DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45213#0027
Introduction
23
Movements questioning the underlying premises of architecture, urban planning and industrial de-
sign emerged already prior to World War I. In the aftermath of the war, that brought the worsening
of the housing crisis already affecting the cities, the architects and public authorities faced new chal-
lenges. The architects of the European avant-garde strove to create a forum for an exchange of ideas,
publications, discussions, and personal contacts.
The Deutscher Werkbund (German Association of Craftsmen) was founded in 1907. The organi-
sation consisted of progressive industrialists, artists, artisans, and architects who dealt not only with
architecture but also ventured into the design of industrial, commercial and household products.
The Werkbund's objective was to inspire good design and quality of mass-produced goods, foster
the collaboration of artists, artisans and industrialists and reconcile artistic endeavour with industrial
mass-production.86 The Werkbund played an immensely important role in the emergence of mod-
ern architecture. Hermann Muthesius, one of the group's founding members and intellectual lead-
ers, insisted on "more content and less art"87 and defined the Werkbund's scope of activity: "vom
Sophakissen zum Statebau" ("from design of a sofa pillow to building cities").88 Dr. Adolf Vetter, who
promoted the German Wekbund's ideas in Austria, commented on the activities of the Association's
German branch in 1912: "All areas of creative and organisational activity have been integrated into
the Werkbund's programme. Workshops have been set up producing only things of the highest qual-
ity, for example the German studio named Deutsche Werkstatten fur Vereinigte Handwerkskunst,
form the heart of the garden-city of Hellerau near Dresden. These workshops, initially specialising in
furniture making, expanded their activities to include the construction of entire cities."89
86 Sigfried Giedion, op. cit., p. 510.
87 Hermann Muthesius, Sztuka stosowana /architektura. Krakow 1909, p. 40; Ernest Niemczyk, 'Nowa forma...', p. 421-422.
88 Wystawa Werkbundu we Wroclawiu', Rzeczy Piqkne, 1930, p. 70.
89 Adolf VETTER, 0 znaczeniu idei Zwiqzku uszlachetnienia pracy dla Monarchji Austriackiey Published by Miejskie Muzeum Techniczno-
Przemystowego in Krakow, (after: Ibidem, p.70).
23
Movements questioning the underlying premises of architecture, urban planning and industrial de-
sign emerged already prior to World War I. In the aftermath of the war, that brought the worsening
of the housing crisis already affecting the cities, the architects and public authorities faced new chal-
lenges. The architects of the European avant-garde strove to create a forum for an exchange of ideas,
publications, discussions, and personal contacts.
The Deutscher Werkbund (German Association of Craftsmen) was founded in 1907. The organi-
sation consisted of progressive industrialists, artists, artisans, and architects who dealt not only with
architecture but also ventured into the design of industrial, commercial and household products.
The Werkbund's objective was to inspire good design and quality of mass-produced goods, foster
the collaboration of artists, artisans and industrialists and reconcile artistic endeavour with industrial
mass-production.86 The Werkbund played an immensely important role in the emergence of mod-
ern architecture. Hermann Muthesius, one of the group's founding members and intellectual lead-
ers, insisted on "more content and less art"87 and defined the Werkbund's scope of activity: "vom
Sophakissen zum Statebau" ("from design of a sofa pillow to building cities").88 Dr. Adolf Vetter, who
promoted the German Wekbund's ideas in Austria, commented on the activities of the Association's
German branch in 1912: "All areas of creative and organisational activity have been integrated into
the Werkbund's programme. Workshops have been set up producing only things of the highest qual-
ity, for example the German studio named Deutsche Werkstatten fur Vereinigte Handwerkskunst,
form the heart of the garden-city of Hellerau near Dresden. These workshops, initially specialising in
furniture making, expanded their activities to include the construction of entire cities."89
86 Sigfried Giedion, op. cit., p. 510.
87 Hermann Muthesius, Sztuka stosowana /architektura. Krakow 1909, p. 40; Ernest Niemczyk, 'Nowa forma...', p. 421-422.
88 Wystawa Werkbundu we Wroclawiu', Rzeczy Piqkne, 1930, p. 70.
89 Adolf VETTER, 0 znaczeniu idei Zwiqzku uszlachetnienia pracy dla Monarchji Austriackiey Published by Miejskie Muzeum Techniczno-
Przemystowego in Krakow, (after: Ibidem, p.70).