Idyll and Ideology
ISBN 978-3-98612-003-0
ISBN 978-3-98612-003-0
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<strong>Idyll</strong> <strong>and</strong> <strong>Ideology</strong><br />
Hermann Mattern <strong>and</strong> the<br />
L<strong>and</strong>scape to Live In<br />
Lars Hopstock
3<br />
This first English-language biography of Hermann<br />
Mattern (1902–1971), one of Germany’s principal<br />
twentieth- century l<strong>and</strong>scape architects, critically<br />
assesses the significance of his organicist-functionalist<br />
position while offering a new reading of<br />
German garden <strong>and</strong> l<strong>and</strong>scape culture during his<br />
lifetime. While focusing on the idiosyncrasies of<br />
a single man, the biography aims to contribute to<br />
a more holistic underst<strong>and</strong>ing of l<strong>and</strong>scape- related<br />
modernism in general – beyond the narrow limits<br />
of garden history, but without neglecting the<br />
specificities of the intellectual culture of l<strong>and</strong>scape<br />
architecture. Mattern embodies several themes<br />
of the German l<strong>and</strong>scape discourse <strong>and</strong> the central<br />
ambivalence of his generation: a life between the<br />
artistic avant-garde of the 1920s <strong>and</strong> the pitfalls<br />
of an allegedly apolitical career under the Nazi<br />
regime <strong>and</strong> in the postwar period. Based on comprehensive<br />
archival research, Hopstock’s richly<br />
illustrated study uncovers professional networks,<br />
discourses <strong>and</strong> rivalries that shaped the profession<br />
of l<strong>and</strong>scape architecture in Germany during its<br />
formative decades.
Content<br />
7<br />
Foreword<br />
Marc Treib<br />
219<br />
‘Politically Unsound’:<br />
Mattern <strong>and</strong> the Nazis<br />
11<br />
15<br />
Preface<br />
Introduction<br />
231<br />
‘Obsolete Individualism’:<br />
The Killesberg Park Between Reverence<br />
<strong>and</strong> Rejection<br />
23<br />
71<br />
83<br />
Tendencies in<br />
Modern Garden Art<br />
The Architectonic <strong>and</strong><br />
the L<strong>and</strong>scape Modes<br />
c. 1895–1933<br />
Part I<br />
Early Influences<br />
1902–c. 1930<br />
Learning to See:<br />
A W<strong>and</strong>ervogel Youth in the L<strong>and</strong> of Fables<br />
Becoming a L<strong>and</strong>scape Architect<br />
in Germany in the 1920s<br />
261<br />
283<br />
335<br />
349<br />
Working Towards the Führer (?):<br />
Mattern’s War Career<br />
Atmosphere of Departure <strong>and</strong><br />
Disillusionment: Postwar Art <strong>and</strong> Life<br />
Part III<br />
The New L<strong>and</strong>scape<br />
Consciousness<br />
c. 1950–1971<br />
The ‘L<strong>and</strong>scape for Living’ <strong>and</strong><br />
Its Limits of Resilience<br />
International Orientation <strong>and</strong><br />
Retrospection: The Later Years<br />
99<br />
121<br />
Confidante <strong>and</strong> Counterpart:<br />
Herta Hammerbacher<br />
Bauhaus, Expressionism <strong>and</strong> the Empathic:<br />
Early Influences <strong>and</strong> the Golden Twenties<br />
367<br />
Epilogue<br />
‘Freedom within<br />
Limitations’<br />
153<br />
Tête-à-Tête with Flora:<br />
Karl Foerster <strong>and</strong> the New Take on Plants<br />
Part II<br />
Continuities Across<br />
Systems<br />
1927–c. 1960<br />
384<br />
390<br />
391<br />
396<br />
416<br />
Appendix<br />
Glossary<br />
Acronyms<br />
Index<br />
Bibliography<br />
Imprint<br />
177<br />
Genesis of the New L<strong>and</strong>schaftlichkeit:<br />
The ‘Bornim’ Label in the Context of<br />
Interwar Garden Design<br />
5
Introduction<br />
Significance <strong>and</strong> research questions<br />
The common knowledge about Hermann Mattern<br />
is usually subsumed by the term Bornimer Schule –<br />
Bornim School, probably a self-proclamation –<br />
which refers to a group of l<strong>and</strong>scape architects <strong>and</strong><br />
horticulturists active in Bornim near Potsdam who<br />
were particularly influential with their notions of<br />
modern garden design as developed around 1930. 1<br />
For Mattern, the following aspects are widely<br />
considered as established facts: an ‘organic’ (curvilinear)<br />
formal language with an extensive use of<br />
mounds for space-making, usually mentioned in<br />
the same breath as his fellow l<strong>and</strong>scape architect<br />
<strong>and</strong> first wife Herta Hammerbacher’s (1900–1985)<br />
preference for hollows; informal, vegetation-based<br />
design concepts, inspired by the breeding achievements<br />
of his business partner Karl Foerster (1874–<br />
1970); a liberal stance, opposed to the Nazi regime;<br />
progressive concepts for l<strong>and</strong>scape planning; <strong>and</strong><br />
formative personal connections with the architect<br />
Hans Scharoun (1893–1972). This canon has been<br />
repeatedly referred to <strong>and</strong> often disseminated<br />
without the consultation of primary sources, which<br />
has led to the perpetuation of certain characteristics<br />
<strong>and</strong> to a broad-brush image of this group<br />
of professionals. This, <strong>and</strong> the view of Mattern as<br />
‘artist without a theory’ <strong>and</strong> progressive humanist,<br />
has prevented a differentiated <strong>and</strong> critical analysis<br />
from being developed.<br />
In 1982, an exhibition about Mattern was held<br />
at Berlin’s Arts Council Akademie der Künste, the<br />
successor to the Prussian Academy of Arts. This was<br />
one of the first such events dedicated solely to one<br />
twentieth-century garden designer. The exhibition<br />
was accompanied by a catalogue entitled Hermann<br />
Mattern: Gärten, Gartenl<strong>and</strong>schaften, Häuser, which<br />
for thirty years remained the only monograph<br />
about him. It was intended as an initial recollection<br />
of memories <strong>and</strong> comprised a tentative approach<br />
to reviewing his central ideas, without academic<br />
pretensions, while paying tribute to the wide scope<br />
of his work. Until then, most knowledge about<br />
Mattern’s life was passed on by word-of-mouth.<br />
Since the mid-1990s a small number of academic<br />
papers further explored aspects of his life <strong>and</strong><br />
work, often with a focus on his ideo logical stance.<br />
Mattern has for a long time been presented<br />
as a showcase liberal. However, after more information<br />
emerged about his involvement with<br />
the regime, in particular, with the Organisation<br />
Todt (OT), the civil <strong>and</strong> military engineering<br />
group that represented one of the power centres<br />
15
of the Nazi state, the feeling grew that there was<br />
more to be discovered. 2 This did not so much<br />
affect his ideological st<strong>and</strong>ing, which had been<br />
convincingly analysed <strong>and</strong> generally found to<br />
be non-Nazi. Instead, the most obvious research<br />
question sought a clarification of Mattern’s actual<br />
relationship with the regime in functional terms.<br />
In addressing this, his sometimes alluded-to, yet<br />
never widely recognised, willingness to cooperate<br />
emerges now more clearly than ever before.<br />
Another research question regards the generally<br />
vague conception of modernism in garden<br />
design, something that has been described as a<br />
mere ‘side-track’ of twentieth-century l<strong>and</strong>scape<br />
architecture. 3 It has even been stated that ‘[i] t is<br />
commonly held that there was no modernist<br />
movement in German l<strong>and</strong>scape architecture’. 4<br />
The line of reasoning on which such assess ments<br />
was based, however, reveals a general lack of<br />
research <strong>and</strong> a reductionist underst<strong>and</strong>ing of<br />
modernism itself. Therefore, one aim of the present<br />
study is a clarification of how to ask the question<br />
in the first place. How did changing social conditions<br />
<strong>and</strong> changing cultural concepts find expression<br />
in domestic <strong>and</strong> public garden design? In view<br />
of the turn towards question of the l<strong>and</strong>scape,<br />
how did the profession that we today refer to as<br />
l<strong>and</strong>scape architecture transfer its h<strong>and</strong>ed-down<br />
body of knowledge from the garden onto the<br />
l<strong>and</strong>scape? What notion of a garden could be<br />
discussed together with the artistic avant-garde<br />
or in the context of the Bauhaus? What was the<br />
garden equivalent to the architectural movement<br />
of Neues Bauen? Or did garden design rather<br />
follow a Freudian kind of compensatory mechanism<br />
to create in its ‘subdued lushness’ an enthralling<br />
complement to the ‘austerity of the built’,<br />
as one contemporary observer put it? 5 Regarding<br />
these questions, Mattern <strong>and</strong> the other l<strong>and</strong>scape<br />
architects surrounding the Foerster nursery in<br />
the village of Bornim – which I will refer to as<br />
‘Bornimers’– are observed sceptically, as a result<br />
of their perceived romanticism, <strong>and</strong> have even<br />
been written-off as ‘middle-of-the-road’ modernists.<br />
6 However, this assessment was based on facile<br />
aesthetic judgements <strong>and</strong> often on a wildly questionable<br />
equation of the geometric with the progressive.<br />
Concerning the artistic avant-garde, while<br />
a series of impressive, often unbuilt examples has<br />
been presented in the literature, today the search<br />
for a modern garden style in the sense of a ‘new<br />
building style’, as proclaimed in 1927 by Walter<br />
Curt Behrendt, seems anachronistic; so many<br />
other factors have come into view beyond formaesthetic<br />
questions, <strong>and</strong> in the light of discourses<br />
in the humanities there is no way one can avoid a<br />
multi- perspectival reflection, moving between the<br />
poles of social history <strong>and</strong> history of ideas. 7 The<br />
advantage someone studying Hermann Mattern<br />
has is that Mattern consciously <strong>and</strong> carefully verbalised<br />
the ideas on which his designs – concrete<br />
spatial artefacts – were based, <strong>and</strong> that he was<br />
self-reflective. Furthermore, there is a great wealth<br />
of visual material to analyse. This visual part of<br />
his legacy was intentionally produced to impart<br />
his ideas by visual means – first of all by means of<br />
photographs, skilfully taken by the photographer<br />
Beate zur Nedden, Mattern’s second wife. For<br />
good reasons, German garden <strong>and</strong> l<strong>and</strong>scape history<br />
has, to a large extent, invested in dealing with<br />
ideological-political questions; they continue to<br />
be dominant in the present text. However, aspects<br />
of formal-spatial evolution <strong>and</strong> artistic <strong>and</strong> designerly<br />
notions have, in the past, not been addressed<br />
with the same scholarly rigour. If form <strong>and</strong> idea,<br />
design vocabulary <strong>and</strong> intention are understood as<br />
mutually dependent <strong>and</strong> design is acknowledged<br />
as a medium of knowledge production, the significance<br />
of a designer can only be evaluated appropriately<br />
when considering an artefact as the formal<br />
expression of ideas <strong>and</strong> cultural influences. With<br />
this qualification, in the context of biographical<br />
research a formal analysis of a work is meaningful.<br />
After the question of Mattern’s relation with<br />
the Nazi regime <strong>and</strong> the unsolved relationship<br />
of l<strong>and</strong>scape architecture to ‘modernism’ in general,<br />
a third major subject to be considered is the field<br />
of the history of the profession, notably its education.<br />
While the chronology is fairly clear, <strong>and</strong> records<br />
the beginnings of the university curriculum<br />
for l<strong>and</strong>scape architects in 1929 at the Berlin College<br />
of Agriculture, as well as the foundation dates<br />
of other colleges after the war, the teaching content<br />
has not yet been systematically investigated. 8<br />
As a teacher at two of the few postwar universitylevel<br />
courses for l<strong>and</strong>scape architecture, Mattern<br />
had a prominent role in this field. On top of this,<br />
he was also responsible for the establishment of<br />
the only course ever to be taught at a German art<br />
college, at Kassel immediately after the war. This<br />
gains a particular significance through Mattern’s<br />
introduction of Bauhaus ideas into the sphere<br />
of l<strong>and</strong>scape architecture education, something<br />
that has never been clearly illuminated. 9<br />
16 Introduction
The scope <strong>and</strong> structure of this book<br />
The temporal foci of the main parts below become<br />
comprehensible by knowing more about the<br />
available sources. In this regard, some surprises<br />
were waiting along the way. The archival material<br />
presented a much richer source than initially<br />
expected. This was especially true for correspondence<br />
from the period of the Nazi regime, disclosing<br />
debates behind the scenes that explained<br />
aspects of the profession’s history as yet not so<br />
clearly understood. The relevance of findings from<br />
oral history, which certainly complemented the<br />
author’s image of Mattern’s character, paled in<br />
contrast to the significance of archival material.<br />
Another change in focus was due to the period<br />
from which this material originated. Correspondingly,<br />
a temporal focus emerged on the period<br />
1933–45. That Mattern’s inspiration in his youth<br />
appeared formative for his development added<br />
a second emphasis on the first half of Mattern’s<br />
life. For this period, never-before analysed private<br />
correspondence brought to light a wealth of detail<br />
that should encourage future researchers to look<br />
further into other aspects that have merely been<br />
touched on in the present text. This is also true for<br />
his artistic work as a whole, of which this book<br />
presents only a tiny fraction. Mattern’s influence<br />
in the postwar period could be delineated with<br />
considerable breadth, but some developments<br />
remain to be explored more in depth.<br />
Due to the lack of publications in English<br />
that might provide such a context, this text starts<br />
by recapitulating some of the main developments<br />
<strong>and</strong> dominant individual positions in German<br />
twentieth- century garden history, upon which<br />
the general lines of reasoning are then launched.<br />
This first part also provides an introduction to<br />
the relevant notions <strong>and</strong> personalities that allows<br />
for a tighter organisation of later chapters <strong>and</strong><br />
com prises a cursory classification of Mattern’s<br />
<strong>and</strong> Hammer bacher’s early work in form-histori<br />
cal terms. The timeframe from the late nineteenth-century<br />
reforms to the period around<br />
WWII was chosen to show the development of<br />
the geometric ideal that prevailed at the times that<br />
Mattern’s design approach was defined. The text<br />
deals with questions of ideology but tries to link<br />
these with questions of form. The latter, as will<br />
become obvious, are all-encompassing in garden<br />
history; many professional debates referred in some<br />
way to the two poles of a l<strong>and</strong>scape-like naturalism<br />
(l<strong>and</strong>schaftlich) <strong>and</strong> a geometric, architectonic style.<br />
This introduction necessarily had to draw upon<br />
primary literature, especially the journal Gartenkunst<br />
which was the most important publication<br />
for practicing l<strong>and</strong>scape architects at the time. 10<br />
The profound changes that took place after 1933<br />
will be briefly delineated, but the Nazi era will<br />
be dealt with later in greater detail in the chapter<br />
focusing on Mattern’s experiences in the period.<br />
For different chapters, different approaches<br />
have consciously been chosen, alternating between<br />
the explorative <strong>and</strong> more straight-forward historical<br />
descriptions of particular occurrences. In some<br />
cases, the relevance of the subject to Mattern is not<br />
made explicit, but should reveal itself indirectly.<br />
The historiography is complemented by occasional<br />
case studies, <strong>and</strong> all images should be understood<br />
as a separate, essential layer of meaning, not always<br />
entirely translated into text.<br />
For a complete list of works the reader is<br />
kindly referred to Vroni Heinrich’s biography<br />
of Mattern, which is available online, <strong>and</strong> compare<br />
its extensive annex with the bibliography in this<br />
book, which includes varied new sources. 11<br />
The sources<br />
Mattern’s estate is distributed across different<br />
locations. Firstly, there is his work – drawings as<br />
well as photographs of projects – which is kept<br />
at the Museum of Architecture at Berlin, fittingly<br />
located in a Scharoun-designed, run-down<br />
extension to the TU’s faculty of architecture at<br />
Ernst-Reuter- Platz. The online database lists over<br />
650 projects for Hermann Mattern, comprising<br />
well over 6,500 single files tagged with his name,<br />
though it has to be considered that this overlaps<br />
with Hammer bacher-related fonds for their<br />
collaboration over several years. In comparison,<br />
the estate of his colleague Walter Rossow at the<br />
Akademie der Künste, considered as an extensive<br />
collection, holds 2,500 plan drawings. Secondly,<br />
the property of his university chair went into the<br />
possession of the University Archive of the Technical<br />
University of Berlin, which forms a department<br />
within the main university library but is kept<br />
in a different building. This part of the Mattern<br />
fonds were first organised only after the main part<br />
of my research had been completed, so references<br />
mostly refer to documents without inventory<br />
numbers (e. g., ‘folder 1’).<br />
Part of Mattern’s private <strong>and</strong> professional<br />
legacy was h<strong>and</strong>ed over by his widow to her friend<br />
Vroni Heinrich, a former student of Mattern’s,<br />
17
some four or five decades ago. 12 Finally, Mattern’s<br />
daughter also kept parts of his property when she<br />
took over his Bavarian house, where, for example,<br />
his private book collection remains unchanged,<br />
now in the possession of a gr<strong>and</strong>son of Mattern’s. 13<br />
The estate of Hans Scharoun unexpectedly contained<br />
very little correspondence.<br />
The main body of sources for the time of<br />
Mattern’s youth <strong>and</strong> the start of his career during<br />
the Weimar Republic were found in the form of<br />
a shoebox filled with hundreds of letters written<br />
by Mattern between October 1926 <strong>and</strong> July 1927,<br />
when he lived in Magdeburg, where he had his<br />
first employment at the city’s parks <strong>and</strong> gardens<br />
department. These letters were all addressed to<br />
his beloved Herta Hammerbacher. The two were<br />
writing on a daily basis, occasionally sending two<br />
letters in a single day, <strong>and</strong>, as they are written<br />
in confidence, their discovery represented a biographic<br />
historian’s holy grail. Unfortunately,<br />
Hammer bacher’s corresponding letters are lost.<br />
Mattern’s letters were h<strong>and</strong>ed to the university<br />
archive by Vroni Heinrich, who appears to hold<br />
parts of this correspondence privately. 14 The private<br />
communication between Seifert <strong>and</strong> Mattern,<br />
as well as the circulars of the l<strong>and</strong>scape advocates,<br />
provide details about Mattern’s occupation under<br />
the Nazi regime; as will be shown, he owed his<br />
stabilising repute of irreproachability in these years<br />
to strong interventions made by Seifert. Crucial<br />
insights were also gained from looking at correspondence<br />
kept in the estate of l<strong>and</strong>scape architect<br />
Heinrich Friedrich Wiepking.<br />
With the intention to get first-h<strong>and</strong> impressions<br />
<strong>and</strong> to document surviving projects, a<br />
series of field trips were made. Apart from sites<br />
at Berlin <strong>and</strong> Potsdam, these field trips covered<br />
sites in Cologne, Étampes (France), Greimharting<br />
(the family property), Helmstedt, Hofgeismar<br />
<strong>and</strong> surroundings, Kassel, Magdeburg, Paris <strong>and</strong><br />
Stuttgart. Material was not always found, <strong>and</strong> often<br />
projects had not survived. Further archives were<br />
visited in Berlin, Freising, Munich, Osnabrück,<br />
Stuttgart, Wiesbaden <strong>and</strong> Magdeburg.<br />
After the downfall of the Nazi regime, many<br />
Germans had good reasons to clean their attics.<br />
After Mattern’s death in 1971, his widow would<br />
not have missed the opportunity to go through her<br />
husb<strong>and</strong>’s effects to decide which letters to give<br />
to the archive <strong>and</strong> which to hide or destroy. The<br />
same will be true for the personal correspondence<br />
consulted in other estates. We simply cannot say<br />
how objective archival fonds are. Good reputations<br />
want to be kept untarnished <strong>and</strong> missing material<br />
has as much potential to mislead an interpretation<br />
as manipulated material. The latter also has to be<br />
considered, for in times of active censorship even<br />
private letters had to be worded carefully – in<br />
particular if surveillance was likely. In addition to<br />
this, in Mattern we are also dealing with a person<br />
of both considerable pride <strong>and</strong> considerable wit,<br />
so particular precaution is advised.<br />
Literature overview<br />
Mostly with the help of his second wife Beate,<br />
Mattern produced the following three monographs:<br />
Freiheit in Grenzen (1938) <strong>and</strong> Gärten und<br />
Gartenl<strong>and</strong>schaften (1960), both documenting his<br />
work, <strong>and</strong> the environmentalist pamphlet Gras<br />
darf nicht mehr wachsen (1964). Die Wohnl<strong>and</strong>schaft<br />
(1950), a book Mattern edited, contains a seminal<br />
essay, <strong>and</strong> his lecture Flurl<strong>and</strong>schaft was published<br />
together with Ernst May’s lecture Stadtl<strong>and</strong>schaft<br />
(1964). 15 Besides this he wrote a vast number of<br />
articles <strong>and</strong> chapters of varying quality <strong>and</strong> significance.<br />
Prior to 1945 he published predominantly<br />
in the journals Gartenkunst <strong>and</strong> Gartenschönheit;<br />
after 1945 in the Werkbund journal baukunst und<br />
werkform (in the first editions he is listed as advisor<br />
to the editor Alfons Leitl), the garden <strong>and</strong> l<strong>and</strong>scape<br />
journals Garten und L<strong>and</strong>schaft (the postwar<br />
successor of Gartenkunst) <strong>and</strong> Pflanze und Garten<br />
(as its co-publisher), since 1970 known as Grün.<br />
In the relationship between l<strong>and</strong>scape architecture<br />
<strong>and</strong> architectural history it can generally<br />
be observed that the l<strong>and</strong>scape profession’s contribution<br />
is not always appropriately valued. Many<br />
monographs about architects who collaborated<br />
with Mattern do not mention him appropriately;<br />
occasionally he is referred to as an ‘architect’. A<br />
noteworthy exception are the writings about Hans<br />
Scharoun (1893–1972) by Peter Blundell Jones<br />
(1949–2016), who even suggested a fundamental<br />
influence Mattern may have had on the development<br />
of Scharoun’s organic architecture <strong>and</strong><br />
consideration of the terrain. 16 Other authors have<br />
dismissed Mattern’s role too easily. 17<br />
It should be noted that the published sources<br />
referred to in the following paragraphs are often<br />
low-budget, grey literature that has not received<br />
professional editing <strong>and</strong> will be difficult to find<br />
outside Germany.<br />
A special situation emerges from the fact<br />
that a great share of the biographic writing about<br />
18 Introduction
Mattern has been produced by one former student<br />
<strong>and</strong> admirer of his, the l<strong>and</strong>scape architect <strong>and</strong><br />
librarian at Mattern’s departmental library, Vroni<br />
Heinrich, who enjoyed the trust of Mattern’s<br />
widow Beate Maltusch, in the following referred<br />
to by her maiden name, zur Nedden. 18 Heinrich’s<br />
writings include an entry in the Chicago Botanic<br />
Garden’s Encyclopedia of Gardens, which is to<br />
date the only general introduction to Mattern<br />
in English, <strong>and</strong> she also worked on the already<br />
mentioned exhibition <strong>and</strong> catalogue of 1982. 19<br />
Thanks to her friendship with Beate zur Nedden,<br />
Heinrich has been given many private documents,<br />
parts of which she gave to the University Archive<br />
at the TU Berlin. On the one h<strong>and</strong>, her writings<br />
bear witness to a deep underst<strong>and</strong>ing of Mattern’s<br />
thinking <strong>and</strong> also draw attention to zur Nedden’s<br />
achievements which would otherwise be concealed.<br />
On the other h<strong>and</strong>, her work clearly<br />
betrays an apologetic bias. What is more, she freely<br />
admits to relying heavily on zur Nedden’s accounts<br />
without checking other sources, but completely<br />
fails to address the obvious potential pitfalls. 20<br />
One stark example shall suffice: even though<br />
Mattern’s membership in the National Socialist<br />
German Worker’s Party (NSDAP) is documented<br />
on easily accessible microfiches in the Federal<br />
Archive, Heinrich claims in all her publications<br />
that he did not join the party, simply because this<br />
was what zur Nedden had always said. 21 Heinrich<br />
also distorts quotes by quoting selectively or<br />
suggesting interpretations for which there is no<br />
evidence. Such shortcomings together with the<br />
inaccessibility of part of the estate certainly were<br />
a dis advantage for the academic engagement with<br />
the phenomenon of Mattern in the past. Heinrich’s<br />
long-awaited monograph was published in December<br />
2012 (revised edition 2013). 22 It provided<br />
rich material, as well as a catalogue raisonné,<br />
which helped evaluate my own findings.<br />
The greatest part of the present study relies<br />
on a literature review conducted in the context<br />
of the PhD thesis completed in 2015, upon which<br />
the text is based.<br />
In the context of twentieth-century German<br />
garden history, the first names that spring to mind<br />
are those of Gert Gröning (emeritus of Berlin’s<br />
University of Arts) <strong>and</strong> that of one of his students,<br />
Joachim Wolschke-Bulmahn (emeritus of the University<br />
of Hanover). 23 They are amongst the very<br />
few German garden historians to regularly publish<br />
in English <strong>and</strong> originally defined themselves with<br />
a ‘social science-oriented approach to open space<br />
planning’ (‘sozialwissenschaftliche Freiraumplanung’),<br />
based on a materialist conception of history. This<br />
should be seen in the context of Gröning’s academic<br />
initiation at the University of Hanover<br />
during the late 1970s, when sociology was a new<br />
<strong>and</strong> upcoming discipline upon which many hopes<br />
were set, which he exposed in an insightful essay<br />
(2010). Back then, a re discovery of the recently<br />
deceased founder of the school Heinrich Friedrich<br />
Wiepking’s past as a Nazi demagogue by a new,<br />
critical generation of students shocked the professional<br />
world. Gröning is known as a pioneer<br />
in discussing retrogressive ideological tradition<br />
lines in connection with the racist notion of the<br />
Nordic peoples’ special relationship to nature.<br />
He <strong>and</strong> Wolschke-Bulmahn drew attention to the<br />
edited-out, anti-democratic past of fashionable,<br />
allegedly new concepts such as the Naturgarten<br />
of the 1980s, <strong>and</strong> to the profession’s interconnection<br />
with the Nazi regime’s systems of power.<br />
With their sometimes feverish emphasis on moral<br />
questions, however, their work has also been<br />
criticised for its supposedly selective perspective<br />
<strong>and</strong> for an exaggerated scepticism regarding the<br />
ideological st<strong>and</strong>ing of garden designers <strong>and</strong> artists<br />
who are generally presented as humanists, such<br />
as Karl Foerster. 24 At the same time, they considerably<br />
widened the perspective of garden history<br />
research in Germany. While this, <strong>and</strong> the wealth<br />
of sources they have drawn attention to, have also<br />
contributed to the scope of the present text, in<br />
the light of Mattern’s role in the profession, he is<br />
con spicuously underrepresented in their writing. 25<br />
The reason may lie in the authors’ difficulties in<br />
pinning down Mattern with their categories of<br />
progressive versus conservative, as well as in their<br />
general suspicion towards neo-romanticism <strong>and</strong><br />
search for l<strong>and</strong>scape-relatedness, which is particularly<br />
palpable in Wolschke-Bulmahn’s work. 26<br />
Another circle in which important research<br />
has been completed is associated with the human<br />
geographer Ulrich Eisel (emeritus of TU Berlin)<br />
<strong>and</strong> the theoretical ecologist Ludwig Trepl (1946–<br />
2016, TU Munich) who almost exclusively published<br />
in German. These scholars st<strong>and</strong> for a more<br />
constructivist approach <strong>and</strong>, despite, or perhaps, as<br />
a result of largely shunning the st<strong>and</strong>ard academic<br />
culture of peer-reviewed journals, have been rather<br />
influential within German academic l<strong>and</strong>scape<br />
architecture. 27 Dealing with the history of ideas<br />
they hardly address questions of contemporary<br />
19
history, nor do they analyse specific designs. Taking<br />
into account the whole body of literature addressing<br />
Mattern, the Eisel- <strong>and</strong> Trepl-associated Stefan<br />
Körner (University of Kassel) has produced the<br />
most comprehensive (<strong>and</strong> complicated) analysis of<br />
Mattern’s thinking, which served as an inspiration<br />
for this text. 28<br />
Several theses have been dedicated to l<strong>and</strong>scape<br />
aspects of the autobahn projects of the 1930s<br />
with relevance for research about Mattern, 29 <strong>and</strong><br />
some monographs about other twentieth-century<br />
garden designers like those on Mattern’s colleagues<br />
Walter Funcke, Hermann Göritz <strong>and</strong> Alwin<br />
Seifert also include a few lines about Mattern,<br />
although mainly restricted to the Nazi years or<br />
the context of his working relationship with Karl<br />
Foerster’s nursery firm. 30 Sonja Dümpelmann,<br />
for example in her Flights of Imagination (2014),<br />
has also added some facets to our underst<strong>and</strong>ing<br />
of Mattern <strong>and</strong> Hammerbacher. One doctoral<br />
dissertation thesis to be gratefully referred to is the<br />
one published in 2001 by Jeong-Hi Go on Herta<br />
Hammerbacher, who was married to Mattern<br />
between 1928 <strong>and</strong> 1935. 31 It drew the author’s<br />
attention to some essential sources <strong>and</strong> helped<br />
contrast Mattern’s position with that of his first<br />
wife. With regard to Mattern’s role during the<br />
postwar decades, Andrea Koenecke has produced<br />
a valuable contribution with her dissertation thesis<br />
on Walter Rossow. 32 Finally, the March 2003 edition<br />
of Stadt+Grün should also be referred to, as it<br />
was dedicated to the 100th birthdays of Mattern<br />
<strong>and</strong> his contemporary Reinhold Lingner, with<br />
some well-researched contributions. 33 Last but not<br />
least, complemented later by Clemens Alex<strong>and</strong>er<br />
Wimmer’s related work, Swantje Duthweiler’s<br />
comprehensive study on trends of plant use in<br />
Germany between 1900 <strong>and</strong> 1945 has helped contextualise<br />
Mattern’s <strong>and</strong> his firm’s planting style. 34<br />
Merely weeks before this book went into print,<br />
Wimmer published the first comprehensive<br />
Karl Foerster biography. He kindly made some<br />
last-minute corrections to my book file. 35<br />
Questions of language<br />
One peculiarity of the present text is its dealing<br />
with entirely German sources. Sentences in German,<br />
<strong>and</strong> Mattern’s in particular, can be extremely<br />
long; in the interest of legibility, the longest sentences<br />
have been split up into shorter sentences in<br />
their translation. Quotes with a length above two<br />
lines in the original single- column manuscript<br />
have been indented. Unless stated otherwise,<br />
emphasis in quotes is found in the original source.<br />
All quotes from German sources translated by the<br />
author are given in footnotes, unless shorter than<br />
a full sentence. German texts retain their original<br />
orthography (e. g. ‘daß’ instead of ‘dass’).<br />
The topic deals with a German context not<br />
merely in a philological sense, but also a cultural<br />
one. Despite a long history of intense international<br />
exchange in garden design, key terms with a<br />
decidedly German context do exist. It is therefore<br />
necessary to present the most important German<br />
expressions <strong>and</strong> explain how they have been<br />
translated into English – or the reasons for not<br />
doing so. Thus, by recommendation of re viewers,<br />
a short glossary has been compiled. The term<br />
L<strong>and</strong>schaft has been discussed on many occasions,<br />
<strong>and</strong> the discourse of recent years suggest that its<br />
meaning is increasingly in flux. Without going into<br />
detail, it shall be mentioned that the author’s own<br />
studies were strongly defined by this discourse<br />
<strong>and</strong> the debate between proponents of culturalhistorical<br />
(l<strong>and</strong>scape as culturally defined <strong>and</strong><br />
aesthetically experienced), sociological-materialist<br />
(l<strong>and</strong>scape experience defined by social factors<br />
<strong>and</strong> as politically employed term) <strong>and</strong> scientistic<br />
materialist perspectives (l<strong>and</strong>scape as measurable<br />
environment). It must however be stressed that a<br />
modern perspective cannot ignore certain socioconstructivism;<br />
in everyday language as much<br />
as in the sphere of l<strong>and</strong>scape architecture, the<br />
adjectival term l<strong>and</strong>schaftlich is strongly connected<br />
with a cultural <strong>and</strong> aesthetic semantic field that is<br />
at least partly specific to the German context. This<br />
explains why the term l<strong>and</strong>schaftlich is typically<br />
left untranslated in the text; a translation would<br />
inevitably reduce its meaning.<br />
For the Bornimers, their designs tried to<br />
respect the character of the existing l<strong>and</strong>scape as<br />
much as express human nature; it was one of the<br />
main incentives for this research project to underst<strong>and</strong><br />
Mattern <strong>and</strong> Hammerbacher’s personal<br />
employment of the term. 36 Considered together,<br />
all research questions set out above delineate another,<br />
general underlying ambition: to contribute<br />
to a more holistic underst<strong>and</strong>ing of l<strong>and</strong>scaperelated<br />
aspects of twentieth-century culture <strong>and</strong><br />
to produce a piece of historiographical writing<br />
that may be of value to readers beyond the narrow<br />
limits of garden history, without neglecting the<br />
specificities of the intellectual culture of l<strong>and</strong>scape<br />
architecture.<br />
20 Introduction
1 See glossary for a definition of<br />
‘Bornim School’. More about this<br />
in the chapter on Karl Foerster,<br />
p. 151ff.<br />
2 The first author clearly<br />
addressing Mattern’s willingness<br />
to cooperate with the OT was<br />
Reitsam (2003).<br />
3 Poblotzki 2003: 17.<br />
4 Ibid.<br />
5 Heuss 1928: 50.<br />
6 See for example the popular<br />
monograph by Mader 1999<br />
(102–05; see also the chapter<br />
heading on p. 100).<br />
7 For impressive avant-garde<br />
examples see: Wolschke-Bulmahn<br />
2006, who also writes that the<br />
avant-garde was defined by the<br />
self-conception of the right angle<br />
(13–14). For another example<br />
that presents almost exclusively<br />
geometric gardens as modernist<br />
see: Bacher 1995.<br />
8 For a comprehensive overview<br />
of the beginnings of academic<br />
garden design teaching in Germany<br />
in English, see: Hopstock<br />
2022a; Hopstock 2022b.<br />
9 The author has published<br />
a short paper about this topic<br />
( Hopstock 2012).<br />
10 Gartenkunst was edited by<br />
the Deutsche Gesellschaft für<br />
Gartenkunst e. V. (German Society<br />
for Garden Art, DGfG), <strong>and</strong> unlike<br />
today, was the journal focusing on<br />
all matters of the profession, including<br />
garden history, questions<br />
of urban planning <strong>and</strong> contemporary<br />
garden design. During the<br />
1920s, the title was Gartenkunst,<br />
Monatsschrift für Gartenkunst und<br />
verw<strong>and</strong>te Gebiete (‘Garden Art,<br />
monthly for garden art <strong>and</strong> related<br />
fields’). In the 1930s the name<br />
changed to Gartenkunst, Zeitschrift<br />
für das gesamte Garten- und Siedlungswesen,<br />
L<strong>and</strong>schaftsgestaltung,<br />
Friedhofskultur, Gartentechnik<br />
(‘Garden Art, journal for the entire<br />
field of settlement, l<strong>and</strong>scape design,<br />
cemetery culture <strong>and</strong> garden<br />
technics’). At the end of the 1930s<br />
its subtitle was once more changed<br />
slightly, <strong>and</strong> it was now officially<br />
the ‘journal of the association<br />
of garden designers in the Reich<br />
Chamber for Fine Arts’, still edited<br />
by the DGG. Today’s Garten und<br />
L<strong>and</strong>schaft, not today’s Gartenkunst,<br />
is considered its successor.<br />
11 Heinrich 2013, available for<br />
download at: https://depositonce.<br />
tu-berlin.de/items/a6d1a7f4-<br />
8404-4ca5-964f-61c646fdfdad<br />
(accessed 18/09/2023).<br />
12 Heinrich refers to her collection<br />
as Archiv Vroni Heinrich<br />
(2013: 471).<br />
13 Mattern’s daughter Merete<br />
unexpectedly passed away in 2007,<br />
aged 77, shortly before a planned<br />
meeting with the author.<br />
14 While the correspondence in<br />
the archive material breaks off<br />
28/07/1927, Heinrich quotes from<br />
letters that represent the direct<br />
continuation (Heinrich 2013: 21–22).<br />
15 May <strong>and</strong> Mattern 1964.<br />
16 Blundell Jones 1995: 82, 84;<br />
Woudstra <strong>and</strong> Blundell Jones<br />
2002: 1.<br />
17 See p. 313.<br />
18 Zur Nedden, Beate’s maiden<br />
name, will be used to refer to her<br />
in the text, as she changed names<br />
several times, occasionally using<br />
her maiden name in combination<br />
with her husb<strong>and</strong>s’ names Mattern<br />
or Maltusch, from her second<br />
marriage after Mattern’s death.<br />
19 Shoemaker 2001: 859–62.<br />
There is also an entry in The<br />
Oxford Companion to the Garden<br />
(Taylor 2009: 301–02). In order to<br />
get a better idea of the context<br />
of Mattern’s work, readers<br />
without knowledge of the German<br />
language are also advised to<br />
take a look at the entries for Karl<br />
Foerster <strong>and</strong> Herta Hammerbacher<br />
in The Oxford Companion to<br />
the Garden (pp. 165 <strong>and</strong> 208, both<br />
written by Sonja Dümpelmann)<br />
<strong>and</strong> for Herta Hammerbacher<br />
in The Encyclopedia of Gardens<br />
(pp. 559–62, written by Joachim<br />
Wolschke-Bulmahn).<br />
20 Cf. Heinrich 2013: 10–11.<br />
21 NSDAP file (index MFOK O<br />
0044), file card Hermann Mattern,<br />
membership no. 7409839, applied<br />
for membership 02/12/1939,<br />
granted 01/01/1940, BArch. It is<br />
of course possible that he may<br />
have hidden his membership from<br />
his wife.<br />
22 Heinrich 2013. It was published<br />
around the time of completion<br />
of the dissertation thesis that this<br />
text is based upon, which is why<br />
only a part of the lecture manuscripts<br />
Heinrich presents from<br />
her private collection have been<br />
considered. It was published<br />
during the final reviewing stage<br />
of my dissertation thesis.<br />
23 Another representative<br />
of Gröning’s ‘school’ is Uwe<br />
Schneider, author of the seminal<br />
study on Muthesius’ influence on<br />
the garden reform around 1900<br />
(cf. Schneider 2000a; Schneider<br />
2000b).<br />
24 In a different context the<br />
environmental historian Frank<br />
Uekötter forcefully claimed a<br />
selective view of Gröning <strong>and</strong><br />
Wolschke-Bulmahn ( Uekötter<br />
2007: 70; Uekötter 2006:<br />
211–12). A research collaborator<br />
of Gröning’s, on the other<br />
h<strong>and</strong>, has shown considerable<br />
combativeness when accusing<br />
other scholars (such as Charlotte<br />
Reitsam, Stefan Körner <strong>and</strong><br />
generally the Eisel- Trepl-School,<br />
referred to below) of downplaying<br />
the responsibility of actors in the<br />
Nazi state, see Schneider (2001)<br />
<strong>and</strong> Reitsam’s response (2002).<br />
Wolschke-Bulmahn (2008) has<br />
also commented on this conflict<br />
from his perspective.<br />
25 This becomes particularly<br />
obvious in a chapter by Gröning,<br />
in which Mattern is merely<br />
mentioned <strong>and</strong> two photos of his<br />
seminal Killesberg park design<br />
of 1939 are the only illustrations<br />
in the chapter which are lacking<br />
clear attribution (Gröning 2002).<br />
At the same time the role (<strong>and</strong><br />
progressivism) of Georg Béla<br />
Pniower appears to be overemphasised.<br />
To be fair, it has to be noted<br />
that Gröning himself emphasises<br />
the character of his contribution as<br />
‘fairly selective’ (p. 145), pointing<br />
at the desiderate for comprehensive<br />
research on the historical<br />
phase it addresses.<br />
26 Wolschke-Bulmahn 1990;<br />
Wolschke-Bulmahn 2000;<br />
Wolschke-Bulmahn 2005.<br />
27 They are sometimes referred<br />
to as of the ‘Eisel-Trepl-School’,<br />
cf. Eisel 2011 <strong>and</strong> Prominski 2006.<br />
28 In his doctoral dissertation<br />
as well as his habilitation thesis<br />
(Körner 2001; Körner 2010). For<br />
a more accessible summary see<br />
Körner (2002). A publication<br />
with a related approach was<br />
produced some years earlier by<br />
Dorothea Hokema (1996) in form<br />
of her ambitious comparative<br />
graduation thesis on Mattern, Paul<br />
Schultze-Naumburg <strong>and</strong> Willy<br />
Lange. Another author obviously<br />
influenced by Eisel <strong>and</strong> Trepel’s<br />
teaching is Anette Voigt.<br />
29 The seminal study is by Zeller<br />
(2006), first published in German<br />
in 2002. See also Reitsam 2009;<br />
Strohkark 2001; Zutz 2009.<br />
Reitsam (2002) deals specifically<br />
with Mattern’s involvement.<br />
30 Karn 2004: 26–29; 59–60;<br />
Hiller 1997: 40–43; 49–50; 59–60.<br />
31 Go 2003: 22–33.<br />
32 Koenecke 2014.<br />
33 Körner 2002; Reitsam 2002;<br />
Zutz 2002.<br />
34 Duthweiler 2011; Wimmer<br />
2014.<br />
35 Clemens Alex<strong>and</strong>er Wimmer.<br />
2024. Gärtner der Nation. Die<br />
vier Leben des Karl Foerster<br />
(Ilmtal-Weinstraße: VDG Weimar).<br />
36 For a concise introduction to<br />
this topic, see Kühne <strong>and</strong> Antrop<br />
(2015). English translations of<br />
two of several classical German<br />
reference texts are: Simmel 1979<br />
[1913]; Lucius Burckhardt, ‘Why<br />
Is L<strong>and</strong>scape Beautiful? (1979)’,<br />
in: Fezer & Schmitz 2016: 133–41.<br />
21
Tendencies in<br />
Modern Garden Art<br />
The Architectonic <strong>and</strong><br />
the L<strong>and</strong>scape Modes<br />
c. 1895–1933<br />
23
If the tendency, to make the garden<br />
a naturally seeming l<strong>and</strong>scape<br />
scenery, represents an artistic<br />
derailment in itself, the unease<br />
grows upon learning about<br />
man’s desire to express with this<br />
arranged nature certain ideas<br />
<strong>and</strong> sentiments.<br />
August Grisebach, 1910: 106<br />
The l<strong>and</strong>scape garden signifies,<br />
seen from the perspective of<br />
the historiography of ideas,<br />
not disintegration <strong>and</strong> neglect,<br />
but a further development,<br />
i.e. the turning away from the<br />
‘I’ to the cosmos. The clear<br />
‘ratio’ of the symmetric gardens,<br />
which are strange to our nature,<br />
is here opposed to the ancient<br />
‘irratio’ of the Germanic soul,<br />
the limitedness <strong>and</strong> the formalism<br />
to the idea of infinity.<br />
Gerhard Hinz, 1937: 201<br />
24 Tendencies in Modern Garden Art
While the time of fundamental reform in garden<br />
design around 1900 is comparably well researched,<br />
there is only limited literature available about<br />
modernism in garden design in the 1920s. For<br />
those years, only primary literature conveys a nuanced<br />
impression, namely the journal Gartenkunst,<br />
as the most important organ for practicing l<strong>and</strong>scape<br />
architects in the period. The debates on form<br />
that took place within its pages – in those days still<br />
at centre stage – are the backdrop against which<br />
Mattern’s positioning becomes comprehensible.<br />
The changing dynamics at the end of the 1920s<br />
did not just spring from what is today generally<br />
referred to as the modernist movement <strong>and</strong> its<br />
social agenda; fundamental reforms of garden design<br />
had already been triggered at the end of the<br />
nineteenth century. 1 These defined essential points<br />
valid for the coming decades. The following cur s-<br />
ory overview is necessary knowledge to contextualise<br />
of Mattern’s <strong>and</strong> Hammerbacher’s early<br />
work in form-historical terms <strong>and</strong> to underst<strong>and</strong><br />
debates dealt with later that refer to these formative<br />
years.<br />
Around the turn of the twentieth century,<br />
within a few decades, garden design underwent<br />
radical changes of style accompanied by fundamental<br />
discussions about its social mission. During<br />
the Industrial Revolution, the l<strong>and</strong>scape garden,<br />
once a representation of Enlightenment values,<br />
became almost the opposite: a symbol of wealth<br />
<strong>and</strong> social hierarchy. The smaller plots available in<br />
urbanised areas resulted in a miniaturisation <strong>and</strong><br />
stereotyping of the original concept. L<strong>and</strong>scape<br />
gardeners with a lack of aesthetic education were<br />
largely blamed for this, but even renowned l<strong>and</strong>scape<br />
architects contributed to bad design practice.<br />
2 In 1894, Carl Hampel (1848–1930), Berlin’s<br />
municipal chief gardener <strong>and</strong> later garden director<br />
at Leipzig, produced a garden design book that<br />
presented one hundred st<strong>and</strong>ard patterns for small<br />
gardens, which was republished as an extended<br />
edition in 1902 (125 patterns) <strong>and</strong> again in 1905<br />
(150 patterns), with a sixth edition produced as<br />
late as 1921. 3 Such stencil books were popular to<br />
allow everyone with a little patch of l<strong>and</strong> to install<br />
the infamous Brezelwege – a derogatory term for<br />
the omnipresent entwined footpaths in the shape<br />
of a southern German pretzel. The Ge mischter<br />
Stil (Mixed Style) associated with the Royal<br />
Prussian Garden Director-General Peter Joseph<br />
Lenné (1789–1866) <strong>and</strong> his disciple Gustav Meyer<br />
(1816–1877) – also known as the Lenné- Meyer<br />
school – had not only become a formal stereotype,<br />
but gardens had also become an anachronism<br />
in terms of their social function. 4 Lawns were still<br />
not supposed to be used, <strong>and</strong> parks were generally<br />
intended for promenading <strong>and</strong> for the visual<br />
enjoyment of the ‘calm’ <strong>and</strong> ‘ harmonic’ scenery.<br />
Attractions were provided to foster patriotic<br />
sentiments. 5 Seemingly at r<strong>and</strong>om, carpet beds<br />
were inserted as decorative elements. The many<br />
path crossings were covered up by clumps of trees.<br />
Sample books such as Hampel’s showed endless<br />
variations on the same theme, copied over <strong>and</strong><br />
over again ↗ fig. 1.<br />
During the early 1900s, inspired by different<br />
publications <strong>and</strong> an influx of the ideals of the Arts<br />
<strong>and</strong> Crafts movement, a new type of public open<br />
space was sought after that corresponded with the<br />
changing dem<strong>and</strong>s of a healthy life as postulated<br />
by the Lebensreform movement. The l<strong>and</strong>schaftlich<br />
design principle, <strong>and</strong> with it the idealist concept of<br />
garden art st<strong>and</strong>ing behind it, began to be rejected<br />
in favour of a discussion of spatial clarity. This led<br />
to the triumph of the monumentalising geometries<br />
of the architektonisch, or the architectonic principle.<br />
6 In those days, battle lines were drawn that<br />
remained in place well into the 1920s <strong>and</strong> beyond.<br />
Although a more detailed look will reveal very different<br />
approaches between examples of historicism<br />
<strong>and</strong> those of an early modernism, both of which<br />
were combined under this garden-historical label,<br />
in the interest of brevity, ‘Architectonic Garden’ is<br />
used here as an established term. 7 The dichotomy<br />
of the two modes, architectonic <strong>and</strong> l<strong>and</strong>schaftlich,<br />
has also dominated garden historiography, <strong>and</strong><br />
contributed to the obscuring of progressive design<br />
concepts not so easily categorised. For Mattern,<br />
the conceptual pair ‘architectonic– l<strong>and</strong>schaftlich’<br />
was less important than the differentiation between<br />
a geometrical – especially symmetrical –<br />
preconceived formal idea that was imposed on<br />
a site, versus an organic idea that responded to<br />
the site’s characteristics <strong>and</strong> spatial configuration.<br />
While the Bornimers were arguably not the only<br />
ones declaring such an ambition for garden design,<br />
they were the ones realising it more consistently<br />
than others.<br />
When the term ‘organic’ is applied to the<br />
Bornimers, more misconceptions arise. Organic<br />
is often equated with curvilinear <strong>and</strong> naturalistic.<br />
The architectonic principle is identified as<br />
its opposite. Such a perspective ignores that<br />
an architectonic (geometrical) design can be<br />
25 The Architectonic <strong>and</strong> the L<strong>and</strong>scape Modes, c. 1895–1933
Fig. 1 A typical spread from Carl<br />
Hampel’s 150 kleine Gärten (1921:<br />
146–47, 1st edn 1894), 6th edition<br />
of the classic ‘stencil book’.<br />
Fig. 2 In his highly influential<br />
Das englische Haus, Muthesius<br />
discussed both historic (or historicist)<br />
examples like the gardens<br />
designed by R. S. Lorimer for<br />
the restored Earlshall Castle in<br />
Fifeshire, Scotl<strong>and</strong> (1908: 100) …<br />
Fig. 3 … <strong>and</strong> new gardens by<br />
modern architects, like the garden<br />
for Prior’s Field Comton, Surrey,<br />
by C. F. A. Voysey (1908: 84).<br />
26 Tendencies in Modern Garden Art
Fig. 5 One of the negative<br />
examples presented by Paul<br />
Schultze-Naumburg in the volume<br />
on gardens in his Kulturarbeiten<br />
series (1902: 195), ridiculing the<br />
type of ‘miniature lake Lucerne’<br />
that was also part of many examples<br />
shown in Hampel’s stencil<br />
book that was released in a second<br />
exp<strong>and</strong>ed edition in the same<br />
year (cf. fig. 1).<br />
Fig. 4 The name of Hans Markart,<br />
here shown in his atelier in a<br />
painting by Eduard Charlemont<br />
(c. 1880), stood symbolically for the<br />
exuberant, dark <strong>and</strong> exotic ‘Makart<br />
bouquets’ of the late 1800s that<br />
were a stereotypical feature of his<br />
popular portraiture <strong>and</strong> still lifes<br />
(Wien Museum, inv. no. 47260,<br />
CC BY 4.0, Foto: Birgit und Peter<br />
Kainz, https://sammlung.wienmuseum.at/objekt/1473/).<br />
Fig. 6 Garden furniture, positive<br />
<strong>and</strong> negative examples,<br />
from the volume on gardens<br />
in Paul Schultze-Naumburg’s<br />
Kulturarbeiten series (1902:<br />
224–25).<br />
27 The Architectonic <strong>and</strong> the L<strong>and</strong>scape Modes, c. 1895–1933
Fig. 29 Plan of a symmetric garden<br />
typical for Harry Maasz’s work<br />
in the 1920s (Maasz 1926: 218).<br />
Fig. 30 Photograph of the same garden by Harry<br />
Maasz. The informality of the rustic stones <strong>and</strong><br />
naturalistic planting contrasts with the symmetry of<br />
the general layout (Maasz 1926: 221).<br />
44 Tendencies in Modern Garden Art
Fig. 31 A design by Michael<br />
Mappes, referred to as ‘unusual’<br />
<strong>and</strong> ‘promising’ when it was<br />
published in 1925 in Gartenkunst<br />
(page from: Koch 1927: 301).<br />
Fig. 32 Gabriel Guévrékian’s<br />
famous garden for the Villa<br />
Noailles on Hyères at the French<br />
Côte d’Azure was discussed by<br />
the Austrian art historian Leopold<br />
Zahn in Gartenschönheit (06/1929:<br />
222–23).<br />
45 The Architectonic <strong>and</strong> the L<strong>and</strong>scape Modes, c. 1895–1933
Part I<br />
Early Influences<br />
1902–c. 1930<br />
69
Learning to See:<br />
A W<strong>and</strong>ervogel Youth<br />
in the L<strong>and</strong> of Fables<br />
[…] it is not essential to convey<br />
a specific theoretical knowledge,<br />
nor to enable the h<strong>and</strong> to perform<br />
certain external manipulations.<br />
But it is essential to train the<br />
artistic sensitivity, to make the<br />
h<strong>and</strong> <strong>and</strong> the eye a servant to<br />
the fantasy. 1<br />
Konrad Lange, 1901<br />
Mattern was born on 27 November 1902 as the<br />
sixth of eight children. 2 He grew up in Hofgeismar,<br />
a Protestant, Northern-Hessian town in<br />
the Prussian province of Hesse-Nassau, which<br />
until the annexation in 1866 was the independent<br />
L<strong>and</strong>graviate of Hesse-Cassel. Even today, Hofgeismar<br />
is embedded in a scenic l<strong>and</strong>scape, rich<br />
in both wooded <strong>and</strong> extensively cultivated l<strong>and</strong>,<br />
surrounded by the low, forested mountains of<br />
the Teutoburger Wald (Teutoburg Forest), Egge<br />
Hills, Habichtswald <strong>and</strong> Reinhardswald. It is a<br />
mystical l<strong>and</strong>scape famously steeped in history <strong>and</strong><br />
folk mythology. Not far from Hofgeismar, near<br />
Detmold, st<strong>and</strong>s the Hermannsdenkmal, a site<br />
of romantic-nationalist worship <strong>and</strong> memorial to<br />
the Battle of the Teutoburg Forest (Varusschlacht)<br />
in which united Germanic tribes destroyed three<br />
Roman legions led by the General Varus. Northern<br />
Hesse is also connected to the folk- <strong>and</strong> fairy<br />
tales written down by the brothers Grimm who<br />
lived in Kassel, a historically important city some<br />
twenty- five kilometres south of Hofgeismar.<br />
Mattern’s feeling for the l<strong>and</strong>scape <strong>and</strong> his ecological<br />
conscience were grounded in the beauty<br />
of the picturesque region in which he grew up.<br />
Thanks to his many expeditions with the local<br />
W<strong>and</strong>ervogel youth movement group, Mattern<br />
was extremely familiar with the detailed characteristics<br />
of this l<strong>and</strong>scape: years later, when he<br />
applied for a job in the road-planning project, he<br />
claimed to know Lower Hesse, Upper Hesse, the<br />
Harz area, the Rhön area, <strong>and</strong> Westphalia ‘completely’<br />
<strong>and</strong> ‘seen from the country road’. 3<br />
Another probable influence is his Protestant<br />
mother’s lovingly cared-for vegetable <strong>and</strong> flower<br />
garden. 4 His rather serious father, an armourer<br />
<strong>and</strong> devout Catholic, had worked hard to reach a<br />
position in the local postal administration to earn<br />
his family a decent living, but always felt slightly<br />
humiliated by his wife’s Protestant background. 5<br />
One particular protagonist of Mattern’s youth<br />
mentioned as influential in one of his first publications<br />
– without his name being disclosed – as well<br />
as in his last published curriculum vitae is his art<br />
teacher Adolf Faust (1882–1945) at the Hofgeismar<br />
Gymnasium ↗ fig. 52. 6 Several accounts profess to<br />
the effectiveness of this man’s teachings. 7 Mattern<br />
kept in touch with the Faust family even after his<br />
teacher’s death, <strong>and</strong> one of his first documented<br />
design sketches for a garden was for his teacher,<br />
somewhat reminiscent of Migge’s roughly contemporary<br />
May garden <strong>and</strong> probably the only perfectly<br />
71 Early Influences, 1902–c. 1930
symmetrical design Mattern ever produced<br />
↗ fig. 53; cf. 39, 40. 8<br />
Under the auspices of a ‘true artist’<br />
Some details of Faust’s tuition are documented <strong>and</strong><br />
his gr<strong>and</strong>son attests to their focus on ‘learning to<br />
see’. 9 In the morning, at the beginning of his class,<br />
Faust used to ask the pupils what they had seen on<br />
their way to school: ‘You surely did not come here<br />
blindly!’ 10 Or Faust entered the room covering his<br />
mouth asking if he had a beard or not. When the<br />
answer to such ‘tests’ came wrong, he urged the<br />
class to pay more attention to the details of their<br />
everyday environment. Thus he made clear that ‘to<br />
see’ does not always have the same meaning, <strong>and</strong><br />
that seeing consciously should be trained – this<br />
seems to have been the most cherished objective<br />
of his task as a teacher.<br />
Faust came from the Saarl<strong>and</strong> <strong>and</strong>, following<br />
his father’s example, went to Kassel to attend art<br />
college 11 from 1908 until 1911 to train as an artist<br />
<strong>and</strong> gain a certificate to qualify as a teacher for<br />
secondary schools. 12 His own artistic work was not<br />
fixed to one particular style. Instead, he seemed to<br />
have received a range of influences from romantic<br />
l<strong>and</strong>scape painting, via the Nazarene movement<br />
(or the Pre-Raphaelites) <strong>and</strong> impressionism to expressionism.<br />
13 He revered Caspar David Friedrich<br />
<strong>and</strong> intensely engaged with expressionists like<br />
Ludwig Meidner (1884–1966) <strong>and</strong> the Austrian<br />
illustrator Alfred Kubin (1877–1959), <strong>and</strong> with the<br />
impressionist Max Slevogt (1868–1932). New Objectivity<br />
also seems to resonate in his later work.<br />
Widely known in his home region are Faust’s<br />
woodcuts of rural scenes <strong>and</strong> more detailed nature<br />
studies of pieces of coarse wood debris or groups<br />
of old trees <strong>and</strong> suchlike, reproduced in the periodical<br />
of the local history society until today ↗ fig. 54.<br />
Some of them resemble medieval block illustrations,<br />
others show a more impressionistic manner.<br />
Faust was acquainted with the former military<br />
painter Theodor Rocholl, an influential professor<br />
at the Düsseldorf Art Academy, who in Northern<br />
Hesse is remembered for saving the nearby<br />
Hutewald around the Sababurg – a type of anthropogenic<br />
forest shaped by its former use as a wood<br />
pasture – which through his initiative in 1907 became<br />
one of Germany’s first nature reserves. This<br />
illustrates how special the regional woodl<strong>and</strong> surrounding<br />
Hofgeismar was considered even in the<br />
period of Mattern’s youth, rich in ancient trees <strong>and</strong><br />
atmospheric sites. One was the castle Sababurg,<br />
known as the setting of the brothers Grimm’s<br />
fairy tale ‘Little Briar Rose’ (in English, ‘Sleeping<br />
Beauty’), <strong>and</strong> another was Beberbeck, one of the<br />
five Prussian state stud farms. The nearby Reinhardswald<br />
is still one of Germany’s most expansive<br />
<strong>and</strong> least populated wooded l<strong>and</strong>scapes, home of<br />
a varied <strong>and</strong> elsewhere extinct flora <strong>and</strong> fauna<br />
including the wildcat (Felis sylvestris sylvestris) <strong>and</strong><br />
the black stork (Ciconia nigra). 14 Ancient woodl<strong>and</strong>,<br />
as in the unique Hutewald, home to 450 trees, 15<br />
bear witness to traditional forestry techniques <strong>and</strong><br />
other cultural uses. For Faust, however, retreating<br />
into a provincial country town also meant keeping<br />
aloof from the artistic avant-garde in the bigger<br />
cities.<br />
Faust never became a famous artist, <strong>and</strong> exhibitions<br />
of his work received mixed reviews, but<br />
amongst his students were several creative figures<br />
of considerable importance. Besides Mattern, there<br />
was the ceramicist Theodor Bogler, his younger<br />
brother Friedrich Wilhelm Bogler, a painter who<br />
did not survive the war, <strong>and</strong> the renowned glass<br />
painter Hans-Gottfried von Stockhausen, as well<br />
as several artists <strong>and</strong> architects of lesser importance,<br />
but known on a regional level. In the former<br />
district administration town of Hofgeismar, now<br />
incorporated into the district of Kassel, Faust’s role<br />
as artist <strong>and</strong> teacher for arts education – music,<br />
theatre <strong>and</strong> fine arts – was momentous enough for<br />
two commemorative events. The first was an exhibition<br />
of his work on the occasion of the opening<br />
of the new school building in 1953 at the edge of<br />
town, now named Albert-Schweitzer School. At<br />
that time, Mattern was commissioned to design the<br />
entire school grounds, but that project has disappeared<br />
almost completely under another extension<br />
of the school campus some fifty years later. At the<br />
first commemoration day, a h<strong>and</strong>written note from<br />
Faust’s sketchbooks was presented as a leitmotif of<br />
his career: ‘The school is a living piece of homel<strong>and</strong><br />
[Heimat], no coincidental background, in front<br />
of which school life takes place.’ 16 If descriptions<br />
of Faust’s work sound euphoric, his career as an<br />
artist was compromised by his dedication to teaching,<br />
to his engagement with the youth movement,<br />
to conducting several choirs, <strong>and</strong> to his function as<br />
church organist. 17 The modesty of his artistic career<br />
should be seen in this context, which limited<br />
his opportunity to elaborate a personal style. For<br />
an art educator artistic maturity could have been<br />
seen as ossification. He was rewarded with the<br />
respected title of Studienrat, but he struggled all his<br />
72 Part I
life with the conflict between his artistic <strong>and</strong> his<br />
pedagogical careers. 18 Nonetheless, by the end he<br />
had compiled an oeuvre vast enough to contain<br />
some paintings considered masterly, <strong>and</strong> which<br />
were gathered in the last exhibition of his work<br />
that he experienced himself, held in August 1944<br />
in the ballroom of Wilhemshöhe castle.<br />
At the second commemorative event, on the<br />
occasion of the new school’s fiftieth anniversary, a<br />
leaflet was produced containing insightful recollections<br />
of former students of Faust’s. They reported<br />
that he had focused on having students develop<br />
their own talents, while earlier teachers had merely<br />
let them copy by drawing. 19 Under Faust they<br />
learned to use their senses critically: 20<br />
He taught us to truly listen <strong>and</strong> to use our<br />
eyes for concentrated, corporeal <strong>and</strong> colouroriented<br />
seeing. The world of the third dimension<br />
was opened up to us. With devotion<br />
we drew isometrically <strong>and</strong> we foreshortened.<br />
Often singing at the same time.<br />
We learned to take in, to invent <strong>and</strong> to<br />
develop spatial <strong>and</strong> colour compositions. 21<br />
Faust taught his students various etching, drawing<br />
<strong>and</strong> painting techniques. The classes were often<br />
held outside at the Sababurg or in the villages,<br />
where the traditional Lower-Saxon half-timbered<br />
houses provided colourful motifs. 22 ‘He also respected<br />
all those rural h<strong>and</strong>crafted shapes in the<br />
household <strong>and</strong> the building, as long as they spoke<br />
of a pure sentiment or displayed a werkstoff gerecht<br />
(true to the material) kind of individual gestalt.’ 23<br />
Such objects, which he found in old attics or<br />
farm houses, Faust used as models for his drawing<br />
classes. 24 All this adds to the impression that he<br />
must have felt drawn to the ideals of the Heimatschutz<br />
movement; <strong>and</strong> he thus implemented<br />
educational aims that had become national educational<br />
policy around 1900, namely to foster in students<br />
a feeling of being at home in their local<br />
l<strong>and</strong>scape. 25 Faust’s own notes, kept by his family,<br />
enable us to reconstruct his teaching programme<br />
in considerable detail:<br />
I. Free creative production 26<br />
a) Objectification of an idea<br />
b) Free rhythmic creative production<br />
with line <strong>and</strong> plane<br />
c) Free learning with volumes<br />
d) Linoleum cut<br />
II. Training of the faculty of imagination<br />
The form elements will be sought in nature.<br />
Structuring of the l<strong>and</strong>scape by paths;<br />
space, village <strong>and</strong> house.<br />
The human body with its proportions <strong>and</strong><br />
means of expression. Machines, inoperative<br />
<strong>and</strong> in movement, buildings <strong>and</strong> parts of<br />
buildings, household appliances <strong>and</strong> furniture.<br />
III. Training of the faculty of observation<br />
The Lower-Saxon farmhouse (house gable,<br />
beam order, gate, door, window, roof, wood<br />
carvings, interior spaces, vestibule, staircase,<br />
railing). Parts of the l<strong>and</strong>scape (bridge, clump<br />
of trees, bank border, stone quarry, sunken<br />
lane, avenues)<br />
IV. Drawing from the microscope. Symmetrical<br />
representation. Light <strong>and</strong> shade. Intersections<br />
<strong>and</strong> foreshortenings.<br />
Still life: The objects will be assembled following<br />
certain laws, <strong>and</strong> the student searches<br />
to find these laws <strong>and</strong> to represent them.<br />
Human, animal, machine.<br />
While drawing, the colours of the subject’s<br />
appearance will be sought.<br />
V. Type-font after own re-creation, under<br />
particular consideration of its significance as<br />
surface decoration <strong>and</strong> its use for book printing<br />
<strong>and</strong> in advertising. Decorative work.<br />
VI. Reflection on art<br />
Architecture: basic forms <strong>and</strong> particulars of<br />
the building: column, plinth, frieze.<br />
Arrangement of the windows, the moulding,<br />
door <strong>and</strong> gate, bay <strong>and</strong> balcony, profiles, column<br />
shaft <strong>and</strong> capital, the round arch <strong>and</strong> the<br />
cross vault, pointed arch <strong>and</strong> buttress, transept,<br />
crossing <strong>and</strong> cupola/ground plan. 27<br />
The study of real <strong>and</strong> natural objects had been an<br />
essential part of any reformist art pedagogy from<br />
around 1900 onward. While the artistic means<br />
of expression in school classes were, until the<br />
1920s, still focused almost exclusively on drawing,<br />
progressive tendencies moved towards a ‘close<br />
connection with nature’ <strong>and</strong> consideration of an<br />
‘artistic individuality’. 28 Well into the twentieth<br />
century, the copying of classical ornamentation –<br />
above all, elements from Renaissance decorative<br />
art – <strong>and</strong>, before that, formalist, mathematically<br />
73 Early Influences, 1902–c. 1930
Fig. 52 The centre of Hofgeismar<br />
today, with the building that used<br />
to house Mattern’s school in the<br />
background.<br />
Fig. 53 Mattern’s axonometric drawing of a garden<br />
design for his former art teacher <strong>and</strong> W<strong>and</strong>er vogel<br />
group leader at Hofgeismar, Adolf Faust, July 1927.<br />
This is Mattern’s only known strictly axisymmetrical<br />
design (Heinrich 2013: 77).<br />
Fig. 54 Sketch of wood debris<br />
by Adolf Faust in the Heimatjahrbuch<br />
Hessen 1940.<br />
74 Part I
Fig. 55 View of the Hohe Meißner<br />
in 1923; it was the mountain near<br />
Mattern’s home town that was<br />
revered by the youth movement<br />
(AdJb, F 1, no 112/23, postcard /<br />
photo Julius Groß).<br />
Fig. 56 Speech by the pedagogue<br />
Gustav Wyneken (1875–1964) at<br />
the Hohe Meißner meeting of 1913<br />
(AdJb, F 4, no. 182_8).<br />
Fig. 57 The Monument to the Battle of the<br />
Nations, inaugurated in 1913 for the centenary<br />
of the Battle of Leipzig <strong>and</strong> at the time the<br />
tallest monument in Europe (Leipzig city<br />
archive, 0563, inv. no. 1988/26692 / photo<br />
Alfred Gruber, 1913).<br />
75 Early Influences, 1902–c. 1930
Part II<br />
Continuities Across Systems<br />
1927–c. 1960<br />
175
Atmosphere of<br />
Departure <strong>and</strong><br />
Disillusionment:<br />
Postwar Art <strong>and</strong> Life<br />
Silently the soaring ruins stare<br />
at us, not as if they had collapsed<br />
in the din of explosions, but as<br />
if they had slumped down from<br />
an internal cause. Can we, do<br />
we want to rebuild all this cruel<br />
unmasked machinery of our<br />
engineered existence […] ?<br />
No, says the inner voice. 1<br />
Otto Bartning, 1947<br />
After the war was over, Mattern tried to secure his<br />
belongings at Bornim <strong>and</strong> retreated into his old<br />
farmhouse south-east of Munich. 2 Disillusioned,<br />
for a short while it looked as though nothing<br />
could entice him away from the place that had<br />
already served as a peaceful retreat during the<br />
turbulent years. The loss of dear friends caused<br />
him much grief. Schlemmer’s tragic end in 1943<br />
will not have left Mattern cold. Then his brotherin-law<br />
Henner Röse, born 1911, committed<br />
suicide in 1945. 3 The same year came the notice<br />
of the death of Mattern’s oldest friend, Friedrich<br />
Wilhelm Bogler, who had died in a field hospital<br />
in Zell am See in Austria. Yet Mattern had a<br />
rather privileged position around the time of the<br />
Zusammenbruch. Neither of his houses was affected<br />
by bombing. At Graimharting, during the last<br />
years of the war, he <strong>and</strong> his wife had even retained<br />
the capacity to provide refugees with lodging. 4<br />
Contacts were sought to hear if friends were well.<br />
In late 1946, Ferdin<strong>and</strong> Möller wrote to Foerster<br />
at Bornim from his summer house at Zermützel,<br />
eighty kilometres to the north:<br />
From the Matterns we recently received a<br />
lengthy letter. He dedicates himself wholeheartedly<br />
to agriculture <strong>and</strong> is regaining his<br />
strengths. There will be enough to do for<br />
all of us here, once the waters have cleared. 5<br />
Soon the sorrows stepped into the background as<br />
all were confronted with such urgent work. Shortly<br />
after the capitulation of the Germans in May 1945,<br />
Hans Scharoun had been named planning councillor<br />
by the Soviet administration of Berlin. In 1946,<br />
he headed a municipal planning collective with<br />
six specialised architects <strong>and</strong> Reinhold Lingner as<br />
l<strong>and</strong>scape architect that presented the infamous<br />
‘Kollektivplan’ for central Berlin: a ribbon-like<br />
reorganisation of Berlin’s urban morphology along<br />
the Berlin glacial valley <strong>and</strong> with almost no consideration<br />
of the historically grown city ↗ fig. 237. 6<br />
The same year, the Deutsche Werkbund was reestablished<br />
at Berlin; its first symposium took place<br />
at Berlin on 5 December 1946. Amongst others,<br />
Scharoun, Lingner <strong>and</strong> Mattern were strongly<br />
involved; minutes of the meeting document that<br />
Mattern insistently dem<strong>and</strong>ed a better consideration<br />
of l<strong>and</strong>scape-related matters in future planning<br />
legislation. 7 Mattern’s skills were needed,<br />
especially as he was considered politically unburdened.<br />
It would have seemed uncharacteristic for<br />
283 Continuities Across Systems, 1927–c. 1960
Fig. 237 ‘Kollektivplan’, 1945–46,<br />
by the planning collective around<br />
the new planning councillor for<br />
Berlin, Hans Scharoun, suggesting<br />
a reconstruction of Berlin based<br />
on an east-west orientation along<br />
the glacial valley (Geist <strong>and</strong><br />
Kürvers 1989: front endpaper).<br />
Figs. 238, 239 Reconstruction<br />
concept for Kassel, Hermann<br />
Mattern with Paul <strong>and</strong> Arnold<br />
Bode, 1949–51. Note, above the<br />
orangery castle, the positioning<br />
of the box-shaped theatre,<br />
moved to the side in order to<br />
open up the Friedrichs platz<br />
towards the l<strong>and</strong>scape garden<br />
below (AMTUB, 26972; 26984).<br />
284 Part II
Figs. 240–242 Three drawings<br />
for the Hinrichssegen settlement<br />
Mattern designed between<br />
1945 <strong>and</strong> 1953 (AMTUB, 26250;<br />
F 2686; F 25241).<br />
285 Continuities Across Systems, 1927–c. 1960
Figs. 267–269 Three sketches of the situation at the Friedrichplatz, Kassel, comparing<br />
the baroque square (top), the Wilhelmine theatre (centre) <strong>and</strong> the proposal by Hans Scharoun<br />
with Hermann Mattern, 1949–52 (AMTUB, 26967; AMTUB, 26968; AMTUB, 26969).<br />
304 Part II
Figs. 270, 271 Situations found<br />
at the ‘Rosenhang’ (‘Rose Slope’),<br />
showing the l<strong>and</strong>scape view<br />
from the top <strong>and</strong> the stone walls<br />
<strong>and</strong> stairs (photos taken May<br />
2008 <strong>and</strong> March 2012).<br />
Fig. 272 Mattern with Karl Foerster in front of<br />
the war memorial from 1928 that is part of the<br />
slope beneath Schöne Aussicht, Kassel, 1955<br />
(StArchKssl, 0.516.021 / photo: Carl Eberth).<br />
Fig. 273 Overall plan for the Federal Garden<br />
Show Kassel 1955 , including the delineation<br />
of the unusual shape of the planned theatre<br />
by Scharoun <strong>and</strong> Mattern. Canals <strong>and</strong> general<br />
spatial structure are relics of the baroque<br />
garden destroyed in the war bombings. The<br />
drop shaped flower beds may be read as a<br />
memory of the former broderie parterre<br />
(AMTUB, 28540).<br />
305 Continuities Across Systems, 1927–c. 1960
Fig. 274 Aerial view of the<br />
Karls aue at Kassel at the time<br />
of the first documenta <strong>and</strong> the<br />
Bundes gartenschau in 1955<br />
(StArch Kssl, 274 E1K Bugal a).<br />
306 Part II
307 Continuities Across Systems, 1927–c. 1960
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