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Die Jugendstil-Villa des Osthaus Museums Hagen
Stirnband 10
58093 Hagen-Eppenhausen
Fon 0 23 31 | 55 99-0
www.osthausmuseum.de
Geodaten
51° 21' 34" N, 7° 30' 44" O
RVR-Geodatenserver
ÖPNV
Von Hagen Hbf ZOB (Bussteig 3) mit Bus 527, von Hohenlimburg Bf. mit Bus 534 bis "Stirnband"
Öffnungszeiten
Sa und So 11.00 - 18.00 Uhr
Aktuelle Veranstaltungen finden Sie in route aktuell.
Hinweise für Besucher mit Behinderung finden Sie hier:
Der Hohenhof ist eine Außenstelle des Osthaus Museum Hagen:
Kunstquartier Hagen
Museumsplatz 3
58095 Hagen
Fon 0 23 31 | 2 07 31 35
www.osthausmuseum.de
Seit 2002 ist der Hohenhof, initiiert durch den Stadtmarketingverein und in Zusammenarbeit mit der Firma Hoffmeister Leuchten und vielen anderen Partnern, nachts illuminiert.
Karl Ernst Osthaus, who was born into a wealthy banker’s family, had his own very particular vision of life in an industrial region. He was only too aware of the miserable living conditions which had been brought about by industrial development and devoted his energies to fighting employers who wanted to banish art and aesthetic considerations from life and architecture. Osthaus pleaded for the "ennobling" of men, and decided to bring art and culture to his native town which he deemed joyless. In 1902 he opened the Folkwang museum in Hagen: the collection was later transferred to the city of Essen. But his most ambitious project were the villas in the Garden City of Hohenhagen. From 1906 onwards he planned the construction of the settlement on a woodland plateau.
The attractive landscape and, above all, the tram junction were the most influential factors in his decision to build on the area south east of the district of Eppenhausen. Osthaus’s idea was to create a model artists’ colony. Hohenhagen was conceived as an oasis in the middle of an industrial desert. Karl Ernst Osthaus intended the colony as an example of how to combat the decline of the Ruhrgebiet into nothing more than a jungle of dismal factories and housing estates.
Altogether 16 villas were planned and Osthaus engaged outstanding artists as architects for the work. Peter Behrens and Henry van de Velde designed the modern estate along "Gesamtkunstwerk" principles, but it was only realised in fragmentary sections. The group of houses on the northern edge was erected as a unit by the architect J.L.M. Lauwrik, whilst Behrens designed and built three houses on Hassleyer Straße. The crowning point of the settlement was to be "Hohenhof". In 1908 Osthaus moved into the villa designed by the Belgian Henry van de Velde, which had a view over the valley.
Hohenhof was conceived as the crowning point on a terraced slope. Its layout was shaped like a double hook, and it was ready for occupation in 1908. The building materials were very similar to those traditionally used in the Bergisch land. The blue-black stone from a neighbouring quarry blends harmoniously with the black basalt lava from the Mendig and the bluish Mosel slate, combined with the white and green on the doors and windows. Only the eastern frontage displays symmetrical features, whilst the entrance and garden sides reflect the irregular distribution of the rooms within.
