DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45213#0203
203
In public spaces (lobby, restaurant), the architect used strong, saturated colours. "The main lob-
by was deep blue, set off by the silvery reflexes cast by the tubular steel armchairs. The restaurant
was dominated by various shades of red."402 In the living quarters, he used two versions based on
pastel shade of ivory, ochre, olive green, beige or brick red and grey in sections of the right wing, set
off by wooden or chrome plated furnishings.
The colour scheme developed by Scharoun for the hostel was close to those appearing later
in his water-colours painted in Berlin, in which he recorded his architectural visions. Only in several
buildings from his early years in Berlin (1928-1931) were the exterior walls painted white, according
to the fashion prevailing at the time.
Sharoun's hostel for singles and newly-wed couples represented the "colourful city" (Die far-
bige Stadt) idea, promoted in Germany in 1925-1930. Hans Scharoun, Theo Effenberger, Moritz
Hadda (all involved in the WUWA estate) and Hermann Wahlich headed the departments of the
municipal building as police responsible for the choice of colours for the facades.403 In the later
1920's the "cry for colour" in architecture reflected the Expressionist predilection for colour to
be an expressive medium in architecture.404 During this period over a million buildings were
repainted in Germany.405
402 Edith RISCHOWSKI, op.cit. This is the only mention in literature concerning the colour design of the house.
403 Anna MARKOWSKA, 'Problemy..p.49-50.
404 The colour design of the lobby and restaurant in Scharoun's building (No. 31) recalls the spirit of Expressionism. Bright hues and simple
geometrical patterns (blue and pink stripes on the restaurant's walls, blue stripes emphasising the shape of the lobby were set off against
an ivory ceiling) reflecting the Expressionists treatment of space on the one hand and the "colourful city" (Farbige Stadt) idea, promoted in
Germany in the later 1920's, on the other.
405 Anna Markowska, Problemy..., p.49-50. The architects Bruno Taut and Ernst May had a major contribution in promoting the use of colour in
urban architecture. Their articles in "Schlesische Heimstatte" emphasised the role of colour in the perception of architectural forms in which
the involvement of municipal authorities played a significant role. Two instruments were employed to influence the colour design of buildings
"colourist dictatorship" (according to May's conception) was implemented in Frankfurt-am-Mein, with municipal inspectors supervising the
implementation of pre-approved colour schemes. In Wroclaw, the focus was on advising the investors in matters related to colour design.
A municipal agency named Bund zur Forderung der Farbe im Stadtbild and a community organisation called Die Farbige Stadt were founded
to implement the idea. In 1927, Adolf Rothenberg, in an article titled 'Die farbige Breslau', Ostdeutsche Bau-Zeitung-Breslau, praised the city for
its leading role in implementing and promoting the idea.
In public spaces (lobby, restaurant), the architect used strong, saturated colours. "The main lob-
by was deep blue, set off by the silvery reflexes cast by the tubular steel armchairs. The restaurant
was dominated by various shades of red."402 In the living quarters, he used two versions based on
pastel shade of ivory, ochre, olive green, beige or brick red and grey in sections of the right wing, set
off by wooden or chrome plated furnishings.
The colour scheme developed by Scharoun for the hostel was close to those appearing later
in his water-colours painted in Berlin, in which he recorded his architectural visions. Only in several
buildings from his early years in Berlin (1928-1931) were the exterior walls painted white, according
to the fashion prevailing at the time.
Sharoun's hostel for singles and newly-wed couples represented the "colourful city" (Die far-
bige Stadt) idea, promoted in Germany in 1925-1930. Hans Scharoun, Theo Effenberger, Moritz
Hadda (all involved in the WUWA estate) and Hermann Wahlich headed the departments of the
municipal building as police responsible for the choice of colours for the facades.403 In the later
1920's the "cry for colour" in architecture reflected the Expressionist predilection for colour to
be an expressive medium in architecture.404 During this period over a million buildings were
repainted in Germany.405
402 Edith RISCHOWSKI, op.cit. This is the only mention in literature concerning the colour design of the house.
403 Anna MARKOWSKA, 'Problemy..p.49-50.
404 The colour design of the lobby and restaurant in Scharoun's building (No. 31) recalls the spirit of Expressionism. Bright hues and simple
geometrical patterns (blue and pink stripes on the restaurant's walls, blue stripes emphasising the shape of the lobby were set off against
an ivory ceiling) reflecting the Expressionists treatment of space on the one hand and the "colourful city" (Farbige Stadt) idea, promoted in
Germany in the later 1920's, on the other.
405 Anna Markowska, Problemy..., p.49-50. The architects Bruno Taut and Ernst May had a major contribution in promoting the use of colour in
urban architecture. Their articles in "Schlesische Heimstatte" emphasised the role of colour in the perception of architectural forms in which
the involvement of municipal authorities played a significant role. Two instruments were employed to influence the colour design of buildings
"colourist dictatorship" (according to May's conception) was implemented in Frankfurt-am-Mein, with municipal inspectors supervising the
implementation of pre-approved colour schemes. In Wroclaw, the focus was on advising the investors in matters related to colour design.
A municipal agency named Bund zur Forderung der Farbe im Stadtbild and a community organisation called Die Farbige Stadt were founded
to implement the idea. In 1927, Adolf Rothenberg, in an article titled 'Die farbige Breslau', Ostdeutsche Bau-Zeitung-Breslau, praised the city for
its leading role in implementing and promoting the idea.