DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45213#0058
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Julius Bier in Die Form praised the Dammerstock development for its landscape architecture,
garden-like feel and sense of space. He was ambivalent to monochromatic colour design, somewhat
monotonous but at the same time setting off the colours of nature.153
Reactions concerning the development were split and there was also some vehement criticism.
Walter Schwagenscheidt attacked the planning conception: "It is not right to cut up the land in a tai-
lor's manner and call it urban design."154 The buildings' plain, white walls earned the development
the mocking nickname of Jammerstock ("hill of crying poverty"). Four years after its opening, the
local Nazi newspaper called it "centro-Marxist architectural bolshevism". The buildings were scorned
for looking like "assembly line products"155 and described as a "victory of the rational over the aes-
thetic"156 Adolf Bene pitied the residents subjected to an aesthetic dictatorship and yet another
critic disdained the development as showcasing "mechanistic and barrack-like tendencies".157
153 Justus BIER, 'Ausstellung "Die Gebrauchswohnung" in der Siedlung Dammerstock Karlsruhe', Die Form 1929, p.595-598.
154 Walter SCHWAGENSCHEIDT, 'Problematik des Stadtebaues', Die Form 1930, p.243-245.
155 Ibidem.
156 Hans EITEL, 'Eindrucke von der Karlsruher Ausstellung', Baukunst 1929, no 11, s. 319-329. After: Johannes CRAMER, Niels GUTSCHOW, op.cit.,
p.150.
157 Adolf BENE, 'Dammerstock-Schlusswort', Die Form 1930, p.494. After: Johannes CRAMER, Niels GUTSCHOW, op.cit., p.150.
Julius Bier in Die Form praised the Dammerstock development for its landscape architecture,
garden-like feel and sense of space. He was ambivalent to monochromatic colour design, somewhat
monotonous but at the same time setting off the colours of nature.153
Reactions concerning the development were split and there was also some vehement criticism.
Walter Schwagenscheidt attacked the planning conception: "It is not right to cut up the land in a tai-
lor's manner and call it urban design."154 The buildings' plain, white walls earned the development
the mocking nickname of Jammerstock ("hill of crying poverty"). Four years after its opening, the
local Nazi newspaper called it "centro-Marxist architectural bolshevism". The buildings were scorned
for looking like "assembly line products"155 and described as a "victory of the rational over the aes-
thetic"156 Adolf Bene pitied the residents subjected to an aesthetic dictatorship and yet another
critic disdained the development as showcasing "mechanistic and barrack-like tendencies".157
153 Justus BIER, 'Ausstellung "Die Gebrauchswohnung" in der Siedlung Dammerstock Karlsruhe', Die Form 1929, p.595-598.
154 Walter SCHWAGENSCHEIDT, 'Problematik des Stadtebaues', Die Form 1930, p.243-245.
155 Ibidem.
156 Hans EITEL, 'Eindrucke von der Karlsruher Ausstellung', Baukunst 1929, no 11, s. 319-329. After: Johannes CRAMER, Niels GUTSCHOW, op.cit.,
p.150.
157 Adolf BENE, 'Dammerstock-Schlusswort', Die Form 1930, p.494. After: Johannes CRAMER, Niels GUTSCHOW, op.cit., p.150.