Here in Siedlung Trachau, can you feel the echoes of a bold architectural vision? This isn’t just a residential area. It is the most important example of New Building in Dresden. Known also as Hans-Richter-Siedlung, it stands as a testament to a pivotal era in urban development.
Siedlung Trachau’s story began in the 1920s. Dresden’s Hochbauamt conceived a plan for this area. Max Arlt and Stadtbaurat Paul Wolf envisioned a new living space.
The GEWOBAG cooperative organized a competition. It sought designs for the Kopernikus-, Schützenhof- and Aachener Straße. Architect Hans Richter won. His designs shaped the Siedlung Trachau’s identity.
Richter’s vision included flat-roofed buildings. These stretched along Kopernikus- and Industriestraße. Laubengang houses rose on Halleystraße. These homes boasted their own district heating. Hans Waloschek designed houses for Fraunhofer- and Carl-Zeiss-Straße. He also created single-family homes on Schützenhofstraße. These were nicknamed Klein-Marokko or Neu-Marokko. The flat roofs inspired this. Schilling & Graebner designed buildings along Aachener Straße.
The world economic crisis halted Siedlung Trachau’s expansion. In the 1930s construction continued. It did not follow Richter’s original plans. Traditional building methods replaced his designs.
Trachau survived the World War II bombings. It remained largely unscathed. In 1985, the area became a protected monument. In 1997, Siedlung Trachau underwent restoration. Today most buildings belong to the Wohnungsgenossenschaft Trachau Nord.
The Dopplerstraße forms the axis. It points toward the Dresden-Neustadt Hospital. Outer buildings create a boundary for Siedlung Trachau.
Notably, the Siedlung Trachau embodies architectural debates. It shows the clash between modernists and traditionalists. The debate focused on roof styles. Should houses have pitched or flat roofs? The Siedlung Trachau opted for flat roofs. This was a departure from tradition. It embraced the Bauhaus idea. Flat roofs offered sun terraces.
After 1933, the Nazi regime rejected flat roofs. They favored steep roofs. Over sixty years later, this debate seems outdated.
Siedlung Trachau also showcases a rejection of ornamentation. Modernist buildings avoided excessive decoration. Simple ceramics adorned the Apostelkirche.
Interestingly, the building plans evolved. The dynamic curve of buildings came later. Double-rowed houses became apartment blocks. Small gardens turned into communal spaces. The Siedlung Trachau shifted toward urban architecture.
Paul Wolf aimed to create self-sufficient suburbs. Dresden’s growth made this vision impossible. The Siedlung Trachau became a large housing area. It provided homes for workers. They had previously lived in unsanitary conditions.
Green spaces were integrated into the Siedlung Trachau. They included street greenery. They also included courtyards.
An old people’s home was part of the plan. It became a hospital later. This change shows a shift in priorities.
Siedlung Trachau stands as a symbol. It shows the shift from tradition to modernism. The GEWOBAG played a key role. They commissioned buildings along Aachener Straße. Richter designed buildings along Kopernikus- and Industriestraße. Waloschek designed houses along Frauenhofer- and Carl-Zeiss-Straße.
Color played a role in Siedlung Trachau’s design. Carl Rade created the color scheme. He used light pastel shades.
Hans Waloschek had to flee Germany. He emigrated to Argentina.
In the late 1990s, Siedlung Trachau was restored. Original colors were rediscovered.
Siedlung Trachau embodies architectural debates. It represents a shift towards modernity. Its story reflects Dresden’s evolution. As we conclude our visit to Siedlung Trachau, remember it. Remember it as a place where architectural visions shaped a community. It shows a commitment to modern living.