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Die Wohnung Unserer Zeitberlijn/Berlin 92 Die Wohnung unserer Zeit Berlijn/Berlin Ludwig Mies van der Rohe et al. Die Wohnung unserer Zeit: Haesler & Karl Volker, Ludwig Supervisie/Supervision: Mies van Bronnen/Sources: Tentoonstelling in hal II als Hilberseimer, Wassili & Hans der Rohe (hal/Hall II: ‘Die Wohnung Moderne Bauformen, nr./no. 7 onderdeel van de Deutsche Luckhardt, Ludwig Mies van der unserer Zeit’) (1931), 329-347 en nr./and no. 8 Bauausstellung in Berlijn, 1931/ Rohe*, Karl Otto & Jan Ruthenberg, Aantal woningen/Number of (1931), 374-391. Exhibition in Hall II as part of the Heinz Rau & Heinrich Schäfer, Lilly homes: 23 Die Form, Zeitschrift für Deutsche Bauausstellung in Berlin, Reich*, Franz Schuster, Hans Initiatief/Initiative- Oplevering/ gestaltende Arbeit, nr./no. 7 1931 Volger, Robert Vorhölzer*, Max Completion date: 1926-1931 (1931), 241-270. Initiatief/Initiative: Fachausschuss Wiederanders*, Walther Schmidt* Tentoonstelling/Exhibition: 9 mei-2 Johannes Cramer & Niels für Ausstellungsfragen der Stedenbouwkundig plan/Urban augustus 1931/9 May - 2 August Gutschow, Bauausstellungen; eine Bauwirtschaft, Berliner plan: Hans Poelzig & Martin 1931 Architekturgeschichte des 20. Ausstellungs- und Messeamtes Wagner (totale tentoonstellings- Jahrhunderts (Stuttgart: Ontwerp woningen/Design of the terrein/complete exhibition * Projecten uitgewerkt in Kohlhammer, 1984). homes: o.a./including Josef grounds of the Deutsche plandocumentatie/Projects are Albers*, Marcel Breuer*, Carl Bauausstellung, Berlijn/Berlin, elaborated on in the planning Fieger, Walter Gropius, Erwin 1931) documentation. Gutkind, Hugo Häring*, Otto Housing Exhibitions Woningbouwtentoonstellingen DASH Dash9 opmaak def.indd 92 6/12/13 13:20 In 1931, midden in de economische crisis, opende in In 1931, amid the economic crisis, the Deutsche DASH Berlijn de Deutsche Bauausstellung. Het was het resul- Bauausstellung opened in Berlin. It was the result of an taat van een enkele jaren eerder ontstaan initiatief om initiative started several years beforehand to open a een permanente bouwbeurs te openen in Berlijn. permanent building exhibition in Berlin. Part of this Onderdeel van deze beurs vormden een aantal afzon- exhibition was to consist of several separate, temporary derlijke, tijdelijke tentoonstellingen, zoals de ‘Interna- exhibitions, such as the ‘Internationale Ausstellung für tionale Ausstellung für Städtebau und Wohnungswesen’ Städtebau und Wohnungswesen’ and the exhibition ‘Die en de tentoonstelling ‘Die Wohnung unserer Zeit’. Deze Wohnung unserer Zeit’. This latter exhibition covered an laatste tentoonstelling besloeg een gehele tentoonstel- entire exhibition hall, and was set up under the leadership of lingshal en was opgezet onder leiding van Mies van der Mies van der Rohe. It seemed that Mies here was picking up Rohe. Mies leek hier de draad op te pakken van de the thread from Stuttgart’s Weissenhof Siedlung in 1927, eveneens door hem geleide Stuttgarter Weissen- which he had also organized. But this new exhibition would hofsiedlung in 1927. De tentoonstelling speelde zich be taking place indoors, in a hall where 1:1 models were echter nu binnen af, in een hal waarin 1:1 modellen built based on the designs of the participants, who were now waren gebouwd van de ontwerpen van de deelnemers, limited to architects living and working in Germany. Mies nu beperkt tot in Duitsland wonende en werkende introduced the exhibitions with the statement: ‘The home for architecten. Mies introduceerde de tentoonstellingen our age has not yet been created. But changes in living met de stelling: ‘Die Wohnung unserer Zeit gibt es conditions will ensure that this new home will indeed be noch nicht. Die veränderten Lebensverhältnisse aber created.’ fordern ihre Realisierung.’ One of the main themes was the issue that Gropius had Een van de hoofdthema’s was het door Gropius aan addressed, namely high-rise versus low-rise buildings. Yet by de orde gestelde vraagstuk hoogbouw versus laag- being set in a large hall, where apartments could only be bouw. Door de opstelling in een hal, waarbij apparte- displayed as a fragment of a larger whole, it was difficult to menten alleen als fragment van een groter geheel make a direct comparison between the two forms of housing; getoond konden worden, kon een directe vergelijking instead, attention was now focused on the layout and the tussen de twee woonvormen echter moeilijk gemaakt design of the homes. The entries seemed to fall into two worden; de aandacht ging nu vooral uit naar de inde- categories. Most striking were the shiny interiors for villas ling en inrichting van de woningen. De inzendingen and apartments featuring tube-based furniture by architects lijken in twee categorieën uiteen te vallen. Meest opval- such as Mies van der Rohe, Breuer, Hilbersheimer and lend waren de met blinkend buismeubilair ingerichte Gropius, all of whom were affiliated with Dessau’s Bauhaus. interieurs voor villa’s en appartementen van architecten The other category of entries took a more functionalist als Mies van der Rohe, Breuer, Hilbersheimer en Gro- approach to the issue of small (and often ground-floor) pius, allen verbonden aan het Dessauer Bauhaus. Daar- homes by architects including Häring and Schuster. As a tegenover stond de meer functionalistische benadering possible answer to Mies’s call for housing that resonated van het vraagstuk van de kleine, al of niet grondgebon- with changing living patterns, a number of designers created den woning door onder andere Häring en Schuster. Als apartments for a ‘Boarding Haus’, with collective spaces on mogelijk antwoord op Mies’ vraag naar woningen voor the ground floor. de veranderde leefpatronen ontwierp een aantal ont- Around the periphery of the exhibited projects was an werpers appartementen in een ‘Boarding Haus’, met exhibition of building materials, which were displayed in an collectieve ruimten op de begane grond. abstract and carefully composed way based on a design by Op een omloop rond de geëxposeerde projecten Lily Reich. She also designed two homes for the exhibition: bevond zich een tentoonstelling van bouwmaterialen, one was an apartment in the Boarding Haus, and the second op abstracte, zorgvuldig gecomponeerde wijze uitge- a villa that was connected by a continuous wall to the villa stald naar ontwerp van Lily Reich. Zij ontwierp ook twee that Mies had designed. woningen op de tentoonstelling, een appartement in While the Weissenhof Siedlung was a radical manifesto, het Boarding Haus, en een villa die door een doorlo- this exhibition seemed more a confirmation of the (now pende muur was verbonden met de villa van Mies. further developed) idiom of the modern home. Bruno Taut Waar de Weissenhofsiedlung nog een radicaal mani- wrote in the Russian newspaper Izvestiya: ‘What was seen in fest was, leek deze tentoonstelling veel meer een Stuttgart in 1927 as audacity, here is seen as having bevestiging van het inmiddels ontwikkelde idioom van “arrived”.’ Yet the interiors that were exhibited here are an de moderne woning. Bruno Taut schreef in het Russi- undisputed highlight in the development of modernism, sche dagblad Izvestija: ‘ Wat in 1927 in Stuttgart verme- which came to an abrupt end in 1933. (dvg) telheid was, is hier arrivé.’ De getoonde interieurs zijn echter een onbetwist hoogtepunt in de ontwikkeling van het Nieuwe Bouwen, die in 1933 tot een abrupt einde kwam. (dvg) Mock-up van een tweelaags appartement, bedoeld voor toepassing in hoogbouw. Ontwerp Otto Haesler en Karl Völker Mock-up of a two-layer apartment, designed for use in high-rise buildings. Design by Otto Haesler and Karl Völker 93 Dash9 opmaak def.indd 93 6/12/13 13:20 Overzichtstekening van de 94 tentoonstelling ‘Die Wohnung unserer Zeit’ in Halle II op de Bauausstellung Berlin, 1931 Overall drawing of the exhibition ‘Die Wohnung unserer Zeit’ in Halle II at the Bauausstellung Berlin, 1931 7 8 6 18 19 5 9 1 Walter Gropius 2 Brüder Luckhardt 3 Carl Fieger 4 Bauhaus Dessau 4 17 10 5 Erwin Gutkind 6 Carl Otto & Jan Ruthenberg 7 Marcel Breuer 8 Marcel Breuer 9 Otto Haesler & Karl Völker 11 10 Ludwig Hilberseimer 11 Ludwig Hilberseimer 12 Ludwig Mies van der Rohe 12 13 Franz Schuster 14 Franz Schuster 15 Ludwig Mies van der Rohe 16 Lilly Reich, Vorhoelzer/ Wiederanders/Schmidt, Josef 16 Albers 17 Lilly Reich 18 Hugo Häring 19 Otto Haesler & Karl Völker 3 13 15 2 14 1 0 5 25m DASH Dash9 opmaak def.indd 94 6/12/13 13:20 DASH Opgang naar de rondlopende Oude ansichtkaart van de galerij met o.a. een Bauausstellung Berlin, 1931 textieltentoonstelling, ingericht Old postcard of the Bauausstellung door Lilly Reich Berlin, 1931 Entrance to the circular gallery, including a textile exhibition, designed by Lilly Reich Mock-up van de lees- en presentatieruimte in een hoog woongebouw met een doorblik naar de gemeenschappelijke sportruimte. Ontwerp Walter Gropius Mock-up of the reading & presentation space in a high-rise residential building, with a view of the shared sports area. Design by Walter Gropius Ontwerpschetsen voor de tentoonstelling Design sketches for the exhibition Catalogusomslag Bauausstellung Berlin, 1931 Cover of the catalogue for the 95 Bauausstellung Berlin, 1931 Dash9 opmaak def.indd 95 6/12/13 13:20 Midden in de tentoonstellingshal In the middle of the exhibition hall 96 Boarding Haus stond een drie lagen tellende was a three-storey structure. Its Lilly Reich, Vorhoelzer/ constructie met daarin op de upper two layers featured a variety Wiederanders/Schmidt, Josef Albers twee bovenlagen een aantal of apartments, specifically designed
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