DOI Page / Citation link:
https://doi.org/10.11588/diglit.45213#0191
191
Scharoun's building designed for the WUWA estate apparently followed a similar approach.
Interestingly, in 1928 the architect proposed a different design for a building to be located in the
estate's southern part, where Rading's high-rise was finally erected. The submitted design was in-
tegrally related to the site, so when the location was changed to the northern part of the estate,
Scharoun developed a new design for the building which was to become the exhibition's landmark.
The large windows and roof terraces let the surrounding landscape inside the building. Its external
form, determined by the layout, reflected the influence of the "ocean liner style." Believing that con-
struction was the master of architecture 388 and familiar with the supremely functional modern liners
(with their long colonnaded walkways, metal staircases and an innovative approach to new materi-
als), whose design played a decisive role in the development of modern architecture, Scharoun de-
signed a building distinguished by its fluid, dynamic lines, large planes of the walls, glazed partitions
and horizontally arranged windows.389 The building's architecture was dictated by its plan which in
turn reflected the projected needs of future inhabitants. It offered one-bedroom duplex (split-level)
apartments, with the living room facing south.
Buildings designed by Haring and Scharoun opened onto the surrounding landscape through
their large windows and terraces, providing plenty of sunlight and fresh air. Similar solutions ap-
peared in the detached houses by Heinrich Lauterbach (No. 35), Moritz Hadda (No. 36) and Ludwig
Moshamer (No. 37), which were criticised by the strict Functionalists for their "superfluous" architec-
tural form, enriched by the introduction of curvilinear elements. Such solutions have been referred
to as "sun-seeking houses" because the glazed curvilinear sections of the wall, projecting from the
elevation, let plenty of natural light into the family room throughout the day. While most design-
ers of the WUWA estate followed the New Architecture principles formulated by Le Corbusier and
at the same time opened the interiors onto the surrounding space (one of the premises of Organic
Architecture), few went so far as to implement Haring's postulate to take the functional layout as
a starting point. Although Gustav Wolf's semi-detached house (Nos. 32-33), with its pitched roof,
seems more traditional and resembles the country houses designed by Paul Schmitthenner (with
whom Wolf had collaborated), it may also be regarded as an example of the functional approach: in
the idiosyncratic Silesian climate the pitched roof was practical rather than decorative.
Writing about the architecture of the WUWA estate, Wolf emphasised its heterogeneous char-
acter and multifarious sources of inspiration. A predilection for simple forms motivated his design
of the eight-unit house (Nos. 3-6). He referred to Le Corbusier although his houses did not resemble
those of the French architect. Opposing to the use of organic forms in architecture, Le Corbusier as-
serted that primitive forms were beautiful because they were easy to read.390 He praised engineers
for introducing geometrical forms which reflected the rational structure. For him, form derived from
388 Adolf ROTHENBERG, op. cit., p.347-348.
389 Jerzy ROZPEfDOWSKI, 'Architektura od klasycyzmu do okresu II wojny swiatowej'. In: Wroclawjego dzieje / kultura, ed. Zygmunt Swiechowski,
Warszawa 1978, p.402. Rozpgdowski argues that 'the building's dynamic architecture, with its complex layering of fluid walls, windows and
galleries, is rooted not so much in the conventions of Functionalism [whatever the specific brand of Functionalism to which it may be assigned
- J.U] but leans towards the romantic solutions of the already outdated Expressionism'.
390 Gustav Wolf, 'Die Versuchs-Siedlung Gruneiche auf der Breslauer Werkbundausstellung 1929', Die Wohnung, Zeitschrift fur Bau- und
Wohnungswesen 1929, vol. 4, no. 6, p. 181-196. in: Lubomir SLAPETA, Vladimir SLAPETA, op.cit., p.1435.
Scharoun's building designed for the WUWA estate apparently followed a similar approach.
Interestingly, in 1928 the architect proposed a different design for a building to be located in the
estate's southern part, where Rading's high-rise was finally erected. The submitted design was in-
tegrally related to the site, so when the location was changed to the northern part of the estate,
Scharoun developed a new design for the building which was to become the exhibition's landmark.
The large windows and roof terraces let the surrounding landscape inside the building. Its external
form, determined by the layout, reflected the influence of the "ocean liner style." Believing that con-
struction was the master of architecture 388 and familiar with the supremely functional modern liners
(with their long colonnaded walkways, metal staircases and an innovative approach to new materi-
als), whose design played a decisive role in the development of modern architecture, Scharoun de-
signed a building distinguished by its fluid, dynamic lines, large planes of the walls, glazed partitions
and horizontally arranged windows.389 The building's architecture was dictated by its plan which in
turn reflected the projected needs of future inhabitants. It offered one-bedroom duplex (split-level)
apartments, with the living room facing south.
Buildings designed by Haring and Scharoun opened onto the surrounding landscape through
their large windows and terraces, providing plenty of sunlight and fresh air. Similar solutions ap-
peared in the detached houses by Heinrich Lauterbach (No. 35), Moritz Hadda (No. 36) and Ludwig
Moshamer (No. 37), which were criticised by the strict Functionalists for their "superfluous" architec-
tural form, enriched by the introduction of curvilinear elements. Such solutions have been referred
to as "sun-seeking houses" because the glazed curvilinear sections of the wall, projecting from the
elevation, let plenty of natural light into the family room throughout the day. While most design-
ers of the WUWA estate followed the New Architecture principles formulated by Le Corbusier and
at the same time opened the interiors onto the surrounding space (one of the premises of Organic
Architecture), few went so far as to implement Haring's postulate to take the functional layout as
a starting point. Although Gustav Wolf's semi-detached house (Nos. 32-33), with its pitched roof,
seems more traditional and resembles the country houses designed by Paul Schmitthenner (with
whom Wolf had collaborated), it may also be regarded as an example of the functional approach: in
the idiosyncratic Silesian climate the pitched roof was practical rather than decorative.
Writing about the architecture of the WUWA estate, Wolf emphasised its heterogeneous char-
acter and multifarious sources of inspiration. A predilection for simple forms motivated his design
of the eight-unit house (Nos. 3-6). He referred to Le Corbusier although his houses did not resemble
those of the French architect. Opposing to the use of organic forms in architecture, Le Corbusier as-
serted that primitive forms were beautiful because they were easy to read.390 He praised engineers
for introducing geometrical forms which reflected the rational structure. For him, form derived from
388 Adolf ROTHENBERG, op. cit., p.347-348.
389 Jerzy ROZPEfDOWSKI, 'Architektura od klasycyzmu do okresu II wojny swiatowej'. In: Wroclawjego dzieje / kultura, ed. Zygmunt Swiechowski,
Warszawa 1978, p.402. Rozpgdowski argues that 'the building's dynamic architecture, with its complex layering of fluid walls, windows and
galleries, is rooted not so much in the conventions of Functionalism [whatever the specific brand of Functionalism to which it may be assigned
- J.U] but leans towards the romantic solutions of the already outdated Expressionism'.
390 Gustav Wolf, 'Die Versuchs-Siedlung Gruneiche auf der Breslauer Werkbundausstellung 1929', Die Wohnung, Zeitschrift fur Bau- und
Wohnungswesen 1929, vol. 4, no. 6, p. 181-196. in: Lubomir SLAPETA, Vladimir SLAPETA, op.cit., p.1435.