The Speicherstadt and the Kontorhaus district

Building design
Hamburg's Speicherstadt has been a UNESCO World Heritage Site since 2015 and is considered a unique ensemble of historic warehouse architecture from the early 20th century. Photo: Vincent Seydel-Winter - Own work, CC BY-SA 4.0, via: Wikimedia Commons
Hamburg's Speicherstadt has been a UNESCO World Heritage Site since 2015 and is considered a unique ensemble of historic warehouse architecture from the early 20th century. Photo: Vincent Seydel-Winter - Own work, CC BY-SA 4.0, via: Wikimedia Commons

The Speicherstadt and the Kontorhaus district with the Chilehaus are among the most impressive testimonies to the trading and architectural history of the late 19th and early 20th centuries. They have been on the UNESCO World Heritage List since 2015 and represent a unique urban ensemble in Hamburg. Hardly any other place illustrates so vividly how economic dynamism, technical innovation and architectural design combine with one another.

The development of the Speicherstadt is inextricably linked to Hamburg’s role as an international trading center. After the city joined the German customs territory in 1888, a free port area was established, which enabled the duty-free handling of goods. In this context, construction of the Speicherstadt began in 1883 under the direction of chief engineer Franz Andreas Meyer and was completed in several phases by 1927. It was built on the former Kehrwieder and Wandrahm area, whose residential buildings had to make way for it.
The Speicherstadt is a large ensemble of warehouses founded on thousands of oak piles in the Elbe delta. Its monumental brick warehouses were used to store valuable imported goods such as coffee, tea, cocoa, spices and carpets. The neo-Gothic architectural language was based on the North German brick tradition and combined decorative forms – such as turrets, oriels, dentil friezes and pointed arch motifs – with strictly structured building structures. However, the Speicherstadt was never merely a functional building complex, but an expression of a modern understanding of trade that combined efficiency, aesthetics and urban identity.
From the 1920s onwards, the Kontorhausviertel developed to the south as an office location for trading companies. Multi-storey office buildings in modern reinforced concrete construction were built here, which are considered to be one of the first consistently planned office districts in Europe and set new standards for administrative architecture. The ensemble, known today as the Speicherstadt and Kontorhausviertel with Chilehaus, thus documents two closely related phases of commercial architecture: the warehouse buildings of the 19th century and the Kontorhäuser of the early modern period.

Brick expressionism and modernism: the Chilehaus as an icon

The Chilehaus, designed by architect Fritz Höger and built between 1922 and 1924, stands in the center of the Kontorhaus district. It was built by the shipowner and merchant Henry B. Sloman, whose fortune was based on the saltpetre trade with Chile – hence the name of the building. The Chilehaus was built on a triangular plot between Burchardstraße, Pumpen and Niedernstraße, which led to its strikingly curved, ship’s bow-like top.
The Chilehaus is considered a major work of North German brick expressionism. Its dynamic silhouette is reminiscent of the bow of an ocean liner and refers to Hamburg’s maritime character and the city’s global trade links. With its ten storeys, the consistent use of clinker brick and the differentiated façade structure, the building exemplifies a modern architectural concept that combines traditional materials with an avant-garde design language. The vertical emphasis through pillars and window axes enhances the sculptural effect of the façade. At the same time, the building meets the highest functional demands of its time: flexible floor plans, light guidance through inner courtyards and a constructive rationality that was adapted to everyday office life. The Chilehaus has been a listed building since 1983.
In conjunction with neighbouring Kontorhaus buildings such as the Sprinkenhof, Meßberghof and Mohlenhof, a homogeneous quarter was created, characterized by perimeter block development, expressionist details and monumental scale. The Speicherstadt and the Kontorhaus district with the Chilehaus thus document a decisive moment in architectural history between tradition and modernity.

Urban planning synthesis of the arts and UNESCO recognition

In 2015, UNESCO recognized the exceptional universal value of the ensemble in particular. The decisive factors were the unity and authenticity of the area, which has remarkably preserved the infrastructure of a commercial metropolis of the late 19th and early 20th centuries. It is also Hamburg’s first UNESCO World Heritage Site.

The World Heritage Site fulfills two criteria:

Criterion (ii): it bears witness to the exchange of human values in the development of modern commercial architecture and urban planning.

Criterion (iv): It is an outstanding example of a building form that illustrates a significant phase in human history – the era of world trade and industrial urbanization.

The Speicherstadt impresses with its canals, bridges and storage blocks, which form a complex logistical system. Goods could be delivered directly by ship, stored on the upper floors and moved using winches or freight elevators. The architecture consistently follows functional requirements without sacrificing aesthetic design. The Kontorhaus district, on the other hand, reflects the organizational and administrative side of world trade. This is where contracts were concluded, prices calculated and international networks coordinated. The monumental façades reflect the economic self-importance of a city that saw itself as a “gateway to the world”. As a World Heritage Site, the Speicherstadt and the Kontorhaus district with the Chilehaus today not only stand for Hamburg’s history, but also for the global trade structures of the modern age. They illustrate how economic processes are translated into built form and how architecture can create identity.
At the same time, the ensemble is an example of the careful conversion of historical buildings. While some of the warehouses are still used for storage purposes, today they also house museums, agencies and cultural institutions – including the Speicherstadt Museum, the German Customs Museum and Miniatur Wunderland. The Kontorhaus district is still used as an office location. This continuity of use contributes significantly to the authenticity of the location and makes it a living monument within the modern urban structure.

Between tradition and the present: significance in the 21st century

In the 21st century, the World Heritage Site faces new challenges. Issues of monument protection, sustainable urban development and tourism management are becoming increasingly important. Integration into the neighboring HafenCity requires a sensitive balance between historical substance and contemporary architecture. However, this is precisely where the special quality of the Speicherstadt and the Kontorhaus district with the Chilehaus lies. They are not a museum relic, but a living urban space in which history can still be experienced. The expressive brick architecture still has an identity-forming effect today and has a decisive influence on Hamburg’s international image. The ensemble also provides a lesson in how to deal with industrial and commercial heritage. It shows that functional buildings can become cultural symbols through design quality and urban integration. The recognition as a UNESCO World Heritage Site underlines this claim and at the same time obliges careful preservation.
The Speicherstadt and the Kontorhaus district with the Chilehaus are exemplary of an era in which trade, technology and architecture formed a new unity. Their brick façades tell of global flows of goods, economic ambition and creative innovation. In the combination of historical authenticity and contemporary use, this World Heritage Site proves to be a dynamic monument to a networked world.

POTREBBE INTERESSARTI ANCHE

War – a search for traces

Building design

1632

With the exhibition “War. An archaeological search for traces” shows what remains of fighting people. It is an exhibition that is so perfectly suited to our times that it seems almost uncanny. Although it is clear that Halle’s “War” exhibition has been a long time in the making and is an “archaeological search for traces”, as the subtitle […]

With the exhibition “War. An archaeological search for traces” shows what remains of fighting people.

It is an exhibition that is so perfectly suited to our times that it seems almost uncanny. Although it is clear that the “War” exhibition in Halle has been in preparation for a long time and is an “archaeological search for traces”, as the subtitle says, its theme is depressingly relevant to current events. “It is sad for me as a museum man to be up to date. I wish all wars were in the museum. But since that’s not the case, we want to explain it as well as possible,” says museum director Harald Meller.

And he does. “War” is not treated here as a distant threat, but is exhibited on the basis of its results. The most impressive “result” is at the center of the exhibition: it is the grave of 47 dead fighters found on the battlefield of Lützen near Leipzig in 2011, recovered in a block, restored, scientifically examined and displayed in an upright position. Although as many as 6,500 fighters lost their lives on the battlefield near Lützen on November 6, 1632, this mass grave is the only grave found there.

Restored and researched over the course of three years, it now stands towering and dramatically illuminated at the beginning and center of the exhibition in the atrium of the Hallens State Museum of Prehistory. Four windows have been opened at the (present-day) rear to provide a view from below. In the catalog, Christine Leßmann and Denis Dittrich from the Saxony-Anhalt State Office for the Preservation of Monuments and Archaeology describe the restoration that took place in the museum’s restoration workshop after the block was salvaged. Not only were numerous samples taken and the entire block consolidated so that it can be displayed upright in a metal frame, but also “90 percent of the skeletons were not moved”, says head restorer Christian-Heinrich Wunderlich. “This is also a question of dignity and reverence.”

Bullets from the Lützen battlefield lie in a large display case in front of the grave – neatly arranged like Damien Hirst’s tablet shelves. Even if it is only a small part of the 2,700 bullets found, there are an ominous number of them arranged in rows. As everywhere in the exhibition, the staging is an aesthetic and artistic arrangement, accompanied by detailed explanations. This conglomeration of found objects, texts, pictures, films and graphics is a concept.

Battle maps and statistics with the age distribution of killed combatants – otherwise rather boring statistical ingredients – are given an illuminating value through the clever presentation and the proximity to the real victims. Under large magnifying glasses set into a display case in the atrium around the mass grave are tiny finds that are otherwise easily overlooked. Here they have the status of sensations. Buttons, for example, that were found with the skeletons or a few clothing fibers. Although the exhibition organizers have not been able to give the warrior, who was apparently laid over all the other dead with his arms outstretched like the crucified Christ, his name, they have been able to give him back his face using modern reconstruction techniques.

After focusing on Lützen, the theme first expands to the 30-year war – in which 449 of the 30,000 inhabitants of neighboring Magdeburg, for example, remained – to wars in the Paleolithic, Neolithic and Bronze Ages. With spectacular exhibits such as the first gold dagger or the skull of the earliest known murder victim (more than 400,000 years old) from the Spanish “bone pit”, visitors delve deeper and deeper into human history – which, however, was peaceful for the longest time, as museum director Meller emphasizes.

There may be beautiful weapons, ingenious warlords, magnificent armor – in the end, what remains of the war is the skull with the fatal bullet hole, the mountain of nameless skeletons full of injuries. After the show in Halle and other exhibition stations, the grave will probably return to Lützen to be permanently displayed near the place where it was once found. Harald Meller calls it a sustainable exhibition – it is the opposite of war.

The exhibition at the State Museum of Prehistory can be seen in Halle until May 22, 2016.
The accompanying book has been published by Theiss Verlag and costs 39.95.

More time for the essentials with apps

Building design
uses smart delivery services and has digitalized its processes. Photo: Peter Hegenberger

are large ceramic tiles. With this

End-to-end digital solutions are becoming increasingly important in the trades. But individual apps can also make life on the construction site easier. The motto: try out new things and start with sub-processes. The goal: more time for customers and projects. Writing hours, documenting defects and changes, coordinating deadlines, writing orders and invoices: In many companies, all of this is still largely […]

End-to-end digital solutions are becoming increasingly important in the trades. But individual apps can also make life on the construction site easier. The motto: try out new things and start with sub-processes. The goal: more time for customers and projects.

Writing hours, documenting defects and changes, coordinating appointments, writing orders and invoices: In many companies, all of this is still largely done manually (by transferring data from one program to another or from a piece of paper to a program) and costs owners and specialists a lot of time. Procuring materials is also a time waster. Apps promise a remedy. There is now a whole range of digital tools and services that simplify operational processes, help to outsource peripheral processes and thus free up time for the core business.

How do you get your materials? Do you call the dealer? Do you order online? Do you collect everything yourself? Is everything always in the right place at the right time? It often costs a lot of travel and waiting time if adhesive, primer, silicone, spare parts or tools are missing, broken or run out. Würth has therefore been delivering its C-parts to construction sites for years and takes care of picking the on-site storage areas.

Following this example, the start-up Bex has been delivering any material to construction sites within two hours using an app since 2019. Even the smallest quantities are delivered. Purchases are made from the supplier of choice, and payment is based on weight and urgency. Founder and Managing Director Lennart Paul describes Bex as a fulfillment service provider that closes the gap “from order to wall”. System logistics for everyone.

Tiler Peter Hegenberger from Leonberg has been working with this delivery service for the trade since summer 2020. Initially intended as a back-up for forgotten items, the specialist in large ceramic formats now uses the delivery platform strategically and has transformed his workflow. “These days, I save myself the preliminary visit when taking over bathroom construction sites,” he reports.

Instead of inspecting the construction site the day before, picking up the material from the dealer and bringing it back a day later, Peter Hegenberger now does this on the day of installation, orders his material by 8.30 a.m. and has it delivered. “In the meantime, I do the preparatory work and bring the standard equipment myself.”

He also orders materials for supplements via the app and can carry out the additional work on the same day. He now makes 20 to 30 deliveries per month. He even has the construction site waste collected and professionally disposed of by the Bex drivers. “That saves an incredible amount of time and effort,” he says happily.

What can you outsource?

The service is ideal for small businesses. Instead of employing specialists for collection and delivery services, Peter Hegenberger outsources the purchase and transportation of materials. Even if he has to pay a transport fee of 19 euros for an (individually ordered) tube of silicone this way. “That sounds like a lot,” says Swabian Hegenberger, who has of course done the math. His conclusion: the business pays off.

Hegenberger, who works digitally with an ERP system, CAD, digital measurements and mobile time recording, also has a vision for digital material procurement: “I would prefer to do without my own vehicles and have all my materials delivered to and collected from the construction sites.” He himself could then travel by electric car instead of by van.

Bex CEO Lennart Paul has had this vision for some time. “We can imagine the complete assembly of construction sites in the future,” the founder explains to STEIN. Especially as such a division of labor has long been a matter of course in other industries and fields of activity. “After all, even doctors only come to the operating theater to operate, and the material is completely prepared for them in advance,” says Paul. Concentrating on the core business is the name given to this effect, which enhances professions, makes work more effective and is made possible for smaller companies by digitalization.

Read more in STEIN 2/2021.