DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45213#0109
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He was later able to implement his ideas as City Architect in Magdeburg (1921-1923) where he re-
ferred to Expressionist painting by introducing such strong, saturated colours as red, orange, blue,
green, ochre, brown, purple, pink, grey, and black. Although Bruno Taut's approach to colour design
was singular, his innovative ideas inspired many to "fight for colour."
The Expressionist idea of "freeing colour" inspired architects to employ colour as autonomous
of structure. In the Reform housing estate in Magdeburg, Taut relied on colour to break out the
monotony of long hip- and then flat-roofed terraced buildings by using different colours to define
the building's individual sections and having gable walls painted in wide vertical stripes.262 The
Magdeburg projects inspired Ernst May263 and Otto Haesler.264 Magdeburg was not the only Ger-
man city experimenting with architectural colour design. An article on the "victorious march of co-
lour through German cities", published in MagdeburgischeZeitung in 1921, also mentioned in Stutt-
gart and Freiburg.265 The Magdeburg example was followed by Halle, Glauchau, and Potsdam.266
In these cities, however, and also in Leipzig, Worms, Frankfurt-an-der-Oder, Frankfurt-am-Main, Dan-
zig (Gdansk), Goslar, Hildesheim, Brunswick, Rostock, Dresden, Hamburg, and others, a new colour
treatment was given mostly to existing historic houses. 267 The movement for colour in architecture
also appeared in other European countries.268
Germany's difficult economic situation in the years following the end of World War I prevented
the colour movement from becoming more widespread prior to 1924. Its influence started to grow
only after large sums of money had been pumped into German economy under the Dawes Plan
starting the period remembered as The Golden Twenties (Goldene Zwanziger Jahre). Prosperity
lasted until late 1929. Architects also responded to technological progress in the manufacturing of
paints, both for the exterior (durable elevation colour) and for the interior of houses. German chemi-
cal industry attained the dominant position in Europe.269
252 Winfried BRENNE, Concepts and conflicts relating to the renewal of the Reform Settlement in Magdeburg. In: Docomomo Second International
Conference Proceedings. Dessau 1992, p. 42-46.
263 Hans Jorg RIEGER, op.cit., p. 91, 118. Following his visit to Magdeburg, Ernst May became an advocate of Reed's conception of employeing
colour in architecture. In 1922, Schlesisches Heim publishes his article „Angst vor der Farbe" (The Fear of Color), in which he praises the Mag-
deburg experiment and calls for the introduction of color. In 1919-1925, as head of various building societies, he erected a number of colorful
developments in Wroclaw and its vicinity (Klecina, Oltaszyn, Prudnik, Boleslawiec). He designed utterly simple buildings enlivened by color
(red, blue and green) which he regarded as the cheapest and most decorative means to make simple designs attractive.
264 Ibidem. Otto Haesler was so taken by the color design of the Town Hall in Magdeburg that he employed its author, Karl Volker, to do the
same at the Italienischer Garten estate in Celle.
265 \bidem, p.90.
266 Ibidem. In 1922, an exhibition devoted to color in architecture was shown in Glauchau. Amongst the participants were Bruno and Max Taut.
The same year, the conception for colourful Potsdam was presented.
267 Ibidem.
268 Ibidem, p. 92. Supporters of the movement included: Victor Bourgeois in Belgium, Fernand Leger in France, Hinnerk Scheper (author of the
colour design of the Bauhaus building in Dessau) in Moscow and Piero Bottoni in Italy.
269 Susan Rose HENDERSON, The Work of Ernst May. Michigan 1992, p.420. The chemical companies: Hoechst (headquarters in Frankfurt/M),
BASF, Bayer, Agfa, Cassella and Kaile, were called 'the Big Six' both in Germany and abroad. The fashion for painted elevations contributed to
the growth of the industry often referred to as a postwar industrial miracle. Around 1923, IG Farben marketed a new elevation finish: durable,
economical, and easy to use. It replaced the traditional and labour-intensive technology of coloured plaster.
He was later able to implement his ideas as City Architect in Magdeburg (1921-1923) where he re-
ferred to Expressionist painting by introducing such strong, saturated colours as red, orange, blue,
green, ochre, brown, purple, pink, grey, and black. Although Bruno Taut's approach to colour design
was singular, his innovative ideas inspired many to "fight for colour."
The Expressionist idea of "freeing colour" inspired architects to employ colour as autonomous
of structure. In the Reform housing estate in Magdeburg, Taut relied on colour to break out the
monotony of long hip- and then flat-roofed terraced buildings by using different colours to define
the building's individual sections and having gable walls painted in wide vertical stripes.262 The
Magdeburg projects inspired Ernst May263 and Otto Haesler.264 Magdeburg was not the only Ger-
man city experimenting with architectural colour design. An article on the "victorious march of co-
lour through German cities", published in MagdeburgischeZeitung in 1921, also mentioned in Stutt-
gart and Freiburg.265 The Magdeburg example was followed by Halle, Glauchau, and Potsdam.266
In these cities, however, and also in Leipzig, Worms, Frankfurt-an-der-Oder, Frankfurt-am-Main, Dan-
zig (Gdansk), Goslar, Hildesheim, Brunswick, Rostock, Dresden, Hamburg, and others, a new colour
treatment was given mostly to existing historic houses. 267 The movement for colour in architecture
also appeared in other European countries.268
Germany's difficult economic situation in the years following the end of World War I prevented
the colour movement from becoming more widespread prior to 1924. Its influence started to grow
only after large sums of money had been pumped into German economy under the Dawes Plan
starting the period remembered as The Golden Twenties (Goldene Zwanziger Jahre). Prosperity
lasted until late 1929. Architects also responded to technological progress in the manufacturing of
paints, both for the exterior (durable elevation colour) and for the interior of houses. German chemi-
cal industry attained the dominant position in Europe.269
252 Winfried BRENNE, Concepts and conflicts relating to the renewal of the Reform Settlement in Magdeburg. In: Docomomo Second International
Conference Proceedings. Dessau 1992, p. 42-46.
263 Hans Jorg RIEGER, op.cit., p. 91, 118. Following his visit to Magdeburg, Ernst May became an advocate of Reed's conception of employeing
colour in architecture. In 1922, Schlesisches Heim publishes his article „Angst vor der Farbe" (The Fear of Color), in which he praises the Mag-
deburg experiment and calls for the introduction of color. In 1919-1925, as head of various building societies, he erected a number of colorful
developments in Wroclaw and its vicinity (Klecina, Oltaszyn, Prudnik, Boleslawiec). He designed utterly simple buildings enlivened by color
(red, blue and green) which he regarded as the cheapest and most decorative means to make simple designs attractive.
264 Ibidem. Otto Haesler was so taken by the color design of the Town Hall in Magdeburg that he employed its author, Karl Volker, to do the
same at the Italienischer Garten estate in Celle.
265 \bidem, p.90.
266 Ibidem. In 1922, an exhibition devoted to color in architecture was shown in Glauchau. Amongst the participants were Bruno and Max Taut.
The same year, the conception for colourful Potsdam was presented.
267 Ibidem.
268 Ibidem, p. 92. Supporters of the movement included: Victor Bourgeois in Belgium, Fernand Leger in France, Hinnerk Scheper (author of the
colour design of the Bauhaus building in Dessau) in Moscow and Piero Bottoni in Italy.
269 Susan Rose HENDERSON, The Work of Ernst May. Michigan 1992, p.420. The chemical companies: Hoechst (headquarters in Frankfurt/M),
BASF, Bayer, Agfa, Cassella and Kaile, were called 'the Big Six' both in Germany and abroad. The fashion for painted elevations contributed to
the growth of the industry often referred to as a postwar industrial miracle. Around 1923, IG Farben marketed a new elevation finish: durable,
economical, and easy to use. It replaced the traditional and labour-intensive technology of coloured plaster.