DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45213#0125
125
The WUWA exhibition comprised of two parts 304: the model housing estate and the exposition
held inside the Centennial Hall (Jahrhunderthalle) and its surrounding exhibition grounds. 305 The
latter was housed in three principal buildings on the exhibition grounds: the famous Centennial Hall
(1910-1913), designed by Max Berg; the Four-Dome Pavilion (1911-1913) by Hans Poelzig; and a huge
exhibition pavilion called Messehalle (1925), the work of Max Berg and Ludwig Moshamer. For the
purposes of the exhibition several simple pavilions were put up on the exhibition grounds.
The exhibition staged at the Messehalle presented information about the design processes.
Section 1: Planning and Designing, by K. Langer306. New building materials, Section 2: Natural Stone,
Ceramics, Concrete, and Pumice by A. Martens of Boleslawiec (Bunzlau), and Section 3: Metals,
Wood, Glass, Insulation Materials 307 arranged in six topical groups: non-ferrous metals, wood, iron
and steel, glass and artificial glass, wall panelling and siding, flooring, textiles by J. Vinecky308. Paints
and colour design, Section 4: Colour Design, by J. Molzahn 309, with the assistance of Max Streit. New
construction methods. Section 5: External Walls, Ceilings, Insulation Systems, Roofing, Internal Walls,
commendable. It is thus understandable and praiseworthy that its experience in this field is presented at this exhibition, experience which may
provide valuable instruction for Germany's eastern areas. Particularly noteworthy is that the focus has not been solely on urban needs but the
needs of our farmers have been taken into consideration as well, and that modern design has been applied to this workplace. Let the present
exhibition succeed in providing new inspirations, setting new examples of German creativity and industriousness for Eastern Germany. This is
the wish of the Government on whose behalf I hereby officially proclaim this exhibition open.'
304 The principal source of information about the WUWA exhibition quoted in this chapter is its original exhibition catalogue: Wohnung und
Werkraum Werkbundausstellung in Breslau vom 15.Junibis 15. September, Ausstellungs-Fuhrer, Breslau 1929. See: 'Werkbundausstellung Wohnung
und Werkraum', Schlesisches Heim 1928, vol.6, p.286-287.
305 In 1913 the exhibition commemorating the 100th anniversary of the Battle of Leipzig was organised here, for which Max Berg designed his
famous Centenary Hall (Jahrhunderthale; today the People's Hall).
306 Wiezowce Wrodawia. Exhibition catalogue, eds. Jerzy llkosz, Beate Stortkuhl, Wroclaw 1997, p.207. Kurt Langer had been an active architect,
in Wroclaw since 1911. The author of many of cultural initiatives in the city, he was also a member of the Association of German Architects
(BDA - Bund der Deutschen Architekten) architecture and on the editorial board of Ostdeutsche Bauzeitung. He specialised in ecclesiastical
architecture. In 1924 he was appointed Professor of the local Technical University by the Minister of Science, Art and Education.
307 Maria STARZEWSKA, op.cit., p.27,30. In Section 3 Vinecky demonstrated the diversity and importance of materials, so strongly emphasised
in the Academy's programme. The presentation featured glassware sets, cabinet work inlaid in different kinds of wood or combining different
materials, for example metal and glass tables, and also plastic objects, a novelty at the time. Vinecky's wife Li Thorn-Vinecky presented textiles
(wool, cotton, flax, real and artificial silkjute) and textile art (hand-painted shawls designed by Oskar Moll). Adolf Rading's wife Anna showed
her printed textiles and Johanne Gramatte exhibited her textile art.
308 Ibidem, p. 26, 27; Piotr LUKASZEWICZ, 'Osiqgnigcia wroclawskiej Akademii...) p.35; Vladimir SLAPETA, Josef Vinecky 1882/1949, Vytvarne Dilo.
Exhibition catalogue, Olomouc, Brno 1977, no page number. Josef Vinecky (1882-1949) studied sculpture under the supervision of Josef
Mauder in Prague. He also studied under the supervision of Henry van de Velde in Weimar, where from 1907 he later headed the ceramic
workshop. After World War I he lived in Wiesbaden from 1919 to 1927. His wife Li Thorn-Vinecky (1876-1953) conducted textile workshops at the
Academy of Fine and Decorative Arts in Wroclaw from 1926. Her interest focused on tapestry, decorated with abstract compositions, designed
by Oskar Moll and her husband. In 1928 Josef Vinecky was appointed by Oskar Moll to teach a course in cabinet work which he transformed into
a course devoted to "formation of materials" (Materialgestaltung). He designed wooden and tubular steel furniture, and metal and glass vessels.
His designs were close to those of Marcel Breuer and Josef Albers. He also developed the industrial design programme at the Academy. He
was an enthusiast of modern technology and materials: plexi, polyester, trolon. His contribution to the WUWA exhibition included the section
presenting building materials, arranged in an innovative and creative way.
309 PiotrLUKASZEWICZ, 'Osiqgnigcia wroclawskiej Akademii...', p.36. Johannes Molzahn (1892-1965), a painter and graphic artist with avant-garde
connections, joined the Academy's faculty in 1928. He was an experienced graphic designer and had earlier taught at the Kunstgewerbeschule
in Magdeburg. His no-nonsense designs emphasised the objects'function overtheir aesthetic form. He designed publications and promotional
materials for the WUWA exhibition.
The WUWA exhibition comprised of two parts 304: the model housing estate and the exposition
held inside the Centennial Hall (Jahrhunderthalle) and its surrounding exhibition grounds. 305 The
latter was housed in three principal buildings on the exhibition grounds: the famous Centennial Hall
(1910-1913), designed by Max Berg; the Four-Dome Pavilion (1911-1913) by Hans Poelzig; and a huge
exhibition pavilion called Messehalle (1925), the work of Max Berg and Ludwig Moshamer. For the
purposes of the exhibition several simple pavilions were put up on the exhibition grounds.
The exhibition staged at the Messehalle presented information about the design processes.
Section 1: Planning and Designing, by K. Langer306. New building materials, Section 2: Natural Stone,
Ceramics, Concrete, and Pumice by A. Martens of Boleslawiec (Bunzlau), and Section 3: Metals,
Wood, Glass, Insulation Materials 307 arranged in six topical groups: non-ferrous metals, wood, iron
and steel, glass and artificial glass, wall panelling and siding, flooring, textiles by J. Vinecky308. Paints
and colour design, Section 4: Colour Design, by J. Molzahn 309, with the assistance of Max Streit. New
construction methods. Section 5: External Walls, Ceilings, Insulation Systems, Roofing, Internal Walls,
commendable. It is thus understandable and praiseworthy that its experience in this field is presented at this exhibition, experience which may
provide valuable instruction for Germany's eastern areas. Particularly noteworthy is that the focus has not been solely on urban needs but the
needs of our farmers have been taken into consideration as well, and that modern design has been applied to this workplace. Let the present
exhibition succeed in providing new inspirations, setting new examples of German creativity and industriousness for Eastern Germany. This is
the wish of the Government on whose behalf I hereby officially proclaim this exhibition open.'
304 The principal source of information about the WUWA exhibition quoted in this chapter is its original exhibition catalogue: Wohnung und
Werkraum Werkbundausstellung in Breslau vom 15.Junibis 15. September, Ausstellungs-Fuhrer, Breslau 1929. See: 'Werkbundausstellung Wohnung
und Werkraum', Schlesisches Heim 1928, vol.6, p.286-287.
305 In 1913 the exhibition commemorating the 100th anniversary of the Battle of Leipzig was organised here, for which Max Berg designed his
famous Centenary Hall (Jahrhunderthale; today the People's Hall).
306 Wiezowce Wrodawia. Exhibition catalogue, eds. Jerzy llkosz, Beate Stortkuhl, Wroclaw 1997, p.207. Kurt Langer had been an active architect,
in Wroclaw since 1911. The author of many of cultural initiatives in the city, he was also a member of the Association of German Architects
(BDA - Bund der Deutschen Architekten) architecture and on the editorial board of Ostdeutsche Bauzeitung. He specialised in ecclesiastical
architecture. In 1924 he was appointed Professor of the local Technical University by the Minister of Science, Art and Education.
307 Maria STARZEWSKA, op.cit., p.27,30. In Section 3 Vinecky demonstrated the diversity and importance of materials, so strongly emphasised
in the Academy's programme. The presentation featured glassware sets, cabinet work inlaid in different kinds of wood or combining different
materials, for example metal and glass tables, and also plastic objects, a novelty at the time. Vinecky's wife Li Thorn-Vinecky presented textiles
(wool, cotton, flax, real and artificial silkjute) and textile art (hand-painted shawls designed by Oskar Moll). Adolf Rading's wife Anna showed
her printed textiles and Johanne Gramatte exhibited her textile art.
308 Ibidem, p. 26, 27; Piotr LUKASZEWICZ, 'Osiqgnigcia wroclawskiej Akademii...) p.35; Vladimir SLAPETA, Josef Vinecky 1882/1949, Vytvarne Dilo.
Exhibition catalogue, Olomouc, Brno 1977, no page number. Josef Vinecky (1882-1949) studied sculpture under the supervision of Josef
Mauder in Prague. He also studied under the supervision of Henry van de Velde in Weimar, where from 1907 he later headed the ceramic
workshop. After World War I he lived in Wiesbaden from 1919 to 1927. His wife Li Thorn-Vinecky (1876-1953) conducted textile workshops at the
Academy of Fine and Decorative Arts in Wroclaw from 1926. Her interest focused on tapestry, decorated with abstract compositions, designed
by Oskar Moll and her husband. In 1928 Josef Vinecky was appointed by Oskar Moll to teach a course in cabinet work which he transformed into
a course devoted to "formation of materials" (Materialgestaltung). He designed wooden and tubular steel furniture, and metal and glass vessels.
His designs were close to those of Marcel Breuer and Josef Albers. He also developed the industrial design programme at the Academy. He
was an enthusiast of modern technology and materials: plexi, polyester, trolon. His contribution to the WUWA exhibition included the section
presenting building materials, arranged in an innovative and creative way.
309 PiotrLUKASZEWICZ, 'Osiqgnigcia wroclawskiej Akademii...', p.36. Johannes Molzahn (1892-1965), a painter and graphic artist with avant-garde
connections, joined the Academy's faculty in 1928. He was an experienced graphic designer and had earlier taught at the Kunstgewerbeschule
in Magdeburg. His no-nonsense designs emphasised the objects'function overtheir aesthetic form. He designed publications and promotional
materials for the WUWA exhibition.