early workers' housing. While the weavers' houses were usually one-story with a loft, the Bruchstr. 22 is a rarer two-story type. The small, eaves-facing brick house, unplastered to the front and to the side, rises on a simple rectangular base and closes with a flat gable roof. The house entrance is roughly in the middle, shifted slightly to the right - the large weaving room was in the left half of the ground floor. A narrow cornice on the sill separates the first and second floors on the street side. The large windows on the left-hand side of the gable, which supplied the weaving room with the necessary light, are typical. The characteristic floor plan has been preserved inside. From the entrance, a straight transverse corridor divides the ground floor into two parts: on the left the large weaving room (with preserved beams), on the right (living) room. In the rear area with the separate kitchen, a straight staircase leads to the chambers on the upper floor. Some old details (stairs on the upper floor, floorboards, rear outer door) have been preserved, others such as B. Windows and the front door were renewed or appropriately changed in the careful renovation of the 1980s according to the old model (stairs). The former Weberhaus Bruchstraße 22 is important for Viersen and the development of work and living spaces as a clearly preserved testimony to a house shape that was once typical for Süchteln, the room layout of which reflects the old work processes and the design and details of which today rarely convey simple living from the past Relations of production. There is a public interest in its preservation and use for scientific, especially local and socio-historical reasons. It is therefore a listed building in accordance with Section 2 of the NRW Monument Protection Act.	Mid 19th century	June 30, 2000	393
	House and studio	Süchteln Bruchstrasse 24 map	The house at Bruchstrasse 24 is in an open location on the north-eastern edge of Süchteln. It was built in 1958-60 by the architect Hermann Breidenbach as a house with a studio for himself and his family. At the rear, the property merges into a typical regional open break landscape, which deserves special attention, since the idea of ​​the flowing connection of nature and building, an often postulated requirement of architectural modernism, has obviously also flowed into the design of the house. The free-standing low-rise building, with a basement and a living area, has an area of ​​10.25 m × 12.50 m according to the building plan. The roof is inclined slightly inwards, with the "kink" asymmetrically at about the first third of the total depth of the house. There is also a garage on the side, which was originally intended to be connected directly to the house and to serve as an additional exit, which, however, could not be approved under building law. Access to the house is from the side. Only the side wall panels consist of solid, white grouted masonry, to the front and to the rear the areas in the living area are divided into windows and only in the basement are bricked with differently dimensioned individual windows. Inside, a brick core supports the construction on an area of ​​around 4 × 5 m. A skeleton construction made of prefabricated wooden parts with elevated, lengthways truss beams supports the roof. The side walls are emphasized as surfaces because they have only a few openings. The compact structure has a balcony on the garden side and the access stairs or landings on each side as filigree metal structures. On the left a staircase leads to the high living area. It was originally a side entrance to the previously existing separate apartment. On the right is the entrance to the basement floor; the second staircase to the living area that was originally located there is currently not available. In addition, there are “private” entrances to the two floors from the garden side, for which purpose another staircase leads from the garden to the balcony. The division of the interior has only changed compared to the original design in that the previously existing, separate apartment no longer exists. This has led to an intensification of the already open space in the living area, since now all living areas around the core are more or less, e.g. Sometimes interrupted by open room dividers, can merge into one another. The inner core serves as a functional u. Wet room, d. H. he takes up the kitchen and bathroom. Living, sleeping and dining areas are grouped around it. The impression of the room is also significantly shaped by the easily accessible construction and material principle consisting of a wall panel, window wall, core and exposed wooden roof trusses with the associated elevation. In the basement there is, in addition to the necessary utility rooms, the architecture studio, which was not allowed to be declared in the building application documents submitted at the time for reasons of building law, but existed there from the start. The generous glazing to the front and rear as well as the large room layout are of course also functionally indispensable in addition to the modern aesthetics. An internal straight staircase connects the two levels. The architect Hermann Breidenbach (1933–1977) had combined his architecture studies at the Werkkunstschule Krefeld (FG Winter, Josef Ehren) with an apprenticeship as a carpenter and a mason apprenticeship after the intermediate examination. After graduating from 1957-59, he initially worked in Rudolf Krüger's office in Saarbrücken. In 1959 he relocated to the Lower Rhine again, also documented with his Süchteln house, living and working area. He was temporarily employed in the Witte office (Düsseldorf), but then went into business for himself. In addition to new buildings, from 1962, starting with the restoration of the Irmgardiskapelle in Süchteln, he focused primarily on monument conservation work. He quickly became an engine and pioneer of monument preservation on the left Lower Rhine - long before the actual "breakthrough" of this public concern in the 1970s. "In many places in the district (Viersen) today courtyards and small mansions determine the Lower Rhine landscape, urban residential houses their streets that have long since fallen into disrepair or have only recently been given up and which have been regained according to Hermann Breidenbach's plans for a new lively use". The obituary by Georg Mörsch, from which this quote is taken, deliberately names only a few objects managed by Breidenbach, which alone provide a small guide to the most important architectural monuments in the Viersen district. The residential building architecture of the 1950s in Germany was, in addition to its conservative currents, also a field of experimentation for unconventional new solutions with which the connection to post-war modernism in the USA, in the Netherlands or in Scandinavia was sought, and in which the search for expresses new forms of living. In the case of an architect's house, it can also be assumed that their own structural and design preferences are implemented to a particular extent, which is usually not possible with third-party builders. The house at Bruchstrasse 24 in Süchteln follows this tradition. Its unconventional external shape shows that it is committed to the constituent design and design principles of classical modernism. The compact, concise shape of the building is typically the result of an illustrated construction and the dissolved wall surfaces create a penetration of inside and outside, which is continued in the spatial continuum of the interior. The topic of construction in connection with different building materials, and how new methods of manufacturing, structuring and designing architecture can be developed from it, was a central theme of modern architecture from the 1930s to around 1960s. It has been handed down that with FG Winter and especially Konrad Wachsmann two architects were points of reference for the young architect Hermann Breidenbach, who dealt intensively with such developments. Konrad Wachsmann (1901–1980), trained as a carpenter and carpenter and later as an architect at Tessenow and Poelzig, became chief architect of the company Christoph & Unmack in Niesky, Silesia, in 1926/27, which specializes in wooden prefabricated construction systems; in their half-timbered system he built a lung sanatorium in 1927 and Albert Einstein's weekend house in Caputh from 1928-29. In 1932, Wachsmann left Germany (including Rome, Granada, France), and in 1941 he finally emigrated to the USA. Together with Walter Gropius, he developed the legendary General Panel prefabricated construction system made from plywood panels; He also dealt primarily with construction systems, e.g. B. "Mobilar Structure" in hangars. “Wachsmann advocated a technically based functionalism and a prophetic optimism about the future. With his modular systems, among other things, Wachsmann influenced high tech, structuralism, ecological architecture and prefabricated building ”(Lexikon d. Arch. D. 20th century, p. 406). Although little is known by name in contrast to other pioneers of modernism, the role model effect of Wachsmann on architects of the 1950-1970s is considerable. Publications and extensive lecture and teaching activities contributed to this. The biographical book “The Wachsmann Report” provides eloquent evidence of this. In connection with the Süchteln house, the role of Wachsmann in the further development of timber construction is of particular interest. Within the endeavors of modern architecture for norming and standardization in the sense of the greatest possible prefabrication, wood played an important role at times as a pre-industrial building material. On the one hand, there was a centuries-old tradition of prefabrication in the case of half-timbered construction or roof trusses, on the other hand it is an easily available and workable building material, which suits the tasks of the industrial age and the most inexpensive mass construction possible. Wachsmann's pioneering work from the twenties is documented in his book “Holzhausbau” from 1930. In the Breidenbach house in Süchteln, these ideas have been incorporated into the timber-framed roof truss construction, which is closely related to the half-timbered building. The Krefeld Werkkunstschule, where Breidenbach had studied, was under the direction of the architect FG (Fritz Gottlieb) Winter (1910–1987) one of those training centers that - with recourse to the Bauhaus - conveyed such ideas in Germany in the 1950s. Looking back, Winter wrote in 1968: “The Krefeld Institute was the first former German master school to be called 'Werkkunstschule' and, against all official, collegial, association and guild political resistance, against a restorative environment and violent press feuds, developed a new conception with an emphasis on building design, industrial design, graphics and design, in which the handicraft was rated as an educational factor. ”The building at Bruchstrasse 24 in Süchteln is a constructive and creative unconventional, but as such a typical and high quality testimony to the architecture of the 1950s. It is largely preserved in its original form. As such and as the home and studio of a well-known architect, it is important for Viersen. There is a public interest in its preservation and use for the stated scientific, in particular architectural-historical reasons. Since the requirements of § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are thus met, it is a monument.	1958-1960	Apr 18, 2002	431
	Leyershof	Viersen Brunnenstrasse 1, 2, 2a, 2b / Heimerstr. 20 card	“At the time of the French land registry in 1812, there was no other settlement on the mountain other than the Hülser, Leyers and Dücker farms. According to a trade list from 1774, all three courtyards were pubs. "(Vosdellen) The property is a four-wing courtyard, the oldest part of which is the residential part built in 1736. Presumably it was built as a residential and stable house. The two off-sides in the floor plan as well as the chimney block that separated the living area from the stable area have been preserved. The house also underwent minor changes due to its various uses such as a restaurant and post office. The interior of the house has a black natural stone covering in the hallway area. The old doors are also preserved. Part of the house has a cellar. The facade of the single-storey house faces the street. The anchor pins with the letters “AREL” A 1736 are visible here. The lattice windows are hung in block frames. The front door with the post horn still bears witness to the Helenabrunn post agency, which was housed here for many years. The back of the house is exposed to brick. According to the plan in the building file, the outbuildings were planned in 1899 by the contractor H. Kloeppels for Mr. Endepohls and probably also built. The outbuildings suffered from the effects of the war in 1945 and were repaired again. To the north of the house there is a cowshed with a passage to the farm area outside the closed courtyard. To the east is the barn with beet shed and storage room for straw. Half of the courtyard is covered by an open carriage house. The southern wing originally joined the barn with stables for small livestock, but has now been destroyed down to the outer wall. A stable construction is probably more recent (1945). Between the stable and the house there is a brick archway through which the courtyard, which is partly still paved with quays, is accessed. From the outside, a smaller outbuilding adjoins the cowshed. It is of local historical interest that the house was probably one of the first three buildings from which the Helenabrunn district grew. Furthermore, due to the volume of the barn at the entrance to the village, the courtyard in its striking location is significant for the silhouette of the “Auf dem Berg” district. Likewise, the residential building on Brunnenstrasse and the neighboring Hülser Hof are to be seen as a seldom urban unit in the ensemble. Furthermore, the typical construction of a residential stable house is clear here, as is the working and production methods of a rural business redesigned at the turn of the century. For scientific reasons, in particular for reasons of local history, urban development and cultural history, as well as evidence of the work and production conditions at the time, the maintenance and use of the Brunnenstrasse 2 building is in the public interest.	1932	June 11, 1987	153
	Hülserhof	Viersen Brunnenstrasse 4 map	At the time of the French land registry in 1812, there was no other settlement on the mountain other than the Hülser, Leyers and Dücker farms. All three courtyards were pubs according to a trade list from 1774. (1) The Hülser-Hof has continued this tradition to this day. The oldest part of the four-wing courtyard is a former stable house, the half-timbered structure of which is still visible towards the inner courtyard. It was built in the 18th century and, according to the inscription in the keystone above the gate entrance IHS MH AH (Jesus, Heiland, Seligmacher, Matthias Hülser, Agnes Harsch) was expanded, probably in 1850. Here part of the half-timbered house was raised to two floors and received a new facade in front of the half-timbered construction, as well as an independent hipped roof, the ridge of which runs across that of the half-timbered house. The shape of a "T" becomes visible in the roof overhead. The shape of the extension was quite common and shows a variation of the so-called T-houses. The brick facade of the residential building facing the street is divided into two storeys in 5 axes with a central entrance and a flat triangular gable above it, axially symmetrical. Windows and shutters have been preserved in their original condition. To the north of the house is the archway with the inscription through which the courtyard is accessed. Behind it are farm buildings, some of which were built as coach houses. To the east, the barn with hayloft and cellar for beet storage forms the end. The southern wing with the cowshed and a former interim storage facility for feed has been partially modernized and converted for residential purposes. Various recent buildings for the operation of the inn are connected to the half-timbered gable in the courtyard area. An adjoining tapered cottage garden with the typical box tree path delimitation and gravel covering of the path is remarkable. Just like the demarcation to the orchard with a characteristic yew hedge. The half-timbered house, probably one of the first three buildings from which Helenabrunn grew up, contributes significantly to the local history. Coming from Helenenstrasse, the courtyard with its fruit trees in front is also characteristic of the formerly agricultural district. Furthermore, the residential building on Brunnenstrasse and the neighboring Leyershof are to be regarded as a rare entity. The typical development of the extension from a living-stable-house to a T-house to a 4-wing courtyard is clear here. For scientific, in particular local, urban, architectural and cultural-historical reasons, as well as evidence of the work and production conditions at the time, the maintenance and use of the building, including the garden, is in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1774	Apr 21, 1987	144
	Hülserhof (orchard)	Viersen Brunnenstrasse 4 map	The planted property right in the center of the village, near the church, is a typical orchard, it is built up with plums, sweet churches, pears and apple trees. The trees are tall (the crown is at head height) on a grid of 7.00 × 8.00 m. The planting is z. T. in good condition, especially the sweet churches. The pear trees are partly due to reasons of age and the plum trees partly due to undergrowth and bark peeling by animals. Approximately 30% are stagnant on the area, 30% of which are in good condition, another 30% can be renovated and 40% are missing. The plant can be preserved in the long term by replanting. The orchard in front of the Hülserhof is characteristic of the formerly agricultural district and, together with the Hülserhof and Leyershof, can be seen as a rare unit in the ensemble. In the planted property, adjacent to the Obstanger and Hülserhof, parts of a typical farm garden can still be seen. The tapering garden is divided by a path with boxwood borders and gravel cover. A spatial demarcation from the orchard takes place in a yew hedge characteristic of these gardens. Because it belongs to the Hülserhof, the farmer's garden is to be regarded as a unit with it and is distinctive because of its relationship to the town center. For scientific, in particular garden history and urban planning reasons, as well as evidence of the working and production conditions at the time, the maintenance and use of the two gardens is in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	unknown	0Jan. 4, 1990	221
	Fallen memorial Helenabrunn	Viersen at the corner of Brunnenstrasse / Helenenstrasse map	While the associations and parishes initially erected monuments to commemorate their deaths in World War I between 1919 and 1925, the civil parish of Viersen and its sections followed from 1926 to 1932. Helenabrunn brought up the rear. A committee was set up in 1928 under the chairmanship of teacher Josef Krall, which was supported by the Catholic parish of Helenabrunn. She made the land at the church available on the condition that the monument had to have a Christian character. After a competition, the Düsseldorf sculptor Josef Schneider was commissioned with the execution of the monument. He designed a group of bronze figures that stand on a high pedestal. The monument costs of 7,230 marks were collected from the residents for three years through monthly contributions of 20 to 50 pfennigs. Thus, the monument could only be inaugurated in September 1932. In 1942, the group of figures had to be delivered by order of the Reich Minister of the Interior, as all copper and bronze monuments were used in public places to strengthen the armaments reserves. It was given no artistic or historical value that would have prevented this. In 1951 the Helenabrunn pastor Dr. Vogtland found the monument in Düsseldorf harbor under a scrap metal warehouse. He arranged for the repositioning at the church in a slightly more distant place than originally. The base was rotated and the former back was provided with a new inscription listing the victims of the Second World War. Description: The Düsseldorf sculptor Josef Schneider created a group of figures. Christ stands between the man who goes to war as a soldier and the woman who stays at home with her small child. The figure of Jesus, in a slightly folded robe and cloak, with a beard and parted longer hair, corresponds to the Byzantine type. While his left hand is protecting his mother's head, his right hand is raised to bless the soldier. His gaze is turned down to him. The mother, in a sitting position, carries her child close to her chest and protects it with both arms. Her head is bowed low to him. She wears a slightly folded simple robe. Her hair is severely parted. The soldier in the long soldier's coat carries his helmet in his right hand and originally his rifle in his left. This was lost during the dismantling in 1942 and was not added again. He kneels before Jesus and has his head turned up to him. The group's base was apparently rotated when it was rebuilt in 1951. At the back there is a smooth field with the inscription Treue um Treue in an embossed surface. It is framed to the right and left by two iron crosses and the years 1914 and 1918. On the front, an inscription in raised letters is visible in an embossed area: Commemorating the dead 1914–1918 1939–1945 The monuments after the First World War show a wide variety of motifs. Christian attributes, alone or in connection with secular symbols, are often found. The “sentimental” monuments form the second largest group among the religious representations. Since the 19th century, motifs that fulfill the desire for comfort and hope in mourning can be found in tomb art. The group of figures illustrates that Christ is close to both. On the one hand, he comforts and protects the woman who is left behind with her child; on the other hand, he gives the soldier his blessing and farewell to the war field. Thus the separation seems to be legitimized by Christianity, as it were by God. In his speech at the inauguration, the Helenabrunn pastor Vogtlandt saw the monument as a symbol for the Christian values ​​of faith, love and hope, and Christ's blessing hand as a blessing and protection for everyone. The war memorial in Helenabrunn is an example of the community spirit of the citizens of this section. The executed monument reflects their deep roots in the Catholic faith. For scientific, in particular local and art historical reasons, the preservation and use of the war memorial are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1932	Dec 17, 2007	474
	Residential building	Viersen Burgstrasse 1 map	Building history The residential building at Burgstrasse 1 (at the time of construction: Rathausstrasse) was built in 1904 on behalf of the entrepreneur Peter Wahle; The building application plans are signed by the building contractor Ludwig Hansen as "site manager", and the accompanying letter also includes the name of the Viersen architect Franz Kreutzer, who also designed the neighboring house at Burgstrasse 1a and may also be regarded as the draftsman. The house is the third of four simultaneous construction projects by Wahl in this central area of ​​the city, after Poststrasse 4 and 6 and in front of the neighboring house on the left, Burgstrasse 1a (all registered monuments), so that Wahle was responsible for the entire corner development of this block. The first building application submitted by Wahle in January 1904 provided for a different arrangement of the house with a small front garden and a facade design that was still strongly influenced by historicism. On the one hand, there were floor plan problems with regard to building regulations for ventilation and lighting of the apartment; on the other hand, as with the neighboring house at Burgstrasse 1a, which was built a little later, there was a switch to a more modern facade design, in terms of greater objectivity and at Ornament took up the "Art Nouveau". It is possible that the influence of the architect Franz Kreutzer is to be presumed behind this, which cannot be proven in the first houses of Wahl in Poststrasse. Description It is a two-storey corner building built into a block perimeter with 5: 2 (Burgstrasse: Poststrasse) axes of different widths. The house faces the eaves on both streets, so the dark roof is hipped over both facades. The corner is emphasized by a protruding polygonal tower marker, on Burgstrasse the axis of the arched house entrance is emphasized by a curved gable in the roof area. The facades are plastered over plinths, smooth on the upper floor, flat ashlar plaster scratches are present on the ground floor; Even if the more relief depiction of the building application need not have been carried out in this way, it can be assumed that the plastering and profiling of the facade have been somewhat purified over time. The openings on the ground floor are round-arched with offset walls and wedge-shaped stone accentuation, while those on the upper floor are rectangular with a straight lintel cut into the wall surface; the slender openings in the corner tower have curtain arches. The stairwell window on the upper floor above the house entrance has also been simplified, the original construction plan shows a rather elaborate design of three coupled, each divided once more (each with two small arched openings in the lower half). The other noteworthy change concerns the tower, which was originally crowned by a curved hood, which was then without a roof for many years and was given a tent roof in 2010, which now appropriately emphasizes the street corner. The arched wall of the flatly nested entrance to the house is covered in the arch area by a profiled accompanying arch that sits on a bracket and overhangs a rectangular field with a sign with the inscription "AD 1904". Particularly noteworthy is the original two-winged front door, with small dragons on the window grilles; Above the door, a skylight made of small pieces of lead fills the arched area. Inside, the room layout is largely unchanged; only on the ground floor is a residential unit completed by a separate installation opposite the stairwell. A few steps, on the cheeks of which sit a metal railing with plant and flower ornaments typical of the time, you enter a small entrance hall, which takes up the relatively steep and dynamically curved staircase at the front of Burgstrasse. The balustrade of the stairs also has shapes that are very typical of the time, in that it no longer shows turned balusters, but rectangular geometric patterns. From the stairwell hall, an access corridor opens up the wing on Burgstrasse on one hip; Another characteristic feature is the arrangement of the large (living) rooms, which are connected by double doors, to the rear or to the narrow side on Poststrasse. The extensively preserved stucco ceiling is very remarkable, the vegetal, flowing forms of which can already be assigned to Art Nouveau, which means that in 1904 they are undoubtedly “in step with the times”. The floor plan and equipment elements of the ground floor are resumed on the upper floor. Monument value The builder Peter Wahle (1868–1924) was a rope manufacturer and limited partner in the Viersen Schäfer & Co. centrifuge company. When the company was founded in 1919, he brought in 30,000.00 marks. After his sudden death in 1924 at the age of 56, his widow became the owner of the shares. Furthermore, Peter Wahle has been chairman of the General German Hunting Protection Association - District Association Viersen-Dülken, since it was founded in 1896. The layout of the former Rathausstrasse, today part of Burgstrasse, goes back to the town plan from 1860, which is decisive for the development of the city center in Viersen. While in the area east of the main street some streets such as B. Königsallee and Bahnhofstraße were already quite densely built up after 1900, the development in other places was still very sketchy or not even started. The corner of Poststrasse and Rathausstrasse (Burgstrasse) was not occupied by the builder Peter Wahle until 1904 with four residential buildings (Poststrasse 4 and 6, Burgstrasse 1 and 1a). Since the Reichsbank (Poststrasse 8) was also built in the same year, a planned development of this block towards Poststrasse, guided by urban planning, can be assumed. Together with its neighboring buildings, as well as the older residential buildings at Bahnhofstrasse 31 and 33 and the other, still remarkably dense, historical buildings on Bahnhofstrasse and Poststrasse, the residential building at Burgstrasse 1 is part of an ensemble that is important in terms of urban development and was centrally located between the town hall and the train station at the time of construction. It is also a concise testimony to the architectural taste that changed after the turn of the century, as here a historicist-Gründerzeit design is abandoned in favor of the “Art Nouveau” -oriented facade design. Inside, the room layout and furnishings, originally preserved in essential elements, convey a clear picture of the home decor from the beginning of the 20th century. In addition, there is the high urban development effect, which results from the ensemble effect of the entire block including the opposite row on Poststrasse, as well as from the characteristic corner location of the house itself, which is additionally emphasized by the corner oriel tower. The named changes to the facade, anyway not particularly serious, are not of decisive importance compared to its important urban planning function and the good tradition inside. For these reasons, the residential building at Burgstrasse 1 is important for Viersen. There is a public interest in its preservation and use for scientific, in particular architectural and local historical reasons as well as for urban planning reasons. It is therefore a monument according to Section 2 of the Monument Protection Act.	1904	23 Dec 2010	496
	Residential building	Viersen Burgstrasse 1 a map	The residential building at Burgstrasse 1a (previously: Rathausstrasse 4) was built in 1904 based on a design by the architect Franz Kreutzer on behalf of the client Peter Wahle. This is the fourth of four construction projects at the same time by Wahl on this street corner, after Poststrasse 4 and 6 (both registered monuments) and the corner house Poststrasse / Burgstrasse, so that Wahle is responsible for the entire corner development of this block. The facade of the house at Burgstrasse 1a is different from that shown on the building application drawings. The building application states: “Of the 4 houses approved for execution (corner of Post and Rathausstraße), I intend to build the building on Rathausstraße that has not yet been tackled in a slightly different way, as can be seen from the enclosed drawings and calculations. Claims that have been made to me by parts of the tenants, etc. make the change necessary. On the attached situation plan the 3 houses after the execution u. the 4th as intended to be built, marked. The yard sizes are calculated in a specially enclosed calculation. I ask your wellborn to grant the building permit. Yours faithfully (signed P. Wahle) ”. It is a built-in eaves dwelling, two-storey with a large gable and another, smaller dwelling next to it. The mentioned changes in the execution mainly concern the street-side facade: While a typical historicist decoration with banded plaster and antique motifs is provided in the planning application, the executed version shows a smooth, light-colored plaster above the base and a few, two-dimensional geometric and leaf -Ornaments that are far more in line with current tastes around 1905 ("Art Nouveau") than the original design. The right of the two window axes is emphasized by three-part windows, a bay window on the upper floor and the gable with an exit onto the bay roof. In the left axis are the entrance to the house, over a few steps, and a simple window, the flat plaster frame of which is accompanied by geometric and vegetable ornaments. A dwarf house with a basket arched window and a corresponding upper closure sits on the eaves cornice. The larger, curved gable in the right-hand half of the house corresponds to this dwelling, with an oval window lying above it, which is rounded at the corners, and forms the center of a plaster ribbon cross. The rectangular “volutes” of the tail gable, which exemplify the geometric stylization of well-known historical forms, are characteristic of the stylistic detail. The parapet and console area of ​​the bay window again show the leaf ornamentation typical of the time. To the right of the house entrance, another entrance leads directly down to the basement, where there are utility rooms and a former kitchen with preserved ornamented floor and wall tiles. The actual living area is accessed through the main entrance with the original front door and skylight. You first enter a hallway lined with large marble slabs, the original interior furnishings of which offer a very generous standard, especially compared to the rather inconspicuous exterior. The ceiling shows fine stuccoing and stuccoed belt straps on consoles. Doors with glass inserts and associated garments have been preserved. The large straight staircase leans against the left wall. The flat guardrail boards and handrails are combined to form a geometric pattern and also have small ornaments. The living room and the front “living room” (building application plan) form the right-hand half of the ground floor. They also show remarkable original room details such as a large rear colored flower window, a room divider with ornamented wooden side parts and a ten-part colored skylight with flower motifs and stuccoed ceilings. The stucco ceiling also reflects the new taste of the times for clear, fine, even flatter forms, in contrast to the full, now perceived as "overloaded" motifs of historicism. The ceiling is partly divided into geometric fields, the edge zones enlivening fine banding, stylized flowers and plant motifs. This finely stuccoed room design including the preserved floor plan and doors can also be found on the upper floor. The builder Peter Wahle, who himself lives at Poststrasse 6, is a rope manufacturer and limited partner of the Zentrifugewerke Viersen Schäfer & Co. There he brought in 30,000 marks when the company was founded in 1919. After his sudden death in 1924 at the age of 56, his widow became the owner of the shares. Furthermore, Peter Wahle has been chairman of the General German Hunting Protection Association - District Association Viersen-Dülken, since it was founded in 1896. The layout of the former Rathausstrasse, today part of Burgstrasse, goes back to the town plan from 1860, which is decisive for the development of the city center in Viersen. While in the area east of the main street some streets such as B. Königsallee and Bahnhofstraße are already quite densely built up after 1900, the development in other places is still very patchy or has not started at all. The corner of Poststrasse and Rathausstrasse was not occupied with four residential buildings until 1904 by the client Peter Wahle. Since the Reichsbank (Poststrasse 8) was also built in the same year, a planned development of this block towards Poststrasse, guided by urban planning, can be assumed. Together with its neighboring buildings, as well as the older residential buildings at Bahnhofstrasse 31 and 33 and the other, still remarkably dense, historical buildings on Bahnhofstrasse and Poststrasse, the residential building at Burgstrasse 1a is part of an ensemble that is significant in terms of urban development history. It is also a concise testimony to the architectural taste that changed after the turn of the century, as here a historicist-Gründerzeit design is abandoned in favor of the “Art Nouveau” -oriented facade design. Inside, the furnishings, originally preserved in essential elements, convey an impressive picture of the interior and living culture from the beginning of the 20th century. For these reasons, the residential building at Burgstrasse 1a is important for Viersen. There is a public interest in its preservation and use for scientific, in particular architectural and local-historical reasons. It is therefore a listed building in accordance with Section 2 of the NRW Monument Protection Act.	1904	July 18, 2001	416
	Residential building	Viersen Burgstrasse 4 map	The single-family house at Burgstrasse 4 is in a quiet location on the edge of downtown Viersen, across from a small park. The architect Bernhard Pfau built the single-family home for the client Walter Kaiser (“Kaiser's Coffee”) in 1931/32. After the occupation authorities had confiscated the house, Kaiser and the same architect planned a new building wall to wall in 1951, in smaller dimensions. Tried and tested individual forms of the old building and the opening of the living area to the garden, to nature, also became part of the new planning. The building at Burgstrasse 4 stands wall to wall with the “new building” no. 6, which is slightly set back and allows the old building to “go ahead”. It is a two-storey, broadly laid flat roof building made of brick, which strongly emphasizes the horizontality through: the horizontal format of the windows, the bright plastered surfaces on the upper floor, the slightly protruding concrete cornice between the plaster and the brick wall, the arrangement of the bricks and their web-like arrangement, the brick wall as visual Extension of the street front to the left neighbor. The entrance niche is roughly in the middle, to the right of it a smaller door with an accompanying window to the kitchen and next to it the three-part garage door that can be moved to the side. A few years ago, to the left of the entrance, the wall-high stairwell window, arched outwards in segments, was covered with milky glazing by a rough ribbon of windows in the plastic frame. The rear of the house opens completely to the garden in the living and dining area. Large sliding glass doors allow the ground floor rooms to be opened to the outside. A spacious, uncovered terrace is in front of the bedrooms on the upper floor. The interior layout is extremely functional from the basement to the upper floor. All rooms on the ground floor are connected by doors. The small doors are arched, made of dark wood, the large sliding door made of frosted glass, which takes up almost the entire width of the floorboard, opens generously to the living and dining area, which in turn can be divided by a wooden folding door. The frosted glass of the sliding door and the stairwell window bathes the entrance area and the hall in subdued light. The garage leads directly to the ground floor, stairs lead from the kitchen to the basement with laundry and boiler room, and at the rear of the house another staircase leads from the laundry room into the garden. To the left of the entrance, the stone staircase leads around a rounded wall tongue into the hallway on the upper floor. Here the stair pillar ends freely. Pillar and wall are connected by a stone flower bench with a seat in front. The large bedroom with bathroom and large terrace is upstairs on the left, on the right there are several rooms with various wash cabinets made of wood or metal along a narrow hallway. Skylights and round lights with frosted glass provide subdued light. Overall, the building exudes a generosity and lightness, which is essentially achieved through the connection of the rooms with one another and the generous inclusion of the garden. The various details reinforce the impression of a functionally meaningful, but discreetly restrained residential building. Reason 1) Burgstrasse 4 is important for human history, especially the way of life of the upper urban bourgeoisie in the 1930s. The building embodies the type of the individual single-family home with an optimally and extremely functionally structured floor plan, which places little value on representation, because on cozy, comfortable living. 2) The building is important for the city of Viersen, as the residential building of an entrepreneur who significantly shapes the economic life of the city of Viersen. 3) There are scientific, in particular architectural-historical reasons for the maintenance and use of the building at Burgstrasse 4. The building erected by the Düsseldorf architect Bernhard Pfau follows the type of the individual single-family house, upscale cut. The 1920s and 30s are essentially characterized by two different styles, the Heimat style and the “New Building” propagated by the Bauhaus. The Heimatstil feels connected to tradition and likes to fall back on elements typical of the landscape, while the “New Building” is presented in a rational, cubic design language. By using the brick common on the Lower Rhine, Pfau combines both tendencies, but gives priority to the clearly structured cubic architecture. Burgstrasse 4 is an early work by an important architect whose main activity began after the Second World War (including in Düsseldorf: the House of the Glass Industry, the Study House, the New Playhouse from 1960-69, which was the first opera building to be built after the Second World War). The Kaiser house is a vivid example of Pfau's early activity, which essentially relies on designing interiors. The external appearance is subordinate. Pfau's excellent training as a furniture and architectural draftsman who, together with his wife, designed numerous interior furnishings and shops after 1928. Can be clearly experienced. The artistic unity, which was formulated as desirable in the Bauhaus program in 1919, and the reunification of all artistic disciplines to create a new type of architecture, is convincingly demonstrated by Pfau with Burgstrasse 4. The tried and tested, optimal interior structure was essentially resumed in the neighboring building at Burgstrasse 6. Pfau realized what should be a matter of course, a restrained exterior and a cozy abundance that unfolds on the inside. Characteristic of both buildings is the unity of house and garden, the seclusion from the street and the opening to nature. The wall in the living area is almost completely dissolved, as a result of which the structure experiences an optical extension with the inclusion of nature and the garden. The neighboring buildings, which were built every twenty years, clearly document the career of an important architect. They are therefore of essential scientific and architectural historical importance, especially seen in context. Local historical reasons speak in favor of maintaining and using Burgstrasse 4, as only a wealthy class, here a prosperous entrepreneur from Viersen, is able to set architectural symbols that shape the locality well above the generally accepted standard. In summary, the monument value according to Section 2 of the Monument Protection Act of North Rhine-Westphalia at Burgstrasse 4 results from its importance for the way of living of the upper middle class in the 1930s and the importance of the client for the city of Viersen. The building is worth preserving for scientific, architectural and local historical reasons, as an early work by an important architect and as a well-organized detached house from the 1930s that left the usual standards far behind and made local history.	1931/32	Nov. 27, 1995	359
	Residential building	Viersen Burgstrasse 6 map	The plans for the single-family house go back to 1951. After the seizure of his house at Burgstrasse 4 by the occupation authorities, the builder Walter Kaiser (“Kaiser's Kaffee”) planned a new building in smaller dimensions, in which the tried and tested individual forms and interior fittings of the “old building”, e.g. T. should be resumed. Both houses were distinguished in their time by their modern designs, which were unusual for a small town. The house is on the edge of the city center across from a landscaped park. The whole area used to belong to the Goeterspark of the Viersen factory owner Goeters, after whom the Goeterstraße crossing Burgstraße is named. Remnants of the park can still be seen in the form of old trees and a grotto made of basalt lava from around 1900 in the large garden belonging to the property at Burgstrasse 6. The inclusion of nature / the garden is part of the planning of the house, as will be explained later. Description: The house is a two-story, elongated, low-rise building with a very slightly saddled flat roof. The building has a full basement, including a garage as an annex on the right side of the house. The street facade is characterized by a smooth front, about 3/4 of which is dissolved into a wall surface made of glass blocks in a rectangular reinforced concrete grid. The entrance is located as an incised niche in the left half of the house. The three window openings on the upper floor are surrounded by rectangular plastered surfaces, as is the ventilation slot on the ground floor. The firewalls are made of red brick and protrude like pilaster strips, which brings an interesting contrasting color component into play. The glass block wall, which comes from the industrial and functional building, initially leaves the viewer in the dark about the use of the building. Behind it in the sequence from left to right: cloakroom, hall with staircase and the living room (highlighted from the grid) on the ground floor and bedroom, upper hall and another bedroom (each marked by a window) on the upper floor. The back of the house looks completely different. In contrast to the repellent and closed street front, here the house opens up to the garden up to the complete dissolution of the wall in glass in the dining room and living area. The windows in the kitchen and first floor correspond to those of the facade and are designed as sliding / turning windows with wooden frames. On the upper floor there is a balcony above the terrace, which is accessible from the former daughter room and parents' bathroom. The interior layout is extremely functional from the basement to the upper floor. All rooms on the ground floor are connected by doors. The stairwell, illuminated by the subdued light from the glass blocks, breathes a generous lightness. A continuous thin tubular steel grille connects the first and second floors. The single-flight, free-swinging concrete staircase is covered with wooden steps, the handrails are designed as brass tubes, with frameless wire glass facing the glass wall. The living room, which adjoins to the right and takes up the entire width of the house, receives diffuse light from the street side through the glass block wall, while on the garden side it is completely dissolved in glass across the corner. The living room is connected to the dining room by a large double door. Towards the kitchen, this closes a built-in cupboard on both sides with pass-through compartments that takes up the entire wall surface and is made of root maple in the dining room. The interesting contrasts between closed and open wall surfaces as well as wall cupboards that can be used on both sides continue throughout the house, partly enhanced by mirror surfaces. The continuous floor made of Solnhofer panels contributes to the uniform, spacious room effect. With clear, simple and functional forms and means, a maximum of elegance and comfort is achieved here. The house is characterized outside and inside by largely original condition up to the ceiling heating with original fittings, tiltable bathroom mirrors, bathroom fittings, door handles, window locks and partly still original furniture etc. The legal criteria for the property according to § 2 of the Monument Protection Act NRW are available. Reason: The building is significant for the history of man, as it represents the type of the individual single-family house of the early post-war period and is considered the work of an important architect (House of the Glass Industry, Düsseldorf; Textile Engineering School Krefeld; Studienhaus Düsseldorf; Schauspielhaus Düsseldorf; numerous residential buildings from the pre- and post-war period) and the city of Viersen, as the home of an entrepreneur who shaped the city's economy. There are artistic and architectural-historical reasons for the preservation and use. The house, influenced by the rational-cubic architecture of the "New Building" of the 20s and 30s, shows an artistically mature design that develops a harmoniously sophisticated structure with comparatively economical means. In the post-war era, the single-family home sector also showed very individual solutions for the low-rise cubic buildings in the Bauhaus tradition, for which the uniqueness of the facade of the house at Burgstrasse 6, with its association of functional architecture, bears eloquent testimony. The contrast between the facade, which is almost repellent to the street / outside world, and the opening of the house to the private garden area should be emphasized. On the facade, Pfau uses glass, a building material that was rediscovered after the war, in the form of glass blocks, which he has already used across the board as a wall design element in the house of the glass industry. In doing so, he resorts to new ways of using glass in residential building, as pioneered by the Werkbund and Bauhaus before the war, but as culturally Bolsheviks were pushed into the background at the time of National Socialism. The widespread use of glass blocks in this form for facade design in single-family homes is unusual. With the opening to the garden reaching up to the complete dissolution of the wall, the structure experiences an optical and functional expansion. The penetration of living and spatial culture in general, which is realized here, is inconceivable without Japanese and Swedish influences, which are not formally but ideally incorporated here. It is characterized by the unity of house and garden, which in this example shows itself in a directionality typical of the time, i. H. from closed street space to open garden area. This tendency in single-family homes, paired with asymmetrical design, meets the need of the time for “openness, delicacy, transparency, light, not darkness, freedom, not fearful protection” (H. Schwippert, Glück und Glas, in: Architektur und Wohnform 61, 1952 / 53, p. 3 *) according to. The garden (including the grotto) is an indispensable part of the monument. In summary, the artistic and architectural-historical significance of the object is to be noted: 1. Bauhaus successor 2. The various artistic uses of the building material glass as an example of new forms in residential building 3. Inclusion of nature in the architecture 4. Work of an important architect. In addition, there are local historical reasons for the preservation and use as a residential building for the emperor Kaiser, an important entrepreneur for the city of Viersen.	1951	Aug 30, 1990	236
	Stadtbad Viersen	Viersen Burgstrasse 60 map	In 1905/06 the architect Willy Esser built a city pool with swimming, shower, tub and therapeutic baths on behalf of the city "to improve public health and personal hygiene". With the establishment of this public public bath in the style of the Wilhelminian era, the city followed a decade-old building tradition that has been going on since the 18th and 19th centuries. Century based on the bath culture of antiquity. The building complex consists of two main buildings, the entrance building with its functional facilities and the actual swimming pool with an attached technical area. The two-storey entrance building with basement is located on the eaves, parallel to Burgstrasse. Its steep gable roof is closed off by two gabled, 4-axis side elevations. On the central axis of the 3-axis central building of the approximately symmetrical facade is the entrance niche with the city coat of arms overbuilt with a smaller gable. The vertical structure is emphasized by narrow brick pilaster strips ending on sandstone consoles on the ground floor. The building is structured horizontally through the use of different materials - brick on the ground floor and plaster and neo-baroque, ornamental stucco decor on the upper floor and gable area. Sandstone bands running below the windows or on the eaves also emphasize the horizontal. At the corner points of the gable triangles there are sandstone pinnacles or brick pinnacles covered with sandstone (slim, pillar-like decorative shapes). On the central axis of the ridge there was originally a hexagonal, tower-like roofed roof turret, which was probably removed during renovations in 1946. The two little roof houses on the side of the middle gable, on the other hand, have been preserved including their helmet roof. The windows on the first and second floors are covered with lintel arches, while those of the gable triangles have straight lintels. In contrast to this representatively designed entrance facade, the rear building with swimming pool and technical area is soberly designed as a simple structure according to its function according to the building concept of that time. The large gable roof area was only interrupted by three roof turrets, which are used for ventilation and which are no longer preserved today. The design of the vestibule with the cash desk and stair area was of architectural historical importance. The vaulted vestibule, together with the basket arch windows above the checkout room including its glazing, the floor design with Mettlach tiles, the staircase design and the floral ornamental railing design, was an example of the Art Nouveau conception of a holistically designed space. The swimming pool (dimensions approx. 20 m × 31 m) uses the new technical possibilities of spanning large rooms by means of steel structures. The Stadtbad is a typical example of the “Volksbad” type of building at that time, both because of its floor plan and the representative entrance facade. According to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia, preservation and use of the city pool are therefore in the public interest for scientific, in particular architectural, urban development and cultural-historical reasons.	1905/06	23 Mar 1988	157
	Garden of Villa Preuss	Viersen Burgstrasse 62–64 map	Development history: The "Villa Preuss" was built in 1904 on Burgstrasse by order of the Viersen factory owner Bernard Preuss according to plans by the Krefeld architect Johannes Reck. In 1913 it received an extension based on plans by the Viersen architect Willi Esser. In 1919 it was rebuilt under the direction of the Viersen construction company Eigelshoven. At this time the gate way was built over and the house entrance was relocated to Burgstrasse. During the Second World War, the "Villa Preuss" suffered severe damage: the roof structure and the attic were destroyed by fire bombs. According to plans by the Viersen architect Söndgerath, two storeys were added to the building from 1946. The street front was given a contemporary facade, parts of the historical front on the garden side have been preserved. The exact date of origin and the designer of the villa garden are unknown, as apparently no written sources have survived. According to the information provided by the current owner, Henny Preuss, the gardens were built after the First World War, most likely in the course of the villa renovation from 1919. Historical photographs from the 1930s (see Appendix 2) show that the gardens were largely complete at this point in time The basic structures of the villa garden recognizable on it correspond to today's design. In contrast to the villa, the garden remained largely unscathed during the Second World War. The garden boundaries were changed in 1985 when the city of Viersen attached the rear, less intensely designed area of ​​the villa garden, which had a meadow and usable areas, to a public green area. Since then, a metal fence covered with ivy has separated the areas that originally belonged together and now forms the western boundary of the private garden. Furthermore, in 1985 the city of Viersen redefined a section of the northern garden border in order to create a new public path past the property. This intervention led to a disruption of the axially symmetrical division of the area in the affected area of ​​the villa garden and to the loss of a structurally important section of the garden path. The owner is currently trying to get some of the publicly owned land back from the city of Viersen in order to restore the original design. The southern part of the villa garden (parcels 565 and 566) was sold in the course of a division of the villa (Burgstrasse 62) with the condition not to change the uniform design of the garden. Duration: Historical photos taken at the end of the 1930s (see Appendix 2) show the condition of the garden before the Second World War. A comparison with the current situation shows that the main part of the garden, which is still privately owned, has largely been preserved in its basic structure. The garden of the “Villa Preuss” has an architectural design in a geometric design language that shows close connections to the building. The historical enclosure of the garden - a brick wall - has been partially preserved on the southern and northern sides: on the southern side, the garden borders on the Stadtbad, on the northern side on other private gardens and on a public path. The layout of the garden and the routing were coordinated with the western facade of the villa. The part of the garden near the house is taken up by a circular lawn. In the center of this round surface and in axial alignment with the classical facade is a square water basin with a stone border. The circular lawn is bounded by a circular garden path and also accessed by a square path. The corner points of this inner square of the path also establish the connection to the outer, round garden path and are emphasized by filigree rose arches made of metal. The width of the square lawn that frames the water basin corresponds to the width of the veranda of the building. The design relationship between the garden and the villa is therefore particularly emphasized. In the western part of the garden, too, the dimensions specified by the veranda width are taken up by a rectangular lawn area, which was originally flanked by garden paths on its northern and southern sides. When the northern garden boundary was changed in 1985, the northern path is no longer available today. In addition to the central water basin, other decorative elements made of stone contribute to the representative character of the villa garden in a stylistic match: In the south-western area of ​​the brick wall there is a stone wall fountain. Today, a variably adjustable plant bowl made of stone marks the western end of the optical axis, which is directed over the square water basin towards the villa facade. Numerous evergreen topiary trees also embody a geometric design language: yew cones as vertical accents emphasize the corners of the central lawn square. Boxwood balls fill the corners of the rear lawn rectangle. In the western area of ​​the garden, which is currently separated from the rest of the garden by a metal fence, there was originally a seat that was surrounded by a yew hedge (see historical garden photos, Annex 2). Individual specimens of this hedge have been preserved, but due to the lack of pruning, they have grown over the past few decades. Mixed borders along the garden enclosure with flowering bushes, perennials and annuals provide a changing flower arrangement over the course of the seasons. The edges of the lawns are decorated with numerous roses in regular rows, and climbing roses thrive on the rose arches. Particularly significant elements and structures of this villa garden are: Area division in geometric design language (as described above) Routing in geometric design language (as described above) Brick wall as a historical enclosure on the northern and southern sides Water basin with surround made of artificial stone Wall fountain made of artificial stone Plant bowl made of artificial stone Magnolia, which dates back to the time the garden was created and has been outside the newly set metal fence since the garden borders were changed in 1985 Yew trees that date back to when the garden was created Evergreen topiary (yew, boxwood) in geometric shapes (cones, spheres) as eye-catchers all year round, Flowering bushes (roses, hydrangeas etc.), perennials and annuals with different foliage and flower colors to emphasize the seasonal change. Scope of the monument: The demarcation of the monument can be found in the attached site plan, which is part of this report: Excerpt from the real estate cadastre - land map - of the city of Viersen, status: May 14, 2008. The western border has been determined as an extension of the edge of the building from the Stadtbad. The northern border is based on the course of the public road. Justification of the monument value: The "Villa Garden Preuss" is outstanding in its high-quality architectural design. Basically, villa gardens from the early 20th century with an architectural design language are rare in the Rhineland. They emerged in the course of a reform movement in German gardening, which was mainly supported by architects such as Joseph Maria Olbrich (1867–1908), Hermann Muthesius (1861–1927) and Paul Schultze-Naumburg (1869–1949). Since the end of the 19th century, these reformers advocated a renewal of garden art with their works and writings and demanded a close architectural connection between house and garden. The gardens should have a clear spatial structure that should be determined by the architecture of the house. At that time it was still customary in Germany to transfer the landscape design vocabulary developed since the 18th century to smaller villa gardens and thus to create landscape gardens in miniature format. A departure from this organizational practice was initiated by the reform movement. In Viersen, the "Old City Garden", which is now a listed building (entry in the monument list of the city of Viersen on November 6, 1990) in Bahnhofsstraße, was a green area with an architectural design in the public space from 1901. The planning came from the garden architect Martin Reinhardt (1876–1935), who had headed the garden architecture office Fritz Gude in Düsseldorf from 1901. The center of the symmetrically designed city garden is still today a large, neo-baroque water basin with a stone border. On its northern side there is a representative stone balustrade with three gargoyles. From the elevated location there, a clear view of the lower lying water basin and to the southern border of the city garden is made possible. Topiary trees in a regular arrangement set vertical accents on the lawns. The spatial proximity to Villa Preuss, which is only a few hundred meters away, makes it seem obvious that the geometric design language of the city garden served as a model for the design of the villa garden. So far, no sources have been found that would clearly prove who the designer of the private garden was, but there are some indications that the Düsseldorf garden architect Martin Reinhard was also responsible for this planning. The design matches are clearly visible: in the equally symmetrical villa garden, water is equally a central element. Decorative elements made of stone and shaped trees also contribute to the representative character. According to the Regional Association of Rhineland / Rhenish Preservation of Monuments, the "Villa Garden Preuss" is an outstanding example of an architecturally designed private villa garden from the first decades of the 20th century. There are artistic reasons for its preservation and use, in this case garden art. Due to the war damage and the far-reaching structural changes in the course of the reconstruction, the "Villa Preuss" has not been assessed as a monument. The villa garden, on the other hand, has been retained in its basic design, its close relationship to the building can still be seen. It is therefore to be noted that the "Villa Garden Preuss" in its spatial expansions shown on the attached site plan is a monument within the meaning of § 2 of the Monument Protection Act of North Rhine-Westphalia and is significant for human history, especially the history of garden art.	around 1919	0Dec 5, 2008	486
	Dülken Busch war memorial	Dülken Buscher Weg map	As early as 1915, the Dülken Beautification Association, with the support of Mayor Voss, decided to build a heroes' grove as soon as possible according to plans by the Düsseldorf architect E. Hardt in the "Kaiser-Wilhelm-Park", now the Stadtgarten. An oak tree was to be planted in the grove for each fallen soldier from Dülken, and a metal plaque with name, date of birth and death and regimental membership was to be attached to it. This plan was not carried out for unknown reasons. In 1921 and 1926, the two parishes in Dülken set up memorials in their churches for those who died in the First World War. At this point, the representatives of the civil parish could no longer agree on a war memorial, although war clubs had donated money for this purpose on several occasions. As a result, the Dülken-Nette section initially decided in 1926 to set up a memorial for the "fallen heroes of the Dülkener Nette". The residents of the Busch Section followed this example in 1928 with the support of Mayor Dr. Turk. The memorial including the design cost 2,800.00 marks, the horticultural system and installation cost another 1,2,000.00 marks. On June 10, 1928, with great sympathy from the residents of the section and their associations, the chaplain Plümpe as pastor of the district and the mayor consecrated the monument. Description: An approximately 3.30 m high obelisk made of shell limestone rises on a three-tiered base plate in a small green area surrounded by a hedge. This free-standing stone pillar, tapering towards the top, carries an isosceles cross on all sides on its pyramid-shaped tip, based on an "iron cross". The outer, sharpened edges of the obelisk are tapered towards the top and are delimited below the pyramid-shaped tip by panels attached to the corners. On it are the year numbers of the First World War in raised letters all around: 19 14/19 18. Below an upright sword is worked out on the front. This characteristic of the warrior, especially the knight, stands for his ability to act and fight or his defensive courage and underlines his strength standing upright. Below the sword the words OUR HERO can be read in raised capital letters. The consistent element of the sword, the letters and numbers and the crowning cross, all made of limestone like the obelisk, is remarkable for the “prism-like” design, based on the expressionist art of the 1920s. Name boards made of black granite (Impala) are attached to the side and back. These were made after 1945, as the names of those who fell in the First and Second World Wars from the section are listed on all of them. The design comes from the Düsseldorf sculptor Henry W. Dietrich. A supra-regional importance does not come to part. In 1926, in Mönchengladbach-Hehn, next to the parish church of St. Mary's Visitation, a memorial for those who died in the First World War was built based on his design. A memorial for the dead on January 10th (Spartakist riots) in Düsseldorf, which Dietrich offered to the mayor in 1919, was never carried out. The obelisk, showing ancient Egyptian origins and standing as a symbol of power and a symbol of eternal life, spread as a national monument in Germany in the second half of the 18th century. At the end of the 19th century, it was one of the most popular forms of war memorial alongside the grave pillars and grave steles. This development was supported by the "Advice Center for War Honor" in Berlin, which provided guidelines for the erection of monuments. War memorials, which remind not only of generals or officers, but also of ordinary soldiers, only emerged in the modern era (French Revolution). After the introduction of general conscription, the broad mass of the population was affected by the war. The conscription system favored ruthless warfare with huge losses by mobilizing a hitherto unimaginable number of soldiers. The first mention of the names of common soldiers on plaques and memorials was intended to comfort relatives by giving meaning to the death of their relatives. This is also reflected in the address given by the Dülken chaplain Plümpe at the inauguration of the war memorial in Dülken-Busch: “This hard stone memorial should always be a reminder to act in the spirit of the dead. It should urge loyalty, the fulfillment of duty, the sense of sacrifice ”. The war memorial in Dülken-Busch is, despite all the distance from today's perspective, an example of the community spirit of the citizens of a section. The executed monument, the obelisk, corresponded to the “recommended” taste of the time and dispensed with Christian motifs. For scientific, in particular local and art historical reasons, the preservation and use of the war memorial are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1926	Nov 29, 2005	465
	Weaver house	Süchteln Butschenweg 31 map	The moisture of the soil and the resulting successful flax cultivation made the Lower Rhine a prosperous and well-known area of ​​textile production in the last centuries. Farmers who weaved as a sideline, and weavers who worked on the side, benefited from the double trade. Originally, the weaving was only done for one's own needs, later the textiles were sold and additional workers were hired. Those who lacked the means to procure a loom received them from merchants and manufacturers, so that many weavers were only wage workers despite their supposed independence. Most weavers worked in-house until the middle of the 19th century; the loom (also called “rope”) took up half of the living room, the light fell through several windows. The order situation and the number of employees in Süchteln were subject to strong fluctuations in the 19th century. In 1853 the weaving mill experienced a high point, which was followed by a period of complete unemployment, after the upswing after the war in 1870/71, the Süchteln weavers experienced a famine. Within 5 years, 1,300 weavers in Süchteln had become unemployed. The invention of a Swiss company, the mechanical loom (1880), ultimately dealt the mortal blow to home weaving. As early as 1881, 56 mechanical velvet looms were running in Süchteln, and the previously independent master weavers and journeymen became factory workers who found work in the newly founded textile companies. Description: The weaver's house Butschenweg 31 was probably built at the same time as other weavers' houses in the district of Süchteln-Vorst (Grefrather Straße 47 and 47-1874-; Neustraße 9 -1879-) between 1870 and 1885 and can be classified in the category of early social housing. The exact location is shown in the topographical map of Süchteln from 1892. The Weber houses are almost the same size, single-storey brick buildings with a loft and hardly any deviating floor plans. They are on the eaves side directly on the street, with three or four window axes, the door in the middle. On the gable sides there are several windows on the ground floor and on the top floor, the eaves are accentuated by a German band. The Weberhaus Butschenweg 31 still has all the old wooden windows, entrance and garden doors, and the shutters are in a good state of preservation. Inside, the hallway with the black and white floor tiles and the textile wall covering from the 1920s are particularly noticeable. Doors with fittings from different times, a wooden staircase to the upper floor and red and white tiles in the rear area of ​​the ground floor have been preserved. The floor plan shows a large room on the ground floor, from which the kitchen has been separated, and two other smaller rooms; the upper floor has four chambers on the gable ends. The house has a partially basement (brick vault), the roof structure and the roofing have been renewed. In contrast to other weavers' houses, which have often been changed beyond recognition, the Butschenweg building is almost unchanged and, with its typical room layout and furnishings, which, despite the modest resources available, was carried out in a very high quality and tasteful manner, is an important testament to the development and history of Süchtelns as a place of textile production and the working and living conditions of the weavers in the last quarter of the 19th century. The maintenance and use of the weaver's house consists of scientific, in particular local and social-historical reasons according to § 2 (1) of the Monument Protection Act NRW	before 1892	Feb 25, 1998	365
	Kaiser Wilhelm Monument	Dülken Cap Horn card	The Dülkener Kaiserdenkmal is inaugurated on July 13, 1890 on the Alter Markt. The bronze statue is created by the sculptor Leo Müsch from Düsseldorf. The roughly life-size statue represents Wilhelm I. in a majestic pose. The emperor stands upright, showing his left leg, on a high granite pedestal, which ends with a protruding cornice. The emperor wears a uniform with a long cloak over it. In his right hand he holds a glove and a saber. On the front of the base is the name of the emperor: WILHELMI. An inscription on the side of the statue base: Modeled by L. Münsch, cast: Cologne ore foundry von Wilh. Pütz. The Kaiserdenkmal in Dülken is a typical example of the political monument of the late 19th century, a time in which it was customary to represent important personalities on a high pedestal in order to expose them in particular. For scientific, in particular local historical reasons, the conservation and use of the monument are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	1890	0Nov 6, 1990	241
	Residential building	Dülken Cap Horn 2 card	The edges of the two-storey residential building with a mezzanine follow the historic course of the Cap-Horn-Strasse. As can be seen from a site plan from 1890, the street front of the house was not completely built on at that time, unlike today. However, the facade of the house appears uniform. It can therefore be assumed that the facade was added to the house in the period after 1890, under the influence of historicism. The house Cap Horn 2 is a ceramic plaster facade with historical decor. The structured strip plaster of the ground floor as well as the floor and sill cornices give it a horizontal structure. The facade is built in seven axes, with the house entrance in the middle. The Art Nouveau front door is a single-leaf wooden door with a skylight and a round door window. This shows various geometric and vegetable ornaments, such as stylized leaves and flowers as well as offset wooden surfaces with curved, arch-like ornamental shapes. The house entrance has a pilaster structure and is crowned by a shoulder arch, which is decorated with leaves and flowers. The windows to the right of the house entrance are surrounded by geometric ribbons and a clover-leaf arch, which is decorated with floral ornaments. There are two shop windows on the left on the ground floor. On the upper floor, the windows are framed by pilaster-like ornaments and crowned in alternating order with a keel arch or a carnation-like arch. Both window crowns are decorated with lavishly crafted leaves and flowers, with a coat of arms ornament also being found below the carnation-like arch. The windows in the mezzanine resemble the shape of the upper floor windows in a simplified form. In contrast to the facade design, the eaves are simple and restrained. The Cap Horn 2 building is one of the oldest buildings in Dülken within the city wall. It is an important testimony to the history of the city. With its building edges, following the historic course of the Cap Horn-Straße, it shapes the cityscape. Around 1900, the older house, which was estimated to have been built around 1800, is shown the existing historical facade. The elaborate facade design typical of the time is characteristic of historicism. The rich framing (pilasters) and crowning of the windows, like various arches with stylized leaves and flowers, are striking. For scientific, in particular urban history, urban development and architectural history reasons, the maintenance and use of the facade of the building, Cap Horn 2, according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	after 1890	Sep 14 1988	164
	Residential building	Viersen Carl-von-Ossietzky-Strasse 2 map	The building forms the end of the row of houses on Carl-von-Ossietzky-Straße to Burgstraße. With the city garden, which was directly opposite the former train station, and Bahnhofstrasse, Carl-von-Ossietzky-Strasse thus represented a representative entrance to the city. The two-storey house with a mansard roof is provided with a gable structure on each side, with the higher half-timbered building facing the park. An orthogonal bay window emphasizes the corner. The upper floor is clad with natural slate. Another oriel in solid wood construction with carving is remarkable, which covers the entrance with the original door. The windows to the basement are provided with wrought iron bars. The base is made of quarry stone. Inside the house there is a spacious staircase in unchanged condition. The stairwell doors each have a light cutout with lead glazing. The architectural quality of the house and the largely original interior fittings document the artistic work of the Viersen architect Willi Esser. The street and park can be seen as a unit in the ensemble that has become rare, both in terms of urban planning and design. Furthermore, the building is a testament to the great economic rise of the city of Viersen at the end of the 20th century and reflects the current demonstrative construction. For scientific, in particular architectural, urban development and urban planning reasons, maintenance and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia	1907	Nov 20, 1987	156
	Residential building	Viersen Carl-von-Ossietzky-Strasse 4 map	The house on Carl-von-Ossietzky-Straße is part of a row of houses that was built around 1900 in the Stadtgarten. The city garden, which was directly opposite the former train station, thus represented a representative entrance to the city. The row of houses has largely been preserved in its original state and borders the park from the north. The two-storey house is covered with a front mansard roof from which a pointed gable protrudes. The slope of the mansard roof and the gable are covered with plain tiles. The facade of the house is divided into two axes. The arched entrance staircase is on the left; there is a window above it. On the second axis, the window, bay window and gable top are on top of each other. The bay window ends with a wrought iron railing. The windows of the attic are covered with round arches. They are divided by a wedge. Windows and doors have been improperly modernized. The base has a natural stone cladding. Inside, the building has been largely rebuilt. The semi-detached house is characteristic of the cityscape thanks to the concise design of the facade. Together with the other mild houses on this line, it dominates the spatial situation around the city garden. The street, including the park, can be seen as a unit in the ensemble that has become rare in terms of both urban planning and design. Furthermore, the building is a testimony to the great economic rise of the city of Viersen at the end of the 20th century and reflects the bourgeois building ethos. For scientific, in particular architectural, local, urban development and urban planning reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1905	Sep 14 1988	168
	Residential building	Viersen Carl-von-Ossietzky-Strasse 6 map	The house on Carl-von-Ossietzky-Straße is part of a row of houses that was built around 1900 "Am Stadtgarten". The city garden, which was directly opposite the former train station, thus represented a representative entrance to the city. The row of houses has been preserved in its original state and borders the park from the north. The year of the house on Carl-von-Ossietzky-Straße 6, written in stucco on a flag ribbon, refers to the year of construction 1905. The two-story house is covered with a front mansard roof from which a pointed gable protrudes. The slope of the mansard roof and the gable are covered in a plain tile roof. The facade of the house is divided into three axes. The entrance staircase, walled over with a vault, is located on the right-hand side, with a window above it. The bay window is supported in the center by two consoles. There is a window under the bay window and a balcony is built on the bay window. The balcony is covered by the roof gable, which spans the middle and right axis. In the center of the gable there are two window openings that are covered with a brick arch. The round arch is divided by a wedge. There are two windows on the left axis. The window openings of the house are divided into skylights and sashes by a bolt. The window and door are in their original condition. The base area is made of ashlar plaster and is interrupted by a basement entrance. Inside the building, a stucco ceiling with elements of Art Nouveau as well as the original floor tiles and the wooden staircase have been preserved in the hallway. The semi-detached house with a country house character is characteristic of the cityscape thanks to the striking design of the street facade. Together with the other houses in this row, it dominates the street scene in the spatial situation around the city garden. The entire row of houses, including the park, can be seen as a unit in the ensemble that has become a rarity in terms of both urban planning and design. Furthermore, the building is a testimony to the great economic rise of the city of Viersen at the end of the 20th century and reflects the bourgeois building spirit in the house. For scientific, in particular architectural, local, urban development and urban planning reasons, the preservation and use of the buildings according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1905	17 Sep 1985	65
	Residential building	Viersen Carl-von-Ossietzky-Strasse 8 map	The house on Carl-von-Ossietzky-Straße is part of a row of houses that was built around 1900 "Am Stadtgarten". The city garden, which is located directly opposite the former train station, thus represents a representative entrance to the city. The row of houses has been preserved in its original condition and borders the park from the north. The year incorporated under the skylight of the entrance door indicates the year of construction 1908. The three-story building rises in the middle in a gable framed by volutes from the row of houses and thus forms an urban counterpart to the park opposite. The facade, structured in irregular axes, is made of sandstone on the lower floor up to the final cornice on the upper floor. Furthermore, the bay window as well as the window reveals and the gable cover made of sandstone are provided with ornaments. The high quality interior of the house is remarkable. In the lower rooms the flooring is made of parquet. The ceilings are divided into stucco work in the salon and a wooden cassette construction under the ceiling of the former dining room. Furthermore, the room doors in dark wood with polished glass and the original oak wood staircase with carvings are preserved in their original condition. The ceiling above the entrance area is specially designed as a coffered ceiling to form a vault. The rear view has largely been changed, but the ornate ironwork of the veranda armor has been preserved. The building, built by the architect Esser for Mr. Albert Laufs, is characteristic of the cityscape thanks to the striking design of the street facade. In connection with the rest of the development on Carl-von-Ossietzky-Straße, it dominates the street scene in the spatial situation with the city garden. The entire row of houses, including the park, can be seen as a unit in the ensemble that has become rare in terms of both urban planning and design. Furthermore, the building is a testament to the great economic rise of the city of Viersen at the end of the 20th century and reflects the bourgeois building spirit in this house. For scientific, in particular architectural-historical, art-historical, local history, urban development-historical reasons, the preservation and use of the building according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1908	Aug 30, 1990	235
	Residential building	Viersen Carl-von-Ossietzky-Straße 10 map	The residential building is two-story with a loft and a mansard gable roof. The plastered façade with a modern, high-lying plinth is designed in 3 axes, with the left axis also being the entrance axis. The double-leaf house entrance door has two door windows and a skylight with a lantern insert. The glass surfaces are given lead glazing. The entrance area is emphasized by an oval-shaped lattice window in stained glass above the entrance. This is bordered by geometric bands and provided with a keystone. The adjacent ground floor windows, which are designed with a flat arch, have the same ornamental shape. The facade is emphasized in the right axis. On the one hand, it protrudes slightly and, on the other hand, a three-sided bay window protrudes over two ground-floor windows on the upper floor. This, in turn, ends in an ornamental gable with historicizing decorative shapes. The ornamental gable has a two-winged balcony door, which is surrounded by geometric bands and a keystone. Furthermore, the bay window shows a geometric stucco ornamentation and is framed on both sides by a figured ornament, a girl's head. A balcony parapet can be found above the window bay. The two upper floor windows on the left are adorned with geometric bands and a keystone. The eaves are simple and reserved and are interrupted in their straight lines by the structural design of the combination of window bay and decorative gable. The floor plan of the house is almost unchanged. The original staircase with Art Nouveau elements can be found in the hall area. The ornate starting post and the banister show a floral and geometric ornamentation. The staircase shape is straight, three-way with a change of direction in the same direction. The stucco ceilings on the first and second floors have also been preserved, with their elaborately crafted vegetable and geometric stucco ornaments. The wooden interior doors show four door windows one below the other, which are provided with lead glazing. The house has a full basement and has barrel vaults. The building with its simple but representative plastered facade can be seen as part of the two-storey row of houses with historicizing decorative shapes. In connection with the rest of the development on Carl-von-Ossietzky-Straße, it dominates the street scene in the spatial situation with the city garden. The entire row of houses, including the park, is to be regarded as a unit in the ensemble that has become rare in terms of both urban development and design. Furthermore, the building is a testament to the great economic rise of the city of Viersen at the end of the 20th century and reflects the bourgeois building spirit in this house. For scientific, in particular architectural, art-historical and local-historical reasons, the preservation and use of the building according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1906	July 12, 1991	282
	Office and home	Viersen Carl-von-Ossietzky-Strasse 12 map	The building is two-story with a loft and a mansard gable roof. The facade is divided into 5 axes, with the central axis also being the entrance axis. The original two-leaf house entrance door with skylight and door windows is adorned with geometric ornamentation and figured carving, a boy's head. The entrance area as well as the ground floor windows are bordered with geometric bands and provided with a round arch that has a keystone with a flower ornament. Leaf and flower ornaments can be found below the sill of the ground floor window. The windows on the ground floor and partly on the upper floor show the same original shape, a double-leaf window with a skylight. The skylight takes up a rung division, whereby the glass insert has a green hue. The brick-facing facade is emphasized in the central axis. A rectangular bay window cantilevers over the house entrance on the upper floor. This in turn ends in an ornamental gable. Furthermore, the bay window in the parapet area is decorated with vegetable wreath-shaped ornamentation. The windows next to it are bordered by geometric bands and have a segmented gable. This is decorated with floral shapes. The window parapets on the upper floor are decorated with flower and leaf ornaments. The eaves echoes the facade design. It has a flower and leaf frieze on the one hand and a geometric shape on the other. The straightness of the eaves is interrupted by the lower eaves of the window bay. The floor plan of the house is almost unchanged. The original wooden staircase with turned railing and the richly decorated start post are still in the hallway. The colored floor tiles and the wooden interior doors have also been preserved, with the double-leaf wooden door with skylight on the ground floor between the vestibule and the corridor area being particularly noteworthy. This is characterized by a round arch that extends over the entire width of the opening and has a skylight divided by two tulip-shaped bars. The door leaves show wooden cassettes. The stucco ceilings on the ground floor and partly on the upper floor with their various ornaments are very representative. The building has a full basement. The house is characteristic of the cityscape through the striking design of the street facade. In connection with the rest of the development on Carl-von-Ossietzky-Straße, it dominates the street scene in the spatial situation with the city garden. The entire row of houses, including the park, can be seen as a unit in the ensemble that has become rare in terms of both urban planning and design. Furthermore, the building is a testament to the great economic rise of the city of Viersen at the end of the 20th century and reflects the bourgeois building spirit in this house. For scientific, in particular architectural, art-historical, local and urban development-historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1906	June 20, 1991	272
	Cenotaph, victim of fascism	Viersen Casino Garden Card	In 1957 the Hungarian sculptor Zoltan Székessy designed the memorial for the victims of fascism. It was unveiled on November 24, 1957. The bronze work that stands in the casino garden depicts a young girl. The height of the monument is 1.80 m. In her right hand she is holding an oak branch, only shown in relief, as a symbol of peace. The figure, who wants to keep the memory of the victims and the sufferings of the war alive, stands on a base made of basalt lava bearing the dedication: The victims of injustice and violence. For scientific, in particular for artistic and local historical reasons, the conservation and use of the monument are in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1957	0Nov 6, 1990	242
	Moated castle Clörath (ruin)	Clörath Clörather Mühle Map	The beginnings of Haus Clörath go back well into the Middle Ages and accordingly can only be partially traced back. For a long time, surrounded by the old course of the Niers and its various arms, like an island, Haus Clörath was in the family of Unterbruch. This reached north of the Glory Neersen from Oedt-Hagen to Klapdohr. The entire interruption was divided into Oedisches and Liedbergisches areas, but belonged to Kurköln as a whole. Clörath presumably acted as a border facility towards the neighboring Geldrischen (Viersen) and Jülichschen (Süchteln) areas. In the 11th century, the Gladbach Abbey of Kurköln received the rights of landlord and court lord in the Oedischen interruption; the mansions of Clörath and Hohensand located there became obligatory to the abbey as a Kurmud, so they "had to pay a substantial fee (Kurmud) to the abbey in the event of the death of the owner" (Vander 1973, 241). “The name of the house was Cloerlant until 1400. Since the beginning of the 15th century the names Klörath (1437), Klüradt (1566 and 1585) and Klueradt (Kurmudsbuch) have been used. In 1584 it is called 'the house called Kloeradt', since 1600 house and estate Cloerath or Clörath ”(Vander 1973, 242). A derivation of the name from Cloerbach is obvious; The old course of the Niers and Cloerbach, which are now straightened, is important in this context and is presented in detail by Vander (Vander 1973, 242). “The house was the seat of the Clörland clan. For the later mostly Reformed owners, it was probably an adjacent seat. In 1558 a burgrave named Johann zu Clörath was named. In 1584 Ludwig von Danwitz von der Lipp was the commandant and governor of Clörath. The estate was administered by a rent master ”(Vander 1973, 248). In 1589, the von Büren and Brienen family are named as owners, whose alliance coat of arms from Clörath is now attached to the Stockum house. Several disputes and changes of ownership in Clörath have come down to us during the warlike turmoil of the 1580s ("Truchsessischer Krieg"). From 1694 Haus Clörath belonged to the Neersen counts of Virmond. Several major construction works are known up to 1718. The earliest pictorial representations of the house also date from the 18th century. In 1793/94 several Niers crossings by French and Austrian troops took place here - oral tradition assumes that the Clörath house was destroyed and left to decay at that time. As a property with the associated mills, however, it was still managed. In the 19th century, Haus Clörath was a manor suitable for the Landtag with more than 200 acres of land. The owners are Kauertz in 1825, Josten in 1846, and from 1880 Baron von Twickel from Münster. The fact that Clörath was not listed in the inventory of art monuments ("Clemen") from 1896 could indicate that the complex was already a purely agricultural character and that it was in decline. A photo from 1965 shows a barn complex that has since become ruinous in the remains of the old brick walls of the permanent house. Politically, the western part of the interruption came in the course of secularization under French rule as the municipality of Clörath to the mayor's office of Neersen. Since the area reorganization in 1969/70, the area around the former permanent house belongs to Viersen. The oldest known views, two ink drawings from around 1730, show the Clörath house in its island location as one unit with the surrounding farm buildings and mills. Vander tries to reconstruct the arrangement and function of the buildings from the illustrations and various plans from the 19th century, but has to note the usual inconsistencies in the reproduction. Both early drawings show the manor house as a stately three-storey building with high, cross (-stocked?) Divided windows in a regular arrangement and flat hipped roofs, which are crowned by corner turrets and a turret. As usual, it is separated from the farm building by a ditch; the access bridge leading over it leads into the house under a box bay window. The farm buildings are arranged in a semicircle around a large courtyard in these pictures. Among them, first mentioned in a document in 1386, was a "Clörath mill", in the 18th century a grain mill (in the north) and an oil mill on a southern mill ditch. The sparse rising remains of the house, which are still visible today, hardly give an impression of the former complex. There are several sections of brick masonry of different heights that cannot be clearly assigned to a specific part of the house without a closer archaeological investigation. In one wall there is still an approximately arched opening, the original position and function of which must also remain unclear. The preserved walls are heavily covered with vegetation (ivy). The Burgplatz itself is raised like a moth compared to its surroundings and has a few low trees. It can certainly be assumed that numerous and far more complete remains of the former Clörath house have been preserved in the ground. The rising brick walls certainly still convey the image of a "romantic" ruin, so that the historical testimony cannot yet be viewed as completely submerged. Nevertheless, its ability to be preserved must be assessed realistically: “The structural condition seems to be stable. However, individual bricks have loosened and fell. This process is sure to continue. ”To secure it, the removal of the ivy would be necessary, but because of its now probable“ static function ”this could cause new problems and possibly require complex measures. “It seems ... however questionable whether the success of such a restoration is in a reasonable relationship to the effort required. First of all, permanent securing of the remains of the wall would possibly lead to a largely renewed appearance. The old surface of the masonry would in no way be recovered. In addition, at least in the area of ​​the wall crowns, loss of substance would have to be accepted. The character of a romantic ruin, to which the ivy growth contributes considerably, would be lost without the restored wall remains regaining a comparable quality. ”(Expert report by Dr. Stevens, July 4, 2000) The high-ranking historical significance of Clörath House for the region as medieval and early modern mansion results from the history presented above. Although it has only recently been part of Viersen, it is also important for Viersen, not least because of the relative rarity of mansions in today's urban area. A public interest in the preservation of the remains, for scientific, especially historical reasons, should be relativized to the effect that an authentic preservation of the structural substance will hardly be possible in the long term in terms of monument conservation. Nevertheless, the public interest in the preservation of the visible remains of the former manor house, which clearly mark an important historical place, is to be estimated high enough to also fulfill the second constituent condition for a classification as a monument. The ground monument alone is certainly higher in terms of scientific value, because it must be assessed more completely - but the rising ruin makes a significant contribution to the sensual experience of the place. The structural remains of the former Clörath house therefore meet the requirements of Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia and are consequently a monument.	before 1400	Sep 20 2001	423
more pictures	Clörath Mill	Clörath Clörather Mühle 36 map	The open, four-winged courtyard of the Clörath Mill is the still existing farm building of the old fortified house of Clörath in the Electorate of Cologne, which was already mentioned in a document in 1230 (cf. among others Peter Vander, Clörath House in the 1973 home book of the Kempen district. Krefeld), which was probably destroyed in the turmoil of the French Revolution in 1794 and is now still in ruins as a wall in the meadows behind the courtyard. The current system consists of the single-storey brick-facing wing with wooden walls and split pins, the gable of which was used to access the courtyard. Immediately afterwards is the original mill, a two-story half-timbered house with a half-hipped roof. The whole complex was surrounded on all sides by the Niers until 1929, which in addition to the grain mill drove a second mill, namely an oil mill, which no longer exists. The mill has not been in operation since the Niers was moved and straightened. At a right angle to the mill, the single-storey, rough plastered associated residential building connects. The former stable building to the southwest was converted for residential purposes. The brick-facing barn in the southeast was built around 1830. Its masonry was partially replaced after the Second World War. The age and historicity of the Clörath Mill are of great importance for the local history. In addition, it must be regarded as a typical example of the topographical settlement organisms that once shaped the Viersen area and is therefore essential for the history of the settlement. In addition to conveying the visual perceptibility of earlier work and production conditions, the well-preserved grinder offers technical and scientific information. Preservation and use of the Clörather Mühle are therefore in the public interest in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia for scientific reasons, in particular settlement history and settlement topographical, local history and architectural history.	16. – 19. Century	0Oct 9, 1985	70
	formerly ev. elementary school Dülken	Dülken Dammstrasse 55 map	The school is located in the district of Dülken on the western outskirts of the city north of the Amerner Weg between the Brüggen-Dülken railway line and Saarstrasse on the southern edge of a housing estate that was built at the same time. The location is characterized by spacious green areas that are in front of the school in the south and west. The school was built as an 8-class Protestant elementary school in three construction phases. The complex is structured in the form of a pavilion system, consisting of a two-storey main building with a basement and two single-storey class wings, which are staggered in parallel and connected by closed connecting corridors. The first of these is designed as a covered break passage towards the school yard. All three buildings have a flat gable roof. The gymnasium, located transversely to the north, was planned from the start, but was not implemented until 1955; Connected to the main building by a closed hallway with a covered walkway to the courtyard. The gym building houses the sanitary and changing rooms on the ground floor facing the courtyard and the caretaker's apartment on the upper floor. In 1959, the southeastern class wing was expanded by almost half in an adapted form. The construction is simple. The rising masonry is made of brick, the ceilings in reinforced concrete, as well as the main staircase. The roof structure is made of fir wood. Walls and ceilings were provided with smooth lime mortar plaster. The windows are made of pine wood. The interior is largely in a well-preserved original condition: clinker tile floor, half-height clad wall panels, wooden door frames and leaves. The changes in the substance are to be viewed as marginal: at the main entrance, the aluminum porch was replaced, the windows in the connecting wing to the gymnasium and in the sanitary area, the entrance to the school yard made of aluminum, the originally tall rectangular windows of the gymnasium facing the forecourt and reduced to skylights by a clinker brick wall. II. Reasons for the property of a monument 1. The object is significant 1.1 as a well-preserved early evidence of the post-war school building in a relaxed pavilion 1.2 for the district of Dülken (until 1970 the town of Dülken) with regard to its school history and Protestant tradition. Since 1572 there was a Protestant congregation in Dülken, later united with Süchteln and re-founded in 1853. An evangelical private school was established in 1854, which was followed in 1868 by the evangelical elementary school on Bahnhofstrasse. 1955 was also. The evangelical Pauluskirche hall was built on Dammstrasse, north of the school. 2. There are 2.1 scientific reasons for the maintenance and use, in particular with regard to the development of school construction after the Second World War. The school in Dülken is one of the early school buildings after the Second World War, which was erected before the "Guidelines for School Construction" published by the Ministry of Culture of North Rhine-Westphalia. The "guidelines" were preceded by a conference in June 1949, the result of which was the "Fredeburg guidelines", which were reflected in the "Düsseldorf School Exhibition" in 1950. It was planned that the new school buildings would be free in nature. The move away from the school barracks towards the subdivided grouping of buildings exposed from all sides was made part of the program. The single-storey, relaxed, low-rise construction was recommended for the purpose of later expansion ("growing school"). All of these requirements find their way into the school building on Dammstrasse, right up to their extensions. 2.2 reasons of architectural history. Even if the outward appearance of the individual wings of the school still echoes the pre-war architecture of comparable buildings, its clear structure, without a homely vocabulary of forms and the asymmetrical open grouping of the buildings, is entirely a child of the post-war period. The dissolution of the walls in glass and concrete or steel only belongs to a later phase of the school building in the 1950s. This shows the reduction to the essentials of the new guidelines, also for economic reasons, with the then simple materials and the means available. There are also 2.3 local historical reasons that document the development of the school history of the former town of Dülken, as listed above under II.1.2, also under the aspect of post-war development. 2.4 urban planning reasons. The school grounds still encompass the same area as at the time of its creation. This illustrates the generosity with which the new school building was given in terms of area at that time and the importance attached to the education of the students beyond the curriculum with the spatial freedom of movement. Thus, the surrounding open space is also part of the monument. In summary, it can be said that the property fulfills the requirements of § 2 of the Monument Protection Act of North Rhine-Westphalia, as it is important for the history of the people and the Dülken site and for its preservation and use, there are reasons for school building history, architectural history, local history and urban development.	1955-1959	0May 5, 1994	337
	former cemetery chapel at Remigius Church	Viersen Dechant-Frenken-Platz 3 card	The above-mentioned cemetery or cruciform chapel was built in 1842 by master bricklayer Johann Schnitzler as the completion of the cemetery expansion in the 1930s, more or less exactly on the axis of the Remigius Church. The rather high brick building, which rises above an almost square floor plan and is plastered on three sides, is covered with a protruding saddle roof, the rafter heads of which are profiled and whose purlins are supported on the cemetery side with headbands. Towards the cemetery, the chapel has a wide and high rectangular opening, which is framed by pillars over Attic bases. A glazed metal construction now closes this opening, and it cannot be ruled out that the lintel was changed when this construction was erected. A round window on the south side was only broken after the Second World War in connection with the relocation of the war memorial created by Prof. Karl Burger to the outer wall, which was apparently reinforced at the same time. Inside the chapel has a bluestone floor with cross motifs inlaid in white marble. The original furnishings include a crucifix and a Vesper picture, both created by Wilhelm van den Wyenbergh in Kevelaer. The chapel is important for human history because it testifies to the beliefs of the people around the middle of the 19th century, a time when relatively few sacred buildings were built on the Lower Rhine. Contributing to this is the fact that the funding came from collections on the church doors, voluntary contributions and gifts. The dedication as a war memorial after the First World War is to be mentioned as a secondary layer of meaning. The preservation is based on scientific, especially local history, because the chapel alone still bears witness to the old expansion of the cemetery, on the basis of folklore, because it was built with funds from the parishioners by a master mason who is thoroughly familiar with contemporary styles, and - as far as the sculptures are concerned - for artistic reasons in the public interest.	1842	May 29, 1991	267
more pictures	former rectorate school	Viersen Dechant-Frenken-Platz 4 card	As an urban counterpart opposite the restored facade of the generator hall and giving the street its name to this day, there is the old rectorate school. It was built in 1855 at a cost of 8,000 thalers from the capital of St. Remigius after its predecessor schools had become spatially inadequate. At that time, four teachers gave lessons to around 50-60 students. The brick building in 7 to 3 axes in the arched style has a gable roof and faces the street on the gable side. The originally 2-storey building was subsequently changed to 3 storeys. At the same time, the presumably former round windows - as they existed on the street-side wing before its demolition - were expanded to square windows. The segment arches of the brick-walled round windows on the first floor were also bricked up. All the windows in the rear gable as well as two of the windows on the ground floor and the small round window in the front gable are now walled up. The tracery of the windows, some of which still existed on the ground floor after the fire in 1945, are no longer preserved today. The upper three closely spaced arched windows - the middle one higher - of the front gable were changed to three uniform, square windows during the renovation in 1950/51. At that time, a recessed entrance was broken into the long side instead of the fifth window on the ground floor. The house stands on a plastered base and has corner pilasters, which protrude stepped over the eaves and which before 1951 were crowned by small brick turrets. A wide verge decorated with a brick-walled blind arch frieze adorns both gables, whereby the front gable is emphasized by an additional structure in its center. It encloses a round window that is now walled up, and its pilaster strips end at the level of the verge. If the vertical structure of the building is made by clearly drawn window axes, the continuous stone sills of the windows on the upper floor and the brick-walled pointed arch frieze underneath give the building the horizontal structure. The joints in the masonry have been retraced. The interior presents a picture of deliberate devastation. The original interior is no longer available. The partial basement is located under the rear part of the building. The building of the former rectorate school is despite some changes - the z. Some of them are reversible - a high-quality example of the architecture of its time and also represents the type of large school building that is rare so early on. As an important testimony to culture - here school history - the building must be highlighted for the local history of Viersen. The urban development cooperation with the former power station is also important. For scientific, in particular cultural, local and architectural-historical as well as urban development reasons, the maintenance and use of the Rector's School according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1855	0Dec. 4, 1985	75
	Catholic parish church St. Notburga	Viersen Dechant-Stroux-Straße 22 map	History: 1900 Founding of the Notburga association 1902 Construction of the Notburgahaus (design: Josef Kleesattel) 1909 Establishment of a church building association 1914 Design for a new neo-Romanesque church by Josef Kleesattel The war forces the building project to be abandoned 1923 Destruction of the collected funds through inflation Revival of the church building association Establishment of an emergency church in the Notburgahaus (association for working girls) 1927 short-term tender for the new building and decision of the jury for the factual, modern building concept by Sültenfuß and Seidel June 29, 1928 laying of the foundation stone September 15, 1929 consecration 1929 pastoral care district St. Notburga (previously St. Remigius) becomes an independent parish 1930 Construction of the parsonage and the first chaplaincy (planning: Freihoff) 1930/31 Completion of the access roads to the church 1947 Planning of the second, the first adapted chaplaincy (H. Mießen) 1948 Elevation to the parish 1952 Construction of the second chaplaincy (design by Mießen, traces of P. Salm) 1955 Aufst ization of the Notburga figure 1960 Renewal of the church roof (architect Limmers) and heightening of the facade gable 1964 Renewal and redesign of the church interior according to post-conciliar developments (H. Döhmen: Rabitz folding ceiling, rear wall of the choir) 1966 design of the church forecourt (H. Döhmen) General: According to legend, St. Notburga was a model of hard work, faithful, self-sacrificing charity and piety. She lived in the 9th or 10th century as a kitchen maid at Rottenburg Castle in Tyrol and was dismissed for charity. In Tyrol she is the patroness of the maidservants and farmers, who is called upon in case of birth problems and livestock diseases. She is represented with a sickle, jug and bread. In 1923, Cardinal Schulte from Cologne expressed the wish that the future church in Rahser should be consecrated to Notburga, as there was no patronage in the Archdiocese of Cologne to which Viersen belonged until 1931. The new church building style of the 20th century was based on two foundations, on the one hand on the changing self-image of the church (which was defined in Vatican II), on the other hand on the architecture of the new building, which was oriented towards clarity, function and practicality, its goal Material authenticity, clear structural design and the reduction to clear components were. New materials (iron, glass, concrete and reinforced concrete) were only reluctantly used in church construction, as many theologians rejected them as "unworthy" or only used them for conventional forms of construction. Between the world wars, the design of the exterior of the church dominated, because the aspect dominating the settlement was still more important than the meaningful design of the interior. The external shape of the churches was relatively uniform: mostly block-like, closed structures with clear outlines, the individual forms of which were only used sparingly, thereby increasing the cohesion. Since the end of the twenties, the churches have mostly had flat roofs, the entrance side was designed as a monumental display side, which was no longer the case after 1945. The windows were often narrow and steeply proportioned and also appeared in the secular area (a typical feature of Expressionism in the architecture of the twenties and thirties). On the Lower Rhine, almost without exception, all the churches on the outside were built from bricks, reinforced concrete was only made visible inside or as a structural element. The brick walls were either smooth or loosened up with relief-like protrusions and recesses of individual stones and layers. The revitalization of the brick was promoted at the beginning of the century by the Rhenish heritage protection movement and the Rhenish Association for Monument Preservation and Heritage Protection, as the resistance of the material to industrial emissions was recognized. Furthermore, the brick corresponded to the trend towards simplicity and strict monumentality at the time. The desire for urban dominance not only emphasized the exterior, but also accentuated the church with high towers (the one-tower design was typical), even if the need for towers was controversial among theologians. Description: The Church of St. Notburga has an elongated, rectangular central nave with noticeably low side aisles and a flat, angular choir end with also angular transept apses. To the north of the choir there is a campanile-like, high bell tower. The entrance to the west is emphasized by a front portal with three steep round arches over the gates. The east and west sides are closed off by a stepped gable, above which a large cross culminates in the west. The windows of the central nave are high and very narrow with a rounded arch; in the side aisles there are pressed pointed arched windows that are almost reminiscent of equilateral triangles. The emphasis on the horizontal is noticeable throughout the building through the highlighted brick cornices on corners, windows and on the tower. The appearance of the church is largely shaped by the walled garden and rectory in the north, at the corner of which the rectory and chaplains are located. A staircase leads to the higher-lying church forecourt, so that the church, rectory and parish houses form their own, self-contained, but nonetheless visible area, which forms a unit in terms of design and content. The interior, which is accessed through an outer vestibule and an inner narthex, is dominated by the high, rectangular central nave, to which the low side aisles adjoin. The central nave has had a Rabitz folding ceiling since the renovation in the sixties, the north aisle (formerly the cloister) is equipped with transverse barrels, the southern one with a flat ceiling. The closed, smooth wall of the central nave is interrupted by five pressed parabolic arches towards the side aisles, and by three arches towards the narthex. The organ gallery is located above the narthex, with chapels on either side. The transepts connected to the choir area take up the height of the central nave. The flat rear wall of the choir was designed by HJ Kaiser as a half-relief with flooded stones. The windows of the north aisle have been preserved in their original form (Marianne Katzgrau). The top window with the symbolization of the apostolic creed (Josef Höttges) was used after the war. The Church of St. Notburga, together with the rectory and the chaplains, forms an almost unchanged, self-contained, harmonious unit that represents a center within the Rahser district, which was created in the 1920s. It is a typical example of the design language and choice of materials used in modern church construction in the early 20th century. For scientific, in particular architectural, historical and urban planning reasons, the preservation and sensible use of the church according to § 2 of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1928/29	0July 1, 1998	368
more pictures	Horster Hof later the Bergendonk house	Donk Donker Weg 210 map	description According to the building application from 1909, the origin is the construction of a small apartment for a farm worker on Horstweg zu Viersen Donk. The house, which was then l 1/2 storey, was built in a country house style. At the same time, a stable building with a half-hip roof was built to the west of the house. Together with the gateway as a link, an L-shaped courtyard was initially created. As early as 1911, this facility was closed further with the construction of a larger shed on the northeast side. At that time, fish ponds and duck ponds with an attached duck house separated the orchard from the smaller vegetable gardens. In the 1920s, the Hofviereck was gradually closed. What was more important at that time, however, was the expansion of the small house in two phases to create a luxurious mansion (Haus Bergendonk). On the ground floor, the master's room, the day room, the winter garden, the tower room, the kitchen and the dining room, which was later called Saa1, were grouped around the entrance hall. The exterior shape that now exists comes primarily from the renovations and extensions of the 1920s. The 2 to 3-storey, plastered mansion is divided into 4 axes with a projecting polygonal central section facing Donker Weg. The roofed entrance is accentuated by the flight of stairs, which the basement level has to overcome, and by a semicircular balcony. In the east wing, the main axis is elevated by one storey. This viewing floor (Belvedere) has a canopy with a lantern. A park was created in front of the east wing. In 1937 and 1948, some stable and barn buildings were rebuilt or expanded. For scientific, in particular folk and settlement history as well as architectural history reasons, preservation and use of the courtyard are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1909 to 1920s	Aug 15, 1985	62
	Coach house	Viersen Dr.-Carl-Schaub-Allee 1 / Heierstrasse map	History: The former coach house is hidden on a plot of land in the corner between Hauptstrasse and Heierstrasse, behind the residential and commercial building at Hauptstrasse 137-139. According to the building permit in the Viersen city archive, the "Remise with horse stable" was built in 1903 for the client Peter Kaiser. At that time he owned the house at Hauptstrasse 135, to which the coach house belonged. It was destroyed in or shortly after the Second World War. Peter Kaiser was a brother of Kommerzienrat Josef Kaiser. After the death of their father Heinrich Kaiser in 1890, the two managed Kaiser's coffee business together for several years. Peter Kaiser probably died in 1906/07. From this year inheritance matters are known in his cause, and his property is foreclosed. The building at Hauptstrasse 135, including the property and the coach house, is taken over by the city. The history of this property, however, is more than connected to Peter Kaiser with the industrial family Greef. Friedrich Wilhelm Greef (1814–1900) founded a velvet and silk manufacture in his birthplace Süchteln in 1837. The company later moved to Viersen and became one of the most important companies there. For the 1860s, Jochem Ulrich states: "FW Greef, with 4,000 to 5,000 thalers in business income a year, was not behind a number of the more important Krefeld silk manufacturers with their business income" (p. 46). Around 1880 Greef succeeded in timely and energetic conversion of the production to mechanical looms. “For a time Greef was a leader in the mechanization of the Viersen velvet and silk industry. He alone had almost a third of the Viersen stock of machine chairs in his factory in 1884 ”(Ulrich p. 67). He was also involved beyond Viersen, so he was u. a. one of the three directors of Gladbacher Feuerversicherungs Aktiengesellschaft; In 1865 he was one of 12 founders of the Viersener stock corporation for spinning and weaving and first chairman of the board of directors (Ulrich p. 56 and 69). As was taken for granted at the time, he was also a city councilor, and in 1888 second councilor for the city of Viersen. Greef had a stately home built for himself and his family in the 1860s in late Classicist forms on the main street (the information given by Ulrich on p. 262 - between 1820 and 1847 - contradicts the information in the town plan from 1860). As early as 1875, a new villa was built on Gladbacher Strasse for his son Friedrich Wilhelm Greef jun., Of which only the associated avenue, farm buildings / remises and gardens have been preserved. Peter Kaiser acquired the stately home on Hauptstrasse after the death of Friedrich Wilhelm Greef (1900). After the foreclosure auction and the acquisition by the city, the municipal high school for girls (from 1910 Lyceum) moved into the building in 1907. By now, at the latest, a development typical for Viersen is being understood, namely that the entrepreneurs of the early industrialization of Viersen, who formerly resided on the main street, are gradually migrating to side streets or further outlying locations and the main street is transformed into a shopping street in the urbanization process until around 1910 . Ulrich (p. 293–95) states that in 1911 the widow Preyer lived alone from the class of financially strong merchants on Hauptstrasse. The coach house is the last witness of this once lordly estate. Description: The basically two-storey building is arranged at right angles to the development on the main street, so that one long side accompanies the former garden. Access has always been as it is today from Heierstrasse, towards which a courtyard is formed by two short wings. With regard to the facade design, the coach house shows two faces: the garden has a classicist design, with light (white) plasterwork and pilaster strips. Two lateral flat triangular gables loosen up the eaves. The gable surface and the upper floor wall surface below are each adorned with a large relief with a rider scene in front of a landscape. Both riders wear ancient costumes, the one on the right, turning back upright while riding, is shown with a shouldered lance, the one on the left swings an ax over his head while his horse rears up. Whether specific scenes from ancient history or mythology are reproduced here must remain open at the present time. In addition to the irregularly distributed window and door openings, a low drinking trough accentuates the left half of the garden side, covered by a round arch with mica stones that are reminiscent of the cave architecture of garden art. Through the right door you enter a hall with a tiled floor, round support and beam ceiling - probably the former horse stable. The courtyard facing the driveway has a completely different facade design, namely a brick display framework structure in neo-baroque design. Above a brick ground floor, the upper floor is mostly clad in the manner of a mansard roof, only in the western wing with half-timbering and a bay window set in the corner. This wing contains a risalit with a large, segmental arched room on the ground floor, probably the former coach house. Above it, on the upper floor, there is another relief with moving horse heads in front of a radiant background, above it a four-part arched window. A curved gable completes the risalit, which is so prominent in terms of design. The ground floor is divided on all three sides by two, three, or four-person, rectangular windows with segmented arches. On the right in the rear long wall the walling of another gate opening can be seen, possibly a second car shelter. The windows in the mansard roof-like upper floor are designed as segmental dormer windows; the short eastern wing has in its place a dwelling with a flat curved gable. The interior of the building presented itself in neglect due to the long vacancy. However, essential historical elements of the furnishings have been preserved. The entrance area on the ground floor has its original tiled floor and leads to the also original single-flight staircase with turned, e.g. T. fluted rods and corresponding ornate starting post. The coachman's apartment was formerly located on the upper floor. In addition to the floor plan, old frame panel doors, wall cupboards and some old windows (with skylights in small pieces), wooden wall paneling has also been preserved in one room. Architectural historical appreciation: In 1903 the construction task for the coach house was almost at an end. Although a separate chapter was devoted to the topic in the “Handbuch der Architektur” in 1913, it can be assumed (apart from special cases) after the First World War at the latest that automobiles would be replaced by the “motor garage”. As part of an overall complex consisting of a residential house, garden / courtyard area and other farm buildings, the coach house was a stately building task. The structure was mostly based on historical models such as coach houses or farm buildings of manor complexes, often wholly or partly display frameworks are found as appropriate identification of a subordinate and at the same time agricultural use in the broader sense (horse stable). In this respect, the courtyard side of the coach house facing Heierstrasse, with its mansard roof, bay window and ornamental framework, corresponds to other common examples from this period. However, the classicist design of the garden side and above all the elaborate equipment with rider and horse reliefs are extremely unusual. The design of the facade is possibly due to an effort to adapt it to the late classicist house (a photo of the garden view of the villa in the building files in the Viersen city archive). The reliefs clearly testify to the outstanding willingness to design and the level of demands on the part of the builders, even with this subordinate construction task. The strongly sculpted rider representations are reminiscent of models from the Renaissance; The motifs are traditionally associated with rulers and warriors, and in the secular setting of a factory owner's villa they testify to the appropriation of classic iconography by the new upper classes. The focus is of course on the horse, which becomes clear on the “more profane” side of the courtyard, the relief of which only shows horse heads without iconographic exaggeration. On the contrary, they stand there alone in front of a corona-like background, which is somewhat reminiscent of simultaneous representations of rays and sun from a symbolist or even life-reforming environment, but here only has a decorative character. The former coach house of the Kaiser property (formerly Greef) is, after the destruction of the associated house and z. For example, the Preyer house is one of the last, albeit hidden, remnants of that early phase of urban development in Viersen from the middle to the end of the 19th century, when Hauptstrasse was still a preferred residential area of ​​the new upper class entrepreneurs. It also bears witness to the lordly lifestyle at the turn of the century. It is therefore important for Viersen. Because of the essentially original state of preservation of its high-quality and sometimes unusual design, there is a public interest in preserving and using it for scientific, here architectural and social-historical reasons. It is therefore a monument according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1903	Dec 18, 2007	477
	Residential house and doctor's office	Viersen Dülkener Straße 21 map	The residential building at Dülkener Straße 21 was built in 1908 for the doctor Dr. Hans Hendriksen erected. Initially, Dr. Hendriksen also has a private doctor's practice on the ground floor. It is a built-in two-axis three-storey residential building whose eaves are obscured by a large two-storey dwelling that occupies almost the entire width of the facade. The gable of the dwelling is broken like a mansard roof. Due to damage from World War II, the facade itself has undergone a minor purification compared to the original building application drawings. However, the drastic changes to the gable design that were initially planned have not been implemented. The facade is uniformly smooth plastered over the base. Rectangular windows tied together to form groups of two or three form the two axes, of which the right is emphasized by the arched entrance and a segmental bay window above. Two corner spears in the shape of birds or mythical creatures' heads are attached under its bell-roof-like roof. The garden side of the house is smoothly plastered and partially changed in the openings (balcony on the first floor). Old windows including fittings are partly preserved. The front door is renewed in the 1950s. Inside, the original spatial structure and furnishings have been preserved with a remarkable degree of unity. You first enter a hallway with half-height (stucco?) Marble wall paneling and a coffered mirrored ceiling with straight volute-like slopes. This three-part motif of a straight end with sloping sides is repeated in the house, for example with the room doors (glass inserts) and the skylight room dividers. The arched passage from the vestibule to the central staircase hall also shows this shape in its central door. A light is integrated into the glazed, grooved skylight of the passage, just like the door and side parts. In the central stairwell hall, the generous wooden staircase that extends up to the second floor is impressive, with three straight railing bars and ornamented, Art Nouveau-influenced starting posts. The authentically preserved room image is completed by the multi-colored glazed ornamental windows (T-floor between the ground floor and first floor, stepped in three parts between the first and second floor), the arrangement of the pedestal toilet rooms and the original room doors. A mighty coffered ceiling closes the stairs at the top. The first floor originally houses the consulting and waiting rooms of the private doctor’s practice, now living rooms, and the kitchen that has been preserved in the same place. Otherwise, the current use of the space essentially corresponds to that planned in 1908. The design provides for representative living rooms on the first floor (dining room, salon, some with stucco ceilings in freely interpreted historicizing shapes and parquet floors) and a veranda, the semi-open character of which has been modified in favor of greater cohesion. Bedroom on the second floor and other rooms (referred to as guest room and pantry on the plan) complete the space program. Particularly noteworthy is the still in operation dining elevator between the kitchen and the first floor, the mechanics of which was renewed in 1968. Medical Councilor Dr. Hans Hendriksen, born on December 13th, 1875 in Geldern and has been working as a general practitioner in Viersen since 1905, was considered to be the “senior of the Viersen doctors” when he died (December 14th, 1968). An obituary in the Westdeutsche Zeitung describes his résumé and importance as an important figure in public life in Viersen: “His undying merit remains the establishment of the St. Nikolaus Children's Hospital in Viersen in 1921, which he achieved through persistent initiative and undeterred by many difficulties, especially financial ones , developed into an institute of the highest reputation not only in Viersen itself, but also in the wider area. An important event was the nurses' school he set up in 1927, which in 1930 received state recognition as the 'School for Nursing for Babies and Young Children'. Numerous sisters received their diplomas here. After 30 years as chief physician, his son-in-law Dr. Bartholomé, under whose direction the house was constantly enlarged and adapted to modern requirements. Since 1927, Dr. Hendriksen gave up his practice and was a medical officer for the city of Viersen. ”(WZ February 15, 1968). In 1950, Hendriksen also resigned from his position as head of the children's hospital and went into retirement. After Hendriksen lived his successor and son-in-law Dr. Günther Bartholomé (Jan. 30, 1914 - Jan. 24, 1985) and his family in the house. The children's hospital Am Klosterweiher, founded by Hendriksen, has been registered in the list of monuments of the city of Viersen since 1999. The architect Willy Esser (1877–1953) is probably Viersen's most important architect in the first half of the 20th century. The two public baths in Viersen and Dülken, the extension of the town hall in Dülken and his own house at Carl-von-Ossietzky-Straße 2. The prominence of these (public) construction projects proves that Esser was young Years as suitable and capable of major construction tasks. Just as these buildings are clearly in the contemporary, late historical tradition, Esser shows himself in his subsequent work well into the 1950s as an architect who is willing to change and orientate himself towards contemporary architecture. With the Hammer Volksschule, now elementary school, in 1930 he designed a remarkable example of brick expressionist New Building; his Protestant parish hall on Königsallee (completed posthumously in 1954) shows high-quality forms of conservative modernism that were widespread in the 1950s. The building is an unusually complete testimony of an inner-city single-family house from the early 20th century, especially on the inside. The furnishing, which is essentially still present down to the last detail, is of excellent quality and provides a clear picture of upscale bourgeois living in those years. Because of this testimonial value and as a residential and formerly also a practice house of both the first director of the municipal children's hospital and his successor, the building at Dülkener Straße 21 is important for Viersen. Because of its largely original state of preservation and as the work of the architect Willy Esser, who is important for Viersen, there is a public interest in its preservation and use for scientific, in particular architectural-historical reasons. It is therefore an architectural monument according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1908	0Nov 9, 2000	400
	Brewhouse and office building	Viersen Dülkener Straße 76 map	history The "Calendar of Viersen" (Viersen 1912) lists 13 breweries and 17 schnapps distilleries in the city for 1820. In the pre-steam engine era referred to, the building of a malt kiln and beer brewery in 1854 by the brothers Peter and Adrian Aengeneyndt, a little south of Dülkener Strasse, west of the town center, also fell. The concession files (kindly compiled by UDB Viersen) reveal the rudimentary technology that was used: In the 2½-storey, 7-axis building, the brewery's heated brewing pan on the first floor is attached to two chimneys at the western end of the building, on the other hand, on the first floor, the malt kiln in the middle of the building, heated by a kiln on the ground floor. The resulting architecture does not yet differ externally from the residential architecture of the time. Between the 1850s and 1870s, ownership of the facility apparently changed several times. The brewer Anton Lohbusch first appeared in the building files in 1873. The first significant building under the aegis of Lohbusch in 1884 is the chimney, which still exists today, with a height of over 25 m, whose designation "steam chimney" (planning application from June 19, 1884) refers to the now ruling era of the steam engine age. No such building was noted on the previous site plan (Aug. 25, 1877). The application for the construction of a new boiler house (July 21, 1886) presupposes the existence of a previous building, the earliest point in time of the use of a steam engine at Lohbusch could only be clarified by inspecting the concession files. In addition to the drive for the transport and agitators, the area of ​​application of steam engines in breweries also extends to the compressor operation for generating artificial cold according to the Lindeschen cooling process, which - provided with an imperial patent in 1877 - the technology of artificial cooling, which has been developing since the 1840s, to maturity brought. As a result, in 1888 Lohbusch also submitted an application to enlarge the ice machine house, as well as a new boiler and machine house for the steam engine. In terms of brewing technology, the construction of a wing building in 1895 for the Lohbusch successor company (Aug. 16, 1895), which, according to the sectional drawing, has a large refrigerated ship on the first floor, which is connected to the refrigerated cellars by an elevator system. This building with a barrel roof and arched openings to the inner courtyard has been preserved to this day. The most striking structure of today's facility is the three-storey brewhouse from 1899 with the characteristic brew hall on the ground floor, which is illuminated by high arched window openings. The two-storey, seven-axis office and administration building with fermentation cellars from 1904/05 (application dated Sept. 3, 1904) is important for the appearance of the facility towards the public space of the street, in addition to the changed stables. This office building, detailed by architect Josef Pütz, Düsseldorf 1905, has a five-part development facing the street. Flanked by two two-axis, gabled tracts, two oriels protruding from arched structures frame the central axis that supports a balcony, the gable of which reveals the sculptural figure of Gambrinus, the legendary brewer of Charlemagne. This concludes the description of the structural development, insofar as it relates to the part of the overall complex that is currently relevant to historic monuments. Description: 1. Kontorbau After what was mentioned under I., for the western front of the Kontorbau the plastic walling of the main entrance, kept in the “castle style”, should be mentioned, because the building has no entrance on its entire street front and is on the narrow side in the west opened up. Characteristic of the office property of a building in the 19th century is the bay facing the yard in the north-west corner of the building at the level of the first floor, with a control function for operational processes. At a later point in time, another bay window on a steel profile construction was added to the southern rear of the office. This bay window overlooked the inner courtyard, which was roofed at an undetermined point in time after the turn of the century. A company view from 1907 that has been preserved shows a flat barrel construction made of steel profiles. The stylized view of the factory from the 1950s, on the other hand, shows the courtyard roof, which is still in existence today, broken up into several transverse tons and covered with corrugated iron. In 1967 the entire street front of the office building was disguised with yellow composite bricks, but a deconstruction to the original state seems possible, especially since parts of the ashlar structures have not been clad. 2. Brewhouse The second listed component of the brewery is the three-storey brewhouse from 1899, measuring approx. 12.00 by 17.00 m in area. Above the 7.55 m high brew hall there is a 3.00 m high malt floor A second malt and grist floor follows with a ridge height of 5.30 m. The interior work was carried out with iron cast supports and rolled girders. The stairwell is located in the east. In many parts of the building, the color-tiled wall surfaces that are characteristic of buildings of this type and are part of the monument value have been preserved. The function of the exterior can be seen at first glance. The western part has the typical large window openings for the brewing hall on the ground floor. In the north and west, the originally closed arched windows (see letter head from 1907) have been changed at right angles. The south front, on the other hand, bears the original window openings behind an extension from the 1960s or 1970s. The tower-like building, measuring 4 to 2 axes, is structured by strong pilaster strips. The first floor follows above a rich cornice with recessed, coupled arched windows under overlapping arches. If this arrangement extends over the two upper floors in the west, there are triple-coupled, slit-like windows cut into the horizontal cornices in the north and south to illuminate the second floor. Turrets on the corners of the building and the central gable enliven the roof silhouette, as does the characteristic Darresch chimney in sheet steel. Historically relevant technical equipment has not been preserved. 3. Chimney (not a monument) The approx. 25.00 m high, round and conical chimney with later bandages rises above an octagonal base, which differs in shape from the building application 1884, which could possibly also represent a later casing. It sets a striking accent for the entire city quarter. The other structures, under which the original parts of the first nucleus from 1854 are hidden southeast of the chimney, are not of historical importance. Numerous conversions and changes to machine and boiler houses, as well as the lack of historical mechanical equipment, do not reveal any monument value here. Rating: The Lohbusch Brewery, which was built between 1854 and 1967, is a monument within the meaning of Section 2, (1) of the Monument Protection Act of North Rhine-Westphalia in accordance with the scope described under II., Pos. 1-2. The buildings are important for the history of cities and settlements as well as for the development of working and production conditions. There are scientific, artistic and urban planning reasons for use and conservation. The Lohbusch company is a good and characteristic example of the type of steam brewery that became possible with the development of machine technology in the second half of the 19th century. Brewery systems of this generation, which once emerged as an important feature of the food and beverage industry, are becoming increasingly rare due to the concentration movements in the brewing industry towards large-scale systems. In addition, their architectural manifestations have developed almost cipher-like standardization techniques. The Lohbusch'sche brewhouse in its tower-like appearance with the clearly legible brewing hall, which is clearly marked by the characteristic window openings, is an excellent example of this. The office building goes one step further in its representative appearance with elements of an "architecture parlante" in the form of the fully sculptural shape of the Gambrinus, which outwardly proclaims the purpose of the complex, which can be read again after the clinker has been removed. With the chimney, one of the now rare ones in this part of Viersen, an element in the cityscape is preserved, which, according to contemporary photographs, was characteristic of the city's silhouette. Here it is also important to make up for the loss of the numerous food processing companies that the demolition of the Kaiser's factory buildings brought with it. The continued existence of the brewhouse, office and chimney of the Lohbusch brewery, which can be included in the utilization plans of future users, is able to provide the relatively uniform ambience of this part of Viersen with valuable urban planning impulses. Numerous examples of new uses in the brewery area across the country have made this clear.	1899-1905	0Apr 4, 1996	360
	Residential building	Viersen Dülkener Straße 78 a map	The two-storey, stately home with a mansard roof is being built in three axes. The right gable of the house is structured by the staircase tower and has a special design compared to the gable of the neighboring building. On the ground floor the facade is made of ashlar plaster, on the upper floor it is structured by pre-blinded columns. The bay on the central axis is plastered with ribbons. Particularly noteworthy is the artful gables on the front door and the majority of the windows, which adorn the facade with filigree stucco. On the parapet cornice, the facade delimits the mansard roof. The top floor is exposed to light on the central axis through a blind gable and on the outer axes through a flat gabled dormer. The interior of the house has been completely preserved. There is marble cladding in the vestibule. The stairs are also made of marble. The railing is wooden and carved. The stucco ceilings and the interior doors have been preserved in good condition throughout the house, with the representative ones being on the ground floor. The original wall tiles with motifs from flora and fauna have been preserved in the kitchen. The colored lead glazing of the stairwell, living room and guest toilet window should also be emphasized. The gardens with their old trees and the original path leading to a pond are also remarkable. The stately house with its delicate facade design and the original garden is an example of the demonstrative, representative construction method at the entrance to the town at the turn of the century. Furthermore, the building is to be regarded as entirely original and thus also a document of its time. For scientific, in particular architectural-historical reasons, the preservation and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1906/07	June 15, 1990	231
	Residential building	Viersen Dülkener Straße 78 b map	The building at the former city entrance is a two-story building with a mansard roof. The entrance of the house is assigned to the back axis. An octagonal bay tower with a bell roof marks the building in the street. The otherwise smoothly plastered facade is interrupted by a cornice that optically separates the mansard floor. Two lily anchors are the only decorative elements. The windows with small skylights are covered with flat and pressed pointed arches. The main window axis closes to the roof with a crooked hip. Decorative stucco work is deliberately avoided here. The resulting clarity of the facade is continued inside the building. The interior is clearly furnished with economical, slightly structured stucco ceilings. The wooden stairs and doors with frames and panels as well as a colored tiled floor in the hallway are in good condition. The thoroughly representative building in the vicinity of other stately residential buildings significantly shapes the area through its urban-dominant components. It is noteworthy that the historicist architectural conception of the time can be seen in the floor plan and the outline of the structure of this building, but the historicizing ornamentation is dispensed with. For scientific, in particular urban development and architectural-historical reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1905	04th July 1989	208
	House and practice	Suchteln Düsseldorfer Strasse 7 map	The two-storey building with a loft and saddle roof is part of a row of houses that was built on Düsseldorfer Strasse (formerly Viersener Strasse) in the second half of the 19th century. The plastered facade is divided into colossal pilasters, i.e. H. Pilasters (wall pillars) which, together with their base, combine several floors of a facade. The capital of the colossal pilasters is adorned with various leaf and flower ornaments and a simplified anthemion frieze. The facade has 7 axes, with the house entrance to the left of the central axis and the courtyard entrance or the courtyard passage on the right outer axis. The single-leaf house entrance door with a transom subdivided skylight has geometric shapes and a door window with a metal grille in front of it and is framed by wooden pilasters with geometric ornamentation on both sides. The courtyard gate, a single-leaf wooden gate with a transom-divided skylight takes up the pilaster structure and design of the house entrance door in an expanded number. The double-leaf windows with skylights on the ground and first floors are simple and reserved. The plaster facade with ground-floor boss or hump square plaster, various types of stucco work carried out in geometric shapes, as well as base, belt, sill and cornice is provided with cast-iron window grids below the eaves. The eaves have a coffered frieze. According to the current owner, Friedrich Wilhelm Duhr is the builder of the building at Düsseldorfer Strasse 7. She puts the year of construction at 1849. Friedrich Wilhelm Duhr, born on March 15, 1815 as the son of Helena Lohr and the Süchteln school teacher Johann Peter Duhr, co-founded the mechanical silk weaving mill Ling & Duhr around 1877. The factory is located in Süchteln, Unterstraße 20. After his death (February 10, 1886) or at an earlier time, Friedrich Wilhelm Duhr has been a pensioner since 1886, when his son Carl Oscar Duhr takes over the management of the company. The building, Düsseldorfer Straße 7, can be seen as part of the two- to two-and-a-half-story row of houses with historicizing decorative shapes in the ensemble. In addition, it is one of those houses whose size suggests a wealthy builder. This can be seen both in the seven-axis nature of the facade and in the architecturally complex facade design typical of the time. For scientific, in particular architectural, local and urban planning reasons, the maintenance and use of the building in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1849	May 18, 1995	358
	Residential building	Suchteln Düsseldorfer Strasse 9 map	The two-storey building with a gable roof is part of a row of houses that was built on Düsseldorfer Straße (formerly Viersener Straße) in the second half of the 19th century. The facade, made of ashlar plaster, is structured horizontally by floor and sill cornices. The facade of the building is divided into 6 axes, with the outer entrance axes. The house entrance is in the left axis and the courtyard entrance in the two right outer axes. The passage through the courtyard is structured by pilasters with a flat arch on top of which a console frieze can be found. The flat arch is adorned with vegetable ornaments on both sides. The entrance to the house is bordered by geometric bands. The windows on the first and second floors are simple and reserved. The eaves are mounted on a console frieze decorated with geometric ornaments. In the cornice zone, below the console frieze, there are small circular windows. These are framed by geometric ornaments and decorated with cast iron leaf ornaments protruding into the window openings. Inside the building, stucco ceilings with floral and geometric ornamentation have been preserved. The staircase is in its original state with a turned railing and decorated starting post. Some interior doors are also in the original. The building at Düsseldorfer Straße 9 can be seen as part of the two- to two-and-a-half-storey row of houses with historicized decorative shapes in the ensemble. The facade design is on the one hand simple and reserved and on the other hand is provided with delicate details. For scientific, in particular architectural, local and urban planning reasons, the preservation and use of the building are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	2nd half of the 19th century	22 Sep 1993	325
	Residential building	Suchteln Düsseldorfer Strasse 10 map	Düsseldorfer Straße is the old country road from Süchteln to Viersen. The building at Düsseldorfer Straße 10 reflects a typical phenomenon of the cities growing beyond their medieval core in the 19th century, namely the construction of representative houses and villas along major arterial roads. Compared to other examples in its neighborhood, it is a rather modest house, but it still has numerous remarkable design details and also represents a largely original, preserved testimony to bourgeois living culture at the turn of the century. The building is being erected for the client Joseph Jansen. The building application is dated August 31, 1903; Construction and completion are expected for the following year. This coincides with the period in which the Provincial Sanatorium and Nursing Home Johannistal is being built in Süchteln, whose individual buildings show a strikingly similar design language in terms of the combination of brick and plastered surfaces on the facade. To date, it has not been possible to determine whether there is a connection. It is a two-storey building on an essentially rectangular floor plan. The right half of the facade is pulled forward a little like a risalit and ends at the top in a dwelling with a crippled hip and trusses protruding far. The left half of the facade shows the general eaves of the building (saddle roof). The entrance is on the right-hand side of the gable, which is also a little forward in its rear part and in the back into the garden. Through these variations in the building outline and in the roof landscape, the basically simple rectangular floor plan is designed and blurred in the sense of the time. Two windows arranged in pairs open the facade to the front on both floors. More than the arrangement of the windows, the exterior is structured on the three sides by the varied distribution of the bright red brick and white plastered surfaces. The ground floor, which is a little higher than street level above a basement, is still completely clad with brick. Various friezes from small plastered fields lead to the upper floor. The floor zone itself only has brick surfaces as corner pilasters, window frames and battlement cornice. The left, windowless gable is divided into large areas on the upper floors by alternating brick and plastered surfaces, in which smaller figures of the other material (circular and shield-shaped surfaces) are embedded. The lack of windows on this gable side is explained by the fact that the building is being erected here exactly on the property line. The drawing by the architect Franz Bruysten from 1919 shows the decorative forms of the gable a little more elaborately than they are today. A minor purification may take place here later. The other gable side is also windowless except for a corridor window above the entrance, which is probably due to functional reasons for the interior room layout. Alternating brick and plastered surfaces also structure the appearance here. Finally, the rectangular chimney walls sitting in the middle of the gable wall also characterize the building. On the front surface of the roof, which is covered with double hollow tiles, sits a dormer window, which, however, was already laid out in a somewhat smaller format in the design drawing from 1903. The entrance has a roofing on a cast iron construction with floral ornamentation typical of the time: branches with leaves between round arches and in gusset fields. The two-leaf, wooden front door has been preserved in its original form and also shows floral and vegetable decorative fields under and above the slender glass windows. A three-part skylight with curved window shapes, which already lead to Art Nouveau, covers the door. The interior floor plan is original. A central hall opens up the individual rooms to be entered from it. Original frame panel doors with profiled door frames (on the ground floor with ears) and mostly with old locks are all available. The two rooms on the left side of the gable (dining and living room in the 1919 plan) are connected by a double-leaf door. The first floor room in the risalit is typically used as a salon. The ceilings of the rooms have coves on the sides and otherwise unadorned mirrors. The wooden stairs from the construction period, located on the ground floor between the dining room and the kitchen, have a rectangular fluted approach post with a crowning, pine-cone-like knob. Asymmetrical, flat parapet baluster boards accompany the straight, counter-rotating staircase with a turning platform. In the converted attic, built-in wall cupboards in the sloping roof stand out. Old wooden windows with T-partitions have been preserved. The stairwell window on the upper floor with thin metal bars and old fittings is particularly striking. The house has a large roofed veranda facing the garden, which on the one hand is positioned across the facade and covered by a cast iron construction. A staircase leads down. On the left side of the house, the veranda extends out into the garden and is provided with a wooden construction with baluster parapets to support the roof. As evidence of upscale bourgeois living in Süchteln at the turn of the century, the building at Düsseldorfer Strasse 10 is important for Viersen. It is given additional significance as the temporary property of a member of the well-known textile entrepreneur family Rossié and as a representative of the representative residential development along the arterial road from the medieval town center of Süchteln in the direction of Viersen. Since its essential features have largely been preserved in its original interior and exterior, its preservation and use as evidence of residential construction at the turn of the century is a high-quality design language that can be called characteristic and formative for addicts in view of the simultaneous character of the Provincial Sanatorium and Nursing Home public interest. In connection with Düsseldorfer Strasse, which is characterized by comparable free-standing (villa-shaped or villa-like) buildings in the neighborhood, there is also a public interest in maintaining and using them for urban planning reasons. Since the requirements of § 2 of the Monument Protection Act of North Rhine-Westphalia are met, the building at Düsseldorfer Straße 10 is a monument.	1903/04	Aug 26, 1999	376
	Residential building	Suchteln Düsseldorfer Strasse 13 map	The stately residential building extends at the entrance to Süchteln. It was probably built in the second half of the 19th century in two storeys with a gable roof. The structural system consists of the front building with an extension, the servants' house on the left on the property boundary, also with a gable roof, a spacious park with old trees and the associated greenhouse, which is, however, very dilapidated. The late classical plastered facade is divided into eight axes. On the right there is a gate entrance, above it is a three-sided bay window. The entrance, covered with a glass roof, is on the left. The upper floor is emphasized by the balcony. The basement is made of ashlar plaster and has tall rectangular window reveals that run into the lintel with a radius. The wide cornice divides the upper floor, which is made of plaster, from the basement. The windows on the upper floor are covered by a horizontal transom. The old windows were replaced with new ones. The doors of the entrance and the passage are in their original condition (dark stained oak) and well preserved. The rear facade and the extension are made of brick and grouted. The spacious winter garden attached to the ground floor is striking. Here the upper parts of the windows are made of colored lead glazing. Parts of the winter garden were replaced with new glazing. The house is accessed via a spacious entrance, which is equipped with marble. From there you get to the entrance hall, in which the original wooden staircase (oak) and a terrazzo floor with a floral rosette motif have been preserved. The ceiling is made of wooden cassettes. There are also stucco ceilings with floral decor on the ground floor. The entire entrance area was redesigned around 1906 by incorporating it into the former passage. Originally, the house was accessed from the middle of the passage. The entire building has a basement except for the two former entrances. The former servants' house is separated from the residential building; it has one and a half stories with a gable roof that runs parallel to the front building. The original, presumably brick-faced house was plastered as a whole and the facade was modernized. Most of the park is overgrown, older systems can still be seen, as can parts of the overgrown greenhouse. Overall, the park is surrounded by a high wall. The building also characterizes the two- and two-and-a-half-story plastered buildings from the same time, the then new entrance outside the city wall to the city of Süchteln. For scientific, in particular urban planning, architectural-historical and historical reasons, the preservation and use of the building is in accordance with § 2 (1) of the Monument Protection Act of North Rhine-Westphalia in the public interest.	2nd half of the 19th century	June 26, 1985	43
	Residential building	Suchteln Düsseldorfer Strasse 16 map	The semi-detached two-storey building with a loft has a brick facade on the street and gable sides. The facade is accentuated when facing the street through a projecting building axis, which ends in the roof area like a tower with its own pointed roof. The entrance area, to be found on the gable side, has an independent roof. The original two-wing house entrance door with a transom-divided skylight shows two door windows with a metal grille in front of it in geometric shapes. The entrance area and the windows on the ground floor are provided with a flat arch made of ashlar, each showing a keystone in the middle. The walls of the upper floor windows are also made of ashlar compared to the otherwise dominant brick. The windows are renewed. However, the three-sash window next to the house entrance should be emphasized. The glass insert is set off in different colors and decorated with different types of motifs in a symmetrical representation. A coat of arms ornament can be found above the entrance area on the upper floor. Coming from the house entrance you enter the generously cut hall with the originally preserved staircase. The storey staircase is straight, two-way with a change of direction in opposite directions. The stair post and the banister are simple and unobtrusive without any decorations. The rooms adjacent to the hall, such as the former salon, the living room and the veranda, show themselves in a dignified, high-quality interior design, such as the two-leaf wooden sliding door with glass insert and the radiator cladding in wood. The floor is equipped with parquet. The originally preserved interior doors with wooden cassettes can be found on the upper floors. August Esters is the owner of the building at Düsseldorfer Straße 16. Born as the son of a home weaver in St. Tönis, August and his brother Fritz learn the weaving trade from their father from scratch. On May 6, 1890, they found the Esters company in Nieukerk, which specializes in the manufacture of ties in addition to clothing fabrics. After the mechanical looms had moved into the silk weaving mill, the company first moved to Süchteln in what was later to be known as the “Esters factory”, and shortly afterwards moved into the “Weinsheimer velvet finish” that became available. In 1910, 100 looms were the average size of a tie weaving mill, and the company is highly regarded both at home and abroad. After the death of the two founders, the company was incorporated into Vereinigte Seidenwebereien AG in Krefeld in 1920. As the residential building of a well-known entrepreneur with a high-quality design on Düsseldorfer Straße in Süchteln, where there are numerous similar villas and residential buildings and whose characteristic appearance is therefore positively influenced, the residential building Düsseldorfer Straße 16 is important for Viersen. As a well-preserved testimony to architecture and housing at the turn of the century, right down to the details of the furnishings, there is a public interest in its preservation and use for scientific, especially architectural-historical reasons. Because of the person of the client, there are also local historical reasons. It is therefore a monument according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1904	July 18, 2001	415
	Residential building	Suchteln Düsseldorfer Strasse 17 map	The house is built on two floors with a gable roof. The brick facade is structured horizontally on the street and gable side by the circumferential girdle and sill cornice. The entrance area, to be found on the gable side, and the street-facing ground floor windows are provided with a flat arch. The house entrance has a corner pilaster structure in red brick, with the capital made of plaster. The original two-winged house entrance door, offset inwards, has various types of vegetal and geometric wood ornamentation, as well as door windows with a carnation arch and a metal grille in front of them, showing decorative floral shapes. The ground floor is presented in different colored bricks, in the colors yellow and red, whereby the color scheme is dominated by yellow. The yellow brick was used on the upper floor. The windows on the upper floor have geometric bands on the one hand and are covered with a flat triangular gable on the other, which is supported by two brackets decorated with foliage. Next to the upper floor window on the gable side, there are two reliefs with a festoon, a decorative motif in the form of an arched, sagging bundle of leaves and fruit with fluttering ribbons at both ends. The eaves are emphasized by a crenellated brick frieze with a deeper meander frieze, a continuous ornament with a right-angled change of direction. The facade facing the garden is made of a dark red brick and features a staircase-like section in the middle. The central projection is emphasized by the architectural design, an S-axis structure with narrow, raised arched windows. The eaves have an arched frieze. The facade surfaces of the residential building are limited by corner pilasters in red brick with turret-shaped projections at the base of the gable ends. The floor plan of the house is almost unchanged. The staircase with the original staircase can be found on the adjoining hall. The staircase shape is straight, two-way with a change of direction in the same direction. The wooden staircase has a turned banister as well as a starting post decorated with geometric and floral ornamentation. The original colored floor tiles in the stairwell and the coffered wooden paneling on the stairs should also be emphasized. In the hall area on the ground floor there is an approx. 1.00 m high wall cladding in gray marble stone in its originality. The cellar is completely built under and has a Prussian cap. The house at Düsseldorfer Straße 17 is a link in the development on Düsseldorfer Straße (formerly Viersener Straße) with late classicist decor that dates from the second half of the 19th century. The representative building, a small villa typical of the period of construction, has an impressive facade, brick renaissance. The facade design is on the one hand simple and restrained and on the other hand is provided with eye-catching details such as color-changing brickwork, triangular gables, meander and arched friezes and corner pilasters. In the vernacular of Süchteln, the house is known as the Freudenberg Villa. The villa is the residence of the Freudenberg family, owners of a molding sand pit. For scientific, in particular architectural and historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	End of the 19th century	22 Sep 1993	326
	villa	Suchteln Düsseldorfer Strasse 25 map	It is a stately two-storey villa in neo-baroque shapes with a mansard roof that was probably originally slated and located in an associated garden plot a little further away from Düsseldorfer Straße. The floor plan, which is basically rectangular, is tiered to the rear on the left side by the entrance and the adjoining single-storey commercial wing. The structure of the facade is drawn across these components, but only on the surfaces facing the street; The sides and front of the garden are simple, the latter is disturbed by modern extensions. Five regular axes of upright rectangular windows structure the main structure; In the roof area, a dwarf house with a pair of round arched windows emphasizes the central axis, flanked by a dormer window in curved neo-baroque shapes. The first floor of the facade has strong plasterwork, the upper floor, on the other hand, is characterized by much finer banding and slender pilasters with Corinthian capitals between the window axes. Both floors are separated by a cornice and a baluster parapet. While the ground floor windows, in keeping with the strong contours of the plaster, are only adorned with wedge stones, the upper floor windows have curved roofs. The noble structure of the upper floor is resumed at the Zwerchhaus. The house entrance with what is probably the original two-winged front door is covered by a porch that is open on two sides in round arches that sit on pillars, which at the same time serves as an exit for the upper floor and takes over the baluster of the window zone of the main building. Wall pilasters on pedestals supporting a round arch also frame the entrance door. You first get through it into a vestibule. Opposite the door is the stately original wooden staircase, straight in the opposite direction, with artfully crafted starting posts and turned balusters. To the side, a central corridor opens up the former apartment wing, the room layout of which is basically still present or recognizable (central corridor with rooms to the front and back). The large salon-like room at the front, which deviates from the two-hip hallway scheme, is still there. The use of the single-storey former commercial wing has been changed, but as a building it is still distinctly distinct from the manorial living area in a characteristic way. In the stairwell area in particular, old windows with fittings have been preserved. Corresponding frame panel doors including garments, e.g. Some with glass inserts are still often available. Other characteristic room furnishings such as stuccoed ceiling profiles and stucco ceilings, fluted corner pilasters or profiled belt arches in the corridors contribute to an overall no longer complete, but still coherent historical room image, which offers a clear testimony to the sophisticated living culture of the late 19th century. At the rear of the house there is a garden with a fountain that may have been built during or shortly afterwards. There are no other recognizable garden designs. The fence facing the street is no longer original. The Düsseldorfer (formerly Viersener) Straße is the old country road from Süchteln to Viersen. The building at Düsseldorfer Straße 25 reflects a typical phenomenon of the cities growing beyond their medieval core in the 19th century, namely the construction of prestigious houses and villas along major arterial roads. Reference is z. B. to the almost neighboring Villa Bong (Düsseldorfer Straße 19), whereby the Villa Düsseldorfer Straße 25, due to its location close to the street, characterizes the street scene much more. The owner of the house was the entrepreneur Matthias Rossié (1840–1911) from Süchteln. “MA Rossié was born on May 6, 1840, the son of a goldworker in Süchteln. As industrialization began, he and his brothers August, Thomas and Adolph built what was initially a small velvet and plush weaving mill at Hochstraße 16, perhaps with the support of his parents' fortune. Soon, however, one expansion followed the other (factory site on Heidweg) and the size of the company grew steadily. The building of the house on Viersener Strasse is also to be seen as a symbol of the company's ascent. (...). The company was so successful that it even set up a branch in the USA (Mystic / Conn.) (1897/98). (Another company in Williamantic; about 1000 employed; companies were lost as a result of the First World War.) At the height of the company's development, which was to suffer a severe setback as a result of the First World War, MA Rossié died on March 5, 1911 in his house Viersener Straße. ”(Information from the Viersen City Archives) Rossié did not commission a local master builder for his house, but rather the well-known Mönchengladbach architect Wilhelm Weigelt. Weigelt in Mönchengladbach u. a. the casino of the company "recovery" in the Abteistraße 11 and the 1880 new building of the castle Zoppenbroich. The building at Düsseldorfer Strasse 25, formerly Villa Rossié, is significant for Viersen as a testimony to upscale bourgeois living in Süchteln at the turn of the century. It is given additional importance as the home of a major entrepreneur, a member of the well-known textile entrepreneur family Rossié, and as a representative of the representative residential development along the arterial road from the medieval town center of Süchteln in the direction of Viersen. Since it is largely preserved in its original exterior and interior, there is a public interest in its preservation and use as evidence of residential construction at the turn of the century in an exceptionally high-quality, neo-baroque design language for scientific, in particular architectural and local historical reasons. In connection with Düsseldorfer Straße, which is characterized by comparable free-standing (villa-shaped or similar) buildings in the neighborhood (Düsseldorfer Straße 10, 16, 17, 19), there is also a public interest in maintaining and using it for urban planning reasons. Part of the urban development value is the free location in an appropriately large garden plot, which is characteristic of the “villa” building type. Since the requirements of § 2 of the Monument Protection Act of North Rhine-Westphalia are thus met, the building at Düsseldorfer Straße 25 in Viersen-Süchteln is a monument.	1888	Feb 19, 2001	404
	Residential building	Viersen Eichenstrasse 3 map	The residential building Viersen, Eichenstrasse 3 is part of a closed row of residential buildings built at the beginning of the 20th century. Construction contractor Peter Anton Spielhofen applied for it in 1905 together with the neighboring house Eichenstrasse 1. The building project, for which the Düsseldorf architect Josef Pütz drew the plans, is referred to as "conversion and extension", which suggests that the older structures of the factories previously located here (spinning mill, then dyeing) were included. The house stands on the eaves with a large gable facing the street. Its facade is plastered and shows two full storeys and a gable storey in the dwelling above a low base. It has three window axes, in the left axis of the upper floor there is a bay window broken on three sides, which, according to the building application drawings from 1905, served as a substructure for an exit. Apart from the flat framing of the openings and a simple cornice strip, the facade is plain and without decoration. The only exception is the asymmetrical, curved gable of the gable, which rises asymmetrically above the two left axes, in which, in addition to the corner acroteries and a large thermal bath window, which is designed in the manner of Art Nouveau just over a semicircle, above all a mythical creature mask with accentuated incisors the top of the gable is noticeable. In the architectural drawings from 1905, the window has a striking subdivision, in which the door on the exit was also integrated. The entrance with an old double-winged door and a windowed skylight is raised over three steps and nested in the left axis. Inside, the typical floor plan consisting of a straight side corridor leading to the staircase and two rooms arranged one behind the other has been preserved unchanged. The corridor shows a terrazzo floor typical of the time, the transition to the stairwell is accentuated by a stuccoed belt that, like the gable, shows ribbon-like Art Nouveau ornaments. The wooden stairs, straight two-way with a turning platform, candelabra-like beginners' posts and turned balusters, have been completely preserved. In addition to the floorboards, there are still some old doors with associated, slightly ornamented garments, otherwise the interior has lost its wall-mounted fittings. The southern side of the inner-city part of Eichenstrasse (house numbers 1–17) was built as a closed row of houses at the beginning of the 20th century. Before that, the cotton spinning mill owned by Theodor Weyer, of which plans from 1855 have been handed down, and then Rudolf von der Linde's dye works were located at this point between Gereonstraße and the former railway line (today Freiheitsstraße). The latter was largely rebuilt in 1883 after a fire by master builder J. Cuylen, Viersen. In the residential buildings located on Eichenstrasse today, including Eichenstrasse 3 described here, parts of the earlier factory buildings are probably still there. The operation facing Gereonstrasse had gradually expanded towards the rear of the railway line. Probably the last extension was built in 1896 on a garden area that was previously intended as part of the route of a road planned along the railway. Shortly afterwards, the dye works seems to have ceased operations here; in any case, its buildings are owned by Anton Spielhofen in 1906, who had residential houses built in their place on Eichenstrasse: first Eichenstrasse 1-3, in 1905 as a "conversion and extension" by the Düsseldorf architect Josef Pütz, who in 1906 also built the houses at Eichenstrasse 15/17 at the other end of the road. The other, northern side of the street was built around the same time from 1904. Eichenstraße was formerly a short cul-de-sac between Gereonstraße leading south out of the city and the parallel railway line Gladbach-Krefeld (today Freiheitsstraße). At the time, it was certainly not a preferred residential area, but rather relatively simple small apartments. The residential building at Eichenstrasse 3 was certainly not a lavishly furnished rental property from the outset, which originally formed a design unit as a semi-detached house with the corner building at Eichenstrasse 1. Unfortunately, the latter is the only fundamentally changed facade on both sides of the street, so that this connection can only be guessed at from the continuous floor lines. Nonetheless, the façade of the residential building Eichenstrasse 3, which is simple but still completely preserved except for the windows, forms an important part of the closed ensemble of simultaneous rental residential buildings on Eichenstrasse. In addition, there are the preserved characteristic elements of the interior (floor plan, staircase, some doors and walls, floors, stucco in the hallway), which despite subsequent purification still give a clear picture of the contemporary living conditions. In its late historical closeness, this part of Eichenstrasse is unusual and important for Viersen. The residential building at Eichenstrasse 3 is an essentially well-preserved urban residential building from 1905 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1905	0Jan. 5, 2010	491
	Residential building	Viersen Eichenstrasse 7 map	The residential building at Viersen Eichenstrasse 7 is part of a closed row of residential buildings built at the beginning of the 20th century. It was applied for in 1910 together with the neighboring houses Eichenstrasse 9, 11 and 13 for execution by the contractors Anton Spielhofen and PJ Adrians, whereby the construction plans were drawn up in the construction business by Adrians. Within this group, the building at Eichenstrasse 7 is apparently the largest and possibly the best equipped, as can still be seen today from the spacious staircase. The house stands on the eaves with a large gable facing the street. Its facade is plastered and shows three full floors above a low plinth and a gable floor in the dwelling. It has three window axes of varying widths on the ground floor and two window axes on the upper floors with different window sizes and designs on each floor. In the left axis of the two upper floors there is a bay window, which is polygonally broken on three sides on the 1st floor, is box-shaped on the 2nd floor and is closed with a flat segmental arch. Apart from a cornice on the ground floor, which is also cranked over the window and entrance, the facade has no continuous horizontal or vertical structures. The proportioning results solely from the distribution of the clearly framed openings and the asymmetrical arrangement of the bay window. There are also only a few ornamental forms of decoration, concentrated on the bay window - coffered window parapets, flat gable field with ornament filling - and on the lintels. The windows are subdivided as is typical of the time, whereby the basic T-division is further subdivided through smaller-scale sprouting of the skylights. The entrance is raised over three steps and blended in on the left axis. The original door has a small window in the middle in the form of a standing diamond diamond, the shape of which is doubled by a narrow accompanying band, but is otherwise unadorned. The corridor behind it with about head-high wall paneling and terrazzo floor leads to a remarkable, originally preserved staircase, which adopts the principle of the staircase halls, which were modern at the time in upper-class houses, on a relatively small, roughly square base. The staircase leads to the top floors on all four sides. A colored glass eye illuminates the stairwell from above. The wall along the stairs is chest-high with a hard-wearing Linkrusta cladding from the construction period. The apartment floor plans are largely identical and unchanged on the floors. Four rooms are grouped around a central access corridor adjoining the stairwell; Original room doors including walls, wooden floors and details such as interior window shutters with light slits convey a clear spatial image of the time of construction. The southern side of the inner-city part of Eichenstrasse 1 to 17 was built as a closed row of houses at the beginning of the 20th century. Previously, the cotton mill of Theodor Weyer, of which plans from 1855 have been handed down, and then Rudolf von der Linde's dye works, was located at this point between Gereonstraße and the former railway line, today Freiheitsstraße. The latter was largely rebuilt in 1883 after a fire by master builder J. Cuylen, Viersen. In the residential buildings that are located on Eichenstrasse today, parts of the earlier factory buildings are probably still there. The operation facing Gereonstrasse had gradually expanded towards the rear of the railway line. Probably the last extension was built in 1896 on a garden area that was previously intended as part of the route of a road planned along the railway. Shortly afterwards, the dye works seems to have ceased operations here; in any case, its buildings are owned by Anton Spielhofen in 1906, who had residential houses built in their place on Eichenstrasse: first Eichenstrasse 1 to 3, in 1905 as a "conversion and extension" by the Düsseldorf architect Josef Pütz, who in 1906 also built Eichenstrasse 15/17 at the other end of the road. The residential building at Eichenstrasse 5 was built in 1909; the client was not Spielhofen, but Franz von Ameln (architect: Johann Timmermanns). The Eichenstrasse 7 to 13 group closed the southern line in 1910/11. The other, northern side of the street was built around the same time from 1904. Eichenstraße used to be a short spur road between Gereonstraße leading south out of the city and the parallel railway line Gladbach-Krefeld, today Freiheitsstraße. At the time, it was certainly not a preferred residential area, but rather relatively simple small apartments. At Eichenstrasse 7, in addition to the well-preserved façade, the staircase is of remarkable quality and absolutely worth preserving, and the room layout and wall-mounted interior fittings, thanks to their extensive preservation, still give a very clear picture of contemporary living conditions. In its late historical cohesion, this part of Eichenstrasse is unusual and important for Viersen. The residential building Eichenstrasse 7 is an essentially well-preserved urban apartment building from 1910/11 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1910	0Jan. 5, 2010	492
	Residential building	Viersen Eichenstrasse 9 map	description The residential building Viersen Eichenstrasse 9 is part of a closed row of residential buildings built at the beginning of the 20th century. It was applied for in 1910 together with the neighboring houses Eichenstrasse 7, 11 and 13 for execution by the contractors Anton Spielhofen and PJ Adrians, whereby the construction plans were drawn up in the construction business by Adrians. The house stands on the eaves with an asymmetrical gable facing the street on the right. Its facade is plastered, on the ground floor up to a combat cornice with plaster ashlars, and shows three storeys above a low plinth. It has two window axes of different widths with different window sizes and designs on each floor. In the left axis is the entrance, above each a two-winged, rectangular window; In the right-hand axis there is a pointed arched four-wing window on the first floor, above it in the "Beletage" an ornamentally framed four-wing window as a lying rectangle, the two side wings angled slightly inward and finally a broad, double-winged window in the attic. The upper and attic storeys are drawn out very flat in the right axis so that the impression of a risalit is created. Except for a cornice on the ground floor, the facade has no continuous horizontal or vertical structures. The proportions result solely from the distribution and the varied shape of the partially framed openings and the arrangement of the window axes. Only a few ornamental forms of decoration can be found, concentrated on the framing of the entrance, the large window on the upper floor and in the curved tip of the dwelling. The windows are subdivided as is typical of the time, whereby the basic T-division is further subdivided through smaller-scale sprouting of the skylights. The entrance is raised over three steps and blended in on the left axis. The upper part of the niche is framed, grooved and covered with a bulge profile. The wide door frame takes up this decoration in a modified form. The presumably original door is coffered over its entire surface without windowing. Inside, the house is remarkably original. This applies to the typical floor plan consisting of a side hallway with two-flight spiral wooden stairs with candelabra beginners' posts and turned balusters, terrazzo floor, Linkrusta cladding of the walls (also on the stairs) on the one hand, the adjoining rooms (room facing the street, bedroom and utility rooms to the rear; see above also on the upper floor) with simple floorboards, door frames and mostly preserved interior doors as well as original windows that have been preserved throughout, so that overall a clear picture of simple bourgeois living conditions from the beginning of the 20th century emerges. The southern side of the inner-city part of Eichenstrasse 1 to 17 was built as a closed row of houses at the beginning of the 20th century. Previously, the cotton mill of Theodor Weyer, of which plans from 1855 have been handed down, and then Rudolf von der Linde's dye works, was located at this point between Gereonstraße and the former railway line, today Freiheitsstraße. The latter was largely rebuilt in 1883 after a fire by master builder J. Cuylen, Viersen. In the residential buildings that are located on Eichenstrasse today, parts of the earlier factory buildings are probably still there. The operation facing Gereonstrasse had gradually expanded towards the rear of the railway line. Probably the last extension was built in 1896 on a garden area that was previously intended as part of the route of a road planned along the railway. Shortly afterwards, the dye works seems to have ceased operations here; in any case, its buildings are owned by Anton Spielhofen in 1906, who had residential houses built in their place on Eichenstrasse: first Eichenstrasse 1 to 3, in 1905 as a "conversion and extension" by the Düsseldorf architect Josef Pütz, who in 1906 also built Eichenstrasse 15/17 at the other end of the road. The residential building at Eichenstrasse 5 was built in 1909; the client was not Spielhofen, but Franz von Ameln (architect: Johann Timmermanns). The Eichenstrasse 7 to 13 group closed the southern line in 1910/11. The other, northern side of the street was built around the same time from 1904. Eichenstraße used to be a short spur road between Gereonstraße leading south out of the city and the parallel railway line Gladbach-Krefeld, today Freiheitsstraße. At the time, it was certainly not a preferred residential area, but rather relatively simple small apartments. At Eichenstrasse 9, in addition to the well-preserved facade, the overall very original tradition is to be emphasized, so that the room layout and wall-mounted fittings of the interior, including windows, convey a very clear picture of contemporary living conditions. In its late historical cohesion, this part of Eichenstrasse is unusual and important for Viersen. The residential building at Eichenstrasse 9 is an essentially well-preserved urban residential building from 1910/11 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. According to § 2 (1) Monument Protection Act NRW it is therefore a monument.	1910/11	Dec 18, 2012	503
	Residential building	Viersen Eichenstrasse 10 map	The residential building Eichenstrasse 10 in Viersen was built in 1909 according to a plan by the architect Johann Timmermann. The building owner is Heinrich Magon (the building application signed on behalf of the building owner of the two neighboring houses Eichenstrasse 12 and 14, Peter Kox). It is part of a row of four roughly similar houses that form the north wall of Eichenstrasse here. Opposite is also a closed row of houses built around 1900/10. The house Eichenstraße 10 is an eaves-standing two-storey house, three window axes wide, with the house entrance over steps in the right axis. A dwarf house combines the two left axes in the roof area. The two-room-deep main house with a floor plan of approx. 7.40 × 10.10 m is supplemented by a rear building at the rear. According to the construction plan, a small apartment (living room, bedroom, kitchen) is planned on the first and second floors. The facade is clinkered with yellow bricks on a base and has numerous decorative elements. The plinth, plastered as a picked cuboid, extends to the sill of the ground floor window. These are surrounded by a relatively simple geometric plaster frame and covered in a basket arch. The entrance to the house on the right-hand axis is designed in the manner of a portal, with pilasters on the sides on pedestal-high pedestals, Corinthian capitals and an entablature stone decorated with tendrils. A wide tracery frieze made of interpenetrating circles with floral fillings in the gusset and quatrefoil fields separates the two floors. The windows of the upper floor sit on top of it and are characterized by a rich framing on the floor. Keel arches crown the two left-hand windows, the arch fields are filled with decorative floral shapes. The right window, located above the house entrance, is framed by half-columns on ornate pedestals and covered by an arched curtain. A pseudo-coat of arms is attached in the arched field. Also the mid-house, which breaks through the eaves line, with its central arched window is decorated with floral decorations in its triangular gable field. Corner and center accentuations with associated acroter attachments are added. The rear building is brick-facing. The windows have the typical T-division; the old handles have been preserved inside. Inside the house, the floor plan has been preserved unchanged. Behind the entrance is the side corridor, which still has the original terrazzo floor with edge strips and a central circular decorative motif. It leads to the stairs and past it to the rear building, in which the kitchen is originally located. Two passages, to the stairs and to the rear building, are indicated by plastered belts with side, ornamentally stuccoed consoles. The side walls are halfway up with double-patterned, but substantially damaged Lincrusta cladding. The original single-flight wooden staircase is only present in fragments. To the left of the hall are the two rooms (living room and bedroom in the plan). Both have stucco ceiling rosettes and throats. Old frame panel doors and walls are partially preserved throughout the house; Apart from the shorter hallway, the rooms on the upper floor, which are basically similarly arranged, have no stucco ceiling. The well-preserved residential buildings on both sides of the inner-city side of Eichenstrasse are evidently relatively uniformly built between the turn of the century and the First World War. On the northern side, according to the construction files that have been preserved, the houses Eichenstrasse 14 and 16 are built first in 1904, then in 1908 the houses Eichenstrasse 12 and 18 (demolished); the building Eichenstrasse 10 is therefore the last house on this line. The owner of the houses was shared by Peter Kox (Eichenstrasse 12 and 14 and Eichenstrasse 10 as a representative) and the building contractor Heinrich Bremer (Eichenstrasse 16 and 18). For Eichenstrasse 16, Franz Kreutzer is the architect, for the other Johann Timmermanns, from whom z. B. also the houses Ringstrasse 1, 3 and 5 originate. Heinr. Magon is listed in the Viersener address book from 1911/12 as a railway official. Peter Kox has owned an installation business "for gas and water pipes, sewers, closets, bathing facilities, pumps, bell systems, lightning rods, etc." since 1893 at Neumarkt 8, including workshops, shops and warehouses (contemporary advertisement). Eichenstraße used to be a short spur road between Gereonstraße, which leads south out of the city, and the parallel Gladbach-Krefeld railway line (now the Freiheitsring). At the time, it was certainly not a preferred residential area, but rather small, undemanding apartments. At first glance, the very rich decoration of the facade at Eichenstrasse 10 is all the more surprising, but this is a phenomenon that is typical of the time and also the construction task. In the case of more sophisticated buildings, this historicist manner was abandoned again around 1910, while the ornamentation composed of sample templates was still considered appropriate and is used as a matter of course. In its historical closeness, this part of Eichenstrasse is unusual and important for Viersen. The residential building Eichenstrasse 10 is essentially a well-preserved urban rental apartment building from 1909 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1909	Dec 12, 2001	420
	Residential building	Viersen Eichenstrasse 12 map	The residential building Eichenstrasse 10 in Viersen was built in 1909 according to a plan by the architect Johann Timmermann. The building owner is Heinrich Magon (the building application signed on behalf of the building owner of the two neighboring houses Eichenstrasse 12 and 14, Peter Kox). It is part of a row of four roughly similar houses that form the north wall of Eichenstrasse here. Opposite is also a closed row of houses built around 1900/10. The house Eichenstraße 10 is an eaves-standing two-storey house, three window axes wide, with the house entrance over steps in the right axis. A dwarf house combines the two left axes in the roof area. The two-room-deep main house with a floor plan of approx. 7.40 × 10.10 m is supplemented by a rear building at the rear. According to the construction plan, a small apartment (living room, bedroom, kitchen) is planned on the first and second floors. The facade is clinkered with yellow bricks on a base and has numerous decorative elements. The plinth, plastered as a picked cuboid, extends to the sill of the ground floor window. These are surrounded by a relatively simple geometric plaster frame and covered in a basket arch. The entrance to the house on the right-hand axis is designed in the manner of a portal, with pilasters on the sides on pedestal-high pedestals, Corinthian capitals and an entablature stone decorated with tendrils. A wide tracery frieze made of interpenetrating circles with floral fillings in the gusset and quatrefoil fields separates the two floors. The windows of the upper floor sit on top of it and are characterized by a rich framing on the floor. Keel arches crown the two left-hand windows, the arch fields are filled with decorative floral shapes. The right window, located above the house entrance, is framed by half-columns on ornate pedestals and covered by an arched curtain. A pseudo-coat of arms is attached in the arched field. Also the mid-house, which breaks through the eaves line, with its central arched window is decorated with floral decorations in its triangular gable field. Corner and center accentuations with associated acroter attachments are added. The rear building is brick-facing. The windows have the typical T-division; the old handles have been preserved inside. Inside the house, the floor plan has been preserved unchanged. Behind the entrance is the side corridor, which still has the original terrazzo floor with edge strips and a central circular decorative motif. It leads to the stairs and past it to the rear building, in which the kitchen is originally located. Two passages, to the stairs and to the rear building, are indicated by plastered belts with side, ornamentally stuccoed consoles. The side walls are halfway up with double-patterned, but substantially damaged Lincrusta cladding. The original single-flight wooden staircase is only present in fragments. To the left of the hall are the two rooms (living room and bedroom in the plan). Both have stucco ceiling rosettes and throats. Old frame panel doors and walls are partially preserved throughout the house; Apart from the shorter hallway, the rooms on the upper floor, which are basically similarly arranged, have no stucco ceiling. The well-preserved residential buildings on both sides of the inner-city side of Eichenstrasse are evidently relatively uniformly built between the turn of the century and the First World War. On the northern side, according to the construction files that have been preserved, the houses Eichenstrasse 14 and 16 are built first in 1904, then in 1908 the houses Eichenstrasse 12 and 18 (demolished); the building Eichenstrasse 10 is therefore the last house on this line. The owner of the houses was shared by Peter Kox (Eichenstrasse 12 and 14 and Eichenstrasse 10 as a representative) and the building contractor Heinrich Bremer (Eichenstrasse 16 and 18). For Eichenstrasse 16, Franz Kreutzer is the architect, for the other Johann Timmermanns, from whom z. B. also the houses Ringstrasse 1, 3 and 5 originate. Heinr. Magon is listed in the Viersener address book from 1911/12 as a railway official. Peter Kox has owned an installation business "for gas and water pipes, sewers, closets, bathing facilities, pumps, bell systems, lightning rods, etc." since 1893 at Neumarkt 8, including workshops, shops and warehouses (contemporary advertisement). Eichenstraße used to be a short spur road between Gereonstraße, which leads south out of the city, and the parallel Gladbach-Krefeld railway line (now the Freiheitsring). At the time, it was certainly not a preferred residential area, but rather small, undemanding apartments. At first glance, the very rich decoration of the facade at Eichenstrasse 10 is all the more surprising, but this is a phenomenon that is typical of the time and also the construction task. In the case of more sophisticated buildings, this historicist manner was abandoned again around 1910, while the ornamentation composed of sample templates was still considered appropriate and is used as a matter of course. In its historical closeness, this part of Eichenstrasse is unusual and important for Viersen. The residential building Eichenstrasse 10 is essentially a well-preserved urban rental apartment building from 1909 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1909	Dec 12, 2001	468
	Residential building	Viersen Eichenstrasse 16 map	The residential building Eichenstrasse 16 in Viersen is a monument within the meaning of Section 2 of the NRW Monument Protection Act. It is important for Viersen. There is a public interest in its preservation and use for scientific, here architectural and historical reasons as well as for urban planning reasons. The residential building Eichenstrasse 16 in Viersen was built in 1904 according to a plan by the architect Franz Kreutzer. The owner and construction manager was Heinrich Bremer, owner of a construction business in Viersen. The house is part of a row of four roughly similar houses that form the north wall of Eichenstrasse. According to the situation plans, it was probably carried out first on this line; At about the same time or only slightly later, the neighboring house Eichenstrasse 14 on the left was built in 1904-05. Opposite there is also a closed row of houses built around 1900/10. It is a two-storey residential building attached to the eaves, on an area of ​​approx. 7.20 × 10 m, with an associated rear building. It is two window axes wide, whereby the right axis is laid out as a flat risalit and is emphasized by wider, partly multi-part windows and a dwarf house with a tail gable. The house entrance is in the left axis, so that the houses, Eichenstrasse 14 and 16, which were built around the same time, appear mirror images in the facade structure. The facade is plastered and equipped with numerous historical decorative elements. The ground floor is provided with plaster bands, from the background of which the fittings of the parapet of the two-part room window and the elaborate portal frame are set off, the gable of which extends over the cornice. The gable field is covered with dense plant ornamentation, the gable rests on billowing pilasters with pedestals. The entrance itself has a rounded arch. The double window on the right is cut into the wall without a plaster frame and is separated in the middle by a pilaster. Wedges crown the segment-arched lintels. Above the cornice, the facade is smoothly plastered. The risalit is framed by pilaster-like pilaster strips and merges into the multiple convex and concave curved gable of the dwelling. The two risalit windows on the upper and attic storeys are in three parts with a raised and wider, segment-arched, closed central part, against which the two flanking window parts run in a semicircular arch (upper storey) or a tail arch (attic). The inscription "A.1904.D" in Art Nouveau script is applied between the two windows. The coat of arms of the city of Viersen at that time is attached below the flat end of the gable. The wall surface and window frame on the left axis (stairwell / hallway) are simply framed, the wicker arch of the window is crowned by a wedge. The dormer in the roof area above is original and provided with a strong frame, its concave curved tail gable has a coat of arms and plant ornament. In the manner customary at the time, the rear roof surface of the gable roof is kept flatter in order to obtain more space in the converted attic. The back of the building has been changed by an extension. The windows of the facade have been renewed in keeping with the style, the original front door with a semicircular skylight is available. Inside the house, the floor plan has been preserved unchanged. Like the neighboring house at Eichenstrasse 14, it seems to have originally been planned as a single-family house, as a kitchen was only planned on the ground floor (typically arranged in the rear wing extension). Behind the entrance is the side hallway, which still has the original terrazzo floor. It leads to the stairs and past her to the rear building; In addition, the two original rooms on the ground floor, which are connected to one another by a passage, are accessible from here. The original wooden staircase with a candelabra-shaped beginner's post and turned railing rods have been preserved. Old doors and door frames have been preserved as well as ceiling stucco (central rosettes, throats) in the hallway or stairwell and in the rooms. Overall, the house therefore still offers a very clear spatial impression of the construction period. The well-preserved residential buildings on both sides of the inner-city side of Eichenstrasse were built relatively uniformly between the turn of the century and the First World War. On the northern side, according to the building files that have been preserved, the houses Eichenstrasse 14 and 16 were built in 1904/05, then in 1908 the houses Eichenstrasse 12 and 18 (demolished) and finally the building Eichenstrasse 10 in 1909. Peter Kox (Eichenstrasse 12 and 14 as well as Eichenstrasse 10 in representation) and the building contractor Heinrich Bremer (Eichenstrasse 16 and 18). Franz Kreutzer drew as architect only for Eichenstrasse 16, for 10, 12 and 18, however, Johann Timmermanns, from whom z. B. also the houses Ringstrasse 1, 3 and 5 were planned. Heinrich Bremer is still referred to in the Viersener address book in 1895/96 as a “bricklayer” (then resident at Gereonstraße 44a). Whether he actually built the house for himself and how long he lived there is currently not known. As early as 1912, a building application for the extension of the rear building was signed by cooperative director Anton Ortheil as the client. Timmermanns again acted as the architect, Bremer as the site manager. The original building plans for the house, however, came from the Viersen architect Franz Kreutzer - Architekt u. a. the machine hall of the Viersener power station and the elementary school on Gereonstrasse. Due to the overlap observed on Eichenstrasse, a close business relationship between the clients and architects Kox, Bremer, Kreutzer and Timmermanns is more than likely. In 1934 the house Eichenstrasse 16 and the house Eichenstrasse 18, which was demolished today, appear jointly owned by Johanna Ortheil. Eichenstrasse used to be a short cul-de-sac between Gereonstrasse, which leads south out of the city, and the parallel Gladbach-Krefeld railway line (now the Freiheitsring). At the time, it was certainly not a preferred residential area, but rather contemporary small apartments. The decoration of the facade of Eichenstrasse 16, which at first glance appeared to be very rich, was a phenomenon typical of the time and of the building work; In the case of more sophisticated buildings, this historicist manner was abandoned again after the turn of the century, while the ornamentation composed of templates was still considered appropriate and was used as a matter of course. In its historical closeness, this part of Eichenstrasse is unusual and important for Viersen. The residential building Eichenstrasse 16 is an essentially well-preserved urban rental apartment building from 1904 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1904	July 17, 2008	483
	Residential building	Viersen Eichenstrasse 17 map	The southern side of the inner-city part of Eichenstrasse 1–17 was built as a closed row of houses at the beginning of the 20th century. It is a follow-up development to Rudolf von der Linde's silk dyeing works, which had its seat here between Gereonstrasse and the former railway line (today Freiheitsstrasse). In the houses there today, parts of the former factory buildings are probably still present. Behind the semi-detached house at Eichenstraße 15/17 there is also a last, largely unchanged factory building for the dye works. The company located on Gereonstrasse had gradually expanded towards the rear of the railway line. Probably the last extension was built in 1896 on a garden area that was previously intended as part of the route of a road planned along the railway. Shortly afterwards, the dye works seems to have ceased operations here; in any case, the buildings are owned by Anton Spielhofen in 1906, who had houses built in their place on Eichenstrasse. In the semi-detached house 15/17 from 1906, according to the building plans, the aforementioned factory extension from 1896 should still be at the core. Eichenstrasse 17 is the left part of a two-storey, eaves-standing, semi-detached house, the plastered façades of which show Art Nouveau ornaments and are designed in mirror-image fashion. The front of the building half at Eichenstrasse 17 is divided into fields by strongly protruding, formally abstract pilasters with capitals. On the ground floor 2 × 2 axes are arranged asymmetrically, on the left two narrowly placed single windows, on the right a single window and the entrance, which is placed directly on the partition wall between the two house halves; the upper floor shows two wider single windows, the left one with a balcony until 1938. The left half is accentuated by a diaphragm with a curved gable. The openings on the ground floor have plastered frames and roofs, while the windows on the upper floor are unadorned, but are accompanied by flatly plastered foliage decorations in Art Nouveau style below a block console frieze. The roof is designed as a mansard roof facing the street, in which the mansard floor is illuminated by the dwelling and two individual dormers. The free gable facing Freiheitsstrasse and the back are simply plastered, the extension of the veranda, kitchen and staircase (built in 1906) can be clearly seen from the side in the offset of the building. Through the original front door you enter a side hallway that leads straight to the stairwell at the back and the rear exit. The terrazzo hallway floor and the two-armed counter-rotating staircase with a turning platform have been preserved, as has the room layout. On both floors, the living rooms are separated from the stairwell by double-leaf, windowed doors. The rooms are accessed from a small corridor behind. Original room doors and stucco ceilings are still present in almost all living rooms, the entrance hall also has a ceiling stucco. Peter Anton Spielhofen was born on April 14, 1856, the youngest son of the married couple Johann Jakob and Anna Gertrud Spielhofen. His father, initially a velvet weaver, living in Rahser, founded a “cattle dealer and butcher dynasty”. All 5 sons settled as cattle dealers or butchers in Viersen or Anrath. They were also founding members of the butchers' guild in Viersen, which was constituted on July 21, 1880. Peter Anton Spielhofen was the most successful of the siblings. As a cattle dealer, primarily in Düsseldorf, according to his descendants, he is said to have been the third largest taxpayer in Viersen after Josef Kaiser and Friedrich Pongs. This also explains why in 1906, at the time the semi-detached houses Eichenstrasse 15/17 were built, he owned the entire site of Rudolf von der Linde's former dye works. His commercial skill is also described in the obituary of the parish of St. Joseph, in which he was a member of the church council, with the words "business-minded, clever adviser". He was also a city councilor for the Center Party from 1906 to 1919. He died on October 22, 1926. His architect Josef Pütz from Düsseldorf had built the office building of the Lohbusch brewery in Viersen, Dülkener Straße 76, a year in front of this house. The residential buildings on both sides of the inner city side of Eichenstrasse are well preserved and are evidently relatively uniformly built between the turn of the century and the First World War. The northern line was built from 1904, on the south side, instead of the old Von der Linde dye works in 1906, at the time of the construction of the double house Eichenstrasse 15/17, the houses Eichenstrasse 1 and 3 on the corner of Gereonstrasse were probably already completed or under construction. In between, the 1906 site plan still shows factory buildings. Eichenstrasse used to be a short cul-de-sac between Gereonstrasse, which leads south out of the city, and the parallel railway line Gladbach-Krefeld (today, Freiheitsstrasse). At the time, it was certainly not a preferred residential area, but rather relatively simple small apartments. After all, the facade decoration of Eichenstrasse 17 shows simple, but for the construction time modern, Art Nouveau forms - together with Eichenstrasse 15, the only one of this striking type on the street. The room layout and wall-mounted interior fittings also give a very clear picture of contemporary living conditions due to their extensive preservation. In its late historical closeness, this part of Eichenstrasse is unusual and important for Viersen. The residential building Eichenstrasse 17 is an essentially well-preserved rental apartment building from 1906 and part of the ensemble of similar houses on Eichenstrasse, which is important for Viersen. There is a public interest in its preservation and use for the stated scientific, here architectural, historical and urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1906	Nov 29, 2005	466
	former tannery / leather factory	Viersen Eichenstrasse 73 map	The history of commercial activity on the property at Eichenstrasse 73 now goes back almost 145 years. In 1853, Thomas Rath zu Viersen received on his application from February 10th. of the year the permit to operate a tannery "behind your newly built house on Eichenstrasse Viersen". According to the identification of the wedge stone dated "1852" above the passage at the south end of the building, the latter was created shortly beforehand. At a right angle to this building, a long, rectangular, two-storey factory building is being erected in the south, which is designated as the “tannery building” in the site plan of Jan. 29, 1853. Forming a closed courtyard, the "Lohschoppen" are also being built in the west, at right angles to this the building with the tanning tubs, followed by the tan chamber, wooden tub and laundry room. This arrangement corresponds to that of a tannery with bark tanning and manual technology, whose external appearance corresponds more to a rural rather than a commercial operation, especially in the case of the four-winged complex chosen here. The next significant, architecturally and functionally significant construction phase was at the end of the 19th century. In 1892, the new owner August Henrichs applied for the enlargement of his "tannery workshop", which relates to the addition of two components to the east and west of the 1853 tannery building. The company's most important industrial building was built in 1894. A 2½-storey “color house with dry storage” houses “paint and sink pits” on the ground floor, the “storage for summer drying” on the first floor and the “dry storage” on the top floor. In line with the expansion of the business, a sewage treatment plant is also required in the east of the property, which uses a stream flowing past the area as a receiving water - an essential requirement for every tannery. The "glue meat and lime pit" is directly attached as a preparation system for further leather processing. This is roughly the position that the factory view from the 1890s shows from a bird's eye view, even before the "Fellgruben roofing" is built to the west behind the factory building and the boiler, office and impregnation building is built to the east (1898 and 1899). For today's appearance, the conversion of the north wing into stables is relevant, which leads to a timber frame wing between the boiler house and the north wing. In the 1920s, an extension was added to the old tannery in the south and a blind wall at the east end. It cannot be determined when the bridge-like transition between the old and the new tannery will arise. Description: 1. Residential building The seven-axis-wide, 2-storey residential building as a brick building with a pan-roofed gable roof is plastered on the courtyard side, and on the street side - presumably in the 1920s and early 30s - representatively shaped. The interior layout and fixed furnishings largely correspond to the state at the turn of the 20th century. 2. South wing The tanner wing, laid out in 1853 and extended to the west and east in 1892, is a two-story brick building with a gable roof. Flat arched windows with stone sills break through the wall surfaces, the door openings of the old part are framed by bluestone. A transmission passage connected to the machine operation from 1898 on the wall facing the courtyard has been preserved here. The simple, two-storey extension in the west is kept in a matter-of-fact, sober form. In the south, at the western end of the old building, the 2a chimney, which became necessary for the steam boiler operation, rises up as a cylindrical, already partially demolished brick building. 3. Farbhaus / dry storage facility built in 1894, this part of the factory has the clearest characteristics as a “factory age” building. The 2½-storey brick building with 7 axes in the east, 8 axes in length and 3 axes in the west divides its wall surfaces with brick pilaster strips and stepped cornices. The top floor is illuminated with a group of five coupled small windows, which lead to the eaves zone with a stepped cornice. The pan-covered gable roof protrudes in the south as a crooked hip, a lift originally served the wall openings in the central axis of the south gable, which were designed as loading hatches. The ridge end is accentuated here with a wind vane over a spherical zinc sheet bracket. The windowing of the factory building is still largely made of iron rungs, the technical equipment on the upper floors is related to the dry function of these two floors. The wooden plank ceilings are supported by 2 rows of cast iron supports on the ground floor and by wooden supports on the upper floors. A subsequent access bridge reaches the new building from 1894 on the south-west corner of the 1st floor. 4. Kesselhaus / Kontor- und Impregnierhaus In 1898 a one-storey, roughly square extension with a two-part shed roof was added to the building described above at its southeast corner. The western part was intended to accommodate the boiler, which is still preserved today, while the south-eastern part served as an office room. The northeastern component, which was later newly windowed, is designated as an "impregnation room". In view of the simplicity of this shed shed, a “highly representative” front with 4 eaves towers over pilaster strips and an elaborate tooth-cut frieze was applied to the east end of the building. 5. North wing Due to the renovation, this component is of less importance in terms of building history, but with the year of construction in 1853 and the original operational function, it is an integral part of the overall system including the connecting wing between the old building and the boiler house in connection with the construction of stables. 6. Courtyard zone The entire courtyard zone has the original stone paving, including the drainage channels laid in brick between the individual buildings. Rating: The site of the former August Henrichs tannery is, to the extent described under II, a monument within the meaning of Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia. The entire complex is important for the history of the cities and settlements as well as for the development of working and production conditions. There are artistic and scientific reasons for preservation and use, in particular those relating to the development of factory and factory architecture, as well as the transition from manual to machine-based, steam-assisted operation, i.e. from pre-industrial to industrial production processes. In its entirety, with the ensemble-like connection of living and working across pre-industrial and high-industrialization epochs, the complex is able to give a good insight into a company that was of great importance for Viersen with its highly developed, machine-based textile production. For these, the Henrichs company supplied their specialty, belt leather, which is important for the age of transmission-driven work machinery. Even if, apart from the original steam boiler in the narrower sense, operational facilities have not been preserved, the clearly legible three-step living, early, and then factory-developed, factory architecture of a plant from this era can be clearly seen, which is also easy to imagine New use, for example in the sense of residential use, would lose none of its informative value.	1852	Sep 10 1997	364
	Liefkeshof	Viersen Eichenstrasse 219 a and b map	The yard is located on Eichenstrasse, which is first mentioned as Eyckerstrasse in 1505. A barn and stables surrounded the central residential building, as can be seen in the French original cadastre from 1812. Karl im Stappen was the owner at that time and the farm was called Stappenhof. (At that time, Liefkeshof was a neighboring farm). In 1889, when Heinrich Nothofer and Peter Joseph Ziemes owned the farm, all the surrounding farm buildings disappeared. Ziemes built a small brick barn on the southeast side, which he expanded in 1895. During the Second World War, the north gable was partially destroyed by bombs. During the reconstruction, 22 oak beams were replaced by masonry in the central area. Under the oak beams there was also the door beam with the house motto (attachment), which defines the construction time as 1744, which is confirmed by anchors on the south gable. On the south side (219 b) there are unsuitable single-storey porches from more recent times. Inside, the floor plan, including the stairs, has not changed much, but the original surfaces have disappeared behind “modern” cladding. Inside the southern part of the house (219 b) there are still old ceilings with profiled beams. Tiles and the chimney fan beam have been preserved from the offset chimney. The baroque front door is divided into 4 fields according to the frame-and-panel principle and decorated with 3 rosettes in the upper area. The lock, fittings and additional security equipment inside are still original. Also noteworthy is the Namur bluestone threshold and the lintel beam with the letters: I. P. D. O L. N C. K. T Next to the door is the last old window from (around) 1850. The supra-regional importance of the building can be found in the description of the Rhenish Office for the Preservation of Monuments in What is a monument? P. 75: The area of ​​the left Lower Rhine is divided into two large house landscapes. Viersen and its surroundings belong to the northern part of this area, in which the single farm predominates. It consists of a hall house on the Lower Rhine (see example 27), which mostly houses living and livestock farming under one roof, and mostly a separate barn. The farmhouse to be discussed here from the beginning of the 17th century shows a variant of the hall house typical for the Viersen area: a two-column house with protruding sides and a protruding roof with a crooked hip supported by the roof and gable rafters. The hall house consists of a middle, higher nave, which is determined by the rows of studs supporting the house, and the off-sides adjoining it on the left and right. The central nave is largely self-contained, with side walls that protrude far into the deeply drawn-down roof space. It used to be a uniformly high hearth, which later became two or two and a half storeys high, especially in the Viersen area. In contrast to the Lower German hall house, which has a dreschdeele and harvest storage in the attic, we have low entrance doors to the fodder dome on the Lower Rhine, which exclude driving with harvest wagons. On the Lower Rhine, the so-called through house, with a central nave without a partition between the utility room and the hearth, was mainly used. The Viersener type is a special case in which the Deele is separated from the kitchen-living room by a wall with a double fireplace. The example of Viersen / Eichenstrasse, in addition to its age value, has its monumental character, despite its changes in the 19th century, as a typical example of a Lower Rhine hall house "Viersener stamp". For scientific, in particular folkloric reasons, the maintenance and use of the buildings according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	Early 17th century	03rd June 1987	152
	former Kaisers coffee roastery	Dülken Eindhovener Straße 37-41 map	The last years of the 19th century brought about a change in buying habits in the colonial goods trade with luxury foods: if the consumer had previously been used to buying imported coffee beans in a green state and roasting them freshly if necessary, then around 1880 more and more the sale of already roasted coffee beans. The taste quality of the coffee beans depends to a large extent on the roasting process; exact monitoring of the roasting process over time, uniformity of temperature and the roasting process was more difficult in the home kitchen than in commercial roasting plants. From 1880 z. For example, the weaver's son Josef Kaiser ran a small roasting business in his father's grocery store, which expanded with the establishment of a first branch in Duisburg in 1885. Shops in Essen and Bochum followed in the well-founded hope that the high-earning workers in the coal and steel industry would be able to afford imported coffee beans. The "steam coffee roastery of Hermann Kaiser" already supplied 100 branches in 1897, in 1898 even 250, two coffee roasters in Berlin and Heilbronn now processed coffee beans imported under their own management in addition to Viersen, from 1899 it was only called "Kaiser's coffee shop". In Dülken, the colonial goods company Ferdinand Fuesers began coffee roasting in Josef Kaiser's footsteps in the 1990s. In 1898/99 she built a large coffee roasting plant and grain coffee factory with a multi-storey silo and administration building on what was then Süchtelner Strasse an der Bahn. 150 workers and employees supplied branches in Hamburg, Kassel and Mannheim. The owner Eduard Fuesers died in 1910, the company was shut down in 1935. Second, the brother Josef Kaisers, Hermann Kaiser and Jakob Tummer from Viersen started running a coffee roastery in Dülken at the beginning of 1900, also on the Venlo-Viersen railway line and Süchtelner Straße. Storage and roasting buildings, dispatch and sorting buildings as well as a boiler and machine house were built on a U-shaped floor plan parallel to the railway line. The fact that the company was also economically interlinked with the Josef Kaisers company can be seen from the following comment: “This production branch was later expanded considerably, especially since the takeover of the Hermann Kaiser u. Co. in Dülken, which was owned by relatives, but was connected to the parent company through supply contracts ”(W. Peiner, On the completion of the 75th year of life of Josef Kaiser, Kommerzienrat, Düsseldorf 1937, p. 52). However, both owners of the Dülken company died after a few years of operation and on June 1, 1906 the roastery was transferred to Kaiser's coffee shop in Viersen. This converted the roastery into a malt coffee factory, which it operated until around 1944. From the end of the war the complex was used for storage purposes. Since 1906 it had essentially only been enlarged by the construction of a malthouse cellar and the distinctive silo tower that was around 21 m high up to the eaves and was placed at the corner of the warehouse and roasting building. Description: With the exception of the dispatch / sorting building, the single-storey brick buildings of the original company show the uniform appearance of the "round arch style" used in industrial construction since around 1870. Flat pilaster strips consistently take over the vertical structure, and the cornices decorated with tooth cuts take over the horizontal structure. The round arches of the window and door openings are all accentuated by overlapping arches. The two-storey dispatch and sorting building is structurally highlighted: a water reservoir raised like a corner tower emphasizes the northeast corner of the U-shaped enclosed factory yard, the flat gable roof is hidden behind simple parapets. What is remarkable in this building is the vaulted cellar with numerous wall supports, possibly the malting cellar built in 1907 for the malt coffee production. The roof structure of the flat gable roof is also functional. The silo tower, which was built in 1910 and is about 27 m high, is architecturally and urbanistically important. Above an approx. 3.50 m high brick plinth zone, three slender plastered fields between flat brick pilaster strips structure the tower shaft, closed at the top by segmented arches. This view, which is the same on all four sides, is characterized by a smooth, horizontal band with the inscription "Kaiser's coffee shop" to the east and west. A combination of a truncated pyramid and a tent roof closes the tower at the top, while the elevator mechanism for elevator operation inside the silo has its own, steeper roof. The area above the silo container is illuminated by three low arched windows on each side of the tower. Coupled narrow rectangular windows mark the course of the stairwell on the southeast corner of the tower. Rating: The structural facilities of the Kaiser company are, to the extent described under II, plus the boiler house and machine house buildings, monuments within the meaning of Section 2 of the NRW Monument Protection Act. There is public interest in their preservation, as the buildings are important for cities and settlements as well as the development of working and production conditions. There are artistic, scientific and urban planning reasons for preservation and use. 1. Artistic reasons lie in the appearance of the complex as industrial architecture of two epochs: The buildings of the first generation from 1900 exemplify the factory building of the classic industrialization phase in their use of the simple, typical round arch style in brick with ledges and pilaster strips with clear proportions. The interiors, including the basement of the storage and sorting building, are functionally more convincing and easily reusable. The step towards new building in the industrial sector is then demonstrated by the silo tower that was built in 1910, which functionally illustrates the structural task of accommodating vertical silo chambers to the outside without resorting to any style architecture. The base, silo and work zone can be read inside and out, the slightly overhanging roof forms a simple but harmonious finish, and the roof of the elevator is also subordinate to the overall shape in its repetition of the roof outline. The development of functional architecture also becomes clear in the use of individual architectural elements (plaster tape) as advertising media. 2. Scientific reasons for the preservation exist insofar as the building complex represents the transition from domestic self-sufficiency through central technical services. The economy of the 90s of the last century enabled increasing imports of luxury foods, the mass use of which led to the centralization of their processing stages, and the Dülken plant is a good example of this. 3. The urban development reasons are obvious to the observer: Located in a prominent place in the cityscape at the intersection of the Venlo-Viersen railway line and today's Eindhoven road, the silo tower with its harmonious roof design and balanced vertical structure offers a clear identification point for the northwest Dülkens. Finally, the importance of the complex for the entire city of Viersen should be pointed out: This city, which has long been so seriously shaped by the economic activity of a company, today has almost no trace of the original, economic-technical presence of this company in the cityscape. Buildings such as the Villa Kaiser and the Stadtbad, founded by Kaiser in 1906, must have an almost unrelated effect in an urban structure that no longer has any evidence of the once massive presence of the buildings and facilities with which the Kaiser Group gained the economic power that first gave it qualified for buildings and foundations such as those mentioned above. Therefore, if such a system survived in the company founded by Josef Kaiser's brother Heinrich in Dülken in 1900, which had a direct social and functional relationship with the Kaiser company from the start, it should be preserved for the former "Imperial City". Viersen should be an urgent concern, which the easily recognizable possibility of re-use of the building is beneficial.	Early 1900	Feb 26, 1997	363
	Wayside cross	Dülken Eintrachtstrasse map	The colorful corpus of Christ from the 18th century is located on a modern wooden cross from the 20th century The crucifix is ​​another important example of the numerous religious street monuments in the Viersen area, for the popular piety of this region. For scientific, in particular religious-historical and folkloric reasons, the preservation and use of the crossroads according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest .	18th century	0Sep 7 1994	353
	Gasthof Kamp	Dülken Eligiusplatz 10 / Westwall 51 map	These are the buildings of the former Gasthof Kamp or its outbuilding. The front building was probably built as a branch of the Gasthof Kamp around 1816. This brick-facing building with a gable roof has two floors. The three-axis facade is symmetrical. The entrance door is slightly drawn in in the middle of the ground floor. The window and door have flat brick relief arches, whereby the door and the left window as well as an arch in the middle are connected by a wide-spanned relief arch. This indicates an earlier structural change. The windows are fitted with wooden shutters. Your sills are renewed in concrete. Some of the windows at the rear have been closed. In 1980 the building underwent a total change inside. H. Coring. Only the transversely vaulted cellars with segmented arched openings in their partition walls are still there. The back building as the actual inn - connected by a single-storey extension since the renovation in 1980 and now only used as a residential building - is popularly known as "Kamp-Bräues". It was probably built around 1700 in half-timbered houses. This building was also completely changed inside and an extension was added. The wall facing the courtyard was faced again during the renovation after the gable collapsed using the old visible framework. Two windows on the garden side were also closed. The gable side of the wall received the entrance door through an extension of a window. The door in the connecting wall, which is built in conjunction with the rear building, has been reduced to a window. The building complex, which belongs together and forms a unit, still shows the historical, small-scale development of Dülken in its original external appearance of the facades as well as in connection with the old city wall and the partially original division of the window openings or divisions. It is thus shaping the cityscape. The restaurant tradition is continued under a new name. Both buildings have an urban design effect. Together with their old connecting wall, they resume the course of the city fortification wall between the small gate for pedestrians and the newly built prisoner tower. Towards Eligiusplatz, the front building, together with the Eligiusplatz 10 building, shapes the space. For scientific, in particular local history, urban planning and space design reasons, conservation and use are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	circa 1816	0July 9, 1985	36
	Residential building	Dülken Eligiusplatz 12/14 card	The two-storey brick building with a gable roof, which is located in a pronounced corner on the Siegfried Line, was built in the second half of the 19th century at the latest. The house built in four to two axes with brick-facing front and rear was restored in 1978. The windows, shutters and the front door were renewed according to the old model. Windows and doors on the two long sides have flat, brick-built arches, the front door is emphasized by a stepped reveal. The sills of the windows in the front and the steps leading to the house are made of stone (?). The row of small windows in the jamb was bricked up. On the west gable side, the left ground floor window was closed and the right was expanded to become an entrance door. The building with a vaulted cellar (approx. 2.00 m high) on the street side only has a corner wall in its western corner that is rounded in the foundation and continues up to the roof in the visible masonry. The building is integrated into the old city wall of Dülken or, today, protrudes into its alignment. In 1825 the area of ​​the trenches and partly that of the ramparts in Dülken was sold to the citizens. Subsequently, a development that included the remains of the old city wall became possible. It is noticeable that there is no cellar on the wall side, rather there is an unusually thick (approx. 80/90 cm) masonry, which then tapers upwards in a paragraph. It can therefore be assumed that part of the old city fortifications is contained in the house. The floor of the courtyard, which is enclosed with a repaired wall, was raised by one meter. The house is part of the building fabric of today's old town center of Dülken that is worth preserving. The original, simple brick facade of the house, only accentuated by the balanced division of window and door openings, as well as its integration into the former city fortifications, inherits the historically evolved appearance of Dülken. For scientific, in particular historical, city fortification and urban planning reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	2nd half of the 19th century	Apr 10, 1985	35
more pictures	Old orphanage	Dülken Eligiusplatz 2 map	The house Eligiusplatz 2 (formerly Lange Straße 96) in Dülken, known as the "Old Orphanage", originally a residential building with a courtyard building (probably a factory), goes back in its current form to the Cornely entrepreneurial family. The Cornely family was one of the most important entrepreneurs in Dülken in the 18th and 19th centuries. In the 1801 list of residents, the owner of the house on what was then Langen Strasse, in place of today's “Old Orphanage”, is given as Melchior Cornely, a beer seller. Other family members were v. a. Goldsmiths and merchants. Johann Cornely (1787–1868) is also referred to as a goldsmith (1813) and later as a merchant. Around 1820 he founded a cotton factory with Matthias Gierlings in Dülken. In addition to other public engagements, he founded the secondary school in the former Kreuzherrenkloster together with HA Kamp and Gierlings in 1833. At around the same time, around 1830, he had his own property on Langen Strasse converted into a stately neoclassical house. Gustav August 1865 owned a wool spinning mill in Dülken by his sons, while his brother Friedrich Leopold was a notary in Aachen. Towards the end of the 19th century, the Dülken branch of the family probably moved completely to Aachen, where Gustav August traded as a pensioner and winery owner. The tombstone donated by the children for Johann Cornely and his family has been preserved in the Dülken cemetery and is protected as a memorial. Gustav August Cornely donated the house on Langen Strasse in 1889 to the Catholic parish of St. Cornelius "for the purpose of establishing and maintaining a Catholic orphanage". As “St. Josefs Orphanage ”was run by sisters from Divine Providence from Steyl until a new building was built in 1912, the orphanage founded by Cornely. After that it was mainly used as a residential building (with a hall in the back building). In 1970 it became municipal property and was extensively rebuilt for cultural uses (library, meeting place, etc.) from 1978-80 under the direction of architect Heinz Döhmen. The origin of the house is unknown. On the original plan from 1825, the rear building is already registered in its current size, the front building, however, is even smaller than the one existing today. It was probably still a two-story, five-axis building with a side passage, similar to the neighboring house Kamp. As evidenced by the classical language of form, the conversion, i.e. H. Increase by one storey with a new roof design and a standardized facade, created around 1830 by Johann Cornely, so that the property has since then been composed of a representative front house and a courtyard building that is probably used commercially. Further major construction measures were carried out at the end of the 19th century by the Catholic parish for the orphanage use: construction of a new intermediate building between the front and courtyard house (1890), preparation of a hall on the first floor of the courtyard building by removing the ceiling and redesigning an open roof structure ( 1895; master builder in both cases: J. Jos. Gormanns). Renovation and renovation 1978-80 created a new spatial structure inside. The complex of the "old orphanage" consists of the front former residential building, an almost equally large courtyard house and a narrow side connecting wing (renewed 1978-80). The residential building presents itself in the form of the renovation around 1830 as a three-storey eaves brick building with a gable roof, eight window axes wide, with a strong cornice on beam head consoles and a flat, dwarf-like triangular gable with a similar cornice and thermal bath window. The ground floor still reflects the older division of a five-axle house with a side arched passage and house entrance in the third axis from the right, i.e. H. before the renovation in 1830 in the central axis. The house front is drawn in front of the neighboring house Kamp (Lange Straße 94), which creates a window axis to the side in the right gable. The window openings are in simple wooden frames, which are covered and relieved by arches in the masonry. They are provided with shutters throughout. The entrance, which is raised over two steps, is framed with a natural stone wall, and the double-winged entrance door is likely to have come from the renovation at the end of the 19th century. Between the first and second floors there is a plaque with the words “Old Orphanage”. The side gable and back are designed as a simple brick facade, only structured by (glare) openings. The front building is only partially basement. The rear courtyard building is a simple two-story brick building with a gable roof. Particularly noteworthy here is the large vaulted cellar, which indicates extensive storage and thus suggests that the original purpose of the house was a manufacturing building. The hall on the upper and attic floors that resulted from the renovation in 1895 has also been preserved; the barrel-like ceiling was added in 1978-80. The intermediate building on the side and the interior of the front building were redesigned during the renovation in 1978-80. The spatial structure has been preserved in parts, e.g. B. the readability of the middle corridor access (with old bluestone tiles) and passage in the front building, as well as in large parts of the roof structure. The "old orphanage" is one of the few preserved patrician houses in the center of Dülken (comparable to the houses in Specken - Lange Straße 14/16 - and Thum - Lange Straße 85). Accordingly, it has been referred to as an architectural monument for decades, the symbolic effect of which is evidenced by numerous illustrations in prominent places. With its stately structure and the distinctive front, it is a dominant feature in the southern area of ​​the village, its effect enhanced by the creation of Eligiusplatz as part of the urban redevelopment and the ensemble with the neighboring house Kamp. The connection between the front and courtyard houses ideally illustrates the early industrial unity of living and working. Especially in contrast to the neighboring Kamp house with its older forms of construction, it can also be shown how economic success and the need for representation prompted a befitting renovation of the building. The historical structure of the "old orphanage" has changed due to the renovation in 1978/80 BC. a. suffered greater losses internally, but overall it is still determinative and clearly present. The "old orphanage", Eligiusplatz 2, is therefore important for Viersen (Dülken). For the reasons described, there is a public interest in its preservation and use for scientific reasons, in particular for local and architectural-historical reasons as well as for urban planning reasons. It is therefore a monument in accordance with Section 2 (1) of the Monument Protection Act of North Rhine-Westphalia. The monument value relates to the front and rear buildings, without the intermediate wing newly built in 1978/80.	End of 18th century	Jan. 23, 2007	467
	Mostertz House	Dülken Eligiusplatz 4–6 card	It is a single-storey house in the center of Dülken. It stands at the gable facing Eligiusplatz, formerly Lange Straße. In its origin it is a three-aisled half-timbered house with four containers. The construction time cannot be determined exactly. According to the studies available so far, it is possible to date the core inventory to the 17th century, which would make it at least one of the oldest surviving houses in Dülken based on current knowledge. Later the house was partially rebuilt and expanded, most recently in the 1st half or mid-20th century with a studio extension for the painter Heinrich Mostertz, under whose name the house in Dülken is still known. The basic structure and core building fabric have essentially been preserved to this day. The house already shows its old age in the facade view through its gable position and the clearly legible division into a central nave and two narrower sides on the left and right (here probably later asymmetrical). What is essential, however, is the core structure still preserved inside. Characteristic are the nearly square floor plan (10.90 × 9.90 m side length) and the three-aisled internal structure, i.e. the division of the house into three zones. It is formed by the core structure of half-timbering with the two offsides. This disposition, which is clearly to be found in the house, corresponds to the findings of G. Eitzen, which he found on the oldest houses in the region and which could be confirmed by the most recent building studies on other properties (e.g. Krefeld-Oppum, Hauptstrasse 344). The original building structures also include the wall that divides the core structure and on which today's stairs are located. The house is built in the middle zone up to the transverse partition wall with a brick vaulted cellar. The three zones of the house are separated from one another by longitudinal walls that extend into the roof structure. The half-timbered structure is visible as a stud structure on the top and bottom floors. At least two of the formerly four containers are still visible, stiffened by relatively steep struts. In the attic it can be seen that all walls are closed by a loam stacking with wickerwork. The flooring still has the oak planks from the time of construction, which have a remarkable width of up to 60 centimeters, which indicates great age. The dividing wall that divides the house, also made of half-timbered houses with mortised beam and middle class, shows strong traces of soot. According to the findings, a fireplace or open fireplace must have been located on this wall, which would also be expected from a structural typology. The wall divided the building - as it does today - into the front and rear buildings. It is very likely that the front building in the middle zone originally only had a very high floor, reaching up to the attic and not otherwise subdivided. The current division into the first floor and the first floor as well as the second transverse partition are likely to have taken place with the installation of the stairs in the late 19th century. Many details speak for this, but especially the construction visible on the upper floor. A mighty oak beam spans the house across the ridge, supported on the sides by pinned headbands. The existing wall was only added to the construction in the 19th century. The cross-section of the beams and the construction suggest a high, one-story room dimension. In contrast to the middle zone, the offsides, at least the right one from the time of construction, were presumably two-storey from the start. The oak staircase of the house has been preserved. However, it was adapted to the new spatial dimensions of the 19th century and sawed into two parts. One section serves as an attic staircase, the second mediates between the different upper floor levels from the back to the central zone. The staircase was originally in the back side, which was reserved for pure living. In the middle part, a “mixed zone” with residential and economic functions can be assumed. This is supported by the presumed hearth / fireplace, the size of the room and the vaulted cellar from the construction period. It cannot be ruled out that the property is a smoke house. Since the left lower side and the rear part of the house (presumably up to the left longitudinal inner wall) have been rebuilt, the original functions can only be named hypothetically by analogy with other objects: the stable part could be in the left side, and a living room in the rear half also had a bakery.	17th century	unknown	490
	Wayside cross	Dülken Ernst-Hellmund-Platz map	The cross made of shell limestone with neo-Gothic decorative elements rests on a high, tapering base. This is followed by the base of the cross substructure, which is formed from the footplate, valley and bead. In the footplate there is the inscription: H. Feldmann, Dülken. In the middle block of the cross, a three-pass motif is reproduced on three sides in an ogival recessed field. On both sides of the dazzling pointed arch, foliage is engraved in the stone. A profiled end cap, in which the regulae (small strips) taken from the Greek Doric architecture are particularly striking, closes the central block. The crowning cross rests on a small base, which is decorated with a quatrefoil at the front and a pointed arch motif with a protruding roof on the sides. The arms of the cross with a body made of bronze and the INRI symbol end in a semicircle. The current position of the cross is not the original. It used to be in front of the fool's mill. It was only moved to the west side of the square in 1954. For scientific, in particular religious-historical and folklore reasons, the maintenance and use of the crossroads according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	1903	0Sep 7 1994	349
more pictures	Narrenmühle ( formerly: Holtzmühle)	Dülken Ernst-Hellmund-Platz 11 map	History: 1505 Mention of the drinking mill in front of the Süchtelner Tor as a meeting point for all fools outside the city wall and the city ban (possibly earlier) February 21, 1554 Foundation of the Moon University September 9, 1800 Destruction of the drinking mill by a hurricane 1801 Reconstruction of the drinking mill 1809 Construction of the current one Narrenmühle by Wittib (widow) Holtz for use as a grain mill in front of Gladbacher Tor October 2nd, 1880 Destruction of the drinking mill by fire. 1906 Shutdown of the mill operations of the Holtz mill. Transfer of the Holtz mill to municipal ownership. 1912 The mill is raised by 1.80 m. Construction of a massive substructure and the associated complete repair of the mill 8 September 1912 Opening of a local history museum 11 November 1937 Handover of the jester mill from the city to the jester academy for use and supervision July 7, 1950 Completion of the "Great Wisdom Hall" “As a meeting place of the Narrenakademie on the ground floor of the mill house Aug. 3, 1952 Opening of the Narrenmuseum in the substructure of the mill Nov. 1956 Generous redesign of the Windmühlenplatz including the relocation of the Hochkreuz Nov. 11, 1960 Renaming of the windmill forecourt as Ernst-Hellmund-Platz (Ernst Hellmund (1887–1960) head of the Narrenakademie since 1937, authoritative and trend-setting for the reconstruction of the Narrenakademie). Sept. 26, 1961 Completion of the following repair work: Renewal of the wings, new painting, renewal of the shingle roof of the mill house Oct. 3, 1963 Elected Dr. Gustav Fetten as Rector Magnificus Oct. 1964 Replacement of the war-damaged senator's table with an oval, rustic oak table, built around the mighty oak king July 26, 1968 Completion of the following repair measures: Renewal of the outside staircase and the shingle roof of the museum Nov. 6, 1986 Election of Dr. Volker Müller as rector vicarius while holding his office as secretary Description: The Dülkener Narrenmühle is a closed post mill. The originally rotatable, box-shaped mill house rests on a trestle that is surrounded by a round stone building. This carries a tent roof covered with wooden shingles. By raising the mill by 1.80 m, the substructure is considerably larger. The horizontal, superimposed cross sleepers rest on the wall panels of the substructure instead of cuboid stone plinths. In the middle of the threshold cross is the very heavy wooden tree, a roughly hewn oak trunk, which is also called the stand. Four diagonal cross struts additionally support the house tree. Above the top of the cross braces is the saddle, i.e. H. four mortised oak beams enclose the stand and give the mill house additional support. This prevents the house from hitting the side in strong winds. Likewise, the trestle is not under the center of the mill, but shifted a little forward in the direction of the blades in order to better absorb the wind pressure and to keep the balance. The mill house, on a rectangular floor plan with a shingle-covered gable roof, has two floors. In the lower is the flour storage, today the "Great Wisdom Hall", in the upper the stone storage, which houses the grinding aisle. There is a balcony in front of the rear entrance. Above that, a freight elevator is anchored under the roof. A pulley with a rope running over it can pull sacks of grain up through a trap door in the floor of the balcony. The stairs to the balcony are extended by an additional run with a platform by raising the mill. It no longer hovers a few inches above the ground. The "stert", firmly anchored with a support beam under the balcony on the floor of the mill house, no longer leads through the longitudinal staircase. It is attached to the support structure of the new central platform. With a mill to be turned into the wind, the “star” hovers freely above the ground. At its end it carries a reel with a rope. The mill house can be pulled in any desired direction by rolling up the rope. The pegs around the mill indicate this earlier function. The grinder in the stone storage facility is still in tact. The “flour bar”, also known as the “hammer”, is hung on the house tree. The "flour bar" is the support structure for the second floor of the mill house with the grinder. In the roof of the mill is the wing shaft, a roughly hewn oak beam. A cylindrical iron body is embedded in its rear end, which in turn rests in a sliding bearing made of Katzenstein (a soft oily slate). An iron bracket prevents the wing shaft from swinging out. The plain bearing is used in a support beam of the roof structure. The large comb wheel made entirely of oak is attached to the vane shaft. It has approx. 65 teeth or combs approx. 50 cm long. Wooden brake shoes are arranged in a ring around the cam wheel and the side surfaces are ironed. The horizontal rotary movement of the vane shaft is transmitted from the comb wheel via the bunker, also called crown wheel, to the vertical upright shaft. The upper end of the “king” is mounted in a transverse support beam of the roof hood. Its lower end rests on the grinder of the stone floor. The spur gear is attached to the vertical shaft at a height of approx. 2.00 m. This moves a smaller spindle wheel. The spindle wheel is rigidly connected to the iron spindle that drives the grinding process. The grinding process consists of a firmly anchored floor stone (20 cm thick) and a rotating stone (35 cm thick). The grind is covered by a round wooden panel. The grinding funnel including vibration protection sits on top, and the ground grain can be filled into sacks via a flour chute. Unfortunately the cladding and the grinding funnel are missing at the moment. A supplement is desirable in order to be able to demonstrate the grinding function. The wing shape of the windmill is assigned to the sail gate type. The wings consist of two rods that are attached in their middle to the head of the wing shaft. Half a rod each forms the supporting beam of the wings. Each wing has three longitudinal slats and 22 short transverse slats on one side of the half-rod. Meaning: The windmill on Rheindahlener Straße is the only one that has survived, of the four former windmills in Dülken. The Höckmühle on Amerner Weg and the mill on Cap Horn were both demolished in 1811, while the drinking mill in front of the Süchtelner Tor, the original Narrenmühle, burned down completely in 1880. Only the mill in front of Gladbacher Tor still documents the beauty of a bygone rural culture. The closed post mill, built only for grain grinding, is fully functional in its grinding process except for the missing wooden cladding of the grinding stones and the grinding funnel. It can show the workflow of the forgotten miller's trade. Furthermore, since the demolition of the drinking mill, it has been the center of the carnival hustle and bustle of the Dülken fools. Since at least 1554 the fool's academy, known far beyond the city and state borders, has been under the sign of the windmill. The Narrenakademie is the only society that scientifically shapes Lower Rhine humor. Meetings of the senators take place in the “Great Wisdom Hall” of the Narrenmühle. In the substructure, an extensive collection shows a large number of documents and curiosities from the Fool's Academy. Pictures show the senators riding around the windmill with their hobby horses. This ride traditionally takes place on November 11th. takes place every year and attracts numerous onlookers. The Narrenmühle, bearing the crescent moon as a weather vane as the landmark of the lunar university, is thus an unmistakable landmark in Dülken. For scientific reasons, especially for folklore and local history reasons, the maintenance and use of the windmill are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1809-1912	0Sep 7 1994	239
	Hols-Fels-Hof	Suchteln Feldchen 38/39 card	The Hols-Fels-Hof, which is located near the Pletschbach in a typical landscape way, was built in 1617 according to a bar inscription. It underwent structural changes in the 18th and 19th centuries. The beam with the inscription IN HOIS FElS HDF AN DER BEIFERT STRATEN 1617 DEN 6 IVNY served on the eastern gable side as a lintel of the entrance barn door, which was probably widened during a renovation in 1836. The beam was kept in the family of the previous owner, who had lived there since 1709. At that time, instead of the thatched roof, the building was given a hollow tile roof with thatched docks. The farmhouse is built in post construction (oak wood construction) with 4 pairs of posts. Today some of these have been renovated. The single-storey brick courtyard in non-solid axes has a pronounced crooked hip roof, which after the renovation - since 1980 - has been pulled down excessively on the gable sides. The newly built dormer windows, which were placed disproportionately on top of the crouched house with the roof pulled down, also seem strange. The building can be assigned to the type of hall house in the Lower Rhine region, the lining of which was originally separated from the kitchen-cum-living room by a double fireplace (now unilaterally renewed). The two sides are unequal wide; the southern long side is partly set back. The room layout (as it contains three apartments today) has been changed extraordinarily so that the old, typical floor plan is barely noticeable. In addition to the backing of the outer walls, new walls were drawn in, some of which are not aligned with the line of the back side. Sanitary wards were installed in the hall area and the ceiling opening in one part of the house was pulled up into the ridge. Due to the high groundwater level, the house did not have a vaulted cellar (the current cellar is new) and therefore no opkamer. But there used to be three wooden wells in the house that have not been preserved. The northern long side and, where necessary, the south side were also rebuilt. Two windows of the original door and window openings on the west gable side have now been bricked up. On the east gable side there was probably the large gate instead of the narrow entrance door today. When the floor was renovated, the mud-tamped floor was still visible. The exterior of the building, which has been altered to a great extent today in its external appearance (the former barn was changed by a towing roof), has lost its typical layout on the inside. The core of the typical wooden frame work of the original residential / stable house still exists. But the structural changes and renovations are dominant. It is therefore questionable whether the building, which is characterized by its cultural landscape, its historicity, its Lower Rhine farmhouse architecture, which still exists at its core, has its significance for scientific reasons, in particular folklore, historical, settlement-historical reasons for the purpose of conservation and use in accordance with § 2 (1) of the Monument Protection Act of North Rhine-Westphalia is in the public interest.	1617	Jan. 14, 1985	9
	Half-timbered building	Süchteln Feldstrasse 52 map	The single-storey, brick-faced half-timbered building on Feldstrasse, in a typical landscape location, has a half-hipped roof. The anchor pins in the front (north-western) gable show the year and capital letters 1771 R and in the rear (south-eastern) GHTF 1760. An earlier date of origin is assumed. The timber frame barn is an old barn that has been demolished elsewhere and was built here in 1982 in place of an earlier barn building. The courtyard is built in post construction (2 posts, oak wood construction) and, as a former living / stable house, belongs to the Lower Rhine hall house type. The upper part of the south gable still appears as a half-timbered structure and on the eastern long side. In the course of time, the farm was rebuilt in which half-timbering on the long side was replaced by brickwork. The northern gable wall and the eastern long side were also rebuilt in 1909. In the end, the building was only used in a modified form as a residence by several families. The renovation (1975-76) restored the house to its previous floor plan, if possible. The gable and long sides were rebuilt and the outer walls reinforced from the inside. The interior walls were also partly rebuilt. All outside doors and windows were renewed according to old models. But instead of the presumably original entrance to the threshing floor, a wider door has been placed today. Inside, a modern brick fireplace (probably a double fireplace in the past) separates the former kitchen-living room from the former feed wall. An Opkamer lies above the brick-walled vaulted cellar of approx. 1.80 m high. Overall, the room layout has been retained with the dominating original stud frame. The ceilings were newly drawn in and wooden parts were replaced. The roof structure with the slightly curved struts is still preserved. The floor has been re-tiled according to the tiles found. As a typical smaller farmhouse in the style of the Lower Rhine hall house, the building has retained the characteristics of the hall and the visible stand construction, even after renovation according to modern living requirements. The extensive historical floor plan was preserved as far as possible. For scientific, in particular settlement history and folklore reasons, the preservation and use is in accordance with § 2 (1) of the Monument Protection Act of North Rhine-Westphalia in the public interest.	1771	Jan. 11, 1985	8th
	Emperor Warrior Monument	Viersen Freiheitsstrasse map	History: The death of Kaiser Wilhelm I on March 9, 1888 and his son and successor Friedrich III. only 99 days later - on June 15 - there was an occasion everywhere in the German Reich to commemorate the founding of the empire and the wars that preceded it - especially the victorious campaign against France of 1870/71. In many places, this gave rise to the desire to keep the memory of this great time of the “heroic emperors” alive for future generations through monuments. For this purpose, a citizens' meeting was held in Viersen on June 26th, at which Mayor Stern was elected chairman of an executive committee (1). The fellow citizens were asked to donate and in August the collection began. After its completion, all sections of the population - from workers to wealthy manufacturers - contributed to raising the 14,5000 marks estimated for the construction of the monument. For cost reasons, one had to do without an artistic statue made of metal or a fountain and instead be content with an obelisk or a "Gothic column". One tended to tend towards the latter, as it would appear friendlier than the strict shape of an obelisk. A member of the committee recommended the monument on the Drachenfels as a model, which was erected in 1857 according to plans by the Cologne cathedral builder Zwirner, inspired by the Gothic high cross between Bonn and Godesberg, and restored in 1876. As a result, on October 28, a Sunday, a select committee went to Koenigswinter to inspect the Drachenfels monument. In December, Joseph Kleesattel, architecture teacher at the Düsseldorf School of Applied Arts and at that time probably already working on the plans for the St. Josef Church in Viersen-Rintgen, built in 1889/91, received the order to erect the monument. Kleesattel is considered to be one of the most important architects of late historicism in the Rhineland (2). Most famous is the neo-Romanesque St. Rochus Church in Düsseldorf from 1894/97, which was destroyed in the last war, and in Viersen he also restored the west tower of St. Remigius (3) in 1895/97. The foundation stone was laid on the Kaiser’s birthday, January 27, 1889, on a square on Lindenstrasse, which the heirs of Baron von Diergardt had given to the city for this purpose (4). The Viersen master Jacob Cuylen erected the building, which was made of basalt lava and Ruhr sandstone slabs around a masonry core - certainly made of brick. Wilhelm Schnitzler made the base from Viersen; the stonemasonry and sculptural work came from the Schäffer & Walter brothers' art workshop in Berlin. The wrought-iron gothic enclosure by the Viersen art locksmith Wilhelm Kox (5). The work was unveiled on October 20th of the year following the birthday of Friedrich III. following sunday. Description: The monument rose on a four-tiered substructure nearly five meters square; the monument, which is also square in plan, had a largest edge length of around 2.30 meters; the height from the ground to the top was more than 14 meters. The elevation above the substructure was three-storey: on a basement, from which a plinth was in turn separated, stood the main storey, about a third higher than that; Above it was a crowning tower, which alone was almost as high as the basement and main storey combined. The basement and main storey were accompanied at the edges by two buttresses placed at a corner, spanning both parts, which grew out of the square base plate in the plinth. The profiled cornices that separated the individual zones - base, basement and main floor - were cranked around the pillars. The greater height of the main storey was accentuated by the fact that the buttresses above the cornice separating the storeys receded over a slope. At the top, crab-studded eyelashes closed off the sides. The surfaces of the main storey had pointed arches supported by pillars; the capitals of the columns and the friezes connecting them were adorned with oak leaves. In the pointed arches, in turn, pointed clover-leaf arches were set; In each of the arched fields sat a Hohenzollern eagle with a banner. The gussets that remained above the pointed arches were filled with three-pointed ends. The accompanying buttresses ended above a cornice in two-tiered pinnacles that towered over the eyelashes. The tower crowning the monument only had the edge length of the sides of the main storey between the buttresses. It was again in three parts and in its two lower zones a reduced and simplified repetition of the lower storeys: Above a plinth corresponding to the basement, which ended at the level of the finials that closed off the eyelashes of the main storey, followed the main part - the main storey - effective in the view similar - possessed cloverleaf arches set in pointed arches and was finished with eyelashes crowned with finials. Here, too, the corners were framed by buttresses ending in pinnacles, but in keeping with the rest of the simplification, only one at each corner. A slender, crab-studded helmet crowned by a finial - about as high as the two lower parts of the tower floor together - formed the top of the entire structure. The meaning of the monument was conveyed by the decoration between the buttresses of the basement and main storey and the inscriptions carved there, the letters of which were formerly gilded. The west side showed a bronze plaque on the main floor with a portrait of Wilhelm I, framed by a laurel and oak branch, above it the imperial crown, underneath on a ribbon the name, below the iron cross in the basement the inscription was written in stone: My people trusted me God! He gave us the victory !, on the banner of the eagle in the arched field: God with us. On the east side there was an identical bronze plaque with the image of Frederick III. let in, in the basement the words: Fearless and persistent! Learn to suffer without complaining !, with the eagle: Suum cuique. The north and south sides had stone tablets with oak leaves and palm trees in the basement and stone inscription tablets on the main floor. In the north was written: In memory of the sons of this city who remained in the campaign of 1870–1871, and on the ribbon of the eagle sitting above: For Emperor and Empire, in the south: The German Emperors Wilhelm I and Friedrich III. Erected in honor in 1888. and with the eagle: From rock to sea. The memorial thus made the history of the young empire vivid in a short but comprehensive manner. On the one hand, it is dedicated to the dead of the war, from which the suitable empire emerged, which consequently only fell thanks to a subsequent definition of the emperor and empire (6), and on the other hand to the two emperors, who as the Prussian king and military commanders played their part in the creation had this from the rock to the sea, from the Alps to the sea. In addition, both princes were characterized separately as personalities: Wilhelm I, who wrote, for example, after the battle of Sedan: What a turn by God's leadership or after the ratification of the Preliminary Peace of Versailles: The Lord of Armies has visibly blessed our undertakings everywhere. ..He be honored as a godly monarch (7); Friedrich III., Whose motto Learn quietly without complaint can also be related to his fatal illness (8), as the hope of the liberal bourgeoisie through the coat of arms of the Black Eagle Order Suum cuique (Each his own), which has become the Prussian state motto. A comparison with the monument on the Drachenfels shows that the elevation system was adopted for the Viersen monument: the lower storeys combined by buttresses placed across corners as well as the tower storey supported by simple buttresses, and finally also the cloverleaf arches set in pointed arches. An essential difference is to be noticed in the proportions: the tower floor of the Drachenfels monument is not only of the same width as the main floor, it is even higher and thus acts as a further main floor. Thus Zwirner's work appears slimmer and more pillar-like at roughly the same height - around 15 meters. Kleesattel's design cannot, of course, be seen as a tracing back to the exemplary Godesberg high cross for Zwirner, which has a tower storey that is only slightly smaller than the main storey; because in Viersen the main floor with the dedication inscriptions and the images of the emperors is much more emphasized. Here, the content framed and housed by the architecture emerges as the main thing and purpose, while at the Godesberger Kreuz and even more at the Drachenfels the pillar-like architecture itself and thus the “painting character” predominates. The Viersener Kaiser-Krieger-Denkmal can easily be classified by the monument of the time, even if at first glance the Gothic form does not correspond to the popular idea of ​​a monument of this era. Only a monument erected by J. Otzen in Thorn in 1880 and the Kaiser Wilhelm monument in Wülfrath-Aprath, which was built into the Niederberg landscape and inaugurated in 1890, should be mentioned here (9). However, the Viersen monument gets its special significance from the fact that it was the work of an architect who later made a name for himself with important church buildings. The Gothic form that was ultimately used instead of the obelisk, which was also being discussed, cannot be explained solely by the friendlier appearance, the historicist appearance of the time or the fact that Kleesattel was busy planning a church in Viersen. Görres had already criticized the predecessor of the Zwirner Drachenfels monument, an obelisk erected by Vagedes, in 1814 for being reminiscent of French customs. The Gothic, on the other hand, has been considered a peculiarly German creation since Goethe's work "Von deutscher Baukunst". So it might seem necessary to use this style for a memorial commemorating the rebuilding of the empire (10). The fact that the victory over France and the founding of an empire were repeatedly portrayed as the result of divine will and action may - perhaps in the subconscious and therefore not documented - have influenced the decision in favor of the Gothic, which has essentially been handed down as a sacred architectural style. In a city shaped by Catholicism like Viersen, this sacred meaning could also be understood as a counterweight to the honor of the Protestant secular Prussian rulers (11). That there was a thought in this direction can be seen in the document embedded in the top of the monument, in which the finial crowning the monument was expressly designated as a symbol of redemption (12). In contrast, the top of the Drachenfels monument was decorated with an iron cross at the request of Friedrich Wilhelm IV. The hope of the builders that the monument would remain intact for posterity who were happy in peace and harmony (13) was not fulfilled. Two more wars destroyed the German Reich again; The monument was once seen as a beautification of the city - it fell victim to sober thinking about purpose and had to make way for a street widening in 1962. With the exception of the bronze panels, however, the individual parts of the architecture have been preserved or supplemented to such an extent that rebuilding would be possible. This would not only give Viersen a monument back to its own history, it would also reproduce a remarkable document of the important historical architecture of the Rhineland.	1889	July 30, 1987	155
	Villa Küppers	Viersen Freiheitsstrasse 181 map	The two-storey villa in what was then a free-standing, exposed location at the city entrance, directly opposite the former train station, was given a particularly representative design at the turn of the century. In the striking corner location, the house is oriented in three axes to the former Kaiser-Krieger-Monument and also with three axes to the former train station. The corner is emphasized by a polygonal bay window with a tower top. The plastered facade is structured by the sandstone walls and neo-Renaissance ornaments. The little gabled house that runs in the middle of the hipped roof is remarkable. The year of construction is dated to 1899 on the side facade. Coming from Freiheitsstrasse, the building marks the confluence with Lindenstrasse and thus becomes an immediate focal point. The elaborate facade and roof design typical of the time characterizes the contemporary building type of the stately villa with a more metropolitan character, which here reflects the historic cityscape. For scientific, in particular urban planning, architectural and historical reasons, the maintenance and use of the building is in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1899	0Nov 4, 1985	44
	Post office building	Viersen Freiheitsstrasse 190 map	Erected in 1927 (Postbaurat Agatz) in the form of brick architecture typical of the time. Free-standing corner building on an L-shaped floor plan with a curve towards Bahnhofstrasse. Three-storey above a base, red-brown brick facing, cross-frame windows in muntin division as well as rectangular dormer windows in a row, mansard roof. Design of the visible sides in 3: 11: 13: 3 window axes; Profiled brick pilaster strips that are offset from the building corners around an axis, the brickwork of the window frames staggered. Central emphasis of the long sides by entrance portals in ceramic walls with figural reliefs under a horizontal roof and iron balcony grille with eagle. Above the eaves roof house with five axes in brick structure and border cornice decorated with double spurs. Backs: simple perforated facades interrupted by slightly pre-built, four-story tower-like staircases with slanted roof helmets, staircase windows coupled in pairs in a geometrical-ornamental division. Despite some changes, the building is an important testimony to the architecture of the 1920s. Its preservation is in the public interest for scientific reasons - above all for architectural and historical reasons - as well as for urban and traffic-historical reasons.	1927	June 28, 1988	159
	formerly colored weaving mill (Nottberg + Sohn)	Viersen Freiheitsstraße 206 / Viktoriastraße 13 map	History: On July 15, 1890, Friedrich Schelkes founded a “mechanical colored weaving mill”. He ran the company for six years with partner Reinhard Nottberg and then founded the “Viersener Buntweberei” with the entrepreneur Brand. On August 31, 1896, the Nottberg & Schelkes company was renamed “Nottberg & Sohn”, with Reinhard and Adolf Nottberg as partners. The new company went into operation in mid-March 1897. According to the construction file, the Krefeld architect Joh. Reck built a new “mechanical colored weaving mill” on Viktoriastraße in Viersen for the company Nottberg & Sohn from the beginning of 1900. The building application submitted on Jan. 18, 1900 was approved on Feb. 3, 1900, and the shell was accepted on July 17, 1900. The start of operations will probably take place in 1901. According to the planning, it is a weaving mill for 108 looms together with the associated boiler and machine house, preparation room, weighing chamber, picking room, duplicating room, sizing room, toilet, washing and dining rooms as well as storage, office and Residential buildings. From 1906 "Kohlstedt & Crone", "Duisburger Buntweberei" operates as the owner, who - probably after the Second World War - is replaced by the "Friedrich Wilhelm Greef silk weaving mill"; from which the current owner Joh. Gehlen acquires the property. Description: The current building stock of the weaving mill between Viersener Freiheits- and Viktoriastraße was built in two uniform building projects in 1900/01 and 1922, whereby the second construction phase is of somewhat less importance. Both plans - with the exception of a few simplifications for reasons of savings - have been implemented without compromises and have so far not undergone any significant changes. The front on Viktoriastraße is determined by the rhythmic division of fields in the shed hall area of ​​the weaving mill, to which on the street side a window-exposed storage room wall is overlaid, in the area of ​​the building from 1900/01 five-fold by pilaster strips. In the manner of the time, the raised outer wall hides the sawtooth-like roof shape of the shed halls by means of an attic zone. The component built in 1900/01 is characterized by an extraordinarily rich design: pilaster strips, secondary and main cornices are set off from the darker ground by light-colored red bricks. The main cornice is formed by three-pass shaped stones in a gothic triangular arrangement. Brick motifs embedded in the light ground as well as dark ornaments on a light ground reinforce the impression of a representative design oriented towards the main side of the factory (Viktoriastraße). To the south of the shed roof zone, the two-and-a-half-story office and residential building rises above the continuous ground floor. Lighter pilaster strips and cornices - again Gothicizing here - structure the three-axis building. The gabled house, decorated with ogival blinding motifs, is flanked by two smaller, also richly decorated dormer windows. The south front to the side of the factory entrance jumps back after a triangular gabled axis. This is followed by the entrance axis and another axis windowed by ox eyes. The upper floor of the residential building, which protrudes beyond the rear extension, is also kept in one of the main viewing sides with nothing below the complexity. A single-storey low-rise building for the washing, dining and toilet facilities follows the east-west access road. After three axes it jumps at right angles, after another axis with a quarter-circle profile, and after further three axes encompassing the factory entrance for the workers, it steps back again in two steps. After the last two axes (all ten axes are broken through with arched windows or the gate system), the rectangular boiler house, which also runs east-west, jumps to the south. At the same time, the machine house is built on the north side. Both have fan attachments spanning the ridge, that of the machine house is shorter than the attachment of the boiler house. The front walls of both buildings are decorated with diamond and triangular fields. The latter are inscribed with step motifs. All of the recessed decorative fields have block-frieze-like decorations made of light bricks on a dark background. The outer longitudinal walls of the double system are windowed. In the west of the boiler house section, the free-standing square chimney base follows, which merges into the cylindrical chimney shaft via an octagonal transition zone. The plinth and cornice zone are also adorned with stair friezes in light brick, the chimney itself has two-dimensional triangular, quasi-textile, light red decorative motifs at the lower and upper ends. Today's front to Freiheitsstraße shows openly the shed roof profiles. The wall surfaces are structured in steps and have ornamental decorations in light brick. After three staggered sheds, the extension zone added in 1922 follows in the north, which shows horizontal roof closures on both Freiheitstrasse and Viktoriastrasse. The four-part view of Viktoriastraße is not windowed through and has a simple structure with flat pilaster strips and cornices. In the interior of the building, the original window fittings should be emphasized as far as the residential and office building is concerned. The weaving room from 1900/01, comprising three shed trains, shows three sets of cast iron pillars comprising ten columns, the four shed roof tiers of the 1922 extension have riveted steel profile columns. Mechanical equipment such as transmissions, steam engines or looms have not been preserved. Rating: The facility listed under Il of the former Nottberg & Sohn colored weaving mill from 1900/01 with the extension from 1922 for the Duisburg colored weaving mill Kohlstedt & Crone is, to the extent described, a monument within the meaning of Section 2 (1) of the NRW Monument Protection Act. The facility is important for cities and settlements and for the development of working and production conditions. There are artistic, scientific and urban planning reasons for preservation and use. The state of preservation of the entire facility can be described as exceptional. The original structure has remained almost completely unaffected by alterations and additions, an extremely rare case for buildings in trade and industry. The expansion carried out in 1922, using advanced technical achievements (steel profile instead of cast supports), is seamlessly integrated into the design and structure of the original building. In particular, the company view from Viktoriastraße today offers the opportunity to perceive a small textile factory that was once characteristic of Viersen, with the single-storey weaving room behind a prestigious street front, along with administration and residential buildings. From the Freiheitsstraße, the other typical elements of such a company can be seen without any effort: the boiler house and machine house including the chimney and the shed front, which is functionally uncovered (originally pointing to a byway). What should be emphasized about the entire complex is the magnificence of the building, which is well above average. This is not only evident in the richly ornamented alternation of the brick material with its two-dimensional and plastic decorative motifs (especially on the chimney). The main entrance of the plant on the south side is rather seldom designed in an almost neo-baroque floor plan, which is not often found in this form. The south side has been treated as a fully valid view side in a manner not described below on the east front on Viktoriastraße. The former colored weaving mill Nottberg & Sohn is thus an exemplary monument to the structure-defining textile industry in Viersen as it appeared at the turn of the century. Together with the nearby Goeters cotton mill in Gereonstrasse, which is fifty years older, the city's most important branch of industry is documented in two major economic-historical epochs. The facility between Viktoriastraße and Freiheitsstraße characterizes the in full bloom historicism and eclecticism of the industrial building of the turn of the century with its wealth of neo-Gothic and neo-Baroque elements of the external appearance, while the disposition of the individual parts of the factory - power generation, work surfaces, administration and living - the state of technology reflecting time. This also applies to the expansion of the 1920s, which adapts to the existing facility in terms of design using more modern construction technology. The richness of the appearance and the almost original state of preservation in addition to the presence of all the original architectural elements make the former colored weaving mill a fully valid industrial monument.	1901-1922	05th June 1992	300
	Gravesites, Kroll, Cornely Middeldorf, pastor	Dülken Friedhof Dülken Arnoldstrasse Bl. 6 345 map	The entire complex consists of three tombs. The middle granite cross with the body of Christ, which towers above the other two, stands on a high, profiled base. In the base of the cross is the inscription Mercy my Jesus! The grave cross is framed on both sides by a low granite wall with corner pillars. A large grave slab rests in front of the cross. The two flanking crosses are made of the same material as the middle one and have the same shape. They differ from this one in terms of size and the cross inscriptions. On the left side in the cross substructure is the Christ monogram or the Constantinian cross. At the grave cross on the right side, the saying 0 crux, spes mea! Appears under the Christ monogram! There are two grave slabs in front of this cross. For scientific, in particular local historical and religious historical reasons, the conservation and use of the monument are in the public interest according to § 2 (l) of the Monument Protection Act of North Rhine-Westphalia.	around 1900	May 29, 1991	266
	Haass burial site / Löh cemetery	Viersen Friedhof Löh map	On the three-tier marble stele with a simple triangular gable there is an applied cross, over which a branch of flowers is also applied. Below is the inscription in applied fracture: The resting place of pharmacist Everh. Haass born May 9, 1838 died Oct. 8, 1866 Sabine Haass b. Better born Sept. 7th, 1849 died Nov. 27th, 1921 In the base rest in peace In front of the tombstone is a name plate made of white marble Here our dear little Fritz rests () May 1904 () July 1605 The late classical stele shape, which consists of the three main elements base, tapered central section and triangular pediment is typical of the late 19th century. The change from sandstone to polished marble also represents the taste of the times. The stone is one of the oldest gravestones in the Löh cemetery, which opened in 1864. In 1869, Everhard Haass took over Viersen's second pharmacy, the Adler Pharmacy (opened by Friedrich Gattung in 1813) from his predecessor Franz Coenen. For scientific, in particular art historical and local historical reasons, the preservation and use of the grave site according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia are in the public interest.	before 1900	Dec 21, 1994	354
	Grave site of the Joseph Heckmann family	Viersen Friedhof Löh Block 11, grave 1054-1059d map	In the Middle Ages, the dead were buried right next to the church in the church yards. This close proximity to the church should also symbolize closeness to God. With the Church's dwindling influence and the triumph of the Enlightenment, concern for the health of the living and the related hygienic considerations gained more weight than concern for the salvation of the dead. The grievances in the Catholic cemetery at the Remigius parish church - bad smells, multiple burials in one grave - as well as in the Protestant cemetery behind the Kreuzkirche - drinking water pollution - led to a communal cemetery being laid out on the Löh in 1866. When it comes to design, preference is given to “park cemeteries”, which are modeled on landscape gardens. The Viersener Friedhof is a beautiful and good example of this. The horticultural imitation of nature serves to convey the idea that the deceased is returning to the lap of nature. It does not stay with the living, as in the medieval cemeteries, but is returned to the earth from which it was taken. The two major denominations were taken into account in the construction of the Löh cemetery, in which two cemetery chapels were built and each funeral procession was given separate access to the cemetery through a representative gate. Immediately by the cemetery chapels, on large graves with mostly imposing gravestones, the important families and personalities who shaped the city of Viersen in economic, political, social and / or ecclesiastical terms can be found. Description In the immediate vicinity of the Catholic cemetery chapel at the Löh cemetery, the high cross and the priest's crypt, there is a sarcophagus made of the same material on an approximately one meter high multi-tiered base made of black Swedish granite slabs. This rests at all of its four corners on mighty bronze paws that imitate the paws of big cats. Their claws are clearly visible. A life-size, naturalistically crafted grave angel made of bronze leans over him, placing a palm branch on the coffin lid with his right hand. His left arm is bent against the body. The floor-length, flowing robe with ample folds lies with its hem over part of the stepped base. The tunic has a rectangular neckline, the extensive border of which is adorned with raised stars. His left leg is bent and stands on the top step. His bare foot peeks out from under the robe. His left leg is stretched back slightly and rests one step lower. Its body-sized, spread wings show clearly elaborate plumage. The head is tilted slightly to one side. His gaze goes to the palm branch in his right hand. The serious, introverted facial expression and the long parted hair refer to the Nazarenes, as the followers of Jesus were initially called after his death on the cross. In art, Raffael and Albert Dürer were referred to as Nazarenes because they also wore their hair parted so long. Today, artists of the 19th and early 20th centuries are referred to as Nazarenes whose artistic work had a religious content. They saw themselves committed to the pre-Reformation period. Lustful angels of the baroque were strictly rejected by them. Angels play an important role in many cultures. In Judaism, Islam and Christianity, angels are messengers or spirit beings who act as mediators between heaven and earth. As grave angels, they are supposed to establish a connection between the deceased and his family. As protection for the deceased, the angel is to accompany him on his last journey. The palm branch reinforces this desire. He recalls the entry of Jesus into Jerusalem and his greeting by the people. It stands for the resurrection of the dead and their reception in the hereafter. The middle part of the triptychally arranged plate base bears a triangular gable and the inscription JOS. HECKMANN JOSEPH HECKMANN GEB. 9. FEBRUAR 1855, GEST. 9. AUGUST 1919 HEDWIG HECKMANN GEB. SCHMITZ GEB. 12. OKTOBER 1855, GEST. 17. JULI 1931 LEOPOLD HECKMANN GEB. 24. JUNI 1886, GEST. 4. JULI 1947 left side: Dr. JOSEPH HECKMANN GEB. 14. JANUAR 1881 ZU VIERSEN GEST: 7. APRIL 1905 IN MÜNCHEN Du achtest die ewige Kunst, und fandest sie droben im Licht right side: KLAUS HECKMANN GEB: 27. FEBRUAR 1921 GEFALLEN IN RUSSLAND ALS LEUTNANT 6.2.1943 Wenn auch in fremder Erde du ruhst, Der Heimat treuestes Gedenken bleibt bei dir. The inscriptions are inlaid in the stone in gilded fracture. In front of it there are two name boards: Aenni Heckmann geb. Hupertz 1891–1970 Clara Schmitz Geb. 23.7.1859 Gest. 6.3.1948 The tomb is surrounded by a knee-high granite wall. The wall consists of several parts, which are delimited at the corners and in the area of ​​the access to the grave by square, slightly raised pillars. These are rounded up at the edges and have a square surface at the end. The grave site has a complete cellar. A heavy concrete slab closes the entrance. It is not noticeable through the planting. The grave cellar, which can be entered via an iron ladder, has 10 grave chambers, 5 each in a row. These are completely closed in the upper row by white marble plates. In the lower row, much smaller white marble panels have been embedded in the closure panels. The names and dates of the dead can be found on both panels in inlaid gold-plated letters. Two ornate cast iron candlesticks hang between the nameplates in the upper row. The floor is covered with white and black tiles in a checkerboard pattern. The Joseph Heckmann family is the son of Leopold Heckmann senior, who was born in Cologne in 1830. His wife Maria Schaub came from Elberfeld, a stronghold of the textile industry in the 19th century. Lured by the favorable working conditions in the velvet industry in Viersen, he and his brother-in-law Karl Schaub founded the velvet and silk factory on Lindenstrasse (today the location of the district police service building) in 1853. He lived with his family in a stately villa across from his factory. Leopold Heckmann Sr. got involved in various ways in his new hometown Viersen. He was one of the founders of the Viersener Beautification Association and was a member of the Quartet Association, the men's choir "Liedertafel" and the gymnastics club. He donated generously money for the needy, but also for works of art such as B. the choir stalls in the parish church of St. Joseph in memory of the communions of his two grandchildren Joseph and Leopold. In 1914 Leopold Schaub sen. as a partner in the Schaub & Heckmann company. Maria Franz Peter Joseph Heckmann, the namesake of the grave site, is the only child of Leopold and Maria Heckmann. There is no evidence that he had taken up employment in his father and uncle's company. In his various obituaries, reference was made to his rank as first lieutenant in the Landwehr and, in connection with this, to his chairmanship in the Landwehr Support and Warrior Association. Like his father, he was involved in some social institutions such as the city's poor administration, on the board of the administrative board of the Catholic orphanage, on the board of the Fatherland Women's Association and on the board of trustees of the city high school. But his special love was music, a passion that was enthusiastically shared in his family circle. His wife Henriette Ottilie Hedwig Schmitz was the daughter of the Viersen doctor Aloys Schmitz, who with his "Medical Topography" gave an authentic picture of the everyday life of the people in the Viersen area. She had nine siblings and a. her unmarried sister Clara, who is remembered by a memorial stone on the tomb. Joseph and Hedwig Heckmann had three sons. Franz Aloys Joseph Leopold, Lorenz Aloys Leopold and Aloys Lorenz Leopold. The middle son Lorenz died after a few days and is not mentioned in the grave complex. The eldest son Joseph finished his law studies in 1904 with his doctorate at the University of Rostock. He then moved to Munich to study music, especially composition. Only two of his works have appeared in print with music publishers; his parents published a third posthumously after his sudden death at the age of 24. His entire estate was burned in a bomb attack on his parents' house on Lindenstrasse. The youngest son Leopold, called Pölli, continued the family tradition of running an artistic and musical house. After the Second World War he founded a group of artists named after him. A picture by his painter friend Heinrich Nauen shows him as a cello player. Another memorial stone commemorates his wife Anna Luise Hubertina Heckmann, née Hubertz. Their son Klaus died as a lieutenant in Russia in 1943. Artist The bronze figure is signed in the robe below: H. Stockmann, Cologne 1902 Heinrich Stockmann was born on September 5th, 1859 in Eine an der Ems (Warendorf district). After an apprenticeship as wood carver and sculptor, he studied at the Düsseldorf Art Academy from 1885 to 1887. He was a co-founder of the "Association for the Promotion of Sculpture Art in Rhineland and Westphalia" based in Düsseldorf, where he was based from 1885 to 1894. He later lived in Cologne from 1897 to 1906. Heinrich Stockmann created a number of monuments such as the Queen Luise Monument (1888) and the Kaiser Wilhelm Bust (1900) in Mülheim an der Ruhr, the two two Emperor monuments in Wuppertal-Ronstdorf (1888–1890) and Moers (1890) , the Kaiser-Friedrich-Monument (1893) in Heilbronn or the Kaiser-Wilhelm-Monument (1898) in Bottrop. In addition, was the winner of competitions for monuments that were to be erected in honor of Kaiser Wilhelm I, Kaiser Friedrich III and Empress Augusta. He was also one of the sculptors who, in 1900, were commissioned by the Cologne Sculptors' Association to create 71 figures for the upper floors of the Cologne City Hall. The tombs for important families created by Heinrich Stockmann show an interplay of monumental stone structures and bronze, life-size figures. For example, he created a temple-like structure for the Hoeltgen family in Düsseldorf's North Cemetery, in the portico of which there is a male figure with sweeping gestures. The Schürenberg / Funke family grave at the Ostfriedhof in Essen consists of an obelisk on a high pedestal with half-height pillars on the sides, the consoles of which are decorated with bronze volutes, coats of arms and urns. In front of it stands a life-size figure of a grieving woman. At the Melatenfriedhof in Cologne, he created the same gravestone complex for the Schanzleh family as for the Joseph Heckmann family. Only the red granite distinguishes the two grave monuments. It cannot be ruled out that the Heckmann family spotted the grave complex while walking through the Melaten cemetery. There were family contacts through Leopold Heckmann senior, who was born and raised in Cologne. Heinrich Stockmann was one of the artists who worked nationwide. He knew how to bring the zeitgeist into his classicist designs. In his sepulchral art he met the taste of the wealthy upper class. Heinrich Stockmann died in Bonn in 1906. Monument value With its heterogeneous combination of elaborate materials and monumental grave figure, the grave complex built in 1911 is typical of the representative claim of the bourgeoisie at the time, to which the Heckmann family belonged. With the creation of the new cemetery on the Löh, the social position in the family graves was also reflected in the design of the grave, a typical development of the sepulchral culture of the 19th century. While the less well-off were buried in a row grave, mostly unadorned and spatially separated, the upper middle-class circles acquired crypts and adorned their graves with elaborate monuments. They also showed their prominent position in society with the location of their election grave. In the immediate vicinity of the Catholic death hall and next to the 4.00 m high neo-Gothic grave cross made of sandstone for the pastor Josef Schroeteler, the grave of the Joseph Heckmanns family stands in the most prominent place that was available in the Catholic part of the Löh cemetery. Since the cemetery was designed as a public park and was intended to invite people to take a walk, the Heckmann family could be sure of the attention that went beyond the death of the individual. The monumental tombstone also shows the possibilities that had advanced through technology and industrialization in the processing of grave monuments in the course of the 19th century. The transport of the hard rock by railways and steam ships brought a large selection, also from distant regions and countries. Improved technical possibilities allowed the processing of the hardest materials, so that a tombstone of the Joseph Heckmann family consisting of several blocks and the sarcophagus could be produced at all. The angel sculpture reflects the family's piety and closeness to the Catholic Church. He interprets belief in the resurrection. With the choice of the Cologne sculptor Heinrich Stockmann, the family demonstrated their artistry. He was one of the established artists of sepulchral art between 1887 and 1906 in Germany. It is irrelevant that the angel figure is not unique and that it was made in 1911 before the grave was bought. For scientific, especially artistic and local historical reasons, the preservation and use of the Joseph Heckmann family's grave complex is in the public interest in accordance with Section 2 (1) Monument Protection Act. Sources Stadtarchiv Viersen family advertisements from the Viersener Zeitung Source research Dr. Marco Kieser Landschaftsverband Rheinland / Office for Monument Preservation in the Rhineland Reinhold Hörkens Association History for All e. V. Viersen literature Norbert Fischer: From the Gottesacker to the Crematorium - A Social History of the Cemeteries in Germany since the 18th Century. Revised version of the dissertation at the University of Hamburg, 1995. Axel Greuvers, Marcus Ewers: Deadly customs through the ages. Exhibition catalog. Viersen 1999. Axel Greuvers: The painting “Double View from the Hohen Busch in Viersen”. In: Heimatbuch Kreis Viersen. 2013, pp. 311-318. Jutta Pitzen: A Rhenish expressionist work by Heinrich Nauen in the graphic collection of the city of Viersen. In: Heimatbuch Kreis Viersen. 2012, pp. 276–283. Karin Schmitz: The industrial development of Viersen from 1806–1898. Written homework. Viersen 11965. Association for home care e. V. Viersen (Ed.): Viersen - contributions to a city. Volume 5, 1983.	1902/1911	Jan. 16, 2013	511
	Grave site of the married couple Gerhard Kreutzer	Viersen Friedhof Löh map	The compact, representative tomb is made of red Main sandstone. The arched stone with domed roof and pillar element is associated with a chapel. The low round arch is framed by broad, faceted blindwork, which in turn is framed on both sides by dome-like pillars. In the center of the arch there is a relief of a marble poppy seed capsule, the allegory of sleep. A copper plate is inserted into the arch, which is fixed by three rosettes. In attached fracture it bears the inscription: The resting place of the married couple Gerhard Kreutzer RJP In front of the arch is a desk-like, raised, rectangular sandstone slab with the inscription in an inlaid fracture: Franz Kreutzer * 29.8.1899 † 21.5.1977 Gerhard Kreutzer * 17.1.1833 † 25.1.1893 Hilde geb. Wolters * 4.3.1902 † 14.8.1986 Scholastika geb. Kohlen * 28.4.1835 † 5.8.1899 The round arch has an expansive cornice with reduced acroteria. A bust of an angel is applied to the indicated triangular gable. The gable is blunted by an attached, polygonal dome. A slightly tapered, polygonal pillar, stepped by strips, rises from its center and is richly decorated with crabs under its domed roof. It is crowned by a hollow circular element. The stone is signed in the foundation: J. Bermbacht + Co. Uerdingen / Rh. In the massive, compact tomb, typical for the turn of the century, classicist and neo-Gothic style elements come together, but this does not lead to a monumental overload. The closed, self-contained form, the tinted stone and the applied reliefs form a successful synthesis that was not a matter of course at this time. The Kreutzer family is one of the oldest craft families in Viersen. Gerhard Kreutzer founded a carpenter's workshop in the second half of the 19th century. His son Franz developed a construction company from this that existed until the 1960s. He draws as an architect a. a. Responsibility for the Viersener generator hall, the Catholic elementary school Hülsdonk and a large number of town houses in the city center. For scientific, in particular art-historical and local-historical reasons, the preservation and use of the tombstone are in the public interest according to § 2 (1) of the Monument Protection Act of North Rhine-Westphalia.	1893	0Dec 6, 2007	472

Web links

Commons : Cultural monuments in Viersen  - Collection of images

• Monuments in the district of Viersen ; Accessed September 12, 2011
• City of Viersen: CULTURE AND EDUCATION - architectural monuments ; Retrieved November 5, 2011

Individual evidence

1. ↑ viersen.de
2. ↑ viersen.de
3. ↑ viersen.de
4. ↑ viersen.de
5. ↑ viersen.de
6. ↑ viersen.de

 Map with all coordinates: OSM | WikiMap