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5/21/2018 Rave,ModernArchitekture-slidepdf.com http://slidepdf.com/reader/full/rave-modern-architekture 1/17 Edition Axel Menges Gm Esslinger Straße D-70736 Stuttgart-Fellba tel.+49-711-5747 fax+49-711-5747 Rolf Rave Modern Architecture in Berlin With a foreword by Wolfgang Schäche. 280 pp. with 930 illus. in black and white, 160 x 210 mm, soft-cover, English ISBN 978-3-936681-29-1 Euro 36.00, sfr 59.00, £ 32.00, US$ 49.90, $A 69.00
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  • Edition Axel Menges GmbH Esslinger Strae 24

    D-70736 Stuttgart-Fellbachtel. +49-711-574759fax +49-711-574784

    Distributors

    Brockhaus CommissionKreidlerstrae 9

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    tel. +49-7154-1327-33fax +49-7154-1327-13

    [email protected]

    Gazelle Book ServicesWhite Cross Mills

    HightownLancaster LA1 4XS

    United Kingdomtel. +44-1524-68765fax +44-1524-63232

    [email protected]

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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.

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    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

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    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

  • 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.

  • 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.

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    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

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    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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    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.

  • 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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    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.

  • 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.

  • 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.


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