List of architectural monuments in Viersen (G – L)

The list of architectural monuments in Viersen (G – L) 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
	Villa Marx	Viersen Gerberstrasse 20 map	The former villa of the leather manufacturer Karl Marx was built in 1921 according to plans by the well-known Mönchengladbach architect Robert Neuhaus. In 1950 the property was sold by its owners at the time, the Rath siblings, to the diocese of Aachen, but it was not cleared of occupation facilities until 1957 and then converted and expanded to become the retreat house of the diocese of Aachen ("Remigiushaus"). The building is set back from the street behind a contemporary enclosure wall. Behind the house there is a narrow but unusually deep garden plot. A long new building was erected in it in 1957/58 (architect: Hermann Josef Leo, Viersen). The villa is a two-storey plastered building with a basement floor and a neo-baroque style with a mansard slate roof (the upper part is now tiled). The building, which was erected on an almost square base, is expanded on all four sides by variously shaped extensions - a "classic" motif in villa architecture since the Renaissance, later to be found on a different scale in Maisons de Plaisance of the 18th century. The mansard floor has segmental arched dormer windows at regular intervals. The exterior of the villa shows itself in elegant restraint, to which, however, small purifications from the 1950s also contribute in detail. The middle of the street-side facade is emphasized on the ground floor by a three-sided bay-like porch, which forms an exit in front of a group of three windows or French doors on the upper floor. A window axis flanks this central axis on the right and left. A circumferential thin cornice separates the two floors, the cornice is accentuated by a flat, classifying block frieze. The tall rectangular windows have straight lintels; to the front on the ground floor they are crowned by a straight beam with a semicircle and shell motif. The main entrance is on the left in a single-storey rectangular porch with a hipped roof and triangular gable. The original front door (two-winged with glass inserts in coffered fields decorated with cross shapes and a trophy-like ornamented skylight) is raised over three steps in an ashlar frame. The entrance is flanked by small annex rooms (storage / cloakroom), at the back of which there is a former servants' entrance (also with the original door) - the kitchen was intended to be adjacent to it in the draft plans. The small, upright rectangular windows of this porch are provided with decorative grilles. On the garden side, the single-storey winter garden, which is common in buildings of this type, was arranged with an exit on the upper floor. During the renovation in 1957/58, the exit was closed; the extension is connected to the side of the three-sided winter garden with an articulated building, which today serves as a kind of vestibule to the rooms of the old building. In the interior, despite the change in use in the 1950s, the room layout and furnishings are essentially, e.g. Some of the details are still originally preserved. The focus is on a stately staircase hall with two-flight stairs on two sides and a gallery on the upper floor, which opens up the other rooms in the center. The staircase between the ground floor and the first floor is lavishly decorated (ornamented handrail boards, beginners' posts), and between the first and top floors, it is kept simple as usual. Wooden wall cladding and doors including cladding contribute to the dignified impression of the room, as does the chimney that is common in halls of this type. The old entrance hall, in which a few steps lead to the ground floor level, is designed with a barrel vault and has a subtle stucco structure with belt arches on pilasters, frieze and ceiling mirror. A two-leaf hall door (wooden frame with large glass inserts) with a skylight and subsequent coffered ceiling paneling accentuates the transition from the hall to the stairwell. The large rooms arranged around the hall on the ground floor, formerly the reception, dining and salon rooms, still have parquet floors, wall and radiator cladding, mostly made of dark precious wood, and stuccoed ceiling decorations (central rosette with throat frieze). Noteworthy and indicative of the attention to detail in the furnishings are the varying overlay designs. Double doors and wall cupboards contribute to the largely original appearance of the room. According to the building application drawing, the fourth room on the first floor originally contained the kitchen; this is now in the basement. Equipment details such as wall cladding and cupboards have also been preserved in the rooms on the upper floor. The arrangement of subordinate rooms on the mansard floor (formerly, among other things, probably staff rooms) is also still legible. The property is closed to Gerberstraße by a metal fence with natural stone pillars crowned by large lantern attachments. The associated garden has been cut in its unusual size by the extension, but its generosity and design can still be experienced. The current routing and room structuring may go back to the change of use in the 1950s, but corresponds in the main features of the curved paths with the design plans from 1921. The architect Robert Neuhaus (1864–1934) was a native of Krefeld. From 1887–94 he lived in Cologne, where he ran an office as a freelance architect with Carl Schauppmeyer. In 1894/95 he moved to Rheydt, after first being awarded the third prize and then the execution in the competition for the new town hall. In 1895/96 the monumental Rheydt town hall was built according to his plans in a historicist style (similar to the town hall in Hamborn in 1902), as were the famous houses at Bismarckstraße 97 and 99 in Mönchengladbach around 1900. In the period that followed, Neuhaus and his partner August Stief developed into an important villa architect in Rheydt and Mönchengladbach, who designed the residential and country houses for numerous entrepreneurs in both cities. The extremely stately Villa Hecht, Mozartstr. 19 in Mönchengladbach, built 1914–16 in neo-baroque style, and the new buildings on the Zoppenbroich estate for Ernst Bresges. Neuhaus died in Wassenberg in 1934. The complete works of Robert Neuhaus have only just begun to be seen. The prominence of his clients and the construction tasks assigned to him identify him as an important architect in great demand in the region. Stylistically, the changing tastes of the decades between 1890 and 1930 are reflected in his well-known buildings. In addition to neo-Gothic and neo-Renaissance designs, there are numerous neo-baroque examples, especially in the late period after the First World War , including the Villa Karl Marx in Viersen. Other buildings from Neuhaus in Viersen are the Villa Ernst Heine, Heimbachstr. 12, and the former administration building of the Maschinenfabrik Gebr. Heine, Greefsallee / Ringstraße, both buildings are protected or applied for as historical monuments. Neuhaus described his design philosophy in a self-portrait of his office, which was built around the same time as the Villa Karl Marx, as follows: “Some of the residential houses are richly designed in real stone, but the simple plastered buildings are predominant. They can serve as a school example of how the simple town house emerged from the time of need in architecture. It is noticeable that these extremely simple houses look more elegant, like the villas of the past, lavish times before the great war, which are overly decorated with bay windows, turrets, ornamental forms and gables. The fact that this smooth construction with the simple roof shape offers few points of attack for the weather and that damage cannot occur as easily as a result, may be noted as a particular advantage. By avoiding all external expenditure, the available resources could be used all the more to create a comfortable and tasteful interior. If the funds were also approved for the furnishing of the main rooms, including the new furniture according to special designs by the architects, exemplary apartments could be created in a cultivated objectivity. The good connection of the house with the garden is usually brought about by an open hall and in cases where the redesign of the garden was in the hands of the architects, perfect solutions were achieved so that the garden really appears as an extended apartment here . "(Source: Lit 1, page 5f.) It is a clearly preserved example of upscale bourgeois living culture from the early 1920s in Viersen. In terms of style and history, the building stands for a neo-baroque style in villa construction, separated from historicism and art nouveau, which was widespread as a form of dignity in the early twenties. The house is therefore an important link between the important Viersen entrepreneurial villas from the founding and imperial times before 1914 and the more modern residential buildings of the late twenties, then with brick-expressionist elements or in a neo-objective design language. As a design by Robert Neuhaus, the house is also the work of an important architect and therefore also of architectural historical interest. An essential part of its architectural and historical quality is the preserved historical room layout and furnishings as well as the stately enclosure to Gerberstrasse. The Villa Karl Marx, Gerberstraße 20, is important for human history and for Viersen for the reasons mentioned. There is a public interest in their preservation and use for scientific, in particular architectural-historical reasons. It is therefore a listed building in accordance with Section 2 (1) of the Monument Protection Act.	1921	Apr 18, 2002	434
	Plague cross	Viersen Gereonsplatz map	history The affected population was mostly powerless to face the plague, an acute infectious disease usually transmitted to humans by rat fleas. At the beginning of the 17th century, thousands died of this disease in the Rhineland; in Viersen alone, the number of deaths is said to have been 2000 within 2 years. Since the medical knowledge was insufficient, the cause of the plague was seen in the alleged corruption of the air by ominous star constellations or in well poisoning. People sought help in their need in faith. St. Rochus was venerated as a special plague saint, who, according to tradition, was afflicted with the disease but recovered miraculously, as well as St. Sebastian, who was killed with arrows and therefore seemed able to ward off the "plague arrows" of infection. In Viersen all priests died of the plague, so help was requested in the monastery in Sonsbeck. Two of the three sent priests also succumbed to the epidemic, the third fell ill, but survived like the priests of the Minorite monastery in Venlo who were now delegated to pastoral care. In gratitude for the "liberation" from the terrible disease, on the Monday after St. Remigius (October 1st) in 1620, the three clergymen and the community stopped in front of the house on Neumarkt (today Gereonsplatz), where the last plague sufferer died was a solemn procession. They erected a cross and made a vow to renew this thanksgiving procession every year on that day. During the French period from 1798 to 1815 this procession was banned and the cross was temporarily removed. In 1857 the rotten wooden cross was replaced by a new stone neo-Gothic cross designed by the Cologne cathedral builder Vincenz Statz, which cost 500 thalers. At the beginning of the 20th century it was given a new bronze body. Since the house on which the original cross stood was closed for traffic reasons, it has been vacant on a widened sidewalk. description The 6.50 m high cross stands on a two-tiered base. The lower cross structure ends with a sloping cornice, which carries a smaller console on the front side. The central building is designed on each side in the form of a crab-covered eyelash with a three-pass arch. A wreath of finials leads to the crowning cross with the bronze body of Christ. The cross bars are polygonal. The following Bible verse can be found as an inscription on the front of the cross: “He was wounded for our sins. Isaiah 53: 5 " The body shows the typical representation of the suffering Christ since the Middle Ages. On the plague cross, the wounds of the flagellation become a symbol of the plague bumps of the sick. His portrayal becomes a reflection of the emotional distress of the people at this time. Vincenz Statz, 1819–1898, member of the Cologne Dombauhütte, was an important architect of the Rhineland in the 19th century. As a neo-Gothic he has made a special name for himself in church construction, primarily in the diocese of Cologne. In the urban area of ​​Viersen, the foundation stone for the extension of the St. Clemens Church in Süchteln was laid on March 22nd, 1855, according to a plan by the “master builder Vincenz Statz from Cologne, who is highly recommended for church buildings”. From 1855 to 1858, the later parish church of St. Maria Hilfe der Christisten in Süchteln-Dornbusch was built according to his design, initially as a chapel. From 1864 to 1866 the nave of the parish church of St. Remigius in Viersen was repaired according to his plans. For scientific, especially folklore, local history and religious history reasons, the preservation and use of the plague cross according to § 2 (1) of the Monument Protection Act are in the public interest.	1857	0July 6, 2004	454
	Villa Heimbach residential building	Viersen Gereonsplatz 23 map	The representative residential building in an exposed location has two floors with a mansard roof in five axes. The plastered facade with historicized decorative shapes is emphasized in the outer axes. The right axis, slightly drawn forward like a risk, is widened and gabled by the gate entrance. The left axis is provided with a bay. What is striking here are the wrought-iron crash bars in the floral decor above the blinded balustrade on the bay window. The first-storey facade, held in strip plaster, is horizontally structured by a plinth and cornice. A cornice leads to the mansard roof. There are three roof houses set up here. The year can be read in the decorative gable. The entrance of the house is reached through the former gate. This area has been enhanced by wall and ceiling painting. It is a Trompel'oeil painting: The wall of the gate passage is supposed to be broken through with the representation of a pseudo-architecture. The gaze is drawn to cypress forests against a fiery red sky. The formal language and the symbolism of the ornaments of the palace wall allow a classification of the mural in the style of historicism. The entrance leads to the hallway with colored patterned tiles and a wooden staircase. The basement, with the practice rooms of Dr. Josef Heimbach, is rather simply furnished compared to the upper floor. On the first floor, doors with frames and panels are gabled in different décor. Wall paneling and strongly structured stucco ceilings can also be found in the living rooms. Some of the rooms are equipped with oak parquet. Various elaborately crafted radiator claddings made of ceramic and sheet metal, as well as hanging lamps from the time of construction, underline the quality of living on the 1st floor. One window of the stairwell is painted with floral motifs. Equally remarkable is the garden with old trees and a path around a fountain and a three-dimensional figure. The exposed location in the center of Viersen makes the building an eye-catcher. It thus contributes to the uniqueness of the place. The elaborate façade design typical of the time characterizes the contemporary building type of a representative practice and residential building, which here reflects the historic cityscape. In addition, due to the original floor plan as well as the remarkable equipment and garden design, it is one of the residential buildings of its time that have become rare in terms of quality and state of preservation. For scientific, in particular urban planning, architectural-historical and historical reasons, the maintenance and use of the building and the gardens are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1899	04th July 1989	209
	Residential and guest house	Viersen Gereonsplatz 27 map	The residential and guest house, presumably built at the beginning of the 19th century, is a corner building facing Gereonsplatz and Gladbacher Straße. The building was originally built in seven to five axes, as can be seen from the windows on the upper floor. However, in 1888 the facade was changed. A shop window was built in here. Another measure was the renovation of the attic in 1898, the former gable roof was covered by a mansard roof and a roof house was built to light the storage facility. Already before 1879 a tavern and a permit for slaughtering for the restaurant were granted in the house. There were no special permits until the beginning of the 19th century. Only a trade police decree of Sept. 7, 1811 received the prohibition that “no trade which requires special qualifications should not be started before a police permit has been obtained.” And in 1832 the police permit should not be refused if - at the legally existing unconditional freedom of trade - "no well-founded objections to the legality of the applicant". On the other hand, however, there are increasing objections to an unrestricted increase in taverns with the consequences of criminal acts through alcoholism. The “very highest cabinet order” of February 7th, 1835 brings a change. With new concessions it was up to the hand to refuse the permit because of “lack of need”. In the already existing economies the old authorization continued to apply, unless the Owner died or wanted to move his restaurant. Then often enough the existing permit was no longer extended. Now some owners tried by making rooms available for accommodation, so that they could run a tavern. The number of inns grew from two (1840) to 50 (1872). That was definitely too much for 20,000 residents. The bedrooms had to be ready for the guests at all times; they were rarely occupied. This then led to various complaints, e.g. B. the family needed the room. So this house was also used as a hotel. This is also probably associated with the renovation of the roof. The brick plaster facade was faded into the former brick-facing house, probably in 1888 with the installation of the shop window. In a corner solution that is atypical for the facade design, the corner of the house at the intersection is angular in accordance with the original technological construction concept. On the ground floor, the facade is held horizontally in strip plaster and is horizontally structured by the surrounding cornice, window sill and cornice. The heavily structured cornice leads to the attached mansard roof covered in slate. The corner of the house is made of ashlar plaster on the upper floor. The upper floor is blinded in white bricks. The windows, bordered by profiled stucco walls, are covered with decorative forms of the neo-renaissance, such as window gables, profiled, blinded window lintels, as well as decorated wedge stones. The facade facing Gladbacher Strasse was built symmetrically in accordance with the brick-facing facade at that time. The shop window is on the right. The door is arranged in the middle. A higher roof house with a gable was originally built over the door of the mansard roof. The facade to the former Neumarkt, now Gereonplatz, also suggests an earlier central design due to the symmetry that is still visible on the upper floor and the attic. The entrance door on the left was installed later. Inside the building, the construction of the former gable roof is based on that of the mansard roof. The building is underpinned by two vaulted cellars. On the first floor, a visible timber frame bears witness to the original load-bearing wooden structure. The exposed location of the house in the center of Viersen, which, as a corner house with an adjacent building, leads into the main street in Gladbacher Straße and Gereonsplatz, makes it a direct focal point. It is also involved in creating space on Gereonplatz. In addition, the building is exemplary of the bourgeois building spirit of the up-and-coming town of Viersen at the end of the last century. The complex facade and roof design from the last century, which is typical of the time, reveals the shape and expression of the building, which was probably built around 1800. For scientific, in particular urban planning, room design, urban history and economic history reasons, the maintenance and use of the building is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	Early 19th century	June 26, 1985	45
	Residential building	Viersen Gereonstraße 3 map	Description: It is a two-story house built in 1886, eaves at the southeast end of Gereonsplatz, the central square of the Viersen "Südstadt". The house is two-story with a historical plastered facade and a gable roof. To the front it has five window axes at irregular intervals; A passage was originally arranged in the right axis. The broad positioning of the building is supported by the plastered banding of the facade and a strong cornice. On the windows and as the eaves frieze, there are also small-scale, mostly plant-based ornaments. The other outer sides of the house are exposed to brick. To the left there was originally a passage that was built over in 1893 for a horse stable with shed along today's street "An der Josefskirche". This single-storey, flat-roofed and brick-facing component has been changed by newer window openings, but has retained its characteristic structure with pilaster strips and yellow brick patterns in the red base. Inside the house there are remains of the original furnishings such as B. Terrazzo, tile and wooden floors, wooden doors, stucco ceilings and the wooden staircase with a turned starting post received. Monument value: The residential building at Gereonstrasse 3 with a side building is important for Viersen, as it clearly tells the story of the historic south town of Viersen. It was built in 1886 by master mason Martin Saveur for Peter Johannes Steffes; the extensions on the left were carried out in 1893 by the well-known building contractor Martin Küppers for the same client who maintained an apparently expanding horse-drawn vehicle business here and who perhaps also used the opportunity to upgrade the house with the decorative facade. This is also typical insofar as the southern part of the city developed into an industrial and commercial district in the middle / end of the 19th century, with numerous rather modest residential buildings and craft and commercial businesses. This development and the resulting social and spatial structure still characterize large parts of the district today. The importance of the house is also increased by the exposed location on the most important square in the southern part of the city, the historical character of which it significantly supports. Preservation and use of the house are in the public interest for scientific, here architectural and historical reasons as well as urban planning. It is a well and clearly preserved testimony to the petty-bourgeois and small-business living and working in Viersen at the end of the 19th century. This phase, which is central to the development of the city, has long been the subject of architecture-related local and social-historical research and, last but not least, also a focus of monument preservation in downtown Viersen. The typical size, shape, design and equipment of the property are essentially unchanged and in this respect suitable to serve as a source for research and interest in architectural history. From an urban planning perspective, its formative location at the south-eastern end of Gereonsplatz is of particular importance, and it helps to shape the square as well as the transition to the adjacent streets Gereonstraße and An der Josefskirche. It is also currently of importance for an inventory-oriented revitalization and development of the Viersener Südstadt. Sources and literature: building files of the city of Viersen. Werner Mellen: The Viersener town plan from 1860. In: Heimatbuch des Kreis Viersen 1979, pp. 13–24. Viersen. Contributions to a city 5th ed. Association f. Heimatpflege, Viersen 1983. On the way to the city. Viersen in the 19th century. Viersen Home Care Association / Viersen City Cultural Office, booklets accompanying the 1983 exhibition.	1886	Nov 28, 2013	509
	Old brewery	Viersen Gereonstraße 21 map	history The suburban settlement of Viersens developed on the Roman medieval Heerstraße (today Hauptstraße / Gereonstraße) running from south to north. Here, directly on the road to Mönchengladbach, the inn was probably built in the 17th century and has been in operation to this day. The Sterken family, who ran the house, hence the name of the house "Sterkshys" in old files, ran a brewery in outbuildings for centuries, which competed with the well-known Venlo beer with its products. Brewing Grut and Hopfenbier in Viersen has been customary since the 14th century at the latest. The Viersener mills supplied the malt. The monopoly of grudges lay with the sovereign. In 1343 Viersen and Lobberich paid 9 marks, 9 shillings, 4 denarii to the rentmaster in Krickenbeck at St. Remigius and Easter de fermento (= Grut). description Today, the two-storey house with the tavern has been preserved from the “old brewery”. The brick-faced facade is symmetrically divided into three axes on the upper floor, each with a window opening. The entrance with a three-step outside staircase, arranged in the middle, is emphasized by the flat triangular gable in the roof. The windows, which are divided into six parts, are attached to wooden block frames. On the ground floor there are two windows to the left of the door and a window to the right. The right window opening was built into a larger opening, as can be seen in the masonry. The door and the skylight date from the 18th century. The windows and doors on the first floor are covered with relief arches and the upper floors with vertical lintels. The wooden beam ceilings are visibly anchored in the facade with anchor pins. The cotter pins of the first floor ceiling are bent in the letters TDGSEL (married couple). The two gables of the house are curved and covered with a brick roll layer. The house's original chimneys were brought up to the top of the gable. Here the windows are arranged irregularly. In the middle of the gable, traces in the masonry point to a gate closed with bricks. Anchor pins with the letters HGDHLG are visible above. The half-timbered building formerly adjoining the gable end, probably an outbuilding of the former brewery, was demolished in 1940 due to its dilapidated substance. Inside the building, apart from the roof structure and the vaulted cellar in the front part of the house, no old substance is recognizable. The roof structure with its original oak beam construction has been visibly preserved and was recently repaired with the roof renewal. For scientific, in particular development and local history, economic history and architectural history reasons; the preservation and use of the building in accordance with Section 2 (1) of the Monument Protection Act in the public interest.	17th century	June 26, 1985	46
	Joseph Monastery	Viersen Gereonstraße 43 map	history The Catholic parish of St. Josef is separated from the mother parish of St. Remigius in 1891 and established as an independent rectorate, from 1895 a parish in the south of Viersen. The church was also completed in 1891. In accordance with the specific needs of the time and the heavily industrialized area of ​​the city, the parish has done considerable social and charitable work from the start. In 1893, for example, a children's detention center was founded in the “Josefshaus” built for this purpose (two more followed in 1913 and 1916) and in 1910 a parish monastery was moved into with a further purpose. The establishment of this "Josefskloster" is carried out by the pastor Dr. Carl Heggen operated. The start of construction in 1908 was preceded by at least two years of negotiations with supervisory bodies and the municipality about financing and tasks, which can be largely reconstructed using the documents received in the parish archive. On August 20, 1906, the Monastery of St. Joseph in Neuss, a cooperative of the merciful sisters according to the rule of St. Augustine, announced its fundamental willingness to accept a new settlement in the St. Joseph parish, which, according to the corresponding permission of the archbishopric of February 1907, outpatient nursing and "the management of an already existing and a still-to-be-founded child care school, a housework and housekeeping school and a workers' home" are to be incumbent upon. The second half of 1907 is then spent with the necessary approval from the civil-state authorities, which repeatedly request more detailed descriptions of tasks and, in particular, require proof that the new house will be built without the use of funds from the parish, as stipulated by a corresponding ministerial decree. The parish must therefore demonstrate that not you, but Pastor Dr. Heggen acts as the building contractor, compensation is made for the letting of the church's own property and that the money for construction and maintenance comes from a private foundation, namely the brothers Wilhelm and Peter Berrischen. Regarding Wilhelm Berrischen (1844 - February 12, 1924) the parish archives note that he “has been a very active promoter of all parish and church affairs since the Joseph parish was founded. For 25 years he was church manager with intelligent and exemplary management, a task that was great given the poverty of the parish church. He refused any remuneration for his office of return. Together with his brother Peter, he founded the St. Joseph Monastery and made large donations for the church. He was a member of the church council from the time the parish was founded until his death. He was a dear friend of the parish. ”The address book of the city of Viersen from 1906/07 lists him as a“ Kommis ”(ie commercial clerk) at the address Am Kloster 13. In the 1911 address book, three women are listed at this address besides him, von one of them, Elisabeth Fleuth, reports the death in 1924 and describes him there as her foster father. He is also an honorary member of the Catholic Commercial Association e. V. Viersen. Wilhelm's older brother Peter Berrischen dies on October 19, 1908 "at the age of 72". In 1906/07 he had the same address as his brother and the job title “Agent” (representative). On June 8, 1908, the Prussian Ministry for Spiritual, Educational and Medical Matters approved the new branch, “for the purpose of taking care of the care and instruction of children of Catholic denomination who are not yet of school age in two custodial institutions for small children , also the management and instruction in a housekeeping school and in a handicraft school for Catholic girls of no longer school age, as well as the care and management in a home for female workers of Catholic denomination. (...) We assume that the toddler custody and handicraft school in St. Josefshaus will no longer be managed by the first branch of the aforementioned cooperative in Viersen, but by the new branch. [Margin note v. Pastor Heggen: "The preservation school on Josefstrasse was taken over by the Remigius parish"] Only members of the order who are members of the German Reich and whose number is hereby set at five may be admitted to the branch. The maximum number of members is set at five. (...) The approval to practice outpatient nursing cannot be granted, since a need for this with regard to the already existing branches for outpatient nursing cannot be recognized. " But outpatient nursing, a main motivation for the new branch, is finally approved. However, the church must guarantee that the house will not accept sick people permanently. On June 21, 1910, the Sisters of Mercy from Neuss move into the newly built Josefskloster for 22,750 marks. In 1913 and 1916/17, two more were added to the older child care school they supervised at the Klosterweiher and on the Alte Bruchstrasse. At the end of the war in 1918, the parish chronicle records a financial emergency of the monastery and its three kindergartens, "which neither had reserves nor received grants from the civil administration" (Chronicle 1991, page 24). An important turning point in community life came in 1940, when the Augustinian sisters left the Joseph Monastery on August 15. In their place are Sisters of Mary from Schoenstatt (Chronicle 1991, page 33). For another 36 years they run a retirement home in the building on Gereonstrasse and hold retreats and community days there. In addition, they form the "headquarters of outpatient nursing, youth care, kindergartens, the care of the church screen, poor relief, the care of about ten old people ..." (Dickmann 1967, page 33f). This story ends on May 31, 1986: “The Josephskloster on Gereonstrasse is sold. Our Schoenstatt Sisters of Mary have moved into the renovated house at Josefstrasse 11. Since 1940 they have cared for an average of around ten old and above all sick people in the Joseph Monastery. With the move, this old people's home will be closed ”(Chronik 1991, p. 75f). description The three-storey brick building on the eaves rises above an approximately square floor plan (approx. 14 × 12 m), set back slightly from Gereonstrasse. Its symmetrical façade with a central accentuated by a gabled entrance projection is five axes wide. A gable roof closes the structure off at the top. Corner pilaster strips, cornices, eaves frieze and central projections subdivide the facade, which is decorated with neo-Gothic ornamental forms, into individual fields, with a vertical orientation predominating, not least due to the dominant raised central projection. The segmental lintels of the high rectangular windows are covered by pointed arches on the ground floor. The central entrance, which is raised over steps, is also nestled under a pointed arch. While the ground floor and first floor are separated by a continuous cornice, the vertical pilaster strips run through between the two upper floors so that only short pieces of cornice remain here. The central projection ends in a high, five-step stepped gable. Its flat corner pilasters form a pointed arch underneath, which covers a three-pass window, which is also pointed. On the side of the risalit, a pointed arch frieze with small pieces of stone as a wedge and cantilever accentuates the eaves. The two gable sides each have four windows arranged one above the other in the central axis, the top one illuminates the attic. The largely unadorned back of the building is plastered and also has a central projection. The symmetry he emphasized has been disturbed since 1965 by an extension on one side with a rectangular window (architect Bolten, Viersen). A similar, but on both sides and thus symmetrical expansion with high rectangular windows and terrace for the upper floor was already planned once in 1945 by the a. D. Frielingsdorf planned, but not realized. The building has stylish, double-sash split wooden windows. The apparently original double-leaf entrance door is made of oak. The building plans from 1908 that have been preserved show a regular, cross-shaped floor plan on all floors with a wide central corridor, four larger rooms in the corners and smaller rooms on the sides of the gables between the large corner rooms. In 1965, functional rooms such as the consulting room, day room, kitchen, sink and staff room are located on the ground floor, and the rooms of the nurses and cared for on the upper floor. The building, with its full basement, is accessed from a straight, two-flight staircase at the rear. Ornamental cast radiators are worth mentioning. The monastery still has the original brick wall facing Gereonstrasse; The grille and gate have been renewed. The author of the plan for the Josefskloster, Martin Küppers, with his construction business has been handed down as a contractor for several buildings in Viersen, which are now listed buildings (Bahnhofstrasse 34, Königsallee 24, Noppdorf 15 - Restaurant Zum Hohenbusch) in the 1890s. In 1920/21 he also owns an An der Eisernen Hand brickworks, with its own siding to the industrial railway - a combination that was not uncommon for building contractors in the late 19th and early 20th centuries. The Josefskloster, with its originally five sisters, is a small settlement that can only be compared with more extensive facilities to a limited extent. The monastic community idea is expressed here above all in the extremely regular and homogeneous floor plan distribution, which z. B. clearly differs from the different functionalities and room sizes of a normal residential building. The facade design as a brick shell with neo-Gothic ornamental shapes is also specific to the building type, which is no longer common in terms of style at the time of construction around 1910. For church building tasks, however, the "Cologne School" applies, i. H. the Gothic or neo-Gothic, which was expressly designated as the “Christian architectural style”, was the appropriate style in the Rhineland until the First World War. This is a time for monasteries to be full of new buildings, be it because of the rebuilding of the monastery system after the Kulturkampf or because of the increased social need in the industrial revolution for institutions for social and charitable tasks that the newly developing welfare state is not itself responsible for able to fulfill. The Sisters of Charity of the Joseph Monastery in Viersen represent one of these nursing orders, which, unlike the large contemplative religious orders, can develop relatively continuously even after the secularization of the 19th century. The building of the former Josefskloster, Gereonstraße 43, has been a focus of church social work for almost seventy years. The building, which has remained essentially unchanged, refers to a time when the city of Viersen enjoyed strong industrial growth, especially here in the southern part of the city, as a result of which there was apparently a need for social institutions like these. In addition to nursing care for the sick and the elderly, for which the civil authorities have claimed enough of their own supply facilities in the approval process, care for workers, children and girls in need should also be a task of the monastery. Together with the neighboring buildings on Josefstrasse (parsonage, chaplains) and of course the Josefskirche itself, it forms a striking center of houses from the time the parish was founded. The building of the former Josefskloster is therefore important for Viersen. There is a public interest in its preservation and use for the stated scientific, in particular architectural and local-historical reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument.	1908-1910	Apr 18, 2002	433
	former Goeters / Furmans BW spinning mill	Viersen Gereonstraße 75 map	The Goeters factory at Gereonstrasse 75 was established as a cotton spinning mill during the general boom of the textile industry in the middle of the last century. The founders were Furmans and Goeters. During the first renovation in 1892, only Goeters appears as the owner. This factory can be seen as a witness to the confrontation of architecture with the buildings of the beginnings of industry; Elements of the modern construction appear, but are hidden behind a brick facade. Even in the oldest part of the factory, a few shed roofs appear next to the gable roof. The extensions from 1896 are completely covered with shed roofs. The shed roofs are based on wooden structures and cast iron columns. The roof surface is drained in some pillars. The outer walls are raised so high with parapets that the structure of the roof remains invisible. The facade appears with a straight end, which is structured and emphasized in the cornice area by various friezes. An exception to this is the boiler house, in which the shape of the gable roof has been adopted in the gable wall. The rest of the facade design makes no reference to the light, inner support structure. The large windows of the oldest parts of the factory are harmoniously distributed in the views, but according to aspects that are independent of the internal construction. The neo-Romanesque window design is worth mentioning. The openings are spanned with a round arch. This form is repeated in the rung distribution. The founding building of the factory is made of red brick. The extensions from 1891 and 1895, on the other hand, are designed in yellow and red. The interior of the machine house is striking. The stone floor is white-brown and capitals with volute-like shapes crown the pillars. The oldest division of the factory buildings provided for a main building with the cotton mill, which was hidden behind stretched out, narrow and long storage rooms. The storage rooms show an elaborate design on the street side. The long front is divided by round arches and turrets on columns. The factory entrance is located in this front, originally under an archway. To the rear of the factory building stands the older polygonal chimney on square plinths. The factory has been expanded several times since it was founded. The first expansion took place in 1892, followed by an extensive one in 1896. The spinning room was more than doubled in size. A new machine house, a locksmith's shop, a bitter building with a dust tower and a boiler house with a chimney were built. In 1914 the factory was expanded to include a production hall. Smaller renovations followed in the 1930s and in 1949 the Batteur building was extended. For scientific, in particular architectural-historical reasons, the preservation and use of the building are in accordance with Section 2 (1) of the Monument Protection Act in the public interest.	Mid 19th century	Feb 10, 1992	232
	former elementary and vocational school	Viersen Gereonstraße 82 map	history After general compulsory schooling was introduced in the Rhineland in the first half of the 19th century and at the end of the century there was still a lack of suitable city-owned teaching buildings to accommodate all pupils in elementary schools, the school in Gereonstrasse was rebuilt in 1902. The first two classes of the existing students from the southern district of Viersen were to be accommodated here, as they were housed in rented rooms at the time. In a letter dated July 15, 1902, the administrative authority of the royal government questioned the sufficient effectiveness of this measure and caused the district council - Mr von Bönninghausen - to advise the municipal council and the school board about increasing the number of classes and teaching staff in favor of class sizes decide on. The school board then decided in its meeting on July 28, 1902, branching off individual streets of the various school districts, to form a new Catholic school district whose children should attend the newly built elementary school on Gereonstrasse. The building on Gereonstrasse was therefore used as a 4-class elementary school from the start. For this purpose, 2 teachers from the former school districts and 2 new teachers were hired. In 1928, the vocational school - Viersen - that had emerged from the advanced training schools, wanted to move into the building that had to be vacated by the new school in Hamm, as the question of space in the small school building on Friedensstrasse in which it was housed was becoming increasingly narrow. Due to the poor economic situation in the city, however, the completion was delayed and it was Easter 1930 before the move could be carried out. Until 1935, due to the compulsory vocational schooling enacted by the local statute, more and more professions were integrated into the vocational schools. This could hardly be coped with spatially, despite classes from 7:00 a.m. to 10:00 p.m. and Sunday mornings. The head of the vocational school at the time, Mr. GOL Tipkötter, pushed. The application made on December 29, 1936 to build the extension of the vocational school building was approved in 1937 and construction began. In addition, a vocational school association of the Viersener with the vocational schools in Süchteln and Dülken was founded in 1937, which existed until the municipal reorganization in January 1970. Since 1970 the school has been sponsored by the Viersen district, which has been using the school as a district music school for several years. description The 2-storey T-shaped angular building with basement and hipped roof is made of red brick and brickwork. The left wing seen from Gereonstraße counts including the entrance to the original building, the main facade of which is vertically structured by the corner concretions and the entrance projections, horizontally by surrounding, sandstone-colored, partly designed as a frieze. The two right window axes on the ground floor contain the open, two-door main entrance of the building with a staircase and are designed as a risalit, which was accentuated by polygonal corners with turrets and ended with a richly ornamented and formerly crowned gable. All door and window openings on the first and second floors of the facade are framed with shaped bricks, which form a segmented arch with a keystone and a starting stone from the above. Artificial stone are formed. The eaves is designed as a tooth frieze. The roof itself originally had 2 dormer windows with decorative decorations, which were replaced by a dormer window that went through up to this building in the extension building below. The single-storey outbuilding with a mansard roof on the left side facade is divided vertically towards the street by a central projectile with arched windows of the type described above and an accentuated corner as a pilaster, horizontally by the above. Artificial stone bands that run through from the main facade. The facade on the left has a vertical emphasis, the center of which is formed by 3 pilaster strips that open over the eaves into the roof of a dormer. The above On the left side of the facade, the outbuilding has a corner accentuation with two doors, which are designed as a risalit and take over the horizontally running artificial stone bands. In principle, the rear facade is the mirror image of the main facade with two exceptions: 1. The entrance risalit, behind which the staircase with a 3-course staircase is hidden, has a central emphasis by a window axis with large openings over 3 floors, which were created by the landings on this side, as well as a window axis to the right and left of it small openings. The final gable is adorned with the former city arms of Viersen. 2. The opening of the central risalit on the extension of the left facade is walled up and to the right and left of the risalit there are two window openings. The remaining part of the building is an extension from 1937 in a modern style, which rounds off the original building and symmetrically complements the cubage of the main building. This also includes the rear annex, which was only built on one floor. The facades are structured by window axes and ribbon windows that take up the original window proportions but no longer have any arches. The window and door openings are framed with a dark gray stone frame. The roof has been given continuous dormer windows with flat roofs on the two-storey side as well as on the schoolyard side of the single-storey building section. Inside the building, behind the entrance on the main facade and the subsequent vestibule, there is the hallway and the staircase within the older part of the overall building. The staircase consists of a 3-way flight of stairs facing Gereonstrasse with a wrought iron railing. As in the hallway, the walls are clad with beige tiles up to a height of approx. 1.50 m. In its parts and with its well-preserved facade and floor plan, the school is a witness not only to the architectural direction of the time in which it was built, but also to the cultural and historical development through the school operations that have been maintained to this day. For scientific, in particular architectural, cultural and local history reasons, the maintenance and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act.	1902/1937	28 Sep 1988	182
	gym	Viersen Gereonstraße 126 map	history In the eponymous year 1848, the Viersener gymnastics club was founded as the first of its kind in the (today's) district area. Since gymnastics in the sense of the "gymnastics father" Friedrich Ludwig Jahn also represented national political concerns, the political turmoil of 1848/49 of those years had considerable effects on gymnastics clubs. After police supervision and house searches, the new association in Viersen was temporarily dissolved in 1849. It was not re-established until 1858. In the first few years the garden of a club member, then the courtyard of a hotel and later the town square on Hoserkirchweg served as gymnastics grounds. From 1879, the association was allowed to use the new gymnasium of the high school on Wilhelmstrasse, which gave the association a noticeable upswing. Last but not least, the model of Rheydter TV, which had had its own hall since 1884, encouraged the desire for a club's own gym. In 1901 a fundraising campaign was launched for this purpose, which enabled a gymnasium to be purchased on Heimbachstrasse the following year. “When, shortly before the war, the city built a spacious gymnasium and festival hall across from the gym, the association seemed relieved of the concern of building its own hall. New difficulties arose when, in the years after the World War, the gymnasium and festival hall was used more and more for theater performances and other events, so that gymnastics often suffered as a result. The hall of the Society for Recreation, into which the club finally had to move its practice evenings, did so little to meet the demands that a gymnasium could adequately place on that the club dared to take the bold move of building its own hall. "The building application dated January 17, 1927 (laying of the foundation stone May 8, 1927; shell acceptance: October 18, 1927). "At its 80th jubilee celebration on June 2nd and 3rd, 1928, the gym on Gereonstrasse, which was built at a cost of almost 150,000 marks, was handed over to its intended use." (Salzberger 1930, page 56) After 1945, the hall was initially largely undamaged during the war Confiscated for several years as the city's food warehouse and to house refugees. Some substantial modifications (installation of glass blocks; roof renewal; demolition of a gallery balcony in the hall) took place in 1970. Heinrich Schroeren was the architect of the hall. As early as 1924, he had a factory building for the Rheinische upholstery and leather furniture factory in the same place between Gereonstrasse and Freiheitsstrasse. Holtschoppen planned. The building application documents for the shed roof construction with two wing porches are contained in the building file. Apparently it did not come to fruition. description It is essentially a two-story brick building with tiled hipped roofs on various structures that are put together to form the overall form. The necessary ancillary and access rooms are arranged in front of the rectangular hall structure facing Gereonstrasse. Its front is designed as a facade clad in clinker bricks over a base. Two single-storey, flat-roofed wings each frame a small entrance courtyard. The five-axis main front is characterized by a central projection, into which the main entrance (double-leaf wooden door with window inserts) is nested under a flat triangular opening. All corner edges of this facade are rustified in brick-like cuboid. A triangular gable crowns the central projectile. Since the porches, corner buildings and gymnasiums each have their own roofs or separate roof parts, the differentiated roof landscape particularly shapes the appearance of the correspondingly structured structure. A roof turret above the gym that can be seen in a photo from the 1920s is no longer there today. The side walls are made of simple brick without clinkering. On the back, which has been revitalized by pilaster strips, there are more recent additions. Windows have been renewed without adapting to the original cross-frame lattice windows. Inside, through the main entrance and a vestibule, you get to a “walkway”, which is arranged across in front of the gym behind it. The functions of the adjoining rooms have z. Partly changed compared to the design plan, but the floor plan has been largely preserved. At the right end of the corridor, a few steps lead to the caretaker's apartment; the main staircase is on the left front side. In between, three large double-leaf doors lead into the gym. Original frame panel doors and door frames as well as the artificial stone floor convey a vivid historical room image. The main staircase with stone steps, also originally preserved, shows remarkable iron balusters with abstract ornamental shapes typical of the time. The gym has a fine classifying wall decoration made of pilasters and cornices as well as multi-tiered ceiling valley profiles. An iron truss construction was installed to ensure the column-free span of the hall, which has a Rabitz mirrored ceiling. On the narrow right side of the entrance, there is a stage, opposite to which there was originally a gallery. On the front long side, a triple jagged gallery protrudes into the room with an almost "expressionist" gesture. Contemporary judgment The new gymnasium was one of the largest new buildings of the second half of the twenties, the "golden years" of the Weimar Republic, in Viersen. Therefore, the city presented them in detail in their self-portrayal as part of the book series “ Deutschlands Städtebau ”, where they put a photo of the hall at the beginning of the chapter “gymnastics, games and sport” and had the building history described in detail. The chairman of the gymnastics club, Ferdinand Salzberger, continues: “The VTV48 can rightly be proud of the stately building with its various tastefully furnished rooms, as the hall is one of the most beautiful in the entire gymnastics group. There is a lot of life today on the practice evenings of the individual departments. It is to be expected that the hall will be a new attraction for the club. ”And further in the national conservative style typical of the time, which among other things also provides information about the self-image of gymnastics at the time:“ The national community seems to benefit from that, the work of the DT [German Gymnastics Association] more broadly (...), while most sports clubs focus on individual top performances. If the gymnasts in the beautiful hall in the sense of Jahn maintain the body strong and the spirit healthy, then they too will do their part to ensure that the German people work their way out of the deep hardship caused by the world war and its terrible consequences and in the circle of Peoples will win their own place. ”(Page 56) Architectural historical appreciation and monument value In the way in which individual structures are functionally differentiated together to form an overall form, the gym of the VTV48 is a bit reminiscent of the Viersen festival hall, which the gymnastics club was allowed to use until the new building and whose room layout is somewhat comparable. The elaborate detail design of the festival hall could of course not be a model for the gym, which was around fifteen years younger, for reasons of cost, but also because it was not such a prestigious building. This is shown e.g. B. in the fact that the facade was only clinker cladding and otherwise simple brick masonry was left unplastered. The cubic parts of the building as well as the abstract classical forms of dignity (gable, corner blocks, wall structure of the hall) are explained by a reference to the architecture “around 1800”, as it has been practiced in traditionalist building since around the turn of the century. Depending on the type of building, this is a fusion of classical, baroque and “revolutionary architecture” forms. Compared to other gyms, mostly attached to schools, the one on Gereonstraße is not only remarkably large, its design, which is based on classic architectural languages, demonstrates a level of sophistication that goes beyond the purely functional fulfillment. From a monument preservation point of view, the room image (floor plan, doors, floors, stairs, wall and ceiling design in the hall), which has been preserved in a remarkable and rare unity, must be recorded. The disruption of the exterior building, which has also largely been preserved, by the modern windows and additions is to be estimated less, so that overall an unusually clear testimony of a gymnasium from the twenties is handed down here. Similar to the post office building at the same time on Freiheitsstrasse, it also continues the impressive number of buildings for public services in Viersen, including the town hall, various schools, the municipal swimming pool, Reichsbank, festival hall, generator hall of the electrical works, buildings for the water supply and train station a z. In some cases, it also forms a group of monuments of national importance, which testify in a particularly clear density of the early urban community of Viersen. As the hall of the largest gymnastics club in Viersen, a building project with a public, general public service function, in a qualitatively remarkable design, the building at Gereonstraße 126 is important for Viersen. Since it is still essentially vividly preserved as a testimony to the building task and the sports club in the twenties, there is a public interest in its preservation and use for scientific reasons, in particular for the architectural and cultural-historical reasons described. According to § 2 (1) Monument Protection Act NRW it is therefore a monument.	1928	July 18, 2001	417
	Viersener Hof restaurant	Viersen Gladbacher Strasse 1 map	history The residential and commercial building at Gladbacher Strasse 1 was built in 1894/95 on the corner of Heierstrasse. The “Viersener Hof” restaurant is on the ground floor, and apartments on the two floors above. In 1933 the party headquarters of the NSDAP district leadership was temporarily housed here ("Horst-Wessels-Haus"). The division of use between the restaurant and the apartments has been preserved to this day, but the ground floor also has a completely new floor plan, which connects the ground floor and basement of the three houses, Gladbacher Straße 1 and 3, and Heierstraße 2. description The three-storey building, which is located on a lively street corner and characterizes the cityscape, has a brick plaster facade typical of the 1890s with a dormer-studded pitched roof hipped on the corner (the roof covering and the rectangular shape of the originally oval dormers are modern). The corner of the house is flat; it contains the entrance to the restaurant and is emphasized in the roof zone by a dwelling. Two further entrances, the left one for the stairwell of the upper floor apartments, face Gladbacher Strasse. The design and decoration of the facade are unchanged except for a few details. The ground floor has strong two-tone plaster bands that are interrupted by large windows. The apartment entrance and the entrance on the corner, with a two-leaf (renewed) door, are arched in a basket arch, the restaurant windows on Heierstrasse and the first window on Gladbacher Strasse are also rounded off at the lintel and emphasized with wedge stones. The wide former passage to the courtyard from Heierstrasse is closed today. A group of three with a central entrance and two wide windows characterize the ground floor on Gladbacher Strasse, with the entrance framed by two ornamented pillars on high pedestals. A wide cornice leads over to the two small-scale residential floors. The brick-facing facade here is enlivened by plaster elements. In addition, the distances between the window axes are slightly varied, so that despite the 5: 1: 6 axes, there is no monotony of the sequence. The structure receives additional relief from the flat, risalit-like projection of certain groups of window axes: three axes on Gladbacher Strasse, corner axis and double axis above the former passage. The upright rectangular windows, smaller in size than on the ground floor, are cross-split and double-sash. With the exception of the corner axis, according to old photos, the division and proportion correspond to the original condition. The window axes are each set in a striking plaster frame. For example, a parapet strip with offset, diamond-coated parapet areas above the cornice extends around the facade. The windows of the first floor sit on top of it, framed by pilasters set with candelabras and alternately covered by triangular and segmented gables on volute consoles. According to old photos from before the Second World War, there is a balcony in the corner axis . The second floor is designed somewhat more simply in accordance with the convention typical of the time, which is particularly evident in the simpler plaster framing of the windows with whorl-like decorative pieces. The parapet areas are also interpreted more abstractly. Instead of a gable, the roofs are designed here as a straight piece of entablature with a block frieze. The lintels of the window reveals are profiled in multiple steps on both floors. Special mention should be made of the lavishly decorated dwarf building on the strong cornice in the corner axis, the arched window of which is framed by pilasters and the sides are designed as volutes. Inside, the house has largely changed. The tap room on the ground floor is integrated into the extensive complex of today's arcade. Monument value The houses at Gladbacher Straße 1 and Gladbacher Straße 3, together with the Saalbau Heierstraße 2, form a street corner with a historical appearance of the Viersen at the turn of the century, as it can no longer be seen in this intact unity on the main street that leads to it. According to the city plan from 1860, there was already development at this point before the new building in 1894/95. A restaurant has been operated here for more than 100 years. The corresponding division into a living room and bar area is implemented in a manner typical of the time (e.g. corner formation and window design) and is still clearly visible. However, inside there are no noteworthy evidence of historical value, so that the public interest in preservation is limited to the street-facing facades and roof areas. It is a clearly preserved residential and commercial building, the representative three-story structure of which has a decidedly urban character and forms an important focal point in the Viersen city center. As part of a striking historical ensemble of buildings at one of the liveliest points in downtown Viersen and as a traditional restaurant, the building at Gladbacher Straße 1 is important for Viersen. Except for a few details, its elaborate, historicist building design has largely been preserved in its original form. It is therefore an important testimony to the building industry at the turn of the century in the growth phase of Viersen and at a representative location in terms of urban planning. As a traditional inner-city restaurant and also as a short-term district headquarters of the NSDAP, it is also of local historical importance. There is therefore a public interest in maintaining the street-facing facades and roof areas for urban planning and scientific, here architectural and local history reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument.	1895	Apr 18, 2002	424
	Residential and commercial building	Viersen Gladbacher Strasse 3 map	history It is very likely that a previous building already stood on the site of today's residential and commercial building. The building file contains a building application from Friedrich Schmitz from 1873. The next remaining plans concern the addition of a rear wing to a front building, which is only shown in plan, which, in contrast to the one planned in 1873, already has today's entrance and plan situation on the ground floor. With its mezzanine-like third floor, the façade that exists today has on the one hand an element that also fits into the 1870s, but its detailed design corresponds more to the style of the 1890s. So it can be assumed that the house was either new before 1894 or through a renovation of the one built in 1873. description The four-storey eaves-facing house, built in on both sides, extends four axes wide along Gladbacher Straße, but has an additional spatial effect due to the street widening towards Neumarkt. It connects directly to the left of the corner building at Gladbacher Straße 1, formerly Viersener Hof, with which it is now connected inside the ground floor. The original division into a business area below and residential use on the upper floors, which can also be read on the facade, has been retained. Entrances and (modernized) shop windows alternate with each other on the ground floor, which is designed with strong plasterwork over a plinth. The entrance in the left axis, with an old double-leaf wooden door, leads into a hallway and to the staircase at the rear, which opens up the residential floors. As on the first and second floors, the openings are closed in a segmental arch. The residential floors are characterized by unusually large windows, whose profiled walls are accentuated in the lintel by wedge stones. Its internal structure as a four-part cross-frame window corresponds to the original condition, as evidenced by historical photos. The first floor has a fine strip plaster, the two floors above are smooth plastered. The axis above the shop entrance, drawn out flat like a risalit, is framed on both floors by wide pilasters with additional fluted pilasters on the second floor. Their shafts and capitals are designed in a renaissance style. While the windows on the 1st floor sit directly on the wide cornice, a parapet field is formed under those on the second floor, with small parapet candelabra along the main axis, the others flat. The third floor is lower in the manner of a mezzanine and has smaller double windows. The main axis is framed by Hermen pilasters, the central support of the double windows is covered with slender relief balusters. Fine friezes with quatrefoil shapes act as lintels. The eaves cornice with a block frieze between volute consoles is drawn in just as much detail. Above the main axis, a segmented gable broken by a cartridge breaks through the eaves. The flat sloping roof can hardly be seen from the street. Monument value Since the interior of the house has been thoroughly modernized except for the old wooden stairs and the ground floor has also been built with the neighboring building at Gladbacher Straße 1, the historical testimony value is limited to the street-facing facade including the roof area. The houses at Gladbacher Strasse 1 and 3, together with the Saalbau Heierstrasse 2, form a street corner with a historical appearance of Viersen at the turn of the century, as it can no longer be seen on the main street that runs towards it. It is a clearly preserved residential and commercial building, the representative four-story structure of which has an urban character and forms an important focal point in downtown Viersen. It is therefore important for Viersen. Except for a few details, its elaborate, historicist building design has largely been preserved in its original form. In the large form z. B. Hierarchization of the floors and the axes as well as in detail (neo-renaissance decorative forms) it represents an important testimony to the building industry of the Wilhelminian era or the turn of the century in the growth phase of Viersen and in a representative urban development location The roof area is therefore of public interest for urban planning and scientific reasons, here for architectural and historical reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument	1873/1894	Apr 18, 2002	425
	Beberich elementary school	Viersen - Beberich Gladbacher Strasse 297-299 map	Location and history The building is located directly on Gladbacher Straße in the south of the center of Viersen. As a supra-local north-south axis, today's Gladbacher Straße is one of the oldest routes in the Viersen city area. The settlement development in this area was determined by one of the streams flowing from west to east (Hammer or Bebericher Bach), along which the Beberich and further east Hamm developed since the Middle Ages. Beberich was divided into Ober- and Nieder- / Unter-Beberich (see Tranchot map, early 19th century). The basic rural structure of the settlement, partially preserved to this day, was disrupted in the course of industrialization since the 19th century, when the south of Viersen became an important location for industry and crafts. In the course of this, not only did the appearance of the settlement change, the associated increase in population also required new infrastructure facilities and public services. Beberich has neither a church nor a town hall. This certainly increases the role of the school as an important institution of the community in the above sense. A school is even mentioned for the upper area as early as the 17th century; the location in Unterbeberich mentioned here was probably built in the course of industrialization in 1877 (cf.Rhein. Städteatlas, see lit.) and marks the origin of the extensive school complex in the south of Viersen, the Includes buildings from several time phases (1870s, 1st half of the 20th century, 1950s / 60s). The so-called “auxiliary hospital” from the Cold War era of the 1960s located below the school complex is also historically remarkable. The subject of this report is only the old building of the Beberich school (Viersen-Süd) from the 19th century. Description The school building is divided into two parts: an eaves structure on the street, a former (partly?) Residential building, and a wing that adjoins the rear and extends into the property at right angles with the classrooms. No historical building files have been found so far, so it is still unclear whether the school was built in one go or in several sections. Evidence from the building itself suggests that there were at least two construction phases, namely that the former residential building on the street side was initially built with one half of the rear wing and the entrance plan and the second half of the class wing were later added. It is a two-storey building in exposed brickwork with gable roofs. The facades are primarily structured by regular axes of rectangular segmented arched windows. The street-side house shows four window axes to the front, the entrance is on the right-hand gable side. The only decoration is a console frieze under the eaves and small corner accentuations on the eaves. The gable ends are slightly or not at all structured by openings. The interior of the former residential building is largely in its original condition, such as the floor plan, stairs, doors and tiled floor. The class wing is a narrow, elongated wing of 4: 1: 4 axes, with a gabled entrance risalt cut into the roof as a dwelling in the middle. The four window axes to the left and right of the entrance reflect the total of four classrooms inside, two per floor. The part to the left of the entrance, like the house, has only an eaves frieze as facade decoration, whereas the central projectile and the right adjoining part have a narrow serrated cornice. The central projection shows a staggered dazzling structure in the gable, the right class wing also has no eaves frieze. Together with a visible caesura in the roof area, these differences in the design indicate that the construction was actually carried out in several, albeit not far apart, sections. The gable facing the back of the school grounds and the rear side of the eaves are windowless, the gable has a modest decor with a rectangular ridge accentuation. The room layout, which can already be seen on the outside, is clear and original on the inside. Behind the flat entrance is a central anteroom, which also contains the stairs; the classrooms connect immediately to the left and right of this stairwell. The original equipment is no longer available, but what is essential is the unchanged floor plan, which reflects the original functionality and thus the type of building. This floor plan is as simple as it is practical, as it does without corridors. As the school of the former Honschaft (Unter-) Beberich and nucleus of the younger, more important school location Viersen-Süd, the two-part building at Gladbacher Straße 297-299 is important for Viersen. The original shape and internal structure are clearly preserved and document a typical elementary school building from the second half of the 19th century, the design and size of which mark the transition from rural to urban structures that was characteristic of the Viersen outskirts at the time (see also Early school buildings in the Rhineland, see lit.). Also noteworthy is the solution that was implemented for the teacher or caretaker's apartment, which was customary at the time, which was integrated independently into the development of the street, with the class wing at right angles behind it, which also meant that the school and schoolyard were not directly on the street, one of the main arterial roads von Viersen came to rest. For the aforementioned scientific reasons, here architectural and local history, conservation and use are in the public interest. It is therefore an architectural monument in accordance with Section 2 of the Monument Protection Act. It is important for Viersen. Literature Early school buildings in the Rhineland. Ed .: Jost Schäfer (= workbook Landeskonservator Rheinland 27), Cologne 1990. Rhenish City Atlas Lf. VI, No. 34: Viersen. Arranged: Karl L. Mackes, Bonn 1980.	2nd half of the 19th century	Dec 18, 2012	505
	Villa Maria	Viersen Gladbacher Strasse 779 map	Location and origin The house at Gladbacher Straße 779 is located on the southern city limits of Viersen (next to the Landwehr) and is practically directly connected to the buildings belonging to Mönchengladbach or is often seen as belonging to it. Even in the contemporary building applications, the street name is partly unclear (“Viersener Landstraße zu Helenabrunn”). The builder and architect came from Mönchengladbach and lived and worked there. The house was built in 1911-12 for the manufacturer Ernst Essers, the design comes from the architect and building contractor Johannes Heuter. description It is a free-standing residential house (villa) set back from the street behind a front garden with a fence, the right side being designed as a windowless fire gable and thus designed for the later expansion into a "double villa". The building, which is basically rectangular, rises on two floors with an extended attic on an approximately square base (approx. 12.00 × 10.30 m). The exterior is smoothly plastered over a plinth with plaster ashlars and shows a roof and building structure that is “painterly” structured in a typical way to the front and to the left. A small three-sided bay window and an entrance porch are added to the front on the ground floor, both with slightly towed roof surfaces. On the upper floor a loggia juts out slightly on the left corner of the house, which is open with columns and also supports a towed hipped roof. The extended roof is characterized by a ridge-high gable to the front and a lower gable to the side, with the area in the top of the gable being slated; The wall surface in the attic between the two gables is also slated, which gives the appearance of a mansard roof. The actual hipped roof has a beaver tail covering on its exposed sides. Within the rising plastered wall surface, the tall rectangular windows are grouped together at various points, some of which are also connected by common, partly rounded walls. Regular vertical window axes are avoided. There are green window shades on the upper floor and partly in the attic. The wall surfaces are also structured by coffering the loggia scaffolding and a small inscription “Villa Maria” between the upper and attic floors. The name is derived from the first name of Ernst Esser's wife. The rear of the house has a simpler design overall, with a simple cement plaster and an eaves gable roof, on which two dormers provide light for the top floor. In addition to the well-preserved exterior, including the windows, the house at Gladbacher Straße 779 impresses above all with its largely unchanged interior, with some remarkable features such as the numerous original stained glass windows from the construction period. Behind the entrance with the old front door is the staircase, from which the rooms on the individual floors can be accessed through a central, ridge-parallel corridor. According to the building plan, the first floor was to have a lounge, dining room and “veranda” (another living room), with the front rooms connected by wide passages; on the upper floor the plan shows the bedroom, bathroom and office, and on the top floor further bedrooms, guest rooms and girls' rooms. The staircase leads upwards in three ways, the metal railing has an ornamental design. Floor tiles or floorboards are preserved. The staircase is accompanied by colored windows with ornamental vegetal motifs into which details such as dial gauges or compasses and triangular rulers are inserted, which indicate the technical profession of the client. On the upper floor there is a very special, three-part stained window with a motif history, in which inscriptions are placed in the center, which not only reflect the owner but also the construction period at the beginning of World War I: “We Germans never go under / as long as we turn grenades / and blacksmiths Hammer weapons ”, below it on the left and right the dates 1914 and 1915 and in the middle also a grenade with the professional signet Zirkel und Dreieck. Doors (frame filling type, often windowed through), associated walls and floor coverings are preserved in many places in the house (e.g. tiles in the ground floor hallway, kitchen or bathroom), as are elaborate candlesticks (stairwell) and ceiling stucco in the main rooms (formerly living room - / dining room on the ground floor, living room / bedroom on the upper floor). In accordance with the construction period, these are interpreted more abstractly and geometrically than was previously customary in historicism and differentiated according to the type of space. B. Rococo in the former salon, leaning against Renaissance coffered ceilings in the former dining room, honeycomb pattern in the room originally called the "veranda". In the former dining room and in the “veranda” room, there are also stained glass windows in the three-sided bay extensions. Some of them again contain inscriptions (“Work is the citizen's adornment” / “Here I live, here I love, here I rest” / “Here is my home, here I am at home”). Other noteworthy equipment details from the construction period are the fireplace-like heating point and the chandelier on the first floor of the stairwell. The contemporary fencing with portal has only been handed down without bars, but it is, functionally and stylistically, naturally part of the historical inventory. Client Ernst Essers was born on August 16, 1870 in Krefeld and died on March 1, 1947 in Mönchengladbach. After research by the Mönchengladbach City Archives, he moved from Cottbus to Mönchengladbach in 1893, to the house of his father Otto Essers (Regentenstrasse 93), who, together with his brother Ernst, ran a mechanical weaving mill “Gebr. Essers ”on Eickener Straße 196/198. In 1902 and 1906 Ernst Essers is registered as the owner of the company "Gladbacher Eisengießerei Ernst Essers", Lürriper Str. 390a (Otto Essers also appears as a (co-) owner in the 1907 address book under this address?). According to a letterhead from 1911, the main products of the foundry were cast iron, cast steel, iron structures, circulating ovens, circulating coke ovens and "System Essers" diaphragm pumps. The address details regarding his company headquarters and his apartment have been a bit confusing over the years, since his private address and telegraph number are apparently also usually given on the business letterhead. Before moving to Viersen, his home address seems to have been Poeth 25 (at least that is the case with the address books 1908 and 1912). It is also noticeable that Ernst Essers no longer appears in the address books as the owner of a specific factory no later than the First World War. B. in the Viersener address book 1927 as - registered in the commercial register - "engineer" (1908: "civil engineer"). As early as the First World War, Essers no longer appears to have owned the iron foundry on Lürriper Strasse in Mönchengladbach. In 1916/17 an Andreas Schlipper and a Hubert Philippen are given in the address book for Lürriper Strasse 390 / 390a, before the company Lomberg & Söhne, Metallwarenfabrik u. 1921/22 and 1925/26. Eisenhandlung and then for the first time in 1927 “H. Weller, Eisenkonstruktionen "are located, the latter under the name" Stahlbau Weller "a large and well-known company for many years. It is not currently known exactly what entrepreneurial activity Ernst Esser pursued after the First World War or whether he was largely able to live on patents and capital. After the Second World War, the last address before his death was Viersener Straße 450 in Mönchengladbach: After the death of his wife Maria, he was looked after by the nuns of the Franziskushaus opposite the villa, in return the "Villa Maria" served as the order Residential building. Essers also died in the Franziskushaus in 1947. architect Little is known about the life and work of the Mönchengladbach builder and architect Johannes Heuter (d. 1963), which may primarily be due to the fact that the historic building cottages in Mönchengladbach were destroyed in the Second World War. The earliest building known to historical preservation is the residential building at Am Alten Rathaus 4 in Viersen-Dülken, built in 1904 for the shoe manufacturer Gerhard Gatzenmeier. In Viersen he built Josef Fausten's house and distillery at Rektoratstraße 39 in 1905. After Heuter is listed in the 1906 address book under the address Regentenstraße 112, you can find him there in 1921/22 at the address Luisenstraße 167 - the one built in 1908/09 is very likely , listed building group Luisenstrasse 167–173 therefore also by him, as well as the house at Hohenzollernstrasse 185, for which Heinrich Heuter is specified as resident in the address book. Johannes Heuter's address in the 1920s and 1930s was Franziskanerstraße 10, and in 1950 until his death it was Rubensstraße 9. The buildings that can be reliably attributed to Heuter before the First World War identify him as an architect who “in step with the times” safely applied the reform style of those years, which evolved from historicism with the means of Art Nouveau and New Objectivity. While the houses in Luisenstrasse and Hohenzollernstrasse are simple built-in terraced houses, the Dülkener residential house and the “Villa Maria” are typical entrepreneurial houses, the latter certainly occupying a special position due to their wealth of furnishings and details. Monument value The "Villa Maria" of the entrepreneur Ernst Essers, Gladbacher Straße 779, is to be regarded as one of the outstanding architectural testimonies of Viersen from the time before the First World War due to its extraordinarily extensive original condition, the quality of its design and the wealth of furnishings. Striking are stylistic borrowings from contemporary "Neubergische Bauen", which is expressed in the slate, the design of the window frames (dressed up in white with round window openings) and the green shutters, i.e. the color triad white-green-black. The oral tradition that this design, which is rather untypical for the Lower Rhine, was made at Ernst Esser's request because of his own biographical roots in the Bergisches Land, has not yet been substantiated. Similar stylistic references are also used in the Viersen urban area in the Heinz-Luhnen-Straße 15 residential building in Dülken. The stained glass windows deserve special mention not only because of their number, but also because of their specific iconography, which is also of regional interest. After all, an important piece of the economic and social history of Mönchengladbach also manifests itself here, albeit by chance in the Viersen city area. As an exceptionally well-preserved and richly furnished company residence from the time before the First World War, the Villa Gladbacher Straße 779 including its enclosure is important for Viersen and Mönchengladbach. Their preservation and use is in the public interest for the scientific, architectural and local historical reasons. It is therefore an architectural monument in accordance with Section 2 of the NRW Monument Protection Act.	1911/1912	July 18, 2008	484
	Residential building	Viersen Goetersstraße 50/52 map	The two-storey semi-detached house with a mezzanine floor was built in 1902 as the first building in a block that still exists today by Josef Kaiser. The building complex extends along the then still open Dorfer Bach, followed by Goetersstraße. The block of houses is a two- to three-storey group of buildings with four residential buildings with different numbers of axes. The row of houses was built between 1900 and 1905. The street facades are plastered and designed with historicizing decorative shapes such as stucco structure, risalits and roof gables. The facade of the house at Goetersstraße 50/52 is divided into six axes and the central arrangement of the entrance doors emphasizes the middle. The house has a horizontal structure through the sill cornice, belt cornice and plinth, which is supported by the ground floor strip plastered facade. The windows on the upper floor each lie on the axes, with the middle window opening of the respective semi-detached house being covered with a window gable in floral stucco decor. The windows are spanned with a segment arch-shaped lintel, which is separated by a floral decorated part. The window parapets on the upper floor are decorated with heraldic images with floral motifs. The old windows were replaced with new ones. The interior of the building was extensively modernized in 1980. The two semi-detached houses were merged so that the apartments on the upper floor and the attic can be accessed via a staircase. The original apartment entrance door and stucco ceilings with star-shaped ornaments are in good condition on the ground floor. The house, located in the central location of Viersen, with the adjoining group of houses, consisting of three residential buildings, represents the typical town house architecture of the 19th and early 20th centuries and at this point reflects the historic cityscape. In addition, the row of houses is a considerable reminder of the former Kaisers factory building opposite and therefore has a monument value within the newer structure, also in terms of urban planning. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1902	0Aug 8, 1985	52
	Residential building	Viersen Goetersstraße 54/56 map	The house built in 1904 with a mansard roof stretches on the eaves side to Goetersstrasse, which at that time followed the course of the Dorfer Bach. It was originally built as a semi-detached house and was rebuilt in 1948, when the two halves were merged. The building is part of a group of four houses that Mr. Josef Kaiser, the client, had built between 1900 and 1905. The street façades of the houses are plastered and designed with historicizing ornamental forms as well as stucco structure, risalits and roof gables. The facade of the house Goetersstraße 54/56 is determined by the central projectile, a component projecting in front of the line of the house, whose curved gable ends with a wave. This component has a symmetrical design and is particularly emphasized by the design of the ground floor facade in ashlar plaster. At this point there are two arched windows with a relief arch with a wedge that is hidden above. The resulting space is filled with stucco floral motifs. All windows are covered with a round arch that is divided in the middle with a wedge. The irregularly structured street facade experiences a horizontal structure through the plaster strips interrupted by the windows. All windows and the doors were replaced in the 1950s with new windows that were based on the old ones. The mansard roof and the dormer windows are covered in slate. The rear facade is exposed to brick and is still in its original condition. The interior of the building has been totally changed. The house, which is centrally located in Viersen, and the neighboring houses represent the typical town house architecture of the 19th and early 20th centuries and at this point reflect the historical cityscape. In addition, the row of houses is a considerable reminder of the formerly opposite factory of the Kaisers Kaffee company and therefore has a monument value within the newer building fabric also in terms of urban development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1904	0Aug 9, 1985	53
	Residential building	Viersen Goetersstraße 58 map	The two-storey residential building with a mansard roof is part of a group of houses that was built between 1900 and 1905 by Josef Kaiser as the client. The building complex extends along the then still open Dorfer Bach, followed by Goetersstraße. The block of houses is a two- to three-storey group of buildings with four residential buildings with different numbers of axes. The row of houses was built between 1900 and 1905. The street facades are plastered and designed with historicizing decorative shapes such as stucco structure, risalits and roof gables. Here the facade is made of plaster and is accentuated by brick strips of different widths and designs right up to the end of the gable. The building is divided into two axes. The entrance is on the left with a round window above it. The original entrance door is decorated with art nouveau carvings. On the right axis, a risalit overlooks the window system on the ground floor. Two window openings are symmetrically arranged on the upper floor. There are two decorative ornaments above, the only ones on the facade. The risalit penetrates the cornice and ends with a blind gable, in which two smaller window openings are also arranged in the middle. The windows are in their original condition and are divided into sashes and skylights, with the skylight being divided into bars. The rear facade has been preserved in its original form. Inside the building, the wooden stairs and the flooring are in their original condition. The house, which is centrally located in Viersen, and the adjacent buildings represent the typical town house architecture of the 19th and early 20th centuries and at this point reflect the historic cityscape. In addition, the row of houses is a considerable reminder of the factory building of the Kaisers company opposite at that time and therefore has a monument value within the newer building fabric also in terms of urban development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1904	July 21, 1986	114
	Residential building	Viersen Goetersstraße 60 map	The three-storey residential building with a gable roof and double gable, planned in 1904, extends on the eaves side to Goetersstrasse, which at that time follows the course of the Dorfer Bach. The building is part of a group of four houses that Josef Kaiser erected as the client between 1900 and 1905. The street facade of the houses is plastered and decorated with historicizing decorative shapes such as stucco structure and risalits. The facade of the house at Goetersstraße 60 is determined by two gables decorated with half-timbering. The back gable is flush with the facade and covers two of the five axes. The protruding gable covers a two-storey bay window, on which two balconies are arranged on the left, the one on the second floor being made of wood in accordance with the framework construction of the gable. The balcony on the first floor and the adjoining bay window are supported by three brackets. In the parapet below the bay window there is a vegetable stucco relief, which here interrupts the cornice. The rear facade is brick-view, with the extension being plastered later. The original wrought-iron balustrade railings have been preserved. The building, located in the center of Viersen and probably outstanding in the row of houses, together with the adjacent houses, represents the typical town house architecture of the 19th and early 20th centuries. At this point it reflects the historical cityscape. In addition, the row of houses is a considerable reminder of the Kaisers factory building opposite at the time. It therefore has a monumental value within the newer structure, also in terms of urban development. For scientific, in particular architectural, urban development and urban planning reasons, the maintenance and use of the building outline in accordance with Section 2 (1) of the Monument Protection Act are in the public interest.	1904	0Aug 9, 1985	54
	Administration building	Viersen Greefsallee 1–5 map	The administrative building Greefsallee 1 in Viersen is important for Viersen and for the development of working and production conditions. There is a public interest in its preservation and use for scientific reasons, in this case architectural and local history reasons. According to § 2 (1) Monument Protection Act NRW it is therefore a monument. The representative administration building Greefsallee 1 / corner of Ringstrasse in Viersen was built in 1914 for the machine works Gebrüder Heine. The author of the plan was the architect BDA Robert Neuhaus from Mönchengladbach. In 1928, based on a design by the same office, now under the direction of August Stief, a “workers welfare house” was added to the rear, which has also been preserved and today contains office space. In 1993–96 a new building was built as an extension of the administration building along Greefsallee, which further developed the design language of the old building. At the same time, the old building was renovated in a respectful manner. The administration building from 1914 rises above an L-shaped area with twelve by six regular window axes in elevation. The entrance is located in the left outer axis of the long side along Greefsallee, but today it has given up the main entrance function to the new building. Above a banded, windowed basement, the building has two full floors and a fully developed attic. Above the base, the outer walls are brick-transparent with stone elements (artificial stone?), The hipped roof is differentiated with corner pavilion motifs and a belvedere above a gable on the city side towards the Ringstrasse. The facade on Greefsallee derives its design effect primarily from its broad positioning. The symmetry of the view and the regular arrangement of the window axes are only varied by the input in the left axis. This is designed as a relatively small portal, one axis wide, in relation to the building, with a stepped stone frame and an entablature crowning of lateral volutes and a standing oval window in the middle, the latter with ornamental bars. In the fall the company name Gebr. Heine was appropriate, a tradition that the current owner continues with his own name. The original door with the decorative motif in the middle, arranged three times on top of each other, has been preserved. The size of the windows in the adjacent axis on the right also does not correspond to the facade scheme, which follows a classic hierarchy of plinth windows, high ground floor windows and slightly lower upper floor opening. The small-format muntin division of the cross-frame windows, which is important for the effect of the flat facade, was taken over in the most recent window renewal. Above the upper floor, a cornice designed as a pent roof marks the transition to the roof area. The three outer axes on the left and right are drawn up like a full-story corner pavilion, with the brick surfaces between the windows having capitals and therefore acting like pilasters. A ribbon of windows is stretched between the two “corner pavilions”; here the walls between the individual windows are also designed to classify with fluting. On the facade facing the Ringstrasse, facing the city center of Viersen, a brick-faced triangular gable crowns the four central window axes, which are accordingly slightly forward. The cornice on the long side is cranked in the outer axes into the gable facade (above each a round window with ornamental rungs), but the facade here appears to be three-story, since the top floor appears fully on the gable risalit and without a cornice separation. The parapet areas in the risalit are made of ashlar, on the upper floors they are filled with round cartridges that vary on each floor. The pilaster-like wall surfaces between the gable window axes have capitals and abstract bases so that they also look like pilasters. On the ridge of the hipped roof, in the middle above the gable, sits a round belvedere with an open lookout. The rear of the administration building is designed in a similar way to the facade to Greefsallee, although the ground floor windows (of the hallway behind) are rounded. From the back of the wing on the Ringstrasse, an exit with lintel beams with an antique look leads from the stairwell into the courtyard area. The original two-winged door again shows a three-fold, square and windowed decorative motif, whose cross-shaped sprout with a central star is simpler than the main entrance on the street. Inside, the size and furnishings of the office space have been modernized. However, it is essential to maintain the access routes (location of hallways and stairwells), the load-bearing walls and the single-hip floor plan. The entrance hallway accommodates the banding of the basement level inside, it is open on both sides in large arched windows. On its courtyard side, a portal-like transition leads into the rear hallway of the forward-facing office space; At the beginning, several steps lead to the mezzanine level of the ground floor. High arched windows illuminate the corridor that leads to the staircase located in the gusset between the two wings. Round-arched passages, closed by a double-leaf French door with a skylight, separate the corridor and stairwell. The massive staircase itself is relatively simple, with straight balusters. Typologically interesting is the fact that the upper and attic floors, which are now also divided into offices, were originally not subdivided (drawing) rooms according to the design plan. A “workers welfare house” was built on the courtyard side in 1928 and has also been preserved. It connects to the entrance hall of the administration building with a covered corridor, open at the sides with a round arch, and rises with three full floors on a squat L-shaped base. Its exterior, exposed to brick through the base, with artificial stone framing of the windows and a sloping sloping roof, is designed to match the administration building without any decorative elements. Typical of the later construction period is the semicircular staircase protruding from the facade with its slender vertical window strips, below which a side entrance leads to the basement. According to the building description, the interior used to contain a vestibule as well as dining and relaxation rooms on the ground floor and washrooms and dressing rooms including shower cells on the two upper floors. Today offices are also located here. The staircase with the massive, semi-circular staircase and the connecting passage with its characteristic, banded wall cladding between the arched windows have been preserved. history The machine factory Gebrüder Heine, founded by Georg and Ernst Heine in 1887, was an important company beyond Viersen for almost 100 years. “The company emerged from the forge founded by father Carl Friedrich Heine in 1847, which was located in the Rintgen, Am Krapohl section. The first products were looms and dyeing machines. The production of centrifuges, later the main product, began in the year of foundation. The company was strongly export-oriented. Even before the First World War, deliveries were made to European (...) and non-European countries (...). The medium-sized company had 285 employees in 1929, compared with only 60 in 1981. The company founded as a partnership took on the legal form of a GmbH & Co KG in 1966. Falling sales in 1981 led to the takeover by LUWA-SMS Butzbach, a subsidiary of LU-WA AG, Zurich. Production was relocated to Butzbach, Hessen. The property was primarily acquired by the Trienekens company. (…) In June 1984 Heine Zentrifugen GmbH was deleted from the commercial register. ”(Source: StaVie, Findbuch Sml. Heine, introduction). On the occasion of the company's 50th anniversary in 1937, the company described itself as the “largest centrifuge factory in Europe” (see commemorative publication work, trust, success. Heine centrifuges since 1887. In: StaVie, Sml. Heine, no. 83). The factory of the Heine company was originally located on Gladbacher Straße. The older buildings before 1914 were still carried out by the Viersen master builder L. Hansen, a son-in-law of Carl Friedrich Heine, d. H. Brother-in-law of the Heine brothers. In the course of its development, the company spread over the entire property along the Ringstrasse, which is still comprehensible today in these dimensions, up to Greefsallee. The company's growth was obviously faster than that of the Ringstrasse, the course of which, as laid out in the city plan, cut through the company premises and which probably for this reason never achieved its intended function and importance. The location of the administration building from 1914, at the extreme north-eastern point of the site, marks a shift in focus on the company site, which ran from west to east. The company's oldest surviving site plan from 1868 still shows a courtyard complex called "Heines Hof" on Gladbacher Strasse, where the father's forge was located. Further development steps recorded by building applications are in 1896 a large storage shed and a steam boiler with a chimney for the new company Gebr. Heine right next to the old courtyard / forge, an enclosure wall in 1897, another storage building (around 1900), a large assembly hall south of the old facility (and “Beyond” the planned ring road, 1904). Numerous other buildings followed, including a still existing assembly hall with a turning shop, which established the connection between Gladbacher Straße and Greefsallee. The administration building is the work of an important architect. Robert Neuhaus was born in Krefeld in 1864. From 1887–94 he can be traced back to Cologne, where he maintained an office as a freelance architect together with Carl Schauppmeyer. In 1894/95 he moved to Rheydt, after first being awarded the third prize and then the execution in the competition for the new town hall. In 1895/96 the Rheydt town hall was built according to his plans in neo-Gothic style, as were the houses at Bismarckstrasse 97 and 99 in Mönchengladbach around 1900. In the period that followed, Neuhaus and his partner August Stief developed into an important villa architect in Rheydt and Mönchengladbach. The extremely stately Villa Hecht, Mozartstrasse 19 in Mönchengladbach, 1914–16 in neo-baroque style, deserves special mention. Another monumental town hall, also neo-Gothic, was built according to his design in 1902 in Hamborn. In Viersen, neighboring Mönchengladbach and Rheydt, Neuhaus is also represented with a number of important buildings. In addition to work for the Heine brothers, the Villa Marx, Gerberstrasse 20 and the war memorial in the Protestant church on Hauptstrasse are known to date. Neuhaus also explicitly mentioned the Heine buildings in his catalog of oeuvres in the mid-twenties. The complete works of Neuhaus (estate in the Mönchengladbach city archive) have only just begun to be viewed. The prominence of the building tasks assigned to him shows him to be an important architect in great demand in the region. Stylistically, his buildings reflect the changing tastes of the decades and probably also those of his clients. In addition to distinctly neo-Gothic and neo-Baroque designs, there are more modern, Biedermeier examples, which include the villas Parkstrasse 71 (heavily modified) and Zoppenbroich 65 in Mönchengladbach as well as the Villa Heine in Viersen, Heimbachstrasse 12, the house of Ernst August Heine . Towards the end of the twenties, Robert Neuhaus seems to have withdrawn more and more from his office, possibly due to illness. In 1931 he retired entirely to Wassenberg, where he had family and friendly relationships; He died there in 1934. A collection on his work (preliminary work for an unfinished dissertation on him) is in the Mönchengladbach city archive. meaning In terms of architectural history, the administration building of the Heine company represents that conservative period style before the First World War, based on baroque and classicist models, which arose in the wake of the Werkbund and Heimatschutz movement as well as books such as the widely read "Around 1800" or the tracts by Paul Schultze-Naumburg. In this context, forms of dignity such as the gable risalit on the facade facing the city, including the crowning Belvedere, illustrate the company's status and will to represent. Apart from this, the relatively ornament-free, rather two-dimensional exterior design with its even arrangement of the window axes also points to modernist tendencies that clearly set themselves apart from the historical detail design. Older trends in comparable building types can be traced in Viersen at the town hall building at Bahnhofstrasse 29, where the original unadorned brick facade of an office building was given an elaborate Renaissance decoration in 1887 for the town hall function. Behind the facade was and is an uncomplicated, functional floor plan inside. The one-waisted corridor arrangement represents the modern requirement of the construction period to create bright interiors supplied with natural light. The large halls, which were not subdivided in the design, later enabled the functionally sensible reorganization of the interior with the help of "flexible", non-load-bearing fixtures. The rear social building is to be understood as a continuation of the formal language of the administration building, whereby the semicircular protruding staircase with its vertical ribbon of windows reflects the zeitgeist of the twenties. The construction of such a very progressive facility with also high-quality architecture clearly illustrates the size and importance of the Heine company at that time. As a representative administration building of the nationally important company Gebrüder Heine, which shaped the location between Gladbacher Straße and Greefsallee for almost 100 years, the building Greefsallee 1 is important for Viersen. The surviving social building from 1928 also testifies to the history of this company, which despite its internal changes also gives an impression of the working and production conditions in the company. The continued use of the site and part of the building by the subsequent company Trienekens as well as the extensive company documentation in the city archive also underline this tradition and public awareness of it. The administration building is a building from 1914, with its essential characteristic features clearly preserved, the shape of which shows the neo-baroque and classifying tendencies typical of the time. It is the work of the well-known architect Robert Neuhaus, who was considered a leading architect for representative building projects in the Mönchengladbach area. The fact that the owners of the company Gebr. Heine commissioned him and not one of the local architects with their buildings can be seen as evidence of an above-average level of demand. A careful further development of the forms from 1914 is shown by the associated social building, with simpler forms according to function, location and time style and the semicircular staircase tower. For scientific reasons, in this case architectural and historical reasons, there is therefore a public interest in the maintenance and use of administrative and social buildings. Because of the great importance of the Gebr. Heine company within the economic history of Viersen, there are local historical reasons. According to Section 2 (1) Monument Protection Act, it is therefore a total of a historical building.	1914/1928	Apr 18, 2002	432
	Catholic parish church of St. Francis	Süchteln Grefrather Strasse 183 map	On September 9, 1852, a simple wooden cross was erected on a plot made available by the farmer Franz Schmitz in Vorst, which was designated a mission cross in 1864, but had to be replaced by a Marien chapel due to damage in 1889-93. The north of Süchteln, which had grown strongly through industrialization, with Vorst as its center, was promoted to rectorate in 1932. A provisional "emergency church" had already been set up three years earlier in the converted hall of the Hermanns restaurant on Oedter Strasse, which was used until the inauguration of the new Franziskuskirche (later demolished). In 1951 a church building association was founded, which subsequently built the first “real” church in Vorst. The site of the old Marienkapelle at the junction of Ritterstrasse and Landstrasse (Grefrather Strasse) was chosen as the construction site, which consequently had to be demolished. The congregation, which was raised to an independent parish in 1953, celebrated the consecration of its new church on May 30, 1954. The design of the new building comes from Hans Rompelberg, a native of Süchtelner and an architect who has been prominent there with high-quality buildings since the 1920s, but who was already based in Büderich at the time of construction; Execution and construction management was the responsibility of his employees Engelen and Hauff. Long discussions about the execution of the church (roof shape, windows) are recorded in the building file. For example, Rompelberg initially planned a hipped roof, whereas the saddle roof that was then implemented was probably primarily the result of the action of the episcopal vicariate in Aachen. The brick hall church, clad on the outside with Dutch clinker bricks, is not facing the east, but with its entrance gable facade facing the road that passes by, so that the rectangular, closed choir faces approximately southwest. A short aisle under a towed roof is added to the hall on the north side, with a sacristy next to the choir and a mighty tower next to the entrance front as an extension. Almost twice as high as the nave, the tower with a square base with a flat tent roof, including the three-zone bell storey, clearly has the character of a landmark far beyond the core of Vorst. On its north-facing side, a larger than life statue of St. Francis is attached to a curved console (artist: Benita Stevenson, Fulda). A wide set of steps leads in two sections from street level to the elevated plateau and on to the entrance of the church. The three-part portal with closed wooden double doors is inserted into natural stone walls, each with a flat segment lintel; the three wedge stones bear the inscriptions A / 1953 / D. Above that, a large tracery round window dominates the otherwise unadorned gable, so that overall a calm and distinctive facade is formed. The side walls of the nave are opened in wide arched windows. The choir is lit on one side from the south through narrow, round-arched lancet windows that are almost wall-high. The interior of the large nave is shaped by the material effect of the brick walls and the strongly colored glass paintings by the well-known glass painter Ernst Jansen-Winkeln from Mönchengladbach, of which the three larger ones on the south wall show the saints Pantaleon, Francis and Clement (1959; further windows 1961 ). The main aisle has a flat roof, the side aisle opens to it in three wide round arches. The choir, as wide as the nave, is raised over 1 + 5 steps. An organ gallery with a wood-paneled parapet is stretched across the entrance in the east. The floor is covered with sandstone slabs, the furnishings have been renewed or supplemented over the years (altar), the bells date from 1959 and 1962. Of the oldest furnishings from the 1950s, two strict wooden sculptures by the Erkelenz sculptor Peter Haak are remarkable for their artistic quality : a statue of Mary and a Mother of Sorrows in the war memorial chapel. The parish rooms are located in the basement rooms under the church, and the sexton's apartment was formerly under the choir. In terms of architectural history, the Franziskuskirche in Süchteln-Vorst belongs to the broad traditionalist direction in church building in the 1950s. Characteristics are the traditional structure, designed as a rectangular cube with a gable roof, the use of the building material brick and the formal reference to Romanesque forms by means of round arches, flat ceiling, etc. Ä. Even more than associations with the (Romanesque) Middle Ages, a reference to “archetypes” was the focus, which expressed itself in large, simple cubes and surfaces, clear boundaries and an unconditional focus on the essentials. Dominikus Böhm's church buildings in the Rhenish-Westphalian region in particular had an exemplary and style-defining effect - in Vorst this was also understandable on the striking gable facade with round window and portal, which in quite a few examples from Böhm, but also other representatives of this direction in the 1920s and 1930s is pre-stamped. In this context, the conscious material aesthetics of brick and wood, especially inside, are also important, as are “down-to-earth” as well as handcrafted and at the same time “sensual” building materials. This went hand in hand with a reduction in ornamentation as far as possible, so that sometimes monumental-looking shapes and spaces were created. The foremost nave is not free from this either, e.g. B. in the choir solution. Functionally and ideally, there were direct references to the liturgical reform movement of the 1920s. The church building from the 1950s is largely intact and clearly preserved inside and out. As the parish church of the northern Süchtelner honors and settlement areas in Vorst, Hagenbroich, Windberg etc. it is important for Viersen. For the stated scientific reasons, in particular architectural, settlement and religious-historical reasons, there is a public interest in its preservation and use. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument.	1951-1954	23 Mar 2004	451
	Steinrathshof	Suchteln Grefrather Strasse 234 map	The property is a three-winged courtyard, the origin of which can be traced back to the former stable house. To the north the courtyard closes with the barn; the eastern wing forms the stable building. The living stable house is built in four bays. The rear gable of the residential stable-house testifies to the original visible construction in half-timbered houses. Presumably the gable facing the street, on the west side, was put in front of a brick wall in 1794. The floor plan, largely determined by the construction grid, is divided into the higher-lying main nave and the two side aisles, which are clearly recognizable. The chimney view is walled up. The Opkamer is located above the small brick vaulted cellar above the north-western corner. The barn, with a passage in the middle, has been repaired. The stable is attached to it. The building complex represents a well-preserved 18th century courtyard complex. It is remarkable that the post-war renovations, despite some changes, did not respect the character and the historical substance, which is now a monument, in a way that is not taken for granted. For scientific, in particular architectural, local and folk-historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	17th century / 18th Century	05th Sep 1989	217
	hotel	Viersen Große Bruchstraße 46 / Parkstraße map	The hotel, which was probably built in the second half of the 19th century, is a corner building facing Parkstrasse and Grosse Bruchstrasse. The two-storey structure has one axis, based on the corner, with the other two plastered facades in historicizing decor, each divided into five axes. The two right axes of the facade facing Parkstrasse are slightly angled. The main entrance, accessed via a two-sided flight of stairs, is located in the middle in front of the facade facing the Große Bruchstraße and is emphasized by a risalit. What is striking here is the formation of the cornice in the entrance area with an animal head. The windows on the upper floor are divided into eight parts and have been preserved in their original condition. Overall, the façade is divided horizontally by cornices on the feet, floors and sills, with the ground floor being made of ashlar plaster. The weakly structured cornice separates the flat hipped roof from the facade. Inside the building, the old roof structure with wooden wedge connections has been preserved. Originally located in the center of Viersen in the immediate vicinity of the train station, the former hotel reflects the historic cityscape. In addition, as a corner building in an exposed location, it is of urban significance. For scientific, in particular urban planning, room design and architectural-historical reasons, the preservation and use of the building is in accordance with Section 2 (l) of the Monument Protection Act in the public interest.	2nd half of the 19th century	unknown	86
	Wayside cross	Viersen Hardter Strasse map	The wayside cross on Hardter Strasse was donated by the Hoser Jungmännern in 1884. The sandstone cross with neo-Gothic shapes was given its current location in 1939 after several relocations. A three-stepped natural stone base carries the whitewashed cross, the base of which bears the following inscriptions: "Donno Juvenes / Anno / 1884" Above in a framed inscription field: “When you ask the Father / for something / in my name. He / will give it to you. Joh, 16.23 " On the back of the cross: "Donaco virgines / Anno / 1884" On the right side are the interwoven Christian symbols: heart, anchor and cross. On the left: "Erected by / the cath. Inhabitants / the sect. Hoser / in 1883 " A frieze of finials separates the substructure from the central building. The middle, multi-part, tapering component is made up of Gothic style elements, such as B. three-pass shapes, finials, gable elements. The simply designed crowning cross contains a bronze medallion with the representation of the head of Christ at its intersection. For scientific, in particular religious-historical and folkloric reasons, the preservation and use of the cross are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1884	May 12, 1989	195
	Mollshof	Viersen Hardter Strasse 19-25 map	The Mollshof is a four-winged courtyard. In the documents he is sometimes referred to as the Berg-Molls or Nensch-Hof. Under the name Berg, the farm is mentioned in some documents from 1381 to 1395. In the 18th century the complex was divided. In the “Meetbuch Hoser and Bockert” two owners appear for “half the Berghof”. On an old cadastral map from the years 1860 to 1865, the courtyard complex appears in outlines that are similar to today's. The residential building is a half-timbered construction with brick exterior masonry. Inside, in the half of the house facing the courtyard, the studs were well preserved. The original floorboard is divided into two areas by a wall. There is a well-preserved open fireplace on this wall. On the side of the fireplace room, an old, steep wooden staircase leads to the attic. The half facing away from the courtyard has been largely modernized. Nevertheless, the original structure with the deeper sides of the floor plan and the window division of the facade can be read. The deel, which is divided by a central wall and to which the chimney is attached, as well as the deeper sides are typical for the construction of a Lower Rhine farmhouse. For scientific, in particular local history and folklore reasons, the maintenance and use of the courtyard are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	18th + 19th century	July 31, 1986	125
	Wayside cross	Viersen Hardter- / corner Bockerter Straße map	The “school cross” originally stood on the gable of the old Bockerter school, which was inaugurated in 1825, until it was abandoned in 1971/72. After residents had secured the cross, it was placed in its current location in 1979 after several years of storage. The "school cross" consists of a simple wooden cross which, in addition to the crucifix and the inscription "INRI", has a small gable roof. Its ridge beam is decorated with a suspended heart. The vertical bar of the cross has the carved inscription "A gift from Andreas Krmmers". A mistake was made when writing the name. It can therefore be assumed that the cross without the body was donated by one of the four house owners named Kremers, who were recorded in Bockert in 1812, for the inauguration of the school. According to the cash book of the Kreuzgemeinschaft, the latter bought the corpus in 1898. The body follows the three-nail type that appeared with the beginning of the Gothic period. The head of Christ, inclined to the right, wears a crown of thorns. The hips are dressed in a loincloth that reaches almost to the knees. The neo-Gothic crucifix on Hardter Straße thus follows an old model that, unlike earlier depictions of the crucifixion, focuses on the suffering of the Savior. Numerous examples prove the popularity of this pictorial form in the period of historicism. Among these, the cross on Hardter Strasse must certainly be described as a thoroughly high-quality work. There is a public interest in its preservation because the wayside cross on Hardter Straße is a testament to piety in the 19th century and is significant for human history and its history is reminiscent of the former elementary school of Bockert built by the residents. Preservation and use are in the public interest for artistic and ethnological reasons.	1825	June 18, 2001	411
	Crossroads Hardter Strasse / Kreuzstrasse	Bockert Hardter- / corner Kreuzstraße map	history The first written mention of Bockert dates back to 1250. The tradition that Bockert consists of five courtyards / court communities and seven fountains (“hötte” and “pötte”) has been incorporated into the design of today's Kreuzplatz. The Probstgut “the Boekholt” is located at the location of the cross section, and a school was set up in the immediate vicinity from 1666, so that the area of ​​today's corner of Kreuzstrasse and Hardter Strasse can actually be seen as a kind of early center of the old Bockert. The Boekholt farm, later Hennickens-Hof, then Zerressen, also has a chapel, which is demolished in 1886. In its place, the residents of Bockert erect a wooden cross that was later renewed several times. In order to avoid the frequent repairs, the wooden cross was exchanged for a new one made of shell limestone in 1927 - the sectional cross that still forms the center of the Kreuzplatz today. The cross, financed by donations from the city of Viersen and the citizens of Bockert (made by Steinmetzbetrieb Frentzen, Viersen), has a bronze Christ from the Aachen goldsmith company Witte in its center. From the beginning it is flanked on the sides by two steles with candelabra. In the 1950s and 1960s, changes to the location of the cross and finally the (spatially insignificant) relocation to the current location are necessary. Until around 1960, common neighborhood prayers for the deceased were held on the cross. Since the mid-1970s it has served as a place of honor for the dead of the victims of the world wars. The complex is also part of the Corpus Christi procession in varying forms. A comprehensive restoration of the cross complex takes place in 1996/97. The substantially missing side steles are replaced by new, now also cross-shaped specimens, which have two memorial plates for the dead in the middle of the cross arms. As part of this measure, the Kreuzplatz will be redesigned and supplemented with a floor sculpture of the historical "Hötte un Pötte" by Bockert. The St. Peter and Paul Brotherhood in Bockert takes on the sponsorship and maintenance of the Kreuzplatz in the person of a “pot master” provided by them. description The simple cross made of shell limestone stands on a two-tier substructure. Above its own rectangular base, it swings slightly to the width of the cross trunk. The cross arms are also strictly straight. The inscription "Save your soul" is embedded in the small cross base. A halo is carved into the stone around the head of Christ, and above it the INRI symbol. The very high quality figure of Christ follows, as with the neighboring school cross, the late Gothic three-nail type; the head of the suffering Christ, inclined to one side, wears the crown of thorns. The two shell limestone steles flanking the cross were replaced by new specimens during the restoration in the 1990s, which are now also slightly cross-shaped. Standing directly on the ground without a pedestal, after the cross has been rededicated as a memorial for the victims of the wars, they each carry a plaque with the inscriptions “Remembrance of the dead” (left; with the symbol of the folded hands above) and “Preserve peace” (right , with Christian peace symbol PX above). Although they are substantially modern, they are an integral part of the conception of the historical cross from 1927 and thus part of the monument. The rest of the modern square design does not yet have any historical evidence and therefore no monument value. The cross is no longer in its original location, but was moved a little around 1968 due to changes in the course of the road; Nevertheless, it still marks the area from which the Honschaft (section) Bockert develops. As a cross section of the Honschaft Bockert, one of the nucleus of today's Viersen, the intersection Hardter Strasse / corner Kreuzstrasse is important for Viersen. For the scientific, in particular folklore and local historical reasons, their preservation and use to the extent described above (central cross and flanking steles) according to Section 2 (1) of the Monument Protection Act are in the public interest.	1927	May 23, 2002	438
	Residential building	Viersen Hauptstrasse 109 map	The building, which dates from the second half of the 19th century, was rebuilt in 1910. In the rear area, a small extension is planned for ancillary rooms, due to the redesign of a representative hall, which today houses a shop. Solid marble columns testify to the original quality of the extension. The "former Goetersche Haus" underwent another intensive change in 1919. The ground floor was changed here as a result of the renovation for the "Barmer Bankverein". In 1922 another wing for bookkeeping and auditing was built on the back. In 1927 a shop was set up next to the bank inside the building. In 1954 the hall is converted into a shop. description The building extends on the eaves side in two storeys and seven axes along the main street. The plastered façade, with its late classical ashlar plaster and flat, protruding two-axis side projections, is divided into the upper and lower floors by meandering friezes. The upper floor, strictly symmetrically divided into seven window axes, closes off from the roof with heavy beams, which are made up of cassettes and a tooth cut over them. The wide eaves cornice rests on consoles made of acanthus volutes. The facade of the ground floor, on the other hand, is asymmetrical due to the former coach house entrance as well as the shop window and entrance. The left edge of the house and the cornice have been changed in the plaster due to the multiple modifications. The building in an exposed location with its high-quality facade design characterizes the construction type of the stately residential and commercial building. The concise facade also contributes to the unmistakability of the street space and thus also becomes an identification feature on the main street. For scientific, in particular architectural and urban planning reasons, the maintenance and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	2nd half of the 19th century	May 12, 1989	192
more pictures	ev. Kreuzkirche	Alt-Viersen ( Rintgen ) Hauptstrasse 120 a map	history 1580 First testimony about Protestant Christians in Viersen after 1629 gradual formation of a Protestant community April 26, 1705 Foundation of the Evangelical Church Community in Viersen 1718 construction of a preaching house 1780 Despite resistance from the Catholics, the preaching house was rebuilt, a tower with bells and clock erected, new pulpit in 1785, organ in 1793 1877 start of church construction May 27, 1879 consecration of the church 1883 Installation of a new organ 1912 New roofing and redesign of the tower helmet after storm damage 1917 Delivery of some bells and organ pipes for war purposes 1942 Delivery of the largest bells for war purposes February 9, 1945 Bomb damage to church and rectory 1949 New bell, installation of new church windows 1965 Installation of a new organ 1994 Church is named "Kreuzkirche" (previously unnamed) description Three-aisled, neo-Gothic hall church made of brick and red sandstone (partially veneered) with four bays, a western tower in front and a 5/8 choir apse. Sacristy on the north side of the choir. The west facade is dominated by the tower on a square floor plan, which is flanked on the lower floor by two tower-like additions with the side entrances. Above the main portal there is a glazed three-pass in the tympanum, above it in Wimperg the year of construction. On the first floor, a large two-lane tracery window with a rose adorns the tower, above the tower clock in a crab and finial decorated gable. Behind the gable, the octagonal 3rd floor begins with acoustic arcades, crowned by an octagonal helmet with a wreath of small gables. The outer walls of the side aisles are structured by the buttresses, the last yoke in front of the choir is emphasized by a pyramidal roof (as are the side extensions of the west tower). A pointed arch frieze runs below the eaves of the side aisles, the windows have two lanes with three passages. Inside, the hall church is characterized by large spacing between pillars, which ensure good exposure through the choir and side windows and a clear view of the choir from the side aisles. The round pillars are preceded by four ¾ services that end in a leaf capital that includes services and pillars. Only the service facing the central nave is drawn higher up to a partial capital, from which narrow ribs and thicker straps continue. The separating arches are strongly profiled. In the western yoke, a gallery is drawn in above the entrances, on which the organ is located. Parapet with quatrefoils. In the south-west porch, stairs with ornamental metal balustrade between wooden bars; double door to the church interior. The evangelical cruciform church is the central sacred building of the evangelical community, which gradually formed in Viersen since the 16th century. The building shapes the overall urban design of the southern main street and is one of the dominant tall buildings in the city skyline. The uniform neo-Gothic furnishings are still partially preserved. The draftsman, August Hartel, was a nationally known, important architect. For scientific, in particular architectural, urban and art historical reasons, the preservation and sensible use of the church are in the public interest in accordance with Section 2 of the Monument Protection Act.	1877-1879	June 29, 2000	391
	Residential building	Viersen Hauptstrasse 146 map	After the demolition of a previous building, the building will be erected in an exposed location in what was then the center of Rintgen, with a two-storey mezzanine. In the 19th century, the old, converging network of paths is laid out in the former town center to form a star-shaped square. The corner buildings document the attempt to construct this square. The building at Hauptstrasse 146, at the southern end of Hauptstrasse in the row with a tower-like porch, marks a corner of the square. The tower closes with an onion-shaped roof structure, which is supported in an octagonal wreath. The façade, built entirely in yellow brick, is shaped by horizontal cornices and vertical corner blocks. Windows and front door are covered with arches on the ground floor and gabled flat on the upper floor. In front of the building there is an open space at base height, enclosed with a steel grille. The staircase with rich carvings inside the building is remarkable. The delicate stucco work and the colored tiled floor are also in their original condition. The form of expression of the architecture and the preferred location make the building an important identification feature. Furthermore, the facade and roof design typical of the time characterize the building type of the stately home. For scientific, in particular architectural and urban planning reasons, the maintenance and use of the building is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1893	May 12, 1989	193
	old ev. cemetery	Viersen main street / behind the church map	history 1631 Onckepoeter Kirchhoff Note in the Viersener Bannbuch: the former Anabaptist cemetery is west of Gladbacher Strasse, in the fork of the road formed by it and the Ornperter Weg 1633–1718 2nd cemetery on Hammer Kirchweg March 24, 1718 Acquisition of a plot of land with buildings for 3,000 Reichstaler to build a church, a rectory and a cemetery Jan. 23, 1825 last burial in the 2nd cemetery Jan. 30, 1825 first burial in the Evangelical cemetery behind the Evangelical Church 1863 Enlargement of the cemetery from 1893 burials for the Protestant community in the cemetery on the Löh 1951 last burial in the old cemetery 1968 opening of the cemetery to the public description For almost a century, the old Protestant cemetery behind the church serves the Protestant Christians in Viersen as a burial place for their deceased. In 1825, directly behind the church and thus in the slowly growing town center, the cemetery, which was initially only sparsely planted and bordered by walls and hedges, developed into an ideal park. Along the avenue leading from the main entrance in an easterly direction, which was originally the only passable route, are the no longer existing children's graves. In a southerly direction, three parallel narrow footpaths lead from this avenue, which divide the cemetery into three grave fields. Representative family graves can be found between the first two paths, between the second and third paths thirteen simple individual stones are scattered on an empty green area. This part of the cemetery represents the former community cemetery. The original arrangement of the "walking stones", which were often changed during cemetery work, can no longer be identified. When identifying the names on the gravestones, it becomes clear that the majority of the members of the Protestant community, a religious minority in Viersen, are closely connected to the economic development of the city of Viersen. The merchants and entrepreneurs buried here, as a result of industrialization in the 19th century, especially in the textile industry, made the city's name known far beyond the Lower Rhine. In addition to the Furmans, Preyer and Greef families, above all the Kommerzienrat Freiherr Friedrich von Diergardt, whose social commitment to the city is by no means inferior to his entrepreneurial innovation. In view of the economic power associated with this name, the almost unadorned modesty of the tombstones in the cemetery is impressive. Mighty sepulchral figures are missing, as are representative family tombs or small private chapels. In accordance with the cultural-historical tendency of the 19th century, in the absence of a specific style, there is a return to historical styles. Classical music is preferred in architecture as well as applied arts and sepulchral art. The classicist tomb dominates the Protestant cemetery. This style, which is based on antiquity, with its harmonious clarity and rigor of structure and the reduced plastic design also corresponds to the rationally disciplined, puristic worldview of the evangelical Christians. Among the 149 gravestones in the cemetery made of sandstone, marble and shell limestone, the classicist stele with its variants predominates, especially at the beginning of the 19th century, alongside traditional name boards and sarcophagus-like plates. Neo-Gothic tombstones did not appear until around 1840, although random mixes of styles were not uncommon. A classical tomb can also be adorned with Gothic ornaments. Social differences also become visible in the choice of tomb. While the steles, the neo-Gothic stones and the monumental sarcophagi are mostly to be found by members of the upper class, who also have a longer right to use the grave sites, the unadorned, modern stones and the name plaques are chosen by members of the lower social class.	1825/1863	Dec 20, 1993	328
	jew. graveyard	Süchteln Heidweg map	The right-angled facility, bordered by a hedge, was used as a cemetery in 1812. A middle path divides the green area into two halves. Today only a few grave sites have survived: two grave slabs made of natural stone and an approximately 2 m high grave stele made of roughly cut quarry stone. The stele, resting on a base, tapers towards the top, the upper end is arched. On the front is a black granite slab with Hebrew text and the names of the deceased. There are also two more grave slabs, which are only partially preserved. Finally, there is a small grave stele with a wicker-like finish and an inscription that can no longer be deciphered on the site. Despite its only fragmentary condition, the Jewish cemetery on Heidweg is an example of Jewish culture and can also be seen as a reminder or a memorial. For scientific, in particular historical and religious-historical reasons, the maintenance and use of the facility are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1812	June 20, 1989	206
	Residential building	Süchteln Heidweg 102 card	House Heidweg 102 was built in 1966 by the civil engineer and architect Wolfgang Jansen as his own home for himself and his family. The first preliminary construction inquiry regarding the basic approval of the planned conception dates back to 1964. The Heidweg leading north-west out of the town center in the direction of the Süchtelner heights and Dornbusch is called “Heitweg” in 1520 under its current name. Until the 20th century there was no noteworthy development on it. The most important resident since the 1860s was the velvet and plush weaving mill Gebr. Rossié, whose company buildings have been demolished (formerly Heidweg 42–48). Behind the houses Heidweg 96 and 98 is the former Jewish cemetery of Süchteln, laid out in 1749. Today Heidweg is dominated by residential developments from the 2nd half of the 20th century, in the area of ​​Heidweg 102 mostly free-standing. description House Heidweg 102 is a free-standing two-storey building with a flat roof, which rises as a strictly cubic, cube-like structure on a square area of ​​around 10 × 10 m (including the protrusion at the front). It's set back from the street; an approximately head-high (1.80 m) wall hermetically seals the property at the front, so that a protected inner courtyard develops behind it. A design-related garage on the right front corner of the property belongs to the construction period. In the 1990s, a studio building was built as a counterpart on the front left corner. All buildings and the property wall have uniformly white plastered masonry. The house faces south, i. H. here in the direction of the street, largely dissolved in glass on both floors, which is why the shielding wall is an essential part of the house's concept. The ceilings of the first and second floors as well as the two side wall panels are clearly projected so that a protected entrance area is created across the entire width on the ground floor and a covered exit ("balcony") is created on the first floor, both functionally sun protection. This creates strong white frames for the dark window areas that emphasize the cubic principle of the house. The front of the associated garage is designed according to the same principle, where the white ceiling and wall panels also frame the dark overhead door on three sides. The third element in the street-side view is the gate and fence immediately to the left of the garage (briefly interrupting the wall) and the parapet grille of the exit on the upper floor of the house, each made of straight, dark-painted metal bars that are joined together thus also insert into the right-angled geometry of the lines. The other three sides, on the other hand, are only opened sparingly and emphatically asymmetrically, so that the closed masonry surfaces - in contrasting interplay with the darkened openings - can have an effect. The rear (north) is particularly consistent here, as a kind of "opposite pole" to the fully open side of the street, with a storey-high window on the ground floor in the axis of the entrance-hallway-staircase and only very narrow skylights to the side. Even in the contrasting and also unusual view of the street and garden side, the design of the house becomes clear, in which the exterior, which at first glance appears hermetic, is nevertheless inseparable from the spatial and design concept of the interior. The basic principle of the internal division is a three-zone structure, which is created by wall panels that are more or less continuous from the front to the rear. Their position in relation to one another is derived from the “golden ratio”, a classic mathematical compositional principle in architecture and art, in which a route is divided in such a way that the ratio of two small parts to one another corresponds to that of the larger to the total length. Such a division is generally felt to be particularly harmonious. On the ground floor, the tri-zone is not canceled in the rear area, but it is broken up, as the sides of the staircase in the entrance axis are kept transparent. The banister, originally made of wood, was later replaced by glass, the steps are still original. This also results in a transverse view that keeps the rear living / dining area open and flowing. In the front area, on the other hand, the couch corner, hall and kitchen are clearly contoured as separate rooms by closed walls. The walls are also kept as white muddy brickwork on the inside, with which the mostly dark furniture and the dark frames of the windows and doors contrast effectively. The floor on the first floor is made of dark, polished natural stone. The ceiling is clad in light wood with fine lines. This cladding is also seamlessly continued as wall cladding in some places in the house (e.g. wall between kitchen and dining area). On the upper floor, the bedroom, bathroom, stairwell etc. are separated into a total of six rooms in accordance with the three-zone structure, accessed through a central transverse corridor. In addition, there is the above-mentioned exit as a balcony to the front. The house has a full basement and is heated by underfloor heating. The garden, which is clearly separated from the surroundings by the building and wall, has a concise design in the front area, including the swimming pool. The design itself is more recent, but shows that the garden is used intensively as a living and leisure area and is to be seen as part of the overall concept. While the studio building from the 1990s blends in harmoniously with the whole in terms of shape and proportions, the subsequent extension of the conservatory to the residential building breaks through the design idea considerably, even if this is overlaid by the expressiveness of the cubature. Architect and builder Wolfgang Jansen was born in Wuppertal-Elberfeld in 1941. The family comes from Süchteln and moved back there in 1942. He received his training as a civil engineer in 1963 at the engineering school in Aachen (Wolfgang Lang). Before he started his own business with the architect Voigt in Düsseldorf in 1970, he mainly worked in the HPP (Hentrich-Petschnigg & Partner) office in Düsseldorf, Aachen and Cologne, among others. In 1979, the office JE & P (Jansen, Ergoecmen & Partner), which still exists today, was founded, with a focus on commercial and administrative construction. In addition to the greater Düsseldorf area, the city of Viersen is the second spatial focus of office activity. These include: Stadtwerke Viersen, Viersen City Library, Viersen fire and rescue station, expansion of the festival hall / district music school Viersen, various residential complexes (including Weberstrasse residential complex), Trieneken's administration building and various projects in the context of monument protection (Villa Bong, Villa Rossié, Zehntscheune Süchteln , Irmgardis pen). His own house at Heidweg 102 is the earliest building designed by Wolfgang Jansen to be completely designed. rating The residential building Heidweg 102 in Süchteln is on the one hand delimited from the surroundings as a compact, closed contoured cube, on the other hand it is subtly and functionally permeated inside and outside (arrangement and orientation of the rooms in relation to the property and cardinal points, including the garden, exposed brickwork inside, large window walls etc.). The design idea, which is essentially derived from the location and mathematical proportions, has been consistently thought out and implemented. The cubic compactness of the house is also reflected in the relatively manageable floor space on which the rooms are arranged inside - here too according to a clear, uniform principle (axis division), but as far as necessary in the living area, where a more generous layout was desired broken through, but without being made illegible. Architecturally, historically and stylistically, the house represents the zeitgeist and design attitude of its time, the early 1960s. On the one hand, it is entirely in the tradition of classic modernism with its white cubes, the elegant, asymmetrically placed windows and ribbon windows, the flat roof, the interlocking of inside and outside, the rejection of traditional “bourgeois” design and spatial patterns. A predominance is a reduction, concentration and rigor of the form and the use of materials, which stands in clear contrast to the widespread modern aesthetics of the 1950s, and does not want to be "playful", "light", "floating" or "decorative" at all. such as B. the functionalist modernity of the post-war and economic boom ("kidney table era"). This regression and partial re-radicalization of modernity through rigor, concentration and material aesthetics is a characteristic phenomenon in the architecture of the 1960s, with which it clearly stands out from both the functionalism of the post-war period and the traditional architecture of the usual execution, such as that on Heidweg embody the pitched roof houses in the immediate vicinity. This persistent formal idea is also able to combine various elements of different types and, in some cases, temporal positions - residential house, outbuildings, fencing, garden - and to make a considerable disturbance such as the winter garden extension recognizable as such on the one hand, and superimpose it in the expression on the other. The fact that the time of the house is revealed so clearly to the viewer shows symptomatically that the 1960s can now be historicized in architecture and urban planning. In recent years, several important events and publications have made it clear that architecture and urban planning of the 1960s, more than 40 years after their creation, must of course be dealt with by monument preservation and scientific architectural history and, if necessary, protected (see literature). Even if a systematic overview of the architectural testimonies of this decade is as little available as for other areas, the testimonial value of the residential building for the characteristics of this time and, independently of this, its considerable design quality, is technically clearly ascertainable. The central residential building with the street-side wall / enclosure and the garage has largely been preserved in its original form. The design of the garden is more recent, but its area allocation to the house is also largely unaffected. The new studio building in the southwest corner of the property is stylistically well integrated. As an exceptionally high-quality residential building from the 1960s by a well-known architect, the house at Heidweg 102 in Süchteln is important for Viersen. Because of its original state of preservation, which supports the testimony value, in connection with the described architectural-historical features, preservation and use of the house are in the public interest for scientific, here architectural-historical reasons. The requirements for classification as a historical building in accordance with Section 2 of the NRW Monument Protection Act are therefore met. The monument value extends to the construction-time components of the residential house (without winter garden), street-side wall / enclosure and garage.	1964-1968	Apr 30, 2009	487
	National Theater (cinema)	Viersen Heierstrasse 2 map	history The owner of the "Viersener Hof" (Gladbacher Strasse 1), Wilhelm Pesch, had a hall built on to his restaurant on a neighboring property on Heierstrasse in 1901. The building contractor Johann Peerlings provided the design for this building (“Kaiser-Friedrich-Halle”), which when it opened as the “largest and most beautiful hall in Viersen” (Zart, p. 25). Originally a veranda and gardens were also included. In 1914 it was converted into a cinema, the entrance and technical infrastructure of which were renewed in 1927 and again in 1928, most recently according to a plan by the well-known Düsseldorf architect Ernst Huhn, who specializes in cinema and theater construction . description The first plan drawings initially envisage a single-storey low-rise building, before perhaps urban planning reasons also lead to a change in the sense of the representative gable facade with a pitched roof. Today the building has been completely changed inside and built with the neighboring building at Gladbacher Straße 1. What has been preserved, however, is the elaborate, street-defining decorative facade, the large shape of which already reflects the type of building, especially in connection with the neighboring restaurant building. The ground floor is four axes wide, whereby the left, flat-roofed part was formerly only a cloakroom and the connection to the restaurant. The actual hall building rises three axes wide with a central entrance. A high, laterally curved and triangular gable is hidden in front of its roof space. The facade is structured in small pieces with pilaster strips, cornice and ribbons. The ground floor has plaster bands, while the gable is smoothly plastered. The large window and door openings have basket-arched, profiled plaster frames with ornamented wedge stones, the entrance has been changed (widened) several times compared to the original design, for the first time already for cinema use, its arched end is now drawn in over the opening. The delicate ornamentation with stuccoed plants and flowers on the wedge stones and in the spandrels of the arches is remarkable. Windows and doors have been modernized, the window in the left axis has been converted into an additional entrance. The ornamental detailing of the facade is increased on the gable above the structurally more conventional ground floor. Some existing, most likely original deviations (parapet cornice; gable niche) suggest that the execution did not always correspond exactly to the design plan from 1901. In addition to the pilaster strips, which formerly ended in acroteria, thin bands structure the surface. In front of the two pilaster strips on the entrance axis are triangular rods on consoles, which also protrude like acroter over the front of the gable and merge there into crenellated attachments that frame the gable end. Above the sturdy cornice, a round window with four wedge stones continues the distinction of the entrance axis with special decorative elements. A vase-shaped console sits directly on the upper wedge, around which one of the triangular bands is cranked. It serves as a ceiling for a small putto in front of a shallow niche. This niche is framed by two half-columns, which also sit on consoles. They seem to carry a lying rectangular field that is completely filled with vegetal ornament and has a heraldic shield in its center. Similar, smaller fields are located to the left and right of the entrance axis on the gable tail there. Small triangular spandrels in the top of the gable also show the same vegetal ornament. In each of the gable fields to the side of the entrance axis there is a small, flat, segment-arched closed window, the basic shape of which, however, is largely obscured by wide, profiled plaster frames, three upper wedges, a strongly protruding sill and stuccoed parapet fields. Monument value Since the interior of the hall building has been thoroughly modernized and rebuilt, the testimony and therefore monument value is limited to the facade. Its extremely detailed ornamental design testifies to the demands that were associated with this building and which in fact resulted in the contemporary assessment as "Viersen's most beautiful hall". In the contemporary, still very historicist understanding, this level of aspiration could be expressed in an accumulation of different, predominantly renaissance forms and style quotations. Rather flat forms of dignity that work more with proportion than with the application of details, as favored by modern reform architecture a short time later, are still alien to this conception of architecture. Even if the interior of the former "Kaiser-Friedrich-Halle" has been lost as a historical testimony, the facade with its good state of preservation clearly represents this architectural and historical position. The individual later changes are limited to subordinate details and respect the original concept of form both formally and materially. The hall building is initially of local historical importance as an event location and part of the well-known restaurant “Viersener Hof”, the size and shape of which are already considered to be significant at the time. In addition, it was converted into a cinema in 1914, making it one of the early facilities of this type, which have become rare today. After comprehensive research in the city archives and verbal information from contemporary witnesses (Mr. Willy Bours / Dr. Franz Zevels), there were at least three or four permanent film projection sites in Viersen before the First World War. A first reference to a cinematographic restaurant - Phono-Kinematoskopie-Theater - dates back to 1909 (corner of Hauptstrasse and Wilhelmstrasse), the “Kaiserkino” in Hotel Krefelder Hof is occupied in 1911, the “Lichtspielhaus”, later “Schauburg” on Augustaplatz opposite the district court in 1913. Other names of cinemas - "Volks-Theater", "Kaiser-Kino", "Apollo-Theater", "Allhambra-Theater", "Kammerspiele" and "Nationaltheater" - all of which have the Neumarkt location are after According to the current state of knowledge, it can be related to the building in Heierstrasse mentioned here. The first public film screenings after 1895 initially took place as traveling or fair cinemas. A second phase of development began in Germany from around 1910, when more and more permanent venues were built, mostly converted halls, but also the first new buildings built just for this purpose. This "settling down" takes place first in the cities, where there is a sufficient regular audience. This second, still very early phase of the development of cinema architecture should also include the cinema in Heierstrasse. The breakthrough as an independent building type, in some cases even with a role model function for the modern age, only became apparent in the twenties. In connection with the neighboring, functionally associated corner building at Gladbacher Straße 1, the former restaurant “Viersener Hof”, and the adjoining residential and commercial building at Gladbacher Straße 3, the facade of the former “Kaiser-Friedrich-Halle” forms one of the most striking historical focal points in downtown Viersen. At the same time, it forms the transition from the higher main street development to the generally lower Heierstraße, which still has a high density of historical buildings. Their original building design is also of considerable importance for urban planning. The street-facing gable facade of the building at Heierstrasse 2, formerly “Kaiser-Friedrich-Halle”, is important for Viersen as an important, prominently designed hall building and then as an early cinema in a central location. There is a public interest in its preservation and use from the presented scientific, in particular architectural and local history as well as urban planning reasons. According to § 2 (1) Monument Protection Act of North Rhine-Westphalia, it is therefore an architectural monument.	1901	Apr 18, 2004	426
	Residential building	Viersen Heierstrasse 5 map	The building at Heierstrasse 5 is part of a three-storey row of houses that was built around 1900 in the city area. The house was probably built from 1870 to 1877 on four axes. The two outer axes, under which the gate and entrance are located, are particularly emphasized by the band plastering. In between are two window axes with high, rectangular, gable-covered window openings. The plastered facade with historicizing, floral decorative shapes has been preserved in its original condition. The facade ends with the roof in a strongly structured cornice. Inside the building, stucco ceilings are still preserved. The elaborate facade design from the last century, typical of the time, characterizes the contemporary building type of the stately residential building, which here reflects the historic cityscape. For scientific, in particular urban planning, spatial and architectural-historical reasons, the preservation and use of the building is in the public interest according to § 2 (l) of the Monument Protection Act.	around 1900	0Aug 9, 1985	55
	Residential and commercial building	Viersen Heierstrasse 7 map	The building at Heierstraße 7 is part of a three-story row of houses that was built around 1900 in the city area on three axes. The house itself was probably built between 1865 and 1868. The ribbon plaster facade is divided horizontally and is interrupted by the high rectangular windows with raised gables above. The cornice above the ground floor divides the facade into two parts. There was originally a shop on the ground floor. The emphasis here is clearly on the middle floor in the symmetrical division of the facade. Whereby the central gable window is adorned by two pillars with a floral decoration. A structured cornice leads to the roof. The stucco ceilings have been preserved inside the building. The elaborate facade design typical of the time from the last century characterizes the contemporary building type of the stately residential and commercial building, which here reflects the historic cityscape. For scientific, in particular urban planning, spatial design and architectural-historical reasons, the preservation and use of the building is in the public interest, § 2 (l) of the Monument Protection Act.	around 1900	0Aug 9, 1985	56
	Hochkreuz on the Heiligenberg	Süchteln Heiligenberg card	The high cross from 1706 stands on the hill of Bergstrasse between the last footfall station and the Irmgardiskapelle. An extensive restoration in 1984, after the removal of layers of paint, brought the year of the cross, the abbreviations: FAWPS.JC, which presumably denote the founder and some Christian ones Symbols that still pose some puzzles to the fore. The slender cross, which is divided into several zones, rises on a three-tiered base. The substructure with an oval cartridge and the initials above it closes with a circumferential profile strip, which is interrupted in the middle by an angel's head on a small console plate. In the middle of the cross shaft there is a shell niche, above it, the relief representation of the Mater Dolorosa, also called Our Lady of Sorrows. Your body is penetrated by 7 swords related to the 7 Sorrows of Mary, which in turn are symbolized by the following events: Circumcision of Jesus Escape to Egypt Search for 12 year old Jesus Capture and carrying the cross crucifixion Descent from the Cross Entombment Above the slightly protruding cornice is the crowning cross with crucifix above the popularly depicted Christ body there is a representation of a lion, which can be seen once as a symbol of the resurrection of Christ and also as a defense symbol. The demon-warding lion is often depicted in connection with dragons. That is why the animal heads or animal bodies that form the ends of the cross arms could possibly be dragons. Above the INRI symbol there is a small figure that cannot be interpreted. For scientific, especially folklore and religious-historical reasons, the preservation and use of the cross are in the public interest according to § 2 (1) of the Monument Protection Act.	1706	0Feb 1, 1991	254
	Memorial cross Johannes Steffes	Süchteln Heiligenberg card	At the edge of a forest path near the Irmgardiskapelle there is a small grave or memorial cross made of basalt lava. It bears the inscription: "Anno 1729 the 16th May Johannes Steffes GTDS" Under the writing is the motif of a skull with crossed bones, which is often depicted on grave and misfortune crosses. The sign is supposed to symbolize the bones of Adam who, according to an old legend, is buried at the place where the cross of Christ was erected on Golgotha. That is why it is often found under the crucifix. But it is also treated as an independent motif, as in this Süchteln example. It is possible that this cross is also an unlucky cross due to its lonely location. For scientific, especially folklore and local history reasons, the preservation and use of the cross are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1729	0Feb 1, 1991	255
more pictures	Irmgardiskapelle	Süchteln Heiligenberg card	history Around 1025 Irmgard Countess von Zytphen was born at Aspel Castle near Rees as the daughter of Dietrich Graf von Zytphen. For some time in her life as a hermit on the Heiligenberg, she led a “humble, godly” life. Irmgard Countess von Zytphen dies in Cologne around 1085. 1498 in the Xanten visitation report there is a first message about a chapel on the Heiligenberg. 1589 the chapel is described as "completely devastated and spoiled". 1606 the restoration of the chapel is completed. Nevertheless, the building, probably a half-timbered chapel, is falling into disrepair. 1664 Abbot Aegidius Romanus from the Benedictine monastery of St. Pantaleon in Cologne had a new brick chapel built. 1681 Abbot Aeqidius Romanus donates a baroque altar. Furthermore, the four original window openings are glazed. 1714 the bell of the roof ridge is renewed. July 8, 1740 Pope Benedict XIV grants every visitor to the chapel a complete indulgence. September 5, 1846 Pope Pius IX. grants indulgence for eternal times after being renewed several times. Mid-19th century The Irmgardisverein is founded. He contributes to the beautification of the chapel and the Heiligenberg through voluntarily undertaken work and generous donations. 1852 the merchant Albert Rath acquires windows from the old pastorate in Vorster Felde and has them built into the chapel. In 1942, under Pastor Kreyenberg, two windows are broken in the chapel of the chapel. 1961/1962 restoration work is carried out on the outside and inside of the chapel. September 9, 1980 The "four marshals", four late Gothic wooden figures, are stolen during a nighttime break-in. Later, two of the characters reappear. description The chapel, built to the southwest of Süchteln on the Heiligenberg in honor of St. Irmgardis, is a muddy brick hall with a three-sided choir closure. Without the vestibule, it measures 10.65 m in length and 5.90 m in width. The curved west gable is structured by a large niche with a pointed arch. Inside is a copy of a crucifix from the early 17th century. For security reasons, the original is kept in St. Clemens Church in Süchteln. The slate roof hunched over the choir carries a ridge turret with a curved hood and a wrought-iron cross. Broad brick buttresses support the polygonal corners of the choir. They are connected with each other inside, also on the long walls, by round arches. This creates a second layer of the wall. A triumphal arch separates the choir. The dates 1664 and 1864 are on its front wall. The high rectangular window openings with wooden profiled frames are secured by iron bars. The vestibule has an arched gate opening. There is a window on each side. Inside, above the vestibule, the gallery with wooden parapets can be reached via a built-in spiral staircase. The entrance portal with the original oak door is in the west. The two side entrances in the north and south are intended for the processional way. The latter, however, has now been walled up. The flat ceiling inside is structured by baroque ornaments in the applied stucco (clay with lime paint). Circles and rectangles are decorated with symbols of Christ and palmettes. In a medallion is the Christogram on the cross nails, surrounded by a halo. The second cartridge shows the cross and two tools of torture. It is the oldest surviving stucco ceiling with religious emblems on the central Lower Rhine. The Irmgardiskapelle is a symbol of the religiosity of the citizens of the former town of Süchteln. She is known beyond the city limits. This shows visitor numbers of the annual octave. Every year on September 4th, the day of St. Irmgardis' death, or on the following Sunday, the feast of St. Irmgardis is celebrated with special solemnity. The festive procession of the 300-year-old St. Irmgardis Schützen Brotherhood Süchteln-Dornbusch on the following Monday morning is also part of the tradition. In addition, the chapel is a unique building in terms of art history. While the exterior design still has a late Gothic shape, the detailed forms such as B. the curved gable, executed in baroque style. The interior of the chapel is designed in the Baroque style of the time. For scientific, in particular folklore, local, religious and architectural-historical reasons, the maintenance and use of the building with historical furnishings and the Irmgardis Fountain are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1664	0Feb 1, 1991	256
	Grave cross	Süchteln Heiligenberg card	A simple grave cross about 85 cm high from 1657 is on the outer wall of the Irmgardiskapelle. From 1912 until the last restoration of the chapel it served as a tension foundation at the south entrance. The small bluestone cross is barely decorated, and the inscription is difficult to decipher. Christian symbols are the abbreviations IHS, Jesus, Sanctifier, Savior and the 3 cross nails, a sign of Jesus' instruments of suffering. For scientific, especially folklore and religious-historical reasons, the preservation and use of the cross are in the public interest according to § 2 (1) of the Monument Protection Act.	1657	0Feb 1, 1991	257
	Villa Heine	Viersen Heimbachstrasse 12 map	The house at Heimbachstrasse 12 in Viersen was built in 1910/11 according to plans by the architect Robert Neuhaus as a residential building for the manufacturer Ernst Heine. First of all, the very central location of the building is remarkable, in a side street off the main street, with its property directly adjacent to the festival hall and the square in front of it. It is thus conspicuously in the tradition of the older entrepreneurial houses in Viersen (mid / 2nd half of the 19th century), which, however, was rather unusual elsewhere at the time of its construction, as a building with this claim is now more likely in a suburb or a corresponding district would locate. As a deliberately urban villa, the house stands directly on the street. A large garden extends to the right and to the rear, which was designed in the surviving draft drawings and also included a garden pavilion. Today, the pavilion has been converted into a kiosk (open to the square) and at the time it was recorded, as was part of the garden, it was already planned for the expansion of the festival hall. The street facade is divided into a high, ground floor-like basement with natural stone cladding (partly with embossed cuboids), two plastered upper floors and a dormer-studded mansard roof. The house entrance is shifted from the center to the right. The right axis of the facade is shown as a stairwell, as the two windows are between the given storeys. The round arched lower of the two extends over the upper line of the natural stone cladding (and is covered by a round arch made of this natural stone), the rectangular upper one is crowned by a lying oval window and a canopy, which consists of a curved gable with transom plates on flat consoles and continues up to halfway up the window as an indicated recessed framing. The sills of each of the four windows on the two upper floors are connected to one another like a cornice. The formerly existing shutters resulted in a deliberately proportioned rhythmic row of grooved windows and shutters when they were open, whereas the facade without shutters looks a bit bare today. Apart from a few exceptions (in the attic), old wooden windows have been preserved. While the left side of the house from Heimbachstrasse is designed as a fire wall (exposed brick), the facades facing to the right and back towards the garden are also designed as smooth plastered walls. The flat bulge on the right-hand side, in the manner of a bay window broken on three sides across all three floors, and the two-story arbor at the rear, the two upper floors have an exit and the ground floor offers a roofed, arbor-like outdoor seating area (laterally round, after at the back arched open). A standing oval window with what is probably still the original grille marks the servants' staircase behind. You enter the house through a wide wooden entrance door with a glass insert. In accordance with the typical upscale living style of the time, the basement was reserved for the subordinate functional rooms for the staff: kitchen with kitchen room and sideboard, servants' toilet, cloakroom; in addition in the design plan a “children's room” (!), “heating and coaks” as well as a “equipment room” under the staircase. The spatial arrangement can still be read essentially unchanged. The entrance hallway is separated from the cloakroom (left) and stairs (right) by two pressed arches. For the wood-paneled cloakroom, the arch is filled with wooden room dividers. In the lower area it is closed, in the upper area it has the same regularly turned bars as the stairs to the right of the entrance. It must remain somewhat uncertain whether the high coffered wall cladding of the cloakroom is original, as it corresponds on the one hand to that of the upper floor, but the toilet accesses integrated into it are not provided for in the design plan (there was probably a change in the plan). Their very dark wood color also matches the overall impression of the room created by the staircase of the same color and the wooden paneling on the piano nobile, and which comes from the taste of the noble living style of the construction period. The staff rooms behind the entrance hall can be reached through a “portal” with a sloping reveal, decorated with standing diamonds with a shell motif and an egg-stick-like frieze (the door has been renewed). They are recognizably simple. Above all, the kitchen, from which the garden can be entered under the arbor (the door with a skylight on both sides accompanied by windows), and the small room between the sideboard with the servants' staircase (whose access to the upper floor is now closed) have been preserved. The large room, called the “children's room” in the design, also has access to the garden and a series of wall cupboards. To the right of the entrance is a pedestal that can be reached via two steps and, starting from it, the wide original wooden staircase (straight in the opposite direction with a turning platform) to the upper floors. Your starting post is composed of a simple, thin rod, which is surrounded by the rods of the railing, which are regularly turned like an egg rod. This design differs from the usually much more elaborate, more concrete ornamented forms of Historicism or Art Nouveau. The equipment room under the stairs can be entered from the top landing through a round arched door. The first floor (referred to as the “ground floor” in the design plans!) Was and is the first floor of the house. Its four large rooms all have different, stylistically similar, wall-mounted fittings and floor and ceiling designs. They are accessed through a transverse central corridor, which runs out in the side facade to the garden in the three-sided bay window and receives its daylight from there. Opposite the stairs is the former “gentleman's room” with the most elaborate wall cladding: wall cupboards or bookshelves closed with glass windows (with small round bars in front of the panes), wooden wall cladding, from halfway up and above the shelves with plaster / wallpaper fields, radiator cladding (on the garden-side wall, with turned bars like on the stairs) with windows above and a double-leaf door to the exit in front of it. All of these elements are made of elegant dark wood. The stuccoed ceiling shows in the middle a deepened, curved decorative field, the profiles of which are accompanied by a band of teeth or an egg bar frieze. The exit is adorned by small columns standing up on the parapet. The small room next to it (now the tea kitchen) is the former sideboard, to which a staircase originally led up from the basement (see above). Opposite, next to the stairs, there was a "salon" which still has its stucco ceiling with a round mirror. Finally, the two rooms on the front wall are designated as living and dining rooms in the design. They are connected to one another by a large wooden sliding door. The (left) living room is paneled with wood up to half the height and has a stucco ceiling with a round frieze on the throat. The wall paneling in the dining room is missing, the ceiling shows a small German band frieze. In the living room, directly in front of the sliding door, a wide pressed belt arch dominates the impression of the room, the origin and motivation of which are still unclear. On the outer wall, it connects to the chimney draft located there. The wall cladding and fixtures made of dark wood, the corresponding doors and door frames, stuccoed ceilings, parquet floors and the typical room layout thus define a largely original and vividly preserved testimony to a typical high-class floor. A toilet is typically located on the turning platform of the stairs between the first and second floors. The rooms on the second floor, arranged in the same plan as those below, were intended as a bedroom and living room; The bathroom was located between the “living room” with exit and the bedrooms. The hallway and rooms are clearly designed with a simple wooden floor and plain white doors and walls. Numerous simple wall cupboards are to be highlighted in the rooms. Between this and the attic storey, which has been partially converted into a staff apartment (“maid's room”), the stairs are then also painted white instead of dark brown. Builder and architect The client, Ernst August Heine, August 7, 1858 - October 17, 1943, was together with his brother Georg (1856–1921) in 1887 the founder and until his death a partner in the company Gebr. Heine Zentrifugen. He remained in the management until 1929/30 (cf. StaVie, Sml. Heine, no. 251). An L. Hansen was a son-in-law of Carl Friedrich Heine, d. H. Brother-in-law of the Heine brothers. He constructed the factory buildings in the 1890s and later. The administration building Ringstrasse / Greefsallee was built in 1914 according to plans by Robert Neuhaus (he also built a garage building there in 1921/25 and a social building "Arbeiterwohlfahrtshaus" 1927-29). The architect Robert Neuhaus moved from Cologne to Rheydt in 1894/95 after he (together with Carl Schauppmeyer) had first been awarded the third prize and then the execution there in the competition for the new town hall. In 1895/96 the Rheydt town hall was built according to his plans in neo-Gothic style, as were the houses at Bismarckstrasse 97 and 99 in Mönchengladbach around 1900. In the period that followed, Neuhaus developed into an important villa architect in Rheydt and Mönchengladbach. The extremely stately Villa Hecht, Mozartstrasse 19 in Mönchengladbach, 1914-16 in neo-baroque style (with August Stief) should be emphasized. Another monumental town hall, also neo-Gothic, was built according to his design in 1902 in Hamborn. The complete works of Neuhaus (estate in the Mönchengladbach city archive) have only just begun to be viewed. The prominence of the building tasks assigned to him shows him to be an important architect in great demand in the region. Stylistically, his well-known buildings reflect the changing tastes of the decades and probably also those of his clients. In addition to distinctly neo-Gothic and neo-baroque designs, there are more neo-objective, honest-meier examples, which include the villas Parkstrasse 71 (heavily modified) and Zoppenbroich 65 in Mönchengladbach as well as the villa Heine in Viersen. Monument value The Heimbachstraße 12 building is significant for human history as a well-preserved testimony to upscale bourgeois living culture in the first decades of the 20th century. As the home of the co-founder and long-time managing director of a large Viersen company in a city-center location typical of the city, it is also important for Viersen. There is a public interest in its preservation and use for scientific, here architectural and historical reasons, as it is a well-preserved evidence of a city villa from the beginning of the 20th century. In terms of style, the building stands for a neo-objective direction set apart from historicism and art nouveau, especially in villa construction, which drew its forms from a purist neo-baroque with Biedermeier-classicistic elements. As a design by Robert Neuhaus, the house is also the work of an important architect and therefore also of architectural historical interest. For socio-historical reasons, the interior room layout with its separation of staff rooms in the basement and attic on the one hand and stately rooms on the upper floors, especially on the first floor, on the other hand, is also worth preserving. There is also a public interest in its preservation and use based on local history, as it is the home of an important entrepreneur from Viersen, whose company played an important role in the economic history of the city for almost a century. The former administration building of the Gebr. Heine company on Ringstrasse, planned by the same architect, forms a counterpart in terms of content, which additionally supports the historical testimony of the site. Ultimately, the preservation and use of Villa Heine is also in the public interest in terms of urban development, as on the one hand it implements the straight alignment of Heimbachstrasse defined in the town plan of 1860 and on the other hand, together with the festival hall, forms a place in the city center of Viersen characterized by high-quality historical building fabric . The Villa Heine, Heimbachstrasse 12, is important for the history of the people and Viersens. There is a public interest in their preservation and use for scientific, here architectural, social and local historical as well as urban planning reasons. It is therefore an architectural monument according to § 2 (1) of the Monument Protection Act NW.	1910/1911	Feb 23, 2000	384
more pictures	Helenenbrunnen	Helenabrunn Heimerstraße map	The origin of the Helenenbrunnen goes back to the following legend: The Empress Helena is on a pilgrimage from St. Gereon in Cologne to the grave of St. Victor in Xanten. It is midsummer and Helena is very thirsty. In what is now the Helenabrunn district, a boy leads the empress and her entourage to a cloister who owns a well. After she has quenched her thirst, she thanks the man with a sum of money, from which a holy cane is to be erected next to the well in honor of St. Matthias the apostle. As a result, believers have made pilgrimages to the Heiligenstock for centuries; the Helenakapelle will later be built here. In 1585, according to the document, the fountain was surrounded by a well house. The current complex, without the statue of Saint Helena, was built in 1795 by Rector Anton Kimmel. A curved structure rises between two low wall plinths. The fountain housing has a pink color with a brown border. In the middle, a round-arched wrought-iron gate closes the well shaft. Between vertical bars there is a depiction of a cross with a circle below, from which four water jets emerge, which meet two water waves below. An old stone in the shape of a cartouche is walled in above the arch. It bears the inscription: Fons Helena. To the right and left of the arch there are two inscription panels with the names of the donors. In 1872 the sandstone statue of Saint Helena is erected on the flattened top of the fountain casing. She wears a long, pleated robe, in her right hand a large cross, which is drawn diagonally in front of her body. The crown on the head of the monochrome white painted figure is gold-plated. Since 1910, the Helenenbrunnen has been dry because of the lower water table. For scientific, especially local historical reasons, the preservation and use of the fountain monument are in the public interest according to § 2 (1) of the Monument Protection Act.	1795/1872	June 15, 1990	228
more pictures	Saint Helena Church	Helenabrunn Heimerstraße 8 map	history 1576 The first stone Helenenkapelle is built on the Helenenberg. 1636 A second stone chapel is built under pastor Gerhard Pontanos von St. Remigius (1619–1660). 1666 The second stone chapel is renewed by Pastor Rainer Heiden von St. Remigius (1660–1682). 1801 Pastor Anton Kimmel adds the sacristy to the chapel. Pastor Hubert Erkens, chaplain of St. Remigius (1833–1837) organized a church building collective association. 1843 A three-aisled hall church with a west tower is built next to the chapel according to plans by the district architect Lüdke from Kempen. 1852 The consecration takes place. 1893 A new west portal is built. 1913 The gallery is expanded. A new organ from Klais in Bonn is installed. 1922 The interior and the roof are repaired. 1927 Mosaics are installed in the choir. Around 1955 A new high altar in marble is erected in place of a now lost baroque altar with a column retable from the Minster Church in Neuss. description The current church consists of part of the chapel from 1666, the addition of the sacristy from 1801 and the three-aisled hall church from 1843. The church will be built in bricks with neo-Gothic shapes and a protruding west tower. The church tower has a height of 34.78 m. It is provided with a Gothic brick arch on the south, west and north sides of the ground floor. The main portal is built into the west arch. This tower portal was rebuilt in 1893. The outside is made of Liedberger sandstone. The portal system tapers towards the top to form a Gothic pointed arch with seven smaller pointed arches on the inside. Within this, in the lower part of the pointed arch, there are two Gothic three-pass windows. Above the portal is a round window with quatrefoil made of Liedberger sandstone. On the floor above, two Gothic arches are hidden in the masonry on each side. There is a narrow ventilation slot in each of the arches. The top floor houses the belfry. The tower facade is divided into two sound holes each with five beveled iron plates and a clock placed above them in the middle. The hall is built in four window axes, with a side portal made of Liedberger sandstone under the organ gallery. The window above the portal leading to the organ loft shows a lyre, referring to the church choir. The church window above shows an organ as a symbol of church music. In 1801, Pastor Anton Kimmel built a sacristy at the east end of the church. On the south side a nine-step staircase leads up to the door, the railing of which is hand-forged. In 1957 a new sacristy is added, which is connected to the old one via a corridor. Furnishing Mosaics In the choir area, the following mosaics have been worked on the ceiling from left to right: Mosaic of the Evangelist Luke with verse from the New Testament: “Many have already undertaken to capture a representation of the circumstances that have come to an end in our midst.” Luke 1.1 A bull's head is depicted in the frieze. Mosaic of the Evangelist John with verse from the New Testament: “In the beginning was the Word, and the Word was with God, and God was the Word. This was with God in the beginning. ”John 1.1 and 2 An eagle's head is depicted in the frieze. Mosaic of the Evangelist Matthew with verse from the New Testament: “Descent of Jesus, the son of David, the son of Abraham. Abraham begat Isaac, Isaac begat Jacob, Jacob begat Judah and his brothers. ”Matthew 1.1 and 2 In the frieze the head of an angel is depicted. Mosaic of the Evangelist Mark with verse from the New Testament: “Beginning of the good news of Jesus Christ, the Son of God. It is written in the prophet Isaiah: 'See, I am sending my messenger before your face.' ", Mark 1 and 2 In the frieze a lion's head is depicted. The mosaics in the ceiling of the apse show from left to right: an angel bringing the message to Mary: “Hail, full of grace. You shall call his name Jesus. ”Luke 1.31 In the upper part of the picture is a starry sky with 15 stars. the enthroned God the Father, sitting on a golden armchair. The armchairs are crowned with oranges. The God the Father is depicted as a Pope with a tiara, scepter and red choir cloak. To the left is the sun above the clouds, to the right the moon, depicted as a full moon with an accentuated crescent moon, is depicted above the clouds. The inscription reads "Tu REX GLO-" on the left and "RIA CHRISTE" on the right. The gold trim of the choir mantle bears the word “PAX” several times on the lower edge and the word “SABAOTH” diagonally across the chest. The caption reads: “Jacob's house will rule forever and his kingdom will never end.” Luke 1.32 The artist name G. Wiegmann, Düsseldorf, is inserted in the illustrated book at the bottom right. The upper half of the picture shows a starry sky with 14 stars. Abraham sacrificing his son Isaac. On the left side of the picture stands Abraham, in the middle Isaac lies on a sacrificial altar and on the right side of the picture an angel hovers on clouds, who commands Abraham to stop. The upper half of the picture shows a starry sky with 11 stars. The mosaics on the walls of the apse depict, from left to right: three angels on clouds: The angel on the left with folded hands and blond hair; the middle angel with his eyes closed, hands crossed in front of his chest and brown hair; the right angel with clasped hands and red hair. blue and gold-ground square cross symbols on a dark colored background. three angels on clouds: The angel on the left with his eyes closed, both hands on his chest and dark-haired; the middle angel, raising his hands in greeting and gray-haired; the right angel with folded hands and red-blonde hair. Choir stalls On the southern wall of the choir there are choir stalls, height 1.09 m, width 3.01 m, made of oak with four stalls on a renewed floor slab. It comes from the former St. Paulus monastery in Viersen. It is a remnant of a larger plant. The counterpart is in the Rijksmuseum in Amsterdam. On the cheek, a relief of a monk in a cowl with hood and knotted belt, holding a cross and a book in his hands, is shown in a pointed arch. It is probably about Francis of Assisi. The top of the cheek is cropped. The cheeks with bulging leaves show a mythical animal and a volute of a snail. The four misericords are worked out as a Gothic sheet, as a fable mask, as a male head (added around 1600) and as a stooping nun. Stylistically, they belong to the “Cologne area”. Confessional (after 1871) The neo-Gothic, carved confessional has inlays in the door panels that depict the raising of Lazarus. It is probably a work from the workshop of Otto Mengelberg / Cologne. confessional The neo-Gothic, carved confessional has inlays in the door panels depicting Christ with Mary Magdalene. It is probably also a work from the workshop of Otto Mengelberg / Cologne. Pews There are three pews in the choir room. Two benches are approximately 2.00 m long and one bench is approximately 3.00 m long. In the sacristy there is a pew, 2.50 m long, with a padded knee bench. Filing A small carved shelf with a marble top is permanently installed next to the sacristy. Gospel desk In the choir there is a three-legged, carved gospel desk. Pulpit (mid 17th century) In the entrance area of ​​the tower is the wood-carved and painted old Kanze1. On five sides of an octagon, diameter 1.05 m, the parapets, height 1.15 m, show Christ between the four evangelists and rich decorations with cartilage elements. Baptismal font (19th century) The neo-Gothic baptismal font made of marble, height 1.20 m, is worked as an octagonal basin on an octagonal shaft and foot. The lid, 0.78 m high, is made of brass. Sacristy cupboard (2nd half of the 19th century) The oak vestry cabinet, unmounted, height 1.27 m, width 1.41 m, shows neo-Gothic shapes. Carved tracery panels can be found in both doors and on the crenellated top. Another vestry cupboard has two decorative doors. Sacristy table The neo-Gothic sacristy table has filigree carvings. Communion bench In the basement there are parts of a neo-Gothic, wood-painted communion bench with doors, 0.79 m high. A carved pillar and part of the old pulpit are also stored in the cellar. Bell (1743) The bell, diameter 0.51 m, weight 60.00 kg, tuned to tone as, was cast by Johann Michael Moll in Cologne. The parish church derives its meaning from its religious history. Together with the former chapel and the attached choir, it marks an important identification feature for the history and shape of the village of Helenabrunn in the middle of the center of Helenabrunn. For scientific, in particular architectural, folkloric and urban planning reasons, the maintenance and use of the parish church of St. Helena with its historical furnishings is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1843-1852	June 15, 1990	226
	Rectory of St. Helena	Helenabrunn Heimerstraße 9 map	history Pastor Anton Kimmel died on July 16, 1805. In his will, he bequeathed 3,000 Reichstaler to the Church of St. Helena. This donation is challenged by his mother after Pastor Anton Kimmel's death. This challenge lasts for over 1 1/2 decades. Thereafter, the Church Treasury St. Helena receives an annual pension of 48 Reichstalers to meet the requirements of the will, which can be redeemed at any time by the Kimmel heirs with a sum of 1100 Reichstalers. On August 25, 1805, the new Helenabrunn pastor Michael Giesen gathered the church masters and parishioners of St. Helena in a meeting to discuss the construction of a pastor's apartment, to which they committed themselves to Vicar General Syben von Roermond when the parish was founded , to advise. 40 Helenabrunn families borrow 25 thalers each as the beginning of the construction sum, so that construction can begin with 1000 thalers building capital. In order to be able to build the rectory better, Johannes Weilers sold 28 rods from Heimer's adjoining field for a Reichstaler in March 1806 in the presence of the master builder Andreas Büssen. Pastor Michael Giesen moves into the rectory in 1807. description The two-storey building in five axes is a central design typical of the time it was built. The late Classicist plastered facade is probably in front of the building, which was built in 1807, in the middle of the 19th century. The central axis of the house is emphasized by a flat triangular gable. The house is covered with a hip roof. The original roof structure with oak beams and tenon joints has been preserved. The cellar is covered with vaults. Inside the house there is a terrazzo floor with a floral mosaic in the hallway. The old wooden stairs and all-round friezes on the ceilings of the hallway are also in their original condition. Furthermore, the stucco ceilings are available in various rooms. In 1909 a side wing was added to the rectory in connection with a renovation. It is single-story and also axially symmetrical with a half-hip roof. Here the brick-facing facade is muddy. In the entrance house, the door is moved from the center of the house into the side wall, presumably due to the widening of the street. The St. Helena fountain is located in the front garden directly on the street. The rectory in the shadow of the parish church of St. Helena is an essential feature of the history of the parish of St. Helena. Furthermore, the building with its calm facade design and the concise location is also of urban significance. For scientific, in particular architectural, religious and local history as well as urban planning reasons, the maintenance and use of the Heimerstraße 9 building is in the public interest.	1807/1909	June 15, 1990	227
	Residential building	Helenabrunn Heimerstraße 35 map	The residential building at Heimerstraße 35 was built in 1905 for Anton Genenger based on plans by Johann Peerlings at the foot of Helenabrunn, on the road to Heimer. In the building application documents, an auxiliary building is planned as a “brandy storage facility” in the rear area of ​​the property and a “Contor” is also planned in the house itself, so that it can be assumed that this will be used commercially. The house is a little back from the street, behind an old enclosure wall with pylon pillars and ornamental grille and a front garden. It is a two-storey eaves building with a partially hipped gable roof. The exposed brick masonry is adorned with two-tone stones, dark bricks on the wall surfaces and lighter stones on the pilaster strips and cornices, as well as by blind structures. In a very typical way, the main building consists of a living room part on an approximately square base and a utility wing that is drawn in front of the escape on two sides; The entrance to the house is in the corner on the right. On the street front, corner pilasters and cornices divide the two floors with their three window axes into five fields; the right axis is emphasized by its wider windows and is covered in the roof area by a pointed gable dwelling with a stepped pointed arch cover. The lintels of the arched, high rectangular windows are also set off with light red stones. The side facades also show the light red pilaster strips, cornices and lintels. The left outer wall, past which you get to the rear annexes, only has a window in the crippled gable, otherwise glare windows enliven the wall surface. A stepped frieze made of five stilted round arches, the middle one laid out as a wide overlapping arch of the window, is placed on the gable. Corresponding to the asymmetry of the front, the gable covers only two of the three window axes. On the right side facade with the house entrance there is a similar structure, but with small but effective deviations: the gable is designed as a pointed gable and its step frieze is pointed and not round-arched. The windows have been improperly modernized, but the old front door is still there. Inside you first enter a short corridor leading to the center of the house, from which the living rooms as well as the rear central staircase and the utility rooms (kitchen / laundry room) were accessed. Ornate floor tiles, room doors (frame panel doors with associated garments), the wooden staircase (straight two-lane with turning platform; turned balusters and large starting posts) and the fine ceiling stucco (rectangular fields with corner decorations and rosette; ribbons and flower motifs in the throats) convey the original spatial impression. Stucco ceilings can also be found in the rooms on both floors, the layout of which is also unchanged (including two living rooms on the first floor facing the street - “salon” and “living room” - separated by a sliding door). The Heimerstraße 35 residential building is a remarkably vivid testimony to the architecture and living culture of the turn of the century thanks to its largely original substance and furnishings. Its viewing sides, well designed with simple means, including the enclosure, form a positive focal point on the edge or at the beginning of the Helenabrunn location, the architectural and historical quality of which would justify the designation of a monument area. The building [with street-side enclosure] is therefore important for Viersen. There is a public interest in the preservation and use for scientific, in particular architectural-historical reasons. It is therefore an architectural monument in accordance with Section 2 of the NRW Monument Protection Act.	1905	0Oct. 4, 2000	398
	Schellershof	Heimer Heimerstraße 87, 89 map	history Heimer is mentioned in a document in 1381 (Heymenrade). The Honschaft developed along two streams along today's Kempstrasse and Heimerstrasse. The latter is referred to as Schellerstaete in 1648, after a farm "To Schellers", which can possibly be traced back to the 14th century, certainly since 1408. Schellershof and a neighboring yard, known around 1600 as "To Rütgershus to Schelers" (an early split of the Schellershof that has been documented since 1408) are listed by Mackes (see bibliography) at around the same point where today's yard is located. Orally and in writing, Schürkes and (1886) Giesen are the later owners. description It is a closed courtyard complex made of brick, consisting of a farm building quarter from the 19th century, which is already present in the floor plan on the map of the first photo from 1844, and a moved out former residential stable house, essentially from at least the 18th century, 19th century is being rebuilt for the needs of the time. The broad south gable of the house, drawn down to ground floor level, has a crooked hip. Dutch gable triangles accentuate the verges. The windows of the two upper floors are arranged symmetrically, the axes of the ground floor with the house entrance deviate slightly from this. Some old shutters have been preserved here and on other sides of the house. Brick arches cover the openings, the entrance is accentuated with a profiled wall. The old double-leaf front door with subtle neo-Gothic ornamental shapes and a cast-iron ornamented skylight is remarkable. Anchor pins indicate the year 1832 and the initials IS MS. Both the gable and the other sides show relatively homogeneous masonry with only a few later repairs or additions. The roof areas are closed with a few minor exceptions. The interior of the house shows the extraordinary originality of the room layout and furnishings of a former stable house typical of the landscape with a two-part central nave, with adaptations to the living culture of the early 19th century. It is characterized by the division into two large central rooms, which are separated by a chimney wall. This house core is defined by the system, which is probably still completely intact, consisting of the usual four containers that are now plastered over. In the off-sides there are smaller (living) rooms, including two op-chambers with associated cellars below. The upper floor is completely expanded into numerous single rooms, some with simple stucco ceilings. A smokehouse has been preserved in the chimney block. Partly old clay wattle walls can also be seen here. The first thing to be emphasized from the historical furnishings is the front hearth (Eren) with a chimney (Schoormantel), profiled cornice and a small railing (plate border). On the curved former hearth wall, manganese-colored and white glazed tiles are attached to the corner, from which the baseboard of the room is made. The floor consists of gray and black stone slabs, edge length 35 cm. The ceiling is plastered with two profiled beams. To the right of the hearth wall, a straight wooden staircase leads to the upper floor, to the side of which is one of the two op-chambers. Two living rooms are arranged on the left-hand side, the front with a simple, the rear with an elaborate stucco ceiling. They have valley profiles with flat volute consoles over egg bars, an outer and inner ceiling mirror and the latter corner cartouches and a central rosette. The old stone slab floor has also been preserved in the rear central nave, formerly probably a fodder deel, a laundry room since the 19th century. A second op-camera and a second staircase to the upper floor can be reached from here. Old room doors with a frame and panel construction have also been preserved and contribute to the closed, historical interior design. The farm buildings form a square into which the rear gable of the residential building is integrated. Immediately adjacent to the house on the right is the cowshed with a cap, on the left a basket arched passage, above which a small niche with a statue of Joseph (porcelain?, 2nd half of the 19th century) is attached. The eastern side is a large multi-storey barn with a stately wooden frame inside. To the north, the single-storey buildings of the former mill and the gatehouse with a simple triangular gable accompany Heimerstraße. A single-storey horse stable then closes the area in the west. In keeping with the character of a courtyard, the farm buildings are also structurally differentiated according to their function. The large wall and roof surfaces are almost completely closed to the outside, and inside they only have the openings that are functionally necessary for a courtyard. Clasen (see bibliography) mentions that a "bar with an inscription in recessed capitals is kept: GOT BHVT DES BV FVR FVWER VND BRANDT DAN IT IS IN GOD'S HANDS ANNO 1721 THE 28th MEJ H B. PETER SCHELLERS MARTA SCHELLERS ELVT." On the property at the gate building to Heimerstraße there is a holy house belonging to the courtyard, which the Schürkes family had built in 1864 in memory of a mission of the pastor in Helenabrunn. The Hofanlage Heimerstraße 87/89 is already named in the inventory of the Rhenish Office for the Preservation of Monuments in 1964 and is described in detail because of its unusually good state of preservation. In its historical cohesion, it is a very rare testimony to the rural culture in Viersen in general and the development of settlements in the old Heimer community in particular. The basic concept of a residential stable house with a two-part central nave from at least the 18th century is just as legible as its careful adaptation to living and working needs of the mid-19th century, with numerous equipment details and as the highlight of the preserved room layout with hearth wall, chimney block and op-chambers. The farm buildings form a more recent stage in the development of the farm, they have also been passed down in a meaningful way and are an integral part of the monument. For the reasons given and described, the Heimerstraße 87/89 farm complex is important for Viersen. Because of its high testimony value for a type of building and living typical of the landscape that has become rare, there is a public interest in its preservation and use for scientific, in particular architectural and urban development-historical reasons, as well as for ethnological reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument.	1862/19. Century	Feb 19, 2001	405
	Holy House	Heimer Heimerstraße 87, 89 map	In 1864 the Schürkes family donated the Heiligenhäuschen on Heimerstraße in memory of the mission that Pastor Hubert Erkens had in Helenabrunn that same year. Until 1951, the Heiligenhäuschen was originally located in the garden of the adjacent farm at Heimerstraße 87/89. The sandstone house is about 3.25 m high and is made up of 3 structural elements: The lower part of the two-part base area is decorated with the three Christian symbols anchor, cross and heart in bas-relief. Above it follows the inscription: Save / Your soul / 1864. In the middle there is a barred arched niche with figures made of clay depicting the holy family Joseph, Mary and the baby Jesus. Under the white group that occupies the upper half of the niche, there is another flat basket arch niche, which presumably used to be used to accommodate the Holy of Holies. A gable-like keystone with a crowning cross and a body made of clay form the end of the sanctuary. For scientific, in particular religious-historical and folkloric reasons, the preservation and use of the cross are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1864	Feb 19, 2001	406
	Residential building	Heimer Heimerstrasse 123 map	The two-storey, brick-view residential building, typical of the landscape, is the residential building of a four-wing courtyard. The anchor pins in the four-axle gable with a crooked hip point to the year of construction 1813. The window openings in the facade and the windows have been partially changed. Inside the house there is a chimney with a profiled cornice and railing in the hearth. On the curved back wall of the former fireplace, white and manganese-colored glazed tiles (edge ​​length: 12.5 cm) around 1800 are installed. The room doors in unframed oak with rectangular panels date from the same period. The typical landscape, stately, rural house with high quality furnishings is the type of the later Lower Rhine hall house Viersener stamp and thus testifies to the history of the Lower Rhine farmhouse, as well as to the settlement history of the city of Viersen. For scientific, in particular architectural-historical, folkloric, landscape-related and settlement topographical reasons, the preservation and use of the residential building Heimerstraße 123 according to Section 2 (1) of the Monument Protection Act in the public interest.	1813	13 Mar 1986	87
	Home and office	Dülken Heinz-Luhnen-Strasse 1 map	The house that the auctioneer August Bohnen had built for himself and his family in 1925 according to plans by the Dülken architect F. Fremerey is a plastered two-story house with a hipped roof. It stands free on the former Hindenburgstrasse. Because of the small area of ​​the associated property, it is not appropriate to speak of a villa in the classic sense of the word, even if the habitus and spatial plan of the house suggest this. A garden pavilion and a garage in the same design language flank the house and are z. Sometimes even loosely connected structurally. To the front of the street, the original fence (wall plinth with ornamental grille in geometric shapes and gate between wall pillars) closes off the property. The basically rectangular floor plan of the horizontally positioned building is obscured by extensions on the ground floor. To the front of the street, the centrally located entrance is flanked on the left by a three-sided broken (gentleman's room) and on the right by a right-angled porch (office). On the rear half of the side façades, the ground floor extends in front of the flight, and towards the rear the central axis extends flat on three sides over both floors. The ground floor porches at the front and on the side also serve as exits for the rooms on the upper floor. The facade is kept very simple. Only two fine bands below the eaves are applied to it. The formal design of some details in connection with the typical building proportions still gives it a style typical of the time, which is usually referred to as “expressionistic” in architectural history. Particularly noteworthy are the emphasis on the central axis through the drawn-in pointed arch of the entrance niche, next to it the small, slender windows in the office porch and on the upper floor, and finally the flat triangular gable that extends into the roof zone and the course of which takes up the banding below the eaves. These few details kind of prepare for the interior in which this style will flourish. Another characteristic of the time are the windows, almost everywhere in their original state, with their characteristic two-part division into a lower (3/5) undivided area and an upper (2/5) lattice-divided, whereby the lower part of the large windows is pushed up. The roof was originally covered with slate. You enter a small porch through the original front door with a large glass insert and a skylight in the pointed arch. The rectangular room has an unusual ceiling solution with a steep, convex mirror vault, into which the skylights of the outer door and the door to the living area are sharply cut. Ceiling cornices and mirrors are ornamentally profiled. From this anteroom you can reach the office on the right and straight ahead to the distribution hall with staircase, from where the other rooms are accessed: straight ahead to the rear, the kitchen, to the left and right of it the living room (originally a mansion, dining and living room). On the upper floor there are further (bedroom) rooms and the bathroom. The original floor plan is preserved, as is the remarkable, homogeneous interior design. Stairs, doors, the numerous built-in cupboards, radiator cladding, etc. made of white lacquered wood are kept in expressionistic forms or decorated with such, i.e. H. Inclined, asymmetrical triangular, diamond or jagged shapes break through the straight basic shapes and express the dynamism and tension of this style. Particularly noteworthy are the stairs, which are curved at the approach, whose starting posts and guardrail boards are developed from the basic form of elongated trapezoidal shapes (the parapet is closed between the upper and top floors), the triangular skylights of the room doors, the glass doors in wooden frames with rung division and classifying drapery, e.g. B. between anteroom and stairwell and upstairs (bathroom), a sloping door to the storage room, the kitchen equipment with original wall cupboards and diamond-shaped ceiling mirror, the radiator cladding in the former "master bedroom" (first floor, front left) with the original radiator, the colored leaded glazing in the office. Ceiling stuccoing also varies in the form of jagged stars up to the cassette-like design in the stairwell. This list is merely a selection from the large abundance of original wall-mounted substance and equipment details, which all in all convey an unadulterated room image of the twenties. In the stairwell with a marble-stone floor, there was originally a mural of a pond landscape, now painted over, on the ground floor, of which the current owner still has a photo. On the property, a garden pavilion and a garage are added to the house in a stylistically adapted manner, both of which have a flat ceiling and a white cornice strip. The garage is structurally connected to the house. The two-winged wooden gate with ornamental paneling that is crowned by a small triangular skylight stands out. So it is a remarkably complete example of a residential house of the twenties of high quality. The design language on the exterior is neo-objective, traditionalistic (conventional building cube with altar-like extensions, pitched roof, essentially symmetrical proportions), but with some stylistic details that refer to Expressionism as a typical decoration style of the time. The fact that the building was plastered from the start is not unusual on the Lower Rhine, where brick visibility would have been possible even with such a construction task, but it still deserves a mention. The programmatic “simplicity” in the architectural design, which is also typical of the time, is clearly expressed in the floor plan, which is very clear and, especially on the upper floor, designed to be almost axially symmetrical. The largely originally preserved interior is impressive. The relevant drafts are not included in the existing planning documents. Whether it is also by the architect F. Fremerey cannot be said with absolute certainty at the moment, but it is probable. Much more than on the exterior, a decorative style, perhaps best described as "expressionism", is used here, which is concentrated in diamond, triangular, trapezoidal and jagged shapes. (To what extent it is appropriate to transfer the art-historical stylistic term “expressionism” from painting and sculpture to architecture is controversial in research). Similar to Art Nouveau before it, this style stands between classicist-historicist and modernist-functionalist tendencies, to a certain extent as a “moderate” alternative between the extremes conservative / avant-garde. Also striking is the deliberately bright room impression, which is mainly caused by the white wooden elements and which was quite "progressive" in the 1920s. The interiors of comparable residential and villa buildings published in the contemporary, predominantly conservative architecture magazines mostly still show the heavy, dark wooden furnishings and colors that were considered stately and representative even before the First World War. The Dülken example is absolutely “up to date”, as the examples in later years of the relevant magazines show. The somewhat simpler design (compared, for example, to fine wood variants) was therefore certainly not chosen for cost reasons alone, but this could also have played a role, because after completion the builder and architect still litigated about the construction costs. In the documents received for this purpose, Bohnen repeatedly emphasizes that he had only a limited budget available, which, however, had been significantly exceeded. In Bohn's view, this was due to mistakes made by the architect, which can be traced back to his inexperience and exaggerated expectations. The little information that we know about the architect Fremerey so far emerges from these documents. Accordingly, he came from southern Germany and was still a young man at the time this house was built. According to Bohnen, he claimed that he had been “ordered” by the district building authority in Kempen to Dülken in order to introduce a “clever construction method” there. With all caution with regard to the truthfulness of these (partisan) quotations, this, as well as the execution of the Dülkener Haus, suggests that Fremerey did indeed see himself as an ambitious architect. So far only one other building of his, at about the same time, is known, the house of the doctor Dr. Pielen in Amern St. Anton (Schier 1). In retrospect, Fremerey also got into a dispute with this client because of increased costs and other deficiencies. The house in Amern was published several times as an exemplary new building, once by the Kempen district building authority in the district's home book in 1928 and a second time in the special edition "Das Schwalmtal" of the Westdeutsche Blätter from July 1929. Heinz-Luhnen-Straße was already planned as Victoriastraße in the town plan of 1894 (Stadtbaumeister Ulrich). It was not until 1919, however, that the area between Friedrichstrasse and Viersener Strasse was created as Hindenburgstrasse. It is a direct connection between the city center and the train station. In contrast to z. B. to the neighboring Friedrichstrasse with its Wilhelminian style row development, today's Heinz-Luhnen-Strasse is characterized in this section, which was created from 1919, by a loosened development of detached houses, e.g. T. high demands. The house at Heinz-Luhnen-Straße 1 is an integral part of this characteristic development. The house at Heinz-Luhnen-Straße 1 in Dülken is significant for Viersen as a high-quality testimony to the building and living culture of the twenties in the then independent town of Dülken and as a defining part of Heinz-Luhnen-Straße. Its preservation and use are in the public interest for scientific reasons, in particular for the architectural and historical reasons presented, as an example of architecture from the twenties that has been passed down almost entirely in its original form. Particular attention is paid to the interior design, which rarely reproduces a complete room image from that time. In addition to the residential building, the memorial also includes a garage, pavilion and fence facing the street. Car garages built for this purpose from the 1920s can definitely be described as a rarity in the Rhineland, especially in such a high-quality and well-preserved design as here.	1925	Dec 13, 2000	402
	Residential building	Dülken Heinz-Luhnen-Strasse 11 map	The residential building Heinz-Luhnen-Straße 11 in Viersen-Dülken, part of the semi-detached house Heinz-Luhnen-Straße 11/13, is a monument in terms of § 2 (1) Monument Protection Act of North Rhine-Westphalia in terms of its street-facing sides. It is important for Viersen. Its preservation and use is in the public interest for scientific, in particular architectural, historical and urban planning reasons. The house at Heinz-Luhnen-Strasse 11 and 13 is a prestigious double house built in 1924/25. The design comes from the Mönchengladbach architect A. Herrmann. For the left half of the house (Heinz-Luhnen-Straße 11) the builder was Matthias Gorissen, for the right half of the house (Heinz-Luhnen-Straße 13) the manufacturer Lambert Heimes. The free-standing, broad, two-storey building with a high hipped roof covered with dormer windows is set back from Heinz-Luhnen-Strasse, behind a front garden with an enclosure. It is plastered over a base. The façade is structured in harmoniously balanced proportions through the interplay of cornices, opening formats, cross-storey structure with muntins of the windows and shutters. While access to the right-hand half of the house is via an outside staircase at the front, the left-hand part had a side entrance (after a renovation in 1975: two separate entrances for apartment and practice), as a result of the fact that its floor plan is essentially 90 degrees compared to the right-hand half Degree was rotated. Towards the front of the street, a bay-like porch dominates the image of the four-axis facade, the roof of which with baluster parapets serves as an exit for the upper floor. The upper floor windows, which sit on a sill cornice, are drawn together into a rhythmic band by their shutters. This facade structure is drawn around the building, the entrance side of which extends somewhat deeper into the property than in the right half, depending on the rotation of the floor plan. The rear garden side no longer has the historical appearance due to renovations. Also inside, apart from the stairs, there are no original pieces of equipment worth mentioning. In terms of architectural history, the semi-detached house at Heinz-Luhnen-Straße 11/13 represents a typical style of upscale, villa-like residential building from the first half of the twenties, which goes back relatively seamlessly to older pre-war trends. In particular, neoclassical elements such as the portal and the rear winter garden at Heinz-Luhnen-Straße 13, but also the street-side porch on the ground floor of Heinz-Luhnen-Straße 11 are forms of dignity that convey the status and demands of the client. These forms are connected with an otherwise more objective building structure that emphasizes the horizontal and derives its creative appeal primarily from the distribution and proportioning of its openings. Despite the changes to Heinz-Luhnen-Straße 11, the overall condition of the house is still remarkably good, making it a clear testimony to this type of traditionalist building, one of the important - conservative - trends in architecture in Germany in the 20th century. Little is known about the architect A. Herrmann so far. In Mönchengladbach and Rheydt, according to research by Scherschel, it has been proven with buildings between 1903 and 1910, but the Dülken example shows that Herrmann must have worked much longer. In Mönchengladbach he is used for various construction tasks (residential buildings, tenement houses, office buildings), including that of the representative factory owner's villa. The fact that Herrmann was also consulted outside of Mönchengladbach for prominent building projects such as the Heinz-Luhnen-Strasse 11/13 bears witness to the notable reputation of his office. In Viersen, the residential building Carl-von-Ossietzky-Strasse 4 (1903) and the residential and commercial building Hauptstrasse 137/139 (1905; formerly Pongs & Zahn, later Kaufhaus Katzenstein & Jost) have been identified as works by Herrmann. In addition, he planned part of the largest company in Dülken at the time, the “Niederrheinischen Flax Spinning Mill AG” on Bruchweg (spinning room from 1905-10). Heinz-Luhnen-Straße was already planned as Victoriastraße in the Dülken town planning plan from 1894 (Stadtbaumeister Ulrich). It was not until 1919, however, that the area between Friedrichstrasse and Viersener Strasse was created as Hindenburgstrasse. It is the straight and direct connection between the city center and the train station. In contrast to z. B. to the neighboring Friedrichstraße with its Wilhelminian-era row development, today's Heinz-Luhnen-Straße is characterized in this section, which was created from 1919, by a loosened development of free-standing houses, e.g. T. high demands. The house at Heinz-Luhnen-Strasse 11 and 13 is an integral part of this characteristic, for Dülken unusual and representative development. Due to its considerable changes, which are mainly limited to the inside and the rear, the building at Heinz-Luhnen-Straße 11 derives its architectural significance today primarily from its affiliation with the semi-detached house at Heinz-Luhnen-Straße 11/13. In this context, there is an absolute interest in preserving the street-facing sides (front and entrance), as the semi-detached house as a whole is an important testimony to the upscale building and living culture of the twenties in the then independent town of Dülken and around a defining part of the series of architecturally high-quality buildings on Heinz-Luhnen-Straße. As part of this semi-detached house and as the home of a major entrepreneur in Dülken, the building at Heinz-Luhnen-Straße 11 is therefore important for Viersen. The preservation of the street-facing sides, including roof areas, is in the public interest for scientific reasons, in particular for the reasons of the architectural history presented, as part of a testament to the architecture of the twenties that has been clearly handed down in the essential parts. In connection with Heinz-Luhnen-Straße with its ensemble of high-quality detached houses, mostly from the 1920s, there are urban planning reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument.	1924/1925	Apr 18, 2002	429
	Semi-villa	Dülken Heinz-Luhnen-Strasse 13 map	description The house at Heinz-Luhnen-Strasse 11 and 13 is a prestigious double house built in 1924/25. The design comes from the Mönchengladbach architect A. Herrmann. For the left half of the house (Heinz-Luhnen-Straße 11) the builder was Matthias Gorissen, for the right half of the house (Heinz-Luhnen-Straße 13) the manufacturer Lambert Heimes. The free-standing, broad, two-storey building with a high hipped roof covered with dormer windows is set back from Heinz-Luhnen-Strasse, behind a front garden with an enclosure. It is plastered over a base. The façade is structured in harmoniously balanced proportions through the interplay of cornices, opening formats, cross-storey structure with muntins of the windows and shutters. While the left-hand half of the house is accessed from the side, the right-hand part has a front entrance via a sideways swinging flight of stairs, which is covered by a semicircular exit with a baluster parapet resting on four columns. The staircase is bordered at the side by s-shaped curved ornamental railings that end on spheres at the entrance. Behind the exit there is a middle pseudo French window on the upper floor, which is accompanied by narrow openings. This representative central axis is flanked by a further window axis with double-sashed, cross-frame windows. Your plaster framing is simple but finely profiled. The upper floor windows sit on a floor sill that separates the floors. When the shutters are open, the effect of a dense, rhythmic band of alternating openings, shutters and narrow wall surfaces, which is extremely important for the facade effect, is created. Two of the four small attic houses belong to this half of the house and fit into the facade structure and axiality. The garden side of the house at Heinz-Luhnen-Straße 13 is dominated by a wide, three-axle winter garden, the windows of which (on the long and narrow sides) have round-arched, radially grooved skylights. Its roof serves as an exit for the upper floor (behind it originally parents' and children's bedrooms). In addition to the winter garden, there is an entrance to the interior. Otherwise, the structure principle and detail design of the front are continued here and on the narrow side. In the case of the latter, there is a flat stand bay on the ground floor, which is polygonal on three sides and rounded in the base and protrudes from the wall. The small double window next to it has certainly original grating, and a flag holder is attached to the front corner of the house. At the main entrance, the original front door, in the window of which a geometric decorative grille with the client's initials "HL" is inserted, leads into the interior. Apart from minor changes, the original floor plan, typical of a house of this size, has been preserved. In addition, a remarkable number of wall-mounted equipment details testify to the bourgeois living culture of its builders. After a narrow vestibule with half-height wall cladding, a double-leaf French door leads into a central, transversely directed hallway, from which the living rooms and the stairwell at the front next to and above the entrance are centrally accessed. A light marble floor with dark edge strips testifies to the noble character of the furnishings. Radiator cladding and original frame panels have been preserved. The two rooms facing the garden, the dining room and the master's room in the design plan, are now connected to one room - the former size of the room is still occupied by the preserved joist, which also continues the profiled ceiling fillet on both sides. The approach to the original wooden staircase, which is raised between the wall panels, is designed as a curved volute shape; On the upper floor, simple bars with handrails form the parapet and railing of the straight, double staircase with a turning platform. There, too, a central hall opens up the rooms; Under a round arch, a narrow staircase leads to the attic, which was originally part of the “girls' room”. In terms of architectural history, the semi-detached house at Heinz-Luhnen-Straße 11/13 represents a typical style of upscale, villa-like residential building from the first half of the twenties, which goes back relatively seamlessly to older pre-war trends. In particular, neoclassical elements such as the portal and the rear winter garden are forms of dignity that convey the rank and standards of the client. These forms are connected with an otherwise more objective building structure that emphasizes the horizontal and derives its creative appeal primarily from the distribution and proportioning of its openings. Despite the changes to Heinz-Luhnen-Strasse 11, the house is still in a remarkably good state of preservation, making it a clear testimony to such traditionalist building, one of the important - conservative - trends in architecture in Germany in the 20th century. Architect Unfortunately, little is known about the architect A. Herrmann so far. In Mönchengladbach and Rheydt, according to research by Scherschel, it has been proven with buildings between 1903 and 1910, but the Dülken example shows that Herrmann must have worked much longer. In Mönchengladbach he is used for various construction tasks (residential buildings, tenement houses, office buildings), including that of the representative factory owner's villa. The fact that Herrmann was also consulted outside of Mönchengladbach for prominent building projects such as the Heinz-Luhnen-Strasse 11/13 bears witness to the notable reputation of his office. In Viersen, the residential building Carl-von-Ossietzky-Strasse 4 (1903) and the residential and commercial building Hauptstrasse 137/139 (1905; formerly Pongs & Zahn, later the Katzenstein and Jost department store) have been identified as works by Herrmann. In addition, he planned part of the largest company in Dülken at the time, the “Niederrheinischen Flax Spinning Mill AG” on Bruchweg (spinning room from 1905-10). Builder According to research by the Viersen City Archives, the name of the builder Lambert Heimes is mentioned for the first time in the Dülken address book in 1925. The addition "finish owner" (finish = textile finishing and refinement) suggests that he was the owner of the Johann Heimes company, which was originally based in Süchteln and had taken over the Dülken finish factory Jordan Terstappen in 1897 (Feldstrasse). It was a fairly large company that invested in a new boiler house in 1904 and employed around 50 workers between 1898 and 1913. It is very likely that the company existed until the Second World War (last record of address book 1936). Heinz-Luhnen-Straße was already planned as Victoriastraße in the Dülken town planning plan from 1894 (Stadtbaumeister Ulrich). It was not until 1919, however, that the area between Friedrichstrasse and Viersener Strasse was created as Hindenburgstrasse. It is the straight and direct connection between the city center and the train station. In contrast to z. B. to the neighboring Friedrichstrasse with its Wilhelminian style row development, today's Heinz-Luhnen-Strasse is characterized in this section, which was created from 1919, by a loosened development of detached houses, e.g. T. high demands. The house at Heinz-Luhnen-Strasse 11 and 13 is an integral part of this characteristic, for Dülken unusual and representative development. The residential building at Heinz-Luhnen-Strasse 13 in Dülken, part of the semi-detached house at Heinz-Luhnen-Strasse 11 and 13, is significant for Viersen as a high-quality testimony to the upscale building and living culture of the twenties in the then independent town of Dülken and as a formative part of the Row of architecturally high-quality buildings on Heinz-Luhnen-Straße. It is also the home of the owner of a well-known industrial company in Dülken. Its preservation and use are in the public interest for scientific reasons, in particular for the reasons of the architectural history presented, as a clearly transmitted testimony to the architecture of the twenties in the essential parts. In connection with the Heinz-Luhnen-Straße with its ensemble of high-quality detached houses mostly from the 1920s, there are urban planning reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument. Sources and literature information from the StA Viersen from May 15, 2001 Monument database of the Rhenish Office for Monument Preservation. G. Perdelwitz: Chronography of the city of Dülken. (Dülken) 1969. Scherschel, Annelie: Residential houses in Mönchengladbach-Rheydt between 1880 and 1915. Stylistic considerations on 35 years of architecture in Rheydt, Saarbrücken, Univ., Diss., 1995, pp. 140f. (to A. Herrmann).	1924/25	Dec 18, 2012	504
	House Lembach	Dülken Heinz-Luhnen-Strasse 15 map	The residential building at Heinz-Luhnen-Straße 15 in Viersen-Dülken, including the garage, is important for Viersen. There is a public interest in the preservation and use for scientific, especially architectural-historical as well as urban planning reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument. The house at Heinz-Luhnen-Strasse 15 in Dülken was founded in 1921 by the entrepreneur Dr. Ing. Siegfried G. Werner built as a residential building for the operations manager of his Dülken plant in Lembach. The Werner Eisen- & Stahlwerk in Dülken ("Werner-Werke") was located on Heiligenstrasse and was later renamed Niederrheinische Eisenhütte und Maschinenfabrik Aktiengesellschaft. The government architect Carl Conradi, with offices in Elberfeld and Barmen, was responsible for planning the house. The free-standing residential house, built on an approx. 12 × 10 m rectangular base, is built on the eaves and is characterized by a large, slate-covered mansard, crooked hip roof. Its two full storeys above the basement are therefore only exposed to the outside as plastered wall surfaces in the gables, while the upper storey is designed as an attic with a large central dwelling at the rear and in the street view. The facade, behind a front garden, is set back slightly from the street and is strictly axially symmetrical. The centrally located entrance, consisting of the actual door (with raised skylight, vase motif and lantern) and narrow side windows, is each accompanied by a double-winged raised room window, the only slightly upright format of which, when the shutters are opened, is transformed into a rectangular, "lying" format becomes. Broad pilaster strips banded like cuboids accentuate the building edges and frame the entrance axis. They can also be found at the corners of the large dwelling, whose final triangular gable (with a small, radially protruding lunette) with its ridge line almost reaches the height of the main roof. Two small dormer windows, which accompany the dwarf house on the right and left, bulge downwards at the sides and are covered by a segmented arch gable. In addition to these details, the strong horizontal lines of the eaves cornice, the attic kink and the gable cornice in the dwelling are also noticeable, which also leads to relatively large roof overhangs and strong corner cranks. In contrast to the longitudinal facades, the openings on the gable ends are distributed asymmetrically across the surface. While this is only done cautiously in the left gable by a small barred additional window on the ground floor, the right gable has a second access (formerly the staff entrance, with the original windowed entrance door) and shows an irregular window distribution according to internal functional requirements. A dormer on each side occupies the roof area. The garden side of the house is determined on the ground floor by a central, three-axis winter garden extension (window doors renewed), the flat roof of which serves as an exit for the overlying dwarf house with its bedroom doors. To the right and left of the winter garden, two further windows open the rooms on the garden side. Inside, the space program of stately living is accommodated on a comparatively small area. The floor plan, which is clear and yet partly deviating from a strictly symmetrical arrangement, has been preserved almost unchanged. Through the original front door with a small vestibule behind it, one enters a central hallway room, from which all rooms on the ground floor are accessible except for the kitchen on the street side: the “gentleman's room” to the left, the living and dining room on the garden side, the narrow staircase on the right. The kitchen, accessible directly from the entrance, is directly connected to the dining room by a small corridor behind the stairs, along the right outer wall; The side entrance on the gable side also leads into this corridor, which underlines the separation between living and staff areas. The living room and dining room are connected by a wide double door. Here, as in the other rooms, old frame panels have been preserved. The living rooms are equipped with parquet floors, the winter garden with tiles. Just like the railing of the stairs, the radiator cladding shows simple straight bars. The wooden staircase with round beginners' posts leads straight up, where it leads to the bunker floor with a spout curved by 180 degrees. Here, too, there is a narrow connecting corridor behind the stairs, which directly connects the “master bedroom” and the bathroom. This corridor also illuminates the stairwell through a large window with a decorative skylight (curtain-like bars). The floor plan corresponds in principle to that of the ground floor; the wall between the two rooms facing the garden contains a closet on either side of the central door, the left one can be operated from the former children's bedroom, the right one from the master bedroom. The connecting door is inserted into a round-arched niche with a pilaster-like cladding in the men's bedroom. From both rooms, double-leaf French doors lead to the exit above the winter garden. The top floor was originally partially developed and, in the usual way, contained a “girl's room” for the domestic servants. Remarkable as a detail that has become rare today are the folding shutters on both floors that can be adjusted from the inside using rotary handles. Heinz-Luhnen-Straße was already planned as Victoriastraße in the town plan of 1894 (Stadtbaumeister Ulrich). It was not until 1919, however, that the area between Friedrichstrasse and Viersener Strasse was created as Hindenburgstrasse. It is the straight and direct connection between the city center and the train station. In contrast to z. B. to the neighboring Friedrichstrasse with its Wilhelminian style row development, today's Heinz-Luhnen-Strasse is characterized in this section, which was created from 1919, by a loosened development of detached houses, e.g. T. high demands. The house at Heinz-Luhnen-Straße 15 is an integral part of this characteristic development. Even in view of the high-quality neighboring buildings, the residential building at Heinz-Luhnen-Straße 15 stands out due to its formally unusual design. It is certainly due to the origin of the client and architect and perhaps also to the intention to depict the company's headquarters in Bergisch here, that a house was built on the Lower Rhine in typical forms of the so-called "Neo-Bergisch" style. It is one of those “traditional” building methods that were “revived” in the course of the anti-historical architectural reform after 1900. In the Bergisches Land, regional models, especially those of the 18th and early 19th centuries, were tied in with: the so-called Bergische patrician houses, whose baroque or rococo-related design language was then often - as here in Dülken - merged with elements of the picturesque country house style . Characteristics are the extensive use of slate (often as wall cladding, here only as a covering material for the mansard roof, which is at least extremely characteristic of the building), the color tone of green folding shutters and strong white window frames and small bars, the entrance design from the central door with "Bergisch" skylight (ornamental sprouting with vase motif ) and accompanying small windows, the characteristic curved shape of the dormers and of course the baroque-Biedermeier basic shape of the building with a large mansard roof, square bars and a dwarf house. The spread of this style, especially in villa construction, as late as the 1920s, shows that it was seen as an appropriate form of dignity for industrial residences, which as such was partly also free of regional restrictions. A building in the district that is partially comparable in terms of the history of its construction and some details, but less strikingly “Neubergisches”, is located in Grefrath, Bahnstrasse 90, a villa built in 1920 for an entrepreneur from Barmen. The house's architect, government architect Carl Conradi (1874–1960) came from a Wuppertal (then Barmen-Elberfelder) family of architects. Both father and uncle were well-known building contractors, Carl and his older brother Ludwig were among the most important and busiest architects in Barmen, Elberfeld and beyond in the first three decades of the 20th century. Numerous significant large buildings of them are listed in the contemporary DARI buildings " Germany's urban development " in Barmen and Elberfeld. Although both had separate offices, there are e.g. Partly incorrect attributions, especially since the work of both has not yet been scientifically processed. A catalog raisonné is also missing. A number of Carl Conradi z. Some very elaborate villa buildings in Wuppertal for important entrepreneurs in the city and the region (Niepmann, Vorwerk, Springorum, Curt and Richard Frowein, Meyer-Leverkus and many others). De Bruyn-Ouboter suspects that Carl also specialized in large buildings at the end of the 1920s, including outside of Wuppertal. The much-published Harzeck Children's Recreation Home near Schwelm could be considered a “forerunner”, followed by the Elberfeld Bethesda Hospital (1929) and the Huyssen-Stift in Essen-Huttrop (1934). The activity of an architect based in the Niederberg area in Dülken can almost certainly be explained by the person of the client. Dr. Ing.Siegfried Werner, b. 1878 in Bremen, after his doctorate in 1904 at the TH Charlottenburg went to the USA for several years, where he worked, among other things, as an employee of the United Steel Corporation, in particular with the advanced scientific methods of operational management developed there. After his return he was considered a proven expert in this field in Germany. From 1907 he worked as a works manager in the ironworks G. & J. Jaeger, Varresbeck branch (today Wuppertal). In 1912 he started his own business and founded the iron and steel works Werner, later "Stahlwerke Erkrath AG", in Erkrath near Düsseldorf. After the First World War, the Niederrheinische Eisenhütte u. Maschinenfabrik AG, Dülken ”and the“ Werner Handelsgesellschaft, Düsseldorf ”were added. In addition, from 1912 he was chairman of the Association of German Iron Foundries and a member of the board of the Association of German Ironworkers. Werner died on June 28, 1951. A garage from 1927 is located unusually far back on the deep property. According to the prospectus documents received in the building file, it is a prefabricated garage from the Hermann Schwarz (Breidenstein) company from z. T. concrete slabs with windows between iron posts on a concrete foundation. The gate has been renewed, it is not known whether the flat, hipped roof was originally covered with tiles (standard design according to the brochure). With increasing individual traffic, car garages became an important new field of activity in architecture in the 1920s (1925: 174,665, 1930: 501,254 registered cars in the German Reich; source: Conradi, p. 77). As a result, design manuals and specialist journals dealt with this broadly new topic, and Reich garage building regulations were passed in 1931. In the case of private individual garages, the need for regulation with regard to design and technical solutions was naturally the least, especially since there were direct traditional lines to coach houses and coach houses of the pre-motorized era. In Heinz-Luhnen-Straße in Dülken, garage solutions from that time can be seen in close proximity. At the Heinz-Luhnen-Straße 1 monument, the garage (1925) is a solid structure and is closely linked to the residential building in terms of structure and design. In the present case of the house at Heinz-Luhnen-Straße 15 (1928), a prefabricated construction method was chosen that was usually referred to and advertised in contemporary literature as "transportable" or, as here, "dismantled". The 1920s were generally the first heyday of the development and spread of industrial prefabrication methods - in residential construction still more selectively, in other construction tasks such as B. garages already more natural. The importance of such “small buildings” for the further development and implementation of these production methods should therefore not be underestimated. The type used here is shown in the contemporary standard work on the subject (Handbuch der Architektur) as a sample for “Transportable garages made of concrete between steel or wooden frames” (Conradi, page 22, Fig. 36). As part of the series of architecturally high-quality buildings on Heinz-Luhnen-Strasse and the former home of the director of a well-known industrial company in Dülken, the house at Heinz-Luhnen-Strasse 15 is important for Viersen. Its high-quality design in a regionally extremely unusual design language that can be derived from the history of its creation has been preserved in the essential elements outside and inside. There is therefore a public interest in the preservation and use of this intact testimony to Neo-Bergisch architecture in an unusual setting by the hand of an important architect for scientific and in particular architectural-historical reasons. In connection with Heinz-Luhnen-Straße with its ensemble of high-quality detached houses, mostly from the 1920s, there are urban planning reasons. According to § 2 (1) Monument Protection Act, it is therefore an architectural monument. As a testimony of an early prefabricated car garage, which has become rare again but is important in terms of architectural history, the garage belonging to the house is part of the monument.	1921	Apr 18, 2002	430
	Post office building	Dülken Heinz-Luhnen-Strasse 19 map	The post office on Heinz-Luhnen-Strasse in Dülken was built in 1925 as a post office on the street leading from the city center to the train station. It is a two-storey brick building in neo-baroque design with a mansard roof. The characteristic feature of the exterior is the broad structure with its regular row of window axes - thirteen on the long side facing Heinz-Luhnen-Straße and five axes of high-angle windows on the narrow side, which are continued by six axes of a single-storey extension. On the entrance facade to Heinz-Luhnen-Straße, two entrances are symmetrically arranged in the outer axes. These entrance axes are highlighted on both floors by brick bands, as is another axis in the middle, which only contains window openings. In addition, the parapet surfaces of the upper floor windows accentuate the facade, the symmetry of which is complemented by the regular row of dormer windows on the mansard floor, whereby the outer axis remains without dormer for design reasons. At the side along Friedrichstrasse there is a formally adapted single-storey extension. The back of the main building is plastered. The lattice-divided cross-frame windows are apparently old, possibly original, and an integral design element in the structure, which is based on the effect of the material and the rhythm of the window axes. Appreciation The Dülken post office building is by far the largest building in its immediate vicinity with a street-defining effect on the corner of Heinz-Luhnen-Strasse and Friedrichstrasse. Nevertheless, in terms of height and position, it fits in well with the very high-quality urban environment. Heinz-Luhnen-Straße was already planned as Victoriastraße in the town plan of 1894 (Stadtbaumeister Ulrich). It was not until 1919, however, that the area between Friedrichstrasse and Viersener Strasse was created as Hindenburgstrasse. It is the straight and direct connection between the city center and the train station. In contrast to z. B. to the neighboring Friedrichstrasse with its row buildings from the turn of the century, today's Heinz-Luhnen-Strasse is characterized in this section, created from 1919, by a loosened development of detached houses, e.g. T. high demands. In terms of architectural history, the post office building in Dülken is evidently a well-preserved testimony to the traditionalist modernity of the 1920s, in its essential elements. The important role played by the Reichspost and its various building departments in the history of the development of modern architecture has been clearly highlighted in research on building history in recent years. The use of exposed brickwork refers to the effort to update typical regional construction methods. This goal, which was formulated before the First World War, resulted in remarkably high-quality form-finding in the twenties. B. also used for the formation of two-dimensional geometric decorative shapes. This is the case in Dülken on entrance axes and parapet surfaces. The strict symmetry and regular axiality of the facade, including the mansard roof, are bound by the neo-baroque tendencies, which on the one hand were regarded as a representative form of dignity in large public building projects, and on the other hand played a central role in the desired "overcoming" of the historicist "style architecture". In terms of modern architectural reform, the intention was to calm down and emphasize the area of ​​the building, and with regard to the decorative forms also to purify it in a move away from historicism and Art Nouveau. The use of traditional design and form elements, including the upright rectangular window formats and shapes, denotes the conservative element, which differed significantly from avant-garde solutions such as the Bauhaus, and therefore used in research as “traditionalist modernity “Has led. The post office building in Viersen on Freiheitsstrasse, built a short time later, shows a very similar basic attitude, but is bound to a more monumentalizing formal language within this framework. In Dülken, the smaller size and the location integrated into a more closed urban environment were certainly reasons for a somewhat more conventional design. The post office building in Dülken clearly demonstrates an important architectural and historical trend in the first half of the 20th century. It also shows the great importance of the Reichspost as a builder of modern architecture in the twenties and thirties. As a post office that has been in operation for over 75 years, it is also of local historical importance, as the post office is one of the central infrastructure facilities of modern urban communities. According to Doergens, the beginnings of the postal service in Dülken go back to the year 1760, when a regular messenger service was set up between Dülken, Viersen and St. Tönis / Krefeld. Dülken became the main post office in the canton of Bracht, the first post office was set up in 1816 in a residential building on Langen Strasse, and in 1855 it was moved to Mostertzsche Haus on Markt. In 1861 and then again in 1895, independent post offices were built on Viersener Strasse. Doergens closes his chapter on the postal system with this new building: “The limited space of the old post office, which no longer met the requirements of the time, had made the construction of a new one an inevitable necessity. The same was built on the corner of Friedrichstrasse and Hindenburgstrasse and put into operation on August 16, 1925. It contains 19 office rooms and 17 living rooms on the first floor and the top floor. In the first is the official residence for the post director ”(page 313). The building at Heinz-Luhnen-Straße 19 is important for Viersen as the post office. There is a public interest in its preservation and use from the presented scientific, in particular architectural and local history as well as urban planning reasons. According to § 2 (1) Monument Protection Act NRW it is therefore a monument.	1925	May 23, 2002	437
	Festival hall	Alt-Viersen Hermann-Hülser-Platz 2 map	The long-standing wish to build a large gymnasium and a donation from the factory owner Josef Kaiser lead to the planning and construction of a combined gymnasium and festival hall. Although an architectural competition in 1911 led to appealing results, city architect Eugen Frielingsdorf was commissioned with the further planning. The basis should be the floor plan of the 2nd prize winner, architect Müller-Mylau. Construction work begins in 1911. The main entrance, flanked by columns and accessible via a few steps, leads into a small entrance hall. An adjoining, narrow distribution foyer encloses the hall in a U-shape. Cloakrooms, gym equipment rooms and other ancillary rooms are located on the outside of this foyer. Staircases arranged at each corner of the building open up the balcony floor. The centerpiece is the high, rectangular hall, which is aligned with the stage area. Spectator balconies on the long sides and a spacious gallery at the rear subdivide the height of the hall. Pilasters and large window openings divide the gymnasium and ballroom. Wood paneling surrounds it in the lower area. Joined historical architectural elements such as gables, columns, pilasters and capitals characterize Frielingsdorf's design, which lags behind the status of contemporary architectural discussions. The gymnasium and festival hall was inaugurated on December 7, 1913. In 1915, a concert organ, a gift from M. Lüps from Viersen, is installed on the back of the stage by the Klais Organ Builders in Bonn. In 1923 the hall was given a retractable orchestra room. From 1925 the building was no longer used for gymnastics. The coexistence of "gymnastics and cultural events" does not work. In 1939/40 the hall was completely redesigned according to plans by the Düsseldorf architect Staudt. The pilasters and the rest of the plastic jewelry disappear. Wooden frames surround the windows and the balcony doors below. Together with the ground floor doors, this creates a strong vertical structure. A lower ceiling edge encompasses the middle ceiling field and enables indirect lighting. At the rear of the hall, a projection room will be suspended from the ceiling. The balconies will be shortened on the sides and their parapets will be redesigned. The stage area receives a new border towards the hall. The stage technology is improved. A door opening with a loading ramp enables cheaper transport of the backdrop. The cloakroom conditions are being improved. In the war years from 1941 to 1945, air raids mainly damaged the exterior of the hall. In 1945 the worst damage was repaired. In the following post-war years, minor changes, improvements and additions to the stage and artist cloakroom area, but also design "simplifications" at the expense of the architectural quality, were made. The good hall acoustics became world-famous in the 1950s. In 1978, only the stage area was redesigned by the municipal building department from an initially multi-stage expansion program. Among other things, the stage area is enlarged by removing the organ. For scientific, in particular local history, socio-political, urban planning and architectural-historical reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (l) of the Monument Protection Act.	1911-1913	Sep 11 1996	361
	ev. church	Süchteln Hindenburgstrasse 5 map	history 1565–1567 The Benedictine monk and chaplain Petrus von Titz preaches according to the Reformation understanding in the Catholic parish church in Süchteln. After his departure, only secret sermons take place. 1608 Under the rule of the Elector of Brandenburg and Palatinate-Neuburg, the maintenance of a separate cemetery and school is permitted. The ruling house advocates freedom of belief and conscience. August – September 1609 In the Gehl to Holthausen house (Gielen zu Holtissen, Hochstrasse 47) Protestant services are held with their own pastor. 1609 is considered to be the founding year of the evangelical congregation in Süchteln. 1611/1612 Protestant services with Pastor D. Hendricus Fabritius take place in the Hermann Jentges house (Propsteistraße 1). In 1613 the evangelical community had 500 members. 1614 Duke Wolfgang Wilhelm von Pfalz-Neuburg converts to the Catholic faith. The Counter Reformation is initiated. 1624 Protestant services are held in the Harenscheifgut house (Propsteistraße 9). 1625–1648 Only hidden services are possible. 1644 The Protestant church purchases a piece of land. 1654 The Protestant church purchases another piece of land through Johan Steinrats. 1655–1663 Collect trips to the Netherlands and the county of Moers take place in order to finance the construction of a preaching house (church). May 20, 1669 The foundation stone for the preaching house is laid. The church will be built with the rectory and school house in front of it. September 1, 1669 Pastor D. Petrus von Falbruck preaches for the first time in the church, which does not yet have any interior. 1681–1722 The church was expanded and redesigned during the time of Pastor Friedrich Hölterhoff. The church receives a tower with two bells and an organ gallery. Middle of the 18th century A cock is placed on the tower as a weather vane. 1869 The rectory is torn down. 1931 A new organ is inaugurated. 1932 The tower is renewed. Jan. 16 - May 17, 1938 The interior is renovated. The church receives new pews, new chandeliers and new wall lighting. 1958 The organ is renewed. 1967/68 The interior is decorated in color after the original findings have been uncovered. The Lord's Supper table, the wall lighting and the church windows are renewed. Fragments of the coat of arms are distributed from 7 to 5 windows. A sacristy is added. description The transversely rectangular, muddy brick hall measures 12.55 m in length and 8.70 m in width. Above the two arched entrance doors are two stone tablets with the following inscriptions: Above the right entrance door: “DEI SOLIÜS GLORIAE ET HUIS ECCLESIAE REFORMATAE USUI SACRO EXSTRUCTA EST AEDES HAECANNO 1669 PET. V. FALBRUCK EIUSDEM PASTORE, IOH. DOHR, THEOD. GRAVER, IOH. STEINRATSET ADAMO TILEN SENIORIBUS “(To God's sole honor and this Reformed church for worship use, this house was built in 1669 under Pastor von Falbruck and the oldest Joh. Dohr, Theod. Graver, Joh. Steinrats and Adam Tilen) Above the left entrance door : "HERR GOTT LAS DENE AVGEN OFFENSTHN VBER DIS HAVS NIGHT VND DAY" (l. Reg. 8.29 (l. Kon. 8.29)) "KOMPT LAST VNS AVF THE MOUNTAIN OF THE LORD WALK ZVM HAVSE OF GOD'S JAKOB." (ESA. 2, V.3 (Isa. 2,3)) The entrance side is also divided into three arched windows. The rear broad side has three arched windows and the western narrow side two windows. The remains of painted panes, mostly coats of arms, are inserted into the new glazing by the glass painter P. Weigmann in 1965/68. The left window on the back shows the coat of arms of the great Elector Friedrich Wilhelm von Brandenburg, the right window the coat of arms of Pfalz-Neuburg. The remaining fragments of the coat of arms can probably be assigned to donor families. The slate hipped roof has a high, six-sided turret with a multi-curved hood. The weather vane represents a rooster. The tower houses two bronze bells: Bell I: diameter 54.5 cm, weight; 90 kg, tone e, 1505 bell II; Diameter 61.1 cm, weight; 130 kg, Ton dis, 1773 On the side of the church is a grave slab made of shell limestone, height: 2.01 m. Width: 1.00 m walled in. A medallion with a double coat of arms is located between two framed inscription fields above and below. Of the inscription fields, only the left one is used for an inscription in Fraktur, which reminds of the wife of the first pastor of the evangelical community D. Petrus von Falbruck: "THE WOOL-BORN CATHARINA MECHTELDIT FROM FALBRUCK BORNE DROSTE ZUM STEEGEN DIED ON 4 MERTZ 1678" and "I HAVE DESIRE TO CHECK OUT AND TO SEYN BEY CHRIST." (Phil. 1. Verse 23) Furthermore, the following is written below the coat of arms: "CHARISSIMAE CONIVGI POSVIT RET.V. FALBRUCK. PHILIP. l. V. 21. “The interior of the church is oriented lengthways: on the western narrow side there is: the pulpit, on the eastern side the organ gallery is drawn in. The colored wooden flat ceiling spans huge wooden girders. The organ gallery rests on two wooden round pillars and covers a set adjoining room. The parapet consists of narrow balusters. During the last repair, the original version is exposed and supplemented: the pillars are wrapped in a black, white and red ribbon. On the front is the saying Micha G, verse 8 as a reminder to the preacher: "YOU HAVE TOLD YOU, MAN, WHAT'S GOOD AND WHAT THE LORD REQUESTS OF YOU, namely KEEP GOD'S WORD AND PRACTICE LOVE AND BE HUMBLE FOR YOUR GOD!" The wooden pulpit with sound cover from the 17th century has been restored in the colors black-brown, blue and a little brick-red according to findings. Twisted pillars adorn the six polygon corners of the pulpit. The fillings are adorned with vases with flowers. Cartilage with angel heads is shown to the side of the south wall. On the underside of the cover there is a star with a rose in the middle. The Protestant church in Süchteln is an early Reformed church building in the Jülich region as a typical court church complex: behind the rectory on the street and the school and utility rooms on the right and left, you can originally reach it through a gate through an inner courtyard. the preaching house. In order to cause as little offense as possible among the Catholic population, the dimensions are no larger than the rectory. There is also no bell tower. The experiences made during the times of persecution are reflected in the external construction of the reformed preaching house: the solid house is built with down-to-earth field fire bricks, thick-walled and more massive than statically necessary, and thus has a protective character. An escape route within the church wall secures the rear exit outside the city wall in case of danger. The windows are relatively small and relatively high in order not to allow a direct view and to make unauthorized entry difficult. The doorways are low. The doors are made of sturdy oak planks with thick-headed iron nails and heavy forged locks and latches. The interior is designed so that each parishioner can optically and acoustically participate in the worship service as cheaply as possible. The sermon chair is the central place of the Reformed official act. Nothing in the interior should distract from the sermon. Except for the demolition of the rectory, the spatial situation of the Protestant church in Süchteln has remained unchanged since the 17th century. Despite its inherent simplicity, it is an impressive testimony to the reformed cultural history of the Lower Rhine region. For scientific, in particular cultural, religious, local and architectural-historical reasons, the preservation and use of the church with its historical furnishings are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1669	Aug 30, 1990	233
	Harmesgut	Süchteln Hindenburgstrasse 7 map	history 1513 This Harmes This Matsebekel waives the Harmesgut R. Harmes has an annual sack tenth of a sester to the rectory 1583 5 1/2 sester at the mayor Trein Harmes 4 mornings 1 1/2 rooms 1662 Mathias Bongartz 1684 Theis Harmes 1741 Anna Christine Steinberg 1793 Johann Heinrich Goldbach 1892 Selbach 1903 Conversion of the house for Mr. Heinrich Lorenz Execution: PH Schmitz, Grefrath 1934 Lorenz siblings description The building complex is the former "Harmesgut". The two-storey residential and commercial building is built on the ground floor in 3 axes. The facade facing Hindenburgstrasse has a plastered stucco architecture. Behind the plastered facade from the turn of the century hides a stud work, which is estimated from the 17th / 18th century. Century. The outside front of the courtyard wing facing the church is likely to be of the same age. The street-side facade is structured horizontally through the pilasters on the ground floor and the cornices. The store entrance with the adjacent store windows and the house entrance can be found on the ground floor on the right outer axis. The house and shop entrances as well as the windows are framed by corner pilasters on both sides. The transition from the ground floor to the upper floor is formed by a cornice with simple geometric ornamentation. The upper floor windows, provided with a flat arch, are framed by bands with a crowning keystone. The eaves are mounted on a console frieze. The consoles have attractive vegetal ornamentation. The actual original church-side outer wall of the courtyard wing is a half-timbered construction, a skeleton construction, the supporting structure of which consists of wooden posts with crossbars. The compartments are filled with bricks, some with clay wickerwork. The load-bearing construction of the house consists of a stud frame, which like the half-timbered outer wall from the 17th / 18th centuries. Century. The roof structure is probably the same age. During the renovation of the house in the 19th century, the wooden staircase to be found in the rear area of ​​the house was built. The staircase has a turned railing as well as a stair post decorated with flowers and geometric ornamentation. The Hindenburgstrasse is one of the main traffic axes in Viersen-Süchteln. It connects the city entrance in the west with the center. The building at Hindenburgstraße 7 in the city center is part of a two-story row of houses from the 18th and 19th centuries. Century and can be seen in connection with the Protestant church, which was originally hidden behind a row of houses. The residential and commercial building illustrates the structural development from 17./18. Century to the end of the 19th century as it is characteristic of a large number of buildings in Süchteln. The original post and half-timbered construction of the house and courtyard complex from the 17th and 18th centuries is hidden behind a facade shaped by the influence of historicism. Century. It experiences its importance in the historical reference to the place as well as in the age value. It is an example of rural architecture that has become rare behind a “modern” facade as well as an important document for the historical development of the town of Süchteln. For scientific, in particular architectural, local and urban planning reasons, the maintenance and use of the building complex at Hindenburgstrasse 7, in accordance with Section 2 (1) of the Monument Protection Act, is in the public interest.	17.-18. Century	Feb 16, 1994	335
	villa	Süchteln Hindenburgstrasse 34 map	The representative villa at the entrance to Süchteln is built on two floors in a country house style. On the street side, the building is divided into three axes with an extended central axis emphasized by bay windows. The entrance axis with a bell roof is set back. The façade, made of cream-colored bricks, is structured by cornices, window reveals and decorative elements made of sandstone. The rising masonry closes in the gables to the roof in timber frame constructions. The roof basically consists of two crippled hipped roofs that cross each other and becomes a landscape with dormers and a bell roof as well as a laterally offset gable. The windows of the house are modernized. The inside of the house is accessed by a central staircase. The wooden staircase with rich carvings leads to a gallery from which all rooms on the upper floor are accessible. The representative stairwell is given a moderate artistic decoration thanks to the stucco ceiling and colored lead glazing. Likewise, the windows of the side staircase are designed with artistic lead glazing. In the rooms on the ground floor, the furnishings of the rooms, the wooden fittings, doors, parquet floors and stucco ceilings have been preserved in their original state. A garden shed with a gable roof in the rear of the house is well preserved. The architectural style chosen and the interior design are particularly remarkable: this garden house is a "Swiss house" which, together with the formerly hilly park, is a replica of the alpine landscape and architecture. The angular former coach house with hipped roof is changed in 1975 through intensive renovation, but the original shape of the building and the roofing have been preserved. The facade is changed significantly. A modern connecting building is placed between the main and ancillary buildings. The villa with living room, coach house and garden house is essentially unchanged and thus a document of its time. The selected representative country house style is rare for the local area and of historical importance. For scientific, in particular architectural and historical reasons, the preservation and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	1899	04th July 1989	210
	villa	Suchteln Hindenburgstrasse 67 map	The representative country house at the entrance to Süchteln is a two-storey building. The roof is designed as a half-hip roof on the street side and as a mansard roof on the garden side. The roof covering shows itself in the form of beaver tail tiles. The facade is given a plaster finish. The entrance area is provided with a round arch. The entrance door is offset inward from the masonry. The original main entrance door has a skylight and is decorated with a variety of geometric ornamentation. The windows on the first and second floors have been partially preserved in their original form. The floor plan of the house is unchanged. This is how you enter the porch from the house entrance. The vestibule and the hall are separated by a single-leaf swing door. The original wooden staircase is located in the spacious hall. The staircase shape is straight, two-way with a change of direction in the same direction. The starting post is made without any ornamentation. The banister has turned and geometrically worked balusters. The rooms adjoining the hall, such as the former living room, the reception room, the dining room and master's room, as well as the veranda are decorated in a tasteful, high-quality interior. The interior walls are provided with approx. 1.00 m high wood paneling, the floor is equipped with tiled or parquet. The doors are presented as double-leaf frame panels with a facet-cut glass insert. The builder of the villa at Hindenburgstrasse 67 (formerly Dülkener Landstrasse) is Peter Ling. According to the family tradition, he works in silk weaving. His father, Wilhelm Ling, co-founded the mechanical silk weaving mill Ling & Duhr around 1877. The factory is located in Süchteln, Unterstraße 20. Wilhelm Ling is the owner of the villa at Hindenburgstraße 34 around 1899. The villa with living room, coach house and garden house is built in the Swiss country house style. A type of building that is rare for the Lower Rhine. In 1910 his son also built a country-style villa a few hundred meters away. Which presents itself in a reduced form both in size and facade design. The dignified and high-quality interior design deserves special mention, such as the intricately crafted interior doors, the generously designed stairs, the wall cladding and the floors. In this respect, the facade is simple and reserved, but its expression is representative. For scientific, in particular architectural and historical reasons, the preservation and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	1910	Dec 11, 1993	287
	Kaiser Wilhelm School	Suchteln Hindenburgstrasse 128 map	history On June 25, 1909, the town council of Süchteln decided to set up a higher boys' school under the authority of the town, with a board of trustees (4 Catholics, 2 Protestants, including three members of the town council). At Easter 1910 the new rectorate school, initially temporarily housed in several buildings, opens. Rectorate schools, sometimes also called higher city schools, were "medium-sized" schools that were widespread in western and southern Germany and "prepare their students for the transfer to a neighboring higher education institution. They want to keep the children cared for and brought up at home for as long as possible and ensure the transition to secondary school goes smoothly. (…) The certificate you have acquired entitles you to enter secondary school ”(Brockhaus 1933). The city council passed the resolution for a new building on June 13, 1912. The building site located outside the city center and therefore initially controversial ("far away from the city's gears, far from and, so to speak, elevated above the noise of everyday life"; Rector Laquer at the inauguration 1913) is donated to the city by the entrepreneur Wilhelm Ling, who also donates 10,000 marks for the construction of a gymnasium; the construction costs, including the turret that was also planned later, amount to 84,000 marks. In memory of the 25th anniversary of Kaiser Wilhelm II's reign in the year of inauguration in 1913, the school with the new building was given the name "Kaiser Wilhelm School"; In the green area in front of it, an “imperial oak” is being planted. In the year of inauguration in 1913, the school had 81 students, including 29 non-residents, from which the city and school derived the hope of being able to establish a supra-local significance. However, the school soon ran into trouble; falling numbers of pupils jeopardize the financing and operation to the intended extent (as a five-class rectorate school). In the twenties there were plans on the one hand to convert it into a (six-class) Progymnasium, on the other hand there were repeated plans to dissolve it. In fact, the Rector's School was closed as a municipal facility on March 31, 1931. By private or church initiative of the parish of St. Clemens it will then be continued as a "private higher boys' school". The new, much smaller private school is moving from the large school building on Hindenburgstrasse to a smaller one on Gartenstrasse. The former Kaiser Wilhelm School now serves as accommodation for the vocational school and parts of the Catholic elementary school. 1961–64 a large extension is added. Today the municipal community secondary school is located here. description The school property donated by Wilhelm Ling is located directly on the slope of the Süchtelner Heights, on the Hindenburgstrasse leading out of Süchteln, from which the actual building is separated by a wide strip of greenery. Characteristic is the form language of the broad plastered building, based on baroque models, on a narrow, rectangular floor plan with two full floors above the basement and mansard roof. The symmetry of the street front with three times three window axes, a central dwelling and a crowning roof turret with a hood is dissolved by a narrow side entrance project, the three storeys of which are covered by a hipped roof and an antique-looking portal. Looking at it from the outside, this view suggests that an extension to the west was planned here, but this was no longer carried out. The location and design of the planned extension are given on plans in the building file. The horizontal positioning of the facade is supported by the lines of the transition from the gray-wacke clad basement to the plastering of the full floors, the sill cornice between the first and second floors and the lines of the roof (eaves, bend of the attic, ridge). In addition, the upright rectangular windows are grouped into groups of three, which also create recumbent figures. Another defining motif are the triangular gable shapes on the Zwerchhaus, the two accompanying dormers and the porch of the portal, where the gable rests on an entablature supported by double columns. The pediment is decorated with a cartouche with a stylized beehive (symbolically the schoolhouse as the home of hardworking students) in the middle, accompanied by empty horns of plenty. In the entablature below the gable, the lettering Kaiser-Wilhelm-Schule is attached in capital letters (originally “pietati, virtuti, doctrinae”). Below it, seven steps between natural stone cheek walls lead to a (modern) double-winged entrance door. The two windows above the portal are covered by a round arch, in the field of which Süchteln's city coat of arms is inserted; originally a portrait medallion of Kaiser Wilhelm II was attached here. The comparatively small format of the street-side windows indicates that the corridors are arranged behind them. The much larger, three-part class windows are in three groups of two on the rear side of the courtyard, which is unusual in that the classes are thus lit from the north. Apparently, this disadvantage was rated as less serious during the planning than a possible opening of the classrooms towards the street. A transverse position of the building that avoids both problems but is significantly less representative in terms of urban planning does not appear to have been an alternative. Apart from the different window proportions, the courtyard side essentially corresponds in terms of design to the street front. The dwelling is somewhat wider (four windows) and is accompanied by ribbon windows in the attic. The rear entrance, shown in the design drawings and its front counterpart as an antique portico, was probably changed in 1961/62 in favor of connecting the younger extension buildings with a covered corridor (break hall). Since the property slopes slightly towards the city, the basement level protrudes on the right narrow side at full height. Here and at the front, two entrances lead directly into the basement, where a caretaker's apartment was originally located in addition to the sanitary rooms. In the actual classroom floors, the one-hip floor plan with a street-side corridor and courtyard-side classes has been preserved. In addition to the entrances, the entrance project also includes the massive brick staircase (straight, two-lane with turning platform, steps made of artificial stone). At the corner of the hallway, an inscription stone with the year 1913 is set into the wall. The design drawings show three classrooms on the ground floor and only two on the upper floor, as the rooms for the rector, the teaching staff and for storing teaching materials were also located there. The top floor contains a large central room (“drawing room”). In the line of the corridor, the passage for the extension building was originally intended in today's outer wall of the entrance project. Today there is a large-format window lying on the ground floor, probably from the time after 1945, whose basin-like parapet reminds of the drinking fountain located here from the time it was built. There are apparently hardly any other historical pieces of equipment left - individual wall cupboards are worth mentioning. Architectural historical appreciation and monument value Since the building, which was inaugurated in 1913, was only a first phase of construction, to which an additional wing and a gymnasium should have been added when it was expanded into a full grammar school, its architect Bruysten described the building as an "architecturally [not] completed structure “(Süchtelner Zeitung Nov. 26, 1913). However, this is only expressed in the asymmetrically arranged entrance projections, otherwise the building with its neo-baroque design language appears coherent and harmonious. The Viersen architect Franz Bruysten is also recorded as the draftsman of the buildings Hindenburgstrasse 67 and 69, both built on behalf of Peter Ling, the son of Wilhelm Ling. It can therefore be assumed that Bruysten was awarded the contract for the rectorate school through the mediation of Ling, who made a considerable contribution to the financing of the new school. The plans and documents contained in the building file document that their design is not only due to Bruysten, but also to the considerable involvement of the regional building advice centers. It was no coincidence that the architect Hermann Hecker, head of the building advice center of the Rhenish Association for Small Housing in Düsseldorf, was personally present at the inauguration of the school and was expressly thanked for his contribution to “beautiful design” (Süchtelner Zeitung Nov. 27, 1913). In the 1900s, the appraisal and, if necessary, changes to the functional and aesthetic design of submitted building projects were integrated into the building permit process under the name “building advice”, albeit in an organizationally and legally inconsistent manner. This instrument was largely run by the anti-historicist reform movement and the Heimatschutz, which - in contemporary usage - promised an increase in the general level of construction. Specifically, this meant that building applications submitted for approval had to be submitted to a locally, regionally or even supra-regionally established committee for assessment. In the case of public or publicly funded construction projects such as B. the school in Süchteln, this could then be binding, so that the draftsman, if necessary, the z. T. had to implement rigorous suggestions for changes from the building consultancy. One of the very first building advice centers in Germany was set up in 1906 by the Rheinische Verein zur Förder des Arbeiterwohnungswesen (later: Small Housing) in Düsseldorf under the direction of Hermann Hecker. Based on their model, a network of around 70 local and regional building advice centers was set up in the Rhine Province between 1908 and 1912, but this was only maintained to a limited extent after the First World War. In 1922, the Rheinische Verein für Kleinwohnungswesen specified clear and simple buildings, uniform appearance, safe roof design, neat craftsmanship, standardization of suitable elements, fitting into the townscape and the use of local building materials as the goal of its building consultancy activities. The draft for the rectorate school submitted by Bruysten in October 1912 already had the building structure planning carried out later, but in the elevation it provided for a regular row of the window axes (within plaster fields separated by simple pilaster strips). The roof was probably intended as a simple hipped roof, with a towed dormer on the street front. The entrance on the ground floor is preferred as a box construction, its roof should serve as an exit for the upper floor. The monotonous series of windows, the large roof design and the windowless side front differ considerably from the new baroque design. This, with its rhythmic grouping of windows, mansard roof, dwarf house, roof turret and portico, goes back to Hecker and the district architect Ledschbor (construction advice center of the Kempen district) who was also involved. Although there are no drawings by Hecker or Ledschbor in the building files, they are expressly mentioned in a letter by Hecker dated January 25, 1913 (“sketch with remarks on a scale of 1: 200”). Neo-Baroque or Neo-Classicist designs were an integral part of the anti-historical architectural reform around 1910 and were considered to be an appropriate formal language, especially for representative building projects such as the Rector's School in Süchteln. Significant part in the spread of this design attitude had z. For example, the influential books by Paul Schultze-Naumburg and the programmatic work "Um 1800" by Paul Mebes, which is already in the title. The Rector's School in Süchteln is therefore an eloquent testimony not only to this important architectural trend and the school architecture of the imperial era in general, but also to contemporary building consulting practice. As a former rectorate school and thus evidence of the modern expansion of the middle and higher education system in Süchteln, the building at Hindenburgstrasse 128, today's community secondary school, is important for Viersen. There is a public interest in the preservation and use of the historic old building for the aforementioned scientific, in particular architectural and local history reasons. It is therefore a monument according to § 2 (1) Monument Protection Act NW. According to the current state of knowledge, the extension buildings from 1961 to 1964 are not part of the monument. An assessment of their architectural historical value as evidence of the architecture of the 1960s was not the subject of this study.	14913	May 31, 2001	408
more pictures	Weber fountain	Suchteln Hochstrasse opposite church map	history The weaver memorial in Süchteln's pedestrian zone opposite the St. Clemens church was commissioned by the textile entrepreneur C. Adolph Rossié to the Berlin sculptor H. Damann. It takes the artist a long time to get his chosen model, the weaver Heinrich Lennackers from Süchteln-Vorst, to sit as a model for him. Only after long pressure, the offer of 20.00 marks and the promise to erect the memorial only after the weaver's death, H. Damann can begin his weaver sculpture based on Heinrich Lennacker's image in 1911 or 1912. description After his death in 1922, it was six years before the monument could be erected. The stone weaver made of tuff sits in the midst of a multi-stepped, pass-shaped fountain bowl on a stone base, around which a garland of tuff runs in an arch. The figure wears the typical work clothes of the weavers: the blue smock with a scarf, dark trousers with a short apron made of blue linen and a black peaked cap. He also wears wooden shoes on his feet. The weaver holds the bobbin, the large spool of cloth, between his knees. As a stone witness to the great time of hand-weaving, a craft that was particularly widespread in Süchteln, the weaver's monument is an important monument. For scientific, in particular local historical reasons, the preservation and use of the monument are in the public interest according to § 2 (1) of the Monument Protection Act.	1928	May 11, 1990	223
	Residential and commercial building	Süchteln Hochstraße 6 map	The 2 1/2 storey brick house is located in the center of the old town of Süchteln next to the St. Clemens church on the corner of the former Lindenplatz. The anchor pins 172 indicate the construction of the building in the early 18th century. The muddy facade is divided into 5 window axes towards Hochstraße and 2 window axes towards Lindenplatz. The hipped roof, which appears calm and closed, is characteristic. In the 20th century, the window and door openings on the ground floor were changed several times. The window division of the l. 1st floor and the mezzanine floor. In the 1920s and 1930s structural changes became necessary due to frequent changes in use. As can be seen from the construction plans from 1945, there was an inn and a fish shop on the ground floor at the time. A large lounge was assigned to the restaurant on the first floor. The flat roof extension facing Lindeplatz was built as early as 1934. At that time it served as a bus shed. Frequent changes of use and the associated structural changes have left clear scars inside the building. The ground floor is currently used commercially. The l. The upper floor is inhabited. Despite the changes, this building between the former Lindenplatz and the churchyard is important for the historical development of Süchteln in the town center. For scientific, especially urban, architectural and local historical reasons, the maintenance and use of the Hochstraße 6 building is in the public interest in accordance with Section 2 (l) Monument Protection Act.	18th century	16 Sep 1985	66
more pictures	Catholic parish church St. Clemens / Kalvarienberg	Süchteln Hochstrasse 8 map	The patronage indicates the possibility that a Christian place of worship already existed here in Carolingian times. The founding of the parish is traced back to Countess Irmgard, who bequeathed her rule to Süchteln to the St. Pantaleon Abbey in Cologne, headed by Irmgard's brother, Hermann the Humble, as abbot from 1082–1121. Here we also find the first guaranteed information about the manorial rights of the abbey in Süchteln from the year 1323. In 1246 the parish was incorporated into the St. Pantaleon Abbey by Archbishop Konrad von Hochstaden, which continued until secularization. In 1220 a pastor named Ernestus is mentioned for the first time and in 1246 an ecclesia Suthele. There is nothing left of structural substance from this period. However, the oldest bell hung in the tower of this church and the Mother of God from Süchteln, today in the city museum Mönchengladbach, Abteiberg, stood in her ship. A new building was built in the second half of the 15th century. It is dated to 1481 by the inscription in Gothic minuscule on the lintel of the west portal: "Int jaer ons her MCCCCLXXXI op sancti Ambrosi dach (April 4th) doe vart the first stone laughed." The stone broken in the middle, now walled up in the south aisle; on site a copy from 1852, when the portal, damaged by lightning, had to be replaced. Hans Kaiser sees this new building, like those of other churches in the area, in connection with the damage caused in the 1470s by the passage of the Burgundian troops under Charles the Bold. The stately tower of this Gothic new building was preserved, only the tower hood was renewed after a storm in 1612 and the entire outer skin in 1892. The three-aisled, vaulted nave of this stepped hall in the Lower Rhine type and the strongly recessed choir may also have been built in the 15th century. Around the middle of the last century the church proved to be too small for the Catholic community with its 6,024 souls. According to a plan by the "builder Vincent Statz from Cologne, who is highly recommended for church buildings", the foundation stone for the extension of the church was laid on March 22, 1855. Originally only an extension to the east was planned by adding the transept with a larger central choir and side choirs. Due to the unfortunate collapse of parts of the remaining nave and the side aisles on October 19, 1956, the construction of these parts of the building was also necessary. The decision of the church building committee was transferred to the government and building councilor Krüger, Düsseldorf, on November 22nd, 1856, the "special revision of the building project and the supervision of the building" by a building manager to be appointed by him: With the commissioning of the building project Walger, Krefeld, The building committee agreed to the preparation of "the complete drawings and cost estimates for the new building based on sketches by the architect Statz". On April 21, 1858 the building of the church was finished. The cadastral plans for the years 1846 and 1883–1884 contain the demolished church and the measurement of the new church. From these plans as well as from the files of the construction period in the Catholic parish archive, contrary to the previous view, it can be proven that the old church had three aisles and a strongly recessed choir and uniform vault. The question of whether this church was a hall church or had a basilical cross-section cannot be answered clearly. A reconstruction of the old church from the 2nd half of the 15th century can also be carried out from the explanatory report from 4th February 1857 in the parish archives. The external foundations of the old church were used. The damage caused by a fire in December 1862 to the tower and roof structure was repaired immediately afterwards. The tuff tower (only the east wall in brick) rises on three floors above the almost square floor plan. On the entrance side, a narrow, high pointed arch arcade opens up the entire height of the basement. The high rectangular main portal is inserted into it, to which several steps lead up. The new lintel shows the already mentioned inscription. The tympanum above is filled (renewed) with tracery made of house stones in fish bubble motifs. There used to be three figures in small niches there. The upper half of the pointed arch arcade is occupied by a three-lane tracery window. The two upper floors have been moved a little and contain three ogival tracery panels on each of the almost square wall surfaces, with a central post and a transverse partition. On the third floor, the upper half of the panels for the lights and sound holes of the belfry are broken. On the south side is the flat, rectangular stair tower, the south side of which is decorated with wall panels. Groin vaults on corner services support the vault of the tower hall with the ring-shaped keystone, which is open at the height of the central nave. The sandstone framing of the niche on the north side of the hall in lush neo-Gothic decor from 1899 based on a design by Josef Kleesattel is set up as a side chapel. Nave and choir from 1855/58 made of brick in neo-Gothic shapes, the inner pillars and door frames made of sandstone, the other ashlar made of tuff. On the outside, the building is structured by buttresses between two-lane pointed arch windows. Tracery panels are on the gables of the transept. The portal on the west side of the south transept gives the impression of a - renewed - remnant of the old church; the wooden tracery panel over the door from 1855/58. Two polygonal stair turrets are located on the side between the choir bay and the apse. At the crossing of the slated gable roof sits a turret. The three-aisled hall with four bays, a projecting two-bay transept with the width of two bays closes with a choir bay and fifteenth apse in the comparatively large width of the central nave, and with side apses with three-sixths. The masonry is plastered. The cross vaults rest on round pillars, polygonal transom plates and rail ribs that rest on the outside of the service. The high two-lane windows have four-pass cards in the courtyard. The church with its broad, sedate proportions and the frugality of the ornamental council is among the medium-sized parish churches a mature early work by its planner, comparable to the Church of Our Lady in Krefeld. Stained glass window All between 1892 and 1903, a particularly well-preserved cycle. In the nave, scenes from the legend of Saint Irmgardis by Hertel and Lersch, Düsseldorf 1892–95, were made and given the names of the respective donors. Saints in the transept. In the southern apse the deeds of mercy, in the northern Coronation of the Virgin Mary and carpet windows. Date unknown. Very different in style, probably earlier and made in Roermond. Legend of St. Clement and Crucifixion, von Hertel and Lersch 1903. Laminated glass panes are placed in front of the glass windows for protection. Push-through grid Height 87 cm, width 53 cm. Recessed into the wall as a niche lock. Remnants of a sacrament house, which was made by Wilhelm Müller, Mönchengladbach, around 1863. High altar Carved altar shrine, height of the raised central area about 2.60 m. Width 2.24 m. Antwerp work. The burned hand on the feet of some figures, 1st half of the 16th century, restored by the painter Peter Frey jun., Düsseldorf, 1836–37. At that time the shrine was apparently still in a baroque frame. 1866 New production of the Gothic ornamental work by the Krämer brothers, Kempen; some figures were probably added (Annunciation, Christ of the Entombment?) and the whole shrine was re-polychromed. The painter H. Windhausen made the altar wings from 1867–68. The structure was removed from 1950-53, the shrine itself was secured in its inventory (restorer Perret, Moers). The cabinet is divided into eight fields. In the lower prelude-like zone of the side panels on the left: Annunciation, Visitation, right: Circumcision, presentation in the temple. The larger side panels above show the carrying of the cross on the left, with St. Veronica with the handkerchief, burial on the right. The elevated middle field contains the lying Jesse, from whose breast a strong trunk grows, surrounded by the four great prophets with entwined banners. The tree Jesse twines as a frame around the upper scenes grouped in a field, in the branches the representatives of the twelve tribes of Judah sit. In the middle of the crucifixion group with the two thieves and horsemen in front of it, on the left the collapsing Mary, on the right two soldiers, dicing around the skirt of the crucified. The coronation of the middle field is an enthroned Mother of God. At the top, the individual fields are closed off by openwork late Gothic canopies. Lively, animated representations with sometimes exaggeratedly fashionable clothing; At the level of the Antwerp workshops around 1520. See also high altar (St. Anne's altar) from 1513/14 in the provost church, Kempen. On the inside of the wings is shown from left to right: St. Irmgardis renounces the joys of the world, perhaps in the background Zutphen ?; the saint in the forest near Süchteln, in the background a chapel and the place of a mild parish church; Irmgardis before the Holy Father; the saint in prayer in Cologne Cathedral. The outsides show the models of St. Measuring sacrifice. Fine late Romantic Nazarene paintings; in a similar connection with a medieval altar shrine, such as the cross altar in Krefeld-Hohenbudberg, with the altar wings by Andreas Müller, 1855. Baptismal font Black marble, height 1.14 m. Around 1850/60, possibly after a drawing by Vincenz Statz. Octagonal foot and basin, on the upper edge a sculpted frieze of animal heads and the four evangelist symbols on four corners. Brass cover, embossed and engraved, included. Upper part: Baptism of Christ, brass cast in the manner of similar figures on 17th century baptismal fonts; see e.g. B. in Kaldenkirchen. pulpit Stained oak, manufactured by the Kramer brothers from 1868 to 1871 according to a Wiethase plan. Figures of prophets at the foot, four reliefs on the basket: Trinity, birth, sermon, Pentecost, with the four evangelists in between. Confessionals A piece made in 1867 by the Krämer brothers in Kempen based on a drawing by Wiethase. Oak, delicate, gothic carving, on the side of the middle seat the statuettes of St. Peter (hand broken off) and a female saint (with ciborium). As 1., made in 1882, with St. Augustine and Mary of Egypt. Two pieces, made in 1882 from a new drawing by the Krämer brothers. Oak, Gothic carving, without figurative decoration, one of which burned after 1970. A piece, probably from the end of the 19th century. Communion bench Oak, stained dark, around 1870/80. With four relief depictions relating to the sacrifice and two angel reliefs - placed on the side walls of the nave. Choir stalls Three and two seats, oak, painted brown, height of the side cheeks 1.12 m, early 17th century. Female heads, grip-like on the cheeks between the seats; Angel heads as misericordia. Set up to the right and left of the main entrance. Twice four seats, oak stained dark brown. Made in 1865 by the Krämer brothers based on a Wiethase plan. In neo-Gothic forms with figures of angels and prophets between the stables and animal figures on the armrests in the manner of late-Gothic choir stalls. Organ loft Oak, made in 1898 from a design by Josef Kleesattel from the Schipperges cabinet-making shop in Kleinenbroich. It occupies the entire width of the nave, pulled forward in the central nave and rests there on eight-sided columns that are connected to one another by keel arches studded with crabs. In between, angel figures making music. Tracery parapet. organ Oak. Delivered in 1899 by the organ builder Klais in Bonn. The prospectus in graceful neo-Gothic forms. Three towers protrude triangularly, the entire prospect ends up in eyelashes, helmets and pegs. Organ gallery and organ front are well integrated into the neo-Gothic building. Bells Cast bronze, diameter 52 cm, weight 82 kg, tone f sharp. 12th century, sugar loaf shape with wide knuckles. No labeling. The bell is one of the few Romanesque bells in the Rhineland. Cast bronze, bottom diameter 1.52 m, weight 2100 kg, tone d ′, 1462. Inscription in fracture: Clemens vocor sit nomen domini benedictum anno domini MCCCCLXII. Below a crab-studded stripe and a medallion in a square frame with a multi-figure crucifixion scene, below: SÜCHTELN 1462. A somewhat simpler relief on the back. The same medallion in a round, crab-studded frame can be found on the bell from 1476 in Amern-St. Georg Schwalmtal, so that the same master can be assumed for both bells. Perhaps it was Johann von Venlo who built a bell for Amern-St. Anton poured, a second there is not designated. Bronze, diameter 97 cm, weight 520 kg, tone d ″. Inscription: VOCOR IRMGARDIS TEMPORE ARD ROMANI ANTONII SACELLANI IN SUCHTELEN RECT. ECCLESIAE S. IRMGARDIS IN MONTE. PETRVS KEUPES. 169O. Including: + PETRUS A TRIER ME FECIT +. Above it is a wide frieze with fine tendrils and flowers, with putti and a Centaur robbery in the manner of Hemony, who comes from Lorraine and lives in Amsterdam and Zutphen. Important work by Petrus von Trier. Damage sustained by the bell during delivery in World War II was restored by electric welding until 1954. Cast bronze, diameter 1.20 m, weight 1050 kg, clay g ′, inscription: ALEXIUS ET PETRUS PETIT ME FUDERUNT ANNO 1762. Leaf ornaments. Cast bronze, diameter 98 cm, weight 550 kg, tone a 'inscription like 4. According to Deilmann, bells 4 and 5 are cast around two Romanesque bells. Roof bell from 1856. Calvary on the back of the church: tabernacle-like housing on two front corner pillars. On the back wall when it was erected as a mission cross from 1864: Crucifixion group with Maria Magdalena, clay with colored paint, roughly life-size. Today only the crucifix is ​​preserved. For scientific, in particular art-historical, religious-historical, architectural-historical and urban planning reasons, the preservation and use of the church are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	2nd half of the 15th century / 1612/1856-1858	March 12 1985	30th
more pictures	Weaver house	Süchteln Hochstrasse 10 map	The history of today's "Weberhaus" and the Tendyck house are interwoven. In the 19th century to the middle of the 20th century, two separate buildings with different owners were formed. In 1534 the Leuthen or Stüpergut is mentioned for the first time. Stinken Stuper is named as the owner. This estate is located on the Stüperstrasse or Jacobstrasse, today's Propsteistrasse. The Stüpergut is curvaceous to the church. In 1589 the new owner Gert Stiipers is listed in the stock register. Every year at Easter he pays the church 1 pound of wax and 2 Heller radars as interest because he uses the church wall as the rear wall when building the house and the roof protrudes over the churchyard. He is also obliged to maintain the church wall. When the next owner, Tilman Stüper, makes structural changes, this church wall collapses. Tilman Stüper is called in to pay the costs against his protest. 1627 Jan Leuthen is the new owner of the estate. 1642 Matthias Leuthen is listed as the new owner. He is married to Eva Kox. The subsequent owners are Matthias Kox and later Jan Leuthen, Matthias Kox's son-in-law. This works as a schoolmaster. In 1741 Peter Rath is named as the owner. In 1782 his daughter, Anna Gertraud Rath, married Johann Endepohl from Gladbach. This marriage had 6 children: Seraphin, Anne-Marie, Balbeau, Jacob, Peter Theodor and Matthias. In 1792, Johann Endepohl, 47, took over the farm after moving to Süchteln and became a farmer. His brother-in-law Jacob Anton Rath also lives on the farm. In 1798/99, in the population list drawn up in French times, the name of today's Propsteistraße is given as rue de Freithoff (cemetery). 1812 or later, Jacob Endepohl, the eldest son of Johann Endepohl, is named as the new owner. He buys the house of the ribbon weaver Hubert Dickmann on Hochstrasse, which is directly adjacent to the old Stüpergut. His brother Peter Theodor works as a teacher, but also runs an important small business in his house on today's Propsteistraße. In 1822 he resigned his teaching post to only trade. The third son of Johann Endepohl, Matthias Endepohl, is also a teacher and vicar. Around 1853 the undeveloped property used as a garden between the former Stüpergut and the residential and commercial building of Peter Theodor Endepohl was closed. Houses with stables are built. In keeping with the importance of the Endepohl family, today's Propsteistraße is now called Endepohlstraße. In 1897, after a fire, Oswald de Haer acquired the former Stü-with the building on Hochstrasse and the houses with stables that were built in the vacant lot, virtually the property of Jacob Endepohl. The ownership of Peter Theodor Endepohl goes to the Tendyck family. Oswald de Haer changes the use of the building during the reconstruction. The side of the building on Hochstrasse is given its present-day appearance. The former stables are being converted into a hall with a stage. 1901 acquires the Josef Hilgers inn. In 1905 Karl Thelen becomes the last innkeeper of the “Süchtelner Hof” inn. In 1921 the municipality of Süchteln took over the inn. In 1922 the Stadtsparkasse Süchteln used the premises. Except for the hall, the building will be converted to meet the requirements of the Stadtsparkasse. In 1928 a construction drawing depicts this hall as a gymnasium. The planned return of use as a hall with a stage and meeting room will probably not be carried out, as the gymnasium will continue to be used until 1963. In 1934 the property was transferred to the Stadtsparkasse Süchteln. In 1939 a complete renovation and extension is planned. 1963 Due to the chaos of the war and the difficulties of the post-war period, the planned construction work is only now being carried out. In 1974 the ownership of the Stadtsparkasse Süchteln - the former Süchtelner Hof and the former Tendyck House - passed to the city of Viersen. This houses the youth welfare office and the city library in the entire complex, with minor renovations being carried out. 1985–1987 Today's "Weberhaus" is set up as a community center and branch of the city library by converting and restoring the former property of Oswald de Haers. description The house, built with a conventional two-storey construction, is divided into 3 axes towards the elevated road. The axially symmetrical facade is accentuated by the arrangement of the windows and the entrance door as well as the gabled house. The remodeling of the first floor with plaster is probably due to the renovation of the Stadtsparkasse. The upper floor is made of yellow and red bricks. The windows here are spanned with arches. The house near the parish church of St. Clemens is a focal point in the center of Süchteln and thus acquires urban significance. For scientific, in particular urban planning and site-historical reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	approx. 19th century	Aug 30, 1990	238
	Residential and commercial building	Süchteln Hochstrasse 12 map	In the immediate vicinity of the Catholic parish church of St. Clemens, which still belongs to the old town center of Süchteln, is the three-story corner house facing Propsteistraße with a hipped roof. The building, presumably built in the 18th century with a brick face, underwent a redesign of the outer facade in the second half of the 19th century, in which a late classical plaster facade was faded in. The facade of the residential and commercial building is divided into 3: 2 axes, with the emphasis on the central entrance in the facade to the Hochstraße. Furthermore, the building is divided horizontally in the form of a plinth, floor and sill cornice. The oak roof construction with wooden wedge connections is visible and has been preserved in its original state. The building has a basement about 2.50 m high barrel vault. For scientific, in particular urban development and urban history reasons, the maintenance and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	around 18th century	13 Mar 1986	88
	Saalbau restaurant "Königsburg"	Suchteln Hochstraße 13 map	history In 1908 Willy Schmitz had the “Königsburg” hall built, which then experienced social highlights over the course of many years. Concert, dance and stage events complement each other in a constant order. The local theater companies and choral societies celebrate glamorous performances and festivals in the "Königsburg". The outbreak of the Second World War reduced the number of events on offer. The hall soon served temporarily as quarters for Wehrmacht groups, and in the final years of the war, deported foreign workers lived in the “Königsburg”. Despite all the adverse circumstances and the miserable economic situation in the post-war years, people in Süchteln are also feeling new courage to live and are looking for entertainment and pleasure again. However, in the first post-war years, a trend reversal towards the “beloved cinema” became apparent. The number of events in the hall is decreasing, the economic efficiency of a hall construction is no longer given. Under the leadership of the Düsseldorf architect A. Niehaus, a modern cinema was built in 1951, combined with excellent acoustics and modern Philips sound film equipment. The Süchteln movie theater, which has now become famous, experienced a spectator boom in the 1950s. At the end of the 1960s, however, the big "dying of the movie theaters" began. The Süchteln cinema is also closed in 1972. description The hall of the “Königsburg” restaurant on Hochstrasse can be found in the rear courtyard area, adjacent to Irmgardisstrasse. The exterior construction made of plastered brick is characterized by functional simplicity, but does not dispense with a representative design of the entrance facade with décor typical of the time. The Art Nouveau facade has a two-winged hall entrance door on the ground floor with a transom-divided skylight. The wooden doors are adorned with geometric and floral ornaments. The ground floor can be reached via an outside staircase with iron railings on both sides, which is decorated with various geometric ornaments. The upper floor, with a balcony over the entire width of the house, has a functional row of windows and doors. The representative entrance hall ends in an ornamental gable, stepped in the shape of a segment arch, which is decorated with an Art Nouveau ornament. The hall building / also accessible from Irmgardisstrasse has a brick plaster facade, with the red brick dominating. The interplay between plastered surfaces and red brick is architecturally attractive in the window area. The two three-winged muntin-divided windows are provided with a flat arch. The eaves are emphasized by a tooth and cube frieze. The interior of the hall building is characterized by the rectangular hall with the rounded corners in the wall-ceiling area and the arched ceiling, which ensures excellent acoustics. The more functionally equipped hall with its stage and screen surface as well as a projector and control room located higher has rosette-like and geometric ornaments in the ceiling area that emphasize the shape of the ceiling. The anteroom next to the hall in the direction of Irmgardisstraße has on the one hand an exit to Irmgardisstraße and on the other hand the basement exit is to be found there. The hall building experiences its importance as an example of a type of building that has essentially been preserved inside and has details that are interesting from an architectural point of view. The exterior is characterized by functional simplicity, but does not dispense with a representative design of the entrance facade with décor typical of the time. The interior design of the cinema is reflected in the design language of the early 1950s with the rounded corners in the wall-ceiling area and the arched ceiling determined by the acoustics. For scientific, in particular architectural, local and socio-historical reasons, the maintenance and use of the hall of the “Königsburg” restaurant is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1908	13 Mar 1986	340
	Residential and commercial building	Suchteln Hochstrasse 14 map	The house at Hochstrasse 14 can be found in the immediate vicinity of the Catholic parish church of St. Clemens, which still belongs to the old town center of Süchteln. The building has two storeys with a mezzanine and a hipped roof. The brick-facing facade is divided horizontally through the girdle and sill cornices. The facade shows 3 axes, whereby the right axis is also the entrance axis. The house entrance is offset inwards. The ground floor is presented in a modern cladding. The facade of the upper floor and mezzanine is made of yellow brick and is framed by two-sided, suggested brickwork, in 3 layers of stone in the colors red and yellow. The windows on the upper floor are provided with a continuous crenellated stucco frieze. The eaves are also adorned with a stucco frieze. The structural detail that is characteristic of earlier rural architecture has been lost in the ground floor shop area of ​​Hochstraße 14 due to changing owners and their use of the building space. The adjacent hallway and the upper floor remain largely unaffected by structural changes. So there are still simple single-leaf frame panels and the original staircase. The stair posts and the banister are kept simple without any decoration. On Hochstraße, which widens like a market here, Hochstraße 14, together with buildings 10-18, reflects the good structural proportions to the tower of the parish church of St. Clemens. The building on Hochstraße 14, preserved in its formative structure, experiences its significance in terms of its historical location and its age. It is an important document for the historical development of the town of Süchteln. For scientific, in particular urban history, urban development and architectural history reasons, the maintenance and use of the Hochstraße 14 building is in the public interest in accordance with Section 2 (l) of the Monument Protection Act.	unknown	Dec 20, 1993	333
more pictures	Residential and guest house	Süchteln Hochstrasse 16 map	In the center of the old town center of Süchteln is the former factory and office building built in the first half of the 18th century. Anchor pins in the front of the three-story house point to the year it was built in 1724. The brick-faced facade is divided into 7 axes with the entrance gate, on which segmented arched windows with ashlar frames are arranged. The window openings decrease in height towards the top. On the ground floor, the following inscription is incorporated into the wedge stones of the segmental arches: MR AS GS ANNO 1788 The wedge stone in the archway contains a coat of arms with three medlar flowers and a horse. The facade facing the courtyard, a four-axis short wing, has anchor pins with the year 1760. The ground floor, bay-like sandstone extension was built later, in which the original metal sliding windows with cable pull are still included. In 1929 the house was restored. In some cases, pieces of work stone were replaced. The facade was re-grouted in the thirties. A curved roof turret is placed on the gable roof of the house. The side entrance with a beamed ceiling is made of brick framework in the rear. The middle part of the passage is elevated and designed as a light shaft. From here, the upper floors are accessed via a flight of stairs that was built at the end of the 18th and beginning of the 19th century. The end post of the stairs with a fish motif is still well preserved. Inside, the original beamed ceilings and the room layout were largely preserved. The entrance area is particularly representative with wood veneer and tile work of the Flemish Neo-Renaissance at the end of the 19th century. Stucco ceilings with ornaments from the 18th and 19th centuries have been preserved on the ground floor. The carved interior doors and the marble floor in the former entrance area are well preserved. Today the building is used as an inn on the ground floor and for residential purposes on the upper floors. The exposed location of the house in the center of Süchteln makes it an immediate focal point. In its stately form it represents the architecture of the wealthier citizens of that time. The house at Hochstraße 16 forms an essential part of the old town center within the city walls and is therefore an important testimony to the history of Süchteln. Preservation and use are therefore in the public interest according to § 2 (1) Monument Protection Act for scientific, in particular urban planning and urban historical reasons.	1st half of the 18th century	0Aug 7, 1985	50
	Half-timbered facade (Zerres-Gut)	Süchteln Hochstrasse 32 map	The Zerres-Gut, mentioned for the first time in 1565, was located in the center of the old town center of Süchteln, directly on Hochstraße. The half-timbered house probably came from the 17th century and was originally built on three floors over a vaulted cellar. The high gable, today the only remaining part of the house, faces Klemensstrasse. The third floor is cranked, while it was aligned on the former three-axis entrance and eaves side. The half-timbered gable is plastered in the individual compartments, whereby only the two upper floors facing Klemensstrasse are preserved in the original half-timbered. The lower two floors were replaced by new half-timbering in 1967. The initials HS are in a bar at the foot of the 2nd floor. + WB. + HW. incorporated. The facade facing the elevated street was rebuilt in masonry. The half-timbered gable is provided with two window axes on the first two floors, with two windows on the upper floor between the pre-cranked consoles, separated by a vertical framework bar. In the basement, the windows with folding shutters are below. On the second upper and top floor there is a window axis that separates two windows in the middle. The lower side house facing Klemensstraße, with the year 1627 in one of the bars, was originally built for itself. About 200 years ago, however, the two houses were united. Of the three floors, the top two are pre-cropped. The facade is designed symmetrically, with the windows on the ground floor and attic in the middle and on the upper floor set apart. In the original core, belonging to the oldest development in Süchteln, the facade represents the previously existing fragmentation within the city center and learns its significance in the historical context here. Furthermore, the construction of the half-timbering is a rare example of Lower Rhine architecture and thus an important document for the settlement history of the city of Süchteln. For scientific, in particular architectural-historical, settlement-topographical and local-historical reasons, the preservation of the half-timbered facade of the house Hochstraße 32 corner / Klemensstraße according to § 2 (1) of the Monument Protection Act is in the public interest.	17th century	0Oct 7, 1985	68
more pictures	Bushkeeper House Residential and commercial building	Süchteln Hochstrasse 57 map	In the middle of the old Süchteln there is a four-storey corner house, adapted to an old, narrow floor plan, with a rear, two-storey (- upper storey added a little later -) extension. It has a round bay window on the corner, the tower-like porch of which is windowed through at the height of the first and second floors. He wears a canopy. The residential and commercial building is built in iron framework and has a high hipped roof. The steel framework walls are backed up and clad with ceramic tiles (partly renewed), whereby the steel construction of the compartments is visible as a design element and structuring factor. The simple Art Nouveau windows are also used as a design element in their arrangement and size. The window frames are unchanged. The decorative bars of the windows, which have green glass in the lower area on the first floor, have also been preserved. A curved metal strip decorates the lintels. Inside, the wooden staircase and the wooden entrance door to the apartments are worth mentioning. The floor on the ground floor is tiled, the half-height tiled staircase walls have a decorative tile ornament. The old shop fittings are to be assumed behind the modern wood / plastic paneling of the shop space. The side entrance door and the entrance door under the bay window for the shop on the right are also original. The residential and commercial building built on existing foundations in 1902 by the well-known architect Karl Buschhüter (1872–1956) from Krefeld for the client, Jakob Kamp, is a unique testimony to the beginnings of functional building and a significant example of the early days of modern architecture. With its pure Art Nouveau forms in the windows and its homogeneous overall design, it sets an important urban development highlight in Süchteln. Here, the quality of the construction - so new at the time that during the construction, concerns about the statics on the part of the official building supervision - should be emphasized, which together with the consistent facade structure and design of the entire building, the artistic desire depending on the material and new technical Show construction forms. The monument value of the building lies not only as an essential milestone in the oeuvre of an important artist-architect, but also in the evidence of stylistic development processes, especially as a testimony to the technical development of building materials. Thus, because of the seldom used technology and because of its position in the work of the important Krefeld architect, the building is to be regarded as a monument. Added to this are the high-quality workmanship, the good original condition with the original use and the outstanding importance in the townscape of Süchteln. For scientific, in particular artistic and architectural-historical reasons, the preservation and use of the Buschhüter-Haus is in the public interest in accordance with Section 2 (1) Monument Protection Act.	1902	Jan. 11, 1985	12
more pictures	Walnut good	Süchteln Hochstrasse 63 map	history 1583 Classes Gut 1588 Thiesgen Holt 1613 Jakob Vossbaum 2 Morgen, 3 Daler, 1 Donor Jan Moelen, died in 1662 1685 later Küppers 1743 Ebbert Steinweg 1763 Gerhard Peschkes on the house was 1 pound wax rent to the church 1893 Peter Schreven 1934 Heinrich Schreven description The building is a former walnut estate. The two-story building is built in six axes and a gable roof. Originally, presumably brick-faced and provided with a hipped roof, around 1900 the ground floor and the facade were changed. In the roof structure, a container still bears witness to the roof construction from the 16th / 17th centuries. Century. A shop will be installed on the ground floor. Here the relocation of the staircase is necessary. A colored tile floor has been preserved in good condition. In 1958 the shop was expanded to include the passage. The side by side of three basement rooms illustrates the structural development from 16./17. Century (vaulted cellar) to the 19th century. The rear facade is brick-facing and muddy. Above the passage, the wall is designed as a half-timbered construction. There is a side fire alley to the neighboring house on the left. The upper floor remains largely unaffected by the measure. Simple panel doors with frames and panels are still present here. The house at Hochstrasse 63 is an excellent illustration of the structural development of the 16th and 17th centuries. until the end of the 19th century. For scientific, in particular architectural-historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	17th century	04th July 1985	212
more pictures	Keupes good	Süchteln Hochstrasse 65 map	history 1515 found the Kupis children with the married couple Hans von Bacherach and Cath. Kupis because of the Kupis goods 1581 Heinrich Kupis 1 1/2 bar, 1 buzzer 1614 Mergen Keupes 6 acres, 8 Daler 1731 Heinrich Aldenhoven 1771 Andreas Huppertz 1818 Joh. Peter Saßenfeld 1893 Mathias Saßenfeld 1934 Julius Franken description The building is the former Keupesgut. The three-story building with a hipped roof is a half-timbered building from the 17th century. The facade facing Hochstraße 67 shows the preserved half-timbered construction. The windows to be found there are held in a block frame. The plaster facade facing the Hochstraße is modern. It has a 4-axis structure with a ground floor cafe. The use of the shop on the ground floor as a cafe / pastry shop probably took place early (around 1900), because in 1901 the then owner W. Sahsenfeldt applied for a building application to build a new bakery as an extension to the above. Building. Inside the building, on the ground floor, there is a tasteful and high-quality cafe interior from the 1960s. The interior walls are provided with wood paneling that is approx. 1.00 to, in some cases, approx. 2.50 m high. In the ceiling area there is also, but not consistently, wooden paneling in the form of a cassette. A simple wooden staircase in the hallway leads to the first and second floors. The upper floors, especially the 2nd floor, have largely remained unaffected by structural measures. The interiors typical of rural architecture are preserved and legible. The house at Hochstrasse 65, together with the neighboring house at Hochstrasse 67, both half-timbered buildings from the 17th century, learns its significance in terms of its historical location and its age. It is an example of rural architecture that has become rare, as well as an important document for the historical development of the town of Süchteln. For scientific, in particular architectural, local and urban planning reasons, the maintenance and use of the Hochstrasse 67 building is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	17th century	0Sep 2 1994	341
	Mehler split off later Keupes split off	Süchteln Hochstrasse 67 map	history 1627 Jan Fenen 1674 Jan Pescher 1691 Wilhelm Keupes 1919 Clemens Stockheim - acquisition description The building is the Mehler-Abspliss and later (1691) Keupes-Abspliss. The two-story building with a mezzanine and hipped roof is a half-timbered building from the 17th century. The facade facing the Hochstraße 65 house shows the preserved half-timbered construction. The facade on Hochstraße is divided into 3 axes, with the right axis also being the entrance axis. The house entrance door and the storey windows are modern. In the mezzanine area, the windows are provided with a cast iron grille (window grille around 1840), which has geometrical and vegetal decorative shapes. On the ground floor there is a shop next to the house entrance, the installation was carried out early (documented since 1900). The building floor plan is almost unchanged. Coming from the house entrance you enter the hallway, which leads straight through the house in a vertical direction. The stairs can be found in the middle left-hand hallway area. The staircase is straight, single-course and shows a banister with geometric ornamentation and a lower starting post. Between the handrail and the starting post there is a delightful row of flower ornaments. The interior doors are largely preserved. The double-leaf frame panel door with skylight in the hallway / stairway area should be emphasized. This is characterized by two lattice-divided door windows and a wooden panel ornamentation. The house Hochstraße 67, together with the neighboring house Hochstraße 65, both half-timbered buildings from the 17th century, experiences its significance in terms of its historical location and its age. It is an example of rural architecture that has become rare, as well as an important document for the historical development of the town of Süchteln. For scientific, in particular architectural, local and urban planning reasons, the maintenance and use of the Hochstrasse 67 building is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	17th century	05th June 1992	302
	Stappisgut	Süchteln Hochstrasse 77 map	history 1583 Thiesgen, Stappis, 1 Sümmer 1614 Heinrich Stappis, 3 acres, 4 1/2 Daler 1627 Britgen, sister of Mr. Adam Stappis, vicar in Viersen Burned down in 1677 In 1668 Jacob Stapper sold the heir, which was attached to Caspar Rosendaels-Erb, to Heinrich Schmelz In 1650, the married couple Johann Hinsges and Lisbeth Rosendael sold a piece of house space behind master Adam Stappis / Scheune and next to Math. Roelens Baumgarten, next to the “common new Bürgerstraße”, to the surveyor of Malis. Caspar Rosendael is the next blood relative to lay debris. 1685 Johann Schmelz 1740 Gerh. Stels 1775 Joh. Math. Oeben 1818 Theod. Deckers 1893 Heinrich Roosen, inn, later Josef Kemper 1934 Ewald Rath description The building is the former Stappisgut. The two-story brick building is erected in four axes. The facade facing the Hochstraße has a plastered stucco architecture. This design, which has been modified compared to the other facade surfaces, was probably made around 1900, under the influence of historicism. The facade on Hochstraße is given a horizontal structure thanks to the heavily structured plasterwork on the ground floor as well as the storey and sill cornices. The house and shop entrance with the adjacent shop windows can be found on the ground floor. The single-leaf entrance door with the transom subdivided skylight has a variety of vegetal and geometric wood ornaments and a door window with a metal grille in front. The entrance to the house and the shop window on the left are separated by a pillar that shows a capital decorated with vegetables. The openings on the ground floor are bordered by geometric bands and decorated with a rocaille ornament. The upper floor windows are framed by bands with a crowning stucco ornament in the form of flowers, leaves and bands. The windows facing Hoch- und Gebrandstrasse, with the exception of the shop area, show the same original shape, a double-leaf window with a skylight. The blow bar, made with base and capital, is provided with geometric wood decorations. The structural detail that is characteristic of earlier rural architecture has been lost on the ground floor of Hochstrasse 77 due to changing owners and the way in which their building space is used. The last structural change is documented in 1953, when a shop was refurbished using an existing three-winged window. The wooden staircase that has been preserved can be found in the rear area of ​​the ground floor. The staircase, straight, two-lane with a change of direction in the same direction, has a turned railing and an octagonal starting post. The upper floor remains largely unaffected by structural changes. So there are still simple single-leaf frame infill doors. The stucco ceilings in the upper floor area should be emphasized. The ceilings have a vegetable and geometric stucco, probably made around 1900 with the simultaneous design change on the facade facing the elevated street. In today's small town of Süchteln on the Lower Rhine, the Hochstraße forms the main business and main traffic axis of the town center. The building on Hochstrasse 77, preserved in its formative structure, illustrates the structural development from 17th to 18th centuries. until the end of the 19th century and can be seen as part of a largely eaves-free, three-story residential and commercial building on Hochstrasse. For scientific, in particular architectural and local history reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	17th century	0Sep 2 1994	342
	Residential building	Viersen Hohe Buschstrasse 3 map	The Hohe-Buschstraße building with house numbers 3 and 5 forms a structural unit. This can be seen on the one hand in the mirror-image halves of the building and on the other hand it is documented by the 4 studs with the 3 compartments. The residential building, Hohe-Buschstrasse 3 and 5, (formerly Kaiserstrasse 91) is in the immediate vicinity of the Kaisermühle. The house is a half-timbered construction, the gable ends are plastered after the Second World War. The entrance, which is arranged in the middle along the length, is emphasized by the architectural framing, a block frame. The original entrance door can be found under modern cladding (panels). This is a single-leaf solid wood door with wooden cassettes. A skylight reveals itself over the front door. The original two-leaf lattice windows, also held in a block frame, are provided with the original shutters (folding shutters) on the ground floor. The floor plan of the house is divided into the hallway with the stairs located there, a living room and a former kitchen-cum-living room. The stairs are hidden by a front door. The staircase shape is straight, one-way. The stair posts and the banister are kept simple and simple. On the upper floor, the rooms are used as living rooms and bedrooms. In addition to its age, the half-timbered house with its largely original exterior is one of the few farmhouses that have been preserved in the original settlement core. This extends along the Kaiserstraße that runs parallel to the Dorfer Bach. The half-timbered house experiences its importance in the historical context, as well as through its original exterior, apart from minor changes. It is an example of rural architecture that has become rare, as well as an important document of the settlement history of the city of Viersen. For scientific, in particular folk and settlement-historical, architectural-historical reasons, preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	unknown	Dec 11, 1991	295
	Residential building	Viersen Hohe Buschstrasse 5 map	The house is a half-timbered construction, the gable ends are plastered after the Second World War. The original floor plan of the house is clearly legible. However, the rooms have been changed more and more over the years, so that the interior of the house at Hohe-Buschstrasse 5 is no longer worth a monument. The facade of the building half at Hohe-Buschstraße 5 has a half-timbered structure, with some missing wood being replaced by painting. The windows and doors are modern. The Hohe-Buschstraße building with house numbers 3 and 5 forms a structural unit. This can be seen on the one hand in the mirror-image halves of the building and on the other hand it is documented by the 4 studs with the 3 compartments. Originally the building had one owner, but, as is so often the case, it is usually separated by dividing the inheritance. This takes place here at the turn of the century. Both halves of the building are to be viewed in relation to one another. The outline of the building half at Hohe-Buschstraße 5 with the associated roof structure and roofing finds its monumental character in connection with the building half at Hohe-Buschstraße 3, which has been preserved in its structural originality. The residential building, Hohe-Buschstrasse 3 and 5, (formerly Kaiserstrasse 91), is located in the immediate vicinity of the Kaisermühle. In addition to its age, the half-timbered house, Hohe-Buschstrasse 3 and 5, with its largely original exterior, is one of the few farmhouses that have been preserved in the original settlement core. This extends along the Kaiserstrasse that runs parallel to the Dorfer Bach. The half-timbered house at Hohe-Buschstrasse 3 and 5 experiences its significance in the historical context, as well as through its original exterior, apart from minor changes. It is an example of rural architecture that has become rare, as well as an important document for the settlement history of the city of Viersen. For scientific, in particular folk and settlement-historical, architectural-historical reasons, the preservation and use of the outline of the building half, Hohe-Buschstraße 5, (facade, roof truss and roof covering) according to § 2 (l) of the Monument Protection Act are in the public interest.	unknown	05th June 1992	307
more pictures	Bismarck Tower	Alt-Viersen Hoher Busch (Peter Stern Allee) map	history The completion ceremony of the monument on the Süchtelner heights on the Hohe Busch takes place on 23 Aug 1901. (Start of construction May 1, 1900; laying of the foundation stone on July 20, 1900; construction costs: 31,000 gold marks). The plan to build a Bismarckian column or tower is based on a national effort to honor the former Chancellor Bismarck, who died in 1898, and his services to German unity on the occasion of the upcoming 200th anniversary of the Prussian monarchy (1901). Everywhere in the German Empire calls for the creation of Bismarck monuments. Hundreds of memorials were created for the former Chancellor at the turn of the century. In Viersen, after the call for proposals for the construction of a Bismarckian column, 317 works were received. A committee decides on the design by the Dresden architect Wilhelm Kreis (1873–1953), who is one of the most successful architects of his time. (He designed around 50 Bismarck towers, all of which are characterized by a massive and simple structure; many memorials from the Nazi era also come from him). description The Viersener Bismarck tower will be built on the highest elevation of the Hohe Busch (at 85 m). The exact height is carved into a stone block of the monument: NN 84.943. The total height of the tower is 18.22 m, the building material: greywacke, from which rough machined cuboids are created, which give the building its massive appearance. The substructure consists of three pedestals with a smaller base area. On the west side, 12 steps built into this substructure lead to the entrance door, which is located in the tower base, which rises with a side length of 5.50 m on the stepped pedestal. The iron door bears Bismarck's coat of arms. On the four corners of the base rise 4 columns, diameter 1.80 m, which are connected by wall surfaces in such a way that about 3/4 of their respective curves remain visible on the outside. A narrow strip of wall runs around the entire tower as the only decoration. A simple architrave with an overhanging cornice rises above the columns. This is followed by two more recessed structures, the top of which forms the parapet for the viewing platform, which can be reached via a staircase inside the tower. On the east side of the monument, a bronze portrait of Bismarck created by the Berlin sculptor Arnold Klinne stands out clearly from a light granite slab at a height of about 9 m. It is a portrait of the Chancellor in uniform in profile. The dimensions of the plate are: 2.38 m × 1.25 m. Underneath in lapidary writing: BISMARC K. The other three wall surfaces are only broken through by three narrow wall openings each. The Bismarck Tower, created in a time of patriotic exhilaration, is the product of a national movement and an example of the style of enlightened historicism, which was shaped by Wilhelm Kreis. For scientific and artistic, especially historical reasons, the preservation and use of the monument are in the public interest according to § 2 (1) of the Monument Protection Act.	1900/1901	0Nov 6, 1990	243
	Drinking water elevated tank	Viersen Hoher Busch (Josef Kaiser Allee) map	history In the Hohen Busch, near the Bismarck Tower, the city of Viersen built a 2000 m³ wrought iron elevated tank for drinking water from the nearby Aachener Weg waterworks. In contrast to the Aachener Weg water tower, which was built in 1890 and had a volume of 500 m³, which was taken out of service in 1980, the container on the Hohen Busch is still in use in 1992 after a comprehensive renovation that did not change its appearance. description The elevated tank on the Hohe Busch is the relatively rare type of "shaftless" water tank, which for this reason cannot be referred to as a water tower. A container base in concrete was immediately placed on a clay, sand and gravel bed. Above that, the Klönne company, next to FA Neumann from Eschweiler, the most important supplier of West German elevated water tanks, erected a wrought-iron, cylindrical tank with a diameter of 18 m, riveted from rolled plates, on a ring-shaped concrete foundation. The container was closed by a flat dome formed from concentrically arranged, riveted rolled iron plates, which was crowned by a fan lantern with a conical roof. The bottom of the tank is 83.12 m above sea level. The overall structure measures just over 12 m in height to the top of the lantern. The usable water level is 8.5 m, a plastered masonry house with a flat roof and iron-studded access door with cross-shaped hinge fittings rises above the pipe shaft in the east. The square base zone of the porch is slightly sloped, square corner pilasters rise above a sturdy cornice and are crowned by a second cornice. Above it sits an attic-like parapet zone with plastered plaster fields that look like balusters. At the top, a third cornice closes off the small porch. Contrary to what it looks like, the entrance through the door of the porch does not allow access to the inside of the tank, but only makes it possible to reach the pipeline valves for the observation well, idle, drain and overflow. The inside of the container can be reached via the roof, to which a ladder located above the entrance house and starting at a height of approx. 5 m leads up. The container walls are otherwise smooth. The rectangular iron plates arranged in five layers are mounted on top of each other with offset rivet seams. A circumferential band iron attached at a distance from the container wall forms a kind of ledge below the roof edge. The tank was renovated by placing a thin concrete wall inside; the former structural iron wall served as formwork and today no longer has a static function. However, all external views remain unchanged. rating In the group of the Viersener and Dülkener elevated tanks, which are already under monument protection, the tank on the Hohe Busch represents a structural specialty. It embodies the very rare type of the elevated water tank that sits directly on the site without any architectural shaft or substructure. In North Rhine-Westphalia there are only similar arrangements in the Intze container in Recklinghausen, built in 1904 with a capacity of 4,000 m³, but which, in addition to another container construction (Intze-1 type), has a 9 m high shaft part made of brick. In addition to the purely cylindrical shape of the actual container, which sits directly on the site in Viersen, the only “architecturally” designed part of the system must be considered a special feature, which is provided with historicizing elements (pilaster strips, plaster blocks, attic zone, balustrade) placed in front of the container Maintenance shed. In the 1988 photo book “Wassertürme” by Bernd and Hilla Becher, there is not a single building that can be compared with the Viersen building among the 223 examples from all over Europe. "Just as the glass / iron construction of the platform hall follows the massive stone entrance building of the new type of building, the wrought-iron, riveted cylinder container for 2000 m³ of water near the Bismarck tower on the Hohe Busch also has an 'architectural part': a small one Portal house with plaster ashlar makes the technical storage structure into a building with comprehensive design value ”. (Quote from: Technical monuments in Viersen. 1987 calendar of Stadtwerke Viersen (publisher), Föhl / Sachsse). For the reasons mentioned, the Viersener elevated water tank on the Hohe Busch is a monument within the meaning of Section 2 (1) DSchG NW. The elevated tank is important for cities and settlements as well as for the development of working and production conditions. There are artistic and scientific reasons for preservation and use. As a further component in the structure of the listed elements of the Viersen water supply system, it represents a rare technical and structural solution. With its design as a flat-bottom container, it marks the step beyond the Intze container type that dominated between around 1880 and 1910. At the same time, for the development of industrial architecture in general, it is an important example of the need, which was already in retreat around 1910, to give the technical-engineering structures an architectural embellishment. If this makes it a historically typical example, the monument value in this case is mainly due to the property of the Viersener elevated tank on the Hohe Busch as a special case of a technical problem solution, which is rare in its structural form.	1911	0Nov 7, 1990	385
	formerly cath. Rintgen elementary school	Viersen Hohlstrasse 44 map	The Catholic boys' school, commonly known as elementary school, was built around 1900 in the Rintgen district. The building, a neo-Gothic brick building, has two floors with a gable roof in 7 axes. The school building has a rectangular floor plan and a risalit-like front entrance wing in the middle. The central risalit is emphasized by the architectural design. A twin window is arranged above the entrance area with a stepped decorative gable above it. The original 2-leaf entrance door with a skylight is decorated with geometric wood ornamentation. The entrance area and the windows on the first and second floors are provided with a flat arch. The reveals are slightly set back from the masonry. The transition from the ground floor to the upper floor is formed by a cornice decorated with a German ribbon. A flat arch ornament is formed over the windows on the upper floor. The distribution of the window areas on the ground floor and first floor is identical, a 2- to 3-sashed, transom-divided window with skylight. The eaves are mounted on a console-like brick frieze. The straightness of the eaves is interrupted by the structural design of the ornamental gable. At the base of the gable end there are turret-shaped projections with neo-Gothic niches. There are 4 classrooms in the former school building. The classrooms are located on both sides of the stairwell. The stairs are kept simple, without any decorations. The staircase shape is straight two-way with a change of direction in the same direction. The steps are made of ashlar and the stair landing shows in the original colored floor tiles. The original interior doors have wooden panels. The former school building with its simple and restrained facade design is architecturally assigned to historicism, which is typical for this time. The building is well crafted and the material is consistent. The facade is representative in its expression. Particular attention should be paid to the building material used, here the brick. Because on the Lower Rhine, the exposed brick construction used for school buildings is most widespread. The Catholic boys' school, designed as a 4-class school, is small in size in contrast to other schools in the city area, which were also built around 1900. This has to do with the fact that it is tailored to the educational needs of the Rintgen district. For scientific, in particular architectural and urban history reasons, the preservation and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	around 1900	Dec 21, 1994	355
	Duplex	Viersen Hohlstrasse 72 map	The residential building has two storeys with a loft and a gable roof. The facade is made of clinker brick with a high plinth that is made of smooth plaster. The high plinth is characterized by the original wooden outer cellar door. The original front door has geometric shapes and a door window. The entrance is emphasized by the architectural framing. This is characterized by the structure of the pilaster with a floral capital and the visible lintel that lies between the pilaster and the capital. The optical upper end is formed by the lattice window with a geometric, serrated clinker brick ornament above it. This ornamental shape can also be found in two ground floor windows. The first floor is characterized by the semicircular bay window and the two windows on the right. The windows on the first and second floors show the same original shape, a two- to three-part window with a skylight. The skylight takes up a rung division here. The eaves show the originally preserved cassette shape. Both hexagonal downpipes with funnels have also been preserved. The building, Hohlstrasse 72, ends in an ornamental gable divided by four windows. Above the windows is a rectangular jagged ornament made of clinker stone and a square window (diamond). The floor plan of the house is unchanged. The original floor tiles can be found in the vestibule area and glazed hard stoneware on the walls. The vestibule and the hall are separated by a swing door with a facet cut glass insert. The original wooden staircase is in the hall. The staircase shape is straight, three-way with a change of direction in the same direction. The starting post and the banister show a geometric ornamentation. The other stair posts are kept very simple, without any decoration. Beech is used as the material for the steps and pine wood for the stair construction. The hall is flooded with daylight through an atrium. The interior doors with double panels are all in their original condition. A highlight is the double-leaf frame-paneled door between the dining room and the master room, the glass pane of which has ice flower ornaments. The original floorboard has been preserved throughout the attic. The house echoes the expressionism of architecture, on the one hand the restrained facade design and on the other hand the striking details such as figured brickwork, window bay windows and the pilaster structure of the main entrance. The building is well crafted and the material is consistent. The floor plan, on the other hand, is conservative. A generosity is feigned, but it does not exist throughout. This can be seen in the spacious hallway, which means that the living rooms, especially the master bedroom, are small. The Moos brothers, master roofers, are the builders of the buildings, Hohlstrasse 72 and 74. Although these come from medium-sized circumstances, they choose the shape of a semi-detached house. Both houses are stylistically a unit through the conscious striving for symmetry. Nevertheless, they differ in many details (bay shape / gable etc.). The simple facade is representative in its expression. Due to the symmetrical design, the house and the neighboring building form a distinctive point in the hollow road and thus contribute to the uniqueness of the street space. For scientific reasons, in particular for architectural-historical reasons, the maintenance and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	1924	0Feb 1, 1991	247
	Duplex	Viersen Hohlstrasse 74 map	The residential building has two storeys with a loft and a gable roof. The facade is made of clinker brick with a high plinth that is made of smooth plaster. The high plinth is characterized by the original wooden outer cellar door. The original entrance door has a lattice window and is decorated with geometric shapes, mostly square rectangles. The entrance is emphasized by the architectural framing. It experiences a pilaster structure with a floral chapter and a visible lintel. The lattice window above with a lantern insert is included in the door composition. Above the lattice window is a geometrical, serrated clinker brick ornament. This ornament shape can also be found in the three ground floor windows. The first floor is characterized by the angular window bay with its smooth plaster finish and two adjacent windows. The windows on the first and second floors show the same original structure, a two-part window with a skylight. The skylight takes up a rung division. The eaves show the originally preserved cassette shape. The hexagonal downpipe with funnel has also been preserved. The building at Hohlstrasse 74 ends with a stepped ornamental gable divided by four windows. Above the windows there is a rectangular jagged ornament made of clinker stone and a hexagonal window (diamond). Coming from the house entrance you enter the porch. This has the original floor tiles and glazed hard stoneware on the walls. The vestibule and the hall are separated by a double-leaf swing door with a facet cut glass insert. The original wooden staircase is in the hall. The staircase shape is straight, three-way with a change of direction in the same direction. The starting post and the banister show a geometric ornamentation. The other stair posts are kept very simple, without any decoration. The hall is flooded with daylight through an atrium. The interior doors with double panels are all in their original condition. A highlight is the two-wing frame-paneled door between the earlier dining room and master room, the glass panes of which have ice flower ornaments. The house echoes the expressionism of architecture, on the one hand the restrained facade design and on the other hand the striking details such as figured brickwork, window bay windows and the pilaster structure of the main entrance. The building is well crafted and the material is consistent. The floor plan, on the other hand, is conservative. A generosity is feigned, but it does not exist throughout. This can be seen in the spacious hallway, which means that the living rooms, especially the master bedroom, are small. The Moos brothers, master roofers, are the builders of the buildings at Hohlstrasse 72 and 74. Although these come from medium-sized circumstances, they choose the shape of a semi-detached house. Both houses are stylistically a unit through the conscious striving for symmetry. Nevertheless, they differ in many details (bay shape / gable etc.). The simple facade is representative in its expression. Due to the symmetrical design, the house and the neighboring building form a distinctive point in the hollow road and thus contribute to the uniqueness of the street space. For scientific reasons, in particular for architectural-historical reasons, the maintenance and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	1924	05th June 1992	306
	Church Orthopedic Children's Hospital	Süchteln Horionstrasse 2 map	On the edge of the Johannistal Provincial Sanatorium and Nursing Home in Süchteln, which was inaugurated in 1906, a "Provincial Cripple Institute" was opened in 1921. Its establishment went back to a Prussian law of May 6, 1920, which transferred the public provision for cripples, which had become necessary in particular due to the increased deficiency symptoms especially among children after the First World War, to the provincial administrations. After the existing facilities had initially been converted, the provincial parliament decided in 1921 to be the first Prussian province to build its own institution for this purpose. The choice of location fell on Süchteln, where by redistributing and closing the department for epileptic children five buildings of the sanatorium on the western slope of the forest could be taken over. The first structural extensions, including for open reclining halls, followed as early as 1922/23. However, the continuing demand for institutional spaces made further enlargements necessary, which the provincial parliament approved in 1925 and linked to the 1925 millennium celebration of the Rhine Province as an “act for the people's welfare” and “worthy dedication”. Two additional hospitals doubled the number of beds to around 380-400. Infrastructural facilities such as the kitchen and laundry room, the expansion of the gymnasium into a ballroom, the extension of the administration wing, the expansion of the nurses' exam and new apartments for the director, a doctor, teacher and prison officials marked the conscious departure from the "bare essentials". An expression of this intention, which made the institution a nationally recognized model institution, was not least the new building of a spacious Catholic institution church with an integrated Protestant prayer room. As early as 1921, the sisters of the cooperative had been brought to Süchteln by the Christian School of Mercy to look after the children. The extension was inaugurated on June 10, 1927, in the presence of the Prussian Welfare Minister Hirtsiefer and the chairman of the provincial committee, Konrad Adenauer. The clinic has been renamed several times in the course of its history and also functionally realigned. This went hand in hand with extensions and renovations within the facility, which was largely spared in the Second World War. The actual clinic buildings are therefore no longer of monument value. Only the church has retained a homogeneous, outwardly and, with restrictions, also inside, still original form of vivid historical testimony. description The three-aisled brick hall church with four bays with 3/8 choir closure in the north and a transept-like entrance building in the south is divided into a Catholic part in the main nave and a considerably smaller Protestant part in the entrance building, which is accordingly usually referred to as the "prayer room" in contemporary descriptions. It is turned by 90 ° in relation to the Catholic Church and protrudes with its head and with a 5/8 choir closure over the side alignment of the main building. A two-storey gate building with an open passage connects the church with the clinic buildings; an inner connecting passage is arranged on its upper floor; The original floor plan provided for a nurses' dormitory above the Protestant prayer room. The roofs are tiled, with those of the choir closures marked by strong ridges. A small open roof turret marks the intersection of the main and transepts. The main nave in the north above the choir and the somewhat lower transverse entrance building each end in large gables, which are slightly elevated above the roof surfaces as wall panels and are accentuated at the corners by acroteria superstructures. In the gable surfaces of the choir ends, round windows flank the apses, and in the gable tips, crosses are formed in the masonry. The main nave is opened through four large windows on each side between stepped buttresses. The lintels are designed as pressed pointed arches, while the apse windows have slightly pointed round arches. Above that, block friezes accompany the eaves. At the entrance building as well as at the small sacristy in the gusset between the apse and the main nave there are also tall rectangular double windows. The main entrance of the church is located below the gate building, raised by steps, and figures of saints are (later) placed in its garments. A second entrance, a triangular gabled portal with a wide double-winged door, leads from the side via a ramp into the anteroom, where the original staircase has also been preserved. Here, and consequently also inside, the special function of the church is expressed: “The arrangement of two aisles in the former [Cath. Part] is primarily intended to provide space for those children who have to be driven to church in wheelchairs; accordingly there are no benches in them, and there is also an entrance ramp to the anteroom of the two chapels "(Landesoberbaurat Baltzer, 1927, p. 56) The interior was probably partially changed in the 1950s / 1960s, but the overall picture was developed appropriately. The central nave is vaulted by a drawn-in shallow barrel, the narrow aisles are open in pointed arches. An organ loft is stretched across the room on joists above the entrance, replacing the original loft that encompasses three sides for the sisters. The natural stone slab floor in the nave is apparently original, that of the choir was probably renewed when the chancel was redesigned more recently. Modern color windows by the painter Ernst Otto ("EO") Köpke set a strong accent in the room, which is rather simple except for a pulpit cladding from the 1950s. The high-contrast, brightly colored paintings dominate even more in the small hall of the former Protestant church. Köpke, who is one of the most important glass painters of the second half of the 20th century, created these works between 1953 and 1961. His works can be found in many churches and public buildings in the Rhineland, but also beyond in Westphalia and Berlin. For the Rhineland Regional Council, Köpke created numerous other windows, including in the clinics and youth homes in Bedburg-Hau, Bonn, Düren, Euskirchen and Langenfeld. Not least in this context, Köpke's intensive examination of the healing-supporting effect of painting on the sick can be seen. He also installed windows in the neighboring church of the Süchteln State Clinic. rating The design of the orthopedic extension buildings was characterized by the head of the building construction department of the Provincial Association on the occasion of the inauguration in 1927: “The brick shell that had to be chosen for the exterior design of the new building with regard to the architectural design of the old building and the usual construction of the Lower Rhine is Although the general design is somewhat more modern, it avoids all too modern forms and therefore allows the new buildings to harmonize with the older houses to form a uniform overall picture ”(Baltzer, p. 57). Indeed, the church combines Romanizing basic forms that characterize the building type “church” with the sparingly used form details of brick modernism, e.g. B. the pointed windows or the side portal. In this form, the church of the Rhenish Clinic for Orthopedics has been preserved in a substantial and vivid way, which makes it a valuable testimony to the essentially traditionalist direction in church building in the 1920s. It is the only component that has largely preserved the original structure of the orthopedics, which contemporaries regarded as a “model institution” for this construction project. Köpke's remarkable colored windows from the 1950s / 60s still testify to the continuing high level of demands of the client. After all, the importance of the settlement of the sanatorium and orthopedics for addicts in terms of the history of urban development and the economy has been beyond question for almost 100 years. The church of the Rhenish Clinic for Orthopedics in Süchteln is therefore important for Viersen. There is a public interest in their preservation and use for the stated scientific, in particular architectural-historical reasons. There are also artistic reasons with regard to the color windows by EO Köpke. It is therefore an architectural monument in accordance with Section 2 (1) Monument Protection Act. The two-storey passage with a connecting passage on the upper floor is part of the monument.	1927	23 Mar 2004	450
	Residential building	Dülken chicken market 2/4 menu	The three-storey residential / commercial building with the restaurant “Zur Börse” is located in an exposed corner location next to the Catholic parish church in Dülken. At that time, a house had to be demolished for the new building on built-up land. During the renovation since 1983, foundations were found to a depth of approx.3.50 m below the level of two buildings lying one below the other. The left axis of the house, which is divided into six to two window axes, is slightly angled according to the course of the street. The windows on the first floor are highlighted by the plastered, simple decorative forms of the reveal. The red brick facade has ashlar plaster in the basement. The individual floors are visually separated from one another by surrounding cornices, the lower one being more emphasized. The design quality of the building is evident in the restraint of the decorative elements, the clear and calm façade structure, the pronounced verticalization, which combines decoration and representation in the spirit of the times. The two entrance doors are on the front, the right wooden door is still original. It leads to the restaurant; the left is access to the store. The wider shop window in between is original. The associated, white grouted brick extension with four window axes and two dormers is built in place of an older, demolished building based on it. In the interior of the house, only a few original stucco ornaments have been preserved on the upper floors. The older vaulted cellar and a cellar with capped ceilings and two cast supports are original. As a focal point in the center of Dülken, a building that is effective in terms of space design, with its original, typical facade design from the end of the last century, and with constant, original use and ownership, is the corner house in the urban context. In contrast to the rather small-scale old town development, the contemporary building type of the stately residential / commercial building appeared here with a rather big-city character, which today also carries the historic cityscape. For scientific, in particular urban planning, room design, architectural-historical and historical reasons, the maintenance and use of the building is in the public interest according to § 2 (1) Monument Protection Act.	1891	Dec 21, 1984	19th
	Landesklinik Johannisthal	Süchteln Johannisstrasse 70 map	history In 1897, on the 40th Rhenish Provincial Assembly, the "reform of the insane" was decided. The result was, among other things, the construction of new institutions in Langenfeld, Süchteln and Bedburg-Hau. Süchteln was the second institution of this new type, in which all institution-like buildings and facilities were to be avoided, the individual buildings were to be distributed in groups over a larger area and the farm buildings and access roads were to be relocated to the periphery. Greatest simplicity and solidity inside and out was sought. The Johannisthal asylum in Süchteln was built from 1902 to 1905, and from 1908 to 1912 it was expanded to include four individual buildings. The buildings of the regional hospital, including the technical buildings and the residential buildings for doctors and staff, have been well preserved except for the following heavily modified buildings: the community building - No. 34 and the building - No. IV. The houses mentioned - we refer to the original Numbering and original use - are no longer listed due to the major changes. The cemetery in the northwest was lengthened over time and shortened in width. The originally evenly gridded facility was partly designed like a park. The old routing and the grave fields have changed, old gravestones are not available. The cemetery complex is not a monument. The buildings of the Johannisthal facility are located in a park-like area. In the south and west there is the area of ​​women, the administration, houses for doctors and administrators. To the north and east are the men's houses, the technical facilities and those of supply. In between is the church, the community center and the bowling alley. description The well-proportioned brick buildings are grouped together and almost exclusively have two floors. Depending on the function of the building, there are more pronounced neo-renaissance forms, such as B. on the administration building, dated 1905, no. 25 and the director's villa, no. 36. The individual buildings are similar, they vary in detail, or buildings with a comparable function look very similar. What they all have in common is the brick material, isolated plastered surfaces, economical neo-renaissance decor, the window shapes, projections and recesses of the facades. Risalites with different gable forms and decorative elements, richly pronounced roof landscapes, some with dormers, verandas. The Landeskrankenhaus Johannisthal is, as described in the detailed report of our office dated October 20, 1983, to be regarded as a monument consisting of the following individual objects: No. 2 Reception House Women No. 3 semi-quiet house men No. 4 semi-quiet house women No. 5 Troubled Men No. 6 troubled house women No. 7 hospital men No. 8 hospital women No. 14 house for retired men No. 15 house for retired women Nos. 16, 18. 22, 24 Open country houses women Nos. 17, 19, 20, 21, 23 Open Country Houses Men No. 25 administration building No. 26a cooking kitchen No. 26b laundry room (without the three-storey new extension) No. 27 machine boiler house No. 28 bakery # 29 Mortuary No. 32 Shed for fire extinguishers No. 35 bowling alley No. 36 residence for the director No. 37 House for two senior physicians No. 38 House for the manager and rendant No. 39 House for master machinists and master gardeners No. 40 residential building for head and ward carers No. 41 House for the third doctor No. 42 Church No. 43 Boschenhof (manor with apartments; RhAD opinion on monument value from September 1987) No. 44 House for the Catholic clergyman I military hospital for men II troubled house men III troubled house women V, VI medical residences The Johannisthal facility in Viersen-Süchteln is a uniformly planned and built facility. The entire complex of a sanatorium and nursing home, including the green area, can be described as a monument consisting of the listed individual parts. The institution as a whole is important for human history, especially for healing and nursing at the turn of the century. In its vividly good state of preservation, the complex is worth preserving for scientific, architectural and socio-historical reasons; in addition, the complex is formative for the Süchteln region and important for the local history.	1906	Oct 10, 1996	362
	former chaplain parish St. Josef	Viersen Josefstrasse 3 map	At the end of the 19th century, the strong population growth in the southern, increasingly industrial urban area of ​​Viersen made it necessary to set up a new parish. From 1879 the parish of St. Remigius started a new establishment, which until then (besides Helenabrunn) was the only parish in Viersen and now had more than 17,000 residents to look after. A building association was founded in 1882 and the church of St. Josef was finally built in 1889–1891 as a new center of the Rintgen district. In the year the church was completed, the district was raised to the status of rectorate and finally in 1895 to a parish. In addition to the church, the new pastoral care district, which devoted itself to a large extent to social and charitable tasks, needed other structural facilities. Thus in 1893, 1913 and 1916 three toddler schools were built, in 1892/93 the parsonage (Josefstraße 9) and initially two chaplains (Josefstraße 5/7) on the new Josefstraße, which runs directly south of the church. Another chaplain followed in 1900 (Josefstrasse 3), and in 1910 the Josefskloster could be moved into on the neighboring Gereonstrasse. description The chaplain building at Josefstrasse 3, erected in 1900, stands out clearly from the earth-colored neighboring building from 1892 with its yellow, hard-fired clinker cladding (above a darker base). On the other hand, it takes on the eaves, cornice and storey heights of the double house Josefstrasse 5/7, which creates a harmonious, broad front. The builder Martin Küppers was the planer in both cases. The house rises to the eaves as a two-storey building on an almost square floor plan. On the right it is built directly onto the neighboring building, the left side is free as a windowless fire gable. To the front, the two left of the four regular window axes are slightly projected as a risalit and are crowned by a stepped gable dwelling. The house entrance, which is nested in steps, is arranged in the right axis. While the windows on the ground floor are simply cut into the wall with segmental arches, those on the upper floor are framed and covered by pointed arches with small crosses at the top. Blinds and windows sit on a cornice. The windows themselves have the T-division typical for the time of construction. The gable is divided by a pair of small pointed arched windows and above them a small circular motif. Here, as on the upper floor, it is noticeable that the design application draft was modified in its execution, as it provided for a triangular gable with a rising pointed arch frieze and a large round window, corresponding to the gable at Josefstrasse 5/7. The eaves frieze of the neighboring house should also be continued, which was also omitted in favor of the glare structure. Inside, through the original entrance door, you first enter a side corridor, which leads across the corner to the staircase located in the middle on the rear side. Decorative tile floor and the original wooden staircase, straight two-lane with a turning platform, have been preserved, the latter with a candelabra-shaped beginner and turned balusters. A door under the stairs leads into the garden. The brick-facing back of the house is unadorned, apart from the relatively symmetrical window arrangement. The library of the Borromeo Association, which is housed in the house today and was founded in 1900, is the only church public library in Alt-Viersen. The author of the plan, Martin Küppers, was a very busy building contractor in Viersen with his construction business around 1900. In addition to the buildings on Josefstrasse, he also built the Josefskloster on Gereonstrasse for the parish of St. Josef. In 1920/21 he also owns an An der Eisernen Hand brickworks with its own siding to the industrial railway - a combination that was not unusual and useful for building contractors in the late 19th and early 20th centuries. The grounds for the church and rectory / chaplains probably came from the property of the entrepreneur Friedrich Wilhelm Greef, whose mechanical weaving mill was on the neighboring street (today: An der Josefskirche). Josefstrasse was only expanded into a public road with the construction of the rectory and chaplains. The issuing of the building permit for the houses was delayed by a few days, as the city first requested the completion of the street. The Catholic parish had to assure that completion was not guaranteed before the start of construction, but before the completion of the new buildings. She and the entrepreneurs Greef and Weyers who were adjacent to their properties guaranteed this. As the chaplaincy of the parish of St. Josef, which is responsible for the southern inner city, the building at Josefstrasse 3 is important for Viersen. Due to its good state of preservation, it is a clear testimony to the typical construction of a purpose-built ecclesiastical building around 1900, namely a simple brick architecture with some religious and neo-Gothic motifs. Together with its neighboring buildings up to the former Josefskloster on Gereonstraße, it forms its own structural area south of the Josefskirche. Josefstrasse is characterized by this group of buildings. There is therefore a public interest in the preservation and use of the Kaplaneig building at Josefstrasse 3 for scientific, architectural and, in particular, local history and urban planning reasons. Since the requirements of § 2 (1) Monument Protection Act are fulfilled, it is a monument.	1900	0May 6, 2003	444
	former chaplains parish St. Josef	Viersen Josefstraße 5/7 card	At the end of the 19th century, the strong population growth in the southern, increasingly industrial urban area of ​​Viersen made it necessary to set up a new parish. From 1879 the parish of St. Remigius started a new establishment, which until then (besides Helenabrunn) was the only parish in Viersen and now had more than 17,000 residents to look after. In 1882 a Rintgen was built. In the year the church was completed, the district was raised to the status of rectorate and finally in 1895 to a parish. In addition to the church, the new pastoral care district, which devoted itself to a large extent to social and charitable tasks, needed other structural facilities. In 1893, 1913 and 1916, among other things, three toddler schools were built, in 1892/93 the parsonage (Josefstraße 9) and initially two chaplains (Josefstraße 5/7) on the new Josefstraße (Josefstraße 3) and in 1910 the Josefskloster on the neighboring Gereonstraße. description The semi-detached house Josefstraße 5/7 was built in 1892 by the parish of St. Remigius as a chaplain for the newly founded parish of St. Josef, founded together with the neighboring Bauverein rectory, and finally, in 1889-1891, the church of St. Josef as a new center of the district ( Josefstrasse 9). The author of the plan was the building contractor Martin Küppers. The right gable of the two-storey eaves-standing structure with a gable roof is free; another chaplaincy was added to the left in 1900 (Josefstrasse 3). The masonry is left exposed to brick. The middle two of the total of six regular window axes are slightly projected as a risalit and are elevated by a pointed gable dwelling. On the ground floor, the two house entrances are nestled in via stairs. Entrances and windows are segmented, the latter have the usual T-division. While the base and sill cornice as well as the ridge line correspond to the younger neighboring building, the design of the eaves edge here is more elaborate, with a double frieze made of small crosses and above small pointed arches. The middle gable is also comparatively richly structured with a rising pointed arch frieze on small consoles, corner accentuations above capitals and a central round window. The top of the gable is crowned by a cross. The free-standing gable is windowless, the rear side without detailed structure and partly plastered afterwards. At the rear, a two-storey rear building with a flat roof pitch is attached in the middle, each half belonging to one of the two house parts. The house entrance doors on the street side are both original. The house floor plans are mirror-inverted and identical. A straight side corridor leads from the front door to the rear building, from whose slightly drawn in "connecting joint" one enters the garden. In both halves of the house, the corridors still have the original decorative tiles and the wooden staircase leaning against the partition wall, two-lane with a turning platform, candelabra beginners and turned handrails. A few steps lead from the turning platform to the offset upper floor of the rear building. On the ground floor there are two large living rooms that are connected to one another by a double-leaf door in the original garment. A stucco frieze is partially present on the ceilings. The author of the plan, Martin Küppers, was a very busy building contractor in Viersen with his construction business around 1900. In addition to the buildings on Josefstrasse, he also built the Josefskloster on Gereonstrasse for the parish of St. Josef. In 1920/21 he also owns an An der Eisernen Hand brickworks with its own siding to the industrial railway - a combination that was not unusual and useful for building contractors in the late 19th and early 20th centuries. The grounds for the church and rectory / chaplains probably came from the property of the entrepreneur Friedrich Wilhelm Greef, whose mechanical weaving mill was on the neighboring street (today: An der Josefskirche). Josefstrasse was only expanded into a public road with the construction of the rectory and chaplains. The granting of the building permit for the houses was delayed by a few days, as the city initially requested the completion of the road for the house. The Catholic parish had to assure that completion was not guaranteed before the start of construction, but before the completion of the new buildings. She and the entrepreneurs Greef and Weyers who were adjacent to their properties guaranteed this. As the structurally largely intact chaplaincy of the St. Josef parish responsible for the southern inner city, the building at Josefstrasse 5/7 is important for Viersen. Due to its good state of preservation, it is a clear testimony to the typical construction of a purpose-built ecclesiastical building around 1900, namely a simple brick architecture with some religious and neo-Gothic motifs. Together with its neighboring buildings up to the former Josefskloster on Gereonstraße, it forms its own structural area south of the Josefskirche. Josefstrasse is characterized by this group of buildings. There is therefore a public interest in the preservation and use of the Kaplaneigebäudes Josefstrasse 5/7 for scientific, architectural and, in particular, local history as well as urban planning reasons. Since the requirements of § 2 (1) Monument Protection Act are fulfilled, it is a monument.	1892	0May 6, 2003	445
	Catholic rectory St. Josef	Viersen Josefstrasse 9 map	At the end of the 19th century, the strong population growth in the southern, increasingly industrial urban area of ​​Viersen made it necessary to set up a new parish. From 1879 the parish of St. Remigius started a new establishment, which until then (besides Helenabrunn) was the only parish in Viersen and now had more than 17,000 residents to look after. A building association was founded in 1882 and the church of St. Josef was finally built in 1889–1891 as a new center of the Rintgen district. In the year the church was completed, the district was raised to the status of rectorate and finally in 1895 to a parish. In addition to the church, the new pastoral care district, which devoted itself to a large extent to social and charitable tasks, needed other structural facilities. In 1893, 1913 and 1916, among other things, three toddler schools were built, in 1892/93 the parsonage (Josefstraße 9) and initially two chaplains (Josefstraße 5/7) on the new Josefstraße (Josefstraße 3) and in 1910 the Josefskloster on the neighboring Gereonstraße. Description The building at Josefstrasse 9 was built in 1892 by the parish of St. Remigius as a parsonage for the newly founded parish of St. Josef, together with the neighboring chaplains. The author of the plan was the building contractor Martin Küppers. The position of the two-storey brick building with a hipped roof follows the curved course of Josefstrasse and is accordingly slightly inclined opposite the chaplains at Josefstrasse 3-7. The building is free on the left, and the neighboring buildings on the right. The main structure is approximately square in terms of its base (approx. 11.00 × 12.00 m); on the left side a smaller, also almost square structure is attached to the rear, so that a small courtyard is formed for the house entrance, which is located on the side, which is closed at the front by a knee-high wall. The masonry still has the original small joint bead profiles. The facade is emphasized horizontally by a sill / parapet cornice between the two floors and a pointed arch frieze below the profiled eaves edge. At the edges of the building, the frieze sits on flat corner pilasters, with small and three larger brick consoles in between. The window openings are segmented and have the typical T-division. On the street they form four regular axes as well as a further side and recessed part, with a figure of Joseph replacing the window on this one on the upper floor. This stands on a sepal-shaped console in a pointed arch niche, the profiled walls of which are decorated with crabs in relief and crowned by a finial also in relief. The house entrance is raised above a small, straight flight of stairs. The interior has been partially modernized, but essential floor plan and equipment features such as the original staircase, ornamental tiles in the hallway, fillet profiles stuccoed as a block frieze on a ceiling on the ground floor and frame panels with the associated reveals on the upper floor have been preserved. The wooden staircase, to the left of the entrance in the backward-shifted component, shows the straight, double-barreled shape typical of the time, with a turning platform, candelabra-shaped beginners and turned balusters. The garden side, which was originally unadorned in any case, has been disturbed by patches, repairs made from other materials and a small extension from 1939, which is, however, of little importance for the well-preserved overall character of the house. The author of the plan, Martin Küppers, was a very busy building contractor in Viersen with his construction business around 1900. In addition to the buildings on Josefstrasse, he also built the Josefskloster on Gereonstrasse for the parish of St. Josef. In 1920/21 he also owns an An der Eisernen Hand brickworks with its own siding to the industrial railway - a combination that was not unusual and useful for building contractors in the late 19th and early 20th centuries. The grounds for the church and rectory / chaplains probably came from the property of the entrepreneur Friedrich Wilhelm Greef, whose mechanical weaving mill was on the neighboring street (today: An der Josefskirche). Josefstrasse was only expanded into a public road with the construction of the rectory and chaplains. The issuing of the building permit for the houses was delayed by a few days, as the city first requested the completion of the street. The Catholic parish had to assure that completion was not guaranteed before the start of construction, but before the completion of the new buildings. She and the entrepreneurs Greef and Weyers who were adjacent to their properties guaranteed this. As the rectory of the parish of St. Josef, responsible for the southern inner city, which is structurally largely intact, the building at Josefstrasse 9 is important for Viersen. Due to its good state of preservation, it is a clear testimony to the typical construction of a purpose-built ecclesiastical building around 1900, namely a simple brick architecture with some religious and neo-Gothic motifs. At the same time, it stands out clearly from the functionally subordinate chaplains due to its somewhat more elaborate shape (hipped roof, entrance courtyard, figure of Joseph on the facade). Together with its neighboring buildings up to the former Josefskloster on Gereonstraße, it forms its own structural area south of the Josefskirche. Josefstrasse is characterized by this group of buildings. There is therefore a public interest in the preservation and use of the rectory at Josefstrasse 9 for scientific, architectural and, in particular, local history and urban planning reasons. Since the requirements of § 2 (1) Monument Protection Act are fulfilled, it is a monument.	1892	0May 6, 2003	446
	Residential building	Viersen Kaiserstraße 2 map	The two-storey villa in an exposed urban area was built in 1904 by the site managers Paulißen and Lücker for Hubert Heinz Schmitz. The building is built on a tapering plot of land (Dülkener Straße / Kaiserstraße), its main side faces Kaiserstraße and is divided into three axes, with a risalit with gables in the middle axis. Furthermore, the corner of the house facing Kaiserstraße is emphasized with a tower with an onion roof. The view of Augustaplatz and Süchtelner Straße is also built on three axes, but here is reserved. The original entrance door with a cast iron grille and floral carving in Art Nouveau decor is preserved in good condition. The windows are partly renewed, but mostly original. Inside, in the corridor area, the old wooden staircase with high-quality carving in the post, the doors with frames and panels, are originally framed, as well as a tiled floor in shades of blue. The ornate facade design and the high-quality interior fittings, mostly left in its original condition, make the building a historical document. The building's monumental value derives from the design of the structure, which is geared towards the urban situation and which, as a “Point de Vue” coming from Augustaplatz, sets accents with corner and central projections. For scientific, in particular urban planning and architectural-historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	1904	05th Sep 1986	129
	Kimmelmühle (Kirbermühle) residential building	Viersen Kaiserstraße 6-10 map	history The St. Gereon Abbey in Cologne, landlord of Viersen, has the water and mill rights, which are exercised on site by the Schultheißenhof. The monastery gives consent to the construction of a mill and grants the mill rights as a hereditary fief. The annual tenancy pension, a sum of (hundredweight) malt, is to be paid to the St. Remigius parish office. The compulsory meal has been lifted since 1555, so that every farmer can freely choose the mill for grinding grain. In 1246, 12 mills in Viersen are listed in the deed of St. Gereon Monastery: on the Dorfer Bach: (5 mills) Kaiser, Kimmel, (Kirber), Goeters, Biesten and Sgricksmühle, on the Rintger Bach: Riethmühle, on the Hammer Bach : (6 mills) Plinzen, Schnockes, Porten, Sgoede, Hüster and hammer mills 1369 Keuermolen (Source: PN v. Doorninck: "Schatting van den lande van Geire voor het Overkwartier en de Betuwe van", 1369) 1381 The name "Jacob Kaivermoelen" appears in the Krickebeck official accounts, from which the old, still popular name for the Kaiserstraße is explained: Kirver-, Kiemer-, Kärver- or Kälberstraet. 1633 Kemelmulle (Source: Viersener Bannbuch) In 1788 the first structural changes to the house of the Kiemelmühle took place before 1793 the mill was closed 1875 Jacob Tummer expands the house The mill building was demolished at the end of the 19th century Building description The house of the former Kiemelmühle has three structural developments that can still be seen today. The Kiemelmühle, formerly a three-sided closed courtyard with a separate mill house, ceased operations before 1793. Before 1788, the first structural change, the house was a typical Viersen-style living and stable house. The three-aisled hall building is formed by a two-column construction (four rows of columns). The rectangular posts, the wider edges of which are in the direction of the ridge, suggest at least the 16th century or older. The walls are made of wickerwork. The double chimney with funnel-shaped chimney divides the hall building into one third to two thirds. The operating chamber is located above the barrel-vaulted cellar. Presumably with the abandonment of the mill, the first structural change takes place. About half a meter from the original outer wall made of earthen wickerwork, a new outer wall made of bricks is being built. The anchor pin indicates the year 1788. The house is divided crosswise by the double chimney and probably at the same time the larger part of the stable is divided lengthways. There are three residential units. Therefore, both gables show the same typical structure of a house: next to the entrance doors are the kitchen windows. The off-sides are illuminated through a window on the ground floor, with the window of the operating room being smaller and higher. The occupied top floor is illuminated by two windows each. The sidelights receive light through smaller, lower windows. In 1875 the residential building was extended to Kaiserstrasse with a separate, accessible building. The facade, in a simple, classicist design language, is divided into two window axes towards Kaiserstraße, with a ground floor window being enlarged at a later date as a shop window for commercial use. However, the floor plan remains unchanged to this day. The structural changes to the house of the former Kiemelmühle typical for the respective time can be read without, however, destroying the older building fabric. In addition to the age value and the typical example of a hall building in the Lower Rhine Viersen style, the residential building is also significant in terms of urban history. It is one of the last structural testimonies to the historic Kaiserstrasse and points to the location of the former Kiemelmühle. For scientific, in particular local history and folklore 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.	1875	Oct 23, 1991	285
	Everhardshof	Viersen Kaiserstraße 7–9a map	The buildings on the front part of Kaiserstraße are an ensemble consisting of three buildings. The Kaiserstraße followed the course of the Dorfer Bach and is one of the most important streets within the Viersen settlement area in terms of the historical city plan. The construction of the building can be traced back to a planning application from May 20, 1876. It was intended to demolish part of the "Everhardtshof" building and to rebuild it according to the plan. The building was built on the condition that the rooms were 10 feet high and had a total of 2 floors. The overall brick-facing building with a half-hipped roof on one side is closed to the roof by a German band. Windows and doors are covered by arches, whereby the door is particularly emphasized by the recessed reveal. The window openings are z. T. enlarged. The interior construction, the steep wooden stairs and the simple wooden doors with attached lock have largely been preserved unchanged. In its construction, the house documents the simple rural, agricultural transitional architecture of the time of origin, which here near the former village (around the Remigius Church) also makes the urban influence visible through vertical windows and surrounding friezes. The building, erected on the foundations of the previous building, further illustrates the small-scale structure that existed at the time, which in its understanding of construction goes back to the Middle Ages. For scientific, in particular urban planning and local historical reasons, the preservation and use of the buildings are in the public interest.	1876	22 Mar 1989	189
	Warehouse building	Viersen Kaiserstraße 11 map	The buildings on the front part of Kaiserstraße are an ensemble consisting of three buildings. The Kaiserstraße followed the course of the Dorfer Bach and is one of the most important streets within the Viersen settlement area in terms of the historical city plan. The brick-facing building with a flat gable roof, probably used as a workshop, was extensively rebuilt in 1937. A new ceiling was drawn in lower. The slit-like openings on the upper floor suggest it was used as a warehouse. The building was erected in five to two axes in the second half of the 19th century. A toothed frieze as a cornice divides the facade into the upper and lower floors. The original windows on the first floor are covered with arches and flat layers. On the upper floor, the windows are designed as twin windows like slits and covered with a brickwork detail in a flat layer. For scientific, in particular urban planning and local historical reasons, the preservation and use of the buildings are in the public interest.	2nd half of the 19th century, 1937	22 Mar 1989	191
	Pub "Zum Kaiser Karl"	Viersen Kaiserstraße 15-17 map	The buildings on the front part of Kaiserstraße are an ensemble consisting of three buildings. The Kaiserstraße followed the course of the Dorfer Bach and is one of the most important streets within the Viersen settlement area in terms of the historical city plan. The 2-storey building with a hipped roof is also known from the former pub "Zum Kaiser Karl" (owner Hermann Hahn) and later "Zum Hähnchen" (owner Georg Hahn). The architecture of the late 19th and early 20th centuries penetrated the rural settlement structure only sparsely. The building with an urban character, in juxtaposition with the small-scale older architecture, clearly shows the urban development. The building is adjacent to the sidewalk, while the older development was provided with a front garden. This fact gives rise to the corner solution typical for the time of construction, whereby the facade facing Kaiserstraße is given special emphasis by the formation of yellow bricks and decorative stucco, such as the emperor's head. The facade is divided into two to two axes and is horizontally structured. The windows on the upper floor are gabled with stucco decorations and on the ground floor covered with basket or stitch arches with wedge stones with floral decoration. The strip plaster facade is completed by the cornice. What is remarkable is the design of the chimney as a decorative facing gable, which sets another design accent. The residential and tavern in the original settlement area of ​​the city is a testimony to an urban development and, with the facade left in its original state, illustrates the concept of building at the turn of the century. The coexistence of the architectures is of importance for urban development. The more urban building at Kaiserstraße 15-17, built around 1900, borders the sidewalk, with the older buildings having a front garden set back. This situation is typical in Kaiserstrasse. Here the street space becomes narrower and wider again and again and enables the building at Kaiserstraße 15-17 to have a side window facade instead of the usual fire gable. For scientific, in particular urban planning and local historical reasons, the preservation and use of the buildings are in the public interest.	after 1876	22 Mar 1989	190
	Residential building	Viersen Kaiserstraße 21 a map	The Kaiserstraße follows the course of the Dorfer Bach and is one of the most important streets within the Viersen settlement area in terms of the historical city plan. The two-storey building with a gable roof is built in three axes. The façade, designed with historicizing decorative shapes, is clad in plastered plaster on the ground floor and covered with red stones on the upper floor. The facade is structured horizontally through the base, storey and sill cornice. A cornice delimits the facade from the roof. The window and door openings on the ground floor are covered with an arched arch. In the facade, the windows on the upper floor are particularly emphasized by stucco decorations on the lintels and the parapets. Windows and door of the house have been renewed. The interior of the house has been largely rebuilt. The building in connection with the corner house at Kaiserstraße 23 and the neighboring ensemble make the building an important part of Kaiserstraße. It also reflects the historical cityscape. For scientific, in particular urban planning and local historical reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (l) of the Monument Protection Act.	unknown	05th Sep 1989	218
	Restaurant "Zur Linde"	Viersen Kaiserstraße 23 map	The corner building is the former “Zur Linde” inn, later a pastry shop and café. The two-storey building is built in 3: 1: 2 axes and one axis is based on the street corner Kaiserstraße / Vogteistraße. In a corner solution typical for the period of construction, the corner of the house is bevelled and covered with a slightly curved angled gable by raising it to three storeys. The original cassette entrance door is also placed on the corner. The windows, covered with arches on the ground floor, have been preserved in their original state. The windows of the lintels on the upper floor with stucco decorations have been modernized. The building is divided horizontally through the strip plaster on the ground floor, the sill, the floor and the cornice. The base borders the sill and is made of ashlar plaster. The upper floor is clad in yellow stones. The house experiences an emphasis on the vertical through the corner blocks. Most of the interior of the house has been changed. The exposed location of the house and the neighboring ensemble make the building an important part of the street that once followed the course of the Dorfer Bach and is one of the most important streets within the Viersen settlement area in terms of the historical town plan. For scientific, in particular urban and historical reasons, the maintenance and use of the building is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	End of the 19th century	05th Sep 1989	219
	Barn and workshop	Viersen Kaiserstraße 29 map	Client: Thomas Wilden (barn) / Carl Wilden (workshop) Architect: Arthur Lücker (workshop) History The workshop building is located a little outside of today's town center of Viersen on the Kaiserstraße leading to the west, one of the oldest streets in the Viersen city area. At the place of today's house numbers 27 and 29 in the population register from 1803 the family of Thomas Wilden is recorded, whose profession is given as a weaver. It is likely to have been an old farm whose owner was now home weaving. From 1925, however, Carl Wilden ran a machine factory as a "manufacturer", from which a cylinder grinding shop Wilden & Co. emerged in 1950. The property at Kaiserstraße 27/29 consists of a residential building on the street and several residential and farm buildings at the rear, the core of which apparently dates from the 19th / early 20th century. Description The listed building is a two-storey brick building with a (partially) saddle roof in the rear of a multi-part structure that has grown over a long period of time. It stands transversely to the depth of the complex and therefore forms a spatial closure of the historical group of buildings. As a barn, the building was originally a one-storey building, which can still be seen in the masonry of the gable and the shape of the roof - the extension was covered with a flat roof. In the course of the conversion to a workshop, an increase was made, and with it the opening and subdivision of the longitudinal walls at the front and rear into six regular window axes, which are partly covered by additions to the front of the courtyard or not designed as an opening. There is also a two-axis wide entrance gate on the ground floor. The outstanding element of the building, which made it a photo motif early on in the Viersener Bilderbogen series of the Association for Home Care, are the large, rectangular arched windows with very small iron rungs. In the arch field, this sprout also follows the curve of the arch (which is also reflected in the lintel walling), which results in a very charming elegance. These windows, which are original in relation to the use of the workshop, characterize both the front and rear façades and make the building so special. The two-storey interior is largely unsupported and undivided (flat ceilings with beams). Apart from these basic structural features, there are apparently no special equipment elements worth preserving. Monument value The Kaiserstraße - named after the Kaisermühle - is the old west-east route through Viersen (village), along the Viersener (or Dorfer) brook. In the 16th century the street was called "in the Kirberstraeten" because it led to the "Kirchberg" from St. Remigius. Accordingly, one of the oldest preserved buildings in the center of Viersen is located on it, often in the "second row" away from the developed road. These are often originally agricultural, handicrafts or small-scale buildings that, on closer inspection, give an impression of the pre-industrial structure of the old Viersen. The LVR Office for Monument Preservation already emphasized the special importance of Kaiserstraße a few years ago and even awarded it a monumental value. The history and importance of Kaiserstraße are also documented in an extensive book (Grefkes, 1000 Jahre Kaiserstraße, 1996). Many of the formative old buildings, however, are barely recognizable from the street and / or have already been significantly defaced. The former also applies to the workshop, but the latter does not. On the contrary, it is not only a testimony to the old agricultural character at this point, but its appearance also illustrates the characteristic historical development from agriculture to (modest) handicrafts and industry. It does this in a very beautiful, high-quality way - especially in the form of the windows, of course - and the two historical layers of time are also free from disturbing recent distortions, so that they can be closed and perceived as a unit. This makes the building stand out from its surroundings and gives it a special value. The other buildings on the property have already changed more negatively or do not have the same design quality from the outset, so that the monument value is limited to the transverse workshop (without single-storey extensions). For the reasons mentioned, the workshop building at Kaiserstraße 29 is important for Viersen. Its preservation and use are in the public interest for scientific, here architectural and settlement-historical reasons. The requirements of § 2 Monument Protection Act NW are thus met, it is a monument.	19th century / 1921	23 Dec 2010	495
	former stable house	Viersen Kaiserstraße 64 map	In the rear area of ​​Kaiserstraße there is a single-storey building with unbroken window axes. This is a smaller half-timbered farmhouse, the special design of which - the height of the compartments corresponds approximately to the thickness of the bars - suggests that it was built in at least the 17th century. The post-and-beam construction (oak construction) has a half-hip roof. The inner structure with the two pairs of uprights has been preserved at least in its essential parts, apart from later light fixtures. The main nave (approx. 5.5 m wide) and the two offsides (approx. 3.25 m wide) can still be seen clearly. The withdrawn entrance is in the middle of the eastern side. Under the western side there is a vaulted cellar with a height of approx. 1.90 m. The main nave is divided by a double chimney with original hoods and floor panels. To a small extent, the framework with clay wickerwork has been replaced by brick walls. The south gable wall is plastered; remnants of a stable building lean against them. The north gable is still preserved in clay weave. The east wall probably received brickwork around 1900. The window openings, some with folding shutters, are partly preserved on the west and north sides, partly recognizable by the milled columns and bars. The compartments are later lined up to the window parapet or compartment height. The half-timbered building is one of the few old courtyards that are still in the old settlement core, because the settlement along the Kaiserstraße, which runs parallel to the villages of Bach, forms the core from which the village of Viersen has developed over the course of time. The building is therefore not to be viewed singularly, but in the context of other remains of farms, including the splinters, some of which are still clearly recognizable but not yet examined, such as the Kaisermühle. Thus, the smaller half-timbered farmhouse experiences its importance in the historical context, as well as through its historical condition, apart from minor changes and the preservation of the double chimney with original hoods, which has become rare today. On the one hand, the building is an important and rare example of rural architecture in the Lower Rhine region and, on the other hand, it is an important document for the settlement history of the city of Viersen. For scientific, in particular architectural-historical, folkloric, settlement-topographical and local-historical reasons, the maintenance and use of the building at Kaiserstraße 64 in accordance with Section 2 (1) Monument Protection Act is in the public interest.	17th century	0Oct 2, 1985	67
	Beekgut	Viersen Kaiserstraße 87/89 map	Opposite the Kaisermühle is a 2-storey half-timbered building. It is probably a split from the "An St. Gereon Lehnsrührigen Hof to Bruys also called Beekgut." * Vogt Peter Grünendal acquired it in 1658 and 1684 by the Prussian captain Henrik von Afferden, who had married a daughter of the bailiff. The oak wood construction, which is built in a post-and-beam construction, is divided into 4 compartments, with the windows in the outer wall being arranged irregularly and provided with folding shutters on the ground floor. The gable roof is towed to the garden side down to the ground floor. The gable side of the Kaisermühle was renewed in 1975 according to the original half-timbered structure. The interior of the house has been converted for residential use. Load-bearing oak ceiling beams have been preserved on the ground floor. The half-timbered house with its original exterior is one of the few farmhouses that have survived in the original settlement core, which extended along the Kaiserstraße that ran parallel to the Dorferbach and from which the village of Viersen developed. The house is therefore to be seen in connection with other remains of farms. The half-timbered house experiences its importance in the historical context, as well as through its original exterior, apart from minor changes. It is an example of rural architecture that has become rare, as well as an important document for the settlement history of the city of Viersen. For scientific, in particular architectural-historical, folklore, settlement-topographical and local-historical reasons, the maintenance and use of the building is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	17th century	0Oct 6, 1986	140
	jew. graveyard	Map of Dülken Kampweg	Until 1877 the Jewish cemetery was next to the Protestant one in front of the Bruchtor (today Venloer Straße). When it will be created is unknown. In 1878, the new Jewish cemetery on Feldstrasse (today Kampweg) was put into use. The number of preserved tombstones, mostly from the turn of the century, is small; often only the plinths or bases or crowns of the grave sites are left. In very many cases there are only grave borders. Most of the tombstones are made of sandstone and shell limestone. The shapes are very similar to one another. The base of the tombstones is often composed of quarry stone, which is usually followed by a rectangular attachment with a round-arched or gable-shaped end. In this essay there is a recessed rectangular or arched field with an often Hebrew inscription. In some cases this inscription tablet is also made of marble. Rich decorations by means of historicizing forms of jewelry, the use of which is widespread in architecture as well as in tombstones at the turn of the century, are not found in the preserved tombstones of the Jewish cemetery and are also not common in other Jewish cemeteries. Even if the Jewish cemetery is only preserved in remnants, it is important as an example of Jewish culture, but at the same time it is to be seen as a place of remembrance and under the aspect of the warning for the Jewish victims of the tyranny. For scientific, in particular historical and religious-historical reasons, the maintenance and use of the facility are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1878	June 20, 1986	205
	St. Lucia Chapel	Boisheim Kapellenstrasse map	Joannes Numerich, pastor in Boisheim, already knows about the chapel in Boisheim at the intersection of Pütterhöfer Weg and Kapellenstrasse: "This parish has a chapel with the name St. Luciae, Virgin and Martyr, built in 1616, but not yet endowed." (Text from "Directory of parishes, monasteries and chapels in the district of Christianity zu Süchteln") (Original literature: " A Designiatio ecclesiarum parochialium, monasteriorum, sacellorum indistrictu christianitatis Süchtelensis by Joannes Numerich, pastor in the Farragines of Gelenius IX, fol. 331 (Cologne, city archives) reports: Unum parrochia haec habet sacellum titulo S. Luciae virginis sedo et martyris, annum 1616 nondum dotatum ".) However, the year above the door points to 1629. The chapel underwent a thorough restoration in 1893. Here the bell tower was replaced as a turret on the gable roof and an additional round window opening was opened in the curved gable. The brick chapel, covered with a gable roof, closes with a three-sided apse and has a round window on each side. The interior is spanned by a cross vault. The preferred location of the chapel at the crossroads, which can already be seen on the map of Tranchot and von Müffling, is an important identifier for the history and shape of Boisheim. For scientific, local history and folklore reasons, the preservation and use of the St. Lucia Chapel are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1629, 1893	13 Mar 1986	89
	Fliescher-Hof	Viersen Kempstrasse 27/28 map	The brick-facing, four-wing courtyard, which is typical of the landscape, is a former living / stable house, barn and stable wing buildings and a half-timbered gate. The residential / stable house is built in post construction (oak wood construction, 4 pairs of posts) and belongs to the type of the Lower Rhine hall house Viersener stamping. The middle part of the rear, northern gable is withdrawn. All door and window openings, some of which have been changed, have brick-walled arches. An oversized relief arch lies over a larger window. Above this is a jewelery stone with the inscription in capital letters Peter Beuters, Helena Kunkel EHL on May 29, 1789. Like the south gable, the sills are made of stone. On the south or court gable is a sandstone slab with the engraving: Dr. AFL attached in 1933. The structural change presumably included not only raising the roof of the very small crippled hip but also changes to the window and door openings. Here the brick arches are flatter, not wider than the windows and without a runner tape. Here, too, the sills are made of stone. The plaster wall of the entrance door has a stone base. The long sides have a brick frieze over round windows that are arranged above the windows. Wooden block frames and partially preserved wooden shutters under excessively high arched arches mark the modified western long side. The eastern long side has also been structurally changed. Inside, despite the installation of a staircase into the nave and light partition walls, the original floor plan of a residential / stable house can be seen. The stable wing, which is still in use today, is located on the courtyard side. Whereby two stands on the western side have been replaced by a cast support. Over the width of the backside, the stable still takes up the part of the former feed wall up to the present hallway and stairs. It has a stable door each from the courtyard side and the long side. The opposite side is now used as a kitchen. The stable wing has a brick floor. From the original double chimney that separated the living room / stable area, the part to the kitchen-cum-living room is still extremely well preserved with the original, strongly profiled wooden cornice and dark brown glazed, relief tiled covering on the rear wall of the chimney. The tiles with an edge length of 10.3 cm each form a circle from four tiles with four quarter circles, the trimmed quarter circles of which in turn continue the circle pattern with the closest tiles. The floor is covered with square panels. The entire length of the western side is taken up by the Opkamer, which can be reached through 2 doors with 2 original wooden doors. The front op camera is probably more recent. The old cellar wall can still be seen on the left, the wooden doors may also come from the time the house was enlarged. The third access door in between leads on a wide brick staircase to the approximately 1.80 m high vaulted cellar. The truss bar has carved ornaments and Christian symbol abbreviation IHS in capital letters (with the S upside down like a question mark). The roof structure and the framework and wickerwork on the upper floor have been preserved. The expansion of the building can be seen very clearly on both gables. The last container, which used to be outside, even has the hook device for a small window. This rear gable was presumably placed in front of a new one around 1800, and the roof was also raised in a mild, forward-looking walk, the old corner wall of which can still be seen. Perhaps the expansion happened in the course of the construction of the barn extension. The western barn wing with the sunken roof has a closing stone above the barn door with the inscription in capital letters PFLAK Abraham's EHL 1850. The closing stone above the entrance to the farmhouse bears the letters IAA 1832. Another inscription stone bears the year 1883. On the back of the gate stable building there is a bar inscription on the inside of the courtyard from a previous building with the inscription from 1670 May 5 and the letters AFI JOH. FI. What is lost is a wall cabinet of Saint Anthony Erem, painted wood, with a height of 33 cm, which represents a peasant work around 1800. The landscape-defining courtyard of the Fliescherhof, which has existed since at least 1576, not only shows the typical features of a Lower Rhine hall house with a two-part central nave and former double chimney in its original residential / stable house, but also clearly shows the ongoing typical development of the expansion of the rural courtyard Viersen room in the 18th and 19th centuries. For scientific, in particular architectural-historical of the farmhouse, folklore, landscape-related and settlement topographical reasons, the maintenance and use of the Fliescherhof according to § 2 (1) Monument Protection Act is in the public interest.	1789	0Jan. 8, 1985	5
	Körnerschule u. Monastery school	Viersen Klosterstrasse 8 map	Today's municipal community elementary school Stadtmitte (Körnerschule) consists of two historical main buildings: the older one of the former school on Klosterstrasse (1908/09) and the somewhat younger one of the former school on Körnerstrasse (1913/14). Both were built as a Catholic elementary school, the “monastery school” for girls and the “grain school” for boys. City architect Eugen Frielingsdorf provided the design for both buildings. With the National Socialist school reform in 1939, the two schools were temporarily merged. In the buildings, which were only slightly damaged by the war, classes could already be resumed in the summer of 1945. After the primary and secondary schools were divided up in 1968, a Protestant primary school was set up in the Klosterstrasse building and a Catholic primary school in the Körnerstrasse building. Only four years later it was merged to form the Stadtmitte community elementary school. Description monastery school The building on Klosterstrasse faces the school yard with a stately, comparatively lavishly designed brick plaster facade with two full floors (plus a base and attic). Since the two entrances are each arranged on the narrow sides - one with a flight of stairs and swinging cheek walls facing the Klosterstrasse, the other facing a south-facing colonnade - the west-facing main facade could be reserved entirely for the class windows. Consistent with the number of classes in seven groups of four, these upright rectangular windows, closing in a segmental arch on the ground floor, with their characteristic mullion divisions, represent one of the defining design features of the three times four axes wide facade as well as the broad central projection, which is elevated by a dwelling with a crooked hip. Brick and plastered surfaces are crenellated with one another at parapet height of the upper floor windows. Pilaster-like internal structures in the plastered area and geometrically decorated parapet areas also adorn the wall. A hipped roof with one dormer per area completes the structure. On the southern narrow side, facing away from the street, a covered corridor is built, which is open to the courtyard in arched arcades. He takes on the change of material (brick facing of the plinth) and connects the main building with a toilet building (compared to the design drawings, it has been purified today). A wall fountain is integrated into its rear wall, which is covered by a brick basket arch. The back facing the city is a little less elaborate; the arrangement of the windows is more irregular here and follows the incline of the inner flight of stairs in the middle section, which again protrudes as a risalit. You enter the building on both sides through original double-leaf wooden doors with glass inserts. The entrance to Klosterstrasse is nestled under an arch and raised above a flight of stairs; it has a large, vertically grooved skylight, which the entrance from the gallery lacks. There, in turn, a vestibule is set up inside through a second double door with skylight. Both entrances lead straight to the rear hallway, which defines a one-hip floor plan (classes on one side of a directly lit hallway). Old frame-panel doors with frames decorated with diamonds and fluting have been preserved. The old staircase with (partly clad) stone steps is adorned by the original metal railing with geometric patterns, which also appear in the window grating of the basement and the parapet grilles of the gallery. On all floors there are drinking fountains in the hallways near the stairs. Further historical elements are e.g. T. (stairwell, hall) old windows preserved. The floor plan of the ground floor is resumed on the upper floor. The top floor was recently expanded; the space that was already there before has a partially exposed roof structure. Description grain school The building on Körnerstraße, also built as a seven-class elementary school for boys, is a two-storey building on a base plastered on an L-shaped floor plan, the horizontal structure of which is asymmetrically designed. Here the left third of the building facing the courtyard is particularly emphasized as it accommodates the entrance and is accordingly covered by a triangular gable. This is the front of the wing, which is arranged parallel to Körnerstrasse and is covered with a gable roof, whereas the courtyard facade has a mansard roof. This main view page is otherwise structured by the groups of four of the upright rectangular class windows with a straight lintel, the uniform format of which above the entrance is slightly varied in favor of greater width. The parapet fields between the floors are emphasized by rectangular fields, otherwise the facade is unadorned except for the entrance covered by a broken gable. Small dormers structure the mansard roof at regular intervals. As the second side of the view, the shorter, six window axes wide sash on Körnerstraße takes up the wall design of the courtyard side; A decorative cartouche with the inscription ERBAUT 1914 is attached to a closed wall surface on the upper floor. The entrance is over a few steps under arches. Through the old two-winged wooden entrance door in frame-infill construction with glass windows and vertically grooved semicircular skylight you get into the interior, which is arranged on one side as in the other building. There are three classrooms on the ground floor and four on the upper floor; Today's auditorium with partially exposed roof in the mansard attic is designated as a gymnasium in the design plan. Right next to the entrance, the design provided for the teachers' and principal's rooms on the ground floor. The staircase opposite the entrance (staircase with stone steps, straight, two-lane with turning platform) is similar to that of the former monastery school, with the same ornaments in the metal balustrade and beautiful wooden handrail on angular supports with a rosette motif. Here, too, are somewhat more unadorned frame-panel doors and z. T. old windows preserved. There is also a drinking fountain in the hallway on the upper floor. The basement is not converted into classrooms. In the school yard, a small, now somewhat purified, toilet building with a steep pitched roof is attached to the school house. Architectural historical appreciation and monument value Werner Mellen compares the two school buildings in his essay on the city architect Frielingsdorf as follows: “In the architectural expression, a development is definitely recognizable (...), although there are only about six years between the two designs. The axial structure of the Klosterstrasse school is replaced on the Körnerstrasse by a freer floor plan, the relatively rich facade decoration with slight echoes of Art Nouveau motifs gives way to restrained plaster structures in the facade of the Körnerschule ”(Mellen, p. 217f). The design of the exterior of both buildings, which is no longer historicist, but in a factual way continues to work with traditional structural structures and forms, corresponds to the usual practice of moderately conservative reform architecture before the First World War. The difference to previous conceptions of form, as they z. B. realized in the neo-Gothic brick architecture of the grammar school Wilhelmstraße is obvious and was also highlighted by Frielingsdorf (Frielingsdorf, p. 41). Moderate reform ideas of the anti-historicist movement, which was largely influenced by South German building schools (e.g. Theodor Fischer in Munich and Stuttgart), also come to light in the one-hip floor plan, which can be described as progressive compared to the middle floor solution. The classrooms were oriented towards the south / south-west, as is customary in the construction, while the two school buildings are at right angles to each other. Special mention is made of the conciseness with which the functionality of the interior (classrooms, hallway, stairwell) can be clearly read on the exterior without this alone dominating the architectural design. The expansion of the school system is one of the central infrastructure measures in the growing cities between around 1850 and the First World War. These years were also a high phase of school construction in Viersen. Between 1908 and 1914, the schools at Klosterstrasse, Wilhelmstrasse and Heimbachstrasse (Protestant primary school; 1909), Regentenstrasse (1911) and Körnerstrasse were built according to a design by the city architect Frielingsdorf. With them, however, the expansion of the school system that had begun in the 19th century came to an end for the time being. In 1930 the administration (in the book Deutschlands Städtebau : Viersen, Dülken, Süchteln) had to establish that after the war in Viersen there had been no further structural developments worth mentioning 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 the two school buildings on Klosterstrasse and Körnerstrasse, illustrates a striking architectural change. Eugen Frielingsdorf (1869–1946) was the first town planning officer in Viersen from 1906 to 1934. Before that, after studying at the renowned Technical University in Hanover, from 1902 he worked in the municipal building department in Cologne, where he had already been entrusted with building schools. Numerous public buildings in the then growing city came from his office, including the festival hall and the school buildings mentioned above. “Eugen Frielingsdorf's work in Viersen shows how an up-and-coming medium-sized town tried to do justice to the urban planning and structural tasks in the first decades of our century” (Mellen, p. 221). Regardless of this, the two historical school buildings of today's Körnerschule are particularly high-quality evidence of the architecture before the First World War. As a former elementary school for boys and girls in the center of Viersen, the buildings at Klosterstrasse 8, today's community elementary school (“Körnerschule”) are important for Viersen. There is a public interest in the preservation and use of the two historical main buildings, including the abortion buildings and the walkway, for the scientific reasons mentioned, in particular for architectural and local historical reasons. They are therefore altogether a monument according to § 2 (1) Monument Protection Act NW.	1908-1909	May 31, 2001	410
	Offershof	Süchteln Kölsumer Weg 4 map	history 1547 Jan Offers appears in the interest and tithe register of the rectory in Süchteln. 1613 Hinrich uf den Naffer 1670 Henrich Affers is listed in the register of lands in the parish of Süchteln 1893 Uwe Neuss description The farm north of the Kölsumer Weg was built as a four-sided facility in 1905/6. The house closes off the four-sided complex to the west. The architectural expression increases in the plastered facade of the 2-storey brick building with a crooked hip roof that is oriented towards this. While the other views on the first and second floors show a poorly worked out, unfinished structure, the west side shines in the splendor of an architecture that does not hide its urban origins. Neither the structure nor the individual forms are reminiscent of the tradition of the previous building - the models that return here can be seen in the self-confident villa buildings of the prosperous bourgeoisie. The 5-axis facade is arranged symmetrically around the central axis. Above the plinth, the plastered surface on the ground floor imitates ashlar work, which is closed off by an ornamental frieze. On the upper floor there are profiled, framed windows on a sturdy parapet ledge, integrated into this by small consoles. A console cornice forms the conclusion under the protruding eaves. To emphasize the middle, more elaborate design means are necessary. Around the originally preserved front door with skylight, a round arch has been worked into the risalit-like projecting part of the building. The cuboid is alternately varied in the surface by rough plaster. The parapet is interrupted by a false balustrade, which is supposed to simulate a balcony behind it. On the upper floor, a large, semicircular, closed window is closed off by pilasters and its own ledge on the sides, emphasized by a coat of arms. The floor plan represents the common type of transverse rectangular access. On the ground floor, a room facing southeast was converted into a kitchen with a lock in 1965. For scientific, in particular architectural and historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	1905/1906	0Feb 1, 1991	251
	Residential building	Viersen Königsallee 2 map	The two-storey building with a mezzanine and gable roof is part of a row of houses that was built on Königsallee around 1900. The original plastered facade, executed on the ground floor with strip plaster, is emphasized by the delicate stucco decoration of the windows. The facade is divided into 4 axes, whereby the right axis jumps back slightly. The ground floor is characterized by the entrance, which is bordered by geometric bands and provided with a flat arch. The entrance is surrounded by a window. The courtyard door is in the right axis. On the first floor and in the mezzanine there is a window in each axis. The window sides on the first and second floors have bands with geometric shapes. The head is surrounded by a flat arch. The window shutters are covered by panels that have a structure. In the mezzanine area there are stucco cassettes. Like the facade, the eaves are kept in a simple structure. The floor plan of the house has changed more and more over the years. So there are only a few stucco ceilings in the living rooms. These have geometric ribbons and floral ornaments. The original wooden staircase with turned railing and the decorated starting post is still there. The doors and windows are modern. The house has a partial basement. The cellar has a barrel vault. The building with its simple, original plastered facade can be seen as part of the two- to three-story row of houses with historicizing decorative shapes in the ensemble. The residential building, together with the neighboring houses from that time, is to be regarded as a testimony to the history of urban development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1869	0Feb 1, 1991	258
	Residential building	Viersen Königsallee 4 map	The building at Königsallee 4 is part of a two-story row of houses that was built around 1897/98. The city plan from 1860 provided the basis for the development of the Viersen city center over this entire period. Despite the considerable destruction of the war, there are still some connected rows of houses from the time immediately after it came into being, when individual landowners, such as B. Pferdmenges in the area of ​​Königsallee, which was initially referred to as Pferdmengestraße, then Alleestraße and finally - in memory of the visit by Friedlich Wilhelm IV. - with its current name, built a large number of residential buildings in a speculative manner. The planners of these houses were usually the local master masons or carpenters, Schnitzler, Hansen, Frenken or Cuylen. The late classicist four-axis facade design is divided horizontally through a plinth, floor and sill cornice. The cornice is richly designed. The doors and windows are in their original condition. Inside the building, the stucco ceilings with rosettes and room doors have been preserved. The floor of the hall area is equipped with a black granite. The building is z. Currently used as an office on the first floor and for residential purposes on the upper floor. 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 are in the public interest.	1897/1898	Sep 14 1988	173
	Residential building	Viersen Königsallee 5 map	The two-storey building with a gable roof is part of a row of houses that was built around 1900 on Königsallee. The original plastered facade, on the ground floor with strip plaster, is divided between the ground floor and the first floor by means of floor and sill cornices. The house has a rich facade decoration, partly in geometric, partly in vegetable ornamentation. The facade of the building is divided into 6 axes, with the outer entrance axes. The house entrance is on the left axis and the courtyard entrance is on the right. The entrances with original doors in classical door frames are particularly highlighted. You will experience a pilaster structure with geometric and floral ornamentation. A flat lintel with a flower frieze and a protruding belt cornice, which is supported on two consoles, can be found above the entrance areas. The windows on the first floor are covered with a flat triangular gable supported by two brackets decorated with foliage. A flower motif with leaf ornaments can be seen between the consoles. Stucco cassettes are designed in the area of ​​the window parapets. The eaves are mounted on consoles. Cassettes and a toothed frieze are worked between the consoles. The tooth frieze can also be found below the consoles. Inside the building, all the stucco ceilings with floral and geometric decorations have been preserved in their original form. The ceiling in the master's room should be emphasized. This shows elaborately crafted vegetable and geometric stucco ornaments as well as a console design as a transition from the wall to the ceiling. The building has two corridors. One corridor is accessible from the main entrance. This is decorated in the ceiling area with a geometric ribbon motif and a wall pillar with a floral capital. The originally preserved staircase can be found in the second hallway, with a turned railing and a richly decorated starting post. The colored floor tiles are also in the original. The doors and windows are in their original condition. The passage through the courtyard shows a half-timbered construction. The cellar is completely built and has barrel vaults. The building owner of the building at Königsallee 5 is August Lingenbrink. According to the tradition of the Lingenbrink family, he works in linen, silk and cotton weaving. Around 1900, next to the factory at the monastery pond, the spinning factory was built behind the garden property at Königsallee 5, which is now part of the city garden. At the beginning of the 19th century, the Lingenbrinks were significantly involved in the history of the Viersen textile industry. In 1834, the Eyring & Lingenbrink company installed the first steam engine with 7 HP in Viersen in the tree yard of the former monastery. With the use of this first steam engine from Viersen, the transition from manual production (manufacture) to first mechanical production begins. The owner Mathias Arnold Lingenbrink worked in the local council until 1868 in addition to his commercial work. His small factory owns one of the two factory chimneys that existed in Viersen at the time. The Lingenbrink & Vennemann factory is founded around 1848. August Lingenbrink is co-owner. The factory owners start producing silk and silk goods. In 1860 August Lingenbrink co-founded the Viersener Aktiengesellschaft for spinning and weaving. Until his death in 1903 he played a key role in the further mechanization of linen, silk and cotton weaving. Today (1990) only small remnants of the former size of the Viersen textile industry exist. This also ends the professional tradition of the Lingenbrinks in the textile industry. Because at the present time no descendants or members of the Lingenbrink family are employed in the textile industry. The elaborate facade design typical of the time is characteristic of Königsallee, where a number of well-preserved townhouses are presented in the ensemble in the immediate vicinity. In addition, it is one of those houses whose size suggests a wealthy builder. This is evident on the one hand in the six-axis facade design and on the other hand in the generously designed interior. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1877	July 12, 1977	273
	Residential building	Viersen Königsallee 6 map	The facade of the house is divided into 6 axes, with a 2-storey semi-detached house with a pitched roof in a row of late classicist houses. The entrances are each assigned to the outer axes. The entrances in building Königsallee 8, still with the original door, in classicist door frames with pilasters and figurative capitals, are particularly emphasized. The scale of the windows is based on the original. A richly designed cornice leads to the roof. The back, built in bricks, was painted. The windows are also renewed, based on the original. Inside the hallway, simple stucco friezes and the simple wooden stairs have been preserved in their original condition. Some of the old radiators are still there. The town plan from 1860 was the basis for the development of the city center of Viersen. The contiguous row of houses from the time after it was built has been preserved and so far is also a testimony to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the maintenance and use of the building are in the public interest in accordance with Section 2 (l) of the Monument Protection Act.	unknown	Sep 14 1988	171
	Residential building	Viersen Königsallee 8 map	The building is a 2-storey semi-detached house with a gable roof in a row of late classicist houses. The facade of the house is divided into 6 axes, with the entrances being assigned to the outer axes. The entrances in building Königsallee 8, still with the original door, in classicist door frames with pilasters and figurative capitals, are particularly emphasized. The scale of the windows is based on the original. A richly designed cornice leads to the roof. Inside the building, almost all of the stucco ceilings in the rooms have been preserved with floral decor. The corridor area with the colored floor tiles, the wooden staircase with turned railing and the stucco work must be viewed as original. The doors with frames and panels as well as a sliding door with a light window and the stucco ceilings are probably attributable to a renovation at the turn of the century. Individual radiators with a floral decoration have also been preserved here. The cellar of the house is spanned by a vault. The building with its ornate facade design is part of the 4- and 6-axis row of houses in late classicist style and can also be seen in the ensemble. The town plan from 1860 was the basis for the development of the city center of Viersen. The contiguous row of houses from the time after it was built has been preserved and so far is also a testimony to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the maintenance and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	before 1874	Sep 14 1988	172
	Residential building	Viersen Königsallee 18 map	The three-story house with a gable roof is divided into four axes. The original plastered facade, on the first floor with binder plaster and on the upper floors with stucco decorations to emphasize the windows, is separated between the first and second floors by a cornice and a cornice. Windows and door of the house have been modernized. An elongated wing adjoins the garden. The interior of the house is largely original, with the exception of minor changes. The hallway has the original flooring, the wooden stairs and stucco ceilings in their original state. What is remarkable here is the design of the consoles with "angels" that carry intermediate platforms. In addition, the room doors with frames and panels as well as various stucco ceilings with rosettes have been preserved in their original state. The building with its simple, original plastered facade can be seen as part of the two- to three-story row of houses with historicizing decorative shapes in the ensemble. The town plan from 1860 was the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation was preserved and is therefore also a testimony to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the maintenance and use of the building are in the public interest in accordance with Section 2 (l) of the Monument Protection Act.	unknown	Sep 14 1988	170
	Residential building	Viersen Königsallee 18 a map	The three-story house with a gable roof is divided into four axes. The original plastered facade, covered in total with ribbons, is given special emphasis by the delicate stucco decoration of the windows. A three-sided bay window on the upper floor covers the entrance. The windows have been modernized. The entrance door is in its original condition. Inside, the rooms are partially changed by suspended ceilings. A bay window is attached to the garden on the ground floor. The wooden stairs in the hallway as well as the stucco ceiling and doors have been preserved in their original state. The old radiators are also still there. The house with its ornate, original facade design is to be regarded as part of the two- to three-storey row of houses with historicized decorative shapes in the ensemble. The town plan from 1860 was the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation was preserved and is therefore also a testimony to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the maintenance and use of the building are in the public interest in accordance with Section 2 (l) of the Monument Protection Act.	unknown	03rd June 1987	150
	Residential building	Viersen Königsallee 18b map	The stately residential building is part of a row of two to three storeys that was built at the end of the 19th century. “The town planning plan from 1860 provided the basis for the development of downtown Viersen over this entire period. Despite the considerable destruction of the war, there are still some connected rows of houses from the time immediately after it came into being, when individual landowners, such as For example, Pferdmenges in the area of ​​Königsallee, which was initially referred to as Pferdmengestraße, then Alleestraße and finally in memory of the visit of Friedrich Wilhelm IV. With its current name, built a large number of residential buildings in a speculative manner. The planners of these houses were mostly the local masons or carpenters: Schnitzler, Hansen, Frenken or Cuylen. " The 2-storey house with mezzanine is divided into 4 axes, whereby the entrance axis is particularly emphasized with a 2-sided bay window over the two upper floors. The façade with elaborate historicizing decorative shapes is made of strip plaster on the ground floor and ashlar plaster on the upper floor. A floor and sill cornice is separated, with the space between the windows being filled with fish bubbles. The windows on the ground floor are spanned with an arched arch and are gabled on the upper floor. The original entrance door with its highly structured carving has been preserved in its original state. The interior of the building must be viewed as having been preserved overall. In the entrance area there is the original wooden staircase with turned railing and the original tiled floor with white octagonal and black square spacers. The rooms have been preserved with stucco ceilings and the original doors. The basement is spanned with a cap ceiling construction. The house derives its monument value from its original exterior as well as from the interior fittings, which have not been changed except for a few details, thus illustrating the style of historicism in harmony between the facade and the interior. Furthermore, it can be seen in connection with the neighboring houses in this row as a unit that has become rare in the ensemble. 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) Monument Protection Act.	End of the 19th century	26 Sep 1986	139
	Residential building	Viersen Königsallee 20 map	The two-storey building with a mezzanine and gable roof is part of a row of houses that was built around 1900 on Königsallee. The original plastered facade with baroque decor is structured by the heavily structured plasterwork on the ground floor as well as the ledge and sill cornices. The facade is divided into 3 axes, the right one is also the entrance axis. The original entrance door is preserved and decorated with floral and geometric ornamentation. The entrance and the ground floor windows have geometric bands and a flat arch. In the outer building axes, the flat arch is decorated with a rocaille ornament and shows a figured decorative shape in the building's central axis. The facade is emphasized on the central axis. A three-sided bay window cantilevers over a ground floor window on the upper floor. In the parapet area, this is characterized by an openwork stucco railing (balustrade) made of balusters and a protruding belt cornice, which is mounted on two consoles. The window bay ends in a flat carnation arch with baroque decorative shapes. The windows next to it resemble the shape of the window bay in a simplified form. The windows in the mezzanine are bordered by geometric bands and, like the windows on the first floor, have rocaille ornaments. The eaves are mounted on consoles. A toothed frieze is formed between the consoles. Inside the building, some stucco ceilings with floral and geometric ornamentation have been preserved. The corridor area with the colored floor tiles and the elaborately crafted wooden stairs with turned railing must be regarded as the original. The wooden staircase shows a richly decorated starting post with floral ornamentation. Most of the interior doors are in their original condition. The double-leaf frame panel door with flat arch design and lantern insert should be emphasized between the vestibule and the hallway. The windows are modern. The cellar has a barrel vault. The building with its ornate facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 is the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation has been preserved and thus also testifies to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1891	July 12, 1991	274
	Residential building	Viersen Königsallee 22 map	The two-storey building with a mezzanine and gable roof is part of a row of houses that was built around 1900 on Königsallee. The brick plaster facade with historical decor is given a horizontal structure through the heavily structured strip plaster on the ground floor as well as the floor and sill cornices. The facade is divided into 3 axes, the left is also the entrance axis. The entrance door has been preserved in the original and has floral and geometric ornamentation. The eye-catcher of the street facade is the row of windows on the 1st floor, whereby the central window is executed with elaborate historicizing decorative shapes. The window is framed by pilasters with floral decorations. The upper end is a keel arch with shell work. The windows on each side are bordered by geometric bands. The windows are covered with flat triangular gables. Below the 3 windows there is a different ornamentation, partly floral and figurative, partly geometric. The eaves are mounted on consoles. Cassettes are worked between the consoles. Inside the building, all the stucco ceilings with floral decorations and rosettes have been preserved. The corridor area with the colored floor tiles and the elaborately crafted wooden stairs with turned railing must be regarded as the original. The wooden staircase shows a richly decorated starting post, with figural and floral ornamentation. The stair posts on the individual platforms are decorated with various kinds of ornaments. The interior doors are also originally to be found as cassette panels. The cellar has a barrel vault. The building with its ornate facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 was the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation has been preserved and thus also testifies to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1891	0Feb 1, 1991	263
	Residential building	Viersen Königsallee 22 a map	The residential building is two-storey with an extended attic in two axes, with the right axis as the entrance axis jumps back slightly. The original plastered façade with historical decor is structured by the strongly structured plastering of the ground floor as well as the floor and sill cornices. The original house entrance door has geometric shapes, a flower ornament and a skylight divided with bars. The shape of a round arch is chosen for the entrance area and the adjacent ground floor window. The facade is emphasized in the left axis. A square window bay cantilevered over a ground floor window on the upper floor. This in turn ends in a baroque decorative gable. Furthermore, the bay window in the parapet area is decorated with vegetal ornamentation. The window next to it resembles the structure of the window bay in a simplified form and shows a coat of arms ornamentation and floral decorative shapes in the parapet area and above the cornice. The ornamental gable is adorned with various types of ornamentation, on the one hand geometrical and on the other hand vegetable. The flower and leaf frieze should be emphasized. The dragged-in dormer window next to it also has baroque echoes. The eaves are only formed in the right axis. Below the eaves there is a flower and leaf frieze with a central coat of arms ornament. 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. The stucco ceilings on the ground floor are very representative with their various types of ornamentation, on the one hand geometric and on the other hand vegetable. The windows are modern. The cellar is partly built with a basement and has a barrel vault. The house at Königsallee 22a represents a link in the row of houses that is viewed as an ensemble. The elaborate facade design typical of the time characterizes the contemporary building type of the stately house, which here reflects the historical cityscape. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1905	July 12, 1991	275
	Residential building	Viersen Königsallee 24 map	The building is to be regarded as one unit with the corner building on Bahnhofstrasse, which was erected in 1897. It is also part of the 2-3-storey row of houses that characterize the appearance of Königsallee. The house with a plastered brick facade will be built on 3 floors including the attic floor and divided into 3 axes with a central entrance. The facade is particularly emphasized by the buildings on the left axis. A large window will be built into the former passage on the ground floor and a “representative” balcony will be built above it. A gable on the roof, resting on two pilaster strips, completes the axis. A strong horizontal structure of the building, which is held in ashlar plaster on the ground floor, is achieved by the main, windowsill and a strongly structured cornice. The upper floor is faced with a yellow brick. The structure of the facade continues in the corner building. The interior of the house has been extensively modernized. The house with its historicizing decorative shapes is seen both as belonging to the representative corner building and as a member of the ensemble. The Königsallee in its entirety is a testament to the history of urban development. The house at Königsallee 24 is a well-preserved example of the most representative row of houses in Viersen from this building era. For scientific, in particular architectural and urban development-historical reasons, the preservation and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act.	1897	June 20, 1989	201
	ev. Viersen parish hall	Viersen Königsallee 26 map	history Shortly before the end of the war, on February 24, 1945, the old Protestant parish hall, built in 1889, was totally destroyed by bombs. As early as July 1946, the presbytery took the decision to build a new parish hall at the same location according to plans by the Viersen architect W. Esser, adapted to the old dimensions. The project was delayed by the growth of the community and the acquisition of new land, until the old plans were used in January 1953 and the foundation stone for the new building was laid at the old location. As early as 1950, the kindergarten in the rear part of the site was also rebuilt by Esser. On November 14, 1954, the new Protestant parish hall is inaugurated. Location and description The property is located in the eastern center of Viersen, parallel between Hauptstrasse and Freiheitsstrasse, next to the town hall. It is a two-storey building complex, which is aligned as a corner building to Poststrasse, consisting of the hall building and a two-and-a-half-storey residential building with a caretaker's apartment. The building is made of clinker brick with sand-lime brick facings and walls. In the ground plan, the building presents itself as an angular structure stepped towards the rear. The hall building is symmetrically structured to the street with a raised central wing and flanking entrance buildings. The flat hipped roof above the hall is perceived as a flat roof, which creates the impression of a cubically staggered structure. The construction is characterized by strict axiality. The facades are structured by combining the high rectangular windows and entrances with sand-lime brick frames, which appear as a pseudo skeleton in the hall. The vertical lines of the windows and frames provide a contrast to the horizontally aligned structure. The entrances emerge slightly from the escape. The main entrance is characterized by three steps and a simple balcony. Opposite the main entrance there is a similar exit at the rear. The residential building is directly connected to the hall, the staircase of which still belongs to the structure of the hall. The simple four-axis building is subordinate to the hall structure. The mezzanine is characterized by three round windows, a motif that is repeated on the ground floor of the hall building and loosens up the austere facade. The internal structure is clearly structured and can be read from the exterior. Behind the vestibule of the main entrance, the hall opens up, divided into three aisles by columns, behind which there are cloakrooms on both sides. At the rear, the central stairwell opens up over three steps, curved with two arms. The rear exit is in the axis. Club and sanitary rooms are located on the ground floor to the left. The centerpiece of the upper floor is the large hall with organ gallery and podium. The curved gallery is supported by iron columns interconnected with rabbit. The walls are paneled with wood up to the door, the window frames are paneled with wood. The iron lattice windows are original. The ceiling is simply fluted. The main hall is connected to the small hall above the entrance hall through a wooden folding door under the gallery. Flanking doors next to the podium create the connection to the residential building, which here on the upper floor houses changing rooms and a coffee kitchen. The entire building is characterized by its rarely well-preserved original furnishings, which atmospherically recreate the time it was built. Starting with the floors, through windows, doors, handles, railings, paneling to the lighting fixtures, which have a wide range of lamps from the 1950s. Justification of the monument value I.1. The object is significant for human history as an example of the type of community center separated from the church for community events. This type of church building activity in the Protestant area goes back to the late 19th century and represents a separate building task in Protestant building. I.2 The object is important for the city of Viersen as it is a testimony to Protestant life in the city. There is evidence of a Protestant congregation in Viersen since 1633, but in the Catholic enclave without a church or pastor. During the Spanish War of Succession, Viersen received its first Protestant pastor in 1705, and the first church was built in 1718, followed by the new Protestant church on Hauptstrasse in 1877. In 1889 the first parish hall - an early example of this type - is built, the tradition of which continues the property in question at the same location. II. For the maintenance and use of the property architectural-historical reasons. The building follows the traditional direction of the 1950s. It goes back to the tradition of the homeland security movement in the area of ​​the Deutscher Werkbund before the First World War, which preferred the plain, simple form in homebound materials and which continued almost seamlessly through the architecture of the Third Reich into the 1950s. Innovations in the sense of the "kidney style" were not included, rather they consistently adhered to the "staid" traditionalism down to the last detail. In this pure and original way, the object claims almost rarity value. There are urban planning reasons for preservation and use. The property is located on a corner plot in the center of Viersen and stands out due to its striking cubic shape in the street space, but without breaking the scale. There are historical reasons for its preservation and use, as the building, in association with the Protestant Church, documents the Protestant tradition in Viersen until the post-war period (see also I, 2). After the war, the number of Protestant community members tripled due to the influx of refugees. In addition, it is a well-preserved testimony to the architect Wilhelm Esser, who was important for Viersen, who built numerous buildings in Viersen and thus also wrote building tradition in Viersen (including Stadtbad 1906). In summary, it should be noted that the evangelical parish hall in Viersen according to § 2 DSchG NRW is important for the history of man and for the city of Viersen and for its preservation and use there are architectural, urban and local historical reasons.	1954	Feb 19, 1992	403
	Residential building	Viersen Königsallee 27 map	The two-storey building with a gable roof is part of a row of houses that was built around 1900 on Königsallee. The original plastered façade with its historic decor is divided horizontally through the heavily structured plasterwork on the ground floor as well as the girdle and bench cornices. This is underlined by the geometric and shell-like (shellwork) jewelry shapes between earth and l. First floor. The facade is divided into 5 axes, with the middle axis also being the entrance axis and protruding slightly on the upper floor. The entrance has a pilaster structure with geometric and floral ornamentation. The entrance area is covered with a protruding belt cornice, which is mounted on two consoles. A console frieze is formed under the cornice. The windows on the ground floor have geometrical walls. On the upper floor, the windows are decorated with geometric shapes and covered with a cornice. The stucco ornaments of the window in the central axis of the building are to be emphasized. The window head is provided with a stucco arch in front, which is supported on two consoles. Both forms of jewelry show vegetal ornamentation, whereby the acrotery ornaments of the stucco arch are particularly noteworthy. A figured ornament, a girl's head lying in a circle, can be seen between the stucco arch and the window. The eaves are supported by brackets decorated with foliage. These have flower ornaments in their spaces. A toothed frieze has been worked below the consoles. Inside the building, some stucco ceilings with geometric and floral decorations have been preserved. The cellar is partly built with a basement and has a barrel vault. The original use of the 2-storey extension behind the house was around 1915 as a weaving and dyeing mill. The access required for this is through the gate, to the left of the residential building. With the later change of the house owner, the use changes and, accordingly, the structure of the building extension. The city plan from 1860 provides the basis for the development of the Viersen city center over this entire period. Despite considerable damage during the war, there are still a number of connected rows of houses from the time; individual landowners, such as B. Pferdmenges in the area of ​​Königsallee, which is initially called Pferdmengesstrasse, later Alleestrasse and finally in memory of the visit of Friedrich Wilhelm IV. With its current name, erect a large number of residential buildings in a speculative manner. The planners of these houses are mostly local bricklayers or carpenters, wood carvers, Hansen, Frenken or Cuylen. For scientific, in particular architectural, urban development and urban planning reasons, the maintenance and use of the building according to Section 2 (l) of the Monument Protection Act are in the public interest.	1893	Feb 23, 2000	283
	Residential building	Viersen Königsallee 31 map	The building is a two-story house with a gable roof, which was built around the turn of the century. A veranda was built in 1913 on the building side facing the garden. The original plastered facade, on the ground floor of plastered strips, is adorned with historical decor. The windows on the upper floor are bordered by geometric bands and show a stucco keystone in the window head area. The facade of the upper floor is decorated with symmetrical and slightly extravagant stucco ornaments. Furthermore, the upper floor is framed by double-sided pilaster-shaped brickwork. The eaves are supported on consoles decorated with foliage and geometric ornaments. These have a toothed frieze and stucco cassettes in their spaces. Inside the building, you can find the original staircase with a turned railing and the richly decorated starting post. The colored floor tiles in the hallway and kitchen area have also been preserved in their original condition. In the hallway and living area on the ground floor, the ceilings are decorated with geometric and vegetable stucco ornamentation. Most of the interior doors are original. The double-leaf glass door between the former mansion and living room, whose glass insert has a facet cut, should be emphasized. The solid wood door with glass insert in the hallway to the previous bathroom is just as important. This has an original painted parchment with a bird motif between the door glass. The windows are modern. The cellar is partly built with a basement and has a barrel vault. The building with its ornate facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 is the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation has been preserved and thus also testifies 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 Section 2 (1) of the Monument Protection Act are in the public interest.	1871/1913	July 12, 1989	276
	Residential building	Viersen Königsallee 33 map	The two-storey building with a mezzanine and gable roof is part of a row of houses that was built around 1900 on Königsallee. The original plastered facade with historical decor is structured by the heavily structured plaster of the ground floor as well as the cornice and sill cornices. The facade is divided into 4 axes, whereby the outer axes are also the entrance axes. The house entrance is in the left outer axis and the courtyard passage is in the right. The original doors have been preserved. The house entrance door is a solid wood door with a skylight and door window. On the one hand, this has various geometric ornamental shapes, such as a triangular gable, wooden coffers and profiled wooden bars and, on the other hand, a door window that is designed with a grid in floral decoration. The entrances and the ground floor windows have geometric bands and a flat arch. The top is a keystone decorated with a festoon-like ornament. The facade of the building is emphasized in the left central axis. A three-sided bay window cantilevers over a ground floor window on the upper floor. This is characterized by three arched windows, which are provided with a keystone. Above the keystone of the central window, a shell-like ornament shape and a flat wave gable can be seen. This in turn is adorned with a spherical stucco ornament. Geometric stucco shapes can be found in the parapet area of ​​the window bay. The windows next to it resemble the shape of the window bay in a simplified form. The windows in the mezzanine are bordered by geometric bands and, like the windows on the first floor, have a keystone with a floral ornament. In contrast to the facade design, the eaves are simple and reserved. The only stucco decoration is a toothed frieze below the eaves. The interior of the house has changed more and more over the years. So there are no more stucco ceilings in the living rooms. The window bay on the upper floor is an exception as it is decorated with various types of floral ornamentation in the ceiling area. The wooden staircase in the corridor area is still in the original with a turned railing and the start post with geometric ornamentation. The colored floor tiles and the stucco ceiling with various vegetal ornamentation are also in their original state in the entrance hall. The cellar is completely built under. The elaborate facade design typical of the time is characteristic of Königsallee, where a number of well-preserved townhouses are presented in the ensemble in the immediate vicinity. In addition, the building forms a structural unit with the neighboring building at Königsallee 35. This can be seen on the one hand in the selected mirror-image floor plans of the houses and on the other hand it is documented by the continuous eaves. The facade design according to the original drawings shows the existing facade of the building at Königsallee 35 for both residential buildings. How this different facade design then came about, which is very serious and striking, is not documented. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1892	July 12, 1991	277
	Residential building	Viersen Königsallee 35 map	The two-storey building with a mezzanine and gable roof is part of a row of houses that was built around 1900 on Königsallee. The brick-facing facade is structured horizontally by the belt and sill cornices, which are designed as cantilevered rolling layers. The facade shows 3 axes, whereby the right axis is also the entrance axis. The entrance area and the ground floor windows are provided with a flat arch. The reveals are slightly set back from the masonry. The ground floor is presented in different colored bricks, in the colors yellow and brown, whereby the color scheme is dominated by brown. The yellow brick is used on the upper floor and in the mezzanine. The windows on the upper floor are provided with a flat arch, with the reveals also receding slightly from the masonry. The window parapets show a row of flower ornaments. The windows in the mezzanine also have the shape of a flat arch. The eaves, like the facade, are simple and reserved. The only stucco decoration is a toothed frieze below the eaves. The floor plan of the house has largely been preserved in the original. In the corridor area, for example, the original staircase with turned railing and the decorated start post can be found, as well as a double-leaf glass door with skylight. The glass insert of the skylight and the door leaf have a rung subdivision. The cellar is completely built under. The building with its simple, original brick facade can be seen as part of the two- to three-story row of houses with historicizing decorative shapes in the ensemble. The residential building, together with the neighboring houses from that time, is to be regarded as a testimony to the history of urban development. In addition, the building forms a structural unit with the neighboring house, Königsallee 33. This can be seen on the one hand in the selected mirror-image floor plans of the houses and on the other hand it is documented by the continuous eaves. The facade design according to the original drawings shows the existing facade of the building at Königsallee 35 for both residential buildings. How this different facade design came about, which is very serious and striking, is not documented. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1892	Dec 11, 1991	293
	Residential building	Viersen Königsallee 38 map	The two-storey building with an extended attic and gable roof is part of a row of houses that was built around 1900 on Königsallee. The facade is given a smooth plaster finish with a clinker base. The facade is divided into 4 axes, with the left central axis also being the entrance axis. The ground floor entrance area, consisting of the house entrance and the adjacent cellar entrance, is each provided with a flat arch. The flat arches are emphasized by their execution in clinker stone. The windows on the first and second floors show the same original shape. On the one hand the architectural framing, geometric bands, flat arches and sill in clinker brick design and on the other hand the division of the window areas, a one to three-part window with skylight. The plaster facade is emphasized in the right central axis. A rectangular window bay cantilevered over a ground floor window on the upper floor, supported on two consoles decorated with geometric ornaments. The window bay, in turn, ends in a loggia with a half-hip roof. The loggia area shows a timber framework. The floor plan of the house is unchanged. The original wooden staircase can be found in the hallway and hall area. The staircase shape is straight, three-way with a change of direction in the same direction. The starting post and the banister show a geometric ornamentation. The remaining stair posts are kept very simple without any decoration. The original wooden interior doors have wooden coffers and a skylight with colored lead glazing. The windows are also in their original condition. The house has a basement. On the street side, the original floor tiles can be found in the basement rooms and in the stairwell area. The building at Königsallee 38 shows an interesting characteristic. A generosity is simulated in the house, but it does not exist throughout. The generosity is evident in the width of the street front, so the floor plan is in a small and yet extremely rare form. The floor plan has two rooms one behind the other in the left axis and only one room in the middle to the right axis a width of 3.40 m. The selected half-timbered construction in the loggia area is remarkable. Because the half-timbered construction is often found in the village area, less often in the urban area. The house with its simple, original plastered facade is representative in its expression. It can be seen as part of the two- to three-story row of houses with historicizing decorative shapes in the ensemble. The residential building, together with the neighboring houses from that time, is to be regarded as a testimony to the history of urban development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1907	July 12, 1991	278
	Residential building	Viersen Königsallee 40 map	The house has two floors with a loft and a gable roof. The facade is a brick plaster facade and is divided into three axes, with the left axis also being the entrance axis. The original entrance door is decorated with a lattice-divided door window and various types of wood ornamentation. The house entrance has a round floor and, like the entire ground floor area, is made of yellow brick. Below the round arch there is a flat Carnies arch, which is also made of brick. The free space between the round arch and the Carnies arch shows a glass window divided by two bars. The ground floor windows next to it are provided with geometric bands and a flat arch. The brick plaster facade is emphasized in the central building axis. A three-sided bay window cantilevers over a ground floor window on the upper floor. This in turn ends in an ornamental gable. Furthermore, the bay window is adorned with various types of geometric ornamentation and has stucco coffers in the parapet area. The adjacent windows and the window in the ornamental gable area are framed with geometric bands and provided with a flat or round arch. The straight line of the eaves is interrupted by the ornamental gable and has a foliage frieze. The building with its simple but representative facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 is the basis for the development of the city center of Viersen. This contiguous row of houses after its creation has been preserved and thus also testifies to the history of the city's development. In addition, the building forms a structural unit with the neighboring house at Königsallee 38. This can be seen on the one hand in the similar floor plan chosen and on the other hand it is documented by the eaves at the same height. According to the original architectural drawings, the floor plan has two rooms lying one behind the other in the left axis (here the hallway and kitchen area) and in the middle to the right axis only one room with a width of 4.00 m (one room width in the Königsallee 38 residential building from 3.40 m). For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1907	Dec 11, 1991	294
	Residential building	Viersen Königsallee 51 map	The building is part of a two- to three-story row of houses in three to four axes. The town plan from 1860, with some changes until after the last world war, provides the basis for the development of the Viersen city center. Despite the considerable destruction of the war, there are still some connected rows of houses from this period immediately after it came into being. B. Pferdmenges in the area of ​​Königsallee, which is initially referred to as Pferdmenges-Straße, then as Alleestraße and finally with its current name in memory of the visit of Friedrich Wilhelm IV., Build a large number of residential buildings in a speculative manner. The planners of these houses are usually the local masons or master carpenters, wood carvers, Hansen, Frenken or Cuylen. The two-storey house with a mezzanine is divided into four axes. The original plastered facade, executed on the ground floor in strip plaster, is emphasized by the delicate stucco decoration of the windows, which are being renewed here in a modern form. The facade, with its historicized decorative shapes, is structured horizontally by means of sill cornices on the ground floor and upper floor and a surrounding cornice. The entrance of the building is arranged in the central axis of the gable, which at the same time forms the inner access axis. The building wicket is demarcated from the street with a simple, wrought-iron gate. Inside the building, all extensions, such as the wooden stairs, doors and stucco ceilings, are in good condition. The building with its simple, original plastered facade can be seen as part of the two- to three-story row of houses with historicizing decorative shapes in the ensemble. The building with the neighboring houses from the time can also be seen as evidence of the history of the city's development. For scientific, in particular architectural and urban development-historical reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	before 1864	19 Sep 1988	180
	Garden shed villa	Viersen Königsallee 51 map	Location and origin The house of the factory owner August von Jüchen is part of a two- to three-storey row of houses, which - recorded in the city map from 1860 - was decisive for the development of the Viersen city center. The garden house stands on the narrow, west-extending garden plot directly on the southern property line. It is located in the middle between the old beech tree in the west and the house in the east and is accessed from the north side. description The garden house is built in wood, it has an almost square floor plan with a flat gable roof. The width is 4.06 m, the depth 3.98 m, the mean height to under the ridge 3.90 m and the side height 2.90 m (inner dimension). The wooden structure is built using a post construction: the corner posts and the two main posts on the entrance side are 10/10 cm thick, the intermediate posts on the side and rear walls are 8/8 cm thick. The footsteps (12/8 cm) lie flat on the brick foundation, the bars (7/7 cm) span between the uprights. The upper end is the surrounding frame into which the stands are pegged. The roof structure shows a simple rafter construction, the roof covering consists of bitumen cardboard. The two side walls and the rear wall are clad with board formwork, which is attached to the outside of the framework. The half-timbered structures of the side walls and the rear wall are reinforced in the upper third in the corners of the room by means of diagonal struts. The edges of all load-bearing woods are chamfered and the wood connections are connected with a simple wooden dowel. Only the entrance side of the garden house with the designed gable triangle is open. There is a two-leaf entrance door (1.55 × 2.40 m) in the middle between the four uprights. The base of the door leaf is closed with a wooden box, and the glass field is divided with two iron bars. To the right and left of the door there is a double-winged window (1.05 × 1.50 m) with two muntin bars. The skylights over the door and the windows were probably locked later. The windows still have the espagnolette locks (espagnolette locks) from the construction period. Only the right wing of the entrance door remains, all fittings of the lock have been removed. The front side of the garden house is architecturally designed: between the skylight and the decorative gable triangle, a frieze band made of oval wood sawmill appliqués with recessed diamonds spans. The frieze is accompanied by sweeping profiles that are cranked around the wooden stud ends, which are designed like capital. The gable triangle is filled with richly curved and branched foliage, which is nailed on from simple wood carving with sawn tendrils and abacus flowers. The side walls, however, are closed and simply designed; they were probably always intended for planting. To the left of the garden shed, hidden in the green, is a cast iron water pump. In the interior of the garden shed there are two corner cabinets with a height of 2.00 m with shelves and a door in the rear corners of the room. The upper edge of the cabinet is connected with a wooden profile. No statement can be made about the original floor covering as it was completely broken out. Monument value The garden house is a remarkable individual object in the residential garden between the expansive beech tree and the residential building at Königsallee 51. The choice of location with the open side facing north enabled the builders to protect themselves from the direct sun, while at the same time the space in front of the garden house is in the sunlight. In its shape and especially in the type of decorative design of the gable triangle with tendrils and abacus flowers, the garden house is a unique example in the Rhineland. The sawn decorative infills are a popular design element in the late 19th century. They were disseminated through publications - such as, for example, Decorative Timber Construction by Max Graef from 1901 / Leipzig (e.g. panels 23 and 28) - which showed sample panels with different motifs for sawn decorations. The preservation of the garden house is of particular importance as many of these small structures have already been lost. They are no longer used, which is reflected in the often missing maintenance measures. Owing to their often simple and light construction, once it has begun, deterioration progresses rapidly. As an originally preserved garden house from the 19th century including a water pump, originally part of the largely still closed historicist buildings on one of the most prominent streets in the center of Viersen, is important for Viersen for the reasons described above. There is a public interest in its preservation and use for scientific reasons, here for architectural and historical reasons. It is therefore a monument in accordance with Section 2 of the Monument Protection Act.	2nd half of the 19th century	Apr 30, 2009	489
	Residential building	Viersen Königsallee 53 map	The building is a two-storey residential building with a mezzanine and gable roof. The house has a brick facade with historical decor. The facade of the house is divided into 4 axes, with the outer entrance axes. The house entrance is on the right and the courtyard entrance is on the left. The original double-winged door with skylight is bordered by geometric bands with floral ornamentation. Above the entrance is a carnies arch showing on the one hand vegetal ornamentation and on the other hand a stucco ribbon with the year of construction 1900. The adjacent windows and the courtyard are provided with geometric ribbons and a keystone decorated with a flower ornament. Various stucco elements can be seen above the windows on the upper floor. Triangular gables with floral ornamental shapes can be found above the two right-hand windows and round arches with vegetal ornaments and a depicted stucco band above the two left-hand windows. The keystones above end with the cornice of the mezzanine. The mezzanine windows are bordered by geometrical bands and provided with a keystone showing a flower motif. The eaves echoes the facade design. It shows stucco ornaments on the one hand in the form of flowers and on the other hand in a geometric shape up to a zigzag pattern. Part of the eaves is raised, thereby interrupting a certain straightness of the otherwise usual eaves shape. Inside the building, all the stucco ceilings with floral decorations have been preserved. In its original state, the staircase with the turned railing and the richly decorated starting post are shown. The colored floor tiles in the corridor area and some interior doors are also in the original. The windows are modern. The cellar has a barrel vault. The building with its ornate facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 is the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation has been preserved and thus also testifies to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1900	May 29, 1991	264
	Residential building	Viersen Königsallee 55 map	The building is a two-storey residential building with a mezzanine and gable roof. The house has a brick facade with historical decor. The facade of the house is divided into 4 axes, with the outer entrance axes. The house entrance is on the right and the courtyard entrance is on the left. The original double-winged door with skylight is bordered by geometric bands with floral ornamentation. Above the entrance is a carnies arch showing on the one hand vegetal ornamentation and on the other hand a stucco ribbon with the year of construction 1900. The adjacent windows and the courtyard are provided with geometric ribbons and a keystone decorated with a flower ornament. Various stucco elements can be seen above the windows on the upper floor. Triangular gables with floral ornamental shapes can be found above the two right-hand windows and round arches with vegetal ornaments and a depicted stucco band above the two left-hand windows. The keystones above end with the cornice of the mezzanine. The mezzanine windows are bordered by geometrical bands and provided with a keystone showing a flower motif. The eaves echoes the facade design. It shows stucco ornaments on the one hand in the form of flowers and on the other hand in a geometric shape up to a zigzag pattern. Part of the eaves is raised, thereby interrupting a certain straightness of the otherwise usual eaves shape. Inside the building, all the stucco ceilings with floral decorations have been preserved. In its original state, the staircase with the turned railing and the richly decorated starting post are shown. The colored floor tiles in the corridor area and some interior doors are also in the original. The windows are modern. The cellar has a barrel vault. The building with its ornate facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 is the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation has been preserved and thus also testifies to the history of the city's development. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1871	July 12, 1991	279
	Residential building	Viersen Königsallee 57 map	The building is a two-story house with a mezzanine and a gable roof. The original plastered façade with its historic decor is structured by the heavily structured plasterwork on the ground floor as well as the cornices and the sill cornices. The facade shows 3 axes, whereby the right one is also the entrance axis and protrudes slightly. The original double-leaf entrance door with skylight is decorated with floral and geometric ornamentation. The entrance has a pilaster structure with an attached flat arch, which has an ornament similar to a rocaille. This ornamental shape can also be found in the ground floor windows. The entrance area is additionally emphasized by the leaf and flower frieze below the cornice. The windows on the upper floor are bordered by geometric bands and provided with a triangular gable supported on two brackets. In the mezzanine area, the windows are decorated with a flower ornament. The eaves are supported by brackets decorated with foliage. These have flower ornaments in their spaces. A toothed frieze is formed below the consoles. Inside the building, you can find the original staircase with a turned railing and the richly decorated starting post. Some of the original interior doors have also been preserved. The door glass panes with an ice flower ornament should be emphasized. The windows are modern. The cellar is partly built with a basement and has a barrel vault. The building with its ornate facade design should be viewed in connection with neighboring buildings in the ensemble that characterizes the street scene here. The town plan from 1860 is the basis for the development of the city center of Viersen. This contiguous row of houses from the time after its creation has been preserved and thus also testifies 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 Section 2 (1) of the Monument Protection Act are in the public interest.	unknown	July 12, 1991	280
	Residential building	Viersen Königsallee 61 map	The two-storey building with a gable roof is part of a row of houses that was built around 1900 on Königsallee. The brick plaster facade with historical decor is given a horizontal structure through the heavily structured strip plaster on the ground floor as well as the floor and sill cornices. The house has a rich facade decoration, partly in geometric, partly in vegetable ornamentation. The facade of the house is divided into 4 axes, whereby the right axis protrudes slightly and is at the same time the axis of the entrance to the courtyard. The entrance area as well as the ground floor windows are bordered with geometric bands and provided with a flat arch with decorative vegetal shapes. The eye-catcher of the brick-facing facade is the row of windows on the 1st floor, whereby the window in the right protruding axis is designed with elaborate historicizing ornamental shapes. The window is surrounded by a wall column and a flat keel arch, which has a figured ornament and floral decorative shapes. Furthermore, the window is framed by pilaster-shaped brickwork on both sides with vegetal ornaments. The pilaster-shaped ashlar masonry can also be found in the left corner of the building. The parapet area of ​​the window is decorated with a fish bubble frieze (snowshoe). The windows next to it are emphasized by various types of stucco elements, as well as bands and cornices. In the parapet area they also have a fish bladder frieze. In its original state, the staircase with the turned railing and the simple ornamentation of the starting post is shown. The colored floor tiles in the hallway are also in the original. The cellar has a barrel vault. The building at Königsallee 61 represents a link in the row of houses that is viewed as an ensemble. The elaborate facade design typical of the time characterizes the contemporary building type of the stately house, which here reflects the historical cityscape. For scientific, in particular architectural, urban development and urban planning reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1891	May 29, 1991	265
	Bellenhof	Viersen Krefelder Strasse 49 a and b map	history If one bases his considerations on the fact that before the French takeover the farms usually never change their names and all families, whatever their name may be, take the name of the farm from the time they inhabit the farm as their family name one can assume that the Bellenhöfe (including previous buildings) have existed since the 16th century, at least this is suggested by the names Jan and Trin Bellen mentioned in the Viersener Bannbuch for the years 1586, 1591 and 1592. Even in 1802 it is no different. According to the population register at that time, Gertrud Bellen, her husband Matthias Schluns, who married into the family in 1781, and her brother Peter Bellen live in the homestead. Since the latter dies unmarried, it is clear that the inheritance of the court must pass to her only daughter Anna Margarethe Schluns (born 1786) and her husband Wilhelm Schloten. Probably on the occasion of the marriage of her daughter (Aug. 3, 1809) the division contract mentioned in the “Viersener Hofverzeichnis” between the widow Matthias Schluns (not, as claimed, by Matthias Schluns himself: he died on Oct. 27, 1807) and her son-in-law Wilhelm Schloten (not, as incorrectly stated, with a Matthias Schloten, who cannot be identified in the 1802 population register). When Gertrud Schluns (née Bellen) died on Aug. 7, 1811, the entire inheritance - which according to the land register from 1812 includes section numbers 887-891 - went to the Schloten family, whose descendants still own the farm 100 years later . description The Bellenhof is a former stable house with a barn. Both buildings will be used for residential purposes at an early stage. The former stable house shows itself in the form of the Lower Rhine hall house. It is characterized by the inner framework, which determines its internal spatial arrangement. It is divided into a longitudinal and a transverse axis. The longitudinal axis is determined by the stud frame with the compartments and the transverse axis shows in the central nave with two aisles. The residential building Krefelder Straße 49 a has a brick facade. The house entrance is emphasized by its framing, a stone frame with a flat arch. The windows and the entrance to the house have a brick lintel. The house entrance side of the brick-facing facade shows anchor pins. The anchor pins H, marked with a cross, MBE 1437 can probably be explained in H (from) M (aria) BE (llen), Anno 1743 or 1734. The numbers were most likely reversed when working on the facade. Inside the house, the elaborately crafted stucco ceilings for a rural property are to be emphasized. The baroque ceilings, in keeping with contemporary tastes at the end of the 19th century / beginning of the 20th century, have rich vegetal and geometric stucco ornamentation. The Opkamer typical of a hall building in the Lower Rhine region has also been preserved. The barn building mentioned at the beginning is located next to the former stable. In 1901 the barn was converted into two workers' apartments for Maria Schloten. The two-storey brick building at Krefelder Straße 49 b is divided into six axes. The outer axes are also input axes. The windows as well as the entrances have a brick lintel. The brick lintel of the former barn door can be seen in the middle between the first floor and the first floor. In addition to the age value and example of a rural hall house on the Lower Rhine, the former stable house with the former barn building is significant in terms of settlement history. In the case of the courtyard, it can be seen, but also not untypical for the development of a courtyard, how a rural courtyard is transformed into a purely residential use. For scientific, in particular folk and settlement history as well as architectural history reasons, the maintenance and use of the buildings Krefelder Straße 49 a and 49 b according to § 2 (1) of the Monument Protection Act are in the public interest.	Mid-18th century	05th June 1992	304
	villa	Viersen Krefelder Strasse 59a map	The representative building, a small villa typical of the time it was built, is a two-storey building with a hipped roof. The plastered facade surfaces are framed by pilaster-shaped ashlar masonry. The entrance area, arranged offset, has a flat arch. The original single-leaf house entrance door has various types of wood ornamentation and a door window with a metal grille in front of it in floral and geometric ornamentation. The windows on the first and second floors are bordered with facing stones and provided with a flat arch that suggests a keystone. They show the same original shape, a two to three-sash window with a skylight. The skylight is split between the bars, with the glass insert having a subtle green shimmering color. The floor plan of the villa is almost unchanged. A change that can be observed in the area of ​​the stairs compared to the building permit was made early on. The staircase, straight, two-lane with a change of direction in the same direction, has a turned railing and a richly decorated starting post. In the corridor area there is an original stone floor with color-contrasting mosaic ornaments. Inside, some stucco ceilings have been preserved, of which the one in the earlier salon is remarkable for its coloring. The stucco ceiling, possibly added later, suggests a trompe-l'oeil, an illusionistic painting. The ceiling painting is limited by four medallion-like stucco elements. Inside the medallions a landscape painting in the style of the 19th century can be seen with Dutch-Flemish characteristics; Windmill, lighthouse, Kate. With the advancing industrialization of the 19th century, there was also a far-reaching change in the area of ​​living. The living area, which used to be located within the company complex, gradually distanced itself from the company area at the end of the 19th century / beginning of the 20th century. This further development can also be seen here. The villa was built in 1904 in the immediate vicinity of the headquarters of the Hove & Hahn oil industry, separated by a small park with a fence. The facade design of the villa is simple and reserved, but its expression is representative. For scientific, in particular architectural and urban history reasons, the preservation and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	1904	05th June 1992	305
	former Catholic elementary school Viersen-Hülsdonk	Hülsdonk Krefelder Strasse 123–125 map	history In the years between 1850 and 1890 (with a focus on 1860/70) there was a "school building program" (Jochem Ulrich) in the growing town of Viersen, which was intended to reduce the class sizes that had become unacceptable. The Catholic elementary school for Hülsdonk, which was founded in 1867, also belongs to the series of school buildings erected at that time (including Hoser, Rahser, Hamm, Diergardtstrasse, Wilhelmstrasse); In 1878, the location on Krefelder Strasse was handed down. In 1905, the existing building received a side extension based on a design by the architect Franz Kreutzer, who had also designed the school on Gereonstrasse shortly before. In the twenties, the rooms were modernized. The last major structural change was the construction of a rear wing by the municipal building authority in 1955, which offered a contemporary toilet facility inside and shelter for breaks outside and also added an additional staircase. description The three construction periods can be clearly seen in the exterior. The broad, two-storey oldest component develops towards the eaves towards Krefelder Strasse, moved away from it behind a fence and a forecourt with trees. Its brick masonry is without ornament except for the band of the round arches spanning the ground floor windows (segment arch at the entrance). Only the openings of the seven plus three window axes structure the facade. The ground floor windows (two-winged with central muntin and skylight) close in round arches, the upper floor windows have flat segmental lintels. The two-winged wooden entrance door has a grooved skylight. Even if not of historical value, the stained glass windows with animal motifs in the hall of the old building are a remarkable detail that is appropriate for use as a school. The right part of the building of today's youth home, three window axes wide, originally contained the teacher's / principal's apartment. The design of the extension from 1905 is similar to the Gereonstraße school designed by Kreutzer three years earlier. The surrounding thin strips of ashlar, which (supplemented by similar wedge stones at the window openings) enliven the brickwork and create a horizontal layering, are particularly characteristic. The storey and eaves cornices also contribute to the latter. The two floors are also significantly higher. The facade is structured by five window axes, the entrance with a double-leaf wooden door and skylight is arranged in the left axis. The windows are closed in an arched segment and have a characteristic, small-scale structure. Inside this structure, the staircase from the construction period has been preserved, with artfully decorated metal railing at the bottom and a simple wooden staircase with twisted handrails at the top. Frame panel doors to the classrooms are also still available. The three construction phases can also be clearly distinguished from the rear of the schoolyard. The oldest component here is characterized by small windows; it has an additional narrow wing with a monopitch roof on the side. The building from 1905 ends here in a three-sided, chapel-like-looking side porch with a rear entrance, which is called the "turret" - a playful variation, still committed to historicism, of an actually simple structure, as already practiced by Kreutzer in a different form on Gereonstrasse would have. The ashlar bands are only led around the facade in a reduced number. In view of the subordinate construction task (toilet, break shelter, staircase), the extension from 1955 has a remarkable design quality, also with exposed stonework. A two-storey staircase section with a slightly curved staircase, slender windows and a flower fountain, whose tiled decor, typical of the time, is continued in the wall area behind, is immediately attached to the extension. Adjoining it is the single-storey, hose-like toilet part, whose thin, cantilevered concrete flying roof offers shelter on both sides. School buildings dating back to the middle of the 19th century, like the oldest part of the Krefelder Straße school, represent the establishment of a regulated school system in Prussia (introduction of compulsory schooling in 1825). In a rapidly growing industrial city like Viersen, this was an urgent task of public services - Jochem Ulrich described this impressively in his study of illiteracy at that time. The expansion in 1905 testifies to the need to respond to the growth of the north-eastern part of the city of Viersen - including sanitary facilities, which were then replaced by the new, modern extension in the 1950s. As a school in the surrounding districts (Hülsdonk, Robend), the Krefelder Straße school is important for Viersen. The oldest part in particular embodies an early phase of school building in Prussia; Together with the structurally demanding other parts of the building from 1905 and 1955, the history of the school building in three time stages can be read off here, which has a meaning for human history. Since the school in its essential features and some historical equipment details is substantially well and clearly preserved, there is a public interest in its preservation and use for scientific, in particular architectural, local and school development-historical reasons. It is therefore a monument according to § 2 (1) Monument Protection Act of North Rhine-Westphalia.	1878/1905/1955	Aug 30, 2005	460
	Residential building	Dülken Kreuzherrenstrasse 3 map	On Kreuzherrenstrasse (formerly Klosterstrasse), in the shadow of the Catholic parish church of St. Cornelius, directly opposite the apse, is the two-storey residential and commercial building with a gable roof. The building is part of a series of eaves houses. The late classical plastered facade is divided into four irregular axes. On the ground floor, the plastered strip facade was changed by enlarging the window to the size of the other shop windows. The upper floor is separated from the ground floor, emphasized shop facade by a wide parapet cornice. The window openings are provided with stucco bands all around. Windows and doors of the building have been modernized. The entrance door, which was changed around 1910, was subsequently changed and provided with stucco decorations. Inside the building, a black and white terrazzo floor and the room doors with frames and panels have been preserved in the hallway area. There are partly simple stucco friezes on the ceilings. The rear part of the building is underpinned by a vaulted cellar. Despite the expansion, the roof structure still shows the load-bearing construction with wooden wedge connections. The building, which was probably built in the second half of the 19th century within the old city walls of Dülken, in the immediate vicinity of the church, reflects the historical cityscape here. Furthermore, it is also of urban development importance because of its close location to the market. For scientific, in particular historical and urban planning reasons, the maintenance and use of the building at Kreuzherrenstrasse 3 is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	Mid 19th century	05th Sep 1986	131
	Residential building	Dülken Kreuzherrenstrasse 5 map	The house, built in the middle of the 19th century, was one of the traditional urban single-family houses up until then. It is two-story, has four window axes and faces the street on the eaves side. The street facade is connected to the neighboring houses without emphasizing the fire wall. The entrance is located in the right central axis, where the old staircase was probably also located. Extensive renovation work has largely changed the house, so that only the street front has been preserved in its original condition. This facade is arranged according to classical rules. The wall surface is plastered, on the ground floor ashlar stones are reproduced in the plaster, the upper floor is left smooth. The storeys are separated by a pair of storey and parapet cornices. A simple roof cornice forms the upper end of the house. The windows are framed by profiled walls. The middle transverse wall of the house, on which a chimney that is not in use today, was raised, dates back to an older time. This chimney stands in the middle between two barrel vaults of the cellar, which run parallel to the street and garden front. Some parts of the half-timbered construction that were pre-tied during the renovation were used by the current owner for the interior work. The old windows have now been replaced by new plastic windows. The division and proportions of the facade as well as the cube of the house are concise for the urban single-family house in closed construction that was typical until then. Standing next to the market, based on a city plan that has remained unchanged for centuries, the building serves to illustrate the city's history and has an urban significance. For scientific, in particular urban history, architectural history and room design reasons, the maintenance and use of the building in accordance with Section 2 (1) of the Monument Protection Act is in the public interest.	Mid 19th century	05th Sep 1986	132
	Residential building	Dülken Kreuzherrenstrasse 12 map	The two-storey residential building with a mansard roof is located on Kreuzherrenstrasse (formerly Klosterstrasse) within the old city wall. The building, presumably built in the 18th century, was redesigned around 1900 when a plastered facade in Art Nouveau decor was faded in. The facade is divided into four axes, the two middle axes being combined by an arched stucco frieze. The two outer axes are also spanned by an arch supported by pilasters. Furthermore, the facade is decorated with floral decorations. The original windows are attached to profiled walls. The passage to the courtyard is covered with a fan rosette. The original wooden staircase with a reduced railing has been preserved inside the building. The entire building is supported by an approximately 1.40 m high basement. The top is designed as a cap top. Originally belonging to the oldest development, it represents the previously existing fragmentation within the city walls and can be seen in an urban context. Furthermore, the high-quality facade design makes the building a testimony to current building attitudes. The maintenance and use of the building is in the public interest for scientific, in particular urban planning and street design reasons, in accordance with Section 2 (1) of the Monument Protection Act.	18th century / 1889	05th Sep 1986	133
	Residential building	Dülken Kreuzherrenstrasse 18 map	The two-storey house with a mansard roof and a gable facing the street, built in 1911 according to the plans of the Dülken architect Albert Rangette, extends along the Kreuzherrenstrasse, formerly Klosterstrasse, which is located within the old town center of Dülken. The four-axis facade of the building shows itself to the viewer in an axially symmetrical shape, with a gable-roofed balcony arranged on the central axes. The gable, conspicuously emphasized with vertical half-timbered bars, counteracts the horizontal structure of the ashlar plaster facade. The balcony, cantilevered briefly and rounded, is divided into six fields with heads, the two outer fields with floral decorations. In the areas of the mansard roof, two roof houses with flat gables are placed on the outer axes. The windows and front door have been preserved in their original condition. Inside the building, a black and white terrazzo floor, the original staircase and doors with frames and panels have been preserved in the hallway. The apartments and the rear facade were modernized as a whole. The ceiling of the basement is already cast in reinforced concrete as planned. The building, which is centrally located in Dülken in the immediate vicinity of the former town hall on Kreuzherrenstrasse, represents the typical town house architecture of the early 20th century and at this point reflects the historic cityscape. For scientific, architectural-historical and urban development-historical reasons, the preservation and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1911	05th Sep 1986	134
	Old Town Hall	Dülken Kreuzherrenstrasse 22 map	history The various locations of the former town hall are shown in the "Rheinisches Städteatlas" V No. 27, 1979 Dülken. (Quotation :) “1553 Rathuiß (VI lj, fol. 32), Herren Houiß (Stad Akt 64b; Chronik p. 196), lay on the market, burned down in 1791 and moved to a building belonging to the monastery on Klosterstrasse (panel l, floor plan ), In 1838 in the monastery itself and in 1857 in the opposite Heistersche Hs. (Chronik, p.173 ff) " From 1857 the town hall is located in the Heisterschen Haus, in the vicinity of the Kreuzherren monastery. "Chronicle of the city of Dülken" quote on page 173: “After the fire in the town hall in 1791, the mayor's office was relocated to an old building on the site of the current chaplaincy, belonging to the monastery, but in 1835 to the secularized Kreuzherrenkloster itself, which subsequently also housed the peace court and the school rooms. In 1857 the city bought the Heistersche house opposite from the heir J. Poeth for 5000 thalers, and from then on the upper rooms served as the mayor's office, while the judiciary was established on the ground floor. " The 18th century house on Klosterstrasse is a simple brick building with 7 axes under a gable roof. The now walled-up doorway closed a two-winged door, which showed delicate rococo panels with shell motifs, above was a skylight with a curved, wrought-iron grille. The doors and stairs in the hallway also had pretty rococo ornaments. The two-winged door mentioned is exhibited today in Theodor-Frings-Allee 22. description Exterior East Side The 2-storey solid construction, located on the eaves side facing Kreuzherrenstraße, is divided into 3 (formerly Kreuzherrenstraße 20) and 7 axes (formerly Kreuzherrenstraße 22). The entrances are in the third (formerly Kreuzherrenstraße 20) and fifth axis (formerly Kreuzherrenstraße 22) (from the north) The gray textured plaster, the profiled plaster reveals of the windows and the windows themselves date from the 1960s. The 2-sashed wooden single windows have transom and skylight. West side The house is younger than the former Kreuzherrenstraße 22. The original map from 1812 (see copy of the city atlas) still shows a passage. On the courtyard side there is an extension with an outside basement staircase leading to the laundry room. Interior In the hallway of the house formerly Kreuzherrenstraße 20 there is a slate floor (panel size 30/30 cm), an old room door (frame and panel principle) with a profiled reveal and the old front door (Pr.R + F) with skylight. (~ 1860) In the building formerly Kreuzherrenstraße 22 there are still parts of the classical stair railing (posts), as well as 3 plastered ceilings with throat and mirror, one of them built in. The fabric of the building, which was formerly Kreuzherrenstraße 22, shows mostly the old condition. In the attic, which got a new roof structure made of softwood around 1900, 2 chambers are built into the south gable. The importance of the building on Kreuzherrenstrasse (called Klosterstrasse from 1679–1970) lies primarily in the context of urban development and local history. For scientific reasons, in particular for reasons of local history and urban development, the maintenance and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	18th century	Apr. 14, 1987	145
	District Court	Dülken Kreuzherrenstrasse 24 map	Built in the 1880s. Brick building, two-storey on a basement plinth. Gable roof. Front five axes. Central axis set in front of a risalit with a two-flight staircase to the entrance and on the upper floor a gable-shaped eaves with a pointed arch frieze. Two-axis gable side, in the roof zone pointed arch frieze gable and two small windows, on the upper floor subdivided by two pilaster-like wall strips. Continuous cornice separates the floors. All windows with arches and original division. The building is part of the historical development of the city center of Dülken.	19th century	Dec 14, 1984	15th
	Residential and commercial building	Dülken Kreuzherrenstrasse 25 map	The residential and commercial building, located at the corner of Kreuzherrenstrasse and Hospitalstrasse at the end of the 19th century, has three storeys and a knee-height floor that is emphasized in the view. Typical of the architecture of that time is the inclined window axis towards the intersection, the house has six window axes towards Hospitalstrasse and two towards Kreuzherrenstrasse. The late classical facade is richly decorated. The ground floor business floor is set apart from the residential floors above by decorative shapes. The ground floor is plastered and provided with a continuous joint cut, the upper floors are in brick with pre-blinded decorations. These decrease with the rising storeys, but find a strong end in the jamb area. The window crowns on the first floor are richer than on the second, and the cornices are stronger and more numerous on the first than on the second floor. In the jamb area, the crenellated cornice is supported by consoles and decorative motifs are attached above the window axes. On the ground floor, the large window openings have been inserted into the facade without cladding and divided with cast-iron columns so that their proportions correspond to the windows on the upper floor. All windows have been renewed, so that the original window bar distribution is missing, and the original floor plans have also been largely rebuilt. According to the owner, there are original stucco ceilings above the suspended ceilings. A corner post of the wooden staircase inside has the same floral motif as the cast iron columns in the ground floor windows. The interior layout is largely built in, but the facade can be considered to be well preserved. The house with its facade design is typical of the architectural style of late classicism and its entrance axis sloping towards the intersection is typical of the urban architecture of the time. For scientific, in particular architectural, historical and urban planning reasons, the building has been preserved and used in accordance with Section 2 (1) of the Monument Protection Act.	1888	05th Sep 1986	135
	former Kreuzherrenkloster, monastery wall, chapel	Dülken Kreuzherrenstrasse 29, 31, 35, 43–47, 49 map	history 1166 Birth of the founder of the Knights Cross, Theodor von Gelles, Diocese of Liège. From 1211 he led a strictly religious life together with four like-minded men. October 1, 1248 Creation of a new rule based on the Augustinian rules and the Dominican statutes by the successor and new leader of the community, Petrus Walcurtius, which is confirmed by Pope Innocent. 1292 Appointment of St. Odilia as patroness of the order. 1322–1510 35 new monasteries were founded 1456 Emperor Friedrich II issues a letter of protection. 1479 Foundation of the Kreuzherren monastery in Dülken by Count Vincenz von Mors. 13 citizens of the city of Dülken, known in documents, bequeathed garden parcels, inheritance and pensions to the new monastery. The Vicar General gives permission to build the St. Sebastian Monastery. The monastery building and property are located in the southeastern part of the city. September 28, 1491 Consecration of the St. Sebastian monastery church by the Cologne auxiliary bishop Johann Spender. The church consecration festival takes place every Sunday after Remigius. July 12th 1496 Destruction of the monastery building by a storm. It is being rebuilt. 1533 12 Conventuals December 10th, 1570 Prior Tilman Kox sells a piece of the garden that goes from the street to the city wall to Johann Wallburgen. 1574 Sale of the tree garden to Jakob Keutenbreuer, which passed to Mattias Schündelen in 1780. 1576 Sale of a piece of vegetable garden to Peter Schaffens, which is bought back in 1714. 1580–1591 further sales 1591 Acquisition of another piece of garden by Johann Wallburgen. As a result of the sales, the entire Klosterstrasse will have a row of houses that covers the monastery garden. 1642 Repurchase of the properties sold in the 16th century and the houses built on them after their destruction in the Hessian War. 1660 New version of the statutes of the order, which are prepared by the Dülken Prior Johann Spyck. July 1758 Installation of a general magazine of the French army in the monastery and church buildings during the Seven Years' War. 1779 Request of the mayor, the aldermen and jury of Dülken to the general of the order to remedy the desolate structural condition of the Kreuzherrenkloster. The prior Valentin Reinhard then wrote to the state government. 1786 Distribution of the conventuals to other monasteries by the prior, as the dilapidation is too great. Since the prior prefers a new building to the reparation of the monastery, no funding comes about. 4th July 1786 The prior leaves the monastery 1788 Another complaint by the mayor and the council about the catastrophic state of the monastery. Elector Karl Theodor then orders the restoration under the supervision of the administrator and the prior of the Brüggen Kreuzherrenkloster. 1796 Partial demolition of the monastery 1799 Dedication of the restored church by the last prior of the monastery, Petrus Dohr, after putting a new bell tower on the monastery roof February 9, 1802 Abolition of all Kreuzherrenkloster of the Roerdepartement 5 Aug 1802 Government commissioners take over the administration of the monastery property 1803–1833 Use of the monastery and the parish as an auxiliary parish 1830/31 liquidation of the Latin school April 10, 1833 A secondary school is set up in the monastery building under the direction of the teacher Decker 1833–1857 use of the monastery church as mayor's office and court Oct. 1, 1836 Expansion of the school into a higher middle school from 1857 establishment of a girls' school 23 Sept. 1872 Destruction of the church by fire 1905 Reconstruction and extension of the former monastery building, now the south school Description of the Kreuzherrenkloster (today the Kreuzherrenschule) Around 1479, Count Vincenz von Mors founded the Dülkener Kreuzherrenkloster. Five years later, a storm destroyed the monastery building, which was rebuilt immediately afterwards. At the end of the 18th century, part of the monastery building was demolished; however, the church is being restored. After secularization, the rest of the monastery and the church initially experienced different uses; Since 1833 they have served as a school - initially in part - until today. In today's school there are remains of the rising masonry of the monastery building and the church from the beginning of the 19th century. The extent of what has been preserved is still to be shown through building research. The Kreuzherrenschule, now known as the South School, is a three-story brick building with a hipped roof. The school building has an L-shaped rectangular floor plan. The school building is geared towards the needs of the school and designed accordingly. The facade design is simple and restrained and is loosened up by symmetrically arranged brick strips. The windows on the first and second floors are partially provided with a flat arch. The division of the window areas in the ground and l. The upper floor is identical, a two- to three-sash window divided by muntin bars with a skylight. The transition from the 1st floor to the 2nd floor is formed by a belt cornice (formerly a roof cornice), which is decorated with two toothed friezes lined up one below the other. Around 1905, the two-storey structure was given a new floor, which was designed as a half-timbered construction. Description of the monastery wall The old monastery wall stretches along the east wall and part of Hospitalstrasse. It shows the traces of the eventful history of the Kreuzherrenkloster. The sales and division of the monastery garden in the 17th century can be seen in the brick wall through jumps in height and door openings, some of which have been bricked up again. Parts of the wall are also plastered. The upper end is formed by a continuous, roof-shaped offset roll layer, which is plastered on the top. Description Marienkapelle A hexagonal structure can be found in the garden of the house at Kreuzherrenstrasse 29, a former Marienkapelle in the monastery garden. The building is made of brick with a plastered base and a slated pyramid roof. The hexagonal floor plan is emphasized by the pillars protruding from the corner points. meaning The buildings mentioned are important for human history because they are the remains of one of the former sixteen Kreuzherrenkloster monasteries in the Rhineland and thus testify to the spiritual life of the late Middle Ages, and for the city of Dülken because the monastery and its buildings have been around since the 15th century associated with their history. There are scientific, in particular religious, architectural and urban history as well as urban planning reasons for the preservation and use, because here the character of enclosed garden and open spaces, which characterize this city quarter in Dülken to this day, together with the east wall in seldom, but once preserved in a typical way for certain districts of late medieval cities. Although the Dülkener Kreuzherrenkloster was one of the least significant of the Rhenish monasteries of the order during its existence, its abolition shattered a spiritual and spiritual center. In addition to taking care of the liturgy of their church, the regular conics take on pastoral and educational (Latin school) tasks. Nevertheless, the history of the monastery is the history of poverty and poverty, which is also reflected in the various sales of garden land within the monastery wall with subsequent development along Kreuzherrenstrasse. The monastery wall along the east wall and the Hospitalstrasse together with the buildings along the Kreuzherrenstrasse show the outlines of the old property of the order. In addition, the monastery wall and the city wall form an alley that corresponds to the medieval city plan. The hexagonal Marienkapelle of the monastery St. Sebastian can be found next to this on the northern wall of the monastery. It is also shown in the original plan from 1824. For scientific, in particular historical, urban history, religious history and urban development history reasons, the preservation and use of the Kreuzherrenkloster (today Kreuzherrenschule), the monastery wall, the Marienkapelle and the remaining open spaces of the former monastery garden according to § 2 (1) of the Monument Protection Act are in the public interest.	1479/1496	0Nov 3, 1993	327
	Residential building	Dülken Kreuzherrenstrasse 35 map	The inner-city house built around 1889 was built in connection with the neighboring houses at Kreuzherrenstrasse 37 and 39. It forms the left wing of an almost symmetrical ensemble in the row. The middle building was completely modernized, only the flat triangular gable still reminds of the original shape of the building. The facade of the two-storey house with a mezzanine and saddle roof is divided into three axes, with the left axis widened and gabled to bring the line to a close. The brick plaster facade with historicized decorative forms is given a horizontal structure with a continuous storey and cornice supported on consoles. The base and the windows have been changed. The entrance, slightly forward, is given a design in ashlar plaster. The interior of the building has been changed through intensive modernization. The original wooden staircase has recently been restored. The basement is covered by a cap ceiling. The building, erected in a central location, can be assigned to the Rhenish three-window house type, a single-family house with its narrow and eaves side facing the street, where it is only three axes wide and mostly three storeys. Usually the entrance is in the lateral axis. It also reflects the historical cityscape at this point. For scientific, in particular historical and street-shaping reasons, the maintenance and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	1889	05th Sep 1986	136
	Residential building	Dülken Kreuzherrenstrasse 39 map	The inner-city house built around 1889 was built in connection with the neighboring houses at Kreuzherrenstrasse 37 and 35. It forms the right wing of an almost symmetrical ensemble in the row. The middle building was completely modernized, only the flat triangular gable in the facade still reminds of the original shape of the building. The facade of the two-storey house with a mezzanine and saddle roof is divided into three axes, with the right axis being broadened and gabled, bringing the line to a close. The brick plaster facade with historicized decorative shapes is divided horizontally with a continuous base, floor and cornice. The facade is made of yellow and red bricks. The entrance, slightly warped, is given a design using ashlar plaster. The windows on the ground floor are in their original condition. Inside the building, on the ground floor, cove friezes in individual rooms and the original doors with frames and panels have been preserved. In the hallway, probably part of the basic equipment, the flooring is patterned with red and hexagonal, gray triangular tiles in between. Furthermore, there is an old wooden spiral staircase in the rear area between the main house and the rear extension. The basement is covered by a cap ceiling. The building, erected in a central location in the immediate vicinity of the former town hall on Kreuzherrenstrasse, reflects the historic cityscape. Furthermore, it is to be assigned to the type of Rhenish three-window house, a single-family row house with its narrow eaves facing the street and there only the width of three window axes and mostly three storeys. For scientific, in particular historical and street-shaping reasons, the maintenance and use of the building at Kreuzherrenstraße 39 is in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1889	02nd July 1986	112
	3 chaplains	Dülken Kreuzherrenstrasse 43–47 map	In 1851 the chaplains of the parish church in Dülken asked the parish council for cheap apartments because of their modest income. This was then also approved. The community has decided to build three chaplains on a plot of land that used to belong to the Kreuzherrenkloster. In the "Gladbacher Kreisblatt" of March 20, 1853, the mayor Dörgens announced that the plan and cost estimate for the construction of the chaplain was available to the entrepreneurs. The design came from the building inspector Anton Walger from Krefeld. In the development plan of the town of Dülken from 1893, the chaplains are drawn in their current outlines. The house of the three chaplains was built symmetrically with two side wings as a simple brick building. The building's only decoration is a stepped crenellated frieze in the gable of the side wings and the accentuated arches in the windows. The walls of the doors and sills of the windows, which are made of stone, are colored. The facade is well preserved from both the street and the garden side. The interior has been extensively remodeled so that only the original wooden stairs and a door on the upper floor remain. The longitudinal building has a cellar and two barrel vaults. The façade, striking in its simplicity, creates a special architectural accent on Kreuzherrenstrasse. Also worth mentioning is the small forecourt formed in front of the building, which is surrounded by a low wall towards the street and is a special feature between the houses on Kreuzherrenstrasse, which are strictly on the alignment line. For scientific reasons, in particular for reasons relating to the history of the site and architecture, and for reasons that shape the space, the maintenance and use of the building in accordance with Section 2 (1) Monument Protection Act are in the public interest.	2nd half of the 19th century	02nd July 1986	113
	Residential building	Dülken Kreuzherrenstrasse 57 map	The residential building, which was originally planned as a free-standing building, is a very beautiful urban "point de vue" on Kreuzherrenstrasse when it comes to the old market above Neumarkt. It appears to the viewer with an axially symmetrical facade and a hipped roof. The building once formed a courtyard with the two-storey brick house with a mansard roof facing the east wall and a connecting half-timbered extension. The house on the east wall had to be demolished after the collapse of the roof, a gable and the ceilings in 1983, except for the surrounding walls on the ground floor. As a testimony to the complex, only the residential building and the farm building that was added later remain in their present form. The outer walls of the residential building are made of brick, with the walls of the attached adjoining building being filled in half-timbered with stones or plastered surfaces facing the city wall. The building was very dilapidated, and large parts of the existing structure were already endangered, so that the necessary restoration work made up a considerable part of the construction work to make it habitable again. The load-bearing oak timber frame construction inside the residential building is constructed on two axes and was preserved without any infills. The ceilings and parts of the roof structure had to be replaced by a wooden structure. The facade of the house was built in the early 19th century. Century redesigned in the sense of classicism. Since the plastered facade with the corner cuboid had to be removed for structural reasons, the original brick-faced facade has been visible again since the restoration. The anchor pins found in the process point to the year of construction 1744. Furthermore, the year 1822 with the inscription "This bar was made on July 25, 1822 signed ... name" was found in a beam during the uncovering of old structural parts. This beam was probably built in when the front building was converted and the rear farm building was added at the same time. The front of the two-storey residential building is divided into three axes, with the entrance in the central axis. The same axis is emphasized by a flat triangular gable. There are two windows on top of each other on the right and left axes. The two windows on the ground floor are covered by brick arches. The restored entrance door is in very good condition. After the brick facade was repaired, it was flushed. The original staircase and the natural stone floor on the first floor of the stairwell have been preserved. Behind the extension there is an open, brick-walled chimney that still comes from a demolished house right behind the extension. Part of the building is supported by a vaulted cellar, in which there is a walled entrance to a "crawl tunnel". During the demolition of the rear building, collapsed parts of the tunnel leading towards the city wall were found. The house at Kreuzherrenstrasse 57 is now used by the owner as a residential building with a studio. The existing architecture at this striking location makes the building a testimony to the architecture of the time. The house also forms a distinctive part of the old town center of Dülken. According to § 2 (l) Monument Protection Act, the preservation of the residential building and its annex is therefore in the public interest for scientific, in particular urban, architectural and local historical reasons.	1744	Feb. 26, 1985	21st
	Residential building	Dülken Kreuzherrenstrasse 59 map	The three-storey, four-axle house in Kreuzherrenstrasse was built between 1840 and 1850 on the eaves. It is one of the few buildings in Dülken with a strongly Romanized façade. The railway station in Dülken, completed in 1866, originally had a similar facade design. The facade is plastered, the ground floor structured by joint cuts. The floors are separated above the ground floor by a double cornice, above the upper floor by a simple cornice and end at the top in a cantilevered eaves. On the upper floor, pilasters also structure the facade, which frame the semicircular windows above. The six windows on the mezzanine floor are grouped into triplet openings. The original windows, especially the original lattice division on the mezzanine floor, have remained unchanged. In this street there were a total of three houses of a similar character, two of which, however, were demolished. The interior is also well preserved. In the rooms on the ground floor, stucco ceilings with a floral motif have been preserved. On the upper floor only as a fillet motif. The rooms kept their normal storey height, the wooden stairs and the doors with profiled soffit have remained unchanged. The house with its facade design and well-preserved, original floor plans deserves a special value. At the rear there is a three-storey, brick-facing rear building with a gable roof, probably younger than the residential building (2nd half of the 19th century) and with its own access from the east wall through a wooden door with a squat frame. On the 1st floor facing the wall and across the entire courtyard facade, there are relatively large, double-leaf wooden windows with skylights that are also split into two and that are closed in an arched segment. The original purpose is unclear. The location and windowing make pure storage use appear unlikely. Due to the integral connection with the front house and the largely original preservation, the rear building is part of the monument. Around 1900 the property at Kreuzherrenstrasse 59 was owned by Max Klingen, owner of a velvet ribbon factory, which can be traced in various forms in Dülken since at least 1843 ("Gebr. Klingen") and in 1904 employed 49 workers at its location on Viersener Strasse. With the death of Max Klingen, who was also a long-term city councilor, alderman and chairman of the board of the savings and construction association, the company went out in 1909. For scientific, in particular architectural-historical reasons, the use and maintenance of the building and the rear building is in the public interest in accordance with Section 2 (1) Monument Protection Act.	1840/1850	08 Sep 1986	137
	Catholic Herz-Jesu parish church	Dülken Kreyenbergstrasse 2a map	Location and history In 1927, a separate pastoral care district, Dülken-Nord, was separated from the Dülken main parish, St. Cornelius. Four years later, a warehouse acquired for this purpose was converted into a first (emergency) church and assigned, which, however, was destroyed again on February 24, 1945 by a bomb attack. In 1952 the parish was raised to the parish. The plans to build a new church in the city's building documents date from March and in the final amended version from April 1953. The new building at a new location on Süchtelner (today: Brabanter) Straße / corner of Lindenallee (today: Kreyenbergstraße) was consecrated on October 31, 1954. The architect was the Aachen regional government and building officer Karl Schlüter. description The Herz-Jesu-Kirche unfolds (not geost) parallel to the main road, set back behind a green area. The entrance is on the narrow side of the side street, from which it is separated today by community buildings built later. The structural structure, which has been left visible, consists of a white reinforced concrete skeleton with brick infills. A striking roof shape and a mighty free-standing tower characterize the appearance of the building, which was built on a simple rectangular floor plan. Reinforced concrete barrels, perpendicular to the eaves direction over each yoke, form a wave-shaped roof made up of a total of seven arches, which ends in additional semi-arches at its ends. Since the thin arched shells sit directly on the uprights of the reinforced concrete skeleton without a horizontal dividing line, the result is a series of seven slender, upright rectangular elements, two-thirds of which are two-thirds of which in the choir area even almost down to the floor in a (steel) window is. This emphasized verticality contrasts the compact basic shape of the building. There is also a tower in front of the entrance facade, but offset from the central axis on a square floor plan with a flat roof. In its lower floors (1st – 3rd floor) it is windowed, as the day chapel and the rooms of a youth home were or are located here. The upper floor with the bell cage (steel chair, from the time it was built) was originally open, but is now closed with acoustic arcades. The entrance façade, covered by a cantilevered semi-arch on a thin round support, has three entrance portals lying flat in the wall with a round window above. The church interior has a single nave and ends with a slightly curved, visually straight-looking choir wall. The original choir design was changed after the liturgical reforms of the 1960s (zoned down; altar moved away from the wall). What was retained, however, was the overall deliberately sober and simple interior design with rows of benches facing the altar, in which the furnishing elements are all the more clearly expressed: crucifix (Josef Krautwald; the modern passion panels by the same artist), windows (Wilhelm Geyer) from the time it was built or immediately afterwards, as well as lectern and tabernacle; Altar cross and tabernacle of the former chapel by Hein Minkenberg. The remarkable layout of a protruding organ loft set freely in the room has been obscured by the separation of a vestibule. Next to the church there are low side annex rooms on the rear side: next to the choir, the sacristy, the front area of ​​which was later converted into a weekday church and opened as a church, was spatially connected to the later built, neighboring old people's home. The sacristy expanded into the space of the originally existing library. The architect Karl Schlueter was senior government and building officer in Aachen. The Herz-Jesu-Kirche in Dülken is his most prominent church building; in the diocese of Aachen he was also responsible for the reconstruction of St. Nikolaus, St. Peter and St. Foillan (partially), all in Aachen (1948–51). For the state building authority, he planned some important buildings for the RWTH in Aachen, of which, in addition to the civil engineering building (Schinkelstrasse; 1949/50), the main large lecture hall building on Wüllnerstrasse (1950-54) was known and nationally recognized. Architectural-historical classification In the building files of the city of Viersen there is a note about the building committee meeting of the city of Dülken on March 18, 1953, according to which the city master builder reported to the committee “about a building application for the construction of a new church, which was kept in a very idiosyncratic form ". A newspaper report received there (undated, probably 1951) recognized in the draft “a genuinely sacred consecration and a fine adaptation to the landscape in a well-balanced way with the stylistic forms and the technical features of modern architecture (...) One can already say today that this church in Dülken enriched with an architectural gem after its completion. ”So it was the striking shape that was already noticed by contemporaries and makes the church an eye-catcher on an important arterial road in Dülken. On the one hand, there is the arrangement of the building structure consisting of an elongated, broadly positioned “box-shaped” nave and an (unusually large) free-standing bell tower, which is set back from the street, but can still be seen freely behind a green area. This composition, including a deliberate simplicity or "severity" of both the interior and the exterior, corresponds to widespread tendencies in church building in the fifties. B. the choir and other "sub-rooms" in the large form. Last but not least, this composition is owed to the endeavor to create a shape and space that corresponds to the “new” building materials reinforced concrete and glass in church construction. Typical of the time is the addition of a “campanile” to this cubic main structure, as a “symbol” of the church building that can be seen from afar; Noteworthy and only more widespread in the 1960s, however, is the accommodation of community rooms such as the youth home here in the tower floors. The outstanding design feature of the Herz-Jesu-Kirche, however, is the ceiling design made of lined up semicircular concrete shells. B. offers from the street, results in a wave-shaped motif. Here, too, the Herz-Jesu-Kirche follows the tradition of church building from the fifties: “In the mid-fifties, the design of the ceilings became an important architectural concern again (...). Significant impulses came from the development of shell concrete, in which the ability of concrete, which can be freely configured, was fully developed. ”(Kahle, page 87). It is unmistakable that the Herz-Jesu-Kirche is based on the church of St. Martinus in Aldenhoven, built by Alfons Leitl in 1948–53, both in terms of the roof design and, for example, B. the full-surface glazing of the outer walls, in the choir area almost to the floor. Leitl's similar design for the reconstruction of the provost church in Jülich should also be mentioned here. Since both churches are in the Diocese of Aachen, Schlueter can be assumed to be familiar with these drafts. Unlike Leitl, however, in Dülken he consistently reduced the large forms to their basic cubic pattern, whereas Leitl z. B. in Aldenhoven designed a traditional double tower facade and designed its upper end as a tower spire (albeit slightly abstracted). St. Sebastian in Aachen (Auf dem Hörn), also by Leitl, has to be named as another church with a “wave-shaped” roof of that time, whereby the wave band has a more ornamental effect (nickname of the church: “St. Ondula”) there it seems to lie on the building structure rather than emerge almost “seamlessly” from the structural framework, as is most stringently formulated in Dülken, where the concrete shells actually support the roof skin. In the interior of the Herz-Jesu-Kirche, despite all the changes that have taken place in the meantime, the strict simplicity of the space is still impressive today, which is expressed in its effect in terms of conveying the beliefs to the community in the way the large crucifix comes into its own in front of the large, otherwise unadorned rear wall of the choir. This “barreness as an instrument of reassurance” (Karin Keydecker) after National Socialism and the end of the war is an eminently expressive element of architecture in the early 1950s that is now endangered for various reasons. In church construction, where it can also be found in the twenties (cf. from the diocese of Aachen: Fron-leichnamskirche in Aachen by Rudolf Schwarz), it was also a symbol of a concentration on "the essentials" in the celebration of mass in the Congregation as represented by the influential “liturgical movement” around Romano Guardini. Monument value As a clearly preserved testimony to the practice of religion in the north of Dülken, of remarkable design quality, the Church of the Sacred Heart of Jesus in Dülken is significant for the history of man and the city of Viersen. There is a public interest in their preservation and use for scientific, in particular religious and architectural-historical reasons, since it is an important, essentially well-preserved testimony to the architecture of the church in the 1950s. It embodies the direction that was looking for a consistent formal implementation of the structural possibilities of the reinforced concrete skeleton construction and the new form of concrete in church construction. In particular, the remarkable roof and ceiling design, which can be compared with the well-known buildings by Alfons Leitl in Aldenhoven and Aachen, clearly sets the church apart from similar buildings. The strict practicality of the exterior and interior corresponded formally to modern architecture, but was also based on the contemporary ideas of the liturgical movement. Liturgical works of art and the windows are to be seen as integral parts of the spatial concept. There is also a public interest in conservation and use for urban planning reasons, as the Herz-Jesu-Kirche is a striking eye-catcher with its disposition along an important arterial road and with its tower that can be seen from afar and has a positive impact on its surroundings. The Herz-Jesu-Kirche in Dülken is important for human history and for the city of Viersen. There is a public interest in their preservation and use for scientific, in particular religious and architectural-historical as well as urban planning reasons. It is therefore a listed building in accordance with Section 2 of the NRW Monument Protection Act.	1953/1954	June 30, 2000	392
	Residential building	Viersen Kurt-Schumacher-Strasse 11 map	The single-storey house is 15 m back from the streets on a plot of more than 1,500 m². It presents itself cautiously to the street and opens to the garden. The view of the house is therefore divided into two parts, as is typical of the time: to the front, only raised ribbon windows, all of which are additionally secured with longitudinally aligned bars, are inserted below the eaves in the otherwise closed, white walled outer wall, while the rear garden side is generously opened in glass (sliding doors) is. The upper end is formed by a flat roof that extends beyond the surrounding walls with an 80 cm high, dark attic. The house entrance area, which is formed in the shape of a loggia by a recess in the outer wall, is located next to the garage on the right. The front door system, vertically processed, white painted wooden planking with no light penetration, is not visible on the street side, as it is covered by a wall template on the left-hand outer wall. The house has a remarkable concept, the core of which is the development of the rooms around a small inner courtyard. The living rooms with fireplace, dining area and living area flow smoothly into one another, the functional rooms are separated from them by inserted wall panels. A swimming pool is integrated into one of the wings. The swimming pool can be seen from all rooms and is on the same level. The interior ceilings, as well as the underside of the parapet, are wood-transparent, stained dark. All openings extend without interruption from the floor to the lintel-free ceiling. The profiles of the doors and windows contrast darkly with the white inner walls. Clashing, different materials are separated from each other by joints (shadow joints), such. B. Wall / ceiling or wooden block frame / plastered surfaces. The different colored terracotta tiles in the entrance area inside and outside are a nice detail, so that a flowing transition is created here as well. At the request of the client, inspired by a visit to the Quirinus Minster in Neuss, they were reworked by Niederrheinische Baukeramik (NBK) in Emmerich. Another commissioned work by NBK was the longitudinal wall in the swimming pool. According to a design by the architect Janssen, a color gradient from light below in the pool floor area to dark in the upper ceiling area in the blue-turquoise color spectrum has been created using rectangular, horizontal tile formats. The company NBK was founded in 1907 by the company founder Heimann in Emmerich-Vrasselt for the production of roof tiles and tiles. Right from the start, tiles for prominent building tasks were developed and manufactured according to architects' designs. One example of this is the Düsseldorf Tonhalle, which was built in 1926 based on a design by Wilhelm Kreis. To date, 150 prestige projects have been carried out worldwide. In particular, the facade cladding such as at the Brandhorst Museum in Munich, the Museum of Art and Design in New York, the Tokyo Midtown Tower or the University of Science and Technology in Saudi Arabia is unique in the world. Dr. Albert Schürzholz was chief surgeon at the general hospital in Viersen from July 1968 to September 1989. From 1970 to 1972, an intensive care unit and an anesthesia department were set up under his direction. The architect Hans Wilhelm Janssen, born in 1938, initially trained as a bricklayer and draftsman and then studied architecture at the Werkkunstschule in Krefeld. The then director Professor FG Winter, who saw himself in the Bauhaus tradition, had a decisive influence on Janssen. After completing his studies, he first worked in various larger architecture firms. One of his first assignments as a freelance architect in Viersen since 1970 was the planning and construction of the house for the Schürholz couple. 1996 the seat of the architectural office is relocated to Mönchengladbach. Architecturally, historically and stylistically, the house clearly represents the zeitgeist and design attitude of its time, the early 1970s. On the one hand, it is entirely in the tradition of classical modernism as a white cube with a flat roof, the interlocking of inside and outside and the rejection of traditional "bourgeois" design and spatial patterns. A reduction, concentration and severity of the form and the use of materials is predominant. The recourse to the Bauhaus is also evident in the almost closed facade of the building, which stands deep on the property, and its opening to the inner courtyard and garden. The special quality of the interior floor plan and spatial development can be experienced through the absolutely original preservation and the recognizable high level of demand. The exceptionally high-quality residential building from the 1970s is a remarkably clear testimony to the architecture and living culture of its time due to its largely original substance and furnishings. The building is therefore important for Viersen. There is a public interest in the preservation and use for scientific, in particular architectural-historical reasons. It is therefore an architectural monument in accordance with Section 2 of the NRW Monument Protection Act.	1971	0Jan. 5, 2010	493
	Residential and commercial building	Dülken Lange Strasse 14 map	From 1831 the city fortifications of the city of Dülken have been continuously torn down. In the area of ​​the former city moat, right behind the stone gate that was broken off in 1836, a 13-axis, two-storey semi-detached house was built around 1840. The left, five-axis part was built by the Weyermann company. The right part, originally with a continuous gate, was built purely as a residential building by the co-owner of the silk factory Weyermann & Specken, W. Specken. The classical plastered facade of the house is divided into two zones. The three windows above the original gate entrance are emphasized by the balcony, cornices and the shape of the window. Behind it, the representative rooms of the house can be assumed. The five remaining window axes are evenly distributed in the facade. The house is divided horizontally through the continuous cornices and the eaves supported by stylized consoles. In 1900 some alterations were made to the ground floor of the house. The entrance gate and living quarters have been converted into shops, the entrance to the house, which was previously on the side of the entrance gate, has been moved to the street side. The large shop windows with the cast-iron pillars typical of the shop fitting at the time also date from this time. The renovation is also visible on the stone floor in the hallway. The colorful stone slabs of the newly built entrance clearly stand out from the old one, which is kept in black and white. The original, spacious floor plan of the upper floors has been preserved. The large representative apartment on the 1st floor is separated into two areas in the hall area by a light wood and glass wall with Art Nouveau motifs. In one of the rooms there is a stucco rosette, in the remaining rooms there is stucco ceilings with coves. The original, volute-like finish of the cheeks and handrails on the old wooden staircase is worth mentioning. If you take into account the old, consistent facade division with the gate entrance and the representative apartment above, then the subsequent shop fittings have a rather negative effect, the emphasis and legibility of the facade has been disturbed. Nevertheless, the elegant effect of the former representative house of an aspiring bourgeoisie is visible on the upper floors. The representative original plastered facade of the house is to be regarded as an essential identification feature on Lange Straße and thus contributes to the uniqueness of the street space. For scientific reasons, in particular for reasons of local history and the history of architecture, the preservation and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	circa 1840	Nov 10, 1988	184
	Residential and commercial building	Dülken Lange Strasse 16 map	The five-axis house, built around 1840, can be seen in connection with the neighboring house at Lange Straße 14. Both houses were built by the business partners of a silk factory, while the house at Lange Strasse 14 was used as a residential building by its builder, W. Specken, while the house at Lange Strasse 16 was built by Weyermann and intended as a commercial and apartment building. This is noticeable in the classicistic plastered facade, it was designed in a simpler and more uniform manner, accentuation of the wall surface, as is the case with Lange Straße 14, is missing. The window axes, framed with simple walls, are evenly distributed. Simple canopies for the windows on the first floor and panel-like decorative forms in the jamb area serve as modest decorations on the facade. Some elements of the facade and interior design emphasize the fact that the houses were created in the same way and that they belong together: The storey height is the same in both houses, the fire wall is not visible in the facade, the cornices run continuously through both facades, the eaves have the same shape and the window openings have the same proportions . The elaborate staircase with volute-like end of the cheeks and handrails is the same as the staircase in the neighboring house. In 1901 shops were housed on the ground floor, at which time the large shop window openings were broken out in the street front. In 1911, the house entrance was relocated from the side to the street and the corridor space saved in this way was allocated to the shop. The apartments on the upper floors have been modernized. The juxtaposition of the individual residential building and the simply designed rental and commercial building illustrates the distinguishing social features within the facade design. The original plastered facade of the house is to be regarded as an essential identification feature on Lange Straße and thus contributes to the uniqueness of the street space. Considering that these are some of the first houses to be built outside the city walls, they acquire an urban significance. For scientific, in particular local and architectural-historical as well as urban planning reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	circa 1840	Nov 10, 1988	185
	Residential and commercial building	Dülken Lange Strasse 20 map	The residential and commercial building on Lange Straße on the eaves side has three floors and is divided into four axes. The historicizing brick plaster facade underwent a change on the ground floor in 1967 due to the renovation of the shop. The entrance door on the left-hand side, with an elaborate, irregular muntin division, remained unaffected by the modernization. Here, the entrance is particularly emphasized by two pillars with gothic gables above. The shop view is separated from the upper floors by a wide parapet cornice with a pointed arch motif. The two left axes are drawn together. Here two windows are covered with a floral carved gable. The window gables are supported by pillars in front of the building. A wide cornice, decorated with rosettes, leads over to the roof houses with two arched windows. Inside the building, the original wooden staircase with turned balusters and individual doors with profiled door reveals have been preserved. Stucco friezes with floral motifs have also been preserved in the individual rooms, but these were partially divided by inserting light partition walls. The basement is covered by a cap ceiling. The original plastered facade of the house is to be regarded as an essential identification feature on Lange Straße and thus contributes to the uniqueness of the street space. For scientific, in particular urban planning, street-defining and architectural-historical reasons, the maintenance and use of the building according to § 2 (1) of the Monument Protection Act are in the public interest.	1900	05th Sep 1989	216
	Residential building	Dülken Lange Strasse 32 map	The building is erected on the eaves side facing Lange Straße as a three-storey residential building with five axes. The classicist facade is made of brick with cornices in contrasting colors. A wide parapet cornice (palmette frieze) separates the upper floors, which are evenly offset with window axes, from the ground floor, where the entrance was on the left axis and a gate passage was located in the two right axes, as can be seen in the facade. The horizontal is also emphasized by a double cornice above the upper floor and a strong cornice. Modest brick facades of this kind, sparsely decorated, with masked cornices, are very seldom to be found in the inner-city area, next to the houses that are predominantly equipped with plastered facades. In the courtyard area above the former driveway, the house wall is made of timber. It is a typical framework of classicism, which at that time was designed without any decoration, only according to the requirements of the construction. The original floor plans have been changed on the ground floor. The interior has been partially preserved. On the ground floor there is a built-in cloakroom in the entrance hall, which is separated into two areas by a round arch. The side entrance door to the courtyard could also come from the time it was built. On the upper floor there are two stucco rosettes in a room, separated by a girder decorated with stucco and supported by consoles. For scientific, in particular architectural and art-historical reasons, the preservation and use of the building are in the public interest according to § 2 (1) of the Monument Protection Act.	unknown	Sep 14 1988	166
	Residential building	Dülken Lange Strasse 42 map	The two-storey building is a typical example of the Lower Rhine town house, as it was common until the 17th century. The type is characterized by the fact that there is a row of uprights on the left and right, which are connected twice by tie bars so that a two-storey elevation is created. The house is erected at the gable facing Lange Straße and extends into the row of houses with three compartments. The roof is designed as a crooked hip on the Lange Strasse and a hipped roof on the garden side. The roof structure is preserved in the original oak beam with wooden pin connections. Part of the building has a barrel vault with a height of approx. 170 cm. What is remarkable is the complete preservation of the building, which is hidden by the younger plaster skin. Above all, the "open chamber", cellar and chimney block should be mentioned. How far the framework of the facade has been preserved cannot be said with certainty at the moment. There is a horse stable on the rear property. According to the owner, it still bears witness to the former post office, which served as a stopover on the way from Kaldenkirchen to Krefeld. The dolomite feed troughs have been preserved in the stable. The house suggests that it belongs to the original town center and is therefore also of importance for the historical development. Furthermore, due to its exposed location on Lange Straße, it is also of urban significance. For scientific, in particular architectural, local history and urban planning reasons, the maintenance and use of the building according to Section 2 (1) of the Monument Protection Act are in the public interest.	approx. 17th century	Sep 14 1988	174
	Residential building	Dülken Lange Strasse 85 map	The three-story house is a building built around the middle of the 19th century according to the rules of classicism with an axially symmetrical facade and a central courtyard entrance. The facade, which is clearly structured in seven regular axes, is simply emphasized by the base, parapet and storey cornice as well as the basement plaster. The center is mainly emphasized by the courtyard entrance and the windows above it with flat triangular gables. The opening of the gate passage is limited by double pilasters, which also mark the entrances in the passage, and moved forward like a risalit. The windows on the upper floor are only covered by a flat, blind lintel. A wide, wooden cornice leads to the roof. The rear facade is brick-view. The building was extensively modernized. The existing stucco ceilings, mostly in the rooms facing the street, were retained and partially supplemented. Furthermore, the stairwell with the entrance situation and the original wooden stairs are in their original condition. The doors were renewed using components from the originals. The simple facade design of the representative building can be seen as an essential identification feature on Lange Straße and thus contributes to the unmistakability of the street space. In contrast to the neighboring, rather small-scale, old town development, the contemporary building type of the stately residential building appears here with a more urban character, which today shapes the historic cityscape. For scientific, in particular urban planning, street space and architectural-historical reasons, maintenance and use of the building are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	Mid 19th century	Sep 14 1988	165
more pictures	Residential building	Dülken Lange Strasse 89 map	The house was built in 1887 by the Dülken printer owner Michael Schmitz on the basement of a previous building on Lange Straße. The building is designed as a corner building with its hipped roof. The existing lane into the interior of the property was already occupied in 1825. It is a narrow two-storey building with a mezzanine that is flush with the street on the left side of the row of houses. It is free on the right. With a construction width of 4.80 m, a construction depth of 11.30 m and an eaves height of 8.00 m, it is unique in the closed building line on Lange Straße and reflects the historical city layout as an example in its variety of different construction shapes and sizes contrary. The street-side facade is extensively plastered on the ground floor. In the wall made of ashlar plaster, the pilasters framing the two windows are particularly striking. The middle one is particularly emphasized by baroque decorations such as rocaille, garlands, diamond cuboids and volutes. The pilasters are continued below the windowsill cornice with spirals and fluting. The gaps are filled with diamond blocks. Above the windows there is a narrow, strongly profiled plaster field, in which there may have been a lettering. To the right and left of it is a meander frieze in the shape of the running dog. The house entrance is architraved, the front door is built in further inside. The ground floor ends with the upper floor with a multi-profiled cornice that protrudes slightly in the area of ​​the windows. The upper floor is structured by two-tone exposed brickwork. After four layers of red bricks, a previous layer of yellow bricks is walled up. Such an elaborate walling testifies to a conscious design intention. Two windows arranged one above the other on the upper floor and two mezzanines divide the facade vertically. The tall rectangular windows on the upper floor were originally double-leafed with skylights. The rising masonry ends in a block frieze. The facades on the free-standing long side and the rear are made of red brick and have no decorations. In the facade on the long side, one window per floor is arranged one above the other. At the rear, on the ground floor, there is access to an annex built later. There is a window next to it. As on the street side, the upper floor is divided by two windows. The mezzanine, on the other hand, has only one window. The block frieze on the street side runs around the building and closes off the brick masonry from the hipped roof. The inside of the building has remained almost unchanged. The basement has a barrel vault and a natural stone floor in the front area. The first two stone layers are formed by large-format natural stones. From the construction of the cellar it can be concluded that it is much older than the house built in 1886. Inside you enter a long, 1.00 m wide hallway that leads to the stairs at the back of the house. On the right, two equally wide living rooms, which are connected to one another, are each accessed through a door. In the rear area there is a narrower room than the kitchen due to the stairs. There are also three living rooms on the upper floor, with the front one taking up the entire width of the house. The mezzanine also has living rooms. In addition to the structure of the floor plan, almost all fixed equipment items can be found in the original. The ornamented floor tiles in the hallway on the ground floor, the room doors as frame panel doors with the associated garments, the wooden staircase - straight two-lane with a turning platform, turned balusters and large initial posts -, the profiled inner shutters and the stucco ceiling as central rosettes with flower motifs and coves convey the original impression of the room. Likewise, the supporting structure of the roof structure is from the time it was built. The client Michal Schmitz, born in Holzheim near Neuss in 1823, learned the trade of book and stone printer. After a job in a lithographic establishment in Kempen, he founded his own lithographic establishment in Dülken in 1854 on Lange Straße. In 1879 he added a printing company. Three sons of eight children initially worked in their father's business. After the death of his father on New Year's Eve 1901, Conrad Schmitz took over the commercial management of the company. His brother Johann worked as a lithographer in his father's company until he founded his own company in Viersen. The brother Josef Schmitz was mainly active in the field and as technical manager. The M. Schmitz printing and paper processing plant in Dülken remained in the family until 2008. Due to its largely original substance and furnishings, the residential building at Lange Straße 89 is a remarkably clear testimony to the architecture and living culture of the turn of the century. It is also an example of the variety of building types and designs of the historic Dülken town plan. As the “Point de Vue” on Augustastraße, it catches the observer's eye. The building is therefore important for Viersen. There is a public interest in its preservation and use for scientific reasons, in particular for reasons of local history and the history of architecture. It is therefore an architectural monument in accordance with Section 2 of the NRW Monument Protection Act.	1887	0Jan. 5, 2010	494
	Residential building	Dülken Lange Strasse 94 map	The residential building with a mansard roof, built in 1793, extends on the eaves side to Lange Straße, which at this point leads spatially into Eligiusplatz. In its stately form it represents the architecture of the wealthier citizens of Dülken at that time. Connected to the former orphanage (Lange Straße 96, now Eligiusplatz 2), the building complex, identical in material and detail of the facade, forms a distinctive urban development to Eligiusplatz. In the course of time, the house on the courtyard side was expanded again and again with additions to the respective use. The partly in half-timbered as well as in masonry construction, z. Extensions, some of which were built in the current century, had to be demolished in 1975 due to their very dilapidated substance. The two-storey building is divided into six axes facing Lange Straße, which are constructively continued in the building. As with every axis, a dormer window with a flat triangular gable and a six-part window is built into the mansard roof, which is covered with anthracite-colored roof tiles. The side dormer windows are covered with slate. The brick-facing facade is separated from the roof by a wooden console cornice. On the upper floor there is an eight-part lattice window on each axis directly under the dormers. The windows are hung in a wooden block frame, which is covered by a brick arch. In the course of the restoration work on the facade, the windows were replaced by new ones corresponding to the old ones. In the right axis is the passage to the courtyard, in which the keystone with the inscription AD 1793 was. The gate to the passage was also renewed according to the old gate. The front door is in good condition. Next to it are two windows with folding shutters. Furthermore, a wall decoration came to light during renovation work on the first floor. The walls are divided by the type of painting into a base cornice, wall area (storey high) and a final, painted frieze in the form of a curtain ruffled with cords and decorated with roses. The wall area is structured by rosette-like prints. In individual rooms there are presumably specially equipped parking spaces with chimney flues for the former tiled stoves. The Lange Straße house forms an essential part of the old town center and is therefore an important testimony to the history of Dülken. Preservation and use are therefore in accordance with § 2 (l) Monument Protection Act for scientific, especially urban planning and urban historical reasons in the public interest.	1793	Feb. 26, 1985	22nd
more pictures	Residential and commercial building	Dülken Lange Strasse 95 map	The residential building with a mansard roof, built in 1793, extends on the eaves side to Lange Straße, which at this point leads spatially into Eligiusplatz. In its stately form it represents the architecture of the wealthier citizens of Dülken at that time. Connected to the former orphanage (Lange Straße 96, now Eligiusplatz 2), the building complex, identical in material and detail of the facade, forms a distinctive urban development to Eligiusplatz. In the course of time, the house on the courtyard side was expanded again and again with additions to the respective use. The partly in half-timbered as well as in masonry construction, z. Extensions, some of which were built in the current century, had to be demolished in 1975 due to their very dilapidated substance. The two-storey building is divided into six axes facing Lange Straße, which are constructively continued in the building. As with every axis, a dormer window with a flat triangular gable and a six-part window is built into the mansard roof, which is covered with anthracite-colored roof tiles. The side dormer windows are covered with slate. The brick-facing facade is separated from the roof by a wooden console cornice. On the upper floor there is an eight-part lattice window on each axis directly under the dormers. The windows are hung in a wooden block frame, which is covered by a brick arch. In the course of the restoration work on the facade, the windows were replaced by new ones corresponding to the old ones. In the right axis is the passage to the courtyard, in which the keystone with the inscription AD 1793 was. The gate to the passage was also renewed according to the old gate. The front door is in good condition. Next to it are two windows with folding shutters. Furthermore, a wall decoration came to light during renovation work on the first floor. The walls are divided by the type of painting into a base cornice, wall area (storey high) and a final, painted frieze in the form of a curtain ruffled with cords and decorated with roses. The wall area is structured by rosette-like prints. In individual rooms there are presumably specially equipped parking spaces with chimney flues for the former tiled stoves. The Lange Straße house forms an essential part of the old town center and is therefore an important testimony to the history of Dülken. Preservation and use are therefore in accordance with § 2 (l) Monument Protection Act for scientific, especially urban planning and urban historical reasons in the public interest.	1727	05th June 1992	301
	Residential building	Dülken Lange Straße 105-107 map	The three-storey building complex with a gable roof, facing the Lange Straße, forms the corner house at the confluence of Kreuzherrenstraße with Lange Straße and is spatially assigned to Eligiusplatz. The original substance of the building can be traced back to the former half-timbered component Kreuzherrenstrasse 69. This half-timbered building was built in the year of a great city fire that affected forty houses. The gable and eaves are the components still preserved today. Ceiling anchors on the gable side, which have been rearranged, point to the year of construction 1679. Further lily cotter pins are visible on the gable side. In 1977 the building underwent a total change (gutting). Only the vaulted cellars and some load-bearing ceiling beams and the roof structure have been preserved in their original state. During the restoration work, the entire facade was stripped of plaster in order to restore the brick-facing facade. The framework was also exposed on the eaves side. Attached to the half-timbered construction was the masonry residential and commercial building with a side extension, which was probably built in the 17th century and which was renewed and slightly increased during the renovation work. An anchor pin with the letters DP can be seen in the top of the gable to Eligiusplatz above two oval storage windows. The window openings are partly left in their original size and have been replaced with new wooden windows according to the old window division. In order to keep the building complex in its original appearance, it would be desirable to mud the entire facade. The houses at Lange Straße 105/107 and Kreuzherrenstraße 69 are to be seen as an interlocking unit that was created through renovations and changes that can also be seen in the facade, and are now used as residential and commercial buildings. Originally belonging to the oldest Dülken development, it represents the previously existing fragmentation within the city wall. The preservation and use of the building is in the public interest due to its external appearance, in particular for reasons of local history, urban development and the design of the square in accordance with Section 2 (1) of the Monument Protection Act.	1679	Apr 10, 1985	34
	Residential building	Dülken Lange Strasse 165 map	History: According to the dating in the Keilstein, the residential building at Lange Straße 165 in Dülken was built above the entrance in 1881 for the coal and building materials dealer Wilhelm Bohnen. The initials of Bohnen and his wife (WB SF) are also included in the wedge. Still living in Boisheim, Bohnen had a coal store and a storage shed built on the site in 1879, which had previously been owned by Heinrich Hoffmanns. In the same year, he also applied for the demolition of an existing one-story residential building in favor of a two-story new building. However, as the dating in the Keilstein suggests, this seems to have been carried out a little later. The property itself was located on what was then Odenkirchen-Dülkener Chaussee (district road) outside the town center. Today's Lange Straße was only loosely built on one side in this area at the turn of the century, mostly with small commercial and handicraft businesses similar to the building materials dealer Bhnen: z. B. next to beans on the site map in 1879 was the Frankeser steam mill. As long as there was trade, the Bohnen house was surrounded by single-storey farm buildings and sheds. Building description It is a free-standing two-storey house with a gable roof, five axes wide, located on the eaves directly on the street. It is plastered on all sides, whereby the street front is designed as a decorative facade, with ashlar on the ground floor and banding on the upper floor. The storey and parapet cornices separate the storeys. The window and door openings are rectangular, the central axis of the front is slightly projected as a risalit and is emphasized on the upper floor by a baluster screen below and a triangular roof above the window. The gable roof, intended in the building application for a slate covering, of which it is unknown whether it was carried out, has closed, anthracite-colored roof surfaces. The house gables, like the back, are simply plastered and show an irregular window. What is striking is the very large depth of the building, which rises on an almost square base. The interior of the house conveys a clear and essentially unchanged state of the construction period. The floor plan with the characteristic access through the central corridor and the rear staircase including the original wooden staircase (straight in the opposite direction with a turning platform, candelabra-shaped beginners' posts) has been preserved. In some rooms, v. a. In the living rooms on the ground floor, there is a sometimes very elaborate ceiling stucco, which not only includes a central rosette and valley, but also further mirror edges and the joists between the two living rooms. Frame panel doors and wooden floors also contribute to the vivid spatial impression of a residential building from the end of the 19th century. Monument value The Lange Straße, which is already an arterial road from the town center, still reveals its original character in this area through craft businesses and small industrial plants. The residential building at Lange Straße 165 sets a positive historical accent, even if in the midst of the somewhat disparate surroundings it cannot develop an outstanding façade effect, let alone supported by a context. In addition, the interior is well preserved with some beautiful furnishing elements, so that overall we can speak of a well and vividly traditional testimony to the typical small-town bourgeois living of the late 19th century. As a well-preserved house from the end of the 19th century, which was created in connection with one of the trade and commercial operations typical at this point and contributes to the still recognizable historical character of Langen Strasse just behind the medieval town center, the house at Lange Strasse 165 in Dülken means for Viersen. For the reasons relating to the history of the site and the history of the site, in connection with the clear state of preservation of the house, preservation and use are in the public interest. It is therefore an architectural monument in accordance with Section 2 of the NRW Monument Protection Act. Sources Building files of the city of Viersen. Historical photos from the Viersen City Archives. Dülken then and now. Viersen-Dülken 1993, page 42/43.	1881	Jan. 13, 2011	498
	Residential building	Viersen Lichtenberg 13 map	The building erected in 1905 for the builder Carl Heefs, warehouse manager of the Kaiser's company, is an eaves, three-storey and two-axis residential building, built into a row of other residential buildings, including the identical neighboring residential building Lichtenberg 15. The ground floor is one with a basket arch on pillars with a capital open arbor, under which there is traditionally a bench next to the front door. Above this, the facade is divided into two halves, of which the left above the house entrance is projected like a risalit and on the 2nd floor as well as in the dwarf house above (with a crooked hip) is marked with a half-timbered cladding. The simpler right half of the facade, on the other hand, has an exit on the entrance arbor on the first floor. The front door and windows are original. Inside, too, there is a remarkable abundance of equipment elements from the construction period, which essentially substantiate the building's monumental value. These include the staircase with wooden stairs (with turned sticks, handrails and approach posts figuratively designed as an ibex), wooden room and floor doors with z. Partly colored glass inserts, window fittings, door handles, terrazzo floors and stucco borders in several rooms. The vocabulary of forms includes vegetable and animal motifs typical of the time. The building has a front garden facing the street with an enclosure (metal grille between brick pillars). There is also a garden at the rear. As a clearly preserved testimony to modest bourgeois living at the turn of the century, the Viersen building, Lichtenberg 13, is significant for human history. Due to the remarkable abundance of original elements and details, its preservation is in the public interest for scientific, especially architectural and social-historical reasons. It is therefore a monument within the meaning of Section 2 of the Monument Protection Act.	1905	0Apr 1, 1998	367
	villa	Dülken Lindenallee 5 map	The residential building Lindenallee 5 is a two-storey villa with a mansard roof, which is pulled over a gable area in front of the street and on the left to the courtyard entrance. The left corner of the building from Lindenallee is marked by a tower structure with a curved hood, so that the “picturesque” differentiation of a simple structure, which was common at the time, takes place. The “stately” living area rises on an almost square base. A rectangular part of the building on the right-hand side, offset to the rear, contained the kitchen and laundry room (on the ground floor), which were also accessible from the courtyard. In front of him is the side entrance to the house. The facades of the house are smoothly plastered over plinths. Different window formats with fixed partitions enliven the wall surface; the windows on the ground floor have segmented lintels, those on the upper floor are just closed. The original entrance door leads to a small vestibule. The single-storey component accompanying the access path on the left is still shown as a "veranda" in a plan from 1941. Inside, the complete floor plan and large parts of the wall-mounted fittings are still preserved, so that the spatial impression of the construction period can be clearly experienced. A central hallway with marble floors opens up the four living rooms on the ground floor from the “front hall”; To the rear is the staircase between the room and the kitchen / laundry room wing. The walls and ceiling of the hall are covered with fine geometric stucco decoration above a color-contrasting, approximately one meter high base zone. The plasterwork-like motifs in the upper corners are characteristic of the stucco strips of the wall panels. The stairwell and vestibule are cut off by round arches (with stuccoed “wedge stones” and abstracted “capitals”). Doors (some with glass inserts) with walls from the construction period and wall cupboards have been preserved. The two large side living rooms on the ground floor are connected by a wide sliding door. The staircase, straight two-way with a reversible platform, ornamented starting posts and flat guardrail boards also dates from the construction period. The upper floor is designed in a similar way, with a naturally simpler hallway (stuccoed ceiling fillet). The windows are renewed. A stately colored Art Nouveau ornament window was expanded in the 1980s and given to museum purposes. Storage buildings and emergency churches 1905 Construction of a warehouse with an office as the first buildings on the property (client and plan author: Franz Fuesers) In 1920, Beurschgens & Cie. Acted on a plan for the construction of a porter's house (architect: Alb. Rangette). as a builder 1928 Foundation of the Herz-Jesu-Pfarre Dülken-Nord 1931 Construction of a church by converting the warehouse provided by the building contractor Matthias Gorißen; Architect: Rudolf Gormanns, Pastor: Hermann Kreyenberg (Consecrated December 13, 1931) February 24, 1945 Destroyed by a bomb attack May 3, 1945 Building application from Pastor Friedrich Jansen for the construction of an emergency church in the basement of the destroyed church (design: civil engineer Johannes Fricke); Building permit June 5, 1945 October / November 1945 after a general building freeze order by the Upper Presidium of the Rhine Province on September 4, 1945, the construction work that had already started was compulsorily stopped (further warnings for the immediate cessation of the construction work that was still ongoing in May 1946); Completion of an emergency church in the preserved basement room; Concrete ceiling on steel girders and joists (consecration of the "crypt" with an altar by Hein Minkenberg: September 29, 1949), which served as a church until 1954 (1953–54 construction of the new Herz-Jesu-Kirche) 1956 construction of a new warehouse building; Client: Gregor Ferschoth GmbH; Architect: Hans Rangette After it was donated to the Herz-Jesu-Kirchengemeinde in 1931, the villa served as a parsonage. As the home of a well-known entrepreneur in the former town of Dülken and later the rectory of the Sacred Heart congregation, Villa Lindenallee 5 is important for Viersen. The fact that instead of or within the rear warehouse building there is an (emergency) church of the catholic twice gives the location additional meaning. Parish Herz-Jesu Dülken-Nord was located. Since it is a clearly preserved testimony to architecture and living at the turn of the century, with good equipment details that fit into a closed spatial impression, there is a public interest in the preservation and use of the building for scientific, here architectural-historical reasons. There are also local historical reasons because of the connection with the Herz-Jesu-Kirchengemeinde. It is therefore an architectural monument in accordance with Section 2 of the Monument Protection Act.	1905	06 Sep 2000	397
	Residential and commercial building	Suchteln Lindenplatz 1 card	The two-storey house with a gable roof is located in an exposed location in the old town of Süchteln, in the immediate vicinity of the St. Clemens Church. It was probably built in the middle of the 19th century on the foundations of a previous building. Cellar vaults, some of which are on the neighboring property, suggest this. It could be parts of the former so-called manor. Norrenberg reports, "that in the first days of August 1798 the cathedral cross of the Süchteln parish church was redesigned into a star by tying a crossbar, which was later used as a banister in the so-called manor (now August Theisen, Lindenplatz 1)." The above-mentioned crossbar was probably installed on the ground floor as a railing post. In terms of its material, it stands out clearly from the other stair constructions with turned balusters. In 1906 the large shop window was built into the originally axially symmetrical façade with five axes and a central entrance. The plastered facade is structured horizontally in late classical forms. The extension built in 1905 with a lattice window system is, like the entire rear, made of bricks. Windows and front door are almost in their original condition. Folding shutters on the rear have been preserved on the ground floor. Inside there is a stucco ceiling on the ground floor with a surrounding frieze and rosette. The other rooms, on the other hand, have a hollow frieze. The main container of the oak roof structure is visible. The by far original structure of the building near the church reflects the architecture of that time. Today the building is involved in creating space on Lindenplatz and can therefore also be seen in the ensemble in terms of urban planning. 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 are in the public interest.	Mid 19th century	0Feb 1, 1991	259
	Way chapel Lind	Boisheim Linder Strasse map	The Wegekapelle in Lind, a homestead settlement between Boisheim and Dülken, was built in 1911/12 to commemorate the hurricane of July 1, 1891. The neo-Romanesque brick chapel was built on a cruciform floor plan, overlaid by an octagon in the crossing. The portal of the central building is supported by two round pillars made of sandstone. The entrance door with skylight is hung in a round arched sandstone wall. Above the figure of the crucified Jesus. The inscription plaque is above the portal gable. The three other gables are designed with arched twin windows made of sandstone walls. The eaves-side walls close to the roof with a brick round arch frieze. The interior of the chapel is separated from the vaults by a stucco cornice. The colored grid flooring is laid diagonally. The elitist form of expression of the architecture and the preferred location make the chapel an important identification feature of the settlement. Furthermore, it is a testimony to the continuation of the centuries-old custom, after hail crosses and weather crosses were placed in the "hallway" to ward off thunderstorms, storms and hail. The wayside chapel is also important as an example of popular piety during the time of construction, which created a magnificent chapel for the settlement here. For scientific, in particular local history, folklore and religious history reasons, the preservation and use of the wayside chapel are in the public interest in accordance with Section 2 (1) of the Monument Protection Act.	1911/1912	0July 1, 1986	111
	District War Memorial	Suchteln Lobbericher Strasse map	The war memorial on the Süchtelner Heights was built in 1878 (laying of the foundation stone on Oct. 18, 1878, unveiling of the monument on Sept. 22, 1882) for those who died in the wars of 1864, 1866 and 1870/71 in the Kempen district according to the plans of the Krefeld architect Hartel for 23,000 Goldmark erected. The monument, which also serves as an observation tower, is approx. 24 m high and its shape is reminiscent of a lighthouse. An octagonal column rises on a square base made of Niedermendiger basalt lava. After a revolving platform, it turns into a cone and is crowned by an eagle with outspread wings, which is driven into sheet copper and whose wingspan is 3.10 m. Since 1902 the eagle, which previously looked east, has been turned to face west. The monument, veneered with Philipsheim red sandstone, has a capital-like stone frieze with vegetal ornamentation underneath this passage, which is bordered by a wrought-iron railing. At the front of the tower base is an accentuated portal with a staircase and a wooden door, which is clad on the outside with sheet steel. There are stone memorial plaques on the right and left side of the base. The reverse bears a metal relief of Kaiser Wilhelm the First. A sandstone shield is attached to the tapered column on all sides. The place names are carved on each side of it (front: Königsgrätz and Strasbourg; back: Sedan and Wörth; left; Grävelotte and Metz and right: Paris and Düppel), inside the tower a metal spiral staircase leads up to the tour. The monument is surrounded by a polder enclosure. The war memorial - certainly designed as a landmark (panoramic view!) - is now almost hidden in the Süchteln forest. It handed down the hero worship of its time, thus representing a piece of local history. For scientific reasons, especially for reasons of local history, the preservation and use of the monument are in the public interest in accordance with Section 2 (1) Monument Protection Act.	1878	June 19, 1985	39
	7 foot drop stations	Viersen Löhstraße / Portiunkulaweg map	The footfalls along Löhstraße and Portiunkulaweg in Viersen were built in 1781. They accompanied the way from the parish church of St. Remigius to the monastery of St. Pauli; The Bosch holy house in front of the monastery formed the end of the station path. FW Lohmann reports in his “History of the City of Viersen”: “Every year on the first Sunday in October, a large rosary procession moved from the parish church to the monastery, with the image of the Virgin, accompanied by children dressed in white, carried under a large canopy. During Holy Week and on other special days of prayer, the route from the parish church to the monastery (...) was walked daily by innumerable pious prayers who prayed at the footfalls. Likewise, the neighborhoods walked the footfall when someone in a family was dying or had died to implore a good death or to pray for the peace of mind of those concerned. " In 1896 (Clemen inventory) the footfalls are in their old place, in 1913 FW Lohmann wrote in his “History of the City of Viersen” that “remnants” of the footfalls were still on the way. Six of the seven stations finally had to give way to traffic planning and were set up in the old churchyard near the Remigius Church for a long time. In 1983 the station route was restored. The z. Some heavily damaged stations were restored and supplemented where necessary, the last station had to be largely rebuilt using older parts. The necessary patches and additions (especially on the walls of the relief niches, the profiles and all but one of the balls) testify to the salvation of the footfalls, which at the time were substantially threatened. In the changed street space, the stations were re-set up based on their old locations - as far as they could be determined on old maps - and the only station that remained on Portiunkulaweg (no. 6) had to be moved slightly. The individual stations are largely designed in the same way. These are simple pillars made of Liedberg sandstone over a wider, sloping base. They are covered by a profiled fighter plate with a curved top, and above it is a now empty niche and a crowning stone ball with an iron cross. A rectangular niche is built into the shaft of the pillar, which is closed by a lattice door (renewed in the 1980s). The relief representations made of stone with scenes from the Passion of Christ are more recent ingredients, according to Clasen (monument inventory 1964) from the Kevelaer school, d. H. probably around 1900. The inscription ACB AO 1781 is engraved above or below the niche; a detailed inscription panel with volute framing that was still clearly legible at the beginning of the 1960s is only faintly recognizable at today's sixth station; Classen quotes this inscription in 1964: AO 1781 HAS THE EHRS: JUNGFRAV ANNA CAT: BUSCH HAVE THESE FOOTFAULES IN HONOR OF GOD. 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 footfalls in Viersen from the end of the 18th century are clear evidence of this, especially since they have been set up again in full and along the old processional route. This also makes the historical reference points at the beginning and end of the Stationsweg (parish church St. Remigius / St. Pauli monastery or Bosch-Heiligenhäuschen) clear. The seven footfalls in the course of Löhstraße and Portiunkulaweg in Viersen 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 are in the public interest.	1781	Aug 30, 2005	463
	Wayside chapel	Dülken Loosen card	The small brick path chapel has a gable roof that is covered with clay tiles. A small iron cross is attached to the top of the gable. An ogival opening leads into the interior of the chapel; The so-called Constantinian Cross or Christ monogram appears above its apex, formed from the Greek letters X (= Chi) and P (= Rho), the first letters of the word CHRIST. The floor inside is covered with red and white stone tiles, white tiles form an equilateral cross in the middle. The rear side of the interior is divided by a low brick step and a bricked altar plinth set back on it, in which a natural stone plate is embedded with the inscription: "Holy Mary pray for us in 1935" Immediately above it is a barred, ogival niche in which there is a figure of the Madonna with the Christ child. However, the group of figures is no longer the original. This will be replaced by a new one after theft. Maria wears a white robe and a blue, pink-lined cloak; a golden crown on the head. In her right arm she holds the Christ Child, who is represented with blessing gestures. It holds a ball in its right hand as a sign of its royal rule. The group of figures stands on a small base. A small cross with a metal crucifix is ​​placed above the niche. Half of the ogival entrance to the chapel is closed by a small lattice door. On the entrance side, the masonry widens in steps up to the roof approach. Due to a road expansion, the chapel stands a few meters from its original location in place of a small saint's house from the 19th century, the reason for which is not known. Nowadays, on the last Sunday in May, a prayer service is held in the small chapel. For scientific, in particular religious-historical and folkloric reasons, the preservation and use of the path chapel is in the public interest according to § 2 (1) of the Monument Protection Act.	1935	Nov 26, 1992	310

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. ↑ see also http://villa-marx.de
3. ↑ viersen.de
4. ↑ viersen.de

 Map with all coordinates: OSM | WikiMap