Rob Krier URBAN SPACE Foreword by Colin Rowe ACADEMY EDITIONSURBAN SPACE Foreword by Colin Rowe ACADEMY EDITIONS -LONDONIn memory of Camillo Sitte Written for students of architecture Dedicated to my brother Leon My deepest gratitude to Gudrun for her criticism, corrections and patience First published in Great Britain in 1979 by ACADEMY EDITIONS. an imprint of the Academy Group Ltd, 42 Leinster Gardens, London W2 3AN English language edition and Foreword Copyright © 1979 Academy Editions London All rights reserved No part of this publication may be reproduced in any manner whatsoever without permission in writing from Academy Editions, 42 Leinster Gardens, London W2 SAN ISBN 0 85670 576 4 First published in German in 1975 Translated by Christine Gzechowski and George Black Fifth impression 1991 Printed and bound in Hong KongCONTENTS FOREWOR! 4 modulations of this spatial THE R To CHAPTER 1 f circus ‘ TYPOLOGICAL AND angular squares anc DEVASTATED URBAN AREAS MORPHOL derivatives (GENER, f T 3 large-scale composite pl ston ae 2 DEFINITION OF THE CONCEPT ~ street plans he Rotebhl BTN OF = Yariations and inventions rannesst the square EPILOGUE TO THE In =the sveet TH Re ; he Wi : PICAL FUNCTIONS dsp URBAN SPACES 5 q =the squste < Sehiosspa the test CHAPTER 2 ne Stoatsgal a ROSION OF URBAN SPACE ner e r Ae oiers EPILOGL THE .PTER SrATIAG Pt IN 20TH CENTURY TO} eee : Rear PLANNING é een - ea 1 HISTORICAL SUMaRy : INTERSECTIONS OF STREE 2 eniTiQue oF Pnesent-oa ee a PATTERNS OF Une ee een bevevoPwen s Wey MAY BE COM RAT MODELS FOR are B DEVELOPMENT WL Meer TH ae URBAN sea | __-FLTURE DEMANDS OF URBAN seas Grown? APPENDIX ith vaniati Pe 6 STUTTGART A F Bespin care wi CHAPTER 3 1 recs fm STU - = balla Bere cine BHRReR rosctin ron ani URBAN SPACE WITH EXAMPLES STs PUT anes ee eae Fee OEM GACK IN ITS PROPER PLACE Raeunase FSOMETHIES is = eneuses i ie ores BIBLIOGRAPHY 173FOREWORD by Colin Rowe In the jungle-like politics of archi tectural self advertisement it has become a misfortune of the late Emil Kaufman's great achievement, inad- vertently and considerably after his death, to have sponsored @ highly edited and, often, somewhat mindless version of neo-classicism. Was it Von Ledoux bis Le Corbusier of was it Three Revolutionary Architects which gave the cue? And it was probebly the latter, with its so desirable conno. tations of dynamic and anti-academic insurrection. For. when the archi- tectural Boy Scout camps of the 1820s (La Sarraz and all the rest) could be Seen as equipped with a respectable, and stil revolutionary, pedigree, then tho possibilities of annexation became endless. For, then, it became pos. sible to be interested in the late eighteenth century without seeming 10 be desperstely old hat, and for a Series of hero figures to be observed. And so, and after certain strange leaps of the mind, Ledoux-Boullée was followed by the constellation of Saint Simon, Comte and Fourier and then, after the whole panoply of the French socialist tradition bacame exposed, by Kori Marx and the 80. curious notion that a William Mortis society might be constructed out of French neo Classical components; and one might abbreviate the possible process of argument by which all this may have ‘come about With the nitty-gritty of the Welfare State and the appalling bureaueratic details of pscudo-Capitaist admin. istration we will have nothing to 0 instead, we will simplify, abstract and project to the degree of extravagance a highly restricted, private and not very hospitable version of what the good Society might be assumed to be; we will give a nod to Kaufmann: we will give three muted cheers for the Stalinallée, we will adore the mani. festo pieces of Boullée; we will (mostly) refuse to observe the built work of Soane, instead, and if neces sary, we will unroll a few hundred yards of neutral Adolf Loos facade. build a lot of little towers and stand ‘around on top of them @ quantity of Ledoux villas. wave quietly but not too exuberantly to Louis Kahn (con: gratulations en the Trenton Bath House). insinuate a reference to the metaphysic of Giorgio de Chirico, display a conversance with Lecnidoy, become highly enthusiastic sbout the more evocative aspects of Ant Deco, exhibit the intimidation of curtains waving in the wind, and, then, gently warm up the ensuing goulash in the ‘pastoso of Morandi But, if here is displayed the solution (with all ts stavistic seductions) fresh from Milano-Venezia, one might also be prompted to ask whether its Marxism is nota little too romantic and its presumptions alittle too premature Apropos of the so-called New York Five and their alleged intellectualistic involutions, Aldo Giurgola spoke of the discreet charm of the hourgecise, ‘and about this other context. of gestures, postures, antics which has just been abruptly summarized, where social conscience, social agony and high fashion aie almost inextricably interrelated, just what is there that needs to be said? That, although the stage sot is almost completely ‘changed from that of a few years ago. the form of words whieh the players uso is, in some way. distressinaly familiar? For, the idea that ‘at stopped short at the cultivated cour of the Empress ‘Josephine’ has, in ane form or another, been around for @ considerable time and, recently, though ine different framework of values, it has been given fesh currency. But, of course, even in 1881, W. S. Gilbert's endearing, phil stine and distinetiy inadequate salite of the miscellaneous cestheteswho popu Jate the pages of Patience disclosed a {quasi-citical orientation whieh was in Something went wrong in 1714, oF 170. or 1789, or 1804, with the beginning of the Georgian era or at its fend, with the desth of Queen Anne or the accession of Queen Victoria, with Andrew Jackson, with Ulysses 5, Grant. with the discovery of Pompeii, with the emergence af the Roman Empire, with the collapse of the Roman, Empire, with the decline of the Midale ‘Ages. with the appearance of Brunel- leschi, or Michelangelo, or Inigo Jones, or Borromini. One can. re- arrange the dates, rename the style Rast colnet, OE Ree Which decorate this scenario but the basic structure of what, after all, must still be historical myth will remain, surprisingly consistent and intact. At some moment in time there occurred @ cessation of meaningful artistic pro- duction and a catastrophic decline in all sense of value. Standards of crafts Imanship were abruptly. terminated Collective endeavour declined. Society became atomised and the individual alienated, Disassociation. of sensi- bility ensued and. tragic schism be~ tween feeling and thinking was the inevitable result But. now. ous avons cheng tour cela. For we, the protago: rists of the new, have scrutinized and discriminated. We know the evil, we have the remedy, ours is the pre scription: and, as for you. just you take ‘good look and 2 good listen Such, in its time, was one of the primary messages of modern arctecture ~ primary message of Walter Gropius, Sigfried Giedion, Le Corbusier ‘and Nikolaus Pevsner. Only believe in this: and if you will but do so, the ‘world will become re-integrated, the {jays of craftsmanship restored and the ‘wounds of society healed. But i ‘contributing to the litany of this myth, there have been many of the would-be self-consciously critical names of re: cent Western civilisation, it must stil emain 2 particularly savage ony that modern architecture's most favored polemic has naw been enlisted against ‘modern architecture itself. For the locus ofthe historical riftvalley snow shifted the bad date is naw 1923 — or there- bouts, the bad gestures/propositions: are those of CAM; and the really evil Quys the Pied Piperswholesdthechild. fen in the wrong direction and finally deposited them in a Carpathian wilder ness, teribly dangerous and ever so far from home) are rapidly coming to be the bearers of just those names which, ‘only the other day, seemed to be so firmly respectable and so highly estab- lished among the commemorators of architectural progress. ‘So, perhaps, we now inhabit a some- ‘wihat desperate Transylvanian land- ‘scape of the mind, lugubriously furnished with the wreckage of repu- ‘tations and the debris of good inten ‘tions. Hamelin town is far avvay (in Brunswick near famous Hanover ity’): ut. having been brought to “out present destitution by the most haming music, the most intr, ‘esting of leadets, the most curious of “subterranean routes, we can only feel “disavieted, abused, disturbed and, unable fo forget the Hansel and Gretel toy town from out of which we nk nsttument of our tempta- of an impeccable and ion, through instant = Was itself no more than ‘and nothing — ever — was really very ttup and, inthe twentieth century, even those few who almost approached goodness, almost embodied truth, ‘were invariably debauched by tho flagrant influence of a local grandee — 2 capitalist Dracula, monstrous, sadic ‘and perverse — who distorted tho message and rendered its results uuterly vain Or, at feast, something like this seems to be among the many inherently inconsistent diagnoses of modern architecture's impending collapse, and, lp to a point. this diagnosis is almost believable, But, itis surely notso much the credibility as it is the wholly con- ventional character of such orgument which deserves attention. For. if in their implication that most of tha cities, Of the world have been approximately ‘wecked via the agency of modern architecture the proponents of arch fettura rezionale can only be entirely correct, then should it not seem stiange that the style of argument even the vocabulary of argument, in ‘which these judgements are delivered — bourgeois angst. apocalyptic. threat incipient world transforming event, holistic deliverance — is representative lof a critical strategy of which modem architecture should have made us only 00 sceptical ? For, again, the decors: tions of the stage infer something significantly avant garde, while the Iibretto of the opera comes over as a standardized and entirely to be antici ppated plot To repeat: the bad date is ‘now 1923, the good date is now 1974, (01°75, or 76 :anditisthe persistence of an old argument, transferred from context to visual context and. stil presented as novelty which is here the profoundly disquieting factor. For ‘what we are here presented with is something professing to be radical chic, elegant fa figura, social concern; and if. in terms of the visuals. what we feceive is an) engaging archaeulogy of ‘the future, thon, in terms of the verbals, ‘he situation is much the same. The verbals are antique: and Problem of the symbiosis of an . and thewould-bevway-oun tne insuperable, is cera For avant garde pratestation (hey Bh at Our acrobatics!) ond the tiene creakings of old verbal machinery are, in he ond, not the best of al pokaty bellows; and, simply, the’ comb nation is less than respectabl Hy athletic Until tecamty when modern ahi simost any architect under oe ayes Sixty (ath appropriate ncievemente to his ere) ns Il tbe sted Auestion "But just how old dows one fave ta bein order to become a young architect (2)" was Scatcely eve" po founded. For tha legend. of uncer fupted, ineonuptbie. archiectua youth (youth synonymous wth the only quest wortarila~ the ongorg test forthe now and the a) er sisted a8 one ofthe most fundamental of felons: end, indaod, th ealasion otwoon Foto Pan. vugerdel the Boy. Scouts and’ the early Fstst ‘giovinezea, gioviners’ is tiely 0 remain among. the. more observable phenomena of early twentieth century Eulture~ perhaps pat of the inevitable Hetag ofthe art nouveau So it was on important idea — and a dangerous ones ond, like many im songnt and dangorous = dea, as come foslized ans survives a more than unexamined. and tedious Mradtons Tet us foher be. potentel than prodvetwve; fe us be dynamic trie than invospactive: lt vs rel Samant aieton ets conden ho unjust sopnsticouane ond spect Thora "coues” of establened 9° Thnce Rousseu's noble savage (0 dial “enerpy_ uneomaminated DY dite) ealmostitesomaas Peter Pa He moat to samo as te stati? (ae in seca creas)‘. Stor mike tabula rasa, ort 1 disclose pn ive Neuse and to engender a tum soi rede and of rtewed ab6rgal pun ee Us proceed to mock, to injure and to destroy the existing Now the fiesta of destruction (one imagines. broken hotles on 9 New Yeer's Eve in Naples) which has con lined since the Enlightenment surely eserves to be poled For the mest ‘art ithas been exhilarating; also thas resulted in previously undreamed of blessings; and. 9s one attempts 10 imagine the conéiion of provinetl society. circa 1770. in alist any smal sity nthe world, then ane ean only sy. Thank God for the ventiations wich, ‘ver the last tivo hundred years, have ‘been made! But, at least for the impatient, the route of what mightbe conceived tobe progress has stil taken an extremely Tong time; and, of course, one of the ‘major road blacks to emancipation has naw become the fantasies which the frchitect entertains about himsalf, fantasies now litle more than the platitudes of enicism, but, stil fama> sins which. in thelr own day — naw a very good many yeas ago ~ were Conceived of as permanent, indeed dazzling, lluminations which were for fever to make visible the surface of glorious autosiraca leading to acysta Tine social condition of limpid authen. ticity. I a whieh Book of The vis Deliver when las, Kind 0 to be | busier wore severely eschato stil su ‘indo lonable patel this is be cod than ne ofthat wall stinkin twrear rial es Anat ‘gan of a aro ‘ange inspin read mode and if rat a physic archi that asin Laugi (end | cent in wh emi anti supa of mil Indeed comm ‘atureThe verbals ere antique’ and the ‘problem of the symbiosis of antiquity nd the would-be way-out, though not insuperable, is certainly considerable. For avant gerde protestation (hey. look ‘at our acrobatics!) and the eternal ereakings of old verbal machinery ar, in the end, not the best of all possible bbedtellows: and, simply, the combi nation is less than respectably athletic. Uni recently when modern archi tecture, in spite ofits longevity, was sill, unsersally. proclaimed as new’ most any architect under the age of Sixty (with appropriate achievements {to his credit) was likely 0 be saluted and advertised 2s ‘young’ and the ‘uestion “But just how old does one have tobe in order to become 3 young architect (2)' was scarcely ever pro- pounded For the legend of uncor- ‘pied, incomuptible architectural youth (youth synonymous with the only quest worthwhile ~ the ongoing Quest for the new and the agile) per ‘sted as one ofthe most fundamental Of fictions: and, indeed, the collusion ‘between Peter Pan, Jugendstil, the Boy Scouts and. the early Fascist ‘piovinera, giovinezza is likely 10 femein among the more observable ‘phenomena of early twentieth century ‘culture ~ perhaps part of the inevitable heritage of the art nouveau. ‘So it was an important idea — and a ‘dangerous one. and, like many n- oriant— and dangerous ~ ideas, t has ‘become fosiized and survives’ as no ‘More than unexamined and tedious Atadton: (et us rather be potential than pioductve: fet us be dynamic father than inirospectve: let us prefer ion ofelesion et us condemn Ne Unjust sophiscations and special oy odes of established society ince Rousseau's noble eeeslonm “06/0” Uneontaminated by !isalmost the samme as Peter Pan on ie a 8 the at 2s in Plcadily Circus) then, in ake tabla rase sn odes to disclose a primitive house and to engender a future sociely ~ redeemed, and of renewed aboriginal purity — let Us proceed to mock, to injure and to destroy the existing, Now the fiesta of destruction (one Imagines broken bottles on a New Year's Eve in Naples) whieh has con ued since the Enlightenment surely deserves to be applauded. For the rmost part ithas beon exhilarating also ithas resulted in previously undreamed of blessings: and as one attempts to imagine the condition of provincial society. cfca 1770. in almost any small cityinthe world, then one can only say: Thank God for the ventilations which, ‘over the last two hundred years. have been made! But, at least for the impatient, the route of what might be conceived to be progress has still taken an extremely Tong time; and, of course, one of the ‘major road blocks ta emancipation has now become the fantasies which the architect entertains about himself, fantasies now Jittie more than the platitudes of criticism, but, stl, fanta- ies which, in their own day ~now a very good many years ago ~ were conceived of a peimanent, indeed dazzling, illuminations which were for ever to make visible the surface of a glorious autostrada leading toa crystal line social condition of limpid authen- ticity “And | John saw the Holy City. New Jerusalem, coming down from God aut ‘of heaven, ... and the City lieth four- square, and the length is as large as the breadth: . .. and the City was pure ‘gold like unto clear glass... . and thi stteet of the City was pure gold, as i were transparent glass... and the City had no need of the sun, neither of the moon to shine in it: for the glory of God did lighten it,... and there shall in no wise enter into it anything that defileth, neither whatsoever worketh abomination or maketh a lie: but they Which a6 ere writen in the Lamb's Book of Life. is The vision of Final Judgement and Deliverance, of the Great Hallelujah, when equipped with a technological loss. is, af course, immensely lke in kind to the vision of the ville radieuse to be later experienced by Le Cor busier: and, if this later vision, of a ‘world redeemed by architecture, is now severely discredited, itis stil not too Unreasonable 10 suggest thet some eschatological framework of this kind siill survives as the psychological underpinning of much currently fash- ionable architectural polemic — and particularly that of Italian origin, For this is a polemic which. professing to be coolly ertical, is stil, more often than not, evidently inflamed by notions of that glaring turbulent upsurge which will for ever release us from the stinking limitations of bourgeois oul- ture and effectively initiate the millen- nial establishment. And this (though, to @ degree, charm: ing and ofa period) is surely something of a pity. For, if the advocates of ‘architettura razionale (who are in gteat danger of flooding the market and inspiring a counter-waye of disqust) are able to make a highly apt ertique of ‘madern architecture's urbanistc fallure and if this is of immense value, it does not automatically follow that aif the physical achievements of modem architecture are to be condemned and that we are entirely obliged to return 10 simplified and innocent world. @ fa Laugier, a species of ante-diluvian (end Marist) belle époque, reminis: cent more of Knossos than New York, in which stangely deserted. piazeas, seemingly prepared for not yet to be anticipated rituals, in the meantime support a somewhat scanty population ‘of mildly desperate hippies Indeed, it may be 2 rather curious ‘commentary upon contemporary failure of nerve that @ merely abbr \iated reconstitution of the nineteenth Century city, enticingly equipped with Surrealist overtones, is ow so widely Feceived a= the most pregnant and potential of disclosures. For, though Such a reconstitution is, in many ways, ‘what 18 requited, there ate stil hi tions to be felt about the ticking out of Beaux-Arts plans with neo-primitive facades (a poor thing but Minoan’ 9s Sir Arthur Evans almost certainly did not say about his Cretan restorations) and there are stil reserves of feeling (oddly Futurist and strangely techno- hile?) which will operate to prevent any such, immediate, dispensation, ‘So much could seem to be a highly Negative series of remarks with which to open an introduction to the English edition of Rob Kriers Stadtraum: but they are not intended so to be inter preted. An implicit theme of Krier's book is a rappel & Ordre. It is an evident eftique of ‘planning’ highway engineering, the urbanistic. propo- sitions of CIAM, of science: fiction cities, populist do-it-yourself and townscape: and. if as such itis a Book which one can only receive with sympathy and happiness, then the purpose of all the foregoing rather protracted observations is to suggest, fot apropos of Fob Krier but apropos fof the context 10 which, ostensibly, he hhas been assigned ~ the context of : nical nature. Social years. No. precise planning 83atificially a his changes nothing of their essential nature. Ir more liberal societies fulfilment of these heeds meets numerous administrative tacles which have built-in rest ions comparable to those of author tatian governments. | powerful regimes, the po anning very strong, Instigat sry out very far-reaching ichemes. In comparison, the position. of planner fonstitutional democ racy is disproportionately weak, since itis their role to mediate in conflicts of interest between one group of citizens another. In reality we can see that there are only minor differ tween the planning efforts of the ypes of social order, which in man) ases produce the fesults and if distinguished in their intentions. Let us compare Stalinallee in E in, laid out under a totalitarian regime, and the de la Défense’ in Paris. The conceived as a ceremonial avenue on the familiar French pattern, decorated doubtful. taste latter sacrifices rigid distribution of space in appear open order to usly proportioned. Th hitectural features in d and gener individual Paris were mparably greater pense than those of the Stalinallee 20 years before, yet the result is an embarrassing lack of taste. The oma. mentation of the Stalinallee, like that of the Moscow metro stations, was intended to beautify the pr the peopl erty of within the limitations of The parallel aim buildings to gloss ver the actual brutality of the regime (The same observation of Italy and thirties ) In the available was 10 use these ould be made Germany during the pitalist countries, the brutality of monopoly capital is flaunted 24 indicates that the Stalinallee is not @ monument which is indissolubly link with the system of government in power at the time. It derives from t bourgeois boulevard, and seen as such must logically 0 the sy and in contradiction d it. From wv of urban pli which produc imettically opposed societies lies in minor details of standards and te nique. What is the current position with re gard to the by town planning? frightening move brought about by the m faith in th technology ha jesthetic demands made nas b uniformity hine age The religic wonders of arkedly declined in recent years. Environmental pollution 38 contributed towards this decline. Can regions be helped to identify with uulture through the art of architecture a5 Sitte envisaged it? It is correct to say that ar their urban n general music, cinema, theatre, literature, paint ing ete ubject to the same tandardisation as is ‘town planning for Planet Earth’. The style of the Pointillistes was imitated everywhere just like Action Painting, Pop Art etc fashi never 80 short Evory period in art has it However, they lived as they are today. Modern aesthetic movenents are so limited in their scope and so lacking in substance that thoy lose all credibility after a very hort tine German town planning over the last 25 years has come up with a variety of fashions with seriou Implications fashion ware either which home. ashion ae and like all in : iste 19 they fala and coarsened the original ginal As | see it, on ne of the vital tasks of t tudy is to foll ments on the current situation arden nalysis of urban space w crete concluding statement. This ec clusion should synthe : have leamed in the preceding pag and attempt a pr of the type of urban structure which I feel has som future potential | have maintained t the town is a regional probler Similarly, the growth tow of different size in the same region ha become a problem of national concer As numerous examples from previous apters have shown, Soria y Mat Le Corbusier, Hilberseimer and othe jonsidered the planning of urbar growth as a facet of larger scale regional planning, Before | become more specific about 1 believe it worth methods and onal planning. A central ny OWN proposal while to outline the administrativ would facilitate reg bank must assemb all the facts pertaining to urban and community development: industal (growth, introduction of new ind population growth and movemen commuting patterns, nature rese farmland, traffic routes et region of Germany this data is alead, being collated on a continuous basi and could therefore be evaluated immediately by such an organisatior ince the job of this body would be {0 sordinate the growth of cities in th regions, the implications of the data ould have to be tested against planning requirement The development my consider appropriate for the linear or chain syst Mata seived by Soria end of the 191h contsed by Soria y Mata ir passes an urban plan ut according to the he highly x structural_network neces by concentric development. Mata also placed his ideal cit in 2 super-regional context. Le C busie Les trots Pampus 2 is also part of a for the area be tween Rott and the Rub s sion of Stutt same_ intellectual pposition ther tion in the seventies, it does look as if heigt on boom is past. T explosion in Europe has al off, This 1s yet another reason why planners in our them nent should occupy selves to a greater e ent in. coming years wal and adaptation of existing ures. | also believe must look for ways of carrying ireetive work on our inhuman o f pulling them down ‘completely. In spring 1974 | worked on an exercise with students in London to investigate what alterations could be made to C Scotland t ea cohesive urban structure, with due regard to pre eality. Simil es should almost all cities: this, thwhile task for the department: nauld new town in 85CHAPTER 3 RECONSTRUCTING THE CITY CENTRE OF STUTTGARTCHAPTER own in whieh he lives, even if itis not RECONSTRUCTING 2 cessoeressesuom Pi) Siete eee 9 many cities, car me URBAN SPACE Fane I cacecnatscnGpines 8 pesble win tw exci suc WITH EXAMPLES fay‘ ic’ = FROMTHECITY — ssiseshtncantessers sins fe ae usr ge CENTRE OF sis fo aa van of ove MOLE ANE CES STUTTGART The tl once te an Sparta. conpmions. N° he legacy of the past. s which | am pro. 128. effectively dis- modern town planning, would dispute the fact that, sd without qualification with the birth of modern architecture have | taken the town planning as Camillo Sitte under of real estate inte s ver. all my suggestic e INTRODUCTION ghly ‘practical’: that is, technic mocratic and pseudo-hu: urban ideology. Our cities bear gally and financially realistic. mpleted motorways D OB. WHICH GAVE RIS! ibe esetecsis yaad rete and visible testimony to this — TO THIS STUDY proposals. Generally speaking. the the evidence can be unequivocally existing building fabric has also been _ Understood even by the layman. the devastation of the only innovation in terms “ constraints of local politics is that rather more far. The brutal power of capital controls ing the reconstruction sighted forward planning is needed for this urban planning for its own he subsequent ‘car-orien- future urban restoration and recon rrooses. This condemnation mme of costly civil en- struction on this scale. The very pro- ross generalisation, but ering projects in the centre of grammes outlined here should theo the colossal blunders of Stuttgart, the former coherent urbs etically be realisable in a city like contemporary town planning it can Structure which had been responsive Stuttgart within the next fifty years, if ‘ly be described as an exaggera~ to local conditions was destroyed to 2 there is no significant deterioration atastrophic extent. The heart of the in. present conditions. | make the ng legacy of the last ld.city.a bare thousand metres across, attempt in my 5 aan was broken up into a large number of n Stuttgart fc thirty years — of questionable value — Pel ands Suatteced by awiaves cf ousting the car in will be a headache for many future aes ee generations, and it requires a certain al terms this means using re enerations 1 ent to weld together seam- _optimisim on my part to believe that The raison d'éire af these studies was _lessly the isolated areas at those critical the human instinct for sujdyal Wit Oe to illthe gaps separating these isolated points, whose significance for the up to coping with the probler) a AT jagments of town as effectively as —_pedestrian’s spatial awareness was ut the necessary corrective Possible. This problem must involve erodedin the post-war years because of _ measures. | hope my optimisim 1S nol anyone concerned with the fate of the costly civil engineering programmes. misplaced. 89174 1393-1450, 90 Ea 177 Late 16th to mid-18th century 179 Plan von Thouret after 1800. the urban de 172-179 Stages Gr Stutagart Alas E, Klett Vert 1961. Scale 1:25 000 . The basis is an 1855 plan. on whic the various stages of growth are sho in blackOPMENT OF THE The homogene developments for the Stutt gart emanate from the second half of jentuty. For more than 300 shaped the growth proportioned Of the town. It was only at the begin: ring of the 19th century with the plans of Thouret among other things nat the development was first pushed beyond these boundaries. fhe major stepping stones for further part of the for the Konigstrasse Marstall of the Friedrichs: platz as a result of the layout of the six streets which intersect at that point, the building of the new Katharinen: nospital, the Polytechnic and the he creat Alleenplate (now the Stadigarten) the Rotebi ne, the Ostorreic ische Platz, the Wil iatz, the expansion of Carlsschule. the Neue Sc the monu mental buildings surrounding the Schlossplate, the construction of the Neckarstrasse and the erection of the cultural buildings bordering it, such a5 the Wilhelmspaiais, the Staatsarchiv. Landesbibliothek, Staatstheater_ and aatsgalerie. The link-up between Stuttgart and the older settlement of Bad Cannstatt was achieved through the architect Thouret's ambitious plans for the Schlossgarten Sound knowledge of the historical development of Stuttgart is of critical importance for any new plan, as each Pefiod builds as a continuation of what has gone before Thus it is that ideas which became bogged down at the Blanning stage, or plans once executed but effaced over the years. may be Valid for out contemporary redevelop. ment schemes. So for example | have tied. when thinking of ways to rebuild the Schlossplatz, to take my direction from the ideas of the architects responsible for its original conception and construction. It would be out of place to launch into an in-depth analysis of the history of Stuttgart at this point. | will confine myself to ilustrating this development visually with reference to plans. Careful com ‘son of separate stages of develop: ment can give more information at a glance than can be conveyed briefly with words: SHORT HISTORY ‘om Bollmann Bildkartenverlag (author unknown) F STUTTGART Until well into the middle ages Stuttgart was overshadowed by the much older town of Cannstatt, which was of much greater importance at the time. The Ramans had built a castle here at the end of the 1st century A.D. to protect their roads from the Rhine to the Danube through the Neckar and Rems valleys, and around this a civilian settlement grew up. This settlement not only served a5 a military stronghold and administrative centre for the Romans, but also re tained its importance during the Ale: mannic period. The assembly place and judicial centre of the surrounding tribe of the Alemanni was nearby. It was here. in the year 748, that the Frank Kerlmann carried out a mass execution of the Alemanni in the area. Only later did Stutigart step on to the stage of history. According to tradition, Duke Liutolf of Swabia founded a stud-farm (Stuot garten) around 980 in a broad section of the Nesenbach valley. and this gave its name to the settlement and sub sequent town which grew up around it. The name first appears in records ‘around 1160 with a nobleman called Hugo de Stutkarten, The settlement of SStukarten’ in its own right is men: tioned for the fist time in a document (of 1228. The earliest known seal of the town on a document of th 2 ument of the year 1312 shows a shield with two horses one ‘above the other. The heraldic device was later simplified to show a single horse. The settlement came into the possession of the Lords (who in 1130 became the Counts) of Wurtemberg who had built themselves @ fortress fon the Wirtenberg (above Stuttgart Unterturkheim) and took their name from it Around the middle of the 13th century ‘Stuttgart received its town charter from Count Ulrich 1 (1241-65). Count Eberhard | (1279-1325) defended himself there in 1286 and 1287 against the German King Rudolf of Habsburg In a document of 1286 a mayor and twelve judges are named for the first time; and the title of ‘citizen’ (cives) is frst used. In the imperial war waged by Kaiser Heinrich VII on the Counts of Wantemberg, Stuttgart fell to the imperial city of Esslingen between 1311 and 1315. After the end of these hostilities Count Eberhard transfered his family seat and the remains of his ‘ancestors from Beutelsbach to S get. Stuttgart thereby became the most important place in the county The tow covered more ot less the area which today is bounded by the Kénigsstresse, Eberhardstrasse. Karls strasse and Planie. In the 14th century the Leonhards or Esslinger quarter ‘grew up on the south eastern fringes ‘of this area around a chapel dedicated to Leonhard. and the 15th century saw the growth in the north west of the Liebfrauen or Turnieracher quarter (named after a chapel dedicated to the Virgin Mary). The latter gradually took on the character of a ‘wealthy’ quarter during the 16th and 17th centuries, ‘Stuttgart really blossomed for the first time under Count Ulrich V (1433-80). jn1480 the counts’ palace was built ton the market place, and the town hall vas erected next to it between 1456 nd 1468. The collegiate church was puilt as an enlargement of a late gothic hal church, and until 1806 remained 3the exclusive jurisdiction of under The Leonhards. ; parish of Stutt kapelle was rep! int 2 tiple the town a Domini founded in 1473. attached to it has been kn the time of the Reformat ct ERP E Stade s. To t Heinrich Schi magnificen rored the overall prosperity town. ‘Approximately 4.000 peo ved in Stuttgart in 1400: by 1589 the 92UAT AAR De x G F ss Ve ep quo fei ac as Sy 102pre TR bed Pe) wy. CZ V4 teaf ZENS a Pn‘ AG / GRD if jr fe ah , f eo} fe226 Aerial view of station area today, ie for urban space k beneath the recently been New planning proposals me means of f the building ay. without n old cittes106addition, 234 Aerial photo,5 = se Pn O'S Xe Vue -a)Pe scant 248 +} I re ||THE ROTEBUHLPLATZ The old U-shaped Rotebuh! barracks wore built in the years 1827 to 1843 Today s in danger of demolition. Architecturally it is modest and di ret. It cannot be said t s immediately attractive to the conserva tionist. Moreover. after its pe time destruction, the building suffered considerable alter ring fe building. For example, the open arcade running round courtyard was led up. The central section of the nas been replaced b modem conerete facing. ( ‘erhand, the height of the central 3s increased by thre The clarity of th tention of the original Rotebuhl barracks, the e original arcade arc the courtyard and the enclosure of the ard (now built around on three y an architectural device ie complexity of this s ives from the failings of past ure, which never found a positive way of carrying on the tradition embodied in the development plans of the 15th century. It see me a matter of design a structure for th t reconstitute its lost spatial coherence At this juncture one must certainly raise the question of why the spa here was laid out in such an enclosed way. The answer, | believe, is that since the overall street plan of Stuttgart is ‘oper’. any urban spaces which have 2 particular functional of architectural v2 256-259 Details of the former Rote- UI barracks (now the city finance office) after rebuildingtial views of 1 me (pastel pe 278 Gallery on Rotebuhis ith y station, to railway ssent-day known as the 280 Square with entrance and tube stations on tl Rotebihlplatz. formerly ‘Alter-Post-Platz’ 281 Street showing the comparison between old and new. On the left is theRotebih! building on the right new buildings.STUDY OF THE ROTEBUHLPLATZ SCHEME BY WILFRIED WALLBRECH Time = mie = hare (SAOTRAL} 282 Analysis of the problem, 285 Model of redevelopment plan. 120view of redevelopment 289 Isometric plans. 121a 292 Model of renovation plar 291 1972 290 Scale 1 : 20,000 1913. IE: ie Aaa 122‘ ACHE PUA? op re badly stressed by this problem, It is a atal r all city-dwellers, each of w intensif de DH futil ab wile protest ‘by to adap 'e blocking his ears. fi hh Impotent in t f street noise Sun ver ake unbearable i euroses on family and neighboi gs at its edge stretche re Is only one wey in which sore Hauptstatterstrasse, which is Stut measure of tranquillity can be guaran 5 most heavily used arterial road ed. and that is to provide a total shield 0 there was no reason to subordinate between people and rare people and tra i feway. On the contrary, The Osteneichische Platz, Wilhelms- he freeway had to be disregarded. _platz and Charlottenplatz acted ee thy c g up an access road towards principal foc streets connecting the city centre would have been just the old parts of f a prob the c arly visibl the The small lozenge-shaped square ac street-plan. The layaut is plainly orien asa kind of distributor: from it, the tated arol ese focal points. The Bazarstrasse leads to the Wilhelms- function sites could have re platz; it creates a link between the a this day had it not Tibinger Strasse and the Matienkirche. traffic. The square ing the forn e southern part of the town. | con why the new communication c! fequited should be blighted by taffic noise. The whole town is ea 298 The Hauptstatterstrasse, Se = he Platz from the Osterreichische Pl lsrienkirche, seen from the 297. Spatial reality of the pedestrian cone Platz,128 313 The Osterreichische Platz itself original size pastel.315 Ground plan of pedestrian level 316 Isometric view of scheme. 317 Ground plan of one level STUDY OF THE OSTERREICHISCHE PLATZ SCHEME BY RENATE HUMMERICH9. Hauptstatterstrass THE WILHELM THE LEONH 323 New plans 324 View of modelsohn’s Schocken building Photo: Stahle, Schorndort326 The extent of devastation of the old town in the Second World War Photo: Brugger. Stuttgart230 View of the Wilhelmsplatz and 331 The Hauptstatterstrasse tod 332 Siegle-Haus by Theod 333 The Wilhelmsplatz 334 The HauptstatSTUDY OF THE WILHELMSPLATZ — LEONHARDSPLATZ HAUPTSTATTERSTRASSE AREA ME BY STEFAN 80HM eans_ robb residential offices, res fal and social ameni 1-6 Preliminary design altematives and morRHQ ™R Ts OMe eo, on a a : BORD RD.tz — Hauptstatterstrasse 344 Plan at ground level 137 ———————138 tie 345 Ground plan of pedestrian level and 348 Small concert hall. sectio —=—= ———building, section and view 51 Sports centie, section and view. 362 Ground plan of one level 139See Mirent =.ii, 400 Isometric Nika \| Ty | NiE TO THE CHAPTER RUCTING DEVASTATED RBAN course of 01 arts of Si SD fiitgart inv PBiirteniberee Sankt ehty aru erm, os zh Nergemneate Dig gettatt, ie Bot ier aad eft Text of vignette Fig. 420 Stuttgart in Wurttemberg spital of that state, ina fair vall raced by vineyards all around. ture of the town ani cites, Stuttgart’ inhabitants and physi al envifonment were thrown into ot may God PRESERVE the beauty FORMchaos by the Second World War. The awareness of historical values was extinguished by the enormity of the devastation and remained impotent in the face of the pressing need to re- ‘organise the essential e'ements of the town. These have now been restored, but | am clearly not alone in asking whether some elements may not have been overlooked in the rush to rebuild Yet previously, through a mixture of people's unwitting laziness and the familiarity of its appearance, the town had been taken for granted. Only one Or two theorists had devoted them- selves to the full range of the town’s interests, and so nobody was pre- Pared for ‘zero hour’ when it came. Developments over the last thirty years have made it abundantly clear how short-sighted was the idea of the supposedly perfect ‘functional com- mercial city’. The material included in this chapter was assembled as part of a course | was teaching at the Institut fiir Zeich- nen und Modellieren of the University of Stuttgart, under the direction of Professor J. Uhl. It forms an intro- duction to the thematic presentation of @ programme written up in the Institut during summer 1973 and worked at over four semesters, in such a way a5 to suggest the maximum Possible range of alternative schemes to students The projects presented here were exhibited at the 1973 Triennale in Milan, in 1974 in San Sebastian, in 1978 at the Art Net Gallery in London and the Stuttgart Kunstverein. They have also been published in a number Of architectural periodicals, seCHAPTER 4 APPENDIXCHAPTER 4 APPENDIX THE AXES OPMENT STUTTGART ANI OF ITS DE ‘After my exhaustive description of the plan lems of Stuttgart’s town ld like to add a chapter ossible ways in which Stuttgart might be 's research, like the rest has not been sponsored by the city authori was undertaken of my accord and so — like the preceding ter should be regarded a5. an donistc st of solutions. The basic wil dictate further uban growth nee ee of Stutgat “has grown from 175,000 tos present size of mere than 700,000, and tat of the Cental Neckar valley aea (the Greater tga region) from 1.5 milion 1950"0 2 ? milion inhabitants in 1966, Ths growth resulted mainly tom the migration of population caused by the Indusval expansion of the region If thes industl growth stagnates 25 it hin he last wo Years, to effect ‘> put an immediate bake on the Population explosion. | mm not com petent to offer a forecast about ths But | do fel inclined to belleve tat there wil Be a lot more changes in Europe before the next two hundied Yeo ae out Ad hy should we nat envisage Teal’ plans forthe feta on thiskind of time-scale? Fer | ve ia hope that the human ace wl ot have been sfogether wiped eu by then So let us consider the devel e development Plans for Stuttgart as a blueprint for a More or less distant future. 421 Axes of development in the Greater Stuttgart region (see key) 422. Built-up areas in Stuttgart region the Greater 423 Linear city development system on the Soria y Mata model 424 Model for urban development in the Central European context This complex structural intensification of public and private communications will have a far-reaching influence on future town and city development policies, Like transportation, urban planning —both in the cities and smaller communities — must be harmonised and coordinated with the larger region al plan However far-fetched this model may teem: I felt tobe ofthe greatest m portance if we ae to avod the forma: fon of further chaote, unplanned Gampewes such the Rube aly hopin ofthe Rhine. between arlarahe and Frankfurt i aeady well Sartre way to becoming a similar kind of development 161PROJECTS FOR A NEW TOWN CENTRE FOR STUTTGART/ LEINFELDEN BUILT OVER UNDERGROUND AND MAINLINE RAILWAY This structure is designed as an alter native to the shapeless sprawl of our Cities. It ensures that urban concentra: tion will be feasible in the vicinity of cfficient roads and railways, 25 well as future high-speed modes of transpor Without the presence of these channels of communication the whole idea is absurd. The structure lays particular emphasis on the creation of continuous and integrated pedestrian areas. M model, which envisages the entire completed structure from the outset, Contains a variety of spatial situations of this type. each realised with very distinct architectural means. mes were submitted as entries in a competition for a new town centre. The jury found them excessively monumental and they were eliminated in the first round of selec- tion The main criteria for both pi work were 1 The creation of @ coherent but varied system of urban space 2 The preservation of the human scale in the height of the buildings and the spatial continuum 3 Individual elements of particular significance have been allowed to interrupt this scale 4 Traffic and pedestrian areas hi been laid out on different le 5 These projects should be regarded as blueprints embodying certain archi al principles. They contain ele. ments cotresponding to specific building types, which coordinate t building and development process. It iS wrong. therefore, 10 assume that these plans can only be meaningful if seen as the work of a single architect. Both sc 428 Scheme by Leon Krier. 166postSCRIPT FOR ARCHITECTS ers PUT ARCHITECTURE BACK INS PROPER PLACE the am time a year later, wher i a into melancholy. | was prompted , ‘a reply to their rallying-cry. | made extensive use of illustrations to np cut my full meaning, | believe that_mar y of my arguments can be ‘renathened by a postscript in the form oe a manifesto. What has dis- figured our cites to such a degree is not only the loss of urban space dis but also the mediocrity of the afchitecture. My brother Leon, aches architecture in. Londo: made @ great contribution through nis application of fundamental theor étical tendencies, The worth of these tendencies will be demonstrated by the debate on a professional level which | hope will be stimulated by this book. My architectural work has acquainted me with the likely opponents of such a theory of urban space, They will not found in the ranks of those who use or lve in our cities, but will spring from the mass of ‘specialists’. For it will be they who will see their irresponsible tteatment of architecture challenged. ARCHITECTS Every building is designed by an architect. They alone are responsible for theit creations, and in my opinion only they can be held accountable when gross ettors occur The architectural manifesto t0 which { have referred reads too much like feeble attempt on the part of its authors to absolve cultural culpability threat to their positic ‘ecognise. And b socially and pr © point the finger at one’s colleagues, anh the demands of their manifeste aimed directly at architects, and themselves of a magnitude they fully is bad form ofessionall Preiat remember the asking both too much and too little! don't want to let the writers of this ‘mea culpa’ off the hook yet | must stress that | am not only attacki eminent, award-winning, success{u architects, but also the generation which has not yet made its mark on the German building scene. It is relevant for the architect to bemoan the fact that his client has no under standing of design problems, and that the architecture produced on com: mission must necessarily reflect the taste and preconceptions of his client Most clients can be talked round, where there is sufficient professional conviction and commitment on the art of the architect, although of course this will eat into his fees. And let's be honest. fewer and fewer of us are pi pared to take this first fow terribly revealing it is that no-one can be expected to comply with this out Fageous demand — except poets and dreamers perhaps. How many of our colleagues have the Strength of character to turn down @ commission when the client refuses to accept the quality which the de- signer would like? | am arguing then that we, as architects, should face up to the responsibility which is ours from the moment that we put our name to feasible design, and that we should stop laying the blame for our own in adequacy on the wicked client's door step. Letus put ourselves in the position ‘of someone who wants to buy a lamp. Our hypothetical customer has no professional expertise in the production OF sale of lamps. He is therefore quite and a specialist alone, ang st belexpectod ro know semua nao sod is ettered that well-designed longs ave cinass expensive. and” thatthe promennd search for 8 good. reasonably wiced atl often comes to nothing, Whee he same problem i all too familiar Our custom We have all had experience of the lamp buying syndrome, and have all asked ourselves which criteria govern this kaleidoscope of kitsch, Basically, the problem of the quality of the lamp 1s closely related to the prob iem of the quality of a building. Who is. responsible for the mediocrity of the merchandise: the manufacturer, the designer or the consumer? The manu: facturer and the designer set up a cliche-ridden customer profile based con their questionable market research. They deliberately use seductive de: signs, almost totally divorced from the function of the object, to increase ales, And who can criticise the con- sumer for making a wrong choice when he is confronted with such a prolifera tion of trash? The architectural client finds himself in the same position! | am constantly aware that laymen expose the negative qualities of our built environment with unerring cer tainty. simply as a result of their com= parison of old and new. The response Gf the professional to this criticism 187edges the central question wit remarks like We are constrained viability, technology. traffic But none of these const the superficial treatment adm to our patient ‘a always known the patient in this alin condition and have diff nagin ing him health festo indirectly raises the question of what the nature of that design should be. Just as in our example of buying he lamp, in architecture design is oper to many interpretations. Ab we must establish what role it plays in an overall architectonic system. The three most important determining factors which characterise architecture a function, construction and form of these factors takes pre the others and none can be negle: in favour of another. In the process each aspect must be developed in parallel and neither organisa construction nor 4 im. can be c sidered separately architecture, a8 a result of this coordinated process. must always provide 2 meaningful expression of inner str without necessarily exposing the ‘innards’. The form of the human body has always structural tion, been the prototype fi principles in architecture. | ature provides us with counties models whose visit ties are perfectly in acco biological system Quite simply. the « the fundamental problem of ncern for form is ture. and one which cannot be solved in purely verbal terms. The architecture Weare talking about must be illustrated if only through drawings. So. an olemic on the subject in the form of 3 Manifesto must remain a piece of empty and esoteric tivia, and the notes | am writing now should also be seen in that light. However, this in no Way diminishes the value of a dis. cussion of form, 168 atever form archi ust always create the same S jad impression as e from nature mentioned above. | have yet to see a tree wh ally wrong or defec of landscap Architecture should engage interes not only because it is fashionable ot vel. It should also remain sensitive ‘0 changing functional 1 and be characterised by feature ntrinsie strength is such tha Il effect is not harmed by signs of use and wear and tear. Only a handful of masterpieces which have survived from the past show us what the true qualities of architecture traordinary dearth of such example Let cipal conclusion of this section: 1 the architect, and the architect alone, is responsible for the form of h iS emphasise yet again the prin 1@ remarks which follow deal with chitec ture’ and the a remarks area authors: the architectural profes (2) PLANNING TIME is clearly something which most of m colleagues can 0 fitin. The ee scale which architects have set up n fect onl s the cost of the most perfunctory work. If we look at the problem from this no-one can be reproached for showing too little concern for architecture. It is essential that the reform point of view. has been und in parliament fo be set {and for all. This is not to say that we could necessarily look forward to better architecture as a result. Time is af the essence in the planning prc cess. and the architecture of the thirty years since the war has suffered from being built prematurely before the underlying ideas had been fully worked ract ethical, social and cultural imp BUILDING TIM S another important facimber-framed_ building uffered as a resul ts dbove all from the king flat out and with the substan ‘elements of the uilding must obe he design and pr unless the problems addiction to unarticulan ral giganti build doubt. this is th Dramatic point ie faith in it if (0 enable many small arch such a hat their product (for ‘example, an estate of 500 units), wh smpleted, would seem to come fram a single mould, with the gain of greater variety and without ruining the client financially. Much has been said recently about participation. In this book, | am arguing favour of the participation of our many unemployed architects in the My only fear is that the profession | not susceptible to change from within I feel that our education has not equipped us for this. The legislat could nething towards helpin this crippled profession to its feet b encouraging participation through the of appropriate com 5) PLANNING AND DESIGN IS CRAFT which is exercised at the drawing joard. Any architect in charge of an fice who spends most of his time on nanagement and getting jobs loses not only the habit but also the abilit draw. Many of our colleagues are actually proud of this and point to it as, 3 tribute to their success, | know of no good architect who has drawn badly iItivate the and none who has failed anof Serves. The perfection of the spatial idea is ditectly linked with perfection in drawing. Skilled management and ferbal adroitness afe of no use here. 169who opts out of the discipline ‘Anyone ¥ scp of drawing has forfeited his PF fessional status. (6) ARCHITECTURE IS NOT A FASHION tobe discaced lke 8 too eemfor a new one. But this iS mayunat happens today. CN the merivanges es fast a5 the cut 8 era eivie which hits England sete wil each Japan the nex. one tently rofined in some respects eiivein an ere of unimited techno Band formal potent and tis oeczay this lasory progress ihich iss the Aches heel ofthe per which bear all the marks of a Sepermental period of expansion. And vet ne teat ths freedom 2 bit 100 fghuy What | optimistically refer to as ‘erodof expansion is sen by others sea symotom of cultura decline reveals i yithout wishing to pass judgment on these viows, | would simply like 10 tier a word of warning ageinst seeing everything in black ang white. Neher technology nor anything ese has ful filed the nopes placed in absolutes /Adoit Loos stack on oinament was in its wey as immoderate and. im plausible othe blinkered interpretation Of the siogan Form follows function The auth in architecture has much in common with the philosophical mensions of existence: either can be Gscussed superficially. Fashions can not be pinned on to them. | believe that future generations wil have litle hittin in getting rid of our archi tectural blunders Our generation is Bequesthing to is chilgon avast rush dump of non-esjelble bul ing materials. |" am. tepestng ty request 10 atenitects to tonal ther Indi rogance, not to alow themselves to be caught up in supe ficial fashions and to bear mand the fundamental festores of architecture wih outive al fashions, 170 (7) SCALE features prominently in al marks. | do not want ge complexes ar these 12. fulminate tower against | blocks. as people used to rage the railway and the steam eighty years ago. | only want to Suggest that tower blocks for example also take up a lot of space which has no further justification then to pro: vide 2 setting for the tower block. The Open space gained has never been ‘appropriate use. Empty green spaces. between tower blocks inhibit co munication as much as the buildings themselves. Streets and squares on a small scale have for thousands of years proved that they work ideally as zones ‘of communication. By ‘small scale’ | mean distances easily covered o or (where height is concerned) the umber of levels accessible by stair This all sounds very old-fashioned. but must be seriously taken into account i due respect is to be paid to the fixed Unit of ‘man’ which we alluded to earlier. This factor concerns me all the more since most of the tower blocks with which | am familiar were built that way for no very good reason. They are little more than billboards in an unusually favoured position, an nouncing on the skyline the power of a company. a city authority etc. We are sick of such idiocies: no-one cares about the way they flaunt their wealth. With their superior view over town and country side, many have be physically comfortable islands of We are still not well enough informed about the effect of this type of building ‘on people's lives. | find man too valuable to be used as a guinea-pig But others do not share my scruples fon this score! Since | have had children of my own, my attitude to the problem has changed (8) OUR DEFECTIVE SENSE OF HISTORY is to blame for much false interpreta ut oneself off fiom we jeritage of the e ighted. By doing so, one dey, oneself of thousands of years’ of experience. At the beginning of 1 century, the pioneers of the modes movement frivolously flaunted the a his attitude. And yet all of them ha enjoyed @ sound education and very knowlec Their attitude as a defiar all as a harangue a jety. and agains students at the Akademie a different matter with the pupils of hese pioneers. and with their students the grounding which had fited th pioneers for their transformation into ‘modems’. And we today, armed wi cour pitifully inadequate know must make up for a great deal that been neglected picion that a new pioneering si this. [have a faint sus- will grow out We have learned how litle is achieved technological advance 2 rapidly the glow of new inve fades when they are backed by not more than technological novelty does not denigrate the usefulness of experimental technology: it_simely pus it into perspective. Care must Be faken that it does not attempt on ‘own to initiate new development while making unjustifiable claims for univer sality ng one | would go so far 35 to mei seca ig more usotl fo imiae sowing od: but rove. athe 2? Something Comathing new which 13 iu ooeople sutferng. Te 1008 causing etwe building PES 2 a rusts [eft tous BY 2%, mous arches 0 Toon by countess succeed eer They nave maturedlanders Cade,BIBLIOGRAPHY PTER 1 2. 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Soria y Mata, Arturo, Lineal’. magazine from jas, Longmans, Gr London and Harlow, 1952 A pro 29. Stirling, James, Builalings and Projects. 1950-1974, Thames and Hudson, 1975 30. Stubben, Joseph, Der Stadtbau, Darmstadt 1890, sec nd edition, Sturt gart 1907, third edit an, Leipzig, 1924. 31. Ungers, Oswala Mathias, Verof entlichungen 2ur Architektur. edited at the Technische Universitat Berlin vom Lehrstuhl fur Entwerfen VI, 1964 0, osstadt. Eine 32. Wagner Otto, Die Gi Studie uber diese, Wien. 1911. 33. Zevi, Bruno, Spazi del architettura moderna, Giulio Einaudi Editore. Turin, 1973, English wanslation Architecture 178and Space, Horizon, 1975. Town and square, Press, New York ress, Cambridge England, 34, Zucker. Paul Columbia Universit 1958. The MIT ; Massachusetts end Lond 7970 and 1973. CHAPTER 3 1, Geschichtsdaten und Merkuvirdig keiten von Stuttgart, reprint of the blication, Omni 5, 1969. original 1815 2, Borst, Otto, State Stadt. K. Theiss tnd Aalen, 1973. erlag, Stuttgart 3. Brugger, All uttgart und seine Franckhische Ver jagshandlung, Stuttgart, 1965. 4, Fastber, Paul. Friectich von Thouret, ein Baumeister dé Kiassizismus, W. Koblhammer Verla Sturgart, 1949. Hans, Stuttgart wie es war und ist, W. Kohlhammer Verlag, Stuttgart, 1982. eidel, Wilhelm, Giovanni Satucei der erste Hofbaumeister Konig Wil helms 1. von Wiirttemberg, W. Ko! hammer Verlag, Stuttgart, 1936. Gustav, Alt Stuttgart, in two erlag, Stutt: Kunst Kohthammer 8. Wais, Gustav, D, Stuttgart, W. Stuttgart, 1955 Schillerstadt Kohlhammer Verla 10. Wais. Gustav, Stuttgart im neun: zehnten Jahrhundert, Ooutsche Ver lagsanstalt, Stuttgart, 195: 174 Weidle. Karl, Der Grundt stuttgart. E. Klett Verlag. Sti Widmann, Oskar. Reinhard Ferd! En Beitrag zur Geschichte des Louis XVI. in Warttemberg, W. Kohlhammer Verlag, Stuttgart, 1928. LIST OF ILLUSTRATIONS All photos and drawings are by the author unless otherwise stated. Il trations were taken from the following publications: (page and illustration ‘numbers refer to the books in question) BUEKSCHMITT Erni 23 May p. 44 fig GIEDION. SIGFRIED Architecture (English p. 878 fig. 283, p. 579 fig, 285, Space, HILBERSEIMER, LUDWIG Enifattung einer Planungsidee, p. 17 fig. 6, p. 23 fig. 9. p. 136 fig. 121 HOWARD, EBENEZER Garden Cities of Tomorrow, p. 36 fig. 21 JOEDICKE. JURGEN Geschichte oer modernen Architectur, p. 108 fig. 178. 9.179 fig. 318. KALLMORGEN, WERNER sch cher und Hamburg. p. 95 fig. 68 LE CORBUSIER Grundtragen of U3, P. 63 fig. 16. p. 89 fig, 31 MORINI, MARIO dell urbanistica, Niacr 1,387 and 1.390, Nep! nei cade) p St. Petersburg p. 306 fig fig. 1.298. Pompeii Rome (Forum of 480, Spalato (Palace p. B7 figs. 366 and 36: fig. 1.391 ROSSI, ALDO Texte 4 Zitich). p. 62 STIRLING, |, BRUNO Spaz moderna, fig. 55/4 1, fig. 2 IDLE, KARL Der Gra Stutigart Text: fig. p fig. p. 89. Atlas: pian 16 2, 24, 30, 31. plate XII, XV, XVI, XIU, XX CITY PLANNING DEPARTME ans of Stuttgart 1807 and | aerial photos of centre of Si vignette from etching by J 1592 NT“@RARIA 5 390.00 ISBN 0 85670 5764