New Frankfurt

New Frankfurt was a city planning program 1925-1930, which included all aspects of urban design in Frankfurt am Main. It has been known primarily for the housing activities, which eliminated the acute housing shortage in the 1920s. As a project of the new style it set aesthetic standards. In addition, there was a social reform movement, which encompassed many areas of life.

The Frankfurt Lord Mayor Ludwig Landmann 1925 appointed the architect Ernst May, the city architect, who henceforth directed all activities and surrounded himself with a staff of young architects, engineers, artists and designers to firmly anchor the project in the city. It is this comprehensive design standard, which was visible in the everyday life of the design of urban life in many places, the New Frankfurt different from simultaneous projects in other places.

Under Mays Director 12,000 flats have been built as a public- private partnership, in 2000 more than planned. The apartments not only met the basic need of housing - they set standards in housing and development projects, such as the Frankfurt kitchen. Colloquially be in Frankfurt the settlements, but not the individual buildings, " May- settlements" called.

• 7.1 Comparison with the Bauhaus
• 7.2 Acceptance by the residents
• 7.3 Museale workup
• 7.4 Ernst -May- society
• 7.5 criticism
• 7.6 attempt by the World Heritage status

Situation at the beginning of the 1920s

At the beginning of the 1920s, Frankfurt had an extreme housing and modernization, but was at the same time strongly affected by the currency crisis. The city had to take economic refugees ( for example, in consequence of the occupation of the Ruhr ), while it grew by an additional incorporations. Frankfurt was up to the formation of Greater Berlin with the largest city in Germany. The hygienic conditions in stock were meager, as in many cities even for socially better off: tuberculosis and rickets were common diseases. Many homes, particularly in the old town, did not have a sewer connection or running water. Dark Alley prevented sufficient light or satisfactory ventilation. The rapid industrialization also led to environmental pollution.

On October 2, 1924 Ludwig Landmann was elected mayor. The election was preceded by a bipartisan agreement that gave the SPD until shortly before voting their approval. Countryman drove ambitious forward the project of a new large -Frankfurt. On one hand, the new city should grow together, on the other hand develop into a cosmopolitan metropolis. Country man recognized the need for cultural and creative harmonization. Social split in the working class and the middle class society should be reconciled. The project was supported by a large coalition of the SPD, liberal German Democratic Party and the Catholic Centre Party.

The extreme demand for housing put it close to entrust this task of architects and urban planners. The liberal compatriot called this 1925 born in Frankfurt Ernst May, who worked at that time for the urban homestead Silesian city of Wroclaw, the Social Democratic city treasurer Bruno Asch and the Cultural Minister Michel Max. The independent Ernst May also fulfilled his role in the project as a buffer between the political positions. The protagonists mentioned were of Jewish origin, but in fact no religious affiliation and activity. They were advocates of a modern Judaism, which had opened socially. Example, by intermarriage with Christians or above average for a small group involvement in cultural and scientific fields

First urban considerations assumed that the city should no longer primarily used for residential purposes, but would be a place of trade, with the major bureaus that is mounted on the bracket Landstrasse. The city should not grow uncontrollably to the outside, but the living room should be created in " moon " with spaces between it. Also been designed to make easy access previous district cores. A strict separation of living and working as propagated in the Charter of Athens, but should not play a major role. In addition to the dwellings should be located because of the short distances and industry. Even the well-being of adolescents and children took place in some considerations. In fact, was not only housing, but almost to create the entire public infrastructure that had been neglected to date either or for which there was no need.

Scope

The architecture of the new Frankfurt broke with traditional methods of Housing and Urban Development. At the same time elements of the English garden city were to be found. The settlements of the New Frankfurt are an important example of classic modernism and functionalism, as he played a vital role in the architecture and design 1920-1968. They have an amazing formal homogeneity.

In general, nothing was left to chance, which was designed to and in the broadest sense fell within the competence of the planner. Ernst May and his staff relied on standardization and standardization of components. So some of the settlements were already prefabricated, but in contrast to May's post-war they resorted to small-scale spatial structures that much weight put on standardization of all aesthetic details and site-specific design. For example, after roads were modeled on a Roman wall. With a relatively low cost of high living comfort arose. Example, it was dispensed with doors to an elaborate coffers. Also developed in three sizes Frankfurt Kitchen, a prototype of the kitchen, was installed in each apartment and took advantage of the planned space optimally. Other components to the furnishings were cataloged in Frankfurt register. Ernst May also prompted the employment of unemployed people in recently established for companies, of which, for example, the concrete slabs, but also furniture and fittings were manufactured.

Among the settlements from an experience of nature is to be possible, and the built-up area are related to the natural environment. Max Bromme reached an expansion of urban green spaces from 200 to 450 hectares. The green areas between the settlements were first created and designated as green belt. They formed the basis of today's Frankfurt Green Belt. Kitchen gardens should offer a degree of independence in the supply of food in times of crisis the families. One of the landscape architect was Leberecht Migge as May, a friend of the English garden city model. May, Walter Gropius and Adolf Meyer, develop aesthetic Richtlininen for the cemetery regulations that correspond to a spirit of " simplicity and truth." The sculptor Richard Scheibe and Josef Hartwig designed exemplary grave stones from local materials. This typing time was not unusual. Pablo Picasso, for example, refused to draw up a grave stone for a friend on a French cemetery, which he described as " fair monuments." Even allotments were understood as part of the cityscape: the allotment holders were prescribed typed huts which were designed by local architect and inexpensively manufactured industrially.

Latest from the collaboration of Ernst May with Fritz Wichert was also a connection of the project to Staedelschule. Students were given about the project contracts in the city. Christian Dell, the head of the metal workshop of the Städel / Arts School designed lights for the Frankfurt register. This success led to repeat business from rival firms for the designer.

Financing

For the project, much land was needed. Many of Frankfurt families owned a piece of land on the outskirts, formerly self-catering, so that there were many landowners in the 20th century. The city had 43.2 percent of their land, 22 percent belonged, however, to the town forest. In the free market of suitable land for 5 to 15 Reichsmark per square meter was offered. However, these prices prevented a construction activity with social objectives. With reference to a Prussian law, the city expropriated landowners and compensated them with an average of 3.50 Reichsmarks per square meter.

The view was that for the comfort of the new buildings higher rents would be accepted as for existing buildings and there would be a market for new buildings. The urban contribution of 50 percent of the cost of residential buildings was half funded by the rent tax and 30 percent of loans, the balance consisted of own funds.

It involved the recently acquired with inflation money from the city's 90 percent share construction company for small apartments that Mietheim AG and the AG Hellerhof the only almost fully private-sector company owned by Philipp Holzmann. The equity of housing associations was only 20 percent. They took to finance at home and abroad on loans and bonds issued. The large investments compatriot Considering over-indebted public coffers during the Weimar Republic were not on. On the contrary, the city could raise loans due to good financial management abroad. For the financing and capital raising, originally from a merchant family economist and City Treasurer Bruno Asch was responsible.

The Frankfurt norm and the Frankfurt register

As Frankfurter standard, a program was developed, the normalized for the apartments components such as windows and concrete elements and creatively matching everyday objects such as doorknobs, furniture, utensils. To this end, the Department of typing was established. Individuals were given discounts and help when they referred such components for their construction project. The unemployment center of Frankfurt produced furniture that was sold on the urban household GmbH. This was dissolved on 14 January 1930. The furniture designed architect Franz Schuster.

" A plan may be ever so organically constructed, the dimensions may be calculated as appropriate to the aesthetic proportions of the rooms may not be so happy at the moment where the usual substandard household makes its entrance, fades harmony "

The Consumer Goods Standard of the Frankfurt were published as a glossy leaflet Frankfurt register of the magazine The New Frankfurt with consecutive numbers. The Journal of the Central Building Administration in Berlin designated 1928 the Register as " a kind of precious advertising ." Except for the lighting of design-oriented Danish company Louis Poulsen from Copenhagen, Paul Henningsen designed, all products of the architects and designers of the new Frankfurt were developed. Were produced watches Junghans, the Thonet chairs and household goods from the WMF. It is striking that in addition to the major providers Frankfurt many companies were involved to small workshops. The standard telephone produced the Frankfurt-based company Fuld & Co. Another prominent object was designed by Ferdinand Kramer doorknob, it is offered today as a reproduction from different vendors again.

Ernst May and the locksmith August Schanz jointly developed the steel frame, a fortified in the masonry frame of folded sheet steel, in a door leaf was hung. This invention was later worldwide standard.

Visual appearance and graphic design

In addition to architecture and product design and graphic design has been attributed an important role. In the 1920s, the German Association of Cities office recommended a technical harmonization within administrations, which should include the graphic. Frankfurt began in 1925 as the first city with the implementation, followed by Berlin in 1927 and Hanover in 1929. As a house red and white colors were defined as a contrast color black. Hans Leistikov designed in addition to the official documents, a new coat of arms.

By terraces, an increased peripheral development and similar style means the settlements achieved a structural isolation to the outside. The roads are long and have been enlivened with a few pedestrians. For a change slight offsets and jumps provide in street guides and buildings. Elaborate, differing in the form of building on dominant points are the opposite pole to the serial construction. These houses are often communal facilities such as shops, libraries, and about special dwellings such as a two-story penthouse for a composer.

Also, the cityscape was harmonized: Walter Dexel and Robert Michel designed urban neon signs, shop labels, posters, signs and gable stops for trams. Adolf Mayer also worked for the trade of a publicity order, which entered into force April 13, authentic and has been closely monitored.

Under the Nazis, the new Frankfurt coat of arms was again abolished and deported the activities of the visual appearance of the office. After 1945, these steps have not been reversed. In 1985 again a corporate design was worked out without the coat of arms to re-introduce. Once a pioneer was, 60 years later Frankfurt one of the last cities that were not active in this area.

Development of the font Futura

Both Frankfurt with the Bauer foundry and Offenbach am Main with the company Klingspor were key locations in the development of fonts. 1925 drew the typographer Paul Renner to Frankfurt and took a job at the Städel School. It was a collaboration of the School with the project. Renner 1925 put the city designs for signage in an original version of Futura before and also gave lectures. New friends he was with Ferdinand Kramer, with whom he exchanged over typography and designed a font for the hat shop of his parents, who later Futura possible. At times, it was believed that Renner had copied the font Kramers. In fact, Renner had previously worked for many years at the Futura.

The name of the font was a suggestion of Fritz Wichert. The marketing was deviated in the Bauer foundry of the strict geometry and optical illusions have been considered. Different forms of the original Futura can still be found in house numbers and titles of publications. Since 1988, the Futura is the typeface of Frankfurt.

The magazine Das Neue Frankfurt

For seven years from 1926 to 1933 appeared The New Frankfurt. Monthly Journal of the issues of big-city design. Editor was initially Ernst May itself Hans Leistikov was responsible for the layout. From the October issue of the magazine in 1930 by Willi Baumeister was designed. Authors were regularly Walter Gropius and Marcel Breuer. Later came Fritz Wichert, director of the School of Applied Arts, added as co-editor. Now the program to music (about accompanying the Frankfurter summer music by Otto Ernst Sutter ), expanded theater and radio. The magazine was a model of other publications, such as The new Berlin, the new Munich and The vibrant city of Mannheim.

In April 1932, the magazine was renamed to the new city due to its now worldwide distribution. At the same time, the topic was international, with contributions from New York, Bern and Scandinavia. For political reasons, the magazine had to be discontinued in March 1933.

Books (selection)

In cooperation between the municipal authorities, the building department and the business office a few books have been published, these official publications were mostly edited by Werner Nosbisch, some were published by Englert and castles.

• The stadium in Frankfurt am Main in words and pictures, 1928
• The new wholesale market hall in Frankfurt: the opening on October 25, 1928
• The founding of the University of Frankfurt, 1929
• Frankfurt school buildings in 1929
• The Housing of the City of Frankfurt aM, 1930
• The apartment for the subsistence, 1930
• Five-year housing in Frankfurt am Main. Reprinted from the journal the new frankfurt

In addition, the publisher Englert and castles were also on their own initiative books on various aspects of the project out, for example, a furniture book about the furniture of Franz Schuster.

Film, Music and Art

In collaboration with the Building Department, which served as a carrier of New Frankfurt, New Frankfurt, the federal government was founded. This was aimed at scientists and artists to participate in the project and to jointly organize with them for example exhibitions.

Within this group, Ella Bergmann -Michel founded the Association for independent film. Between 1931 and 1933 she made ​​five documentary films, among other things, on the Reichstag election campaign. They are considered " rare example of a socially engaged and simultaneously artistic film work." Ernst May had previously turned himself documentaries, the last one was how the people live.

The Federation New Frankfurt was renamed by Adolf Meyer in 1928 in October group, Joseph Gantner was also involved in the magazine, issued a series of books. The October group also joined avant-garde architects who are not creatively participated in the New Frankfurt.

Initially, the New Frankfurt should also have a special attitude to music. It has never worked out, however, the city hosted the 1927 summer of music with the international exhibition music in the lives of the people. Since 1924, sent to the West German Broadcasting ( Radio Frankfurt).

The settlements were painted by Hermann Treuner.

For the Friedrich- Ebert- school Max Beckmann produced on the initiative Mays as part of the school pedagogical and political program of a painting that was removed later by the National Socialist regime.

Architects and designers of the new Frankfurt

A total of over 60 architects and an unknown number of engineers, designers, artists for the New Frankfurt were engaged. Among them were also well-known personalities such as:

• Ernst Balser, Architect
• Willi Baumeister, painter and graphic artist
• Ilse Bing, Photographer
• Max Cetto, an architect
• Walter Dexel, graphic designer and typographer
• Walter Gropius, architect
• Werner Hebebrand, architect and city planner
• Bernhard Hermkes
• Marta Hoepffner, Photographer
• Eugen Kaufmann, architect
• Ferdinand Kramer, architect and furniture designer
• Hans Leistikov, graphic
• Ernst May, head of the project

• Adolf Meyer, Architect
• Leberecht Migge, garden and landscape architect
• Fritz Nathan, sacred architect
• Paul Renner, typographer
• Franz Roeckle
• Carl -Hermann Rudloff
• Margarete Schütte- Lihotzky architect and designer of the Frankfurt Kitchen
• Mart Stam, architect and furniture designer
• Walter Schwagenscheidt, architect and city planner
• Otto Ernst Sutter, engineering, music journalist and head of the trade fair company
• Bruno Taut, the architect
• Martin Weber, sacred architect
• Fritz Wichert, art historian and director of the Städel School
• Paul Wolff, filmmaker and photographer

The most important structural realizations

With the new project Frankfurt especially the settlements are connected. In addition, however, many public buildings and individual buildings have been realized, such as the wholesale market hall, the customs office and the building of the palm gardens, schools, cemeteries, park gazebos and garages.

Generous green spaces between the rows of houses, for example, in the home settlement

One of the many school buildings: The Hall School Garden

Also, individual residences such as the Hans -Sachs -Strasse 6 belong to the New Frankfurt

The garden pavilion in Brentanopark

Power Station in Gutleutstraße

End of the project

In the May 1928 local elections were in Frankfurt. The DVP and the Nazi Party railed against the "system countryman", with reference to his and May's Jewish origins. Only the incorporation of Höchst am Main with a predominantly Catholic population could prevent a crash of established parties and positions. All major cities, including Frankfurt were subjected to by the Chancellor Hermann Müller 1929 a rigid austerity policy, which significantly limited the financial leeway. Successes in economic policy, such as the establishment of the seat of the administration of IG Farben were in town, accompanied by simultaneous bad developments such as the collapse of the Frankfurter Allgemeine insurance. The realized settlements mitigated, for example with their self gardens or preplanned possibility of subletting for the citizens of the symptoms of the global economic crisis.

Under the chairmanship of Ernst May, the second CIAM Congress ( Congrès Internationaux de l' architecture moderne ) was held to 26 October 1929 by 24. The Congress was despite a rift between May, Giedeon and Gropius as a success. Theme of the event was " The apartment for subsistence ." Here, the participants could not agree on how far this "customer orientation" is to be regarded. Subsequently, an exhibition was organized in European cities. Critics made ​​the New Frankfurt for general small construction activity responsible and rejected its European interpretation: " In Frankfurt is hardly built [ ... ] and the new Frankfurt travels as a touring through Europe. " May retired in 1930 from the project, leaving the line for those employees who wanted to stay in Frankfurt. Bruno Asch then left also Frankfurt and took a job in Berlin. The market orientation of the project "New Frankfurt " had previously earned him criticism within his party. One of the last completed realizations was the settlement " Am Lindenbaum " by Walter Gropius.

As late as 1932, a Research Centre for Housing created at the Faculty of Social Sciences of the University of Frankfurt, which was headed by Ernst Kahn. Kahn also encouraged the establishment of the Association for unemployed kitchen. He had to stop working in 1933 and emigrate.

Ultra Conservative Rights and National Socialists attempted to enforce the name " system countryman, Asch, May," for the project, and called for protests. They described the work of the protagonists as un. Although Joseph Goebbels liked the architecture of the new style, but realized that an attacking, modernity and a link to Judaism and communism sympathies brought the electorate. He designated May as " Lenin German architecture ". With the seizure of power by the National Socialists then all the activities of the New Frankfurt came to a halt. The popular magazine has been discontinued. For the work on the film " election 1932 " on the election propaganda of the Nazis in the Reichstag election campaign 1932/33, Ella Bergmann -Michel was arrested and received 1933 prohibition. Thus ended the film activities of the New Frankfurt.

Supposedly the Nazis had intended to remodel the buildings and to provide them with gable roofs. In fact, they presented foreign visitors settlements and offered a tour in which they claimed that it was to Nazi buildings that were realized by them.

Care since 1945

After 1945, the housing was again taken up in the context of reconstruction. The building of the new Frankfurt remained a globally recognized example, but were in Germany in the era of the construction of large dormitory towns, such as Neuperlach in Munich or the märkische district in Berlin, as outdated. Baths were there now no windows and even criticized as small Frankfurt kitchen was still untertroffen of new kitchens in dimensions. The original design of the New Frankfurt was not recorded, the gaps have been filled by another building. Even the holistic thought did not matter. Ernst May, who throughout the Federal Republic was now a sought-after city planners, stepped in Frankfurt even when configuring the Frankfurt Nordweststadt in appearance.

With the support of the Lord Mayor Rudi Arndt 1976, the buildings should be demolished by Mart Stam at the Hellerhof, which led to international protest when "compromise" was then torn down only a part.

Most owners of the building is now the ABG Frankfurt Holding. Despite conservation most of the buildings were partly renovated several times. Efforts are made to preserve the overall appearance, but hardly to structural details. So vinyl windows are now installed almost anywhere. The buildings stated at construction time to a good insulation standard. In 2007 there were considerations to improve the insulation of some buildings. One approach looked right to make sandwich panels consisting of 3 cm thick vacuum insulation panels (VIP ) and a mutual one centimeter thick polystyrene insulation as a plaster base plate. In the 1980s, the term "New Frankfurt" was again for publications and used as an advertisement of an urban renewal.

The greatest danger currently contribute less to the demolition of buildings represents, rather than the loss of important structural details or their replacement by other components. For example, pergolas, which provide no purpose for the landlord removed filigree steel and wood doors replaced by cheap and easy to care for but clunky plastic.

Resonance and reception

In addition to the New Bauhaus Frankfurt can be considered as one of the most influential movements in the design in the 20th century. Unlike the Bauhaus there was no school behind the New Frankfurt, but practical tasks. The scope and design of the new Frankfurt consequence was unique. Consequently, the global response was tremendous and was limited not only to a professional audience. For example, an interview with Ludwig Landmann was printed on the cover of Belgian culture magazine 7Arts. Martin Wagner in Berlin admired the buildings of New Frankfurt, and was based stylistically on the Frankfurt pioneering achievement.

The "New Frankfurt" was also known by many private picture postcards, some motifs with modern buildings reached a great popularity comparable to the main attractions.

Comparison with the Bauhaus

Aesthetically, the new Frankfurt and the Bauhaus held similar positions, such as in the formal reduction to the elementary geometry, the use of "honest materials " and standardization. The holistic concept, comparable to the total work of art, and the social reform approaches had their origin in the Art Nouveau style.

The Bauhaus was a school, while for the New Frankfurt mostly people were selected who were already active and had practically ideally shown reform approaches in their work. Ferdinand Kramer, who had turned their backs on the Bauhaus scoffed that there would " only designs for Lehmstampfhäuser " arise on the tables, he took charge of the typing on the New Frankfurt.

Given the reputation of the Bauhaus, the New Frankfurt is sometimes represented as inspired by the Bauhaus, in fact it is chronologically about a parallel development.

Acceptance by the residents

Although the settlements had made housing in Frankfurt affordable, but by the high rents to cover the construction costs not necessarily for workers. The design reduction and simplification, cost reduction was offset by high quality materials. Although these are in fact to large settlements with thousands of apartments, they are considered a popular residential area, to the point that apartments of tenants of offspring are "inherited".

The reference of an apartment was subject to numerous conditions: In order to get an apartment of New Frankfurt, candidates had to leave another respect enabled home and be at least a year in Frankfurt and the surrounding area looking for a home. Furthermore, a family needs as well as a health certificate from the future residents was demanded. These conditions have meant that in the early days only the upper middle class could afford the homes in particular. It was only later, workers were added. The pull rate was relatively high due to the high rents at the beginning. The observance of cleanliness and order in public spaces has been attached great importance. The inhabitants of the settlements joined together to form interest groups together who infested example, rent increases, but also organized festivals. Under the Nazis, all initiatives were banned. They left strategically located apartments Party members. The architectural approach to combat, for example, by visual contact with the retreat into private, proved to be fatal in this situation.

It is often reported that the modern architecture appeared strange to the inhabitants. In fact, there were many residents who also upper-class neighborhoods left to relate one of the modern houses or one of the apartments. There was hot water, a modern kitchen, self catering gardens and sunlit rooms. Also from the facility proposals, such as the system designed by Franz Schuster furniture from the Frankfurter register, many people do still use. Participation problems there were, especially in the lower social classes. So parts were disassembled from Frankfurt kitchens and replaced by buffet cabinets that were considered " representative " already with your first order. The door to the living room, intended as a short way and supervision of the mother of the children in the living room, was bricked up as a space for furniture. Built-in beds, which could be folded up, as more space for children to play on offer were exchanged for large beds that the housekeeper daytime presentation space offered for embroidery, handmade pillows, etc.

Museale workup

From the 1970s, the art-historical interest in the settlements increased. A museum workup often limited to solo exhibitions. The inclusion of the Frankfurt Kitchen in collections of design museums such as the Museum of Modern Art in New York and the Victoria and Albert Museum in London, the worldwide recognition has been strengthened. However, other parts such as lights or door handles were recorded or reproduced in collections. Due to the custom of the " author designs " the benefits were attributed only to the people they had worked, was on the relationship of the project, if at all, only a side note.

In Frankfurt the Universitätsbauprogramm the Goethe University of Ferdinand Kramer for an exhibition titled began " The last chapter of the New Frankfurt".

Ernst -May- society

2003, founded the " Ernst -May- society " to the " promotion of architecture, art and culture, heritage protection and the promotion of science and research." As of 2006, the Company established the terraced house in the Castle field 136 in the settlement of Roman town in Frankfurt- Heddernheim as model house of the New Frankfurt ago and gave it to the original state. The model house has been used for the completion of lectures and events. In addition, an archive was created.

Criticism

The Hessian historian Frank -Lothar Kroll, for example, wrote in 2011 that "the built in typical prefabricated [n ] Frankfurt suburb settlements in Niederrad, Sachsenhausen and Bornheim standardized dreariness and monotony " spread.

The 450 -page "Frankfurt Chronicle" in 1968 from the Waldemar -Kramer Verlag, dedicated to the project and Ernst May, only about 50 words in a tabular style.

Attempt by the World Heritage status

Because of the worldwide interest in the buildings of the New Frankfurt was trying to raise them to the status of a world heritage. Since the UNESCO World Heritage Sites summaries of aims, and to avoid to the elaborate bureaucracy, it was suggested to connect the settlements with the shortly afterwards erected Berlin Modernism Housing Estates. To this end, the city of Berlin refused their consent in the spring of 2013.

The city was recommended to partner with cities such as Amsterdam and Vienna. The fact that the number of new proposals was limited to two per state in Germany and Hesse has already submitted three proposals in 2013, a restart is currently unlikely.