Spiritual Embodiment, A Diasporic City and The Palace of Tacheles by Billy Gibson

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

S P I R I T UA L E M B O D I M E N T A DIASP OR IC CIT Y and T H E PA L AC E O F TAC H E L E S p o r t f o l i o b i l l y g i b s o n 1 3 3 5 6 0 2 m(arch) year two u n i t x x designing histories alexis germanos

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

CONTENTS

portfolio to be viewed as two page spread where possible

03 04 05 06 07 10 12 14 15 17 18 21

Over-arching Project Narrative

Semester 1

I: The Age of Surface I I : H i l d e ’s H a n d l e III: Between Mass and Spirit IV: Raising the Flag: A Colour of History V : B e r l i n : Tr a v e l o g u e VI: The Haunted City (group)

billy gibson

design thesis

Semester 2

VII: Spiritual Embodiment S I T E - Ta c h e l e s - A H i s t o r i c N a r r a t i v e Aestheticizing destruction V I I I : E l e m e n t s Tr i l o g y I X : F i l m : To w a r d s t h e G a t e

pages with relevance to technical brief

Masterpla n

Te c h n i c a l R e q u i s i t e

I: Hi lde S chr a mm Centre

Brick Porch: Between two worlds Revelation through ruination S t r u c t u r e , G e o m e t r y, M a t e r i a l : T h e D o m e Yiddish Library: Three Chambers Sacred rainwater: Colonnade

I I : Ja c ob Ad l e r Ac a d e my

The Diasp oric City

Earthwork: Surface and Weight E l e m e n t s : Te c t o n i c L a n g u a g e Enclosure: Recessed junction Golden Tile: 1:1 Sample Iterations Lightwell Cast Hearth Construction Re-Imagination: Brise Soleil Panel Basement atmospheric study

I I I : Pa la s t D er Tachele s

94 96 98

Final Model 1:200 Meandering Site Section Setting within Berlin

22 23 26 28 32 34

Figure Ground : City within a city Te s t i n g a n d A c t i n g a s S p i r i t Purposefullness: A New Diaspora Masterplan: Ground + Upper The Spiritual Ladder Masterplan: Axonometric A journey from Johanistrasse, on the street edge, through the entrance porch into the Synagogue, through the Yiddish L i b r a r y, a n d u n d e r n e a t h t h e c o l o n n a d e into the internal street

From the lively street of Oranienburgerstrasse, through the Wall of stories, alongside the cafe scene, revealing the layers of the academy houses facing the internal street

Te c t o n i c S t r a t e g y Material Palette

Looking within the inner world Facing the formal Palace facade from the street, through the monumental g a t e w a y, t h r o u g h t h e r e - s s u r e c t e d arcade and into the dome, with bridge a n d t h e a t re, T h e ‘ B e r l i n C rown’ f ro m within.

100

B i b l i o g r a p h y + K e y Wo r k s

101

De sign App endix

Making of: Model + Film Digital Modelling Images Physical Presentation Work Sketchbook Photographs

Meeting old and new Material: 1:5 Column Study The Berlin Crown: Steel dome Construction

Te c h n i c a l B o o k l e t

Floor Plans Statements of intent Heating and Ventilation Urban Canyon Sunlight Study Pool Water + Drainage Structural Strategies Escape, Routes and Circulation Key Sections Constructional Sequences

billy gibson

1335602

m(arch) portfolio

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unit xx

designing histories

3 OV ER-A RCHING PROJECT NARRAT IVE the a ngels in b erlin

T h i s p or tfol io d oc uments the p r og ressions of a thesis tha t explores notions of resiliency and p er s i s tenc e wi thin B er l in’ s Jewi sh na tiv e a nd dia sporic com m unities of pa st, present a nd f ut ur e. In r efer enc e to the c ol our ful histories of city, qua rter a nd urba n block, the thesis f o cu s es on tens i ons within the typ ologica l re-design of city elem ents in response to the sty le o f the time . E mp ty s p ac e and aes th eticized ruin lie in a sta te of purga tory, w a iting for the f i v e ang el s of B er l in to s p i r i tual l y em body a nd re-im a gine a n urba n a rtefa ct w ithin the city. W e s hal l eng ag e with a s p ir i tual em bodim ent of the city through the ey es of the a ngel. B o dies of s p ir i t manifes t a c ol l ec ti v e a rchiv e of m em ory, form ing a genius loci through the s car s of the c ity. M oving away fr om a m om ent in tim e, m em ory loses cla rity a nd becom es muc h mor e fix ed to an emotional r esponse. The a ngel holds the excess of m em ory a nd feeds b ack el ements that ar e not s o c l ear. History encom pa sses the consequence of a n ev ent. It i s t he memor y whic h for ms ar ound this consequence. The cla rity of history com es from the s t yle of its ti me. A g i ven s tyl e al l ows tim e to colla pse a nd bring one into a m om ent a long the ci t y’ s ti mel ine, d efi ni ng an aes theti c. The a ngel is the protector of the tunnel tha t guides the us e r b ac k war d thr oug h time, enc apsula ting the hidden m em ory to lea v e the user in a sta te o f nos tal g i a. No ang el tak es one forw a rd. Utopia n v isions of future a re driv en by a genda , no t s p i r i t. T hes e ag end as s tai n a c i ty w ith colour, illustra ting a history through pa tterna tion. T h e ang el c annot r etain ob j ec t, howev er they ca n force the ha nd tow a rds it, suggesting a ne w us e. T he ang el c ontac ts the indiv idua l through the fa bric of the city, w here spiritua l a nd r e f i n ed r es p ons es ex i s t – as op p os ed to the city elem ents conform ing to a set of rules. The d e vil moves thr oug h the s oi l , thr ough a groundsca pe filled w ith a deep da rk pa st. The new ci t y i s not b ui l t out of r ui ns , b ut b u ilt onto them . This city ha s tra pped the dev il in it’s la ir. T h e ang el s ar e fr ee to r oam the s tr eets a ga in, m ov ing out of a sta te of purga tory, into a new li f e . B e r lin has r i s en fr om the i nfer no, s urv iv ing the sins of the self-indulgent, the v iolent, a nd the malic i ous . Its ur b an fab r i c now tr avels through a sta te of purga tory, a ttem pting to repent it’s s i ns , in s ear c h for an emb od iment of spirit in the a rriv a l to ea rthly pa ra dise. The A M Ta cheles s i t e i s one of the fi nal emp ty s p ac es in the Berlin’s Mitte district tha t is y et to sea l it’s fa te… b e g i nni ng the p r oc es s up the mounta in of purga tory, w a iting for it’s spiritua l guida nce. Sh al l i t’ s s tatus as a p r imar y el ement cea se to exist, or ca n a series of urba n a rtefa cts be manifes ted to ens ur e i t’ s s p i r i tual j ourney resum es tow a rds the ga rden of eden?

“This is how one pictures the angel of histor y. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.” Walt e r Be nj ami n: T he s e s on t he Philo so phy o f Histo r y

billy gibson

1335602

m(arch) portfolio

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unit xx

4 I : M E M ORY / MY T HOLOGY the age of surface

“earth before the deluge, ‘smooth, regular and uniform… had the beauty of youth… and not a wrinkle, scar or fracture in all its body’. but now in old age all was ‘shapeless and ill-figur’d” the past is a foreign country: the age of aversion The wrinkle plays a key role in determining the age of an individual. This work takes on an undulating texture, playing with notions of surface and depth. An artefact holds the secrets to a lifetime. It has experienced, or has been experienced through a collection of memories, be it collective or personal. Through this experience, it has become dilapidated or patinated, the surface deeply pitted and disfigured. This patination holds these memories as a catalogue of contact and use, becoming the most valuable layer to age of the object. This is when an object can be named as an artefact.

“young rivers make indentures, while old rivers filled it in” the past is a foreign country: the age of aversion Embellishment may add value, however the real beauty may be found in the undulation of surface, and the ever evolving surface. As an old river does these deepening undulations hold life whilst expressing age, and this shapeless surface projects rich wisdom. This surface is the most wealthy layer of all and should presented as so.

the artefact

the value of the surface: gold leaf application

texture of age

designing histories

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

5 II : BE RLIN / 1 TO 1 hi lda’s ha nd le: b etwe en bauhaus a nd germa nia The changing perceptions of a family’s history through the celebration of the Bauhaus art movement. ‘Wings of desire’ refers to the memories of a childhood and the consequential actions upon a life.

“when the child was a child, it didn’t know that it was a child, to it, everything had a soul, and all souls were one.” from wings of desire Welthauptstadt Germania acted as a statement of power on a monumental scale forming a twisted utopian vision of the most iconic spaces within the cities landscape, and a confused professional relationship between architect and client. Hilda Schramm, Albert’s daughter is now seeking some kind of redemption, crusading against the family perceptions her father designed. The handle pivot begins to suggestively represent the Volkshalle [peoples hall], with a connected aluminium rod representing the ‘avenue of splendours’ and the southern triumphal arch in Speer’s masterplan becoming the prismic element to the handle’s end.

“gropius’s aim was to introduce soul into the age of the machine. the nazis’ was to introduce the machine into the soul.” how the bauhaus kept the nazis at bay, until it couldn’t darren anderson The handle then takes these elements and celebrates design principles of Bauhaus, taking simple forms, primary colours and a desire for function and honesty in materiality. The handle will open the door to Hilda’s home, a place that welcomes refugees from a variety of faiths and cultures, providing them with warmth, comfort and love.

“together let us call for, devise, and create the construction of the future, comprising everything in one form: architecture, sculpture and painting.” Walter Gropius on Bauhaus germania re-imagined through the lens of bauhaus

collage of hilde schramm’s entrance doorway to her home

interactivity and function: opening the door

celebrating freedom and entrance through the germania plan

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

6 I I I : M AKING / T HINKING b etwe en mas s a nd spirit

“thinking involves not only the flow of thoughts, but their arrest as well” Walter Benjamin, Illuminations Walter Benjamin’s turbulent past led to a series of fragmented thoughts and emotions. His ‘Illuminations’ into a philosophy on history and theory led to a discussion on how one may perceive past experiences and how a new way of constructing a response to history may be interpreted. Two responses may be encapsulated in the two theories of Historicism and Historic Materialism. These two perceptions on history and memory may be compared to the two restorative approaches towards historic fabric within Berlin.

“The class struggle, which is always present to a historian influenced by Marx, is a fight for the crude and material things without which no refined and spiritual things could exist.” Walter Benjamin, Illuminations Timber inserts within the mass of a historic timeline will decay, leaving voids with a timeline. These are maybe events and objects that no longer exist in a physical form, but are only existent in memory, that fade and abstract as they move further from that ‘monad’ or moment in time. The immediate dropping threshold illustrates a state of emergency, where underlying political agendas and frameworks en-tangle to either contribute towards reconstruction or catalyse a destructive or barbaric response to existing matter. This historical materialist landscape illustrates a tensioned interdependency between a historic, architectural and political timeline. The uplifting ramped element encompasses a spiritual and refined sense of progress, building similar narratives with that of the reconstructive program of the Neues Museum.

holding up voids in time

ramp detail representing the flow of time and it’s collapse as a result of historic events

1:1 detail collage: rebuilding / collapsing the historical timeline. the battle for control

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

7 I V : CRI TI CAL / HISTORY / RECONST RUCT ION sy mb ol, p ower, identity

“Shiploads of ideology, versions of history, attitudes to life make it difficult here to look at the actual condition of Berlin. The problem is: it is not possible to talk about urban destruction as a simple fact while it is still a convention to aestheticize destruction” klaus hartung - the hidden whole Symbolism through the raising of the flag and the flight of the bird in a spiritual uplifting sense. The spitfire design and it’s relationship to the British lapwing. Power symbols and the TV tower. An emergence of the underground arts culture through a profile on Danielle de Picciotto.

“Various scenes, underground milieus, grass-roots democratic clans, student quarters and alternative Berlin all established themselves here. They were all brought together by a feeling of creative freedom and general rejection of the system.” klaus hartung - the hidden whole Raising a flag over the Reichstag, iconic imagery of victory and progression. The wall acted like a zip bursting to be released. As the zip burst open, an explosion of culture and intense diversity was directed into the East through the movement and injection of people and objects. Goerlitzer Park as a microcosm of historic turbulence, and the cycle of the rotting apple begins to refer back to notions of age and surface.

raising the flag of the city

billy gibson

4.0 critical : history : reconstruction

unit xx : designing histories

berlin @ 1:10000

collage of the city: taking moments and people of value to the city and their impact on the city’s physionomy

berlin - 1940

berlin - 1953

berlin - 1989

berlin - 2001

berlin - 2014

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

8 I V : CRI TI CAL / HISTORY / RECONST RUCT ION r a ising the f lag of the city Varying intensities of destruction and reconstruction can be visualised through it’s correlation with a layering of coloured dot work. A building with red and yellow colouration has been demolished through two methods: with intent or through irrational means. A building with no colouration is of post-war construction, and through its relationship with coloured patternations, a conscious sense of the evidence of destruction and consequential critical reconstruction can be interrogated.

The figure ground plans show “ that the destruction of the city went the whole hog, that it was programmed with an eye to totality – and that the most radical destruction did not start until after the bombing. It is essential that this violence be understood. What were the sources of all these huge and destructive energies? What was the secret code? The figure-ground plans have now put questions like these on the agenda.” klaus hartung - the hidden whole The Royal Berlin plan through the 17th and 18th Centuries began to lay out a more formalised arrangement of intersecting axis and geometric plots connecting open spaces or ‘platz’ with the central, most developed districts of the Berlin. During the 19th century, Hobrecht overlaid and extended the rules of this plan into a set of 14 residential sub-urban districts, whilst highlighting the most arterial connections from Berlin’s heart.

“The city becomes ‘porous’, The outside forces its way into the innermost heart of the city” klaus hartung - the hidden whole Hobrecht’s belief in this historic layout plan began to enforce a core skeletal structure for the city, where development would continue to be focused, constructing places where the most poignant historic events would later unfold.

“Emptiness is registered in modernization. Just as a caterpillar sheds it’s skin, the modern metropolis has yesterday’s coverings lying around it. Re-organising space creates abandoned sites, areas that are left over between disassociated elements.” “At the same time the space is kept free as an option for the future: corridors for roads, expansion areas and masterplans. In other places the leftover space that cannot be exploited gapes between infrastructures and built up islands.” philipp oswalt, berlIn – stadt ohne form in the hidden whole

revealing the code of the city, hidden in archaeology and myth

royal berlin map - fixing the axis

hobrecht plan - the emerging urban block

bombing - highlighting damage

billy gibson

1335602

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unit xx

designing histories

9 I V : CRI TI CAL / HISTORY / RECONST RUCT ION the colour of histor y

zooming in, following friedrichstrasse: the colour of history upon central berlin

billy gibson

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designing histories

10 V : B ERLI N : T RAVE LOGUE : SKE TCHBOOK obs erve a nd re cord (refer to app endix do cument b erlin sketchb o ok)

billy gibson

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designing histories

11 V : B ERLIN : T RAVE LOGUE : M ODE L the style ‘of it’s time’

“Certain works which participate as original events in the formation of the city endure and become characteristic over time, transforming or denying their original function, and finally constituting a fragment of the city-so much so that we tend to consider them more from a purely urban viewpoint than from an architectural one. Other works signify the constitution of something new and are a sign of a new epoch in urban history; these are mostly bound up with revolutionary periods, with decisive events in the historical course of the city. Thus the need to establish a new standard of judgment arises more or less necessarily during certain periods of architecture.” Aldo Rossi This interprative model of oscar neiymer’s Interbau block acts as a critique on how styles and movements may have or can lead to restrictions and tensions between architecture, memory and history. Sets of rules are produced, considering proportion, dimension and geometry. These rules become an idea for the future, standing alone and above, amongst an Architecture that considers it’s grounding within a given context. In Berlin, modernist visionaries swarmed to the city, taking advantage of an opportunity to re-build with respect to their own aquired rules and modernist utopian fantasies, whilst attempting to act against other utopian visions

“we hated bauhaus. it was a bad time in architecture. they just didn’t have any talent. all they had were rules. even for knives and forks they created rules. picasso would never have accepted rules. the house is like a machine? no! the mechanical is ugly. the rule is the worst thing. you just want to break it.” oscar neiymer on bauhaus

elevation above the ground, a principle of style

photographic and drawn observations

the purification and proportionality of modernism, the balcony recess

the powerful aesthetic of modernism and it’s domination in architecture

billy gibson

1335602

m(arch) portfolio

wsa

unit xx

designing histories

12 V I : RECONST RUCT E D / M E ANINGS the sp e ctr a l city : g roup work (refer to g roup do cument for f ul l pro ce s s) “Berlin is a haunted city” “This crucial point in the German capital, where Unter Den Linden and the grid of Freidrichstadt are melded into old Berlin-Colln and points east, held the key to the city’s very identity. A city’s identity is something that develops through history, and the importance of this site was stamped by the city’s rulers and reinforced by it’s greatest architects and planners” “Berlin is fascinating, rather, as a city of bold gestures and startling incongruities, of ferment and destruction. It is a city whose buildings, ruins, and voids groan under the burden of painful memories” “Throughout the past century, it has been commonplace to identify Berlin with continuous change, destruction, renewal and experimentation” This piece highlights the surface below the city carrying a dark past that is evident in archeological notions of past and the tracing of history across urban physionomy (lightbox).Buildings that represent or were born from these times are still evident, and expose this history, be it in memorial form , or in built usable form (black lifting blocks)

“Eerie reminders of Hitler’s megalomania haunt the depths. The builders of the new Berlin in the 1990’s have been forced to dig through the ground and through the archives to locate the numerous tunnels and foundations built and then forgotten.” “Special machines were removing underground obstructions left from excavations for the gigantic domed hall Hitler had planned here.” At a level that recognizes progress,the model observes and interprets the results of differing approaches to Mitte’s re-construction through a critique on critical reconstruction. An acknowledgment of preservation (wax) is apparent as a way to complete it.

“rather like a greek vase, you complete it somehow, but you never imitate the fabric that has been lost” david chipperfield on the neues museum A wholly resurrective approach to lost city elements is somewhat presented as an illusionistic approach to re-construction (cement blocks).

“In Berlin, these buildings must be restored from ruins, if not re-created entirely. And each choice of building and of identity is freighted with all the burdens of German History” “Cement pieces represent an era of mindless critical reconstruction, following the grid, the heights, creating an ‘illusion of permanence” Excerpts above taken from Ghosts Of Berlin by Brian Ladd model engagement and interactivity, revealing the darkness beneath

the city in its most pure, material form

billy gibson

1335602

m(arch) portfolio

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unit xx

designing histories

13 V I : RECONST RUCT E D / M E ANINGS the sp e ctr a l city : group mo del work (refer to g roup do cument for f ul l pro ce s s) Libeskind critique of critical reconstruction: “In a city and country devoid of royalist nostalgia, a palace virtually no one remembers has risen from the dead.”

“The building is a victory for nostalgia – but nostalgia for what?” “Berliners, Germans, and foreigners would be forced to see it in a new way: a recognizable shape and at the same time a ghostly apparition” Excerpts above taken from Ghosts Of Berlin by Brian Ladd Lost buildings of signifcance are still evident in the city, or their spirit has presence (steel bar) within the city, or even across districts. The agents of reconstruction, or bodies of spirit (stilted masses) roam the city, providing the necessary material to allow the city to continue on it’s spiritual journey.

“The ghost or the apparition is one form by which something lost, or barely visible, or seemingly not there to our supposedly well-trained eyes, makes itself known or apparent to us, in its own way, of course. The way of the ghost is haunting, and haunting is a very particular way of knowing what has happened or is happening.” Michael Taussig, Mood is everything

“How can spectrality – and related concepts such as vacancy, absence, ruination, trauma, and disembodiment – help us to understand the culture and transformation of cities” Prof. Dr C P Lindner, Spectral Cities

“so-called contextual preservation is related to the city in turn like the embalmed corpse of a saint to the image of his historical personality.” Aldo Rossi, Architecture Of The City Model Materials: Plaster / Base with Ruin Cement / Pastiche or Illusion Wax / Preserved or Restored Steel Bar / Spiritual Apparition or Emination Lightbox / Darkness eminating from beneath Legged Masses / Agents of Reconstruction Drawing / Unbuilt Germania

group model taking a section of central berlin, following friedrichstrasse, the central axis through the city

billy gibson

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designing histories

14 V I I : MEM ORY / M AKING / M E ANING spirits of the city

S P I RIT OF R E BE LLION b erl i n er dom a n g el D u ri n g t h e G DR pe rio d, the war-damage d Be rlin Ca t h ed ra l re siste d who le de mo listio n, rebe lling ag a i n s t t h e p owe r o f So cialist re gime. Its de co ratio n wa s s l owly resto re d, with wo rk be ginning in 1975, b ec omi n g embellishe d with ange ls calling o ut to the e ntire city. Work i n g ag a i n st the rule s, o r against a give n style, pers i s t i n g l on ge r than it has the right to o r acting aga i n s t t he e ngraine d me mo r y o f it’s histo ric n a rra t i ve. In t h e s ame way mo de rnism se t o ut a se rie s of ru l es , i t s u t opian v isio ns acte d against a histo ric n a rra t i ve, removi ng no stalgia and fo rming a v isio n fo r an alte rnative future. In Berl i n , a no madic, bohe mian ar ts sce ne has i n h a b i t ed ru i n s a nd e mpty space, cre ating a diffe re nt wa y of vi ewi n g and imagining e le me nts o f the city.

SPIR IT OF R E M EM BR AN CE d a m i e l , w i n g s of des i re I n Wi n g s of Des i re, t h e “ ange ls liv ing in be rlin p re s er ve t h e memor y, a nd eve n the pre se nce of g erma ny’s h i s t o r y, while he lping the i n h a bi t a n t s bea r t h e burde n o f the ir natio n’s pa s t ” , “ a s a n g el s , t h ey are e ndowe d with a u n i vers a l vi s i on of h uman e xiste nce in the p re s en t a n d b ac k i n t o t he past, but they lack a pa s t of t h ei r own a nd thus any indiv idual i nvestme nt in the future.”

SPIRIT O F REVERENCE v icto r y co lumn ange l T h e v i ctor y colum n a n gel w a s reloca ted by t he naz i s t o i ts cur ren t loca ti on i n th e begi n n i n gs of th e b u i l d i ng o f th e G er ma n i a m a s ter p la n . T h e colum n i s s h own i n t he fi lm Wi n gs of D es i re a s a ga th er i n g p lace fo r t he ang e l s Wor ki n g w i th res p ect to a s et of r ules , p res c r i b e d by a gi ven p ower or s tyle a t a gi ven ti me, to en s u re an agreea ble outcome. B ui ldi n g w i th i n a s et of r u l e s s u c h a s cr i ti ca l recon s tr ucti on ca n be s een a s reve r i ng t o a re- des i gn for med by th e li kes of K lei h a us , S t i m ann and Kollh off. T h i s s p i r i t i s ev i den t i n ci ty elem en ts ma n i f e s t e d f ro m a movem en t or regi me, i n B er li n , i t m a n i fes t s t hro u g h fa s ci s t, m oder n i s t a n d s oci a li s t th i n ki n g, read i ng acros s th e ci ty. T h es e m ovem en ts grew i n th e c i t y th rough a di a lecti c a s a res ult of th e w a ll.

“On t h e ot h er en d is what I will call the d i a l ec t i c met h od, t h e i n te rpre tative re de sign of ex i s t i n g s t ru c t u res o r the ir fragme nts as a rc h i t ec t u ra l or u rb a n c ol lage s.” The re -de sign a n d/or re- u s e of exi s t ing structure, with no h a rmf u l ad di t i ve or s ubtractive wo rks. This s p i r i t work s bac k wa rds t hro ugh time, e xpo sing t h e l ayers of h i s t or y t h ro ugh a late nt me mo r y, rec ogn i s i n g t h e va l u e o f past and pre se nt. I n Be r l i n , Th e N eu es M u s eum se nsitive ly fo rms a d i a l ogu e wi t h f ragmen ts o f fabric, co llaging i n t o a n exi s t i n g c on d i t i on. Re me mbe re nce and p re s er va t i on a re ext reme mly impo r tant in this appro ach

SPIRIT O F RESURREC T I ON barlach’s ange l

S P I R I T O F RE CON CILIATION a n g el u s n ovu s “ His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet.... The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward.” Fi n di n g s ome c ommo n gro und be twe e n style s, bringing t og et h er a n u n d ers t a n ding o f histo r y and me mo r y fo rming t h e s en s e of pl ac e, t hro ugh additive o r subtractive wo rks. Wi t h on e eye on t h e pa s t , but with ano the r o n the future, just a s t h e a n gel u s n ovus can be pe rcieve d as re pre se nting. I n B e r l i n , t h e N eu es M u s eum and the Jame s Simo n Gale rie as a c omp os i t i on or c omb ine d wo rk, e xe mplify a co nside ratio n t o an en gra i n ed h i s t ori c narrative, whilst intro ducing a new s t yl i s ed l a n g u ag e. It l a yers a se rie s o f histo r y’s o n to p o f o ne ano the r

I n 1 9 37 B a r lach’s a n gel w a s removed from i t ’s ca th edra l. th e a bs en ce of th e s ta tue w a s a powe r f u l mem or y to th e p eop le th ere. It’s los s tra n s fo r m e d a da r k i n h er i ta n ce i n to a mea n s of recon ci li a t i o n. Two res ur recti on s of th e s culp ture were p roduce d ac ro s s th e w a ll, s h ow i n g a ra re v i n di ca ti on of di a lo g u e i n a di v i ded G er ma ny, a s tr i ki n g ackn owledgment t o t he s culp ture’s s ym boli c s i gn i fi ca n ce to p eop le ac ro s s t he coun tr y. “On on e en d of th e s p ectr um i s th e ver ba ti m ap p ro ac h, th e li tera l recrea ti on of i con i c or oth er w i s e s i g ni ﬁ c ant bui ldi n gs of th e p a s t th a t fell v i cti m to w a r, nat u ral di s a s ter s , or i deologi ca l cli m a te ch a n ges .” I n B er li n’s ter ms , th e Sch los s i s a res ur recte d ar t e f ac t ma n i fes ted from n os ta lgi c th i n ki n g, a n d w i t h an a ttem p t to era s e a p a s t th a t h a s been s een t o have obs tr ucted a ny s en s e of s p i r i tua l p rogres s . T he s e res ur rected elemen ts h a ve p er s i s ted w i th i n an en gra i n ed h i s tor i c n a r ra ti ve of th e ci ty, th ro u g h t he i r des tr ucti on .

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15 SIT E INT RODUCT ION site lo cation a nd na rr ative col lage

site location plan: within northern mitte and the jewish quarter of spandauer vorstadt

site plan study revealing the colour of history of the site, outlining key site features and persistent elements

designing histories

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16 V I I : MEMORY / M AKING / M E ANING u nc overing a turbulent histor y of the tachele s bui ld ing

n ow

2020

p roj ect on s i te to tra n s for m i nt o m i x ed us e develop men t a rch i tects : h er zog de meuro n

2013 f i n a l res i d en t s a re ev icte d and s i t e i s b ou gh t by Ame rican co mpany

“tacheles is [was] part war ruin, part artists’ colony, part anarchic wonderland, and wholly berlin. huge murals decorate its blitzed exterior walls. steel sculptures advance from its doorways onto the street. its stairwells are layered with two decades of graffiti”

2010

2000

tacheles resident martin reiter 1990 - 2013 b ec omes a ce ntre fo r ar t / prod u c t io n / studio s / ho using

1990

“When architects wish to describe the uniqueness of a place, they talk of its genius loci. In the Am Tacheles project, this very special spirit is intricately interwoven with their long and eventful history.” herzog de meuron

1980 1969 - 1980

1945-1969

1970

GD R f ree a sso ciatio n o f ge rman t rad e / kino came ra cine ma

1960

bui ldi n g deter i ora tes th rough us e a n d rema i n i n g a rcade i s dem oli s h ed

“this space hasn’t only been a utopia, as many said, but a reality or at least an imple- mented utopia. Numerous exhibitions, events, gigs took place here and not elsewhere. But at a moment, when there is a lack of money, creativity isn’t enough to make a space like this one live.” tacheles resident martin reiter

1950

“Tacheles is an inhabitated ruin that is already aestheticized, estranged, re-imagined.” “The history of Tacheles is striking. it is about the rise and fall of various dreams of urban modernity” the future of nostalgia

1940

1 9 34 - 1 9 45 n a zi offi ces roofli gh ts rem oved to h old fren ch p r i s on er s of w a r i n th e a tti c

1928

1930

AE G el ec t ri c a l / h aus de r te chnik

1920 1 9 1 4 - 1 9 28 un documen ted us e

1907 / 1908 - 1914

1910

7 millio n ge rman mark jewish de par tme nt sto re co nstructe d the n clo se d archite ct: franz ahre ns

1900

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17 V I I : MEM ORY / M AKING / M E ANING frie drichstr a s s en pas s age - ae sthetizising de str uction

“The Friedrichstrassen Passage was in some sense a ruin before it was completed, part of the pre-history of modernity before it could assert it’s own modernity. It was a type of building already on the brink of extinction – indeed it had the dubious distinction of being the last arcade built in Europe.” “The Friedrichstrassen-Passage also functioned as a space which connected the noise and, at times, glamour, of the friedrichstrasse to the oranienburgerstrasse, and a space which facilitated the circulation of individuals and commodities. In the 1990’s, the Kunsthaus Tacheles has assumed a similar role, yet there is a difference here between the role of the original passage and the role assumed by the Kunsthaus Tacheles in describing itself as a ‘bridge’ connecting city and kiez” Recasting German Identity

“Part of Benjamin’s interest in the Passage stems precisely from the fact that “these monuments built by the bourgeoisie to house and display the fetishized commodities of consumer capitalism...rapidly become obsolete and old-fashioned.” Passagen become the “lingering remains” which provide the key to the nature of modernity; they are the architectural ruins of the dreams of the 19th century. What is significant for Benjamin, however, is the function that these ruins can have in the present, preventing the past from being either forgotten or petrified. And indeed, we have seen how, through it’s ultimately untimely appearance, the Friedrichstrasse Passage embraced it’s ruin-like existence throughout the twentieth century, to function finally as a visible and tactile challenge to the seamless representation of unification found elesewhere in Berlin’s ‘Neue Mitte’” Walter Benjamins Passagenwerk in Recasting German Identity

the spirited memory of the facade is stained into the historic narrative of berlin

relief collage overlaying site plan and elevation

the lost passageway is persistent and leaves a ghostly apparition within the city

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18 V III : E LE M E NT S T RILOGY ro om - ca nto XI The model aims to evoke the writings of Dante’s spatial and material references to the entrance into Purgatory. The room locates itself between the re-stitched urban block element and the courtyard / internal kiez proposition. It acts as a primary mediating room between the street and the sheltered, re-imagined courtyard typology environment

“the lowest stair was marble white so smooth and polish’d, that therein my mirror’d form distinct i saw. the next of hue more dark than sablest grain, a rough and singed block, crack’d lengthwise and across. the third, that lay massy above, seem’d porphyry, that flam’d red as the life-blood spouting from a vein. on this god’s angel either foot sustain’d, upon the threshold seated, which appear’d a rock of diamond. up the trinal steps” canto IX - purgoratio - the divine comedy A stepped wall allows toplight to wash down the distinct surfaces, provided a dull, meditative light onto the smooth, polished floor surfaces. The room is mirrored, looking both away and towards the gateway to the courtyard, giving a nod to the ‘wing’ layout of the nicolai house, whilst providing a mirrored perspective that reflects both against a past, into the enlightening future of the courtyard / garden space.

the plinth

fractured ceiling panel

collage study overlaying the gateway and dante’s vision

within the room, looking at the stepped wall

the room

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19 V III : E LE M E NT S T RILOGY facade - evoking the r uin

“terrangi’s rationalism is a ‘true’ classicism, based on purity, the absolute, proportion, mathematics, and the ‘greek spirit’. terragni’s architecture presupposes a given order, in which purity already exists” thomas schumacher in ‘the danteum’, talking on terragni’s approach to architecture Stitching the elevations back into the urban block follow the ‘critically reconstructive’ way of thinking, re-inforcing the street grid as a persistent element within the city. This 1:50 facade study (below) aims to utilise terragni’s thinking on rationalsim, by distilling the existing historic, decorative 1907 facade of the Tacheles department store.

“avant-garde architects oscillated between embracing orthodox modernist positions and maintaining old certainties. ‘the new architecture, the real architecture, must derive from a strict adherence to logic, to rationality” thomas schumacher on rationalism The 1:20 study (left) focuses on this oscillation between the reverence to a given style, whilst maintaining pure mathematical certainty and proportion of the existing facade openings. As a composition, the study acts as a testing bed for applying varying examples of spiritual embodiment to notions of depth and open-ness of the facade. It takes a language from Terragni’s danteum and applies it to the existing Tacheles facade, challenging the ability to connect through the urban block at lower levels to the street.

revealing the facade from the rubble

facade model experimenting with access, frontage and modulation

single bay study distilling the existing tacheles facade into pure geometric

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20 V III : E LE M E NT S T RILOGY c onne cting space - progre s s a nd i l lusion

“the first element we encounter is a free-standing wall, a facade disposed parallel to the front and a long frieze of relief sculptures… this wall, which hides the building, creates an internal street of slight incline that leads to the entry and leaves the view to the colosseum visually free for the visitor who approaches from piazza venezia” the danteum’s architectural proposition With focus on the 3 elements: Passage, Gateway and Crypt, a series of photos express the progressive journey through a series of collonades or enfillades. These typologies have a deep rich history in sacred architecture, rooted in a spiritual setting of monumental proportion.

“thanks to the ribs in the croisee d’ogives to which ‘the lightness of visible scaffolding’ of metal corresponds, the church dome was constituted by a vault or stone calotte suspended over a space without supporting walls” Walter Benjamin’s musings on the arcade in passagen-werk This study takes reference to this tectonic language, and begins to challenge and re-imagine a series of planes that begin to force a perspective as the illusionistic Trompe-l’œil painting technique did. The floor element in the study then refers back to the ramp detail study from a previous task and the group model ideas relating to a dark hidden past below the surface. A perforated or transclucent floor surface reveals beneath it, a structure or a dark, rotten empty space beneath. This takes inspiration from Dante’s Crypt in the basilica of San Francesco, Ravenna

“The crypt floor is now permanently under water and yet it is still possible to catch glimpse of the mosaic fragments that used to decorate the floor of the original church.”

looking into connecting space from the street

photographic series from paris trip investigating the passage, gateway and crypt spatial arrangement

within the enfilade, looking back to the street facade

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21 V III : E LE M E NT S T RILOGY the complete s erie s in f i lm TOWARDS THE GATE Aestheticizing destruction and the resultant spiritual process of reimagination, through contact with the angels of Berlin https://vimeo.com/397866547

“The experience of transition and hierarchy in space, and their culmination in the heart of a building(or garden or city), is one of the most powerful dimensions on which architects may orchestrate people’s experience. This is the dimension of time and memory; it is also the dimension of emotion. Transitions and their resolution in architecture, as in music, have strong effects on how we feel, how we behave and even who we are. They may make us feel exposed and on show; they may take us into refuges where we feel safe; they may take us on journeys of discovery or lead us to dead ends ” terragni’s danteum in simon unwin, analysing architecture

composition sketch plan

series of film snapshots

the complete elements trilogy on stand, 1300mm high

designing histories

billy gibson

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22 CIT Y WIT HIN A CIT Y evolv ing c ondition in centr a l b erlin / p ast pre s ent a nd f uture

“The idea of the city in the city is the basic concept for a future re-planning of Berlin. It is substantiated in the image of Berlin as a city-archipelago. The urban islands will have an identity in keeping with their history, social structure and environmental characteristics.” “The first step to be taken ought to be to pick out and select those districts of the city that possess clearly identifiable features likely to justify their preservation and accentuation. These so-called identity space should not be established on the basis of a particular taste or of aesthetic conceptions.” Cities within the City, OM. Ungers This project takes the sites empty plot in it’s current flattened form. The excavations and prearation for digging have been made. This project then re-imagines what Herzog de meuron may have done without the pressure of a development led corporation leading them into designing a scheme that has not been spiritually embodied, but rather has formed its existence around the overbearing embodiment of the spirit of reverence. In this sense, the more layered the embodiments become, the deeper rooted the building is within the city. To best explain the overbearing power of spirit, in this case the reverence to the capitalist economy, Walter Benjamin describes in his musings on Capitalism and Religion:

“exercising great devotion, the masses approach the objects that are solely meant for consumption. as a celebration, the rite of shopping becomes the only true form of worship. to this end the cult of money establishes wealth as its highest goal, transforming it into a fetish or a false god. as such, it signifies a radical secularization, since no other transcendent goal is acceptable, given that the expansion of capital has become an end in itself.” Walter Benjamin: Capitalism and Religion

herzog de meuron proposal within the city

proposed figure ground plan within the city

1945 / aestheticized

site as existing

1990 / estranged

2020 / excavated

2030 / imagined

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23 V I I : MEM ORY / M AKING / M E ANING te sting a nd acting w ith spiritua l emb o d iment

“the theme of dante’s “ purgatorio ” is the purification of the soul. it describes not a place, but a process ; not a future possibility, but an ever-present reality. it represents the eternal transition from evil to good, and all struggling souls may find in it a reflection of their conflict and a sure prophecy of their final victory. wherever there is spiritual development, there is purgatory.” Dante’s Purgaratio as a process of development It is important to distinguish the different strands of “rebuilding” embodied in the conceptual framework of redesign, For Rossi, ‘type’ is the principle that can be found in the urban artefact. I shall begin to operate with ‘type’ as being different states of spiritual embodiment within the urban artefact: urban artefact as [ a single fragment of the city that holds a significant historic narrative, whom’s memory persists within the physical embodiment of it’s existence, with a strong sense of singular spiritual embodiment ] primary element as [a collective of urban elements that enforces and accelerates a historic narrative, whose physical embodiment is persistent and monumental, with a strong sense of singular or combined spiritual embodiments.] spirit as [the non-physical part of an element in the city which is the seat of emotions and character; embodiment of spirit forms the urban artefact.] angel as [a body of spirit, collecting memory’s of sin, watching over the sinned inhabitants and the cities elements that have been manifested from sin. The angel decides whether the sinner is repentant of it’s sins, and worthy of becoming spiritually embodied]

resurrected dome between fragments

historic image of tacheles dome

early massing study experimenting with type re-imaging the historic courtyard plan

typological connections between spirits

historic plan diagram

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24 V I I : MEM ORY / M AKING / M E ANING te sting a nd acting w ith spiritua l emb o d iment

â&#x20AC;&#x153;We start with a volume that completely fills the block and proceed to cut out a sequence of variously proportioned squares, yards and pathways to make it porous and permeable. The typical urban perimeter block thus takes on a new dimension: it assumes its own inner life, one capable of nurturing a vibrant mix of occupancies and users.â&#x20AC;? Herzog De Meuron, Am Tacheles Massing proposal This proposal works with this concept in cutting away from a filled block. A series of nuanced, spiritually embodied elements populate the site with sensitive proximity to both existing fabric and with reference to typological conditions within the history of berlin, but also works to interpret the siteâ&#x20AC;&#x2122;s historic footprint, allowing porous and permeable routes in, between both existing and proposed fabric. This then re-imagines the urban perimeter block both as a series of linking barriers, with a series of gateways, both monumental and mysterious, that begin to reveal the inner world within. This block model acts as a testing ground for developing ways of thinking in relation to re-design upon the Tacheles site. It begins to reveal a series of spiritual embodiments working both together and against each other to reveal tensions and thresholds between elements.

photo series of developing ideas and applications to existing site condition

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25 V I I : MEM ORY / M AKING / M E ANING te sting a nd acting w ith spiritua l emb o d iment

This block model acts as a testing ground for developing ways of thinking in relation to re-design upon the Am Tacheles site. It begins to reveal a series of spiritual embodiments working together and against each other to reveal tensions and thresholds between elements. Timber Elements: Re-stitching the block / Spirit of reconciliation / following a set of rules Black Elements: Reinterpreting the former plan / rationalising and varying mietkazerne courtyard typology Grey Element: Spirit of Resurrection / Embedded memory persisting forming spiritual embodiment of the urban artefact / Garden of Eden Cement/Plaster Elements: Seven Houses / Angels of the seven sins / Born from the former courtyard empty space / entering through the block Plaster Elements: Existing mass / fragments / Spirit of restoration + reconciliation as a combined work

dis-assembled massing study: â&#x20AC;&#x2DC;piling wreckage upon wreckageâ&#x20AC;&#x2122;

elevational image showing height differentiation between types of spiritual embodied urban artefacts

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26 PURPOSE FULLNE SS a diasp oric city This project, situated in Central Berlin within the old Jewish Quarter, proposes the completion of the urban block. It proposes new opportunity for the new diasporic communities in Berlin that are increasing in numbers, coming from eastern europe and also individuals seeking refuge from other jewish communities, seeking a new life. Split into three phases, the masterplan considers jewish lifestyle, culture and the performing arts. The selection of uses are founded on the following: a re-imagination of what was there before, a critical response to what went wrong there, a new vision for what needs to be remembered and/or preserved. The Hilde Schramm Centre (phase 1) contains a synagogue, immigrant housing, lecture hall and yiddish library/language school. It shall preserve and educate on jewish life past and present, whilst ensuring the wellbeing of community members and their outreach. The Jacob Adler Yiddish Theatre Academy (phase 2) contains a series of studios, offices, dormatories and a bath-house. It shall provide opportunity for the younger diasporic community to and perform and engage, bringing a fresh perspective on the future of a traditional artform of Yiddish Theatre. The Palace of Tacheles (phase 3) contains a kosher hotel, artists residency, artists marketplace and arcade, dome and round theatre. It offers a second chance for the lost spirit of the former building by: re-structuring the hierarchy of, and mediating between two artistic worlds: the avant-garde and the institutionalised contemporary.

“Whatever is built on the empty space must both build bridges between the quarter and the city and also function as a barrier between the monotonous blocks of the critically reconstructed friedrichstrasse and the picturesque labyrinth of the spandaeur vorstadt” Mitte’s baustadtrat, thomas flierl on the re-building on the tacheles site

f r i e d r i c h s t r a s s e

o r a n i e n b u r g e r s

j o h a n n

final massing study engaging with perimeter block, inner courtyards and maintaining a thread with the historic narrative of the site’s engrained memory

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“the city of berlin, a meeting point of the past and future for modern jewry, emerged as the linchpin of the show’s conflicted perspective on religious identity. the memory of the holocaust has a more palpable presence there than in any american city, but esther’s multicultural group of new friends take more interest in clubbing than visiting memorials to genocide. she’s likewise torn between independence and reverence, rejecting the strictures of her satmar sect even as she maintains a deeper, broader relationship to the jewish faith. her connection to judaism forms an integral part of her notion of self, and she’s defensive of something most outsiders can’t understand.” Review of the 2020 netflix series: unorthadox 01 /

Hilde Schramm Centre: Jewish Immigrant Sanctuary 7,505 sq m

02 / Jacob Adler Yiddish Theatre Performing Arts Academy 17,655 sq m 03 / Palast Der Tacheles: Artists Paradise 4,156 sq m ALL /

PROPOSED GIA 34,286 sq m

PROPOSED FOOTPRINT 11,285 sq m

s t r a s s e

n i s t r a s s e

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28 THE PAL ACE OF TACHE LE S AND g round f lo or pla n pa r t 1/2

03 D 02 04

01 05

12 11

17 04

A B

EXISTING FABRIC A B C D E F

friedrichstadt palast theatre conference centre corporate building residential blocks with courtyards restaurant / bar / cafes backpackers hostel

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29 T HE DIASPORIC CIT Y fround f lo or pla n p a r t 2/2

16 09

08 10 F

23 21 D

24 20 24 19

PALACE OF TACHELES

YIDDISH THEATRE ACADEMY

HILDE SCHRAMM CENTRE

01 02 03 04 05 06 07

08 09 10 11 12 13 14 15 16 17

18 19 20 21 22 23 24

new east wing kosher hotel monumental gateway old west wing gallery and residency archaeological landscape new friedrichstrassen market arcade tacheles crown dome bridging walkway and basement ampitheatre perimeter retail block

cafe block with mezzanine to street two entrances through cafe block pedestrian access between new and existing house of theatre w/ costume and prop rooms house of acrobatics w/ apparatus house of dance house of music raised external deck access ramps onto deck entrance to public baths

plant / laundry / refuse block with compost and irrigation system immigrant social housing blocks yiddish literature library, immigrant welfare and education centre diaspora synagogue lecture hall / theatre covered walkway car park + vehicle access

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30 THE PAL ACE OF TACHE LE S AND upp er level 1/2

03 D 02 04

01 05

15 12 05

06 11

17 04

A B

EXISTING FABRIC A B C D E F

friedrichstadt palast theatre conference centre corporate building residential blocks with courtyards restaurant / bar / cafes backpackers hostel

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31 T HE DIASPORIC CIT Y upp er level 2/2

16 09

08 10 F

24 20

24 19

PALACE OF TACHELES

YIDDISH THEATRE ACADEMY

HILDE SCHRAMM CENTRE

01 02 03 04 05 06 07

08 09 10 11 12 13 14 15 16 17

18 19 20 21 22 23 24

hotel room accomodation walkway and events space artists studio and residency sculpture park new friedrichstrassen market arcade tacheles crown dome perimeter retail block

cafe block with mezzanine to street two entrances through cafe block pedestrian access between new and existing house of theatrestudent accomodation house of acrobatics student accomodation house of dance student accomodation house of music student accomodation public space access ramps onto deck entrance to public baths

plant / laundry / refuse block with compost and irrigation system immigrant social housing blocks yiddish literature library, immigrant welfare and education centre diaspora synagogue mezzanine balcony lecture hall / theatre covered walkway car park + vehicle access

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32 CLI MBING T HE SPIRIT UAL L ADDE R te cton ic str ategic fr a mework

Each spirit begins to manifest itself within particular datums or levels of construction at an architectural scale, forming a spiritual ladder. This ladder also begins to outline the cityâ&#x20AC;&#x2122;s connection to itâ&#x20AC;&#x2122;s developing responses to history, where we move from the past below the surface, towards the future, propelling the architecture upwards in a vertical sense. This set of rules, as critical reconstruction was for the redevelopment of Berlin, sets out the heights to which the spirits act upon the architecture

T res ur recti on of th e di v i n e

MAX

looki n g upw a rds p rov i d e s t he ulti ma te con n ecti on wi t h t he di v i n e a n d a p a thw a y t o t he future

images below begin to identify material and / or tectonic approaches towards the grounding of these ideas in berlin and through architecture that is resonant around notions of history and memory rebelli on

pet er zu mt ho r / brude r klaus chape l c h a rri n g / casting / undulatio n c a vern / c ontact / trace s / me mo r y

+ 30m

ris i n g a bove th e r ules a n d burden s of h i s tor y, em ergi n g i n to th e future

+ 23m

reveren ce con for m i n g to th e h ei g ht s o f cr i ti ca l recon s tr ucti on

t ac h el es / sculpture garde n wea t h ered / ste e l / rebe llio n f reedom / culture / e xpre ssio n

+ 20m

c a rl o s c a rpa / brio n ce me tr y embel l i s h me nt / co ntrast / e dge c omp l et e / bo ld / co nne ctive

agi n g s ur face dep th of a tex ture a n d th e un dula ti n g s ur face gi ve i n s i gh t i n to th e v a lue of ti m e a n d us e

17m+ embelli s h m en t

ea s t / berl i n t i l ed / n os t algia / jo urney a rri va l / i d e ntity / re strictio n

+ 14m ka rl ma r x a lle e / be rlin yel l ow / orname nt / re gality power / s h ade / scale

fra m ewor k

edges and th res h old are embelli s h ed to ma r k t he en dp oi n t, or begi n n i n g of a new embodi men t

lightweight framework holding up the weight of histor y, highlighting the fragi li ty between ti me a n d p ower

+ 11m res tr i cti on th e s tyle or m ovem en t o f a g i ve n ti me res tr i ct th e s p i r i tua l p ro g re s s , crea ti n g em p ty s p ace w i t hi n t he ti meli n e

dra w i n g muse um / be rlin et c h ed / l aye ring / de pth s u rf ac e / mo no lith / hie ro glyph

+ 8m

c h i pperf i el d / galle r y / be rlin t ec t on i c / de pth / ho ne sty s h adow / s tructure / subtle ty

+ 6. 5m refor ma ti on n eu es mu s e um / dav id chippe rfie ld l a yeri n g of te xture / leve ls / histo r y ol d / n ew/ re -imagine d

a se rie s of i n ter ven ti on s la yer i n g nuanc ed q ua li ti ti es i n to ex i s ti n g fa br i c

+ 4m 4a / s h opf ro nt pa n el / ba rricade / patte rn a r t i s a n / i n te rpre tatio n / e mbo ss

res tora ti on

+ 1. 5m

con n ecti n g ba s e a n d p l i nt h h i gh li gh t th e ten s i on be t we e n h ow we remem ber, or eve n what we remem ber

ba s e c a rl o s c a rpa / ve nice l evel s / p l i nth / e xpo sure f rac t u re / c asting / so lidity

u ma yyad p alace / re sto ratio n l a yeri n g / de tail / ruin f orma t / f ormality / rubble

s oli d p li n th a n ch or i n g to h i s tor y, tra p p i n g th e dev i l i n i tâ&#x20AC;&#x2122;s la i r

ga tew a y

-5m

en tra n ce a n d th res h old a re re i n forced a n d rep ea ted, cre at i ng a fra m ed j our n ey, reflecting o n ti m e, li gh t a n d p rogres s

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33 JACOBS L ADDE R concept col lage

“Each of us can dream his or her spiritual dream on the “ladder” that extends from the earth to the heavens. By doing so, to use the metaphors above, we can view formative experiences as an altar. We can think of “ascent” as an opportunity for internal spiritual growth and service, and of “descent” as re-entering the external world and trying to change it for good.” “With Torah, one can ascend and descend between the two spheres. The people who do so are angel-like.” Jacob’s Ladder within the Torah

motherhouse / plan within a plan

contacting the spirits

jewish passageways

the angels watching over

ruined landscape

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34 ANGE LS WATCHING OVE R masterpla n col lage

designing histories

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35 ANGE LS WATCHING OVE R masterpla n col lage

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H I L DE S CH R A M M CE NT R E sanctuary for an expanding diasporic community The historian Eberhard Elfert is concerned that possible remains in the underground will be destroyed by the construction of the condominiums. “There may still be ritual objects that are important for the Jewish community or the cornerstone of the building,” says Elfert. He demands that after the finds have been examined and recovered, “a publicly accessible place of remembrance will be set up in the same place”. Underground synagogue: A temple of the Jewish Reform Community stood on the Tacheles site until 1945 “Hilde Schramm, 82, is the daughter of Albert Speer, who was adolf hitler’s chief architect and later war production minister. She inherited paintings from her father that she sold in order to start the zurückgeben foundation. The organization sells artwork and other items gained by germans during that terrible period in history to provide financial support for jewish female artists.” Schramm’s charitable work was recently recognized with an obermayer german jewish history award, presented in the berlin parliament. The award is given by open the circle, and pays tribute to non-jewish germans who make outstanding contributions to preserving the memory of jewish communities.“ daughter of hitler’s war architect has made fighting against anti-semitism her life’s work “Torn from tradition and deprived of its content, haunted by multiple, internalized anti-jewish images, and further undermined and devalued when used as a ticket for migration to the country responsible for the holocaust, jewish identity has been devoured from the inside out.” the new jewish diaspora : russian-speakIng immigrants in the united states, israel, and germany

f r i e d r i c h s t r a s s e

“russian-speaking jews constitute but one example of a larger phenomenon: how globalisation as a worldwide phenomenon is reshaping immigrant communities that has been marked by the formation of transnational diasporas. consequently, in many contemporary societies – especially in the west, one now speaks of ‘insertion’ instead of ‘integration’; the change in terminology reflects new realities, where many migrating groups no longer seek to integrate the dominant culture, but to enter new societies without abandoning allegiance to their native cultures and motherlands” being jewish in 21st century germany

o r a n i e n b u r g e r s t r a s s e

01 j o h a n n i s t r a s s e

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37 REDE M PT ION AND FAIT H memor y map c ol lage

poelzig theatre

neue synagogue

diasporic arrival

pantheon

karl marx / elevation opening ornament

stepping stones

hildeâ&#x20AC;&#x2122;s handle

hurva synagogue

meeting hitler

ruined landscapes

front of stage

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38 H ILDE SCHRAM M CE NT RE ground f lo or pla n (pa r t 1/2) upp er f lo or pla n in app end ix do cument

JOHANNISTRASSE DIASPORA SYNAGOGUE

LECTURE HALL AND THEATRE

01 02 03 04 05 06 07 08 09

10 11 12 13 14 15 16

pews bimah (torah resting bench) holy ark (torah safe) sacred wall ruined fragments of the pre-existing synagogue encapsulated within vertical decorative slab four corner stairs and wash rooms access below to basement prayer room 4m high, 2m thick plinth walls providing privacy for washing rituals and protecting the ruin beneath timber frame within frames seating area and provides circulation routes around main prayer space main porch space with sacred washing fountain traditional womens entrances upto blacony

auditorium wc changing and green room stage lobby access core to balcony exit doors for set and props

15 11

01 11 02

13 08 16 12

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39 J EWI S H LIFE, E DUCAT ION + WE LLBE ING ground f lo or pla n (pa r t 2/2) upp er f lo or pla n in app endix do cument

YIDDISH LITERATURE LIBRARY, WELFARE AND EDUCATION CENTRE 17 18 19 20 21 22 23 24 25 26 27 28 29

lobby / lounge area medical room kitchen canteen ‘three chambers’ library classrooms office / store room access cores housing blocks 2 no. 2 bed to each floor refuse and compost room laundry for students to north / housing to south plant room / irrigation chambers - access from car park community allotment

27 26

28 22 29

20 04

05 23

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40 HOUSING BLOCKS a lig ning ty p olog y a nd stre et

“The designs for this multifunctional block, showed a huge variety of formal solutions, including open courts, closed courts, large courts, small courts and internal streets... To achieve this type of structure, he called for innere Bauflucht (internal alignment), fixing the border for buildings towards the court as the external alignment fixed the border towards the street.“ P.Kolb, tenement blocks in Berlin-Charlottenburg, 1905 The mietzkezerne tenement blocks are a recognisable typology to Berlin, that has embedded itself into the history of the city’s development. This proposed element, or composition of elements reinterprets and overlays historic persistencies within the progression of the tenement block, and it’s alignment with the street. Johannistrasse is already home to an experimental example of 21st century architecture directly opposite the south elevation. This proposed set of historically rooted housing blocks begin to juxtapose this experimentation opposite, allowing for .

“the new style of the future would emerge from the construction of skeletons of tenement buildings, which all looked very similar due to the lack of differentiating ornamentation. Therefore, the urban tenement not only became ennobled as a task for ambitious architects, but was also attributed the role of catalyst for the modern style to come.“ The uniform block front as a spatial element in urban design, Tenement Blocks in Berlin, 1911

urban block housing arrangements

facing the street - repetitive, rectalinear facade.

filling the block - dimensions and their limits

the ‘Hof ’ typology - route through

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41 REV E ALING AN INNE R WORLD the c olour of fa ith a nd brickwork memor y

“By focusing on icons of faith, we would get people to re-examine the true essence of their faith, the common belief that we share in kindness, generosity and friendship. by creating pathways between houses of worship within one neighborhood, we would create islands of stability”... “and the painted buildings would become sculptures in the landscape that speak of people from very different backgrounds that stand together.“... “These bold leaders took the gesture and reinforced it with their own meaning... “it was to welcome people through their doors to ask questions. And for some, it was to bridge the gap between the older and the younger generation”. nabikla alibhai / why people of different faiths are painting their houses of worship yellow “The löcknitz school is in a Berlin neighborhood that was then populated by 16,000 jews. albert einstein, theologian leo baeck, sociologist erich fromm, and author alfred kantorowicz numbered among illustrious jews who had lived there. the school was built on the site of a former synagogue.”... “As it happened, a building was being constructed near niclasen’s home with yellow bricks. she acquired a handful for her project. Students then wrote the name, birth date, and date and place of death on their bricks. Then they placed the bricks—27 in all—in the school yard, the start of a wall that would grow a bit each year.“ remembering in present tense: yellow brick wall, Christa Niclasen - obermayer german jewish history award winner 2019

locknitz school wall

revealing the inner world - the brick porch

yellow painted house of worship

the stepping stones

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42 T HE BRICK PORCH re surre cte d gateway to the s acre d world

The south facing porch facade to Johanistrasse ressurects, re-intrprets and aestheticizes the ruin of the former synagogue. Two languagues of brickwork merge into a single facade. A gridded system combines with a series of decroatove brickwork arches. The vertical and horizontal protruded brick provides the rules. It speaks to the rectalinear facades of the housing blocks it connects to. These two treatments of brick signify a threshold between the rectilinear street facade and the inner world of the block “On striding through the gateway, a new surprise follows. One stands before an overwhelming garden courtyard, and is again thrown into confusion; is this the jousting court of a fortified castle, or the market square of a medieval town, framed by houses of uniform height?“ Entrance sequence experience at the ‘Hof ’ in Fuchsenfeldhof, in The architecture of Red Vienna 1919–1934

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43 T HE LOST SYNAGOGUE pre- ex i sti ng reform temple

“There was a historic building at Johannisstrasse 16 until it was destroyed in the Second World War. According to plans by the architect Gustav Stier, the synagogue of the Jewish Reform Community was inaugurated here in 1854... After destruction, the ruins were later removed. 60 years nothing reminded of the church.” Underground synagogue: A temple of the Jewish Reform Community stood on the Tacheles site until 1945 “No finds are expected on Oranienburger Strasse and Johannisstrasse, where the Wilhelminian style houses were torn down after the war.” “The excavation work on the Tacheles area between Oranienburger Strasse and Johannisstrasse has ended. Archaeologists have uncovered the wellpreserved basement of the historically important synagogue of the Jewish Reform Community.” Underground synagogue: A temple of the Jewish Reform Community stood on the Tacheles site until 1945 The basement encases and preserves a portion of the remains of the pre-existing synagogue basement. the remainder shall be excavated and pieces shall be used within the aggregate for the walls that surround the ruin. Restoration and reconciliation embody this sacred space below the surface.

the revealed basement ruins on-site

proposed synagogue basement plan

pre-existing synagogue ruined openings

pre-existing synagogue sections and elevations

pre-existing synagogue porch and courtyard

pre-existing synagogue plans

designing histories

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44 S Y NAGOGUE AND PORT ICO inner entr a nce s eq uence s “Rather than merely providing a doorway or a porch, Le corbusier establishes a special entrance place where the world of the monks who live in the monastery (the insiders) and that of those who live in the countryside around (the outsiders) overlap. He creates a clear threshold, marked by the concrete arch (or propylon) through which visitors must pass. The monks emerge from the corner of the passageway that stretches around the interior of the monastery. The place of overlap - where worlds as well as people meet” Simon Unwin on Le Corbusier’s La Tourette This writing talks of a porch and it’s resultant entry sequence, combining two worlds, in this case it is the world of the inner block and the peripheral street scape. A series of layered materials begin to form thresholds, marking inner / inbetween / outer and upper. This tectonic language begins to translate up the walls, embodying the spirits of restoration and reconciliation, by building both around and on top of the ruin, and openings being reminiscent of the pre-existing reform synagogue. The aggregate in the poured concrete plinth shall contains the stone fragments of the synagogue below that are to be removed to put the groundworks in for the new walls. The old synagogue shall be resurrected.

looking in the courtyard between housing blocks and synagogue

material collage over model study - synagogue walls

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45 S Y NAGOGUE AND PORT ICO revelation through r ui nation

06 05

02 04

01 03

01 02 03 04 05 06 07 08 09

Glu-lam canopy structure Ground floor canopy Heavyweight exposed concrete plinth upto 4m Door to wash room In-Situ Concrete stair upto mezz. and down to basement Arched openings - layered in-situ concrete Brick porch Glu-lam inner structure Mezzanine and Torah wall

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46 SYNAGOGUE sy mb olism a nd ge ometr y

“A pattern of rotated squares, in root-two proportion, appears consistently in the horizontal plan of each measured set and complements another proposed scheme of a conjoined sphere and cube.“ geometric proportions in measured plans of the pantheon of rome “One might observe that ideal geometry, as well as offering the unattainable grail of (divine) perfection, is defined by it’s predictable discipline... “ Many twentieth century architects have used ideal geometry to give their designs a rational, if abstract, formal integrity. Some... have experimented with complex arrangements in which one ideal geometry is overlaid on, or contradicted by, another“ simon unwin, analysing architecture The synagogues floor plan takes the ideal geometry of the square and distorts it 30 degrees to face Jerusalem to the South-East. This arrangement is reflected both within the use of seperate structures for inner and outer, but also for the arrangement of the plinth walls and ground floor. A curved surface with four wash room alcoves and stairways upto the mezzanine to each corner wrap the prayer space.

pantheon plan and elevation

“The name of the letter ‘chet’ is close to the Hebrew word chattah meaning sin. It is through the letter chet, we can learn about sin and forgiveness of sin”… ”chet is a doorway. The opening that leads you to another realm”… ”those within were passed over and had a new beginning and life.” chet symbol, hebrew alphabet The inner Glu-lam structure is entwined with hebrew symbolism. The arching supports shall hold the dome in place within the safety of the outer walls. This structure creates a wrapping collonade on both the ground and first floor spaces.

model making process - fragmented geometries

building the inner structure

proposed ground floor plan

supporting the dome

walking through the ‘chet’ gateways

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47 T HE FIRST DOM E a ncient / re si lient / str ucture

1:200 model - looking upwards from within

designing histories

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48 SYNAGOGUE DOM E the ros e eterna l

axonometric material construction study

designing histories

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49 T HE FIRST DOM E a ncient / re si lient / str ucture

“Due to the prevalence of corbelling in the ancient world, and the fact that many of the structures which were built with this spanning method are still standing today, thousands of years later, archaeologists have become interested in studying this technique more closely. The treasury of atreus, also known as the tomb of agamemnon, is a tholos tomb in mycenae, greece. it is considered to be the finest tomb to have survived and dates to about 1300 bce“ corbelled domes in two and three dimensions: the treasury of atrius The resurrection of the synagogue shall resonate with a sense of new permanence, with respect to the aesthetic of the most ancient, and most survived dome structure. The internal face of the dome is to be cast in-situ against a laid gold leaf surface as my later 1:1 studies investigate. Any significant blemishes shall be hand applied following the pour. The same technique shall be used to make the individual tiles cladding the dome’s stepped external surfaces. The use of tiles externally allows for the application of insulation above the concrete. The concrete can therefore be exposed and it’s surface be embedded with a golden layer.

“Into the yellow of the Rose Eternal, That spreads, and multiplies, and breathes an odour Of praise unto the ever-vernal Sun”…“And downward from the seventh row, even as, Above the same, succeed the Hebrew women, Dividing all the tresses of the flower; Because, according to the view which Faith In Christ had taken, these are the partition, By which the sacred stairways are divided.” dante’s paradiso: canto 30-32 / the eternal rose The concrete roof slab meets the glu-lam through steel connections and movement joints. This concrete slab is coffered to reduce it’s weight where possible. It deepens in areas that connect to the glulam and through two rotated squares following the two structural systems.

co rbel / tom b of aga mem n on

p urga ra ti o / ros e eter n a l

1:200 model - structural technique - layered construction

old p oelzi g th e at re adj acen t s i te i n 19 19

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50 A TEMPLE OF LOST L ANGUAGE rev iv i ng : remind ing : re-imagining

“Yiddish did not exactly die a natural death. One of every two Yiddish speakers was, after all, murdered in the Holocaust.”.... “History has already played itself out. English has won, and Hebrew has won. But you still have to approach Yiddish with the utmost seriousness, because it’s the key to a whole culture.” “Yiddish is not even remotely part of the mainstream of Jewish life today, according to Lansky. Interest in the language - for scholarly reasons, for reasons of nostalgia, ethnic pride, or connection to a half-forgotten past - is greater than ever. As evidence, he points to the enthusiasm for klezmer music, Yiddish theater, and vintage films, in addition to his own enterprise. However, the Yiddish language, he says, is ‘af tsoris’ [in trouble].” Mame-Ioshn, A revival of Yiddish?

gonzalo fonseca / alcoves and carvings within a monolithic wall

hieroglyph / the key to a culture

wailing wall, krakow / headstone wall

the wall shall be etched, enscripted and embossed with excerpts of yiddish literature

the three chambers seperate the display of books through their rarity and the control of light

the monolithic walls shall pierce through the centre of the block

tschoban / etched panel

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51 THE T HRE E CHAM BE RS y iddish li br a r y wa l ls

“Your life is this three-chambered house. because you are three selves: your material self, which participates in and interacts with the material world; the spiritual you, which relates to the ideas, feelings and altruistic yearnings in yourself and others; and your ultimate self, the “i” that comprises, and (therefore) transcends, both matter and spirit.” three chambers by yanki tauber “The Temple menorah, with all of its ornate and extremely elaborate craftsmanship, was not there for any practical purpose: it stood in the Heichal: a windowless hall only seldom frequented by people. Yet it was there as a symbol of the holiness of that place, of its relation to light.” Shades Of Light by Adin Even-Israel (Steinsaltz)

sectional perspective showing contextual situation of the library as part of a composition

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52 MO N U MENTAL COLONNADE OF GAT E WAYS fr ag ments of the atre

“Dead buildings no longer seem to lie in peace. Take the former Palast der Republik in Berlin. Bits and bobs of this showcase building of the East German state... have turned up worldwide, from skate parks to skyscrapers, in artworks and in cars, living on: metamorphosed. As a coda to our Berlin issue, uncube traces the global scattering of the building’s fragments.” Zombie palace, the afterlife of the palast der republik The old friedrichstadt theatre, designed by hanz poelzig, adjacent to the site was an incredible example of Jewish Architecture. The stalagtite detail found with the dome and across the stage facade has inspired the collonade design that grounds the Hilde Schramm Centre withinin the masterplan. It’s scale and length spans across and between all thre buildings, allowing for passageways around and between.

“the collection of fragments and their re-installation in various other locations, has clear affinities with ruin culture – almost as though the older parts of the building were becoming something like the educational fragments in the Soane Museum. Torn from their original contexts but retaining a memorial quality, they become less significant but almost more potent as design material” Ghost storeys, Sala Beckett theatre in Barcelona The lower floor canopy shall collect the rainwater from all the roofs and divert it into the channel that runs beneath the internal street within the masterplan. The timber jointed elements are bolted into their footing, and a steel rainwater pipe shall run down behind each timber column, around the footings and down into the main channel, This rainwater is then collected and used to irrigate the garden and filtered into the public baths below the theatre academy.

‘stalagtite’ archway tiering, hans poelzig great theatre, 1919

colonnade from the outside, transplanted elements from the poelzig theatre s tage

shadow study plan highlighting cutaway sections bringing light into the ground floor covered link

colonnade from within, showing openings in canopy to create light and dark space

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53 F RAG M E NT S OF T HE LINKING PIECE c a nopy c onne ction a nd r a inwater col le ction

01 02 03 04 05 06 07

Sloped canopy leading water into gutters Glu-lam arch and beams supporting canopy Steel capping piece Rainwater pipe attached behind glulam Concrete footing Excavated ground reveals drainage pipework Rainwater channel through inner street

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54 T HE SYNAGOGUE s e ctiona l study

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55 T HE SYNAGOGUE s e ctiona l study

09 03

01 02 03 04 05 06 07 08 09

Basement of ruins Main prayer space, bomah and torah Plinth wall encasing stairs and wash rooms Balcony with ballustrading Glu-lam Inner structure The eternal rose - Golden dome Housing Blocks to street perimeter Brick porch Old theatre colonnade

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JACOB AD L E R P ERF O RMING ARTS ACADEMY sp e cia l ist as s embly for y idd ish the atre, acrobatics, music a nd da nce “Jacob Pavlovitch Adler was a Jewish Yiddish entertainer. He was born in Odessa, Russia, in 1855 and was raised in both the traditional Jewish world and in the more modern, European one.“ “Reflecting on his youth in Odessa, Jacob Adler wrote about how he roamed between cafes, taverns, and the russian city theater. He mentions that many Odessa cafechantants and cafe fanconi, specifically, were habitual meeting places where he used to meet other actors and where he began his theatrical career.” how cafes created modern jewish culture “The café emerges in benjamin’s essay as a complex institution, contingent on the vagaries of place and space. On the one hand, the café was a place of commerce, organized around the dynamics of consumption and leisure. On the other hand, the café was a place of bohemian and the avant-garde that sought to destabilize bourgeois culture through constant negotiation of contested meanings of lived experience and of the artistic and literary forms.” walter benjamin + how cafes created modern jewish culture

f r i e d r i c h s t r a s s e

“Esther gains a musical motivation, pursuing acceptance to an elite orchestral and choral program. “There’s a real music academy called the Barenboim-Said Akademie where Jews and Muslims play classical music together, like a whole utopia. We were inspired by this idea, as the sort of institution that could only begin in Berlin.” characterisization of the pursuit of a jewish immigrant in berlin, based on the television series ‘Unorthadox”

o r a n i e n b u r g e r s t r a s s e

j o h a n n i s t r a s s e

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57 Y I D DI S H T HE AT RE AND T HE ST RE E T memor y map

ghost wall the cafe scene celebrating freedom

layers of history

gated passageways

ghost stories

performing on the street

climing and contacting

new â&#x20AC;&#x2DC;newâ&#x20AC;&#x2122; yiddish theatre

re-imagining tradition

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58 Y I DDISH T HE AT RE ACADE MY g round f lo or pla n 1/2

THE CAFES

HOUSE OF ACROBATICS

01 02 03 04 05 06

17 18 19

access cores upto retail / office units above lobby area for units above cafe floor with small kitchen and wcc staircase upto mezzanine level looking at street escape cores from above units ground floor ramped accessway inbetween cafes

HOUSE OF DANCE

HOUSE OF THEATRE 07 08 09 10 11 12 13 14 15 16

hearth with core stair and lightwell lobby / reception acrobatics studio space is taller to accomodate movement of apparatus

20 21 22 23 24 25 26 27

hearth with core stair and lightwell lobby / reception central lightwell studio audition rooms changing area costume and make-up prop and studio prop store room rehearsal room escape cores

hearth with core stair and lightwell lobby / reception changing rooms small studio central lightwell studio medium studio large studio escape cores

31 32

36 18 10

21 12

15 13

14 37 36

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59 Y I DDISH T HE AT RE ACADE MY g round f lo or pla n 2/2

HOUSE OF MUSIC 28 29 30 31

hearth with core stair and lightwell lobby / reception instrument storage rehearsal room

EXTERNAL WORKS + SITE ENTRANCES 32 33 34 35 36 37

entrance to units above opposite entrance to tacheles hotel pedestrian access between existing and new raised terrace deck covered walkway between cafes ramped accessways upto terrace level access stair down to public bathhouse

04 02

05 04

03 04

03 35 20

22 34

01 29

24 27

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60 Y I DDISH T HE AT RE ACADE MY upp er f lo or pla n 1/2

PERIMETER BLOCK

HOUSE OF ACROBATICS

01 02 03 04

10 11 12 13 14

access cores upto retail / office units above lobby area for units retail / office units escape cores

HOUSE OF THEATRE 05 06 07 08 09

hearth with core stair and lightwell lightwell void communal lounge / dining suspended walkway to kitchen student accomodation with shower room

HOUSE OF DANCE

hearth with core stair and lightwell lightwell void communal lounge / kitchen / dining student accomodation with shower room escape cores

15 16 17 18 19

hearth with core stair and lightwell lightwell void communal lounge / kitchen / dining student accomodation with shower room escape cores

05 08 14 10 06

18 07

14 08

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61 Y I DDISH T HE AT RE ACADE MY upp er f lo or pla n 2/2

HOUSE OF MUSIC 20 21 22 23

hearth with core stair and lightwell lightwell void communal lounge / kitchen / dining student accomodation with shower room

15 18 01 23

16 17

20 19

22 21 31

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62 SPIRIT AND RE BE LLION op ening to the stre et

designing histories

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63 E NT RY POINT the spirit of or a nienburgerstr as s e This adjacent block to the existing tacheles building acts as an embodiment of the building’s memories. As lost buildings leave there apparition, the ‘spirit of tacheles’ left an unbuilt memory that resonated along oranienburgerstrasse and became the catalyst for a new culture within the district of spandaeur vorstadt. This element embodies this memory in built form, aestheticizing the stories that this streetscape holds.

“Oranienburger straße is home to one of berlin’s few ghost legends: the ghost wall (‘gespenstermauer’). according to the legend, one can sometimes see the spirits of two children dash into the street and disappear near oranienburger straße 41. the identity of the children is unknown, as is the time period in which they supposedly originate” Oranienburgerstrasse ghost story The ghost wall lies directly opposite this elevation and the children disappear into where this building would now stand. Two entrances, one for each child, open the block to the street at ground floor. These entrances allow a continuation of the journey for the spirits.

“We took off in my fire truck from the club “Eimer”... with a group of people, with Leo’s friends. Andre was there too. And so we drove up with the fire truck... climbed onto the truck roof, smashed out the windows on the first floor and went in.” Tacheles founder Tatjana Besson recalling her first encounter in Unbreakable - The Tale of Art House Tacheles The cafe scene is activated at first floor, just in the way the Tacheles movement was founded. Access to the cafe is left in mystery, guiding a journey into the two open portals, following the noise coming from within. During the most active period of the Kunsthaus Tacheles rebellion, a gentleman would park up his big yellow bus, telling stories of artists from around the world. His travelling gallery would attract attention parked up alongside the historic building on Oranienburgerstrasse. His stories would delight passers by as they would point and look up at the tiled wall of paintings.

“Thats called ‘with 80 questions around the world’ a mondial exhibition. we have been asking artists from all over the world to make a painting on the topic: Show your hope! Im a storyteller, I tell stories about those paintings” The van man in Unbreakable - The story of Kunsthaus Tacheles This elevation shall continue what this man had started - by creating a street side gallery facade. In the spirit of Kunsthaus Tacheles, this digital facade shall tile artists work as a digital display, taking nods both from this story and from the film projections on buildings around Berlin during the 30 year celebrations of the wall destruction. this celebration of art to the street offers insight into the ‘spirit of tacheles’ and its impact on the Berlin art scene.

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64 GAT E D RAM PWAY enta ngle d thre shold

“Avtar Brah’s conception of diaspora space outlines a useful framework to understand the importance of location to the existence of a lived urban multiculture in Berlin. Brah defined diaspora space as one of the “entanglements of genealogies of dispersion with those of ‘staying put’ where the native is as much the diasporean is the native”. The diaspora space is where boundaries between belonging and otherness and between “us” and “them” are less fixed and more porous. The programme at Frei University provided a diaspora space for these students where “native” and “diasporean” encounters, connections and friendships became entangled, crossed and blurred.” Diaspora in Berlin. This series of thresholds refers back to the elements trilogy from semester two. It also plays out the above text in engaging with ideas of entanglement of boundaries and connections within and inbetween functions, creating a journey from the street to the inner world of the diasporic city, cafes and academy houses

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65 ROOM corridor of g ate s

III II

I III

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66 AN CIE NT, CL ASSICAL, M ODE RN element, str atif ic ation a nd materia l It is important to understand the evolving ideas around architectural elements and their groundings in human settlement, as the diasporic city is based on ideas of new human settlement and providing a sense of comfort Semper interpreted elements through an understanding of ancient human settlement:

“Throughout all phases of society the hearth formed that sacred focus around which the whole took order and shape. It is the first and most important, the moral element of architecture. Around it were grouped the three other elements: the roof, the enclosure and the mound, the protecting negations or defenders of the hearth’s flame against the three hostile elements of nature” Gottfried Sempers four elements of Architecture

The freedom and vision of Modernism is present in Berlin. It attempted to re-define how we look at the elements of Architecture rather than grounding it in ancient civilisation. It attempted to pave a new vision for how future societies may embody place. This vision was then subject to critique and some attempted to find it’s relevance in a historical, in this case, a classical setting:

“If one accepts that, like the Greek temple, the Villa Savoye is a layering of different states of being, then this section includes the level of the cave. The house may be interpreted as a representation of the ascent of human beings from darkness to light, from the primitive to sophisticated civilisation” Stratification of villa savoye, Simon Unwin

The academy house construction is layered through interpretation of all of these ancient, classical and modernist methods, but is defined through the Jacobs ladder tectonic strategy, in an ascension through layers of memory and time, becoming lighter and less burdened with the weight of history. Starting with a heavyweight textured plinth, what may be interpreted as the ‘level of the cave’. The use of heavyweight material becomes more refined and more precisely finished as it raises from the ground, which then, collectively, following a recessive, period of restriction, elevates the upper level, propelling them towards the future. The hearth remains consistent and continues to rise through, waiting for it’s next layer of protection to pile on top.

HEARTH

the core emerges but is protected

ROOF

lightweight steel frame + panelling

ENCLOSURE

recessed golden tile layer

brick - marking structural layer behind layered pour concrete - varying aggregate and sand mix openings with single pour - polished finish MOUND

textured concrete - sprayed finish to outer edge

designing histories

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F LO O RI NG T HAT FACE S T HE HOLYL AND ac ademy hous e e a r thwork/mound study

This corner rises up to the terrace and defines the arrival to the internal street. The large stone pavers turn into smaller format brickwork as the level is raised. It climbs a rung of the spiritual ladder, becoming more refined. The earthwork elment to the academy houses layers various forms of heavyweight construction, compacting layers of history onto the exposed plinth. The internal herringbone timber floor finish is twisted to orientate the space towards Jerusalem, just as the synagogue does. The academy house studios are heavily enclosed, fortified spaces, with no visual reference to the synagogue. The floor shall guide the soul towards the holy land. An ornate panelled doorway fills the deep recessed frame, giving significance to the entranceway.

05 04 07 02

03 01

01 02 03 04 05 06 07 08 09

Stone pavers to internal street Heavily textured aggregate concrete plinth Drainage grille strip Rammed concrete sandwich panel construction Framed door opening Drainage pipes inset within wall recess Brick pavers to terrace level Steel ballustrading element herringbone floor orientated south east

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68 CONST RUCT ION SEQUE NCE element, str atif ic ation a nd materia l

“Le Corbusier argued that each of the proposals in the ‘Five Points...’ would be for the betterment of architecture. Ground for growing and enjoyment would be doubled rather than subtracted; views would be opened, internal daylighting enhanced; practical arrangements optimised... In the challenging spirit of Modernism he did it by taking established ideas and reinterpreting them, sometimes coming up with novel combinations, sometimes turning them on their head.” Le Corbusier’s five points, Simon Unwin This construction sequence re-interprets both Le corbusier;s five points and Sempers four elements, turning some on their head, creating novel combinations that in turn resonate with a narrative of Berlin’s history, and the memory of the people’s struggles there.

V / FREE FACADE / ROOF The ‘freedom’ of the facade is dependant on it’s stratification. Each layer depicts differing levels of restriction and relief within the history of Berlin. The higher levels, with assistance from the pilotis, become the most free, spirited facades. Construction: Pre-Fabricated Brise Soleil panels fixed to front of glazing system IV / PILOTIS / ROOF The pilotis appears at the highest level, as opposed to the lower. These allow the higher element to appear to be elevated effortlessly above the heavyweight mass below it.

Construction: Lightweight steel frame fixed onto concrete elements

III / ROOF GARDEN / HEARTH The garden appears in mythopoetic form, in the core of the building. It becomes the hearth of each academy house and rises through the entire structure emerging through the roof

III

Construction: In-Situ concrete core with stair, lift and timber shuttered lightwell

II / HORIZONTAL WINDOW / ENCLOSURE The horizontal windows become the recessed element, a clear seperator between lower and upper. An acknowledgment of a sigificant and distinct moment of collapse. Construction: In-situ transfer slab between concrete beams spanning onto external wall

I / FREE PLAN / MOUND The plan is restricting, as opposed to free. It provokes atmosphere and forms a series of vertical planes that are all - in turn assisting in holding the pilotis above Construction: In-Situ textured concrete pour, including shear walls holding deep beams and transfer slab above

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69 A D E FINIT ION OF ST RUCT URE upp er brick deta i l a nd re ce s s e d golden ti le facade

05 04

01 02 03 04 05 06 07

soffet to upper floor steel construction panelled â&#x20AC;&#x2DC;metopeâ&#x20AC;&#x2122; brickwork layered concrete external wall sandwich panel insulation concrete fin beams supporting upper structure golden tile to recessed facade concrete intermediate floor to offices

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70 I I / THE COLL APSE OF POWE R golden ti le materia l study

Through a collaboration with local tile manufacturers Golem Baukeramik and through their factories in Sieversdorf, Petersdorf and Altglietzen in Brandenburg, this 1:1 tile study will embellish the recessive intermediate element between the lower studio and the upper residential floors, and shall also clad elements to each dome on the masterplan.

“Golem produced bricks and terracottas for the restoration of historic buildings shortly after the turn. In the post-reunification period, especially in the eastern part of Berlin, a large number of monuments, such as the art nouveau ensemble of the Hackesche Höfe, which is known worldwide today, were restored with great commitment and passion, and thus saved from decay. Many of our replicas of historical tiles, which we developed and “reinvented” in this special setting, are now restored in our factory in Sieversdorf, because the interest of numerous architects, restorers, other experts, as well as of building owners and private interested parties Step encouraged.“ Decorative tiles by golem

Golem restored tiles within the Neues Museum

early first term model study on surface and age

iteration 01 - pre pour

This first iteration (previous page) lays a sheet of gold leaf across the surface of the tile. The deep ribbed detail is taken from the tiles evident along karl marx allee, used as an expression of power and decoration across the vast structures built during the reign of socilism in the east. MASS OF WEALTH AND DEVELOPMENT Time is channeled, broken into large events, changing the course of history. The flow of time and it’s arrest is dramatic and at a monumental scale. When value is blanketed in huge masses across the surface, human interaction causes it to tear and break down, manifesting a vast seperation between rich and poor. These seperations are only reinforced through the collapse of value and the events of history.

iteration 01 - post pour

existing tiles on karl mark allee

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71 I I / A COLLECT IVE OF INDIVIDUALS golden ti le materia l study

“With our reduction fires, the glaze is applied to the blank with a ladle. This manual glaze method creates a thick, particularly lively surface with a wide range of nuances. After glazing, the tiles are fired twice and oxygen is removed from the combustion chamber. With this process, we give chance a large space. This leads to particularly strong colors and a unique play of colors. Every tile is unique” Golem’s reduction fire technique

iteration 02 - pre pour

iteration 02 - post pour

The second iteration takes a more refined approach, attempting to integrate the surface of the plaster with the gold leaf. The gold leaf is broken up and scattered across the surface of the casting bed. The smaller fragments hope to build up a surface quality that is more collective and spread more evenly across the finely ribbed surface texture. SELF, SPIRIT AND THE COLLECTIVE The flow of time is more incrimental, allowing a breakdown of event and a more immediate response as it collapses. Value is broken down and embedded within the surface of it’s interaction. A more individualised society, with a more nuanced understanding of value gives a quality of richness spread throughout.

recessive element to the academy houses - highlighting the collapse of power

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72 I II / M AGGIE ’ S M E M ORY biotrophic memoria l as the he a r th

“It was only crap here, nothing but garbage was lying all around. Within two years we had cleaned everything up - every cigarette butt, all the broken glass, everything. After one year it was relatively clean. After two years we starting building the pond, the other pond and we made a little brook. If you give nature some space, nature will give back. Nature does that on its own. I been living here in this neighbourhood since 1984. I grew up here, its my home, so Im happy we have something like this here. I also used to play here as a child.” Interview in ‘Unbreakable - The Tale of Art House Tacheles’ Maggie’s Farm was a biotope created amongst the ruins of the historic Tacheles arcade and within the bomb crater adjacent. Local people brought structured natural life back to empty spaces of the city. Through atmospheric architectural representation, the lightwell element within the academy houses is a memorial to the loss of this natural landscape that was demolished and excavated in preparation for the re-densification of the block. Within the deep plan, the lightwell offers a reflection back to the natural world, and the spectacle of light. The shuttering shall use natural remains removed from empty sites in Berlin that are now being built upon again. After being burnt away, the surface quality left shall serve as a reminder to what has been living in the empty spaces of berlin during it’s process of restoration and re-design.

‘‘I think it is more about creating a feeling for the things that are absent than about creating a feeling of presence for things lost. So I try to create a feeling for things that are no longer here or for the lost context of things that are still here.” Peter Zumthor

biotope on site in 1990s upto 2013

bruder klaus chapel

1:200 atmospheric model study

1:50 model casting with organic matter shuttering

designing histories

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73 I I I / CAS T ING LIGHT INTO T HE HE ART H plaster - timb er pro ce s s casting

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06 08

01 02 03 04 05 06 07 08 09

Solid oak pocket sliding door concrete enclosure internal walls fabric applied to inner surface of shuttering concrete intermediate floor concrete fin beam ventilation extract within recess up lighting strip within recess shadow gap between enclosure and hearth up light strip within recess punctured opening within hearth lightwell timber trunk shuttering hearth concrete surface

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74 V / RE-IM AGINAT ION ro of ti le cladd ing susp ension p a nel

“Once we attribute different values to different functions, we deny the validity of naive functionalism...”Furthermore, if urban artefacts were constantly able to reform and renew themselves simply by establishing new functions, the values of the urban structure, as revealed through it’s architecture, would be continuos and easily available.” Aldo Rossi, Architecture of the City The lightweight glazed facade to the student accomodation on the upper floors of the academy buildings require shading. These vertical brise soleil panels take a tradition and re-imagine it, just as the academy programme does, by rebelling against it’s persistent form and hencefore, Rossi’s theories on validating ideas of naive functionalism. The berlin roof tile, which is engrained with the vernacular of the citys roofscape, is here used as part of a facade panelling system, and is suspended within a pattern of cables, resembling the star of David. This panelling suspends fragments of a city’s identity across a building frontage, all of which are working collectively to form a barricade to protect the inhabitants from their harsh external environment and their privacy. Its function remains the same, just as a re-imagined form within the city.

the berlin tile and the chinese arts academy

1:10 panel section detail

1:200 light filtration study

1:10 panel elevation

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75 BE LOW T HE SURFACE outdo or p o ol w ithin the fr acture d wa l ls

BASEMENT PUBLIC BATHS + DOME AMPITHEATRE

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01 02 03 04 05 06 07 08 09 10 11 12 13

stage (bridge platform above) Ampitheatre seating open to dome above secret tunnels beneath seating four access core with lift and stair to each end treatment rooms mens changing and wc womens changing and wc store room outdoor swimming lane plunge pool indoor heated pool pump room access core upto house of acrobatics washing cubicle before entrance into pools

12 11

02 09 04

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76 T HE DIASPORIC CIT Y a me diation b etwe en fa ith a nd culture

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77 LOOKING WE ST diasp oric city d ia le ctics

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PAL AST DER TACHELES a pa r ad is e of a r t a nd culture “The Tacheles is the last ar tist’s for tress in the souped-up center of Berlin.” club guide berlin “It was free, it was open, there was this great feeling. We had the philosophy there that ever yone is an ar tist. Ever yone is an ar tist. And now we want to make a new ar tist meeting place, something with the spirit of Tacheles.” Po lish e cce ntric punk musicia n a n d a r ti s t Tx us Pa r ra s rem i n i ci n g a n d re- i m agi n i n g “There was no ‘spirit’ of Tacheles at the time. Ever yone is making up their own reality of ‘what tacheles was.’ It became a myth.” Life after Tacheles: What’s become of the artist squatters “The groups weren’t so much divided by house, downstairs, and yard, but rather: the guys who just wanted to make money, the guys who f***ed up because they drank too much and thought that made them ar tists, the touristic-ar t guys, the pragmatic and open-minded ar tists, and the crooks. The worst were the people who said, ‘I am the Tacheles.’ I never said that, because no one person could say that and it be true.” Mar tin Re ite r at the he lm o f the small body of fi ve, h a n dli n g op era ti on s , admi n , ta x , P R a n d p oli ti cs

f r i e d r i c h s t r a s s e

“Exercising great devotion, the masses approach the objects that are solely meant for consumption. as a celebration, the rite of shopping becomes the only true form of worship. to this end the cult of money establishes wealth as its highest goal, transforming it into a fetish or a false god. as such, it signifies a radical secularization, since no other transcendent goal is acceptable, given that the expansion of capital has become an end in itself. “ po litics, e co nomi cs , a n d reli gi on i n th e globa l age: walte r be njamin’s cr i ti q ue of v i olen ce a n d ca p i ta li s m a s reli gi on

o r a n i e n b u r g e r s t r a s s e

j o h a n n i s t r a s s e

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79 THE SPIRIT OF TACHE LE S memor y map

eastheticized ruin

the dome as a monument

propelling permanence

listed facade

sacred temple

fragmented thouroughfare

monumental gateway

bridge between cities

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80 PAL AST DE R TACHE LE S bridgi ng two stre ets EAST WING 01 02 03 04 05 06

hotel lobby access cores upto rooms bar and lounge kitchen / wc reception office / back of house

CENTRAL ZONE 07 08 09

event space lobby and stair monumental gateway entrance open events space + gallery

WEST WING 10 11

artists residency open studio access to core and wc

ARCADE 12 13

individual unit / stall open sheltered lobby

DOME 14 15 16

cores to basement ampitheatre bridging walkway void down to basement

EXTERNAL WORKS 17 18 19 20 city

tree pits tiered hard landscaping concrete bollarding through route to the diasporic

FRIEDRICHSTRASSE BLOCK 21 22 23

generous stair within gateway access cores retail unit

23 22

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81 PAL ACE OF TACHE LE S bridgi ng two stre ets

01 09

02 04

18 19

14 16 14 15 14

20 14

05 06

02 06

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82 PAL ACE OF TACHE LE S the pa lace bui ld ing comp a r tments

â&#x20AC;&#x153;weâ&#x20AC;&#x2122;re on the barricade, the first real barricade of contemporary artâ&#x20AC;? angelo - artist at the re-imagined kunsthaus tacheles days before eviction in 2013 The Tacheles Palace building becomes a paradise for art, culture and tourism. Split into three functions in relation to the existence of each section of the building. The east wing (left) is new. It completes the formal arrangement of the facade to the street, containing a hotel. The central portion and four bays to the west contain the monumental gateway and open gallery events spaces connected to the hotel. This is the oldest section of the building that remains most intact. The monolithic concrete frame is to be exposed with artowrks and installations hanging from the beams and posts (image overleaf ). The four/five bays of the west wing (right), contain a series of artists residencies, much like the Kunsthaus Tacheles did through the 1990s upto 2013.

hotel - lobby, bar and reception room accomodation

events - galleries and events to exposed existing fabric

residencies - art studios and residencies

hotel - new construction

events - stabilise existing fabric - expose frame

residencies - stabilise existing fabric insulate within

ground floor - bar, kitchen, lobby office

ground floor - galleries

ground floor - open plan studio

mezzanine - back of house and storage

first floor - void, gallery and event space

ground floor - open plan studio

upper - hotel rooms, standard, suite and prayer rooms

upper - bridge across gateway and event space

upper - open plan studio

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83 EXPOSING T HE E XIST ING op en ga l ler y space s w ith the centr a l z one

exposing the existing fabric - gallery boards connected to the concrete structure

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84 TACHE LE S FACADE L iste d Monument - 54, 55, 5 6 , 5 6A

“09035146 Oranienburger Straße 54-56A, Ruine der Friedrichstraßen-Passage, 1907-09 von Franz Ahrens (D) (siehe Ensemble Spandauer Vorstadt) (MIT/MITTE-D)” “Dating: 1907-1909 Design: Ahrens, Franz (architect) Design & execution: Schmidt, Hans & Kühn, Richard (sculptor) Design & execution: Pritzel (sculptor) Execution: Berlin Terrain- und Bau-Aktiengesellschaft Execution: Golde and Raebel Client: Berliner Passage Bau AG “In addition to two apartment buildings from the first half of the 19th century (No. 52 from 1833), the part of the monumental structure of the Friedrichstrasse Passage, Oranienburger Strasse 54-56A, which remained after the war was largely shaped on the southern side of the street. By merging a large number of individual specialty stores under one roof, the aim was to meet the growing competition from the large department stores. In 1907-09, a shopping arcade was created based on a design by Franz Ahrens and carried out by the Berlin Terrain- und Bau-Aktiengesellschaft, which should also outperform the previous passages in its generous spatial effect. Already built in reinforced concrete construction, this passage construction was extraordinarily modern in terms of construction and architecture. The height, two-storey plinths made of rustic limestone blocks end with a balustrade, three more business floors rise above them. The sculptural jewelry on the fronts made of shell limestone was created by the sculptors Hans Schmidt and Richard Kühn. A glass-covered shop gallery, in the middle of which was a glass-covered dome, led from the widely visible entrance arch of the passage on Oranienburger Strasse to Friedrichstrasse 110-112.”

existing building photographed after the war

1:200 model study developing repsonse to existing facade

1:50 elements trilogy facade model study - depth and verticality of the existing facade

proposed elevational collage - continuation of existing conditions

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85 TH E M ONUM E NTAL GAT E WAY entr a nc e to the a rcade + element of add ition

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86 ELE M E NT OF ADDIT ION is onometric study 1/2

13 09

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87 THE GOLDE N T HRE SHOLD is onometric study 2/2

“The interactions of Architecture are particularly interesting in combined works, where old and new designs are put together deliberately so that they will be understood together and judged for what they do to each other and in combination. Here the old and the new may have widely differing roles. The old may be saved as background to the new or may clearly be brought out as the object celebrated in the combined work of art In these combinations the participating works illuminate each other, bring out each other’s value, and ideally, create new values in the combination well beyond the value of the parts” Paul Byard, Architecture of Additions At this meeting point of old and new, a brass drainpipe is recessed within the connection joint, defining the element of addition. The new facade refines and distills the movement of the old, with a brickwork construction that expresses the protrusion of the lower level. The brick work is given a recessive depth as the brickwork at the upper level of the academy houses are. A cast archway removes the stonework geometry, and allows the verticality of the facade, and it’s monumental structure to be the focus. The spandrel panel is imitated through embossed steel panels, as used within the dome to be seen later.

06 01

01 02 03 04 05 06 07 08 09 10 11 12 13

Old / Monumental Limestone archway Old / Stone ballustrading with ornamentation Old / Large format limestone plinth Old / Limestone archway with detailing New / High performance glazing in existing opening Old / Medium Format Limestone pillar Old / Stone spandrel panel Connection / Brass plated drainage down pipe distinguishes the threshold of old and new New / Medium format Cast concrete plinth to resemble Limestone format Steel sheet spandrel panel fixed to new concrete frame New / Facing Brickwork Pillars with panel detail New / Cast concrete archway New / thin profile glazing system

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88 SCULPT URE PARK a rche ologic a l la nds c ap e s

plan collage highlighting the pre-existing plan and the proposed response

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89 ARCADE GROUNDING the f ight for prog re s s

This 1:5 column detail study returns to the overarching narrative and Walter Benjamin’s musings on the Angel of H i s t o r y. I t i n t e r r o g a t e s t h e t e n s i o n b e t w e e n t h e a n g e l a n d the devil, where the progressive spirit is built upon a dark, r u i n o u s p e r c e p t i o n o f m e m o r y. T h i s m a n i f e s t s i n a n i n c o m p l e t e connection, fighting a way to suppress the darkness, whilst re-shaping one’s perspective on history to ‘complete the circle’, attaching a newly optimistic way of thinking to how o n e p e r c e i v e s a n d o v e r c o m e s t h e e v e n t s o f h i s t o r y.

“ Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front o f h i s f e e t .” Walter Benjamin, Theses on the Philosophy of Histor y This connection depicts the battle between civilisation barbarism in Berlin, and then the progress of life beyond upwards of this battle. It’s deep relief highlights the of history but the weight of progress attempting to fill voids, and complete the picture.

and and loss the

“The upper part of the entablature is divided by the triglyphs, into panels containing deep relief sculpture – the metopes. The Par thenon metopes depict battles between civilisation and b a r b a r i s m .” Stratification of the Par thenon, Simon Unwin The ribbed external surface of the column re-interprets the fluting of a classical column and provides an alignment through the broken column. This is the element of time, p a s s i n g t h r o u g h h i s t o r y, b e i n g b r o k e n i n m e m o r y

1:5 fragmented cast column study

1:5 fragmented cast column study complete

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90 AR CADE + M ARKE T PL ACE re-imagine d pas s ageways

T h e a rc a de fo llo w s the pre - e xisting frie drichshain passage pl an, with a s e r i e s o f ti ered la n d scape e le me nts following the footprin t of th e n o w d e mo li shed d ep a rtme nt store plans, with planting e le me nt s with in t h e o l d c o re po si ti o n s. T his palimpse st of historical laye rs cre ate s an i n t e r n a l b lo c k la n dsc a pe se tting. Just as the plan worke d in com p os ition w i th the p revi ous dome , this now doe s the same .

“ With the axis of the ellipse addressing the facade and intersecting the axis of the prescribed procession to the tomb, the forced perspective of the colonnade drives the crowd toward the facade and through the sequence to the spiritual destination under the dome” p a u l bya rd on be rnini’s additio n to saint pe te r ’s church T h i s r e -i ma g i n a ti o n o f the tache le s arcade cre ate s a mode st c e ntr al p a ssa gew a y w i th sma ll individual units to e ach side . In the c e ntral p a ssa ge, a c u rved a n d pe rforate d ste e l ce iling pane l filte rs li g h t and d e c or a tes the u p per levels of the 8m high thoroughfare . R ath e r th an r e s su r ec ti n g the mo n u mental scale of the pre - e xisting arcade , th is ne w a r c a d e b ri n gs d o w n the s cale and cre ate s a more intimate and m od e s t sp a c e fo r a rti sts a n d c reative s to pre se nt and se ll the ir artwo r k s . T h e 1 : 5 c o lu mn stu d y i s evi d e nt within the arcade forming the structur e f or t h e c e i li n g p a n el a n d ro of. T h e r esu rrec ted sc u lptu ral ste e l dome is the ce nte rpie ce of the p al ac e , o r t h e ‘ c ro w n ’ a s expressed by the re side nts be fore closure . It’s we l d e d st e e l co n stru c ti o n remi n i s ce s on the kunsthaus tache le s as an innov ativ e c e n t r e fo r meta lw o rk a rtistry during the 2000’s.

umayyad palace, jordan - composition of ruins

pre-existing dome pictured in 1970’s

1:200 model study

1:200 arcade study - taking reference from pre existing department store

4a architects sculptural steel panels

crowning the site

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91 INSIDE T HE DOM E re-imagine d centrepie ce

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04 07

â&#x20AC;&#x153; We will install a crown of 130 meters in diameter and 2000 tons above the whole area of the Tacheles. Today is the day when the Berlin giant crown star ts to become real - the attendees throw their visions for the future of the Tacheles into the flames to let them become realâ&#x20AC;?

F i lm - Un brea ka ble - s p ea ker a t rebelli ous ar t i s t s cer mem ony a t kun s th a us tach eles

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Steel frame lantern Goldent Tile clad fins as extension of ribbed structure Steel Ribbed dome structure Internal Coffered Steel panelling with heavily welded joints Cast concrete bridging walkway piece External Standing seam steel roof Concrete plinth and glazing up to 8m Concrete and stone basement ampitheatre below

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92 BE RLIN GIANT CROWN the s culpture pa rk

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93 BE RLIN GIANT CROWN the s culpture pa rk

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94 T HE PRIM ARY E LE M E NT 1:20 0 mo del 1/2

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95 THE PRIM ARY E LE M E NT 1:20 0 mo del 1/2

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96 CUT T ING T HROUGH me a ndering site s e ction 1/2

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97 CUT T ING T HROUGH me a ndering site s e ction 2/2

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98 THE COM PLE T E M AST E RPL AN em b o dy ing the blo ck w ithin the city

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99 TH E COM PLE T E M AST E RPL AN em b o dy ing the blo ck w ithin the city

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BIBLIOGRAPHY + KEY RESOURCES Books

Andres, Lauren and Boris Grésillon, ‘Cultural Brownfields in European Cities: A New Mainstream Object for Cultural and Urban Policies’, International Journal of Cultural Policy, 19.1 (2013), 4062 Benjamin, Walter, Illuminations. ed. by Arendt, Hannah and Harry ZornLondon : The Bodley Head Ltd, 2015) Blau, E. . The architecture of Red Vienna 1919–1934 (pp. 237–238). (Cambridge, MA: MIT Press, 1999) Byard, Paul Spencer, The Architecture of Additions : Design and Regulation (New York ; London: New York ; London : W.W. Norton & Co., 1998) Forty, Adrian, Words and Buildings : A Vocabulary of Modern Architecture (London: London : Thames & Hudson, 2000) Forty, Adrian and Susanne Küchler, The Art of Forgetting (Oxford ; New York: Oxford ; New York : Berg, 2001) Gitelman, Zvi Y., The New Jewish Diaspora Russian-Speaking Immigrants in the United States, Israel, and GermanyNew Brunswick, New Jersey ; London, England : Rutgers University Press, 2015) Ingold, Tim, Making : Anthropology, Archaeology, Art and ArchitectureLondon : Routledge, 2013) Ladd, Brian, The Ghosts of Berlin : Confronting German History in the Urban Landscape, Expanded edition. ednChicago ; London : The University of Chicago Press, 2018) Lazar, Nicole A. and others, ‘Corbelled Domes in Two and Three Dimensions: The Treasury of Atreus’, International Statistical Review, 72.2 (2004), 239-55 Lowenthal, David, The Past Is a Foreign Country (Cambridge: Cambridge : Cambridge University Press, 1985) Rossi, Aldo, The Architecture of the City. ed. by Graham Foundation for Advanced Studies in the Fine, Arts and Studies Institute for Architecture and Urban (Cambridge, Mass. ; London: Cambridge, Mass. ; London : MIT, 1999) Schumacher, Thomas L., The Danteum : Architecture, Poetics, and Politics under Italian Facism, 2nd English ed. edn (London: London : Triangle Architectural Publications, 1993) Stimmann, Hans, Die Gezeichnete Stadt : Die Physiognomie Der Berliner Innenstadt in Schwarz- Und ParzellenpläNen 1940-2010 = the City in Black : The Physiognomy of Central Berlin in Figure-Ground Plans and Parcel Plans 1940-2010, Series: City in Black : The Physiognomy of Central Berlin in Figure-Ground Plans and Parcel Plans 1940-2010 (Berlin: Berlin : Nicolai, 2002) Taberner, Stuart and Frank Finlay, Recasting German Identity : Culture, Politics, and Literature in the Berlin Republic (Rochester NY ; Woodbridge: Rochester NY ; Woodbridge : Camden House, 2002) Unwin, Simon, Analysing Architecture, Fourth edition, revised and enlarged. ednLondon ; New York : Routledge, 2014) Unwin, Simon, Twenty five buildings every architect should understand (Routledge, 2010) Webber, Andrew, Berlin in the Twentieth Century : A Cultural Topography (Cambridge ; New York: Cambridge ; New York : Cambridge University Press, 2008) Zumthor, Peter, A Feeling of History. ed. by Lending, Mari and Hélène BinetZurich : Scheidegger & Spiess, 2018)

Essays

Caballero Zoreda, L., ‘The Umayyad Palace of Amman, Vol 3, Archaeological Investigation and Restoration. 1989-1997. With an Appendix by J.A. Fernandez Ruiz: The Infographic Reconstruction of the Umayyad Palace of Amman; and an English Summary’, in Al-Qantara, 2002), pp. 241-45 Durth, W. and R. May, ‘Schinkel’s Order: Rationalist Tendencies in German Architecture’, Architectural Design, 77.5 (2007), 44-110 Fireberg, Haim and Olaf Glöckner, Being Jewish in 21st-Century GermanyDe Gruyter, 2015) Fletcher, Rachel, ‘Geometric Proportions in Measured Plans of the Pantheon of Rome’, Nexus Network Journal, 21.2 (2019), 329-45 Mendieta, Eduardo, The Frankfurt School on Religion : Key Writings by the Major Thinkers (New York ; London: New York ; London : Routledge, 2005) Rousset, Isabel, ‘The Berlin Room’, The Journal of Architecture, 22.7 (2017), 1202-29 Simmel, Georg, ‘Bridge and Door’, Theory, Culture & Society, 11.1 (1994), 5-10 Hartung, Klaus, ‘The Hidden Whole’ Ungers et al, ‘Cities within the City’ (1978)

Websites

Storymap by Isabella Buzynski and Kai Mishuris. Based on A Rich Brew: How Cafes Created Modern Jewish Culture by Shachar M. Pinsker, https://www.arcgis.com/apps/Cascade/index. html?appid=4da4dd44ec7f47548455aa9ba9d14f51 Judaism, Torah and Jewish Life, Chabad Lubavitch, https://www.chabad.org Am Tacheles, https://amtacheles.de/en/ Cafe Zapata, https://www.clubguideberlin.de/zapata-im-tacheles/ Herzog De Meuron, 439 Am Tacheles, https://www.herzogdemeuron.com/index/projects/ complete-works/426-450/439-am-tacheles.html Taylor, Lindsay, ‘Life after Tacheles: What’s become of the artist squatters?’, https://www. exberliner.com/features/culture/life-after-tacheles/ Umayyad Palace travel Guide, https://www.roughguides.com/destinations/middle-east/jordan/ amman/umayyad-palace/ The Umayyad baths at Amman Citadel and Hammam al-Sarah, https://journals.openedition.org/ syria/3028?lang=en Chet, https://ephraimintheland.wordpress.com/2018/03/25/chet/ Jewish Life in the Historic centre of Berlin, https://www.wingsch.net/en/juedisches-lebender-historischen-mitte-berlins-um-die-oranienburger-strasse-rosenthaler-strasse-und-dasscheunenviertel/ https://www.berliner-woche.de/mitte/c-bauen/synagoge-im-untergrund-auf-dem-tachelesareal-stand-bis-1945-ein-tempel-der-juedischen-reformgemeinde_a100489 https://www.golem-baukeramik.de/de/Wandfliesen/

Online Articles

Darran Anderson, How the Bauhaus Kept the Nazis at Bay, Until It Couldn’t https://www.citylab.com/design/2019/03/walter-gropius-bauhaus-art-school-nazi-germanyanniversary/583999/ Charles Bramesco, Unorthodox: behind the Deutschland 83 co-creator’s new Netflix series

https://www.theguardian.com/tv-and-radio/2020/mar/26/unorthodox-behind-the-deutschland83-co-creators-new-netflix-series Brief History of Tacheles and Spandauer Vorstadt, https://lolaeharney.wordpress. com/2014/09/20/brief-history-of-tacheles-and-spandauer-vorstadt/ Memory and Counter-Memory:The End of the Monument in Germany- James E. Young http:// www.harvarddesignmagazine.org/issues/9/memory-and-counter-memory Masked Nostalgia, Chic Regression: The “Critical” Reconstruction of Berlin- Sebastian Schmaling http://www.harvarddesignmagazine.org/issues/23/masked-nostalgia-chicregression-the-critical- reconstruction-of-berlin Celia Ghyka, Berlin Nostalgic Landscapes, https://issuu.com/celiaghyka/docs/colloquia_2012_ celia_ghyka Hilde Schramm Interview, https://www.wbur.org/hereandnow/2019/01/31/hilde-schramm-albertspeer-hitler-anti-semitism Yellow Brick Wall Scheme, Christa Niclasen, https://widenthecircle.org/christa-niclasen-and-wall Mame-Ioshn, A revival of Yiddish?, https://harvardmagazine.com/1997/07/a-revival-of-yiddish Zombie Palace, The afterlife of the palast der republik, http://www.uncubemagazine.com/ blog/10642637

Film

Wings Of Desire, 1987 Tacheles, Short Film, 2020 Unbreakable: The Tale of The Art House Tacheles, 2013 The Last Days of Tacheles, 2014 Germans + Jews, 2016 One Of us, 2017 Minilook Berlin Short Film, 2019 Five part Tacheles Archives, 2013 Berlin: Symphony of a Great City, 1927 Metropolis, 1927 The Lives of Others, 2006 Remembering in present tense, 2020

Television

Unorthadox - Netflix Series 2020 Berlin, 2009 with Matt Frei

Lectures

Nabila Alibhai, Why people of different faiths are painting their houses of worship yellow, https:// www.ted.com/talks/nabila_alibhai_why_people_of_different_faiths_are_painting_their_houses_ of_worship_yellow Deborah Lipstadt, Behind the lies of holocaust denial, https://www.ted.com/talks/deborah_ lipstadt_behind_the_lies_of_holocaust_denial Tom Emerson, Never Modern, https://www.youtube.com/watch?v=p8P5HQD3uz4 Conversation – Renovate/Innovate. David Chipperfield and Okwui Enwezor, https://www.youtube. com/watch?v=weOnF7SlCSw Lecture by David Chipperfield, Centre for Fine Arts, Brussels, 22.10.2019, https://www.youtube. com/watch?v=DDFbJPfws68 Jacques Herzog, Pierre de Meuron, Bernard Lassus, Hans Ulrich Obrist - A stroll through a fun palace, https://www.youtube.com/watch?v=IAnDhBpZZB4

Podcasts

The Forum - Yiddish, A story of survival, https://www.bbc.co.uk/programmes/w3csyp5x Germany: Memories of a Nation, https://www.bbc.co.uk/programmes/b04dwbwz The New German Jews Barlach’s Angel Bauhaus: Cradle of the Modern Tunnel 29 - The Escape, https://www.bbc.co.uk/programmes/p07r39cw In Berlin, https://podtail.com/en/podcast/in-berlin/ Danielle de Picciotto Buildings Know How They Should Be Built, Louis Kahn, https://www-pidgeondigital-com.abc. cardiff.ac.uk/talks/buildings-know-how-they-should-be-built/play/

Artworks

Carlo Scarpa / Carol Bove: Concrete + Brass Phillipa Battye / Plaster Works Ernst Barlac /: Hovering Angel Paul Klee / Angelus Novus Walter Gropius / Bauhaus Cradle Anthony Gormley / RA Exhibition 2019 David Umemoto / Concrete Sculptures Gonzalo Fonseca / Stone Carvings Aldo Rossi / Analogous City Rachel Whiteread / Sculptures and Castings

Key Architects and Works

Carlo Scarpa / Brion Cemetry, Castelvecchio Louis Kahn / Exeter Library, Hurva Synagogue Daniel Libeskind / Jewish Museum, Berlin Kengo Kuma / Chinese Arts Academy Herzog & De Meuron / Ai Weiwei / Serpentine Gallery Pavilion 2012 Meyers Hof, Rental Barracks, Berlin James Hobrecht / 1862 Berlin Masterplan David Chipperfield / James Simon, Neues Museum, Gallery, Office, Berlin SPEECH / Tchoban Foundation Museum for Architectural Drawing, Berlin The Humbolt Forum or Stadtschloss, Berlin Hemselmann / Karl Marx Allee, Berlin Deiner und Deiner / Natural History Museum, Swiss Embassy Extension, Berlin Oscar Niemeyer / Interbau, Berlin Peter Zumthor / Bruder Klaus Field Chapel, Thermae Vals, Kolumba Museum Bramante 1506, Michelangelo 1564, Maderno 1612, Bernini 1667 / Saint Peters Church Apollodorus of Damascus / Pantheon, Rome Josef Kaiser + Heinz Aust / Kino International Cinema Goteberg law courts, Sweden Treausry Of Atrius, Tomb of Agamemnon

Key Incomplete Works

Albert Speer / Germania Masterplan Giuseppe Terragni / The Danteum