Picture the Atelierhaus a haven for young unmarried artists. It stands before you a testament to a bygone era. This wasn’t just any building. It was conceived in 1936-37 as part of a larger artistic community. It was part of the Reichsausstellung Schaffendes Volk a grand exhibition showcasing the creative spirit of the Nazi regime.
The Atelierhaus was designed by Hans Junghanns in the Heimatschutzarchitektur style. This architectural style emphasized traditional German building techniques and materials. Its U-shaped design is striking. The building features high atelier windows on the north and east sides. Each atelier boasts a gallery with living and sleeping quarters above the studio space below. There’s even a central courtyard featuring a water basin and a sculpture. This is the impressive ‘Große Venus’ by Robert Ittermann.
The building wasn’t just a pretty face. It had a purpose. It provided housing and studios for young unmarried artists. Artists like Joseph Pieper Hermann Gockel and Hans Vilz found homes here in the late 1930s. Some were there until the end of the war. Other names pepper its history including Fritz Peretti a sculptor and Anneliese Schlosser a painter. Even Robert Ittermann the sculptor of the ‘Große Venus’ lived and worked here.
The Atelierhaus is more than just bricks and mortar. It reflects the complexities of its time. The Nazi regime’s desire to showcase artistic talent. It also mirrors the artists’ lives during that era. The stories of those who worked within these walls are fascinating. A reminder that art continues to be made even amid political upheaval.
Today the Atelierhaus stands as a reminder. A protected building on the ‘Golzheimer Siedlung’ monument list since 2014. A symbol of a time when the creation of art was encouraged. Even if that encouragement came with a sinister backdrop. The Atelierhaus is a building that invites reflection. A place where the past speaks to the present. A reminder of the resilience of art and the artists who dare to create.