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Rolf RaveModern Architecture in BerlinWith a foreword by
Wolfgang Schche. 280 pp. with 930 illus. in black and white, 160 x
210 mm, soft-cover, EnglishISBN 978-3-936681-29-1Euro 36.00, sfr
59.00, 32.00, US$ 49.90, $A 69.00
Although Berlins history encompasses more than eight
hundredyears and its beginnings reach back as far as the twelfth
century,its present-day urban image is essentially characterized by
struc-tures and building measures from the nineteenth and
twentiethcenturies. Four modern development phases, whose
respec-tive qualities were vastly unalike, played a determining
role in thisimage: during the second half of the nineteenth
century, againstthe backdrop of industrialization, Berlins rise
from a comprehensible Prussian capital and residence to an
expanding metropolisof the German Empire; the 1920 consolidation of
the city with thesurrounding ninety-three townships, rural
communities and prop-erties to form Greater Berlin; following the
destruction of WorldWar II, working back to back politically,
territorially, and regard-ing the look of Berlins divided, urban
structure until 1990; andfrom the reunification to the present-day,
the ongoing structuraland spatial connections as well as
architectural refinements re-quired for Berlins role as capital of
the new Federal Republic.
The contents of this architectural guide vividly stand out
againstthe backdrop of Berlins recent history a course of events
asmultifaceted as it was, in part, excessive, up until today. This
pub-lication deliberately focuses on the citys last one hundred
yearswhen, generation by generation, Berlin daringly and almost
obses-sively rediscovered itself architecturally. The selected
examplesnot only convey a visually impressive and representative
longitudi-nal progression, but also in which form the most
provocative ofsocial movements, changes and breaks presented
themselves inthe architecture of the city.
With texts and images, the book presents 466 architecturalworks
built from 1907 to the present day. The authors choicessupport the
greater intention to present what can now be deemedcontemporary,
typical, and exemplary about every period of Ber-lins diverse,
irregular, and amazingly rich architectural history.That the
examples offered here blatantly declare themselves prod-ucts of the
modern age and Neues Bauen permits them to beunderstood as a
manifesto in images which consolidates to atwentieth-century
architectural collage, whose quality and widerange grant it an
unquestionable uniqueness.
Rolf Rave is an architect practising in Berlin together with
hiswife Roosje. He comes from a family of architects and art
histori-ans; his father, Paul Ortwin Rave, director of the Berlin
Nationalga-lerie until 1950 and director of the Berlin
Kunstbibliothek from 1950to 1961, was the editor of Karl Friedrich
Schinkel. Lebenswerk from1939 until his death in 1962.
-
Ro
lf Rave M
od
ern
Arch
itectu
re in
Berlin
Men
ges
ModernArchitecture
in Berlin466 examples
from 1900 to the present dayselected and commented by
Rolf Rave
Although Berlins history encompasses more than eight hundred
years and its beginningsreach back as far as the twelfth century,
its present-day urban image is essentially charac-terized by
structures and buildings dating from the nineteenth and twentieth
centuries.Four modern development phases, whose respective
qualities were vastly different,played a determining role in this
image: during the second half of the nineteenth centu-ry, against
the backdrop of industrialization, Berlins rise from a
comprehensible Prussiancapital and residence to an expanding
metropolis of the German Empire; the 1920 consol-idation of the
city with the surrounding ninety-three townships, rural communities
andproperties to form Greater Berlin; following the destruction of
the Second World War,working back to back politically,
territorially, and regarding the appearance of Berlin as a divided,
urban structure until 1990; and from the reunification to the
present day,the ongoing structural and spatial connections as well
as architectural refinements re-quired for Berlins role as capital
of the new Federal Republic.
The contents of this architectural guide vividly stand out
against the backdrop of Ber-lins recent history a course of events
as multifaceted as it was, in part, excessive, upuntil today. This
publication deliberately focuses on the citys last one hundred
yearswhen, generation by generation, Berlin daringly and almost
obsessively rediscovered itselfarchitecturally. The selected
examples not only convey a visually impressive and represen-tative
longitudinal progression, but also in which form the most
provocative of socialmovements, changes and breaks presented
themselves in the architecture of the city.
With texts and images, the book presents 466 architectural works
built from 1907 tothe present day. The authors choices support the
greater intention to present what cannow be deemed contemporary,
typical, and exemplary about every period of Berlinsdiverse,
irregular, and amazingly rich architectural history. That the
examples offered hereblatantly declare themselves products of the
Modern age, and Neues Bauen permitsthem to be understood as a
manifesto in images which consolidates to a twentieth-century
architectural collage, whose quality and wide range grant it an
unquestionableuniqueness.
Rolf Rave is an architect practising in Berlin together with his
wife Roosje. He comesfrom a family of architects and art
historians; his father, Paul Ortwin Rave, director ofthe Berlin
Nationalgalerie until 1950 and director of the Berlin
Kunstbibliothek from 1950to 1961, was the editor of Karl Friedrich
Schinkel. Lebenswerk from 1939 until his death in 1962.
9 7 8 3 9 3 6 6 8 1 2 9 1
5 4 9 9 0ISBN 978-3-936681-29-1036.00 Euro
059.00 sfr032.00 049.90 US $069.00 $A
-
Erich Mendelsohn, 1926
ModernArchitecture
in Berlin466 examples
from 1900 to the present dayselected and commented by
Rolf Rave
Edition Axel Menges
-
What does a city consist of? Of everything that has been said,
dreamt, destroyed, happened. Thebuilt, the vanished, the dreamt of
that came to nothing. The living and the dead. The woodenhouses
that have been demolished or burned down, the palaces that might
have been, the bridgethat was drawn but never built. The houses
that are still standing, in which generations have lefttheir
memories. But there is much more than that.
A city is all the words that have ever been said, an incessant,
neverending murmur, whisper,song and clamour that has resounded
over the centuries and then been blown away. It cannothave
disappeared if it had not been part of it, even that which can no
longer be recovered be-longs, simply because it was once, here, at
this spot, shouted or spoken on a winters nigth or asummer morning.
The field preaching, the tribunals verdict, the cry of the flogged,
the biddingat the auction, the decree, the proclamation, the
demonstration, the pamphlet, the announce-ment of a death, the
calling of the hours, the words of nuns, whores, kings, regents,
painters,sheriffs, hangmen, shipmasters, lansquenets, lock-keepers
and master builders, that ceaselessconversation in the living body
of the city, which is the city itself.
Cees Nooteboom in: 25 Buildings You Should Have Seen:
Amsterdam
2009 Edition Axel Menges, Stuttgart /LondonISBN
978-3-936681-29-1
All rights reserved, especially those of translationinto other
languages.
Printing and binding: Graspo CZ, a.s., Zln, Czech Republic
Some texts for older projects contributed by Hans Joachim
Knfel
Translation into English: Karl Edward JohnsenEditorial work:
Rebecca Chestnutt, Nora Krehl-von Mh-lendahl, Robert Niess, Roosje
Rave, Wolfgang SchcheCity maps: Julia Wolter, based on maps by
Senatsver-waltung fr Stadtentwicklung, BerlinBook design: Rolf
RaveCover design: Axel MengesCover photo: Daniel Libeskind,
Jdisches Museum, Berlin (photo: Bitter & Brett)
-
Preface
It is a tragic blow of fate that Berlin, a Wendish fishing
settlement, which evolved to acity with over a million inhabitants
and capital of the German Empire, should be cursedfor steadily
outgrowing itself: to always become and never to be.
An excerpt from Berlin Ein Stadtschicksal (Berlin a citys fate)
by Karl Scheffler,Berlin, 1910.
Although Berlins history encompasses more than eight hundred
years and its beginningsreach back as far as the twelfth century,
its present-day urban image is essentially char-acterized by
structures and buildings dating from the nineteenth and twentieth
cen-turies. Four modern development phases, whose respective
qualities were vastly dif-ferent, played a determining role in this
image: during the second half of the nineteenthcentury, against the
backdrop of industrialization, Berlins rise from a
comprehensiblePrussian capital and residence to an expanding
metropolis of the German Empire; the1920 consolidation of the city
with the surrounding ninety-three townships, rural com-munities and
properties to form Greater Berlin; following the destruction of the
Sec-ond World War, working back to back politically, territorially,
and regarding the ap-pearance of Berlin as a divided, urban
structure until 1990; and from the reunification tothe present day,
the ongoing structural and spatial connections as well as
architecturalrefinements required for Berlins role as capital of
the new Federal Republic.
What the development phases up to the reunification had in
common was their un-hesitatingly rigorous and result-yielding
treatment of the existing city and its architec-ture. This was
strongly supported by an impetuous and, in each case,
zeitgeist-driven be-lief in progress. In this way, the emergence of
the unrestrained building boom ofBerlins middle class during the
reign of the German Empire wiped out the classical de-sign of Karl
Friedrich Schinkels Prussian capital, while the architectural
vocabulary of thenew city, formed by industrialization, was forced
to experience its crude, spiritual andphysical dismantling during
the period of the Weimar Republic, when Berlin advancedto the
heights of a metropolitan city and, culturally speaking, became for
awhile thehub of the avant-garde world. Last but not least, thanks
to its uncompromising andradical architectural concepts meant to
establish a conscious break with the middle-classcity of the
nineteenth century, the golden twenties turned this pulsating
metropolisinto no less than a legend and proclaimed its Neues Bauen
(new way of building) anexpression of Modernism and social
progress. During this period nearly every well-known architect
associated with the avant-garde, whether inland or abroad,
regardedBerlin as an intellectual focal point as well as a
vanishing point. This was where one feltexplicitly challenged to
make an adequate contribution to the heated debates concern-ing the
ideal architectural perspective for the twentieth century.
Following the period of the Weimar Republic, the coming to power
of the Naziregime, which lasted from 1933 to 1945, caused a further
break in the previous develop-ment phase. With obviously different
political motivations in mind, this phase, too,hoped to radically
change Berlins existing layout. Its plans culminated in the 1936
prepa-rations for Albert Speers redesigning of the Imperial
Capital, a mammoth project inanticipation of the wartime aggression
of the National-Socialist state and meant to
transform Berlin into Germania, the future Capital of the World.
However, theplanned destruction of the existing city, in the grip
of such architecturally backwardmonumentality without a standard,
was ultimately brought to its unplanned and hor-rific conclusion
under the hailstorm of bombs which fell at the end of World War
II.
The improvisations of the first postwar years were followed by a
political reconstruc-tion of the city that was divided in two
parts. Yet, in the one or the other urban sector,this soon revealed
itself to be a reorganization that had nothing in common with
thecultural inheritance, since no serious thought was given to
restoring what was damaged.Nevertheless, citizens of both urban
parts believed that they were taking full advantageof the chance to
develop the vision of a new city on the rubble of the old one. In
theWest this was pursued using theoretical measures and models and
the design repertoireof the Modern age; in the East it entailed
engaging at first a Socialist urban planningimported from Moscow
and a corresponding architecture of national traditionalism.Until
the reunification in the year 1990, architectural rebuilding
strategies as unalikeas these complied with the respective
territorial affiliations of a good many socially pre-determined
changes in Berlins overall framework. But while they occasionally
broughtabout exemplary architecture, the same strategies failed to
make the promised city oftomorrow a reality.
Urban structures which existed separately and internally
fragmented for decadeswere spatially integrated thanks to numerous
architectural programs initiated since thereunification. These
stood out clearly for the first time among the countless
vehementlyplaced twentieth-century models that preceded them, and,
by virtue of their inherentconceptual approach, they supported the
notion of rediscovering the historic city and itsmetropolitan
typologies, which meanwhile had been thoroughly forgotten. At the
be-ginning of the twenty-first century, the fact that critical
reflection directed at culturalinheritance created a connection to
Berlins complex architectural history promoted aproductive dialogue
between the old and the new, while representing a supportive
per-spective for the future as well.
The contents of this architectural guide vividly stand out
against the backdrop ofBerlins recent history a course of events as
multifaceted as it was, in part excessive, upuntil today. This
publication deliberately focuses on the citys last one-hundred
yearswhen, generation by generation, Berlin daringly and almost
obsessively rediscovered it-self architecturally. The selected
examples not only convey a visually impressive and rep-resentative
longitudinal progression, but also the form in which the most
provocative ofsocial movements, changes and breaks presented
themselves in the architecture of thecity.
With texts and images, the following pages present 466
constructions built from 1907to the present day. The authors
choices support the greater intention to point out whatcan now be
deemed contemporary, typical, and exemplary about every period of
Berlinsdiverse, uneven, and amazingly rich architectural history,
while aspiring to individuallyilluminate and explain each one. That
the examples offered here blatantly declare them-selves products of
the Modern age or Neues Bauen permits them to be understoodas a
manifesto in images, which consolidates to a twentieth-century
architectural col-lage, whose quality and wide range grant it an
unquestionable uniqueness. The spec-trum of these structures
addresses every important phase of architectural development
-
during the designated time period: from the emergence of the
programmatic in thetwentieth century, manifested in works by Alfred
Messel, Hermann Muthesius, PeterBehrens, Heinrich Tessenow, and
Ludwig Mies van der Rohe; to the heroic 1920s, amongwhose
protagonists were Walter Gropius, Erich Mendelsohn, Hans Poelzig,
Bruno andMax Taut, as well as Hans Scharoun; to the postwar period
with structures by Alvar Aalto,Le Corbusier, Egon Eiermann, Oskar
Niemeyer, and Pierre Vago; and up to the beginningof the
twenty-first century, embodied in architecture by Josef Paul
Kleihues, OswaldMathias Ungers, Frank O. Gehry, Daniel Libeskind,
Hans Kollhoff, and Helmut Jahn.
With Modern Architecture in Berlin we have a specialized
handbook devoted toBerlins architecture, and its selected
high-quality objects encourage us to partake in theadventure of
this city and its significant architecture.
Wolfgang Schche
Authors note
The intention of this book is to lead the reader toward 466
constructed examples fromthe history of twentieth-century
architecture, revealing the beginnings of Modernismand the
development from 1907, the influential 1920s to the present. Each
object signif-icant to us in this respect is depicted in a
half-page-wide column. Arranged by objectnumber (001 through 466),
an accompanying image is shown for identification purposes,below
which is either a ground plan or interior shot the third dimension,
as it were as well as the projects title, construction period,
location, architect, and client. This in-formation is followed by a
brief text which characterizes the object or places it withina
specific context.
All the presented objects are arranged topologically. They
follow a conceivable route,a route consistently developed from a
prominent inner-city Platz or square. Thereare 8 routes, 8
directions, and 8 Pltze (squares): for N (north) Pariser Platz,
located infront of the Brandenburger Tor; for NE (north-east)
Gendarmenmarkt; for E (east)Alexanderplatz; for SE (south-east)
Mehringplatz, formerly the town gate in southernBerlin; for S
(south) Potsdamer Platz; for SW (south-west) Ltzowplatz; for W
(west)Breitscheidplatz, near the Bahnhof Zoo; and for NW
(north-west) Hansaplatz, located infront of the meanwhile
50-year-old city district Hansaviertel, where the Interbau,
thefirst building exhibition after World War II, was held.
Presented in a list at the front of the book, these routes lead
from the inner city to-ward regions on the outskirts, and toward
respective districts on the periphery. The fol-lowing page presents
a stylized map of Berlin whose 8 sections appear, in turn, at
thebeginning of each route. In addition to the object numbers
listed in both the map andthe architects specifications, the reader
finds letters added as references to objects notdepicted here.
An alphabetically arranged list at the back of the book names
every featured archi-tect, artist, and engineer, together with the
respective object number. In conclusion, asecond list names all the
participating photographers and/or designers.
Because of its structure and both lists, this book not only
functions as a guide but alsoas an easy to handle yet extensive
reference work on Modern architecture of this cen-tury in Berlin.
The opening text by Wolfgang Schche describes the historical
develop-ment of Modernism, the early beginnings and the turning
away from Historicism, theradical breaks instigated by the Bauhaus
in the twentieth century, the restrictive phaseof fascism in the
1930s, the new start and postwar urban hostility in the 1950s, with
theInterbau exhibition the building boom, the new self-awareness of
the 1960s and 1970s,the large-scale building exhibition IBA with
international participants in the 1980s, theend of the Communist
regime, and ultimately the reunification of Berlins two halveswith
newly conceived urban-planning guidelines put to use in the 1990s
and at the be-ginning of the twenty-first century.
Hardly another city reveals so much history, so many breaks and
new starts, to the ex-tent that this one does; hardly another city
possesses so much building history or sorich a history of
building.
Rolf Rave
-
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-
001 Haus Sommer / Haus Liebermann Josef Paul Kleihues 002
Botschaft der USA Moore Ruble Yudell003 Franzsische Botschaft
Christian Portzamparc004 Haus am Pariser Platz Laurids Ortner,
Manfred Ortner005 Akademie der Knste Gnter Behnisch & Partner,
Werner Durth006 DG-Bank Frank O. Gehry007 Holocaust-Denkmal Peter
Eisenman, Richard Serra008 Britische Botschaft Michael Wilford009
Jakob-Kaiser-Haus 1 and 2 Schweger Assoziierte010 Jakob-Kaiser-Haus
3 and 7 Peter Busmann, Godfrid Haberer and others011
Jakob-Kaiser-Haus 5 and 6 Pi de Bruijn, Peereboom Voller and
others012 Jakob-Kaiser-Haus 4 and 8 von Gerkan, Marg und Partner013
Deutscher Bundestag Foster + Partners014 ARD Hauptstadtstudio
Laurids Ortner, Manfred Ortner015 Paul-Lbe-Haus Stephan
Braunfels016 Marie-Elisabeth-Lders-Haus Stephan Braunfels017
Childcare center Gustav Peichl, Rudolf Weber018 Kronprinzenbrcke
Santiago Calatrava019 Bundespressekonferenz Gernot Nalbach, Johanne
Nalbach020 Fire and police station Matthias Sauerbruch, Louisa
Hutton021 Bundeskanzleramt Axel Schultes, Charlotte Frank022
Schweizer Botschaft Diener & Diener023 Carillon Bangert,
Jansen, Scholz, Schultes024 Kongrehalle / Haus der Kulturen Hugh A.
Stubbins025 Hauptbahnhof/ Lehrter Bahnhof von Gerkan, Marg und
Partner026 Museum fr Gegenwartskunst im Hamburger
Bahnhof Josef Paul Kleihues027 Haus am Karlsplatz Walter A.
Noebel028 Residenz am Deutschen Theater Krger, Schubert, Vandreike;
Bellmann, Bhm029 Max-Plank-Institut Hannelore Deubzer, Jrgen
Knig030 Bundesministerium fr Wirtschaft und Technologie Thomas
Baumann031 Bundeswehrkrankenhaus Heinle, Wischer und Partner032 New
Media Center Carlos Zwick033 Bundesministerium fr Verkehr, Bau- und
Woh-
nungswesen Max Dudler034 bender/slender Britta Jrgens, Matthew
Griffin035 Borsig-Areal Hilde Lon, Konrad Wohlhage, Siegfried
Wernik036 Edison-Hfe Manuel Alvarez037 Kapelle der Vershnung Rudolf
Reitermann, Peter Sassenroth438 Kopfbau Spreeschlange Jrg Pampe439
Spreeschlange Georg Bumiller
a Torhuser Josef Paul Kleihues 199698b Rieck-Hallen Wilfried Khn
2004c Gustav-Heinemann-Steg Max Dudler 2005d Kronprinzenkarre
Tchoban, Prasch, Sigl, Voss 2004/05e Spreebogenpark Sauerer &
Weberf Business premises Bernhard Winking 1996/97g Dresdner Bank
von Gerkan, Marg und Partner 1996/97h Hotel Adlon Patzschke, Klotz
& Partner 199597i Filling a building gap Claus Kampmann, Rudolf
Fiedlerj Garten der Geschichte Frdric Girtk Sammlung Boros Karl
Bonatz 1942, Jens Caspar, Peterssohn
200508l Bundespresseamt Engel, Zimmermann 19962000
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Longitudinal section
Plan of the ground floor
Franzsische BotschaftFrench Embassy19982002Mitte, Pariser Platz
5Architect: Christian PortzamparcGeneral planning: Steffen
LehmannClient: The French RepublicThe former building acquired by
Napoleon III in 1860for the French legation, today the buildings
playfuland highly expressive faade also portrays France as amodern
and liberal state while perhaps disrupting thehomogeneity of the
immediate space. The arrange-ment of its building parts from
offices, residentialchambers, a consulate for altogether 200
employeesspanning two courtyards, to the English courtyardand
sunken sculpture courtyard occupies 7 floorsand reaches as far as
the Wilhelmstrae.
Haus am Pariser Platz19982001Mitte, Unter den Linden
80Architects: Laurids Ortner, Manfred OrtnerClient: Allgemeine
Beteiligungs- + Gewerbe-
immobilien Verwaltungs GmbH + CoThe basement storey of this
residential and officebuilding contains a large social space, the
ground floorhouses smaller shops, and the five upper floors
accom-modate office spaces. In the roof section are apart-ments
with arcades, and included for their lighting areconspicuously tall
battlement-like dormer windows. Atthis spot, the noble aura of the
Trosselfeld travertine,tin-plated sheet-copper roof, and bronze
fittings of thewooden windows justly compares with the
representa-tive Hotel Adlon (the brothers Patschke), and with
theneighboring structure on the right (Hans Kollhoff).
N
Haus Sommer South-west side
Detail of the rotonda
001 002 003 004
Haus Sommer / Haus Liebermann199599Mitte, Pariser Platz 1 and
7Architect: Josef Paul KleihuesClient: Harald Quandt
GrundbesitzOriginally built from 1788 to 1791 as lateral
extensionsof the Brandenburg Gate by Carl Gotthard Langhans,both
new buildings reflect less the details and morethe style of their
historic classical models, which cele-brate clearly designed and
subdivided white struc-tures. Today the houses no longer serve any
residen-tial purposes and function solely as representationaland
exhibition spaces. The indexed quote of both log-gia was first
inserted during a second building phase.
Botschaft der USAEmbassy of the United States200407, draft
1996Mitte, Pariser Platz 2Architects: Moore Ruble YudellManagement:
Overseas Buildings OperationsFollowing the complete destruction of
the passed-down property (formerly Palais Blcher) purchased bythe
United States in 1931, a significant location for theAmerican
presence was created here. In the sense ofensuring the greatest
possible security, the generalplanning was greatly delayed by 9 /11
issues. Yet thebuildings inherent openness is fully guaranteed for
itsvisitors: the entrance offers itself on Pariser Platz, thepublic
square it faces; the grand inner-courtyard has a garden on two
levels; and the three orientating sides(toward the square, city
park, and Jewish memorial)are differently designed. The same
applies to theconstruction of the rooftop elements crowned by adome
which, visible in the west, creates a strong refer-ence to the
rotonda of the Reichstag building (013).
Pariser Platz
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007 008 N
Stele field with view of Potsdamer Platz
Cross section
Holocaust-DenkmalMemorial site of the Holocaust2001/2002Mitte,
Ebertstrae at the corner of BehrenstraeArchitect: Peter Eisenman in
collaboration with
Richard SerraInitiator: Lea RoshExhibition design: Dagmar von
WilckenClient: Stiftung Holocaust-DenkmalOn the occasion of a
1994/95 international competi-tion, the call was made for proposals
by artists and ar-chitects for creating a memorial site dedicated
to theHolocaust. The submissions intended for this promi-nent site
were examined from the standpoints of theiradaptability and
possible effects. In 1997, emergingfrom a second competition round
with 7 participants,and from a series of subsequent revisions, as
well asaccompanied by the theoretical contributions ofrenowned
personalities, the memorial site took on aclear form and is
meanwhile a very impressive locationfor the people of the whole
world.
Britische BotschaftBritish Embassy19982000Mitte, Wilhelmstrae
70/71Architect: Michael WilfordWall design: David TremlettDancing
columns: Tony CraggClient: Bilfinger und Berger /ARTEOSBuilt at an
historic site, the newly-built British Embassyinterrupts the
conventional building line both three-di-mensionally and
colorfully. It offers glimpses into thegarden courtyard with an
English oak tree. Behind thisstands the grand staircase, connecting
the mainlevel to the spacious wintergarten (sun lounge),
con-ference room, and library. The architectures large andenergetic
forms communicate with magnificent walldesigns and sculptures. The
actual world of the em-bassys administration first commences on the
5thfloor.
North faade
Northsouth cross section Longitudinal section
005 006
Akademie der KnsteAcademy of arts19992002Mitte, Pariser Platz
4Architects: Gnter Behnisch & Partner with
Werner Durth, Ruth Berkthold and FranzHarder
Client: Akademie der KnsteThe result of a 1994 in-house
competition announcedby the academy of arts, the building was
erectedwhere the academys original building, 190507 byErnst von
Ihne stood, and incorporates the preservedexhibition hall with
skylight. The new building respectsthe rigidity of the sites
border. While spreading out inits depths as far as Behrenstrae, its
open and trans-parent aspect is sustained throughout all its
parts:foyer, exhibition hall, administration area, caf, sunlounge,
assembly hall, club rooms, sculpture garden,and basement storage
areas. A financially tight spotcould be alleviated by having the
south wing takenover by the Hotel Adlon.
DG-Bank19962000Mitte, Pariser Platz 3Architect: Frank O.
GehryClient: DG-BankViewed from its north faade facing the square,
whichGehry himself refers to as an urban backdrop, thebuilding
shows itself from a highly disciplined side, anddisplays the usual
command of form and detail. Hous-ing 40 apartments, its south side
is divided from themain wing of the Deutschen
Genossenschaftsbank(DG-Bank) by a large atrium with a conference
hall in-serted under glazed sheds and reflects, at the sametime,
the sculptors well-known and computer-sup-ported virtuosity.
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Sky ladders
Southern street-border development
Jakob-Kaiser-Haus 5 and 619982002Mitte, Dorotheenstrae at the
corner of
EbertstraeArchitects: Pi de Bruijn, Jan Dirk, Peereboom
Voller with Yushi UeharaProject director: Marcel
CampschroerClient: Bundesbaugesellschaft BerlinA second glazed skin
not exactly following the build-ing line gives the house a
mysterious exterior. With fi-nesse, this compositionally integrates
the entire roof ofa corner development devised for a building
formerlythe chamber of associated technicians in 1911. An ac-cess
route from the buildings west side was also de-veloped here. This
directs the visitor to a spaciousfoyer, which connects both
structural rows by way ofa cross-cut tunnel over the
Dorotheenstrae.
Jakob-Kaiser-Haus 4 and 819982002Mitte, Dorotheenstrae at the
corner of
WilhelmstraeArchitects: von Gerkan, Marg und Partner
with Hubert Nienhoff and Uwe GrahlProject directors: Bernd
Cossman, Henning
Schlattmeier, and Beate KingLandscape planning: WESOn
Wilhelmstrae, the building opens itself to the city.Located here
are two shops, the Parliaments book-store, and the visitors
entrance. In addition, a staircasethe height of the building
divides the two houses,which are connected by the second of two
bridges,and the view extends as far as the Spreeufer. The gar-den
courtyard is dramatically enriched by the erraticstone overhangs
and rock formations arranged byMatthias Jackisch.
5
76
8
D o r o t h e e n s t r a e
Northern street-border development
009 010 011 012 N
Jakob-Kaiser-Haus 1 and 219982002Mitte, Dorotheenstrae
100Architects: Schweger AssoziierteFloating boats: Christiane
MbusStanding nearest to the parliament building, but alsoin close
proximity to the Palais of the ParliamentaryPresident designed by
Wallot in 1897, this building isthe entree of the entire complex.
On one floor it allowsvisitors access to all four connecting houses
of themagistral seat. The arranged quarters for members
ofParliament, located on both sides of Dorotheenstrae,are directly
connected to the Bundestag (House ofGerman Parliament) by way of a
tunnel.
Jakob-Kaiser-Haus 3 and 719982002Mitte, Dorotheenstrae
99Architects: Busmann + Haberer with Alfred
Bohl and Bruno VennesArtwork: Dani KaravanIn compliance with a
general decision of the BerlinSenates planning director, Hans
Stimmann, unlikewith the Paul-Lbe-Haus, the so-called
Dorotheen-Blocks, simultaneously used as offices for members
ofParliament, were planned in unalike building units.What applied
here, in the southern section of the com-plex, was to fully
integrate the existing building struc-ture. Its core formerly
accommodated a venerableapartment building, and later a bank in the
year 1910.Now, in order to attain a flourishing and successful
en-semble effect, a brick sculpture was placed in front ofone of
the courtyard pediments.
Courtyard toward the Spree River with artwork by Dani
Karavan
4
2 31
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015 016 N
Main hall Faade facing the Spree River
Plan of a standard floor showing both the houses left and right
of the Spree River
Paul-Lbe-Haus19972001Tiergarten, Paul-Lbe-Allee 1Architect:
Stephan BraunfelsProject management: Gnter Kaesbach,
Philippe VerninClient: BundesbaugesellschaftBoth building parts
result from a 1994 competition.Their evident harmonizing also rests
on their similarstructural elements, for example their
chamber-likefloor plans and exposed concrete surfaces. By
visuallyreferring to the Federal Chancellery, they complete theBand
des Bundes or strip of national governmentstructures in an easterly
direction. A street-level,glass-roofed main hall compiles all the
design nuancesleading to the building for the parliamentarians
of-fices. A detached restaurant and assembly hall (Eu-rosaal) are
located on an open square the so-calledSpreebogen of the Spree
River.
Marie-Elisabeth-Lders-Haus19982003Mitte, Otto-von-Bismark-Allee
1Architect: Stephan BraunfelsProject management: Karin Melcher,
Ramsi Kusus,
Philipp JamweClient: BundesbaugesellschaftConnected with the
building for the parliamentariansoffices (81,000 sqm for circa 276
million Euro) by anarrow bridge leading over the Spree River, the
parlia-ments library (65,000 sqm for circa 170 million Euro)forms
the east terminus of the Spreebogen. Also lo-cated here is the semi
detached hearing room. As partof the strip of national government
structures, orig-inally intended to find its center in a democratic
forum,the relationship between the two buildings is
furtherstrengthened by large protruding roofs, under whichlie the
front steps to the square.
View of the north and west faades
Plan of the ground floor
013 014
Deutscher BundestagHouse of German Parliament199599Tiergarten,
Platz der RepublikArchitects: Foster + PartnersProject management:
Mark BraunClient: Deutscher BundestagEmerging from numerous
competition phases and thesubsequent demand for a dome, the
war-damagedReichstag, designed from 1884 to 1894 by Paul Wallot,was
cleansed of all its architectural detail work savethe initials of
its Russian conquerors. As early as the1960s, Paul G. R. Baumgarten
implanted the ascetic,parliamentary chambers in the building. The
dome,somewhat lower than the one in Wallots construction,both
illuminates and ventilates the parliamentarychambers located
directly below it with two spiralramps serving as the visitors
routes to and from thedomes interior.
ARD-HauptstadtstudioBerlin studio of the ARD broadcasting
network199598Mitte, Wilhelmstrae at the corner of
ReichstagsuferArchitects: Laurids Ortner, Manfred Ortner,
with Hans-Peter WulfLighting design: Licht-Kunst-LichtClient:
SFB/WDRThe brick-red colored concrete panels dissipate in
thefoundation on Reichstagsufer and continue their patharound the
corner to incorporate a studio windowflush with the faade, from
which a direct view ofthe parliament is meanwhile obstructed by
buildings.Opening from a tripled impost on the ground floor, alarge
glass-roofed staircase commences on the 1stfloor.
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019 020 N
West faade
Plan of the 1st floor
BundespressekonferenzFederal press conference19982000Mitte,
Schiffbauerdamm at the corner of
ReinhardtstraeArchitects: Gernot Nalbach, Johanne
NalbachCourtyard garden: Cornelia Mller, Jan WehbergClient: Allianz
VersicherungThe result of a competition: while on computer
screensthe buildings wall surfaces appear to have reservedgray-blue
tones, by day and by night its faade shim-mers in the cityscape, a
gleam with 5 different mate-rials. On the 1st floor, the conference
room takes on aspecial significance through prominently framed
win-dow sections. Intended as a meeting place for journal-ists, the
restaurant is located at the buildings ground-floor level. Floor
area: 17,700 sqm; building costs: circa51 million Euro.
Fire and police station200204Tiergarten, Alt-Moabit
143/145Architects: Matthias Sauerbruch, Louisa HuttonClient:
Senatsverwaltung fr StadtentwicklungAt a former freight depot, the
remains of a warehousewere both redesigned and structurally
expanded witha longitudinal aisle whose outer skin consists of
red(for the fire station) and green (for the police
station)shimmering glass panels. Joined and curved, the pan-els not
only reflect daylight; when interacting with ar-tificial light,
they also establish a relationship to thenearby Federal Chancellery
similar to that of the Com-muns to the Neues Palais in Potsdam.
Guardrail detail
017 018
Childcare center1998/99Tiergarten, Konrad-Adenauer-Strae,
Bismarck-
alleeArchitects: Gustav Peichl, Rudolf WeberClient:
BundesbaugesellschaftIn an all-providing state like the Federal
Republic ofGermany is becoming justifiably so provisions arealso
made for working mothers by developing suitablechildcare
possibilities. With this objective in mind, thecheerful and
carefree sky-blue triangle a foreignspecies in its own right
effectively fills a spacious tri-angle of 3,635 sqm, magically
created with yet an-other leap across the Spree River by the strip
of na-tional government structures.
Kronprinzenbrcke1997/98Mitte, intersection of the Kapelle-Ufer
and
SchiffbauerdammArchitect: Santiago CalatravaClient: Brckenbauamt
BerlinInstead of his dome for the Reichstag, a bridge on theSpree
River? This was by no means one of Calatravasfavorite projects and
posted among his internationallisting of successes, his Internet
page describes it thatway. Although the overall treatment of the
bridge isimpressive, the oversized guardrails closest to the
river,and the primitive guardrail terminations at either endof the
walkway harm the flow of energy throughoutthe constructions slender
elements. Following Cala-travas contribution, farther down the
river this ishardly the case with the new Gustav-Heinemann-Brcke by
Max Dudler.
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023 024 N
Cross section
Carillon1987Tiergarten, John-Foster-Dulles-Allee at the
corner
of the QueralleeArchitects: Bangert, Jansen, Scholz,
SchultesClient: Land BerlinThe decisive factor regarding this
structure (the resultof a group of short-listed competition
contestants) wasmore so the expression of a musical instrument
andnot merely the designing of a tower. Financed by Mer-cedes and
donated as a present on the occasion of theCity of Berlins 750th
year celebrations, the bells wereimported from Holland and the
structures concretevariants manufactured by Strabag Bau. Ranging
from8 kg to 7,8 tons, the Carillons 68 bells, located aboveand
below the control panel in the bell chamber, makeit Europes largest
instrument. A computer stores up to99 melodies for so-called
everyday purposes.
Kongrehalle Haus der Kulturen1958Tiergarten,
John-Foster-Dulles-Allee 10Architect: Hugh A. Stubbins (Cambridge,
Mass.,
USA)Contact architects: Werner Dttmann, Franz
MockenClient: Benjamin Franklin FoundationThe conspicuous roof
construction seems suspendedby a cable network and rests on only
two vault abut-ments, serving as the stabilizing reinforcement and
an-choring ring over the walls of the lecture hall, whichdissolves
as joined individual shells. Notwithstand-ing that a heavy concrete
block crashed down whyever on 21 May 1980. The large auditorium
seats1,250 guests, and a smaller one offers seating for 400.The
structure includes a conference hall, restaurant,and, located above
the entranceway, a terraced stair-case on a platform. Stubbins in
former times was assis-tant of Walter Gropius.
East faade
Central staircase Plan of the ground floor
021 022
BundeskanzleramtFederal Chancellery19952001Tiergarten,
Willy-Brandt-Strae 1Architects: Axel Schultes, Charlotte
FrankSculptures: Eduardo ChillidaColored walls: Markus
LpertzLandscape: Cornelia Mller, Jan WehbergStructural engineers:
GSE, Saar, Enseleit und
PartnerThe Federal Chancellery represents the completed por-tion
of a 1993 eastwesterly, urban planning competi-tion in the strip of
national government structures.Developing westward, the H-shaped
complex forms acourtyard garden extending over the Spree, and
east-ward a cour dhonneur. Its northern faade houses theactual
entrance from which foyers, conference rooms,spaces for the press,
a sky lobby, and the chancellorsapartment follow on 8 levels. Most
of the office spacesare grouped on both flanks of the building
around awintergarten or sun lounge.
Schweizer BotschaftSwiss Embassy2000Tiergarten,
Otto-von-Bismarck-Allee 4Architects: Diener & DienerWest
pediment: Helmut FederleClient: Bundesamt fr Bauen und
LogistikLocated for over five decades at a desolate spot, afterthe
fall of the Berlin Wall the Swiss Embassy nowstands in the
immediate vicinity of the Federal Chan-cellery, in the heart of the
government district, whereit appears in a new splendor. The
hypersensitive qual-ity of the buildings structural presence and
form-re-lated language with extensions attached to the sidesof its
pediments seems to almost shamefully ration-alize its unique and
unintentional position (costing 22million Swiss francs).
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027 028 N
Plan of the 1st floor
Haus am Karlsplatz1997/98Mitte, Luisenstrae at the corner of
Reinhardt-
straeArchitect: Walter A. NoebelClient: Bundesverband der
ZementindustrieFacing the Rudolf Virchow memorial statue by
FritzKlimsch, built from 1906 to 1910 and depicting Titanconquering
the Sphinx, this building greatly accentu-ates the corner of the
block. Through its structural di-vision and staggered parts, it
assumes a spot that com-pliments the finely detailed, urban scheme
of theLuisenstadt quarter. The quarry-stone faade followsthe
principle of two levels in order to minimize thenumber of visible
joints. The buildings urban mix in-cludes apartments, suites, and
shops.
Residenz am Deutschen TheaterResidential premises at the
Deutsches Theater199399Mitte, Reinhardtstrae 29Architects: Torsten
Krger, Christian Schuberth,
Bertram Vandreike; Gtz Bellmann, WalterBhm
Peripheral-space planning: Hans LoidlClient: allbau GmbHIn
connection with the historic gate (from a formerriding school),
this diversely utilized complex for res-idential and gastronomical
purposes, as well as forpublic services and theater culture creates
here anenduring reflection of the multicultural lifestyle in
theambitious metropolis of Berlin. Two U-shaped resi-dential
buildings flank the recessed commercial cube,with a rehearsal stage
for the Deutsches Theater. To-gether with the preserved gate, these
help to producean inviting, public space for a centralized site.
Thecubes significance is accentuated by horizontal wallbands made
of metal.
Grand Gallery
Station roof Cross section of the exhibition halls
025 026
Hauptbahnhof / Lehrter Bahnhof19982010Tiergarten,
InvalidenstraeArchitects: von Gerkan, Marg und PartnerClient:
Deutsche BahnThe station rather a functional structure than
archi-tecture is located where the war-destroyed stationand the
former municipal railway station originallystood. At the junction
of the circle line and a newnorthsouth underground connection, it
creates a cen-tral hub in the form of two skyscraper segments
im-bued with a 430-m long platform area and 3 pairs oftracks. The
stations roof is yet another step in the min-imizing of
support-free constructions made of steeland glass, with
diagonally-arranged bottom chords fly-ing outward from side
supports. Unfortunately, for fi-nancial reasons the stations east
terminus was decid-edly shortened by 50 m.
Museum fr Gegenwartskunst im HamburgerBahnhof199296Tiergarten,
Invalidenstrae 5051Architect: Josef Paul KleihuesProject manager:
Roger KarbeLight object /entranceway front: Dan FlavinClient:
Senator fr Bauen, Wohnen und VerkehrThis converted structure is the
result of a limited com-petition process. Not long after its
completion, theformer train terminal was replaced by the
LehrterBahnhof and rebuilt to a museum dedicated to trans-portation
and technology. Through the sensitive treat-ment of its building
substance, and by adding agrand gallery, the resulting spatial
offer proved mul-tifaceted and multimedia-related enough for a
mu-seum of contemporary art. Meanwhile after re-structuring the
existing storage areas the Flickcollection as well enhances the
museums west side,designed by Johannes Khn, Wilfried Khn,
SimonaMalwezzi.
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031 032 N
Lobby
Bundeswehrkrankenhaus BerlinBerlin army hospital1997/98Mitte,
Scharnhorststrae 13Architects: Heinle, Wischer und Partner with
Christian PelzeterClient: Bundesbauamt Berlin IIIIncorporated
into the spatial concept together withthe first two floors of the
original building substance,the new building creates a functional
unity and leadsto a separating of the areas for inpatients and
outpa-tients. The new lobby is defined itself as the connect-ing
element between the public space and hospital,and functions as the
service center for patients andemployees.
New Media Center1998Mitte, Chausseestrae 8, Novalisstrae
11Architect: Carlos ZwickClient: 1. GCNApart from the new building
on Chausseestrae anddifferent parts of the original structure, the
projectconcerns the hall of a former locomotive manufacturer(035).
With foldable shading elements, the latticeunits of the new
building change the face of thefaade, contrasting its wood and
glass sections.
View of the entrance side
West faade
Attic-floor foyer
029 030
Max-Planck-Institut19982000Mitte, Schumannstrae 2122Architects:
Hannelore Deubzer, Jrgen Knig
with Christa KleineConstruction management in collaboration
with Dpping WidellClient: Max-Planck-Gesellschaft, MunichOn the
main grounds of the Charit university hospi-tal, the institutes
building also used by the Germancenter for rheumatism research
encourages interdis-ciplinary collaborative work. The U-shaped
construc-tion is closed by an elaborately designed entrance
hallmade of red concrete blocks. Emerging from a 1994competition,
its design focuses on a long-term urbanplanning rearrangement meant
to orient itself alongexisting axial references.
Bundesministerium fr Wirtschaft undTechnologie19932000Mitte,
Scharnhorststrae 3437Architect: Thomas BaumannConstruction
management: Dieter SchnittgerLandscape architects: Cornelia Mller,
Elmar
Knippschild, Jan WehbergClient: Ministerium fr Bauen, Wohnen
und
VerkehrFollowing severe destruction caused by war, the
infir-mary for the disabled was first the seat of the supremecourt
and later the government and diplomatic hospi-tal. While
establishing the concept for the greatestpossible restoration of
the structure to accommodate300 office spaces, conference rooms, a
cafeteria, andprinting works traces of its different periods
werepreserved. Along the navigation canal in Spandau, thelarge and
encompassing saddle roof, with its photo-voltaic panels, forms part
of a lighting and illuminationconcept.
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035 036 N
Site plan Site plan
Borsig-Areal200003Mitte, Chausseestrae at the corner of
Schlegel-
straeArchitects: Hilde Lon, Konrad Wohlhage,
Siegfried WernikClient: Versorgungswerk der ZahnrztekammerBefore
the former gates to the city, the only preservedelement of the
historic Borsig Werke facilities (456 to459) is the carefully
restored administrative building,while the block edge development
connects with anexisting apartment building, engaging in an
interplayof Modern modules, floor-height French doors, andquarry
stone slabs. The block becomes realignedthrough a new pattern
continued by way of thefaades painted coat.
Edison-Hfe200205Mitte, Schlegelstrae 26, Chausseestrae 18,
Invalidenstrae 116119Architect: Manuel AlvarezClient: HAVIKA
LofthouseApart from developing and reutilizing individualhouses, in
this case rehabilitating a block also meansproducing a coherent,
block-integrated, and connect-ing network, which utilizes the
existing courts and pas-sageways in order to gain access to every
spatial pos-sibility for the presentation of exhibitions and events
like the Design May 2005 cultural event.
Inner courtyard
033 034
Bundesministerium fr Verkehr, Bau- undWohnungswesen199799; old
building, 2000Mitte, Invalidenstrae 44Architect: Max Dudler with
Christian BernriederGeneral planning for old building (until
1998):
Gerber ArchitektenClient: Bundesamt fr Bauwesen und Raum-
ordnungFollowing a 1996 competition, it was decided that
thebuilding formerly the Geologische Landesanstaltand Bergakademie
(built by August Tiede from 1875to 1878) would receive two
structural additions. Thelarger of the two is already completed.
Rising over abase, the clear lines of a skeletally-structured cube
ofgray-green trade granite is closed by an elaborate casement
window of black anodized aluminum. Itsatisfies the demands for the
spatial atmosphere and acoustics while inserting itself at the top
floor. Aglass-roofed courtyard houses 3 meeting rooms; thebasement
area accommodates 88 parking spaces.
bender/slender2003/04Mitte, Hessische Strae 5Architects: Britta
Jrgens, Matthew GriffinClient: Jrgens, Jrgens, GriffinIn the
immediate vicinity of the Platz vor neuem Tor,where two cubes by
Josef Paul Kleihues celebrate sym-metry, the aluminum strip of a
diagonally protrudingbar of office and studio spaces devilishly
interruptsthe building line: Bender strives for the future, and
in-corporates the past in dialogue with itsneighbors.A maisonnette
apartment lies slender on the neigh-boring side wing. In any case:
the harmonizing ofclient and architect gives birth to fantasy.