Architekturführer Frankfurt 1970–1979
Pavilion at Frankfurter Büro Center, Frankfurt/Main
25 September 2018
In a bid to restore some charm to the controversial Frankfurt of the 1970s, ten stylish, high-quality buildings are featured in the new publication entitled “Architekturführer Frankfurt 1970–1979” [Architecture Guide Frankfurt 1970–1979]. The book will be launched in the pavilion at the foot of the Frankfurter Büro Center on 25 September 2018. Despite its delayed inauguration in 1981, the project designed by the architect Richard Heil finds a place in the publication, as the building contract was already awarded back in 1971.
Published by Wilhelm Opatz the graphic artist and architecture critic, together with the Freunde Frankfurts e.V. and with photographic contributions by Georg Dörr, the publication sheds new light on the city, one that is not clouded by the concrete buildings, demonstrations, and occupations of buildings that characterised Frankfurt at the time. The ten buildings (including private houses, the building of the Deutsche Bundesbank, and the aircraft maintenance hangar Lufthansa-Hangar V, which was unique at the time), as well as the changes of time, not only in an architectural sense, are the subject of numerous essays by renowned architecture experts, art historians, and authors. For example, the social culture and ecological building practices are also discussed in the book. The editors set themselves the task of augmenting Frankfurt’s grey image with positively influential buildings, but not without providing contexts for the circumstances that determined the architectural style of the 1970s. The architecture of the city and some other large cities took on not only aesthetic but also political and social dimensions. A recurring demand of the population, for example, was to build more housing for socially disadvantaged people, which explains the mass of standardised housing estates and high-rise buildings with concrete facades.
The authors included in the book are Jörg Stürzebecher with an article on the Deutsche Bank’s signature and logo, and Ingeborg Flagge with an introduction in which she tells of her ambivalent view of Frankfurt’s architecture as a contemporary witness.