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79 Single-family terraced houses, no. 10–22, designed by Ludwig Moshamer (no. 10, 11 and 12), Heinrich Lauterbach (no. 13, 14 and 15), Moritz Hadda (no. 16/17), Paul Häsler (no. 18, 19 and 20), Theo Effenberger (no. 21/22), view from the garden (north-west), 1929. Published in "Die Form", 1929, p. 458
Semi-detached house no. 26/27, designed by Theo Effenberger, garden terrace of section no. 26, view from the first floor, (T. Effenberger is the man in a white shirt and a bow-tie), 1930. The Wrocław Museum of Architecture, Mat IIIb 533-32
Adolf Rading (house no. 7) was severely criticised for its terrible functional solutions and that too large an area was devoted to communication purposes: the common living space constituted 38% of a flat127. On the one hand, the exterior of the house was praised and it would have been even better if the materials used were better quality128. On the other hand, it was thought that splitting the body of the building with sophisticated protrusions and decorative elements, especially in the upper part of houses, evoked an unpleasant memory of the old French secession. However we cannot talk about the proportion of the house as it was not built up to its planned height – wrote one of the members of Polish delegation visiting the exhibition129. The concept of high-rise residential houses created due to social circumstances was not well-received130. The architect attempted to move away from a certain concept of social life in a multifamily house which could have been referred to (undesirably)
129 Edgar NORWERTH, op.cit., p. 330; Georg MÜNTER, op.cit., p. 442. 130 Guido HARBERS, op.cit., p. 294.
as a social flat-community of residents. The residents were not only the users of the houses but were also engaged in the process of organising the house. Practically, there
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