Material economy and aesthetic resistance: three concrete shells by Ulrich Müther on Rügen Island

Abstract

The German province of Mecklenburg-Vorpommern derives its identity from its landscape and its location on the Baltic Sea: monumental brick churches, castles and imposing cli formations tower over elds bathed in the white light of coastal fog – just as portrayed in the celebrated paintings of Caspar David Friedrich.1 This predominantly agrarian region has barely changed since the nineteenth century. Even during the 45-year rule of the German Democratic Republic (GDR), an era primarily known for its featureless prefabricated buildings, the region barely experienced any noticeable transformations. During this period, however, a great number of unusual concrete shell structures unexpectedly appeared throughout the province, forming a stark contrast to the monotonous architectural culture promoted by the socialist state. After the collapse of East Germany in 1989, these idiosyncratic concrete buildings soon fell into oblivion and were only “rediscovered” at the beginning of this century. Their author was the engineer and entrepreneur Ulrich Muther (1934-2007). From the early 1960s onwards, his concrete shell structures – primarily restaurants, pavilions, churches, sports facilities and communal halls – began to appear around his birthplace of Rugen Island and later across the province of Mecklenburg-Vorpommern and throughout the GDR. Back then, just as today, the region’s long sandy beaches, thick pine forests and picturesque villages made it one of the most popular holiday destinations in Germany. Its popularity as a tourist destination explains why Muther was able to construct his unusual, solitary buildings at the height of socialism – most of them were designed as part of the tourist infrastructure. Their elegance and modernity oered an alternative to the uninspired architectural styles favoured by the East German state, and their individuality contrasted favourably with the seemingly endless expanses of indistinct prefabricated residential blocks. Ironically, the socialist government deliberately promoted Muther’s buildings as spectacular showcase projects, hoping to promote positive perceptions of socialism. Being labour-intensive, yet requiring little by way ofresources, his buildings tted well into the shortage economy of the East German system and these circumstances aorded him a secure niche for his highly specialized company. Shell structures soon became important export goods in the GDR and in later years he even realized a number of construction projects abroad.2 However, Muther was never a party member, though he did nd a secure niche for his business.Ulrich Muther: a “formwork virtuoso”