5 Rowhouses by JJP Oud in Weissenhof

The south facade (Google earth) 5 rowhouses by J.J.P. Oud in Weissenhof WrittenWritten by: Marianne Sandmark (AAR4900)

This essey is about the fi ve rowhouses After Word War 1 Some examples are the cubisme, func- that Jacobus Johannes Pieter Oud The period after Word War 1 was do- tionalisme, rationalisme and futurisme . made in 1927 for the Weisenhof exhi- minted by infl ation and poor economy. All theese ideas could easily be publiced bition. It is impossible to undertand Even if the cities had a bad economy and distributed. (Teverne al, 2001). the rowhouses and Ouds intetions they didn’t stop been optimistic and without knowing a few things about belived in growth. The world as it was The Arts & Crafts movement was strong how the society and situation was known started to change in high speed. in the period after the fi rst Word War. in the 1920s’. This is why the essay The new techniques and new kinds of Morris and the brittain followers didn’t starts by telling you about the period construction and buildingstypes, that ap- want to include the industry in their de- after the fi rst world war, the group of peared around 1890s’, became a bigger signs and vision of art and architecture, artists and architects that called them part of the citylandscape. New kinds of but this was about to change. The Arts self De Stijl, the Weissenhof estate and buisiness like banks, malls, incurence- & Crafts movement was turning into an the architects own thoughts. companies and clothstores were seen movement only for the upper class that in the cities. All of which had different could afford the handmade things. The After writing about the circumstances needs.(Teverne al, 2001). germans and dutch artists and architects and the houses, I would like to tell (like members of the Modern Move- you about my own oppinions and how In the periode after Word War 1 many ment, Bauhaus, De Stijl) wanted to in- Ouds work could be used in the people started to write about their clude and coopperate with the industry. present and in the future. interests and ideas. This was the start (Joedicke, 1989). They had different of a massmedia periode were almost approches, but they were facing “(...) up I have chosen to write about the everybody had the opportunity to write to the challange of a technical age and circumstances and the houses and not something and have it publiced in a to comprehend technology as a means of the ineterior. I have done this because magazine. (Warncke, 1991). This might creating a profundly social architecture” I don’t fi nd the interior very impor- be the reason why the art (painting, (Joedicke, 1989, pg 19). Rationalime tent for further use of this essey. sculpture and architecture) were spread- was a keyword, maximum effect with a ing in all sorts of brands of modern art. minimum of means. (Joedicke, 1989). De Stijl De Weissenhofsiedlung in this sector” (Joedicke, 1989, pg 7). De Stijl was the name of the magazine In 1925 the muncipality of Stuttgart Weissenhof was ment to be an demon- where J.J.P. Oud publiced some of his desided that they would like to make an stration and experiment of models for articles. It was founded in the Nether- exhibition of the new kind of architec- innovations in the fi elds of technology, lands in 1917. The name is deuch and ture that was starting to emerge. The construction and architecture. It should means The Style. Soon the work and preparation (drawings and buildings) of show different typologies, prinsipps and movement of the arcitects and artists the International architectural exhibi- technics for serialproduction of row- who were assosiated with the maga- tion was a short peridod; 30th march houses. The architects emperimented zine was given the same name. It was 1925 to 23th July 1927. The architects with new materials, constructionsystems not a uniform movement. They didn’t focused on the construction of the build- and methods. Effi cently was also one have meetings or basic rules. The Stijl ings and their ideas of new architecture. key word, both in layout and in design. became a forum where the members During this time there was built 21 In this exhibition there was high expec- could have discussions and evaluate separate projects for 63 dwellings, by tations since so many known architects each others work. Many of the members 17 architects and 55 interior design- would participate, like Le Corbusier, never actually met and there were a lot ers. (Warncke, 1991). In the beginning Mies van der Rohe and Gropius. (Te- of disagreement in the group. (Overy, the dwellings should be built for large verne al, 2001). 1991). Mondrian defi nes it as: “(...) it familes, but it changed to be dwellings was to be an expression of a new, ideal for the educated middle class. (Teverne There was one confl ict with Weissenhof, world” (Warncke,(Warncke, 1991, pg 60). De Stijl al, 2001). how could it be an exhibition and func- ties the different brands of art together tion as normal housing after the exhibi- and creates a combined language, even The purpose of the exhibition was to tion was over? A lot of the buildings was if the brands are very different from show that the dwelllings were a “(...) not made for the workingclass, but more each other. The magazine became a part of a muncipal construction pro- for the upperclass. Many buildings was platform for discussions of rationalistic gramme as a vehicle to demonstrate far way from a normal house. (Joedicke, and abstract art. It infl uenced beyond the the concepts of the German Werkbund 1989). national borderes and were read by art- ists of different artistic styles. (Warncke, 1991).

The caracteristics of de Stijl was art with simple, basic geometric components that created a composition that was unifi ed. Orthogonal lines and shapes were almost never used. They mainly used vertically and horizontally lines and shapes. The colour scheme was red, blue, yellow, white, black and grey. This was used even in the smallest details. (Overy, 1991).

The typical caracteristic of De Stijl architecture was: “(...) asymmetrical, geometric, fl at-roofed, painted in white og light greys, with accents in primary colours” (Overy, 1991, pg 103). Even if Weissenhof, in 1927(Joedicke, 1989) this was the caracteristic of the archi- tecture there was only a few building that had all the qualities. Sometimes, for example, piched rooftops could be built. (Overy, 1991).

Site model (my own, 2009) Weissenhof, in 1987 (Joedicke, 1989) J.J.P. Oud to translate it into a disciplined form. from life and would only freeze up in He was one of the few architects who (Teverne al, 2001). propagandist manifestos and too strictly designed a house in Weissenhof that organized associations; life presents could be called a normal house. Maybe One of the things Oud had against Le itself concretly in the assignment, not this is connected to the fact that Oud Corbusier, and some of the other archi- in abstract politico-social scenarios; had been working on social housing in tects, was that they wrote manifestos design does not follow function, but is Rotterdam. (Overy, 1991). Oud did not and thereby made the houses and the a valuable and autonomous aspect in agree with Le Corbusier that the men peoples lifes abstract and not human. the design process (...), the design is were a machine and the houses were Oud did not want to write manifestos produced by the interaction of form and machines to live in. He ment that life because he belived that : “(...) Architec- function”. (Teverne al, 2001, pg 41). was the starting-point and it was his job ture is art which arises spontaneously

Axiometric of the rowhouses in Weissenhof, out of scale (Teverne al, 2001) 5 Rowhouses in Weissenhof At fi rst Oud got two assignments in Weissenhof, one single family villa and 4 rowhouses for workers. He protested and was allowed to build 5 rowhouses instead. (Teverne al, 2001). Oud wanted to make a”(…) small dwelling as a synthesis of new materials, construc- tion methods and form, guided by the principles of simplicity, effi ciency and functionality” (Teverne al, 2001, pg 292). Theese rowhouses were ment to show one typology of rowhouses that could be repited. Since the rowhouses in Weissenhof only show one row, it doesn’t show what Oud had in his mind about theese houses. He wanted to repeat the row of houses, so one rows gardens met the next rows kitchen yard. (Teverne al, 2001).

South facade (Google Earth) As a part of the assigment the fi ve houses have the same layout and size. It should be a continuous row of houses who were simple, but good-looking. The with per unit is 5,6 meters. (Kirsch, 1989). The site for each house, included the garden and courtyard, is approx. 22,5 x 5,6 meters. The garden is approx. 11 x 5,6 meters and the courtyard is approx. 3 x 3 meters. The houses have three storeys, the two you can see and the cellar that is underneath the ground. The hight of the building, above the ground, is approx 6 meters. The exten- tion in north, with the utility rooms is only 4,5 meters high and 2,35 meters wide. (Kirsch, 1989, and Teverne al, 2001).

The rowhouses is built with concrete. He used the Kossel system, which was a fairly new method in the 1920’s. The North facade (Google Earth) Kossel system allowed the building to be built as a monolitic system. First they built the formwork and then they pured concrete into the form. This allowed them to build the walls as one piece. For the non-bearing walls the process con- sists of aggregates that are bound with a small portion of cement. This system results in light porous walls, with good heat-insulation and it was possible to put nails into it. The loadbearing walls and the foundations are made with gravel- based concrete. The windows and the door frames are made of iron, the roof is made of Ruberiod and the doors are in plywood. (Kirsch, 1989).

View towards north (Joedicke, 1989) Oud designed the houses so that they north and the livingrooms to the south. among other things that a house should have two entrences, on through the The utility rooms have a smaller ceilin- have a food closet and a serving hatch courtyard in the north and one through ghight that the other rooms (2,2 meters). in the kitchen and a balcony for small the garden in the south. The entrences On the northside there is a wall which housework, independent access to all was designed to be equal, but with dif- is about 2,2 meters high. Behind this bedrooms and a toilet separtated from ferent functions. The entrence through wall there is a small courtyard. There is the bathroom. (Kirsch, 1989). the courtyard was ment to be the a place to park bicycles at the end of the entrence for deliveries of groceries and extention toward north. It is possible to The house has a cellar, but only under coal, together with the bicycles, garbage, enter directly into the laundry and the go the north half of the house. If you go up- and the clothline. The courtyard was through the kitchen and around the stairs stairs you would reach the drying room ment to be a place for work, not to be a before you have reaced the livingroom which is at a lower level than the rest garden. The south side of the building with the other entrence. With this kind of the rooms on the second level. If you have a garden were the visitors and resi- of layout there were no need for a cor- go four more steps you reach the three dents could enter the building. Beside ridor. (Kirsch, 1989) bedrooms, the toilet and the bath. The the entrencedoor there is a wall made of toilet is separated from the bathroom. concrete and a grid. The two sides of the Oud used a long time to design the The bathroom has three doors, one into building shows that they are connected, kitchen. He had inspiration from dr. the small corridor and the other two but have very different characters based Edna Meyer. She wrote the book “Der into the two bedroms that lies beside it. on their function. (Kirsch, 1989). Naue Haushalt” about how the kitchen The smalles bedroom has a tiny balcony and the utilityrooms should be designed. were it is possible to put the bedwear Oud put the utility rooms (laundy and This book was based on wishes from the while the rooms are beeing cleaned. dryingroom) in one extention to the housewives in Stuttgart. They suggested (Kirsch, 1989).

Plans and section, out of scale (Teverne al, 2001) Prinsipp siteplans and section, out of scale (Teverne al, 2001) Plans 1:200, 1 level to the left and the second level to the right (Kirsch, 1989)

South facade 1:200 (Kirsch, 1989)

North facade 1:200 (Kirsch, 1989) My own thoughts about the houses ing just fi ne. Perhaps there should be a bigger livingroom with a big sofa and I has been interesting to read about a diningtable, so you can have dinner Oud because I always belived that the gests, but it is not necessary. architects from that period had the same thoughts and vision of the right way to The dryingroom upstair would probably design buildings. After further reading be a waste of space since we now have I discovered that the architect disagreed tumbeldriers that does part of the drying. then as they do today. The architects of To day the area for drying clothes would the 1920s’ focused on function, but in most likely be placed in the laundry. I The kitchen (Teverne al, 2001) different ways. It was interesting to read think that the bathroom on the second about the different approaces to the taks. level is a problem. The small room (ap- Le Corbusier prefered general programs prox 5 m2), with only a bathtub, is not for his buildings while Oud used life as very functional. It has three doors that a startingpoint for the design. Personally takes away lot of wallspace which could I prefere Oud solution. I like the way be used for a sink or a toilet. I don’t see that he did research, with help from Dr. the point in separating the bathtub (or Edna Meyer, before he started to work shower) and the toilet into two different with his design. I don’t like Le Cor- rooms. I would suggest that the room busiers manifesto because it make all with the toilet should be turned so the humans equal and general. There is no toilet becomes a part of the bathroom. room for the individual. I also think it would be a good idea to remove the doors between the bedrooms It is not possible to see and interpret and the bathroom. By removing two the rowhouses without understanding doors, replacing the tub with a shower the situation it was built in. The idea and adding a bigger sink the bathroom behind Weissenhof was to present dif- would seem much larger. Removing the ferent typologies of new ways to use doors would also create more wallspace and construct buildings. That is why you in the bedrooms. can’t interpret the building based on its location. Ouds’ rowhouses were a small Oud wanted the rowhouses to be de- part of a utopic neighbourhood that veloped as a big comunity with several could be placed anywhere, as long as the rows of this house. I like that idea, site have non to a small slope and the especially because he doesn’t mirror the buildings are placed in the north-south layout of the houses. He let one rows’ direction. garden meet the other rows’ courtyard. If The livingroom (Teverne al, 2001) he had mirrored the layout, there would It is interesting to use this typology and be problems with the direction of the transfer it to buildings that are erected sun and the division of the utilityrooms today. It is probably not possible to use from the livingrooms. I belive that by the excact same construction system, having the gardens meet the courtyards mostly because the regulations would it creates a much more interesting street. not approve it. The insulation in the building isn’t good enough for the Ouds work can be used as an inspira- norwegian environment. This means that tion for architects today. It can not be the materials would change a little, but it used directly, but many of his ideas and would not change the typology. points can be used: ¤ rowhouses reduces the cost of the The sizes of rooms are about the same building that would be used in new buildings, ¤ the layout should be based on what but there are some strange solutions to kind of life the tenants have the layout of the rooms. Spesially the ¤ the construction method can speed up solution of having one entrence on the the construction time and northside where you walk through the ¤ the fascads can be used to explain the laundry, the through the kitchen, around function of the rooms behind in a char- the stairs and then into the livingroom. I acteristic way. don’t think it is very hygenic to use the kitchen as a sort of cooridor where you All in all, Oud is an inspiration, which I walk through. Spesially so close to the can use further in my studies and work. dirty courtyard. I don’t like the substi- tute for the corridor because I prefere to The livingroom with an opening to the walk from point A to B without all the kitchen (Teverne al, 2001) twists and turns that are in this layout. Beside from this the fi rst level is work- Modelphoto, north facade (Sandmark, 2009)

Modelphoto, fi rst level (Sandmark, 2009)

Modelphoto, south facade (Sandmark, 2009)

Modelphoto, second level (Sandmark, 2009) Sources:

Jürgen Joedicke, “Weissenhofsiedlund”, Karl Krämer Verlag, Stuttgart, 1989

Karin Kirsch, “The Weissenhof- siedlung”, Rizzoli, New York, 1989

Paul Overy, “De Stijl”, Thames and Hudson, London, 1991

Ed Teverne, Martien de Vletter, Cor Wagenaar, “J.J.P.J.J.P. Oud, Poetic Functionalist, the comlete works, 1890- 1963”, NAi publishers, Rotterdam, 2001

Carsten-Peter Warncke, “The ideal as Art De Stijl 1917-1931”, Benedict Taschen Verlage, Köln, 1991

Images:

Same as above

Google earth, february 2009 Modelphoto, court yard (Sandmark, 2009) My own photos (Marianne Sandmark)