Weissen h Of

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This essey is about the five rowhouses

that Jacobus Johannes Pieter Oud

ade in 1927 for the Weisenhof exhi-

bition. It is impossible to undertand

the rowhouses and Ouds intetions

without knowing a few things about

ow the society and situation was

in the 1920s. This is why the essay

starts by telling you about the periodfter the first world war, the group of

rtists and architects that called them

self De Stijl, the Weissenhof estate and

the architects own thoughts.

After writing about the circumstances

nd the houses, I would like to tell

you about my own oppinions and how

Ouds work could be used in the

present and in the future.

I have chosen to write about the

circumstances and the houses and not

the ineterior. I have done this because

I dont find the interior very impor-

tent for further use of this essey.

After Word War 1

e per o a ter Wor War 1 was o-

m nte y n at on an poor economy.

Even if the cities had a bad economy

they didnt stop been optimistic and

e ve n growt . T e wor as t was

nown starte to c ange n g spee .

e new tec n ques an new n s o

construction and buildingstypes, that ap-peared around 1890s, became a bigger

part of the citylandscape. New kinds of

u s ness e an s, ma s, ncurence-

compan es an c ot stores were seen

n the cities. All of which had different

needs.(Teverne al, 2001).

In t e per o e a ter Wor War 1 many

peop e starte to wr te a out t e r

nterests an eas. T s was t e start

of a massmedia periode were almost

everybody had the opportunity to write

something and have it publiced in a

magaz ne. Warnc e, 1991 . T s m g t

e t e reason w y t e art pa nt ng,

sculpture and architecture) were spread-

ng in all sorts of brands of modern art.

Some examp es are t e cu sme, unc-

tionalisme, rationalisme and futurisme .

All theese ideas could easily be publiced

and distributed. (Teverne al, 2001).

T e Arts & Cra ts movement was strong

n t e per o a ter t e rst Wor War.

Morris and the brittain followers didnt

want to include the industry in their de-signs and vision of art and architecture,

ut t s was a out to c ange. T e Arts

& Cra ts movement was turn ng nto an

movement only for the upper class that

could afford the handmade things. The

germans and dutch artists and architects

e mem ers o t e Mo ern Move-

ment, Bau aus, De St wante to n-

c u e an coopperate w t t e n ustry.

(Joedicke, 1989). They had different

approches, but they were facing (...) up

to the challange of a technical age and

to compre en tec no ogy as a means o

creating a pro un y socia arc itecture

(Joedicke, 1989, pg 19). Rationalime

was a keyword, maximum effect with a

minimum of means. (Joedicke, 1989).

5 rowhouses by J.J.P. Oud in Weissenhof

e sout aca e Goog e eart

r en y: ar anne an mar


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De Stijl

De Stijl was the name of the magazine

where J.J.P. Oud publiced some of his

art c es. It was oun e n t e Net er-

an s n 1917. T e name s euc an

means T e Sty e. Soon t e wor an

movement of the arcitects and artists

who were assosiated with the maga-

zine was given the same name. It was

not a un orm movement. T ey ntave meet ngs or as c ru es. T e St

became a forum where the members

could have discussions and evaluate

each others work. Many of the members

never actua y met an t ere were a ot

o sagreement n t e group. Overy,

1991 . Mon r an e nes t as: ... it

was to be an expression of a new, ideal

world (Warncke, 1991, pg 60). De Stijl

t es t e erent ran s o art toget er

an creates a com ne anguage, even

t e ran s are very erent rom

each other. The magazine became a

platform for discussions of rationalistic

and abstract art. It influenced beyond the

nat ona or eres an were rea y art-

sts o erent art st c sty es. Warnc e,

1991).

The caracteristics of de Stijl was art with

s mp e, as c geometr c components

t at create a compos t on t at was

un e . Ort ogona nes an s apes

were almost never used. They mainly

used vertically and horizontally linesand shapes. The colour scheme was red,

ue, ye ow, w te, ac an grey. T s

was use even n t e sma est eta s.

(Overy, 1991).

The typical caracteristic of De Stijl

arc tecture was: ... asymmetrica ,

geometric, at-roo e , painte in w ite

og ig t greys, wit accents in primary

colours (Overy, 1991, pg 103). Even if

this was the caracteristic of the archi-

tecture there was only a few buildingt at a a t e qua t es. Somet mes, or

examp e, p c e roo tops cou e u t.

(Overy, 1991).

De Weissenhofsiedlung

In 1925 the muncipality of Stuttgart

desided that they would like to make an

ex t on o t e new n o arc tec-

ture t at was start ng to emerge. T e

preparat on raw ngs an u ngs o

the International architectural exhibi-

tion was a short peridod; 30th march

1925 to 23th July 1927. The architects

ocuse on t e construct on o t e u -ngs an t e r eas o new arc tecture.

During this time there was built 21

separate projects for 63 dwellings, by

17 architects and 55 interior design-

ers. Warnc e, 1991 . In t e eg nn ng

t e we ngs s ou e u t or arge

am es, ut t c ange to e we ngs

for the educated middle class. (Teverne

al, 2001).

T e purpose o t e ex t on was to

s ow t at t e we ngs were a ...

part of a muncipal construction pro-

gramme as a vehicle to demonstrate

the concepts of the German Werkbund

in this sector (Joedicke, 1989, pg 7).

Weissenhof was ment to be an demon-

stration and experiment of models for

nnovat ons n t e e s o tec no ogy,

construct on an arc tecture. It s ou

s ow erent typo og es, pr ns pps an

technics for serialproduction of row-

houses. The architects emperimented

w t new mater a s, construct onsystems

an met o s. E cent y was a so oneey wor , ot n ayout an n es gn.

In this exhibition there was high expec-

tations since so many known architects

would participate, like Le Corbusier,

M es van er Ro e an Grop us. Te-

verne a , 2001 .

There was one conflict with Weissenhof,

how could it be an exhibition and func-

t on as norma ous ng a ter t e ex -

t on was over? A ot o t e u ngs was

not ma e or t e wor ngc ass, ut more

for the upperclass. Many buildings was

far way from a normal house. (Joedicke,

1989).

Weissenhof, in 1927(Joedicke, 1989)

eissenhof, in 1987 (Joedicke, 1989)Site model (my own, 2009)


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J.J.P. Oud

He was one of the few architects who

designed a house in Weissenhof that

cou e ca e a norma ouse. May e

t s s connecte to t e act t at Ou

a een wor ng on soc a ous ng n

Rotterdam. (Overy, 1991). Oud did not

agree with Le Corbusier that the men

were a machine and the houses were

mac nes to ve n. He ment t at ewas t e start ng-po nt an t was s o

Axiometric of the rowhouses in Weissenhof, out of scale (Teverne al, 2001)

to translate it into a disciplined form.

(Teverne al, 2001).

One o t e t ngs Ou a aga nst Le

Cor us er, an some o t e ot er arc -

tects, was t at t ey wrote man estos

and thereby made the houses and the

peoples lifes abstract and not human.

Oud did not want to write manifestos

ecause e e ve t at : ... Arc itec-ure is art w ic arises spontaneous y

from life and would only freeze up in

propagandist manifestos and too strictly

organized associations; life presents

tse concret y in t e assignment, not

n a stract po itico-socia scenarios;

esign oes not o ow unction, ut is

a valuable and autonomous aspect in

he design process (...), the design is

produced by the interaction of form and

unction. Teverne a , 2001, pg 41 .


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Rowhouses in Weissenhof

At first Oud got two assignments in

Weissenhof, one single family villa and

4 row ouses or wor ers. He proteste

an was a owe to u 5 row ouses

nstea . Teverne a , 2001 . Ou wante

to make a() small dwelling as a

synthesis of new materials, construc-

ion methods and form, guided by the

princip es o simp icity, e ciency anunctiona ity Teverne a , 2001, pg

292). Theese rowhouses were ment to

show one typology of rowhouses that

could be repited. Since the rowhouses

n We ssen o on y s ow one row, t

oesnt s ow w at Ou a n s m n

a out t eese ouses. He wante to

repeat the row of houses, so one rows

gardens met the next rows kitchen yard.

Teverne a , 2001 .

As a part o t e ass gment t e ve

houses have the same layout and size.

It should be a continuous row of houses

who were simple, but good-looking.

T e w t per un t s 5,6 meters. K rsc ,

1989 . T e s te or eac ouse, nc u e

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. T e ouses ave

t ree storeys, t e two you can see an

t e ce ar t at s un erneat t e groun .

The hight of the building, above the

ground, is approx 6 meters. The exten-tion in north, with the utility rooms is

on y 4,5 meters g an 2,35 meters

w e. K rsc , 1989, an Teverne a ,

2001).

The rowhouses is built with concrete.

He use t e Kosse system, w c was

a a r y new met o n t e 1920s. T e

Kosse system a owe t e u ng to

be built as a monolitic system. First they

built the formwork and then they pured

concrete into the form. This allowedt em to u t e wa s as one p ece. For

t e non- ear ng wa s t e process con-

sists of aggregates that are bound with

a small portion of cement. This system

results in light porous walls, with good

eat- nsu at on an t was poss e to put

na s nto t. T e oa ear ng wa s an

t e oun at ons are ma e w t grave -

based concrete. The windows and the

door frames are made of iron, the roof is

made of Ruberiod and the doors are in

p ywoo . K rsc , 1989 .

South facade (Google Earth)

North facade (Google Earth)

View towards north (Joedicke, 1989)


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Oud designed the houses so that they

have two entrences, on through the

courtyard in the north and one through

t e gar en n t e sout . T e entrences

was es gne to e equa , ut w t -

erent unct ons. T e entrence t roug

the courtyard was ment to be the

entrence for deliveries of groceries and

coal, together with the bicycles, garbage,

an t e c ot ne. T e courtyar wasment to e a p ace or wor , not to e a

garden. The south side of the building

have a garden were the visitors and resi-

dents could enter the building. Beside

t e entrence oor t ere s a wa ma e o

concrete an a gr . T e two s es o t e

u ng s ows t at t ey are connecte ,

but have very different characters based

on their function. (Kirsch, 1989).

Ou put t e ut ty rooms aun y an

ry ngroom n one extent on to t e

north and the livingrooms to the south.

The utility rooms have a smaller ceilin-

ghight that the other rooms (2,2 meters).

On t e nort s e t ere s a wa w c

s a out 2,2 meters g . Be n t s

wa t ere s a sma courtyar . T ere s

a place to park bicycles at the end of the

extention toward north. It is possible to

enter directly into the laundry and the go

t roug t e tc en an aroun t e sta rse ore you ave reace t e v ngroom

with the other entrence. With this kind

of layout there were no need for a cor-

ridor. (Kirsch, 1989)

Ou use a ong t me to es gn t e

tc en. He a nsp rat on rom r.

Edna Meyer. She wrote the book Der

Naue Haushalt about how the kitchen

an t e ut tyrooms s ou e es gne .

T s oo was ase on w s es rom t e

ousew ves n Stuttgart. T ey suggeste

among other things that a house should

have a food closet and a serving hatch

in the kitchen and a balcony for small

ousewor , n epen ent access to a

e rooms an a to et separtate rom

t e at room. K rsc , 1989 .

The house has a cellar, but only under

the north half of the house. If you go up-

sta rs you wou reac t e ry ng roomw c s at a ower eve t an t e rest

of the rooms on the second level. If you

go four more steps you reach the three

bedrooms, the toilet and the bath. The

to et s separate rom t e at room.

T e at room as t ree oors, one nto

t e sma corr or an t e ot er two

into the two bedroms that lies beside it.

The smalles bedroom has a tiny balcony

were t s poss e to put t e e wear

w e t e rooms are ee ng c eane .

K rsc , 1989 .

Pr ns pp s tep ans an sect on, out o sca e Teverne a , 2001Plans and section, out of scale (Teverne al, 2001)


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North f

K rsc , 1989

Sout

(Kirsch,

P ans 1:

(Kirsch,


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My own thoughts about the houses

I has been interesting to read about

Ou ecause I a ways e ve t at t e

arc tects rom t at per o a t e same

t oug ts an v s on o t e r g t way to

design buildings. After further reading

I discovered that the architect disagreed

then as they do today. The architects of

t e 1920s ocuse on unct on, ut nerent ways. It was nterest ng to rea

about the different approaces to the taks.

Le Corbusier prefered general programs

for his buildings while Oud used life as

a start ngpo nt or t e es gn. Persona y

I pre ere Ou so ut on. I e t e way

t at e researc , w t e p rom Dr.

Edna Meyer, before he started to work

with his design. I dont like Le Cor-

us ers man esto ecause t ma e a

umans equa an genera . T ere s no

room or t e n v ua .

It is not possible to see and interpret

the rowhouses without understanding

t e s tuat on t was u t n. T e ea

e n We ssen o was to present -

ferent typologies of new ways to use

and construct buildings. That is why you

cant interpret the building based on its

ocat on. Ou s row ouses were a sma

part o a utop c ne g our oo t at

cou e p ace anyw ere, as ong as t e

site have non to a small slope and the

buildings are placed in the north-southdirection.

It s nterest ng to use t s typo ogy an

transfer it to buildings that are erected

today. It is probably not possible to use

the excact same construction system,

most y ecause t e regu at ons wou

not approve t. T e nsu at on n t e

u ng snt goo enoug or t e

norwegian environment. This means that

the materials would change a little, but it

would not change the typology.

T e s zes o rooms are a out t e same

that would be used in new buildings,

but there are some strange solutions to

the layout of the rooms. Spesially the

so ut on o av ng one entrence on t e

nort s e w ere you wa t roug t e

aun ry, t e t roug t e tc en, aroun

the stairs and then into the livingroom. I

dont think it is very hygenic to use the

kitchen as a sort of cooridor where you

wa t roug . Spes a y so c ose to t e

rty courtyar . I ont e t e su st -

tute for the corridor because I prefere to

walk from point A to B without all the

twists and turns that are in this layout.

Bes e rom t s t e rst eve s wor -

ing just fine. Perhaps there should be a

bigger livingroom with a big sofa and

a diningtable, so you can have dinner

gests, ut t s not necessary.

T e ry ngroom upsta r wou pro a y

be a waste of space since we now have

tumbeldriers that does part of the drying.

To day the area for drying clothes would

most e y e p ace n t e aun ry. It n t at t e at room on t e secon

level is a problem. The small room (ap-

prox 5 m2), with only a bathtub, is not

very functional. It has three doors that

ta es away ot o wa space w c cou

e use or a s n or a to et. I ont see

t e po nt n separat ng t e at tu or

shower) and the toilet into two different

rooms. I would suggest that the room

w t t e to et s ou e turne so t e

to et ecomes a part o t e at room.

I a so t n t wou e a goo ea to

remove the doors between the bedrooms

and the bathroom. By removing two

doors, replacing the tub with a shower

an a ng a gger s n t e at room

wou seem muc arger. Remov ng t e

doors would also create more wallspace

in the bedrooms.

Ou wante t e row ouses to e e-

ve ope as a g comun ty w t severa

rows o t s ouse. I e t at ea,

especially because he doesnt mirror the

layout of the houses. He let one rowsgarden meet the other rows courtyard. If

e a m rrore t e ayout, t ere wou

e pro ems w t t e rect on o t e

sun and the division of the utilityrooms

from the livingrooms. I belive that by

having the gardens meet the courtyards

t creates a muc more nterest ng street.

Ou s wor can e use as an nsp ra-

tion for architects today. It can not be

used directly, but many of his ideas and

points can be used: row ouses re uces t e cost o t e

u ng

the layout should be based on what

kind of life the tenants have

the construction method can speed up

t e construct on t me an

t e asca s can e use to exp a n t e

unct on o t e rooms e n n a c ar-

acteristic way.

All in all, Oud is an inspiration, which I

can use urt er n my stu es an wor .

The kitchen (Teverne al, 2001)

T e v ngroom Teverne a , 2001

T e v ngroom w t an open ng to t e

tc en Teverne a , 2001


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Sources:

Jrgen Joedicke, Weissenhofsiedlund ,

Kar Krmer Ver ag, Stuttgart, 1989

Kar n K rsc , T e Weissen o -

siedlung , Rizzoli, New York, 1989

Pau Overy, De Stij , T ames an

Hu son, Lon on, 1991

Ed Teverne, Martien de Vletter, Cor

Wagenaar, J.J.P. Oud, Poetic

Functionalist, the comlete works, 1890-

1963 , NA pu s ers, Rotter am, 2001

Carsten-Peter Warncke, The ideal

as Art De Stijl 1917-1931 , Benedict

Taschen Verlage, Kln, 1991

Images:

Same as above

Google earth february 2009

My own p otos Mar anne San mar

Mo e p oto, rst eve

(Sandmark, 2009)

Modelphoto, second level

San mar , 2009

Modelphoto, north facade

(Sandmark, 2009)

Mo e p oto, sout aca e

San mar , 2009

Modelphoto, court yard

San mar , 2009

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