Could a housing project be art? Here at the documenta urbana, that question takes on a very real form. The documenta urbana isn’t just a neighborhood. It’s a built philosophy, a tangible exploration of urban living conceived as an extension of the documenta art exhibition. Arnold Bode, the founder of documenta, envisioned “documenta urbana” as art escaping the confines of museums. He dreamed of art integrated into the fabric of life, influencing urban spaces and improving living conditions. While he explored various ideas for its implementation, from art installations in parks to artist studios integrated into city blocks, his ultimate goal was to solidify documenta’s presence within Kassel. Ironically, the documenta urbana that exists today wasn’t directly part of any documenta exhibition.
Built between 1980 and 1982, the documenta urbana in Kassel’s southwest is a demonstration project. It stands as a late, postmodern response to earlier model housing projects like the Hansaviertel in Berlin. Its defining feature is “living in the green” within a dense urban setting. The heart of the project is the “Wohnschlange” or “residential snake,” a striking row of houses designed by six different architects. Each segment of the snake reflects a unique architectural vision, creating a fascinating tapestry of styles. This unique collaboration came about because the project wasn’t a typical architectural competition. Instead, a “Gutachterverfahren,” or expert assessment process, was used. This gave the architects unusual leverage, allowing them to negotiate and collaborate more effectively. The result is a physical manifestation of diverse perspectives working in harmony.
Despite its innovative approach, the documenta urbana faced criticism. Some questioned whether a project on the periphery of Kassel could truly address urban living issues. Lucius Burckhardt, a professor at Kassel University, launched a parallel project, “documenta urbana – sichtbar machen” (making visible). He focused on problem areas in Kassel’s city center, highlighting alternative approaches to urban development. Even within the documenta urbana’s advisory board, there were dissenting voices. Jos Weber criticized the selection of architects and the lack of involvement from documenta artists, calling the process overly long, complicated, bureaucratic, and technical. Financial troubles plagued the project. Rising interest rates and unfavorable ground conditions led to cost overruns, ultimately resulting in the completion of only 137 of the planned 200 housing units in the initial phase.
Today, the Wohnschlange is almost hidden from view along Heinrich-Schütz-Allee, obscured by the growth of vegetation over time. The planned integration with the older Helleböhn settlement across the street never materialized. While some critics praised the project’s unique qualities and hoped it would inspire other architects and builders, others lamented the unused communal spaces and escalating costs. The documenta urbana remains a thought-provoking example of a utopian vision grappling with the realities of implementation. It serves as a reminder that the quest for ideal urban living is an ongoing process, a conversation etched in brick and mortar.