Inhaltsverzeichnis
Background
Having purchased No. 6 (Roselius House) and redeveloped the adjacent two gabled houses into No. 4 – Bremen-Amerika-Bank (now Glockenspiel House) – it was Roselius’ plan to erect a completely new build on the right-hand side from the point of view of the market square.Fundamental, on both buildings: Kirsten Leuenroth: Das HAG-Haus und das Haus St. Petrus, in: Hans Tallasch (ed.): Projekt Böttcherstrasse, Delmenhorst 2002, p. 119-145. The concept of Böttcherstrasse as a ‘town within the town’ for tourists visiting Bremen took shape with this project (Fig. 2). Roselius realised right away that a tourist attraction needed excellent places to dine. The plan was for the building to provide space for shops, eateries and function rooms. Ludwig Roselius acquired a 60-year lease from the city on a total of nine properties – all very different in terms of size and layout – in 1923. The properties were small, in some cases run-down craftsmen’s houses, and some sites were already vacant. The planning process began in 1922 and the date of completion of 1926 is written on the corbels (Fig. 3) of the dormer at Glockenspiel Square.The genesis of planning was much more complicated than described here. See Leuenroth ibid. in relation to this.
- market square.Fundamental, on both buildings: Kirsten Leuenroth: Das HAG-Haus und das Haus St. Petrus, in: Hans Tallasch (ed.): Projekt Böttcherstrasse, Delmenhorst 2002, p. 119-145.
- Glockenspiel Square.The genesis of planning was much more complicated than described here. See Leuenroth ibid. in relation to this.
Exterior
Ludwig Roselius set Runge and Scotland a challenge in commissioning them with the new build. They had to fit the desired large, prestigious function rooms within the narrow confines of the site but also keep the varied character that the small houses had evolved over time. Still, the complex had to be seen as a unified whole and as contemporary, not an exact copy of what stood there before.
The architects came up with a brilliant solution. They divided the elongated building very cleverly: the narrow street at the front was widened with arcades to create space for pedestrians. Looking down the street (Fig. 4) from the market square, you see a slight curve at the arcades. This makes the street appear longer than it actually is. At the same time, the regularity of the arcades unifies the construction, which is divided at first floor level into a varied roof landscape. The stepped gable (Fig. 5) is a repeating theme, which harks back to the old Hanseatic brick gabled façades. Also, Runge & Scotland’s use of large medieval bricks laid in traditional cross bond is a nod to North German architecture. The windows of varying size (Fig. 6) are set into the walls at varying heights. Some of them extend into the roof; in some cases, large expanses of glazing are broken up into small sections by sandstone mullions. Many features are reminiscent of Victorian English country houses but the design also incorporates Gothicism – the ‘historical style’ of the 1920s. Looking down Böttcherstrasse from the market square, you see a brick gable (Fig. 7) divided into three pointed arches, which were typical in mediaeval Hanseatic towns, Bremen included. On closer inspection, however, Runge & Scotland’s blind arches come to a point not in curves but in straight lines. They thus did not merely copy the pointed arch but simplified it with a contemporary twist. The same goes for the large arcade on the ground floor below, where an actual pointed arch is set apart as a motif and blown up to monumental proportions.This take on the Gothic style is typical of 1920s architecture. This is not typical of mediaeval architecture. The taller gable of Robinson Crusoe House behind from 1931 repeats the three blind pointed arches creating a gradation of depth that is akin to a painting.
- proportions.This take on the Gothic style is typical of 1920s architecture.
Interior
South of the narrow, single-storey HAG House, Roselius leased land to the rear, making the sites deeper, and on which two full-height storeys could be built. A complex with two restaurants, kitchen, dining rooms and a large function room was built on the former sites at Böttcherstrasse 13-19.
Flett restaurant
The arcade passageway of HAG House leads to the entrance of the Flett restaurant (Fig. 8), which fronts onto Glockenspiel Square. Large windows (Fig. 9) divided into a fine grid by sandstone surrounds invite visitors in. The name of the “Flett” restaurant is taken from the open hearth of a Lower-Saxon farmhouse, where everyone used to gather together every day to sit and eat. Accordingly, Roselius’ brother-in-law Ernst Müller-Scheessel showed imagination in fitting out the restaurant with regional references: wagon wheels (Fig. 10) were used as folksy, practical chandeliers with turned wooden figures of a local wedding procession with the bride and groom as holders, wood panelling with pewter ware on it as well as paintings and old etchings.Roselius purchased the entire collection of paintings, etchings and pewter from a farmer named Hoys in Burgsittensen. It served up hearty country food. After going through many changes, the restaurant has operated as “Ständige Vertretung im Flett” since 2003 (Fig. 11).
- etchings.Roselius purchased the entire collection of paintings, etchings and pewter from a farmer named Hoys in Burgsittensen.
Golden Hall
Over Flett there was the large function room (Fig. 12) that Runge & Scotland fitted out in extravagant fashion so Roselius could use it for receptions and parties, with a stage and spacious cloakrooms. In 1931, when repurposing the rooms in the house, Roselius had it refurbished in fine style and decorated using a lot of gold. It was henceforth known as the Golden Hall (Fig. 13). During the war, the room was gutted by fire but – after a contemporary remodelling by Hubert Bowe – went on to be used after 1954 as an auditorium and ceremonial hall (Fig. 14) and is still widely renownedThe lecture series “Geistige Begegnungen in der Böttcherstrasse” organised by HAG between 1955 and 1968 took place here, as did lectures put on by Bremen clubs and societies as well as HAG staff parties. The parties thrown by the Bremen Art Society and University of the Arts Bremen proved particularly popular. in Bremen as a prestigious, centrally located venue for events[i]. In the early 1960s it was again remodelled[UB4] by Carsten Schröck (Fig. 15), and between 1981 and 2010 it served as the main gaming area[UB5] of Bremen Casino (Fig. 16). In 2010/11, a new hotel was built at the back of Böttcherstrasse on Bredenstrasse, and the room has reverted to the Golden[UB6] Hall (Fig. 17) for special occasions.
- still widely renownedThe lecture series “Geistige Begegnungen in der Böttcherstrasse” organised by HAG between 1955 and 1968 took place here, as did lectures put on by Bremen clubs and societies as well as HAG staff parties. The parties thrown by the Bremen Art Society and University of the Arts Bremen proved particularly popular.
St Petrus wine bar
Looking down Böttcherstrasse from the market square, what catches the eye is the Gothic-style gable, which is based on an old Hanseatic gabled house, yet the monumental pointed-arch arcade on the ground floor is more a reference to the 1920s (Fig. 7). Originally, it was supposed to be called “Fischkosthaus” to promote the consumption of fish and seafood. This was advertising on Roselius’ part, who had a large stake in the Nordsee Fischvertriebgesellschaft fish distribution company. Underneath the arcade he first had Georg K. Rohde put in stained glass with fish motifs. At eaves height on the corner of the building, the sculpture of Simon Peter and the miraculous catch of fish was not only intended to recall the apostle but also to advertise fish! The figure was created by Irmgard RoseliusIrmgard Roselius (1903-1982), second daughter of Anna and Ludwig Roselius, sculptor (pupil of Bernhard Hoetger) and had to be restored by her after the war. The stained glass with fish motifs was replaced by August WelpAugust Welp (1895-?) Bremen painter and graphic designer. in 1954 by advertisements for Kaffee HAG (Fig. 18).
Behind the Gothic gable, one of the finest restaurants in Old Bremen opened up: the St Petrus wine bar (Fig.19). Alfred FaustAlfred Faust: Die neue alte Böttcherstrasse in Bremen, in: Bremer Volkszeitung 12 October 1926. said that Runge & Scotland had designed a dining room that was “one of the finest in all Northern Germany”. Its unique effect on people is brought to life 1Robert Kain: St.Petri Wein- und Fischhaus und das HAG-Haus, in: Die Böttcherstrasse in Bremen, Norddeutsche Kunstbücher, Band 7, Wienhausen 1927, p. 7. “The main hall extends high into the roof, where the dark beams break up the ceiling. Hanging in the trapezoidal spaces between them are models of old Bremen ships and luminaires with lights and lanterns. The tiled walls enhance the ambience in exceptionally charming fashion. The blue and violet-painted Delft tiles with a white background – the details also designed by Runge & Scotland – are very free yet delightfully opulent despite the simplicity of the motifs. Contrasting with this are stained-glass panels by Georg Karl Rohde, Bremen, creating stunningly beautiful gable windows.” In 1931, this room was redecorated even more lavishly, because it was henceforth to be used by Club zu Bremen (Fig. 20). Sadly, this particular example of Hanseatic taste in decoration was destroyed in 1942 by a single bomb (Fig. 21).
After it was rebuilt, the ceiling was lowered to create living quarters in Böttcherstrasse, which were in short supply after the war. The lower-ceilinged room continued to be used for dining and went by the name “Château” in the 1960s (Fig. 22). Between 1981 and 2010 it was used as a break room for the casino employees. Today, behind the Gothic-expressionist façade there are offices for advertising and film creatives.
- Irmgard RoseliusIrmgard Roselius (1903-1982), second daughter of Anna and Ludwig Roselius, sculptor (pupil of Bernhard Hoetger)
- August WelpAugust Welp (1895-?) Bremen painter and graphic designer.
- Alfred FaustAlfred Faust: Die neue alte Böttcherstrasse in Bremen, in: Bremer Volkszeitung 12 October 1926.
- 1Robert Kain: St.Petri Wein- und Fischhaus und das HAG-Haus, in: Die Böttcherstrasse in Bremen, Norddeutsche Kunstbücher, Band 7, Wienhausen 1927, p. 7.
