COSMOPOLITAN HABITAT 20
COSMOPOLITAN HABITAT. URBAN NARRATIVES Starting point for this book is the concept of „Cosmopolitan Habitat“ to inspire thinking, design, and transformation for an open and multidimensional city. Cosmopolitan (from the classic Greek kosmos: world and polis: city) Habitat (from Latin: living space) brings together international debates based on exchange among cultures and communities, places of civilisatory experience, processes supporting a culture of makers and migration. As part of a research in cooperation with the University of Palermo, funded as University Dialogue by DAAD, the Chair for Territorial Design and Urban Planning of Leibniz University Hannover sets the research and design project URBAN NARRATIVES as contribution to an ongoing international investigation and debate on new concepts and tools in urbanism. The central methodological approach is on narratives as analytical and as projectual tools. With the focus on the cities of Halle, Hannover and Flensburg, the book explores how can elements, energies, and networks of a collaborative city overcome spatial and social fragmentation? What role can boundaries, limits, borders, thresholds, and peripheries play for envisioning a “Cosmopolitan Habitat”?
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COSMOPOLITAN HABITAT
Urban Narratives
Universitätsprofessur für Regionales Bauen und Siedlungsplanung I Institut für Entwerfen und Städtebau I Leibniz Universität Hannover
COSMOPOLITAN HABITAT Urban Narratives Urban Design Studio Edited by Jörg Schröder and Riccarda Cappeller Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover
COSMOPOLITAN HABITAT Urban Narratives Urban Design Studio Edited by Jörg Schröder and Riccarda Cappeller Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover
// TABLE OF CONTENTS
04 1. INTRODUCTION 06 // Urban Narratives 08 // Approaching Cosmoploiltan Habitats in Halle, Hannover and Flensburg 12 // Postcards. A visual Collection of Cosmopolitan Ideas
24 2. METHODOLOGICAL FRAMEWORK 26 27 28 30 31 2
// Concept and Objectives // Phase I: Literature + Reference Projects // Phase II: Analytical Framework // Phase III: Conceptual Framework // Timeline
32 3. DESIGN-RESEARCH DURING AND AFTER CORONA 32 // Phase I Students Research: Literature + Reference Projects 36 38 40 42 44 46 48 50 52
3.1 Theoretical Literature // Cosmopolitan Mobilities - Ulrich Beck // A new way of interpreting cultural identity - François Jullien // Augmented City - Maurizio Carta // The Creative City - Franco Bianchini and Charles Landry // Architecture’s public - Giancarlo De Carlo // Edge of empire - Jane M. Jacobs // The Network Society: From knowledge to policy - Manuel Castells // Narrative Mapping and Polyphony in urban planning - Ameel Lieven
54 56 58 60 62 64 66 68 70
3.2 Reference Projects // Baumwollspinnerei Leipzig // Frizz 23 Berlin // Kreativquartier München // Matadero Madrid // La Friche Marseille // Base Milano // Kulturquartier Erfurt // Future Campus Dublin
72 4. ANALYSIS. CREATIVE MAPPINGS AND DIAGRAMMS
88 90 94 98 102 106
// Phase II Students Mapping: Analytical Framework // The city of culture // International inhabitants // Knowledge cities // Hannover trade fair report // (Post)colonial Flensburg
110 5. CONCEPT. URBAN NARRATIVES IN PROJECTIVE DESIGN 110 // Phase III Students Narratives: Conceptual Framework 118 128 136 144 152 160
// Volkspark reloaded - Elizaveta Misyuryaeva // Kultur 8 - Jean-Edouard Jaber // The new cultural heart - Lara Aussel // Begegnungszentrum Freiimfelde - Anna Schlarb // Habour culture to culture harbour - Jes Hansen // Condense & Connect: Creating a “Common Ground” for Higher Education - Enno Alting, Matthias Tippe
170 PARTICIPANTS 172 IMPRINT
TABLE OF CONTENTS
76 // Halle an der Saale - The venerable University City 78 // Virtual Exploration Halle 86 // Halle intervention areas
3
Cosmopolitan Habitat.
1.INTRODUCTION
// URBAN NARRATIVES Jörg Schröder
6
Starting point for this book is the concept of „Cosmopolitan Habitat“ to inspire thinking, design, and transformation for an open and multidimensional city. Cosmopolitan (from the classic Greek kosmos: world and polis: city) Habitat (from Latin: living space) brings together international debates based on exchange among cultures and communities, places of civilisatory experience, processes supporting a culture of makers and migration. As part of a research in cooperation with the University of Palermo, funded as University Dialogue by DAAD, the Chair for Territorial Design and Urban Planning of Leibniz University Hannover sets the research and design project URBAN NARRATIVES as contribution to an ongoing international investigation and debate on new concepts and tools in urbanism. The central methodological approach is on narratives as analytical and as projectual tools. With the focus on the cities of Halle, Hannover and Flensburg, the book explores how can elements, energies, and networks of a collaborative city overcome spatial and social fragmentation? What role can boundaries, limits, borders, thresholds, and peripheries play for envisioning a “Cosmopolitan Habitat”? In the situation of the Corona epidemic, we address a new invention of urban performativity. It becomes increasingly clear that the current crisis is not only affecting the economic system and increasing fragmentation and fragility in
society and space, but also the very dynamics and concepts of everyday life. Thus, reconstruction addresses the notion of public space, of urban networks that trigger community, of places that foster innovation, through spatial and material atmospheres, openness, and connectivity. Furthermore, we believe that the increased role of digital social interaction will provoke a remarkable material-digital reconfiguration with deep consequences to think, live, and design urban space. As a research and teaching project, URBAN NARRATIVES has been possible thanks to many collaborations with local experts and partners in the cities of Halle, Hannover, and Flensburg. Together with our students, we are grateful for insights and discussions that enriched and inspired the project, even in the lockdown phase of Corona crisis and in specifically designed digital workshop formats. In Halle, many thanks to the city administration, especially to René Rebenstorf, for the contextual introduction and the presentation of actual projects of the city as well as Birgit Aust for the organization; Daniel Herrmann and Werkleitz e.V. for the view into the Media-Art-World and the perspective on networks and tendencies within the cultural scene; Ingrid Häußler, Christine Fuhrmann and the Volkspark e.V. for showing the “Volkspark” and the current difficulties of activating and programming it; and Philipp Kienast and Freiraumgalerie for his comments on
for technology transfer of Leibniz University Hannover, and to many persons in our university that supported for this topic. Riccarda Cappeller organised this book and set up the research and study project, together with Alissa Diesch, Julia Hermanns designed and set the book—many thanks and compliments! And, most importantly, thanks to all our students—especially also our Erasmus students from Paris and Lyon— for their energy, creativity and great work in this exploration of “Cosmopolitan Habitat”.
INTRODUCTION
own projects and the developments and actions in Freiimfelde. Also, we would like to thank Christian Dootz for sharing his work and working process as well as for the numerous thematic discussions in the preparation of the course and Fridjoff Rehan for telling us about underground music events and venues and their influence in Halle. In Hannover, many thanks to the Birgit Steckelberg, teamleader of the local integration plan of Hannover LIP 2.0 and to Bernhard Spitzenberg of Deutsche Messe AG Hannover, to Dr. Martina Venschott, office
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Fig. 1: „The Matter of Data“- Exhibition, Centre for Documentary Architecture, Photo: Ortrun Bargholz
Flensburg
Hamburg Berlin
Hannover 8
Halle
Köln
COSMOPOLITAN HABITAT IN... München
Fig. 1: Cosmopolitan Habitat - Focus regions
// APPROACHING COSMOPOLITAN HABITATS IN HALLE, HANNOVER AND FLENSBURG
Starting Point for this laboratory was to discover and experience the concept of “Cosmopolitan Habitat” as a future idea for new social and spatial connections, mobilities, living spaces and monuments within an open and multidimensional city. Cosmopolitan (from the classic Greek kosmos: world and polis: city) Habitat (from Latin: living space) brings together international debates based on exchange among cultures and communities, places of civilisatory experience, processes supporting the culture of makers and the spatial dimension of migration. Developed in cooperation with the University of Palermo and funded as University Dialogue by DAAD, “Cosmopolitan Habitat” is a research project addressing a global vocation of cities for inclusiveness that can influence urban futures. It asks how tangible and intangible cultural heritage can be conceived as a creative factor for productivity and openness. The concept of Cosmopolitanism is represented through everyday-accounts and more conceptually understandings questioning for example the existing Know How in a place related to its historical development, or the connections of functions that in today’s cities can rarely be found. Referring to the multiple ideas of “Open City” by Richard Sennett and the framework of “Augmented City” by Maurizio Carta as a spatial, cultural, social, economic platform for enhancing our contemporary life spaces of urban change and innovation shall be looked at, focusing on intransition processes, potentialities of places and narratives.
Several questions came up while researching on the topic: What roles do boundaries, limits, thresholds, and peripheries play for envisioning a “Cosmopolitan Habitat” and how are they transformed? How can we re-imagine the organization of urban structures directed towards interaction, communal production and social use within the ongoing crisis and its future effects? How can urban elements, energies, networks and initiatives of a collaborative city overcome spatial and social fragmentation? What are the conditions and uses for a heterogeneous and inclusive city that captures its potentials from the in-between of the already existing? What kind of resources can we encounter in the urban transformation process, empty or less used spaces? The studio is referring to three cities that in the current metropolisation process are not immediately linked with the term Cosmopolitanism, but according to our conception of it offer multiple reference points and current initiatives in this direction: Halle/Saale as creative an productive cultural and knowledge city and main focus of the studio, Hannover as a reference scenario with an emphasis on the university theme and Flensburg as a reflexive scenario for a postcolonial approach and intervention. In the following part we shortly introduce the three cities through the main focus points of the projects developed by the students, in order to highlight possible local connections, important historical fragments (unchronologically), cultural resources and transformations or ongoing dialogues that
INTRODUCTION
Jörg Schröder, Riccarda Cappeller, Alissa Diesch
9
contribute to what a “Cosmopolitan Habitat” could or will be. Within this framework three topics; culture, business and knowledge, were the contextual departing point for the students to focus, map the different cosmopolitan situations, compare them and select a particular area and question to work on during the semester.
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The city of Halle/ Saale, with 238.358 inhabitants (2018) in the South of Saxony-Anhalt, has always been routed in international networks of trading, work migration, urban development and knowledge transfer, which is linked to peoples mobilities across the globe – a phenomenon of cosmopolitansim, addressed within the Analysis Part “International Inhabitants”. Founded in 806 Halle is a traditional salt city that, being part of the “Hanse”, through its economic activity was connected to whole Europe and characterised the city commerce for many centuries. It is known as important site for Luther’s reformation in the 16th/17th century, the founding of the University still existent today. 1840 the city got part of a main rail hub for connecting Eastern Prussia with Central Germany, by opening the MagdeburgHalle-Leipzig line and the Erfurt-Kassel-Berlin, which still is prominent for the high-speed railway network. During World War II, Halle was only partly destroyed, so the urban development started quite late in 1959. The biggest building area was done with the “Chemiearbeiterstadt Halle West” known as Halle Neustadt and designed for 70.000 people, which remained an independent city until the reunification in 1990. In-between the years 1990 and 2005 around 80.000 people left the city, a
development which was the topic of the exhibition “Shrinking cities” and the IBA Stadtumbau 2010. Today Halle has to be understood in its very heterogeneous and diverse character – a fragmentarism that not only shows many open questions, but also detects qualities and positive challenges within the urban context. During the design studio this character of Halle was captured in different ways and approaches while dealing with its present and future role as a creative and projective city. Referring to the three main topics, its cultural scene is composed by classic theatres and museums like the Moritzburg, cultural institutions like the Kulturstiftung des Bundes and locally active initiatives like the radio station Corax or the Werkleitz e.V. as well as the citys connection to celebrities like the painter Lyonnel Feininger or the musician Georg Friedrich Händel among others. Its business-sector is mainly oriented towards technology, service design, logistics and media technologies and profits from the international connectivity through the Halle/Leipzig airport as well as of a main connection point to the Autobahn (Schkeuditz) and the chemical triangle HalleMerseburg-Bitterfeld. In Terms of Knowledge the city hosts the oldest german knowledge academy “Leopoldina” (1652), the Frankesche Stiftungen as an early school city for deprived children (1698), the already named Martin Luther University (1817) and the Art and Design School Burg Giebichenstein (1915). The design projects developed for Halle take reference to this existing framework and build on it; enlarging, framing or recomposing its fragments
The project condense & connect tackles functional and socio-cultural changes in a familiar environment: The Leibniz University in Hannover. Analyses focused on current trends in teaching and research, the relation of the university and the city and an increasing internationalisation on several levels that led to a project proposing spatial answers to these challenges. Digitalisation and the constant emergence of new disciplines and knowledge fields strongly influence the need of spatial adaption of learning and research environments. This concerns inner structures within the existing building stock but is also related to the urban space, where the city provides new areas for growing campuses and infrastructure for the connection of different parts of the institution and above all is interacting on many levels with the university. The benefits are mutual but the functional, spatial and symbolical relations also need places of encounter and exchange between university and the city. These places were created in spaces connecting different institutional buildings and also as an open platform in a newly developed architecture. International networks give the university a context, where new forms of representation in architecture and shared digital content are important as well as integration and accommodation for international students, researchers and teaching staff in Hannover. Additionally, the collaborations between faculties and disciplines, the creation of novel fields of knowledge and practice are understood as diverse and evolving cultures; the university as
a Cosmopolitan Habitat. The project aims to find answers to this wide variety of challenges with a set of interventions and gives an overview on potential fields of action. Flensburg is seen and re-thought through the idea of a post-colonial view on the city in the project Harbour Culture to Culture Harbour. This approach offers a new understanding of the city’s past and present and creates at the same time a promising base for its future urban development. Here Flensburg’s popular self-conception as a city of rum is challenged and completed with the colonial history in which the harbour played a key role. The profits of the colonial trade entailed the growth of the city with particular spatial configurations combining courtyards, storage buildings and trade houses. At the same time the connection to the other side of trading route, the Caribbean Charlotte Amalie, became very invisible until today. The project proposes to establish new linkages to the former colonies in the West Indies by reorganising the connection based on cultural and even exchange. On an urban level within Flensburg this understanding gives a refreshing view on the different areas of the harbour that are currently in a process of redevelopment and re-definition. Existing buildings and open spaces of a former industrial part of the harbour get new meanings and potentials when being transformed as hosts and bearers of an immaterial and silenced heritage, becoming platforms for a new Cosmopolitan Habitat.
INTRODUCTION
according to new spatial ideas and models that rethink, change and challenge the urban habitats as cosmopolitan environments.
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Fig. 1: Cosmopolitan Habitat Postcards (Julia Hermanns)
// POSTCARDS. A VISUAL COLLECTION OF COSMOPOLITAN IDEAS
A first approach to better frame the topic of “Cosmopolitan Habitat” together with the students, was a visual, collective brainstorm, realized through the production of several postcard formats, which show quotations, images, drawings or observed activities. The students were asked to contribute with the creation of around a dozen each to start off and participate in an ongoing exchange across the universities taking part, the places of research looked at and to discuss or lay out questions or findings together with the research partners – gathering and transmitting ideas, thoughts, associations and “found footage” from different places. The main idea was to start a visual collection that would continuously grow throughout the research project and contribute to a translation of the conceptual idea into a reallife study, engaging the different participants of the research to think of and communicating “the Cosmopolitan” as postcards to send away or bring together in a later exhibition. The visual translations, metaphors or associations make the topic more graspable and better understandable to others – also people not directly involved into the research, which especially at an University, where students should also get in touch with academic research questions, is crucial. Also it gives examples and shows atmospheres, places or situations that might already transmit cosmopolitan ideas without intending it themselves, which can give hints to the researchers at which situations to look at. The design of the postcards was based on the idea of mixing first impressions, tourist sights and symbols of the three cities, bringing them together as a new cosmos to look at and pose questions,
give hints or just share ideas. The shiny colours shall attract the viewer and especially capture new serendipitous visitors through the Instagram network, to which the postcards were extended during Corona. In the course itself after creating the outputs and sorting them according to some often repeated topics or fields, the outputs were discussed together and the students explained their selection and personal connection or thoughts behind them. From humoristic comics, images of real places that show a multitude of people from various groups, international connections to the university or the collection of venues in a street of one of the focus cities, the ideas were put together in the following pages. Instagram: cosmohabitat
INTRODUCTION
Riccarda Cappeller, Julia Hermanns
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lets talk about COSMOPOLITAN HABITAT ...
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Enno Alting, Jes Hansen
INTRODUCTION 15
Lara Aussel, Matthias Tippe
lets talk about COSMOPOLITAN HABITAT ...
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Enno Alting
INTRODUCTION 17
Enno Alting, Matthias Tippe
lets talk about COSMOPOLITAN HABITAT ...
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Riccarda Cappeller
INTRODUCTION 19
Elisaveta Misyuryaeva, Matthias Tippe
lets talk about COSMOPOLITAN HABITAT ...
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Jes Hansen
INTRODUCTION 21
Lara Aussel, Anna Schlarb
lets talk about COSMOPOLITAN HABITAT ...
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Elisaveta Misyuryaeva, Julia Hermanns
INTRODUCTION 23
Lara Aussel, Jean-Edouard Jaber
Cosmopolitan Habitat.
2. METHODOLOGICAL FRAMEWORK
// METHODOLOGICAL FRAMEWORK. CONCEPT AND OBJECTIVES Jörg Schröder, Riccarda Cappeller
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The design studio “Cosmopolitan Habitat. Urban Narratives” aimed to develop performative and sustainable scenarios for future relevant, creative and productive cities, following concepts of Urban Re-Cycle, the understanding of the Open City (Sennett 2013) and collaborative ways of production. The design studio referred to three cities that in the current metropolisation process are not immediately linked with the term Cosmopolitanism, but according to our guess offer multiple reference points and current initiatives in this direction. In an introductory phase, conceptual approaches to Cosmopolitan Habitat will be discussed and drawn with diagrams and maps, in an exploration of Cosmopolitan aspects in Hannover, Halle and Flensburg The methodology foresaw a creative analysis that linked multiple research avenues, including texts and videos, references and new forms of mapping, diagramming and information interaction on urban patterns and practices; and a multi-scalar design approach that combined spatial activators and connectors as well as urban strategies and
Halle Gleisfeld, Photo: Riccarda Cappeller
networks, bound together by narratives: arratives understood as meaningful and space-bound devices for urban futures. Within the urban design discourse narratives were used in various ways that were be explored, and directed towards the production of concepts and spatial design ideas. During the semester the students approached and projected the topic of Cosmopolitan Habitat in THREE MAIN PHASES OF THE DESIGN STUDIO: (I) a literature and reference phase that created a common ground for discussions departing from a mix of urban and architectural studies, cultural and sociological positions and methodological references allowing a theoretic approach, (II) an analytical phase thought for a deeper research and the creation of creative mappings, capturing the existing narratives of the urban situations, and (III) a design phase that aimed at new spatial concepts, ideas and connections projected as urban narratives, understood as design tools for a creative scenariobuilding.
// PHASE I: LITERATURE + REFERENCE PROJECTS
a) Julien, Francois (2016) Es gibt keine kulturelle Identität. Berlin: Suhrkamp b) Beck, Ulrich (2006) Cosmopolitan Vision. Cambridge, Polity Press.
f) Giancarlo de Carlo (1970) Architecture´s Public g) Jacobs, Jane M. (1996). Edge of Empire. Routledge: London Methododlogy
c) Carta, Maurizio (2017) Augmented City. A Paradigm Shift. Trento-Barcelona: ListLab. d) Bianchini, Franco and Landry, Charles (1995) The creative city. London: Demos. e) Castells, M. and Cardoso, G. eds., (2005) The Network Society: From Knowledge to Policy.Johns Hopkins Center for Transatlantic Relations : Washington, DC
h) Lieven Ameel (2016) `Narrative Mapping and Polyphon in Urban Planning´. Yhdyskuntasuunnittelu / Finnish Journal for Urban Studies 2016: 2, 20–40. i) Ferretti, Maddalena (2018) `Narrative: Stories from the Periphery´, in Schröder, J., Carta, M., Ferretti,M., Lino, B.(eds.) Dynamics of Periphery. Berlin: Jovis
Ex-Matadero Madrid
Palais de Tokyo Paris
Baumwollspinnerei Leipzig
Kreativquartier München
Friche la belle maye Marseille
Frizz 23 Berlin
Kulturquartier Erfurt
Spazio Base Milan
METHODOLOGICAL FRAMEWORK
Urban Theory + Cultural Studies/ Methodology
27
// PHASE II: ANALYTICAL FRAMEWORK
The analytical phase was thought for researching and mapping the urban environment, bringing together historical, social, political, economic, ecological and territorial phenomena within a time and spatial frame, as well as making sense of the hybrid character of today’s spaces experienced through (virtual) urban explorations and data collection. Narratives here could create interesting relations between fact and emotion, provide means to make sense of and understand social phenomena and individual experiences, reflecting the urban environment and its use. 28 The digging into every day surroundings was done through creative mappings of the cities Halle, Hannover and Flensburg – following pre-given research topics. Here the idea was not only to work on an analytical level, but also to create a first conceptual interpretation. Tracing cosmopolitan factors, atmospheres, accelerators and actors in each city, the focus lied on framing them on an urban level as mapped representations and spaces directly lived through their associated images and symbols, and hence the space of inhabitants and users (Lefebvre 1991). As “CREATIVE MAPPINGS” found stories related to the understanding of existing resources and networks of the city (spatial contexts, user constellations, expert and non-expert views, as well as personal reflections on subjectively perceived elements, flows, and processes) were collected, interpret and communicated, and brought together the performative and stable characters of the cities in cartographic mappings in various scales, as well as an additional open
format that helped to communicate the mappings and work on a way of storytelling to complete the survey (video, collage, writing, social media linked to the Cosmopolitan Habitat - website). References for the creative mapping formats, the research collections and approaches of the urban projects were given with the “Palermo Atlas” by OMA and the “Migropolis” Project by Wolfgang Scheppe. Some more ideas what creative mapping could be, were found in the project of “mil casas en tu casa” by arquitectos de cabezera and “mappings-animations” on the platform of tracingspaces.net To facilitate the search and collection of information, each topic and group was provided with an initiative or direct contact person, that should help to bring together the relevant material and give insights to the selected research topics of each city.
A) The University- and Knowledgecity is routed on the existence of various knowledge and science facilities in the cities of Halle and Hannover, that can be shown as larger networks. A focus here lies on the Universities landscapes and connections. Which institutions are important to name/map? How can the networks within the city but also the connections to other cities be shown? Which (historic) or actual topics and projects can be connected to the research? And which facts and information about the universities and their users contribute to understand them as important source for the city? B) International Inhabitants is based on the demographic transformation of the cities and their cultural and ethnographic mix. Here the topic of migration, the different appearances and inhabitants of the specific urban quarters or in this context happening meetings and events can be integrated into the research. Which places/locations are relevant and how are they interconnected? C) “Kultur-Stadt” / City of culture (Focus on Music) follows Hannover being a UNESCO city of music
with historically grown and emerging places and institutions, for example the music school or the Kulturzentrum Faust. Here an Introduction about already discovered and emerging paces and networks were given by another student Sabrina Reith) In Halle not only Georg Friedrich Händel was born, but also the city offers many music events, musicians and a large sub cultural (underground) music scene with places like the Charles Bronson or the Radio station Corax. D) “Messe-Stadt” – Fair city Hannover ..nearly explains itself, experiencing the city, when the Hannover fair is going on. It lead not only to a huge offer of private over night stays, but also to many services for visitors and exhibitors and an international digital and non-digital network. E) “Postcolonial City” Flensburg is based on understanding the immaterial and material post-colonial traces of the city of Flensburg. Flensburg, as well as the neighbour city Charlotte Amalie are strongly characterized by the harbour area and its post-colonial connection which has to be newly determined.
METHODOLOGICAL FRAMEWORK
Analysis “Als Pacman die Autobahn fraß”, Anna Pape and Julia Theis
29
// PHASE III: CONCEPTUAL FRAMEWORK
30
The design phase of the studio was directed to the CONSTRUCTION OF URBAN NARRATIVES AS FUTURE SCENARIOS for Halle, Hannover and Flensburg. Urbanism is as much an art of urban composition as it is of mobilizing the right actors at the right time (Matthey 2015). While producing narratives we have to be conscious of it being a powerful instrument of political control, that might also contribute to the spectacularization of urbanism (Matthey, in Ferretti 2018), which would lead in a direction of a fictional urbanism, not anymore connected to the contexts in situ. Instead we aimed for the production of space as an improvisation, a situative urbanism (Dell 2017), questioning new modes of appropriation, interacting networks and uses, putting an emphasis on possible concepts around collective creativity, urban networks, commonly accessible places and mixed “cosmopolitan habitats” that, based on the analysis were further developed (turned/ transferred/ contradicted or transformed) as PROJECTIVE NARRATIVES. Thinking about the city as it is, the projects should create IDEAS RELATED TO THE CONCEPT OF AN OPEN, DIVERSE AND INCLUSIVE CITY, overcoming boundaries, social segregation and spatial fragmentation. Also the idea of URBAN RE-CYCLE as practice of using traces of spatial, cultural and social resources to invent and configure city new, played a crucial role. From further connections of the economic, science and cultural sectors with the cities and the creation of local co‐operation, intensifying international connections and knowledge transfer or strengthen the cultural education and scientific infrastructure, many ideas were followed.
THE DELIVERABLES for the urban design project were defined as DIGITAL AND INTERACTIVE FORMATS, covering plans and graphics in a range of scales from 1:2,500 to 1:500/200, presentations, and a research dossier (report of presented literature and reference projects as well as 3D models, videos or other digital media used as media to transmit the spatial idea.
Bibliography BECK, U. (2015) Mobility and the Cosmopolitan Perspective AA VV (2018) Palermo Atlas. Milano: Humboldt Books CARTA, M. (2017) Augmented City. A Paradigm Shift. TrentoBarcelona: ListLab. DELL, C. (2019) Towards the improvisation of space. Jovis: Berlin FERRETTI, M. (2018) `Narrative: Stories from the Periphery´, in Schröder, J., Carta, M., Ferretti, M., Lino, B.(eds.) Dynamics of Periphery. Berlin: Jovis LEFEBRE, H. (1991) The production of space. Wiley-Blackwell: Hoboken MATTHEY, L. (2014) L´urbanisme qui vient. Usage des valeurs et du storytelling dans la conduite contemporaine des projets urbains (un exemple suisse). In: Cybergeo : European Journal of Geography, 2014, p. 9. doi: 10.4000/cybergeo.26562 https://archive-ouverte. unige.ch/unige:72827 SCHEPPE, W. (2009) Migropolis. Venice /Atlas of a Global Situation. Hatje Cantz Verlag: Ostfildern SENNETT, R. (2013) The Open City. Lecture at Harvard GSD, https://www.youtube.com/watch?v=7PoRrVqJ-FQ
// TIMELINE
28.04. Introduction Cosmopolitan Habitat. Urban Narratives for Halle
ANALYTICAL PHASE
12.05. Reports References Presentation Cosmopolitan Habitat Mappings 15.05.
Virtual Meeting of Excursion Informants - Stadtplanungsamt Halle, René Rebenstorf - Werkleitz e.V., Daniel Herrmann - Freiraumgalerie, Philip Kienast - Volkspark e.V., Ingrid Häußler and Dr. Christine Fuhrmann
19.05. Corrections Concept + Analysis 26.05. Pin-up Concept + Analysis 2.-3.06. Pentecost break 09.06. Colloquium 1 16.06. Workshop for Common Production with Photographer Christian Dootz 23.06. Corrections Concept Development 30.06. Corrections Urban Design Ideas 07.07. Colloquium 2 14.07. Corrections 21.-22. (Thesis presentations M.Sc.) 28.07. Final Presentation 04.08. Hand-in Documentations
DESIGN PHASE
METHODOLOGICAL FRAMEWORK
05.05. Reports Literature Discussions Cosmopolitan Habitat Mappings (Hannover, Halle, Flensburg)
REPORTS
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Cosmopolitan Habitat.
3. DESIGN-RESEARCH DURING AND AFTER CORONA
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Fig. 1: Studio summer 2020 - meeting digitally
// DESIGN-RESEARCH DURING AND AFTER CORONA
The urban design and research studio was part of an ongoing investigation and dialogue on new concepts and tools in architectural urbanism that addressed the reconstruction of urban performativity within and after the current Corona crisis. It became increasingly clear that the crisis was not only deeply affecting the economic system and the structures of social life, but also the very dynamics and concepts of everyday life. Thus, reconstruction addresses the notion of public space, of urban networks that trigger community, of places that foster innovation, through spatial and material atmospheres, connectivity, and performativity. Furthermore, we believe that the increased role of digital social interaction in the crisis will provoke a remarkable material-digital reconfiguration with deep consequences to think, live, and design urban space. This shift was inherent in the challenges of dealing with the impossibility to meet for the introduction, an excursion and for further discussions during the development of the design projects. While the amount and quality of online researched and gathered material were astonishing, it also clearly showed that an online representation of a spatial situation cannot replace the actual, bodily experience of fieldwork and discovering it in situ. Nevertheless throughout the semester it was apparent that the online strategies across the world also offered new possibilities and access to information as well as it facilitated a more direct international exchange. The studio, due to the situation, was organised in a distant teaching and learning model, specifically
targeted for the project study concept and codeveloped further during the work. It included not only digital communication in individual mentoring and group workshops, but aimed at a digital work process and novel forms of outputs in videos and interactive formats. Thought as a design research project, the active knowledge creation through the combination of thematic research, the understanding of theoretical concepts and the capturing of the essence of global urban design projects as well as the active examination and exploration on new tools and methods was fostered. It brought the analysis on an existing space and the for it newly designed ideas closer together and demanded a questioning of each step, which lead to a more critical approach towards the design. Also the knowledge production during the analysis- and later the design phase was deliberately directed towards an interdisciplinary connection and variety of perspectives, increasing potential sites where knowledge could be created, liking them through networks and understanding the outcomes as a result from a negotiation process, that also pointed out the communication of the research as crucial. Through interactive data mapping on GooogleMaps, a virtual meeting with city experts and users of the projectable spaces as well as an online workshop format to think over the main conceptual aspects of the emerging projects and the ways of telling them as narratives, where unusual ways to approach the spaces and encouraged new formats of teaching and learning throughout the semester.
DESIGN-RESEARCH
Riccarda Cappeller
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Cosmopolitan Habitat.
3.1 THEORETICAL LITERATURE
// COSMOPOLITAN MOBILITIES - ULRICH BECK Matthias Tippe
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The fastly evolving risk dynamics of our globalized world raise multi-level challenges for both the individual and society. According to the German sociologist Ulrich Beck (1944-2015), addressing these complex issues requires a cosmopolitan approach. In his paper ‘Mobility and the Cosmopolitan Perspective’ (2008) he criticizes the limited gaze of prevailing sociological research and highlights the importance of an epistemological turn – meaning a change of the analytical framework from ‘methodological nationalism’ to ‘methodological cosmopolitanism’ (Fig. 1-2). For this approach, Beck points out the difference between ‘philosophical cosmopolitanism’ as merely a mindset of cross-cultural understanding and ‘social scientific cosmopolitanism’, which focusses on a descriptive, analytical, and empirical perspective that provides profound insights about real-world cosmopolitanism such as global risks or international institutions. From this new standpoint, it would become obvious that most cosmopolitan activities are not intended but rather a side effect of our world-wide interdependencies. To avoid misconceptions in this context, Beck separates the neoliberal concept of ‘globalism’ from the process of ‘cosmopolitanization’, which he outlines as the ‘[...] proliferation of multiple cultures […], the growth of many transnational forms of life, [...] global protest movements [...], [and] the formation of international or transnational states – like the European Union [...]’. (2008a:28) To illustrate why sociology needs to shift from ‘methodological nationalism’ to ‘methodological cosmopolitanism’, Beck addresses the subject of mobility research. Whereas ‘mobility’ is commonly
defined as a natural and positive movement within the frame of nations, the term ‘migration’ is often associated negatively with illegal crossings of borders. According to Beck: ‘The problem of this […] is that it adopts categories of political actors as categories of social scientific analysis.’ (2008a:29) In this regard, ‘methodological cosmopolitanism’ opens a broader perspective that categorizes and analyzes ‘migration’ movements as ‘mobility’ (Fig. 4-5). This enables a better understanding of topics like global risk dynamics, the causes for social inequality, and even the development of everyday cosmopolitanization, e.g. cultural consumption such as music or food. (Cf. Beck 2008a: 29-30) The Europeanization is a good example to explain ‘cosmopolitanization’ and the relationship between frame and content. Even though all states in the EU are geographically static, the mobility of its contents evolves with proceeding integration and expansion (Fig. 6-7). Particularly in urban areas, this process manifests itself and creates ‘cosmopolitan places’ that negate the principle of citizenship (Fig. 8-9). (Cf. Beck 2008a: 30-34) This reconfiguration of systems raises the question about the individual mobility of people and their relationship to space and place, where Beck proposes a ‘centred mobility management’, where ‘people circulate around a clearly defined place of belonging’. (Beck 2006) (Fig. 3) Diversity in his view “ is not the problem but rather the solution” (2008b:116) (Fig. 10) As a takeaway, Beck (cf. 2008a:33-34) underlines the social responsibility of urban designers to not only theorise abstract spaces of flows but also create spatial interfaces which communicate between the local and the global.
Fig. 2: Methodological cosmopolitanism: Mobility
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Fig. 1: Methodological nationalism (current gaze)
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Fig. 3: National places
Fig. 4: Cosmopolitan places
“[...] uniformity is required for unity.”
European diversity
“[...] diversity is not the problem but
(old approach)
(starting point)
rather the solution.”
Fig. 5: European integration
Sources Beck, Ulrich: Power in the Global Age: A New Global Political Economy, Oxford: Blackwell, 2006. Beck, Ulrich: Re-Inventing Europe: A Cosmopolitan Vision, in: 10. Intercultural Dialogue between Europe and the Mediterranean, IEMed, Barcelona, 2008, 109-116.
// A NEW WAY OF INTERPRETING CULTURAL IDENTITY - FRANÇOIS JULLIEN Enno Alting
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As a result of renascent nationalism, the concept of cultural identity has become more and more popular in recent times. From Germany to the United States, the approval rate for right-wing populism is rising. In François Jullien’s book titled ‘There’s No Such Thing as Cultural Identity, but We Will Defend a Culture’s Resources’, which was published in 2016, the French philosopher and sinologist goes into detail about the misconceptions of what is known as ‘cultural identity’ and points out why it is a cultures goods we should be focussing on and not the fictional ideals behind a misinterpreted ‘identity’. To create a common ground of understanding the variety of cultures, Jullien recognizes the necessity to distinguish between the three ambiguous ideas of the universal, the identical, and the commons. The logical term of the ‘universal’ for example has a generic meaning based on experiences on the one hand and a more imperative character describing a compulsion on the other. One has to be careful not to confuse the universal with the universally right and also keep in mind that universal elements must not always be uniform. This links to the second concept of the ‘Uniform’ which according to Jullien is primarily a stereotype. A result of comfort and convenience solely based on economical standards. Regarding the diversity of cultures, the term ‘uniform’ has to be treated with caution as it unifies potentially different elements and molds them into a uniform appearance. Lastly, the notion of the ‘common’ describes the political dimension of sharing. But a sharing experience can easiliy turn to the contrary. Excluding by including only a chosen few is just as
dangerous as uniforming or universalizing if not done correctly. Quoting Georges Braque the author summarizes that ‘Whatever is common is true; but likeness is false.’ To further understand the relationship between cultures and the complexity of the topic, two more terms help clarification: Difference and Distance. Difference as the adverse notion that leads to a more isolated and estranged outlook on an opposing partner. Distance on the other hand as an element of acknowledgement that cherishes the existing differences and upholds them as a basis of further interaction and dialogue. In the author’s opinion, this element of communication is the key to what he calls ‘resource’. The source of a culture that, when combined with another culture’s goods, makes up the ‘In-between’. A place of interaction that has the potential to create something new. The potential to help the active transformation of a culture which is the very origin of it. Due to this ever ongoing process of change and transition, a culture does not possess a definable identity or an identity at all. All there is are constant interactions and the ‘positive tension’ in which cultures should be held to keep the resources active. This counters stagnation and keeps cultures from reaching a static state. So in conclusion one has to think of dialogue as a form of resource that creates a sense of community through distance and opposing views. Distance that does not imprison itself in identityrelated differences but opens up the ‘In-between’ in which a new form of community and a sense of belonging can arise
Resource
B
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A
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Desintegration Fig. 1: Concept
Sources Jullien, François (2718, 2017): Es gibt keine kulturelle Identität. Wir verteidigen die Ressourcen einer Kultur, Berlin, Suhrkamp Verlag, Edition Suhrkamp
Regulative Universal
// AUGMENTED CITY - MAURIZIO CARTA Anna Schlarb
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Urbanization is one of the most transformative trends of the 21st century and hereby creates a variety of challenges like planning and managing housing, infrastructures, basic services, food, security, health, education, decent jobs, and natural resources and much more. According to Maurizio Carta we are still a long way from adequately addressing these and other existing and emerging challenges. To cope with those, urbanism can serve as a motor for achieving a creative, intelligent and resilient urban development. Carta says that we need to break with old urbanism by continuously questioning old habits and experimenting and need to develop a neo-anthropocene to bring earth and its natural systems back into balance. In the neo-anthropocene a renewed ethics of political responsibility and a more sensible urbanism focus on dealing more creatively with natural and cultural resources, be smarter in business, open to governance and to act intelligently in traffic. The keys to this are selfsufficiency, circularity, sharing and recycling. Since their occurence a few thousand years ago, the development of cities has always been supported by technology, first mechanical, then hydraulical, later electrical, and nowadays digital. In order not to lose the powerful vision of today‘s cities as a location-enhancing collective intelligence of the people. Carta pledges for a paradigm shift and proposes the Augmented City, as a spatial / cultural / social / economic platform to improve our contemporary lives, individually and collectively, informally and institutionally, an expansion of the urban space created by the effects of innovation. To do this it acts both on cultural,
social, ecological and economic components in order to activate human / urban regeneration. The Augmented City is an emerging paradigm that perceives the requirements of a society that is more networked and knowledge-based and that responds to the requirements of global change and new circulatory metabolism. Augmented City redefines urbanism dogmas, which we have often viewed as static and rule-based, and restores their prospective, incremental, responsive, and creative approach. Augmented City acts both on cultural, social, ecological and economic components in order to activate human / urban regeneration It is a project that is able to respond to four major challenges of the 21st century: the confirmation of the knowledge society and the expansion of the network society, the risks of global change and self-sustainability of the urban metabolism. Within this logical scheme, the Augmented City Circle works through its ten characteristics, each of which produces a specific answer in one of the main dimensions of development (knowledge, sharing, innovation, economic, cultural, circular, environmental, connective, metropolitan and incremental) The Augmented City needs a wide range of sources for acting knowledge-based and new values, skills and tools for renewing a knowledge based and solving oriented urbanism in a well-timed collaborative scenario. It needs to be sentient (1). The Augmented City needs a civic-tech-urban structural alliance to generate new public collaborative space to reactivate the constituent factors of urban life. It needs to be open source (2). It can generate an urban operational system for an advanced and responsive city planning and design.
universities, cultural centres and companies become creative centres and incubators of idea projects / b) Administration and services: Easily accessible to everyone at any time and from any location to increase openness, knowledge sharing and decision-making collaboration / c) Increase and spread of sensors and actuators: To enable appropriate and timely solutions in a sensitive and active city / d) Planning public spaces and services for different uses and for different users throughout the day to minimize administration costs and maximize efficiency / e) active citizenship: A common management between public -civil society to strengthen and spread the civic dimension of the enlarged city / f) Facilitate public-private partnerships: For the implementation of measures for energy efficiency, sustainable mobility, security and an environmental quality that improve the basic entrepreneurial dimension for the enforcement of the urban circular economy g) Facilitate growth: Digital manufacturing, repair and recycling of micro products at the neighbourhood level. According to Carta the Augmented City is not just a new definition, but needs his proposed paradigm shift and must collect several existing empirical evidence, traces of practice, or real experiment. The social, cultural and economic consequences of urban design and planning need to be further examined in order to enable the collective intelligence of their residents. There is a need to a new theory, understanding and connecting the role of cities and communities in the expanded Neo-Anthropocene. The Post City according to Carta is the city, augmented! Sources: Carta, Maurizio: (2017): The Augmented City
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The Augmented City needs to be intelligent (3). Cities need to reactivate their economic dimension for reconstituting an essential economic base of the city. The need to become productive (4). The Augmented City needs to improve the cultural dimension through the integrated use of culture, communication and cooperation to grow a new identity, quality and reputation. It needs to be creative (5). This is based on recycling processes and is guided by recycling principles calling for a transition of cities that not only reduce use, reuse their material and immaterial resources, but also design a new metabolic cycle – the Augmented City being recyclical and resilient (6 + 7). There is a need to accept the task for adaptive, circular and self-sufficient cities, to be resilient and to rethink porosity and fluidity as projective paradigms in the connective dimension of urban renewal projects. The Augmented City needs to be fluid (8). Reticularity as another characteristic means the process from a traditional ecosystem and gravitational model to a new and more effective reticular model based on the superorganism of the metropolises and the urban archipelagos (9). We need to build new alliance between public-civil society for innovative ways of implementation. The Augmented City needs to be strategic (10). Seven points form the framework for political and planning measures, for business and social activities, for economic and cultural life, which are able to transform the city through a new paradigm for urbanism. a) Realising a creative ecosystem: Connecting talent, education and training. Schools,
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// THE CREATIVE CITY - FRANCO BIANCHINI, CHARLES LANDRY Jean-Edouard Jaber
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As societies are constantly developing and evolving, today’s cities go through tough period of transition, leading to hitting crisis. This is notably based on a remaining post-industrial system, responding to immediate problems by creating physical infrastructures which seems to not fit anymore to contemporary cities. In fact, changing times mean new issues. They have become now visible in the urban sphere in various forms as social fragmentation, inhabitant’s insecurity feelings, weaker city’s local identities, inequal mobility between people and so on. In reponse to these phenomenons, urban researchers have looked, recently, how to create “the good city”. According to Bianchini and Landry this is not only about how a city is shaped physically, but more importantly about what could improve people’s life and experience of the city. To make them respond to change we need to assess how feel, ambience, atmosphere and “soft infrastructures” are created. Creativity is seen as a tool that can be mobilised to help respond to these problems. Historically, it has been the “city’s lifeblood” where cultures mix, exchanges are made and interactions create new ideas. From the Heavenly City of the New Jerusalem to the 19th century industrial London, cities had several ideals in people’s mind. Creativity can be found in several human activities and is a combination of several ideas but which are at the end no more than states of mind (Fig.2). As human beings, the concept of creativity really integrates into this process, which is a way of transversal thinking, having the capacity to change our perceptions and being open-minded. So the question is how to become more creative and act like so for the city.
While some people can have a natural and instinctive creativity, it can also be taught to other people. An important point is also to be able to communicate creativity to the outside world in order to have an impact. Bianchini and Landry argue that the basis to become a creative city is first by removing the obstacles, in other words having the capacity to break with any structure or organism that could affect the establishment of innovative ideas in order to then lay the foundations for a creative milieu. This is notably depicted as a place where mutual understanding of the city’s problems are possible, where there is a balance between cosmopolitanism and local roots and also participation in order to create ownership (Fig.1) The idea would also be to make people feel more engaged towards their city, to increase a common sense of responsibility. So that leads to break with the bureaucracy elitist model, think more for long-term solutions and not short-terms, have a communication between the different professionals to be understandable by each other. Some cities throughout the world are already seeking to become more creative. The UNESCO Creative Cities Network is a good example when we come to inter-disciplinar and worldwide activities. The idea to have a “place for the people by the people” is relevant to establish a creative space. After all, the goal would be to allow a more open system by breaking down the “normal debating route”, find new ways to evaluate and define local aspirations, desires, actual and potential problems and finally find a new adequate language in order to better communicate between ourselves, no matter our social or professional differences.
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Fig. 1: Brainstorming of creativity in order to define everything behing this concept Sources Bianchini, Franco and Landry, Charles (1995): The Creative City https://en.unesco.org/creative-cities/creative-cities-map (02.05.2020) https://royalsocietypublishing.org/doi (02.05.2020)
// ARCHITECTURE’S PUBLIC - GIANCARLO DE CARLO Lara Aussel
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Giancarlo De Carlo, born in 1919, has a long career as an architect and writer behind him. For half a century he was a major player on the European architectural scene. His career is that of a committed Italian artist. He learned the profession of an architect during the war while being involved in the resistance, fighting against fascism. His rigorous stance towards social and political issues was affirmed very early on, in the 1940s. At that time, he was also an admirer of the masters of the modern movement. Since then, De Carlo has never ceased to analyse and criticise the new trends in architecture, through a critique of the international style, and the fundamental action he carries out within TeamX. This is a challenging group of the CIAM, the International Congress of Modern Architecture. In his public appearances and in his writings, De Carlo has denounced symbolism and academism in architecture that have avoided any attempt to discuss its content. He has worked extensively on responsibility in architecture. In the 1980’s, architecture went through a phase of depoliticization; now, in our time, his approach has become topical again. ARCHITECT
USER
MOVE TOWARDS AN ARCHITECTURE WITHOUT ARCHITECTS?
Fig. 1: The relationship between architect and users
He said: «In reality, architecture has become too important to be left to architects. A real metamorphosis is needed to develop new characteristics in the practice of architecture and new behavioural patterns in its authors: therefore, all barriers between builders and users must be broken down, so that construction and use become two different parts of the same planning process.» De Carlo, in «Architecture’s Public», makes a critique of the position of architecture, and of the architect, struggling between trying to break away from the conservative tradition and accepting a new language, just after the large-scale liberal and egalitarian protests of the 1960’s. De Carlo talks about architecture as a social and lived experience, as a design process and as a built environment. In reaction to the dismemberment of architecture that occurred during the modernist movement when it «took an elite position on the client’s side», the text speaks of an architecture that derives from the idea that all people who use architecture are its public. Through an audacious search for novelty, the role between the architect and the user is redefined. The user is endowed with a participatory and creative role where «the intrinsic aggressiveness of architecture and the forced passivity of the user must dissolve in a condition of creative and decision-making equivalence». The reformulation and reinvention of the relationship between the architect and the user takes place through an in-depth dialogue between those who design it and those who use it. But it is not only the interaction that is questioned but also the actual use of space, and it is in the use of space that the notion of time becomes present. Very interesting in De Carlo´s vision of architecture
no real reason to support the plan over which they had little ownership. Although projects may fail immediately or over time due to poor community involvement and management, the future of the project can be adapted and modified by future users to better meet their needs. This is a constant evolution that De Carlo doesn’t address because he is concerned about the initial architecture process and the fact that the public is working together on the original concept. To conclude, De Carlo proposes the possibility of removing the architect from his current position in the conceptual hierarchy of architecture. But to achieve these lofty goals, the problem must be solved at its source: in the schools of architecture. Why don’t we move on? If architecture is too important for architects, then maybe the answer is no architects at all, especially if we do something about it. Because, let’s not forget, architects grow and learn in a purely architectural environment. So, unless that environment changes, what are the other means of action?
Sources https://www.architectural-review.com/essays/reputations (02.05.2020) https://valentinacasalini.wordpress.com/concrete-with-a-view/ (02.05.2020) https://fr.scribd.com/doc/De-Carlo-Architecture-s-Public (02.05.2020)
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is how it becomes a complex process, dealing with the transformation of the public through time. The purpose of architecture is described as a means ‘to organize and shape the space to be used, to devote it to individual collective experience, to expose it to the effects of time.’ Architecture has the potential to change through its ability to constantly reinvent images of a changing reality through the use and participation of those who inhabit it. It becomes a constructed idea of what these relationships could be through the participation of future users. Therefore, space is intended to provoke directions of change, to support and nurture them in symbiosis with the people who inhabit it. The detachment of the architect lends itself in such a way that the work is no longer based on the identity of the author but on that of the inhabitant. The work becomes ‘performative’, a multidimensional space transforming through the individual and not the author. However (Fig.1), De Carlo highlights the common practice of creating a fossil from consensus, where consultation in planning «for» people freezes the decisions made to complete the project because people are no longer part of the process beyond the designated process. Planning «for» people is a top-down activity. While when planning «with» people, because of their constant involvement in the process, the consensus process remains active and evolving, so does the project. De Carlo sees the potential of planning «with» people to be liberating and encourages further participation. For this reason, De Carlo states that this is the reason for the failure of large-scale or «wise» plans, because more often than not, participation is limited and, as a result, the user and the general public have
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// EDGE OF EMPIRE - JANE M. JACOBS Jes Hansen
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In the broad field of post-colonial studies space is made use of in a metaphorical way. This stems from its background in literary and historical criticism but can make it difficult to apply the theories to the city. In ‘Edge of Empire’ from 1996 Jane M. Jacobs, in her unique background as a geographer develops a post-colonial theory that finds a literal application of space to the field. In the first chapters Jacobs develops an argument about the city as the site where cultural politics of place and identity are played out. She proposes that these cultural politics are mixed with imperialist ideologies and practices. In her theory imperialism can easily be reactivated in the present city through nostalgic reflections, reconstructions, preservation (of historic buildings) and building new forms of consumption based on the colonial past. To further theses theories and actually apply them to space she uses four case studies in the first world cities to illustrate the argument. In chapter three she focuses on the debate about the redevelopment of London’s historic sites around Bank Junction. She argues that the efforts to preserve the historic environment represents the
Fig. 1: The edge in the heart - Jes Hansen
attempt to memorialise the empire. She interprets this as a coping mechanism for the loss of empire Britain has gone through the 20th century. In the fourth chapter Jacobs attention turn to the London neighbourhood of Spitalfields examining the moves and counter moves to gentrify the Bengali section of the city. The refurbishment happens between the desire to appeal to a ‘multicultural’ Britain while still maintaining ‘Englishness’ through the careful distribution of Georgian houses. While the project employed a ‘rhetoric of cohabitation’ it had an underlying antagonism towards Bengali inhabitation of the area. In chapter five the readers attention is moved towards the Australian city of Perth and how aboriginal interest in land are suppressed by urban development. She presents how secular urban space is in tension with the aboriginal sacred space. It shows how modern, western cartographic logic put over the traditional, aboriginal understanding of space leads to a deep conflict in the city’s fabric. Finally in the sixth chapter Jacobs deals with the new tourism emerging in the city of Brisbane and how a new form of colonialism is developed through making profit of the aboriginal traditions. Jacobs shows throughout the whole book how imperialism still lingers in and even has a firm grip of the post-colonial city’s space. It is present in multiple forms like nostalgic returns, shaping development plans, producing racialized struggles over territory and calling to play new forms of exploitation and domination. It reminds us that the effects of colonialism and imperialism are very much existant today and are not only a matter in the former colonial parts of the world but also
‘If there was to be a multicultural Spitalfields then it could not be unpredictably promiscuous, nor could it be comfortably Bengali. Being Bengali in the Trusts multicultural Spitalfields meant being spatially controlled along existing vectors of power!’ - Jane M. Jacobs
Sources: Jacobs, Jane M. (1996): Edge of Empire. Routledge
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in the ‘heart of the empire’. The ‘Edge’ Jacobs mentions in the title of the book describes - for me - not the geographical edge of the empire or its greatest expansion for that matter but how the ‘Edge’ is real and visible in every part of the empire. Most notably even in the empires ‘heart’ London as shown in the first two chapters. Being aware of the ‘Edge’ in the post-colonial city may be the most important lesson taught in the book, giving a starting point for post-colonial investigations of the city’s spaces. If there is any critique to be made it would be on the difficult subject of terminology. This of course is a problem in post-colonial discourse as a whole and for that matter not solvable in a single work on the subject. Jacobs tends to pick up on defined terms of post-colonial theory, most notably in this work the term ‘Otherness’ as defined by Edward Said, and uses it slightly out of context making it at first irritating to follow certain lines of her argument. It hints at the importance of establishing a new terminology for post-colonialism applied to space.
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// THE NETWORK SOCIETY: FROM KNOWLEDGE TO POLICY - MANUEL CASTELLS Adèle Belon
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Manuel Castells is a Spanish sociologist, who introduced the concept of the network society, resulting from the interaction between a new technological paradigm and social organization at large. “The network society, in the simplest terms, is a social structure based on networks operated by information and communication technologies. “[They are built on] digital computer networks that generate, process and distribute information on the basis of knowledge accumulated in the nodes of the networks”. It is a complex structure present in all domains of life and affecting the decisions of important people or organizations, which are on the nodes of those networks. Globalization is the form that takes the diffusion of the network society. All the networks within it are networks of power, related to the productivity and the activities in the companies. It is connected to a transformation of the world and the worker himself. At the moment there is a contradiction of enterprises between the autonomy used
However, the sociability has not disappeared, but was transformed. “The network society is a hyper-social society”, states Castells. Even if some individuals can be negatively affected by any information in a network, they are actually made to connect the people easily and faster. There is a real culture of the virtual and this new kind of dialogue, becoming a true habit. It leads to the fact that politics are overhauled by the creation of a new space of communication, generated by technology. A lot of opinions and behaviours shape the interaction between people directly representing new horizontal interactions. It is a self-directed mass communication. Questioning the political system, according to Castells there must be a transition from the nation-state to the network state, a reorganization. “The actual system of governance in our world is not centred around the nationstate”, Castells writes. There is no longer centrality but multiple decision nodes, which stands for the
by the worker to become more productive or innovative and his or her ability to blend in with the company’s system. Instead of maximizing the production all the time, it should be about humanizing the workers. Networks are also present in journalism and the media. The communication mainly digitized is omnipresent, because people are really alienated by technology. It is ordered by the mass media system and the international media organizations. This communication creates more and more exchange between people. It develops a new kind of sociability, even if it remains essentially virtual.
“network state”. The development of the network society according to him will only work with a combination of initiatives in a lot of domains, because the progress of technology alone does not allow effects on productivity, learning, creativity and entrepreneurialism. The public sector therefore has to be highlighted as the main actor in the network society, which is connected to the necessity of creating new education methods, in order to participate to the reformation of the state. The people and the governance should give priority to creativity and innovation, instead of the productivity at all costs.
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Fig. 1: Simplified illustration of the network society
Sources : “The Network Society: From Knowledge to Policy”, CASTELLS, Manuel and CARDOSO, Gustavo, Ed. Center for Transatlantic Relations, Johns Hopkins University, Washington DC, Chapter 1 pp. 3-21, 2005
// NARRATIVE MAPPING AND POLYPHONY IN URBAN PLANNING - AMEEL LIEVEN Elizaveta Misyuryaeva
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As the 21st century advances, several paradigm shifts can be observed in the urban planning practices. The methodology moves more and more away from the planner as the sole creator of city visions, as it was common in the last century, to a more democratic bottom-up approach which includes the voices of citizens as well as spatial and social circumstances while using techniques from different disciplines such as social sciences in the planning process. This change was triggered by the desire to create a sustainable urban environment that is more attuned with the local experiences and dynamics of spaces. In this sense, ‘narratives’ or ‘storytelling’ become an important issue as Lieven Ameel argues in his article ‘Narrative Mapping and Polyphony in Urban Planning’ (2016). Narratives can help to communicate desires and complex processes, outline unique characteristics of a space and provide better identification since stories are a familiar, easily comprehensible format which is used in everyday life. Ameel states that narratives in urban planning are used for a variety of questions and identifies three categories. Firstly, narratives for planning: This concerns the already existing stories of a place found in the statements of the citizens, historical documents or artistic representations which a planner can call up. Secondly, narratives in planning: These are strategies used in policymaking. And lastly, narratives of planning which includes the branding of a location, media coverage or the local’s reaction to a plan. Narrative images that arise in either of these categories can ‘spiral’ from one to another category and from e.g. the local context to the planner’s to branding and back again during the
whole development process (Fig. 1). In this flow they can entail certain consequences and undergo changes themselves. A specific way how narratives can be used in urban planning is a technique Ameel calls ‘Narrative Mapping’ that refers to literary studies. This enables the planner to analyse individual, small details in the existing condition which traditional methods usually don’t consider. This technique takes various textual sources such as newspapers, transcribed interviews or documents regarding the considered location and analyses the plot, metaphor and character experience of their narratives. The result of this analysis is not a description of an environment but rather the metaphorical and dynamic function a location has in a broader sense, i.e. the ‘narrative topography’. The Helsinki Waterfront is brought up as an example and is described as a peripheric and ‘liminal’ space, removed from the urbanity and their social standards, where secret encounters and contemplations about society and personal life happen. It also has a strong transformative role and is emphasized as an impulse giver for innovation. Contrary to the literary texts, the strategic spatial plan of Helsinki paints a different picture, where the waterfront is seen as part of the expanding city centre. This unmerged multitude of independent perspectives is an obligatory consequence of narrative mapping and is called ‘polyphony’, what refers back to the concept of Michael Bakhtin. To implement the ‘polyphony’ in the planning practice, Ameel names the following steps: Combine selected narratives, considering the
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different perspectives of citizens to create a more authentic, consequential image of the location. With this procedure planners can propose a solution that includes the diversity they are planning for.
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Sources Lieven Ameel (2016): Narrative Mapping and Polyphony in Urban Planning, via http://www.yss.fi/journal/narrative-mapping-
Fig. 1: Influence spiral of narratives during the planning process
and-polyphony-in-urban-planning/ (02.04.2020)
Source: author‘s dipiction on the basis of diagram by Lieven Ameel
Fig. 2: Concept of „Narrative Mapping“. Source: author‘s dipiction with pictograms by Trendy, kareemov1000, Luis Prado, Avery, Nono Martinez Alonso via Noun Project
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Cosmopolitan Habitat.
3.2 REFERENCE PROJECTS
// BAUMWOLLSPINNEREI LEIPZIG Jes Hansen
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The Leipziger Baumwollspinnere is a former industrial site in Leipzig-Lindenau, Germany. Most of the former cotton mill’s 10 hectar site are used today by artists, galleries, studios, restaurant and others making it a major creative hub with international reputations. The remote location in the city lies in the history of the site. Founded in 1884 the business developed into the largest cotton mill in continental Europe over the next quarter century reaching its maximum extent in 1909. During this time an entire industrial town with over twenty factories, workers housing, kindergartens and a recreational are grew in western Leipzig. The mill reached it’s maximum extent in 1907 with 240.000 spindles processing cotton across a working area of about 25 acres (100.000 m²). The mill produced cotton throughout the second world war to cater the needs for the manufacturing of military uniforms. After 1945 the production halted for the next few years in the post-war turmoil. As a “Volkseigener Betrieb” in the GDR it started to produce again at the end of the 1940s and followed the socialists ideals. A kindergarten as well as recreational areas where build in this time to allow the over 80% woman working in the mill to bring together work and family life as proclaimed by the SED. After the reunification of Germany and the following liquidation, the mill reduced its workers from 1.690 to 40 from the 1990s on. As a giant former industrial site with a seizing production it was not given much hope for its future existence. This changed gradually from 1994 on when a few artists discovered the site of the former cotton mill as a potential new place for affordable studio
space in the city of Leipzig. In the following years several more artists moved their studios into the former industrial buildings while there was still a small but ongoing production on the site. In 2000 this production line finally ended and the future of the site was open again. During this time a group of artists and creatives managed to get funded for buying the complete former industrial site with all its production buildings, living quarters and gardens in 2001 finally giving it a save future as a creative hub. While more and more artists and creatives moved in the following years, the group actually managed to get some anchor tenants like a major computer retailer who made the project after all financially stable and gave it a lasting perspective. In 2004 the first ‘Werkschau’, a big exhibition of by all the creatives on the site, was initialised and the Baumwollspinnerei got their first international attention as a hub for creativity - something no one really predicted for a former East Germany cotton mill at that time. In reaction to these first shows at the site the Guardian called the Baumwollspinnerei the “hottest place on earth” giving it is ongoing reputation as one of the most influential art spaces in the world. This shows how impactful this creative change really was. In 2007/08 it was announced that 50.000 m² of the site where revitalised and rented out to artsits, architects, performers, cafés and many more. Even after over 25 years of work on the Baumwollspinnerei there is still a lot to do. The focus at the moment lies on the large “Halle 7” and the former living quarters that had not received much attention yet. The former living quarters are
Sources http://www.spinnerei.de/ (30.05.2020) https://www.mdr.de/entdecke/die-baumwollspinnerei-in-leipzigkunst-hotspot100.html (30.05.2020) gemeinfrei (http://www.spinnerei.de/) (30.05.2020)
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to become flats for visitors and creatives working at the Baumwollspinnerei. While this project through its uniqueness certainly can’t be seen as an archetypal reuse of an industrial site it shows what a group of creatives can get accomplished if the time and situation is right. The way to it’s present situation was very difficult and for every step along the way there had to be money acquired from EU funds and private investors that had to be convinced about the projects potential. The essential lesson learned from the Baumwollspinnerei may be that time plays an essential role in any process. The project has not relied on a master plan of any sort and was constantly reinvented to fit its current needs and struggles. In a world where most projects follow a predetermined plan through changing circumstances and needs the Baumwollspinnerei gives a refreshing and different perspective. It is made by a group of people deciding what the next project is strictly following the current needs and availabilities, while never loosing the bigger picture.
Fig. 2: Timeline „Baumwollspinnerei“ (authors elaboration)
Fig. 3: Area of the „Baumwollspinnerei“ (authors elaboration)
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// FRIZZ 23 BERLIN Jean-Edouard Jaber
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Frizz 23 is a building located in Berlin’s neighbourhood of Kreuzberg. This project has been initially developped in the context of the future of Frierdrichstraße and in the redevelopment of the area of Südliche Friedrichstadt. In the surroundings of Frizz 23, there are many important cultural and mediatic institutions as the Jewish Museum of Berlin, the Landau-Media, the Metropolenhaus and the ‘taz’-Neubau by E2A. Historically, on the site of this urban project, was located the Blumengroßmarkt, which was the former wholesale flower market hall. After the fall of the wall, this place became unused and started to become little more than an inner-city outskirt. Frizz 23 depicted as ‘Kreuzberg‘s cultural coownership project’ follows the Berlin’s tradition of Baugruppe, which consists for relatively low costs community groups to build their own appartement complexes and invest their own money into these projects. ‘A place for the people by the people’. Frizz 23, designed by the Berlin architecture office Deadline, is the place for art, creative industries and education. This mixed-program building offers a variety of public and private spaces: a mini market, art and living ateliers, architecture offices, seminar and evenemential rooms, mini-lofts for short-term lease and a groundfloor level with several functions open to a broader public. The different levels of the roof allow to have three different external spaces: a roof garden, a terrasse and an upper view garden. The social, cultural content-related diversity of users produces exchanges and constant new impulses. The spaces have been conceptualized through a management system making some of them available for very short periods and lowering the costs for everyone.
This project appears to be an example and a source of inspiration urban design, since it really brings together a huge variety of users and opens a platform for exchange in the centre of Berlin. The Nachbarschaft Parkfest in 2016 was organised to celebrate the new neighbourhood. The Make City Festival in 2015 organised a panel discussion in which the Deadline’s approach in the project Frizz 23 was presented.
Sources https://frizz23.com/de/ (10.05.2020) https://www.dbz.de (10.05.2020) https://www.baunetz.de (10.05.2020)
DESIGN-RESEARCH 59 Fig. 1: Situation overview of Friiz 23 in its neighbourhood
Fig. 2: Model of Frizz 23
Source: https://frizz23.com/de/ (10.05.2020)
Source: https://www.tagesspiegel.de/berlinaus/ (10.05.2020)
Fig. 3: Programmatic diagram of the project Source: https://frizz23.com/de/ (10.05.2020)
// KREATIVQUARTIER MÜNCHEN Anna Schlarb
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The Kreativquartier is located on the site of the former Luitpold barracks between Neuhausen, Schwabing and the city centre. Over the years, a lively scene has developed on a 5-hectare area, which creates and maintains diverse and interdisciplinary creative spaces. Artists, ateliers and open workshops as well as designers run their studios here. Rehearsal and performance stages can be found as well as institutions and initiatives for artistic and cultural education. Start-Ups research and test alternative business models. The site stands for diversity and heterogeneity. Old industrial buildings, colourful graffiti and rampant gardens create an inspiring atmosphere. The Luitpold barracks were built in the late 19th century and have since been used for military purposes and the area has been continuously developed until the barracks were abandoned in 1999 as military buildings and rented out to companies in the new media and advertising sectors. In 2004 the city started with the development plan procedure only for the area of the former Luitpold barracks, today’s ‘creative field’. The very special cosmos of artists and other creative people had formed over the years. This special flair should be maintained in the course of the new planning in addition to the urgently needed buildings for residential, commercial and university. The project named ‘Kreativquartier’ was created and the project to involve the citizens as intensively as possible in the planning. In 2012 Teleinternetcafé and TH Treibhaus Landschaftsarchitektur won an urban planning competition established for the area. They divide the area into four parts: creative field, creative
laboratory, creative platform and creative park. The Creative Park forms the central public space of the district and connects Heßstraße with Dachauer Straße. A start-up and innovation centre is planned to the southwest of the Tonnenhalle, a listed building. In the southern part of the district, the Creative Platform, the University of Applied Sciences is being expanded to include a campus. In addition, new buildings with a total of 400 apartments are being built. The Creative Field will be used by a mixture of living and working. In the Creative Laboratory the aim is to achieve an urban mix of uses from culture, creative industries, housing, social affairs, commerce and retail in old and new buildings. The first step is to create around 80 apartments and a house for children. In order to strengthen and expand the existing local area centre on Leonrodplatz, the master plan in the creative laboratory provides for a new retail location for everyday goods. There will be a separate development plan for the laboratory, as the area and the free cultural and social scene there, consisting of studios, dance stages, workshops, but also social and ecological start-ups, should be preserved. This is to be achieved by gradually supplementing the existing buildings and uses with a mixture of work and living, art and culture. The aim is to create an appropriately open, versatile public space with an open ground floor which allows engagement between inside and outside.
Creative Park
Creative Laboratory
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Creative Field
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Creative Platform Fig. 2: Division, Source: Elaboration of TeleinternetcafĂŠ
Sources Schwabing
http://www.kreativquartier-muenchen.de/ (10.05.2020) https://kreativquartier-im-prozess.de/2019/02/05/labor-
Neuhausen
kreativquartier-2013-2/ (10.05.2020) https://www.muenchenarchitektur.com/beitrag/25Central Station
zukunftstrends/14930-kreativen-raum-schaffen-daskreativquartier -dachauer-strasse (10.05.2020) City Centre
http://teleinternetcafe.de/kreativquartier-muenchenstaedtebaulicher-entwurf/ (10.05.2020) https://www.mitbauzentrale-muenchen.de/kreativquartier.html (11.05.2020)
Fig. 2: Localization, Source: Elaboration of Google Earth
https://www.competitionline.com/de/projekte/58116 (11.05.2020)
// MATADERO MADRID Enno Alting, Matthias Tippe
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The former slaughterhouse Matadero Madrid south of the city centre has been an urban constant since its opening in 1911. Formerly located on the outskirts of the city, its role was to produce food for the increasingly growing population of Madrid. As part of the Arganzuela meadow, an industrial complex built in the early twentieth century which also included a market, Matadero has been rooted in the cities history for decades. Since 1996, after the meat industry moved to other locations, the slaughterhouse fell into decay for several years. In 2005, a local initiative was founded to preserve and revive the architectural heritage of the place. About ten years later, a reversal of roles became visible. Instead of ‘feeding the city’ with meat, the former slaughterhouse is now being ‘fed with culture’ by the Madrilenians. A careful restoration of the existing structures, once planned by the Spanish architect Luis Bellido, in combination with the addition of new elements transformed the area into one of the most aspiring districts for creativity and culture in Europe. Therefore, Matadero Madrid expresses a ‘[...] cosmopolitan identity of ‘roots and wings’’ with ‘[...] an active relationship of actors to space and place’, a concept described by the sociologist Ulrich Beck in his essay ‘Unpacking Cosmopolitanism for the Social Sciences: A Research Agenda’ (2006). Strong local roots can be identified on multiple levels, ranging from its rich architectural backdrop to diverse programmatic offers for the neighbourhood. The ‘Nave Intermediae’ and the ‘Office of Strategic Spaces’, for example, provide creative working spaces and venues with a communal flair. All structural interventions were realized in a careful manner which respects the
architectural legacy and makes use of locally urban mined materials. Being aware of the everchanging demands of urban places, all executive architects and artists who were responsible for the transformation of the complex agreed on reversible elements to guarantee a future-proof development with a high level of adaptability. Besides the project’s impact for local actors, the conversion opened Matadero’s doors not only for the people of Madrid but also for an international audience. Located in the centre of outdoor activity, the Plaza Matadero serves various purposes such as weekly markets, concerts, and festivals. Furthermore, the complex offers numerous other venues for visitors to enjoy and engage with, for instance, the ‘Cineteca’, a cinema famous for showing non-fictional movies, the ‘Nave 16’, an exhibition hall for contemporary art, and the ‘Casa del Lector’, also known as the Reader’s House. Overall, Matadero Madrid developed into a place where local meets global and a beacon for cosmopolitan exchange.
Sources https://www.mataderomadrid.org/en (02.06.2020) https://www.barcelo.com/guia-turismo/en/madrid/things-to-do/ el-matadero-madrid/ (02.06.2020) https://www.esmadrid.com/de/touristeninformation/mataderomadrid-schlachthof (02.06.2020) https://www.archdaily.com/602284/factoria-cultural-in-mataderomadrid-office-for-strategic-spaces (02.06.2020) https://www.archdaily.com/445236/8-b-nave-arturo-franco (02.06.2020) https://www.archdaily.com/295502/hangar-16-inaqui-carniceroarchitecture (02.06.2020)
Fig. 2: Transformation: ‘Fed by the city’
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Fig. 1: Historic context: ‘Feeding the city’
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Fig. 3: Outdoor spaces, photo: Matthias Tippe
Fig. 4: Localisation Matadero Madrid, Source: Google Earth Pro
Fig. 5: Transformed interior, photo: Matthias Tippe
// LA FRICHE MARSEILLE Lara Aussel
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La Friche means ‘the wasteland’ and it is also called La Belle de Mai. This location is a major place of creation which in the 19th century was the headquarter of one of the largest factories in Marseille, France. It is an architectural ensemble with both an industrial and contemporary image, deeply rooted in the city while benefiting from a strong influence. In two decades, La Friche has become a unique space for experimentation and artistic creation on 45.000m2, open to the public with multiple uses. La Friche has several missions : 1) Artistic permanence: Here, sculptors, actors, painters, photographers, dancers, producers, can take the time necessary for their writing and production. La Friche has a credo: artistic demand and the crossover of practices and audiences, which can be found throughout the year in its artistic programming. 2) Place for art and culture and living space: At La Friche, art and culture are made, produced, disseminated and shared. But as in any neighborhood, you can also walk the streets, stroll in public spaces, eat or drink a coffee and buy your fruits and vegetables. 3) The relationship between La Friche and the local area: La Friche, which has taken the name of its Belle de Mai district, is asserting its desire to connect with its closest area: cultural action with schools and social centres in the Belle de Mai, reopening of the Gyptis cinema in the heart of the district. 4) A piece of the city: urban experimentation: Ecological concern and sustainability, questioning standards and processes, experimentation and collective spirit are at the heart of its urban and architectural approach: participatory housing
project, greening of the urban space with shared gardens and landscaped square. During the 20th century the factory grew due to an increase in cigarette consumption and the evolution of production methods, until it was closed in 1990. Two years later the association system Frich Theater invested into the former factory, overlooking the popular district of Belle de Mai. In 1995, it was with the architect Jean Nouvel that La Friche drew up a Cultural Project for an Urban Project aimed at no longer separating the cultural and urban dimensions. In 2002, the site was ‘islanded’ into three poles: the implementation of a heritage and institutional pole on the one hand (Interdisciplinary Centre for Heritage Conservation and Restoration, Municipal Archives, Marseille Museums Reserve) and a multimedia pole (audiovisual and multimedia industries) on the other. In 2008, the first works enabled the creation of the skatepark and the Big Tables Restaurant and the Studio. The nursery opened in 2012. During 2013, the year of Marseille being the European Capital of Culture, la Friche has actively participated offering a rich and diverse programm. These works made it possible to access the 8.000m2 roof terrace, offering an exceptional panorama of the city. In 2015, The Mediterranean Institute of Entertainment Professions was built. This new facility brought together students from a film school. A café bookshop ‘the engine room’ was opened. The Platforms Area, a relaxation and leisure area, a youth area and new office and rehearsal spaces were created to accommodate new activities. In addition to the spaces dedicated to artistic creation (artists’ studios, offices) and the
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diffusion spaces (theatres, concerts, exhibitions), La Friche has a skate park, a playground, a nursery, vegetable gardens, a farmer’s market, a restaurant, a café, a bookshop and the roof terrace – spaces that can accommodate conferences, exhibitions, living rooms, concerts, evenings, cocktails, meals, shows, projections, filming, training, workshops... In sum, the refurbished factory is both a place for creation and innovation as well as for work and dissemination, with nearly 450.000 visitors a year.
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Sources http://www.lafriche.org/fr/ (14.05.2020) http://www.marseille-tourisme.com/la-friche-belle-de-mai/fr/ (14.05.2020)
Fig. 2: View of La Friche, photo: Riccarda Cappeller
Fig. 1: View of La Friche, photo: Riccarda Cappeller
// BASE MILANO Elizaveta Misyuryaeva
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The cultural centre BASE Milano, which is located in Zona Tortona in the south-east of Milan, is devoted to bringing together creative people and giving them space to share, interact and influence each other and additionally work on concepts for future city life. Historically, the Zona Tortona has been an industrial area, producing engines, bikes, chemicals and a lot more. Now it is a gentrified hub for all kinds of design, urban ideas and events, where pubs for rather simple people coexists close to Armani establishments. BASE Milano occupies a part of the Ex-Ansaldo industrial complex, which was built in 1904-1923 but abandoned in the 1970s. In 1990 the city bought it, though started developing it for cultural purposes only in 2012, after some people revolted against the vacancy of buildings which the city was accumulating. Now the complex is handled as a public-private collaboration: It’s partially occupied by the Scala Theater and Museo delle Culture (MUDEC) and the rest is organized by a union of five different charities and businesses, i.e. BASE Milano, who gained the rights for 12 years starting 2015. The long halls with their typical beam structure of Ex-Ansaldo make it easy to fit in a big variety of uses. The full length is practical for big events, conferences, performances and if smaller rooms are needed, it is easy to install walls. The whole spatial concept of BASE is based on open space, flexibility and a minimal approach to fittings and furnishings to maintain the image of a “learning machine”, enable free transformation based on the ideas the users come up with and open itself to the public as much as possible, so anyone who’s
interested feels welcomed to enter and possibly participate. The four levels of the establishment make 12.000m² in total and are divided in rough sections. The ground floor includes uses directed to the broader public such as exhibition, performance and gastronomy and often hosts big group events. The levels above are dominated by co-working spaces which can be rented out hourly or for a longer time but also contain affordable artist’s residences, an innovation hub which offers workshops and other variable spaces. BASE Milano is well received in the city: around 400.000 people come to the roughly 400 events per year. It gained a lot more public attention by participating in the 2019 Biennale. Even in times of crisis, the establishment quickly organized online events that include for example discussions about Korean cinema, a workshop to bring neighbours together and gain insight to their lives and a percussion workshop for children and teenagers. This shows BASE doesn’t stop at age boundaries, knowledge levels or milieu thresholds, but seems to be open for anyone who is interested and has the will to explore and create. Sources https://base.milano.it/ (31.05.2020) https://www.wheremilan.com/sightseeing-tortona/base-milanothe-factory-of-ideas/ (31.05.2020) https://www.designboom.com/architecture/onsitestudio-basemilano-center-culture-creativity-07-09-2016/ (31.05.2020) http://onsitestudio.it/base-milano-cultural-centre/#project (31.05.2020) https://www.md-mag.com/projekte/bueros-objektbauten/basemilano/#slider-intro-13 (31.05.2020)
Fig. 2: Ex-Ansaldo-Complex from above (white)
Source: author‘s depiction with Esri Basemap via ArcGIS
Source: author‘s depiction with Basemap via Google Earth
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Fig. 1: Map of Milan until the external ring
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Fig. 3: Section Source: author‘s depition on basis of drawings by Onsitestdio
Fig. 3: Ground floor (bottom) and second floor (top) Source: author‘s depition on basis of drawings by Onsitestdio
// KULTURQUARTIER ERFURT Adèle Belon
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The Kulturquartier is a group of cultural organizations, which come together in a single former building in the centre of the city of Erfurt, which is called the Schauspielhaus. The house was built in 1897 according to the design of the architect Georg Weidenbach in a neo-baroque style as a club house for the social association resource. The building became a theater in 1946. An extension was built in 1949 by Walter Beck. From 1997 to 2003, the Schauspielhaus was the only remaining theatre in the city. In 2002, the city decided to close the Schauspielhaus after the opening of the new Erfurt Theatre in Brühl and to lay off the actors. Since then, the house has been abandoned. In September 2012, the cooperative KulturQuartier Schauspielhaus eG is created by the Kinoklub am Hirschlachufer, Tanztheater Erfurt and Radio F.R.E.I, which are the main occupants of the premises. Citizens can acquire shares in the cooperative. The purpose is to realize a beneficial project for all the residents of Erfurt, its surroundings and the visitors to the city. In September 2015, Erfurt City Council gave the right to the association to occupy the abandoned building. The rehabilitation of the former theatre was made by the architect Thomas Schmidt, a member of the cooperative by discussions with all the associates and the public. This old building should become a dynamic cultural venue in the middle of the city. It is composed of auditorium, theatre, foyers, offices, changing rooms, and more shared spaces cinema, café, exhibition rooms and forecourt which link the to the public space. All the rooms in the edifice provide space for a variety of uses. They organize a lot of events like discussions and debates, but also
‘Preview’ with readings, screenings by the Kinoklub, theatre and dance performances, ‘Summer in Rosé’ with concerts and ‘StadtRaumBoxen’ exhibitions of various artists in the forecourt. It is a project still in the process of development, but promising interesting, diverse and culturally rich program, open to the public.
Sources https://de.wikipedia.org/wiki/Schauspielhaus_(Erfurt) Kulturquartier: https://kulturquartier.jimdo.com Article in Takt Magazin: https://www.takt-magazin.de/kultur/ erfurter-das-ist-euer-schauspiel-haus_292534 All the pictures ans graphics on this pages are from the website of the Kulturquartier Schauspielhaus of Erfurt.
DESIGN-RESEARCH Fig. 1: Localisation, Source: Elaboration from Google Earth
Fig. 2: Aerial view of the site © herrschmidt architektur BDA
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Fig. 3: Cross-section of the extension part constructed in 1949 © herrschmidt architektur BDA
Fig. 4: Programmatic organisation © herrschmidt architektur BDA
// FUTURE CAMPUS DUBLIN Enno Alting, Matthias Tippe
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The University College Dublin’s Future Campus competition concentrates on revitalizing and upgrading the university’s existing campus, creating an inviting entrance area and through the new ‘Centre for Creative Design’ (CCD) an architectural beacon with a landmark character for the entire campus and the city of Dublin. Based on the proposals of the six shortlisted teams we aimed to distil overall approaches and key strategies for future facilities of higher education. Located in the southern outskirts of the Irish capital, the current campus lacks an overall concept and leaves students and visitors without a clear sense of direction and belonging. The existing buildings are scattered over a vast area and produce an image of fragmented islands without proper connections. To integrate the university into Dublin’s urban fabric and to put the UCD on the map for international students, the competition brief asked particularly for a future proof vision of an enhanced campus that includes placemaking strategies and holistic sustainability concepts. Given the enormous dimension of the project, the longterm realisation process is divided into different construction phases. All proposals start the conversion with a new entrance situation at the Stillorgan Road north of the campus that articulates physical presence and forms a clear address. Most designs place the new CCD building at the entrance plaza as a prominent landmark towering above the campus and creating a strong sense of arrival. Given the ever-changing demands of higher education facilities, many designs incorporate open floor plans and elements of ‘design
for disassembly’. In combination with smart technology, the structural systems aim to provide the highest degree of adaptability and resiliency, both economically and ecologically. Instead of designing a campus that is solely focussed on teaching, learning, and research, the new UCD endeavours to stimulate social interaction and intensified human experience. By amplifying pedestrian movement and utilizing extended local woodlands around the campus as communal outdoor spaces, the students and staff are encouraged to get in touch with each other and the adjacent neighbourhoods. Furthermore, the concepts promote knowledge exchange on multiple levels through transparency, co-working places, and cross-disciplinary interaction. These assets are key for engaging and healthy work environments. Even though the proposals are specified to the particular situation of the UCD campus in Dublin, many of the strategies can be transferred and implemented in other projects for learning, research, and work facilities. At the same time, it is important to consider these visions as ongoing drafts rather than finalized solutions for the future campus. Sources https://competitions.malcolmreading.com/universitycollegedublin/ concept https://competitions.malcolmreading.com/universitycollegedublin/ shortlist https://www.archdaily.com/899575/steven-holl-architectschosen-to-design-university-college-dublin-future-campus https://transsolar.com/de/projects/ucd-university-college-dublinmasterplan (all: 02.06.2020)
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Fig. 1: Site proposal Future Campus Dublin by UnStudio Source: Courtesy of UNStudio
Fig. 3: Design proposal Future Campus Dublin by Steven Holl Architects Source: Courtesy of Steven Holl / Steven Holl
Cosmopolitan Habitat.
4. ANALYSIS. CREATIVE MAPPINGS AND DIAGRAMS
// ANALYSIS. CREATIVE MAPPINGS AND DIAGRAMMS Riccarda Cappeller, Alissa Diesch
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Starting from a given context the students developed their own narrative approaches and brought them together in various mappings on the three cities, Halle, Hannover and Flensburg, interrogating the cities, their transformation and change, the located institutions and the inhabitants. Maps are accumulations of multilayered stories about an area or neighbourhood, the social class and cultural rituals (Genz 2019). We look at them to gain information, locate ourselves, understand connections and find pathways or mountain peeks to reach a specific place. When becoming digital they can introduce a temporary dimension that can perform a situated everyday experience inherent in the place looked at. Maps can be used as research tools and artefacts, “which help to reduce the complexity of urban knowledge and capture subjectively experienced life worlds as a whole” (Ploch 1994 in Genz 2018) They allow not only abstract representations of gathered information but also the translation of an experience and a conceptual direction, a followed interest or densification of information, that can grow and continuously be re-inscribed in the map, changing it with every added aspect. The process of mapping is an active preoccupation with a specific area – an observation and interpretation of it, which especially for the designerly practice of reconstruction is important to create spatial solutions that work together with the situation as it is. To communicate these practices digital communication formats become more important and somehow even define the
relevant aspects within the discourse. Creative mapping includes the critical thinking process and explores new possibilities of transporting information through a “more nuanced and sensitive view [...] as a phenomenological, cultural and political practice that goes beyond the technical, descriptive and cartographic analysis that predominates in digital mapping research.” (Lammes, Perkins et al. 2018) It uses references from the art to access the material and create visually appealing formats, which lead to interesting explorations of the sites, integrating a subjective view already through the selection of material to show. In the tale “On the exactitude in Science” (1933) Borges depicts the dilemma of each diligent cartographer, the urge and impossibility to fully represent reality on a map. Useful maps need to be reduced in scale, compared to the share of land they represent, and in this reduction lies a creative and powerful potential. The reduction in scale implies a selection, simplification and abstraction of reality and by this leaves out what is not important for the project. Critical approaches break down conventional selections and representations and focus on new topics and relations instead of copying the existent: “Make a map, not a tracing” (Deleuze, Guattari 1987, 12). Being conscious about this process the project of designing, of making a plan out of the map, starts already in the phase of mapping. The cartographer her/himself decides in a creative process what
The diverse mappings on the three cities bring together different mapping approaches and communication ways while showing the diversity of elements and contents that can be connected to the Cosmopolitan Habitat.
Bibliography LAMMES, S.; PERKINS, C. ET. AL. (2018) Time for mapping. Cartographic Temporalities. Manchester University Press: Manchester. GENZ, S., LUCAS-DROGAN, D. (2018) Decoding mapping as practice: an interdisciplinary approach in architecture and urban anthropology, in: The Urban Transcripts Journal 2017/18, 1(4) BORGES, J. L. (1933) Of Exactitude in Science reprinted in “A Universal History of Infamy” (London, 1975).
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and how to show on the map, how to relate these features and where to put the limits of the map. Focusing on particular aspects, showing new connections and points of view means “uncovering realities previously unseen or unimagined” (Corner 1999, 10). By this, one creates new viewpoints challenging orthodox depictions. An unpretentious yet powerful example is Joaquín Torres García’s “America invertida” (1943), a map of South America simply put “upside down”, hereby questioning the hegemony of the global north and opening new ways of seeing the continent with its particular and unique possibilities. Revealing this new reality is a promising starting point for a design project.
DELEUZE, G., GUATTARI, F. (1987) A thousand Plateaus. Minneapolis: University of Minnesota Press. (tr. Brian Massumi) CORNER, J. (1999) The Agency of Mapping: Speculation, Critique and Invention. In Denis Cosgrove “Mappings” REAKTION BOOKS: London
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Photo: Riccarda Cappeller
// HALLE AN DER SAALE - THE VENERABLE UNIVERSITY CITY
As the architecture guide of the city wonderfully states, Halle is an “academic Acropolis”. The art and design school Burg Giebeichenstein and the Leopoldina asw national academy of sciences contribute to this image of the school city. Part of the educational cosmos are also the “Frankesche Stiftungen zu Halle”, located at the southern edge of the old city and contributing to both a national and international context. It is a treasure in the middle of a continuously transforming city, existing throughout the challenges of each period, since 300 years. Originated as a result of Luther’s reformation and the late enlightment, Halle is known as a school town and contemporary witness of the developing human being, independent of his or her social background – nothing else than the claim of Francke.
stands for a potential space of experiments and alternative approaches to urban production. To the south it continues with the former railway workshop (Reichsbahnausbesserungswerk) in the surrounding of the main station (Hauptbahnhof), a around 20 hectare big areal, that has not been developed so far. Here the aim is to integrate and recycle the old building fabric and create and design new spaces for living working and leisure. With the direct access to the ICE-Network (the German train aims for a 20 minute train rhythm inbetween Berlin-Halle, Erfurt-München/ Frankfurt) Berlin from here is reachable within an hour of travel. Also to Leipzig there is a high frequency of train connections (S-Bahn). An already planned future project is the cycle express-way HalleLeipzig.
That developed people educate themselves probably is the most important cultural achievement of humanity.
In direct neighbourhood to the main station also for the urban area “Thüringer Bahnhof” first measurements were taken and will be layed out as development plan (B-Plan) already next year. Here a prototype for a dense living, the proximity of living, working, smaller businesses and leisure facilities in the inner city, is foreseen. With the already existing port railway line (Hafenbahntrasse), which has been redesigned as park with cycle path, there is a direct connection to the Saale valley. This nearly undamaged flood plain of the Saale River with its striking river islands and the rift at the bottom of the art and design campus Burg Giebichenstein stands for a unique constellation within a German city. It shows HALLE AN DER SAALE as perfect connection between cultural scene and natural landscape.
Departing from Halle’s self-understanding as educative city, diverse interior developments are planned and going to be realized to maintain young and educated people and enable them an ongoing perspective of development. As well in the inner city, connecting the already existing locations of the university, as in the more industrially shaped areas such as close to the Dessauer Brücke, or across the train lines at the former slaughterhouse area and Freiimfelde, a programmatically densification can be done. This last example has already been a topic of discussion within the development of the city for a longer time and at the same time
ANALYSIS
Rene Rebenstorf, Vice-Mayor for urban development and environment
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// VIRTUAL EXPLORATION HALLE Riccarda Cappeller
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In HALLE/SAALE we had the chance to meet René Rebenstorf from the municipality, giving us an introduction to the city, its current developments and explaining the current state of the project sites; Daniel Herrmann from the Werkleitz e.V. – a media art association –who shared his critical view on Halle´s cultural scene with us; Philip Kienast from Freiraumgalerie, who introduced the Freiimfelde Area and the activity of the urban art and graffiti association he is part of; and Ingrid Häußler and Dr. Christine Fuhrmann from the Volkspark e.V., who ligned out the difficulties in operating and programming the former public and political plattform and Villa “Volkspark” anew. It was a very informative meeting, which allowed the students to understand various positions and interests of people actively involved in Halle and capture first ideas of where their projects could go. Also the students could explore the two previously selected project sights as well as some other parts of the city, through a curated map that would allow to “walk” through the streets and directly link some information about the places. It was a digital way of exploring the places, trying to understand the connections to the historical centre and get some visual impressions. TWO SPATIAL FIGURES were addressed as possible design areas. The parts of the city along the eastern side of the river Saale – in terms of cultural and creative economy and along the railway corridor in the east of the centre –in terms of metropolitan connectivity, urban productivity, and new communities. Both areas were understood as potential spaces to think about future ideas in an urban project, worked on individually.
01 02 03
04 BURGSTRASSE
NORTH INNER-CITY
ACROSS THE TRACKLINES
ANALYSIS
PAULUSVIERTEL
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xx SLOUGHTERHOUSE HISTORICAL CITY CENTRE
xx FREIIMFELDE
xx MITTE
xx SOUTH INNER-CITY
HALLE BURGSTRASSE
01 Coming from the centre, the Peisnitz, a huge park, lies inbetween the Saale River and the street going to the north of the city.
02
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Following it, one sees the Moritzburg, the Magdeburgs archbisops former residency, built in 1484, which in 2008 was restored and newly interpret according the images from Feininger, by Nieto Sobejano Arquitectos from Madrid.
03 The BurgstraĂ&#x;e is part of the northern inner city of Halle, linking the centre with the “Burg Giebichensteinâ€?.
04 Followed by the tramline 8, it brings together very few empty areas, new buildings that host social facilities and residential buildings.
HALLE BURGSTRASSE
05
ANALYSIS
Also smaller shops, coffee places and galleries can be found along the street, which is frequented a lot by the students.
06
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They move between the two parts of the art and design Hochschule; the “Neuwerk” and the “Burg Giebichenstein”.
07 It is an interesting axis that in future could be connected much more to the cultural and creative economy of the city.
08 One cultural milestone that still has not found its role for a future function or place in the city is the “Volkspark” from 1906.
Photos: Riccarda Cappeller
ACROSS THE TRACKLINES
09 Behind the “Steintor”, a connection point and access to the university campus, lies the “Steintorbrücke”, a station linked to the train to Leipzig.
10 82
Crossing it and approaching the eastern part of Halle, one has to pass a huge field of train lines, that renders visible the connectivity of the city.
11 A former railway bridge has been replaced by a new crossover, which in the evening allows to look at the light spectacle below.
12 Directly next to the track lines, the former slaughterhouse area, one of the design areas, is located.
SLOUGHTERHOUSE /FREIIMFELDE
13
ANALYSIS
Coming from the North, one perceives the area of the sloughterhouse through its long wall, distancing it from the street.
14 Behind that wall the partly protected buildings are left to decay. Several fires already have taken place.
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15 The remaining buildings are from 1893 and attract a lot of young street artists, who enter the investor owned place.
16 What finally will happen to the place is still open.
Photos: Riccarda Cappeller
HALLE FEIIMFELDE
17 The Freiimfelde area is very close to the main station and belongs to the most neglected areas in Halle.
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During the 1990s a high percentage of people living here were unemployed. while today it is a mixed-used strip with logistic facilities, light industries and workshops.
19 A very active group of urban art and regeneration activists helped the area to get attention and is still involved in the processes on site.
20 Next to occupied houses are still empty buildings or car parkings, which shows a fragmented area that has space for new spatial and social ideas.
HALLE FEIIMFELDE
21
ANALYSIS
Being separated from the city centre, Freiimfelde, which hosts a new tram storage space has a good public transport.
22
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It seams like an island between the busy street on the one side and the huge trackline field on the other.
23 Also the urban art on many of the faรงades gives Freiimfelde a special image that also bounds together its inhabitants.
24 Compared to the inner-city part of Halle, the rents in Freiimfelde are still quite cheap and attract young people, self-builders and cooperatives.
Photos: Riccarda Cappeller
// HALLE INTERVENTION AREAS
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BURGSTRASSE – CULTURAL AND CREATIVE ECONOMY The area along Burgstraße, in the north-west of Halle, aims at a new connection between the historic city centre and the existing and newly emerging cultural and research oriented places in parallel to the Saale River. Along this way there are several empty voids, but also „monuments“, culturally linked institutions and creative heritage like the Volkspark Halle, which through its planned renovation aims at a new conceptual idea for its future programming and performance.
ANALYSIS 87
0
500 m
FREIIMFELDE - METROPOLITAN CONNECTIVITY, URBAN PRODUCTIVITY AND NEW COMMUNITIES The area Freiimfelde, in the north-east of Halle, was one of the most neglected. Characterised by a mixeduse strip of logistics facilities, light industries and workshops it is comprised among Berliner str. (northern railways bridge) and Delitzscher Str. (southern access). Particularly significant for its architectural character is an old slaughterhouse complex built in 1893. It is a vacant spot in the city asking for ideas of activation, new programming and a reconnecton to the city and the conurbation area Leipzig Halle.
Cosmopolitan Habitat.
4. ANALYSIS. CREATIVE MAPPINGS AND DIAGRAMS
// THE CITY OF CULTURE Lara Aussel, Adèle Belon, Jean-Edouard Jaber
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Culture constitutes a relatively important part of cities, in which other aspects are included (social, educational, political). Here with the cases of Halle and Hannover, by their different scale and context, culture represents two distinct forms of expression, communication and spatial representations. By analysing and understanding the characteristics of these spaces, some interrogations pop up. Through which structures does culture manifests itself in these cities, how does it affect inhabitant’s life, in which ways are culture and spaces related, how does it shape the urban space, in various scales. Halle, as city of culture Halle (Saale), as a city of culture has influenced institutions from various types: museums, cultural centers, libraries, cinemas, theaters and operas, and music related spaces (clubs, music schools, music museums,...). Those spots are mainly located in Altstadt (the old city), Nördliche Innenstadt, and Giebichenstein. The Burgstraße area works as a major connection line between these three parts and especially between the most iconic places of Halle: Burg Giebichenstein with the design school, Volkspark as hybrid cultural spot hosting events and congresses, the Peisnitzhouse as quite new emerging meeting point of younger people, the Leopoldina as national academy and instution of knowledge production and the Moritzburg as well known art museum. In Altstadt, more than 30 places can be spotted whereas Freiimfelde hosts only one cultural place. In fact, the east areas of Freiimfelde and Diemitz are set back from the rest of the city, as they are separated by the railways of the Hauptbahhof, working as a frontier between these two parts of the city. The initiative ‘Freiraumgalerie’ located here realize sworkshops
in which the inhabitants of the neighborhood are invited to take part into projects in order to reshape the facades of their buildings. It is an innovative way, to make people have an impact on their urban space, which seems important as Freiimfelde is marked by a high unemployment rate and a lack of infrastructures for its people. This initiative can be seen as a source of creativity and responsibilty of the people towards their city, which reinforce their connection to their living space. However, housing is still the major component of Halle and the cultural aspect seems to be much needed in the city. On the side of the musical field, Halle is not as important as Hannover. However, it has a long musical heritage as it is the hometown of the classic music composer Georg Friedrich Händel. He had a major influence which is still remaining today since Halle is also known as ‘Händelstadt’ and some institutions are named after him: Händel Haus (an important cultural center and museum of the city) and the Händel Festival (an annual classic music event occuring in scattered places). The city hosts also other annual festivals as the ‘Akkordeon Akkurat’ and the ‘Euro Music Festival’. Besides its classical heritage, Halle is also known for an underground music scene. The city has some specified music places from jazz bars to punk rock and techno clubs. The musicians from Halle create an international network in the city through their influence, their professional travel and their production. They include The Aberlour’s, Andreas Seidel, Anissokay, Antye Greie, Conrad Bauer and Steffen Schleiermacher. From classic music, to rap-rock through jazz and opera, these artists have travelled all over the world: UK, France, Italy, Norway, Canada, Japan... Halle has been able to
plans. Hannover is awarded the title of City of Music in 2014. Indeed, the art of music has been occupying this city for many years already. As Halle, the city centre is the hotspot for all these events. So far, the city hosts the Fête de la Musique, and presents an important musical scene. Hannover is also shaped by the diversity of musical genres on offer, an above-average employment rate in the music industry and an excellent infrastructure in the field of music education. As a city of music, Hannover welcomes international guests, creates attractive events, and works with creative cities from all over the world, exchanging inspiring ideas and sharing knowledge.
Sources https://haendelhaus.de/ https://en.unesco.org/creative-cities/creative-cities-map https://www.hannover.de/UNESCO-City-of-Music/Musik-Stadt https://www.sounddiplomacy.com/ https://www.mdr.de/radio/index.html https://radiocorax.de Discussions with Rene Rebenstorf (Stadtentwicklung), Daniel Herrmann (Werkleitz e.V.), Philipp Kienast (Freiraumgalerie) and Christine Fuhrmann (Volkspark Halle e.V.) (all: 30.05.2020)
ANALYSIS
export itself internationally thanks to its musicians. This external influence is also relevant through the radio emissions. In fact, the city hosts Radio Corax, a local infrastructure, which is important in the culture field of Halle. It works especially with some centres in the organisation of musical events and festivals, most of the time. In a larger scale, MDR Radio (Mitteldeutscher Rundfunk) is a regional broadcast structure, in which Halle hosts one of their studios. This radio has three other working branches in Sachsen, Thüringen and Niedersachen. By its capacity to spread as an informal element (through radio and events) and be understood by anyone, music can be seen as a tool of connection, exchange and sharing between these different cities, which participates to the influence of Halle. It is also an efficient media, working in order to transgress physical barriers and shows how can the informal can reshape the formal and real space in some way. Creative Cities Network and Hannover as city of music UNESCO created the Creative Cities Network in 2004 to foster cooperation among cities that have identified creativity as a factor in urban development. The 246 cities that currently make up this network are working together towards a common goal: to place creativity and culture at the heart of their development plans and to cooperate actively at the international level. The network comprises seven creative fields: crafts and popular arts, media arts, cinema, design, gastronomy, literature and music. These cities are committed to strengthening the creation and dissemination of cultural services, expanding opportunities for creators, improving access to cultural life and fully integrating culture into sustainable development
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Paulusviertel Inner City North
Frohe Zukunft
Altstadt Freiimfelde Inner City South
Fig. 1: Distribution of the cultural spots in the city of Halle
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Fig. 3: Music scene in Hannover
Fig. 2: Distribution of the cultural spots in the city of Hannover
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Fig. 4: Radio emissions in Sachsen-Anhalt and its surroundings
// INTERNATIONAL INHABITANTS Anna Schlarb, Elizaveta Misyuryaeva
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In the last decade several changes have caused Germany to rethink the migration organisation. The introduction of the law for general free movement of citizens of the European Union within and in between the EU countries and the distribution of refugees according to the current Königsstein key are two of the most important factors. Cities have been put into the position to improve their integration institutions and give migrants the chance to assimilate and at the same time enrich the urban life with new perspectives. The main questions for this mapping task where the following: What kind of cultural and ethnographical mix do the cities Hannover and Halle have? How is the spatial distribution of people with a migration background? And what kind of places play an important role of integration, encounter and cultural exchange? When talking about integration, it is important to distinguish two types: the facilitation of partaking and the further cultural exchange. This distinction is crucial when trying to understand the goals of those places mentioned above and where others dock onto and take the integration a step further. In the mappings we considered statistical brochures published by the cities, official cultural exchange websites devoted to migration and location entries on Google Maps and others which are easily accessed by any new resident. HANNOVER In Hannover the question of migration is especially relevant since citizens have chosen a mayor with Turkish roots in the end of 2019 and the Local integration plan (LIP, since 2008) is in the process of being discussed and edited, due to the increased
migration. The LIP names goals, action suggestions and measures to provide a better integration of people with a migration background, in regard to the facilitation of partaking. Since the LIP was published, the percentage of people with foreign roots has risen from 23,9% (2007) to 31,8% (2019). The top five nationalities are Turkish, Polish, Russian, Syrian and Greek (Fig. 1), though the most spoken languages after German are Turkish and Arabic, beating Polish, Persian, English by quite a big number. Data shows Hannover’s west has had a higher percentage of migrants since 2007 – Linden-Süd, Hainholz, Mühlenberg and Vahrenheide being the most saturated. The spatial distribution remained persistent for the next decade. Linden’s growth is similar to Hannover’s total, but the last ones were growing much faster, especially Mühlenberg which developed a staggering difference of 20% (total of 68%) since 2007. An analysis of the most spoken languages after German hints on big Arabic speaking diaspora in that district, which was included in the national development program ‘Stadtteile mit besonderem Entwicklungsbedarf – die Soziale Stadt’ in 2014. Most of the important places of integration and (spontanous) encounter are located in the city centre and nearby Georgengarten park, the streets with a high density of international shops and other businesses etc. Special encounter places which take the integration a step further are for example the popular cultural centre Faust. It includes several projects that integrate music and other events with cultural exchange. Another interesting institution is the youth theatre GET2gether in
HALLE The issues of migration and integration have become increasingly important in the city of Halle in recent years with growing numbers of international residents. The number of people with a migration background increased from 3.9% to 7.3% in Halle from 2010 to 2015. Most of the people came from the part of the world east of Germany (Fig. 2) When analyzing the international population, the migration movements can be roughly divided into three categories: People from Eastern Europe and Russia come to Halle to work and live there longterm. Their stay is usually longer than 10 years. A large group of people, mostly from Romania, have come to Halle since the lift of restrictions on freedom of travel in 2014 to work seasonally. The third large group of migrants are people who flee due to the conflicts in the Arab world. This group increased significantly in 2015. No easing of the situation in the respective countries is currently foreseeable. The district with the most international residents is southern Neustadt. Every fourth has foreign roots here. This is followed by Freiimfelde and the southern and northern inner city. Among other things, this has to do with the historical origins of the districts such as Neustadt and Freiimfelde as working-class districts, in which there is now a large vacancy rate and low rents, as well as the accommodation of refugees in central, downtown facilities. Due to the increasing challenges in the area of integration and migration, the city of Halle has
continuously adapted its administrative structures. Integration is seen as a task that affects everyone and the idea of integration should be permanently anchored in urban society as a matter of course. This should be achieved, for example, through the nationwide program ‘Schule ohne Rassissmus – Schule mit Courage.’ (School without Racism School with Courage). The aim of it is to make the schools and their students sensitive to discrimination and encourage long-lasting engagement. The participating schools are supported by cooperation partners and the federal coordination. In Halle, 15 schools take part in the program. There are also various government and non-profit offers (Fig. 6) At the city of Halle there are migration and integration officers, as well as an advisory board for foreigners where you can find out about various language and integration courses and get help with starting your professional life. The non-profit organizations are diverse. The association of the migrant organization Halle e.V. (VEMO) and church sponsors are worth mentioning here. There are also international language cafés that take place several times a week for cultural exchange, for example the WELCOME-Treff is another important meeting place. It is a meeting place for refugees and committed people with voluntary language and cultural offers, reading lessons, creative and manual work and much more. For example, there is help with forms and applications, the women’s café or events such as ‘Falafel & Games’. There is something for everyone in the extensive weekly program. Everyone is invited to take part in the offers or to contribute their own ideas.
ANALYSIS
IKJA where international youth develops their own theatre projects and thereby processes their experiences.
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Fig. 1+2: Most common origin nations of people with migration background. Hannover (left) and Halle (Saale) (right). The darker the blue, the higher the amount of foreigners. Sources: author‘s depiction with data from Landeshauptstadt Hannover, Fachbereich Planen und Stadtentwicklung, Bevölkerungsentwicklung der LH Hannover im Jahr 2018, März 2019; Stadt Halle, Migrationsbericht 2018
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Fig. 3+4: Density of migrants by districts and agglomeration of institutions for integration in Hannover (left) and Halle (Saale) (right). The darker the blue, the higher the percentage of foreigners. Sources: author‘s depiction with data from Landeshauptstadt Hannover, Strukturdaten der Stadtteile und Stadtbezirke 2019 und Statistische Profle der Stadtteile und Stadtbezirke 2018; welt-in-hannover.de; Stadt Halle, Migrationsbericht 2018; Google 2020; willkommenin-halle.de; freiwilligen-agentur.de; couragierte-schule.de
Sources Landeshauptstadt Hannover, Strukturdaten der Stadtteile und Stadtbezirke 2019 Landeshauptstadt Hannover, Statistische Profle der Stadtteile und Stadtbezirke 2018 https://www.hannover.de/Leben-in-der-Region-Hannover/Soziales/Integration-Einwanderung/LIP-2.0 (29.05.2020) https://www.neuepresse.de/Hannover/Meine-Stadt/Muehlenberg-Waldheim-Zwei-Stadtteile-zwei-Welten-inHannover (29.05.2020) Stadt Halle(Saale): ISEK – Integriertes Stadtentwicklungskonzept 2025 Stadt Halle, Migrationsbericht 2018
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Fig. 5+6: Places of integration and encounter in the centres of Hannover (top) and Halle (Saale) (bottom) Sources: author‘s depiction with data from Halle(Saale): ISEK – Integriertes Stadtentwicklungskonzept 2025, Google 2020; welt-in-hannover.de, willkommen-in-halle.de; freiwilligen-agentur.de; couragierte-schule.de
// KNOWLEDGE CITIES Enno Alting, Matthias Tippe
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According to the French philosopher François Jullien, we have to think of ‘dialogue’ as a form of resource that creates community through distance and opposing views. Distance that does not imprison itself in identity-related differences but opens up the ‘in-between’ in which a new form of community can arise. (Jullien 2017) The potential of this dialogue is particularly present at knowledge institutions such as universities, colleges, schools, and other teaching and research facilities. As scholars ourselves, we experience the importance of intercultural interaction and exchange between students with diverse backgrounds on a daily basis. This ‘resource’ not only widens the horizon but is also key to the personal and academic growth of young individuals. Throughout our primary research, we identified various knowledge networks both in Hannover and in Halle Saale. The data used in the mapping process was provided by the International Office of the portrayed universities and colleges. Furthermore, we implemented material and statistics by the City of Halle and the City Hannover. First, we mapped and compared the locations of higher education and research facilities in both cities and analysed their demographic context with regard to nationalities (Fig. 1, 3-5). LOCALIZATION In Halle Saale, a city of about 240,000 inhabitants in Saxony-Anhalt, the Martin-Luther-Universität with 19,291 students3 is one of the main drivers for higher education. The university encompasses seven campuses which are condensed around two clusters, one in the historic city centre and
the other at the new location west of the river Saale. Additional knowledge institutions such as the Leopoldina, the Kunsthochschule, and the Franckesche Stiftungen are situated around these hubs. Overall, the mapping of Halle Saale reveals an agglomeration of higher education and research institutions that are concentrated around a dense network. In comparison, the universities, colleges and associated organisations in Hannover are spread over the whole city. Until the mid 20th century, the knowledge network was primarily centred around the Welfenschloss Campus of the Leibniz Universität and the Tierärztliche Hochschule. Since then, new facilities and further institutions were established all throughout Hannover. To date, the ‘Initiative Wissenschaft Hannover’ is the main driver for knowledge exchange and citywide the biggest academic network. Besides the major universities and colleges, it furthermore includes external organizations such as the Landeshauptstadt Hannover, the Fraunhofer Institut, and the private non-profit organization Volkswagen Stiftung.4 With a wide offer of subjects of studies in multiple institutions, Hannover is also a popular destination for international students. Almost 130 countries are represented at the cities higher education academies (Fig. 2). The major institutions (LUH, HSH, MHH, TiHo, HMTMH) have active partnerships with universities and colleges from all over the globe, in particular with European countries, but also many partners in Asia and America. Africa, on the other hand, is the most underrepresented continent in terms of academic cooperation. Creating new knowledge
worldwide academic networks encourage mutual understanding and a sense of international belonging. This ‘salad bowl’ of motivated ‘global citizens’ has the means and methods to address increasing global challenges, such as racism, xenophobia, and multi-facetted bigotry. Therefore, universities and colleges play a bigger part than just the education of the individual but also have the possibilities to shape the future for the universal.
ANALYSIS
alliances with African countries displays a huge opportunity for the future. Apart from Africa, academic partnerships with numerous countries are quite equally distributed, while Asia and the Middle East clearly constitute the main ‘streams’ of students from foreign countries. In conclusion, Hannover’s and Halle’s each display a unique distribution of universities and colleges around the city. Despite the differences and the fact that Hannover with its 543,000 inhabitants5 is not only much heavier populated but also geographically about one third larger than Halle Saale6, both cities show that knowledge clusters accumulate a high rate of international inhabitants in their adjacent districts. With reference to François Jullien’s concept of understanding dialogue as a form of ‘resource’, the cultural heterogeneity of these neighbourhoods provides a vibrant and inspiring surrounding for knowledge exchange and fosters innovation through interaction. Unfortunately, the current development in Hannover leans towards an urban sprawl of academic facilities, for instance, new campuses opened in peripheral areas at the Expo (southeast) and in Garbsen (north-west). In our opinion, this trend leads to satellite locations without a connection to the already existing clusters. In order to ‘exploit’ the cultural resources and encourage interdisciplinary work, universities and colleges should aim for more condensed campuses connected to each other and the urban context. Knowledge institutions provide a crucial ingredient for cosmopolitan habitats and take a key role in the creation of open-mindedness in modern society. The global relations that come along with
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Sources Cf. Jullien, François (2017): Es gibt keine kulturelle Identität - Wir verteidigen die Ressourcen einer Kultur, Suhrkamp Verlag AG, Berlin https://www.halle.de/de/Verwaltung/Statistik/Bevoelkerung/ Bevoelkerungsentwick-06050/ (02.06.2020) reference date: 30th April 2020, Martin-Luther-Universität HalleWittenberg, International Office, Gritt Eisenkopf https://wissen.hannover.de/ (02.06.2020) https://www.hannover.de/Leben-in-der-Region-Hannover/ Verwaltungen-Kommunen/Die-Verwaltung-der-RegionHannover/Region-Hannover/Weitere-Meldungender-Region-Hannover/2020/Leichter-Anstieg-derBev%C3%B6lkerungszahlen (02.06.2020) https://www.hannover.de/Leben-in-der-Region-Hannover/Politik/ Wahlen-Statistik/Statistikstellen-von-Stadt-und-Region/ Statistikstelle-der-Landeshauptstadt-Hannover/Hannoverkompakt/Stadtgebiet (02.06.2020) https://m.halle.de/de/Verwaltung/Statistik/Geografisches/ Bodenflaeche-nach-Ar-06047/ (02.06.2020)
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Fig. 1: Distribution of knowledge institutions in Hannover
Fig. 2: Global cooperations and student streams of higher education institutions in Hannover
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Fig. 3: Overlay: knowledge institutions and rate of international inhabitants per district, Halle Saale
Fig. 4: Distribution of knowledge institutions in Halle Saale
Fig. 5: Overlay: knowledge institutions and rate of international inhabitants per district, Hannover
Source: authors‘ elaboration with data from the City of Halle Saale, City of Hannover, LUH, MHH, TiHo, HMTMH, HSH
// HANNOVER TRADE FAIR REPORT Julia Hermanns
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THE LARGEST EXHIBITION CENTRE IN THE WORLD With a capacity of over one million square metres, Hannover’s trade fair grounds, located on the city outskirts, are the largest in the world and have been attracting exhibitors and visitors from all over the world for decades. The spatial combination as a landscape of exhibition halls, congress centre, open spaces and remaining Expo pavilions is unique in the world.
stop for long-distance traffic, two modern city railway stations provide direct connections to the city centre and further to Hannover Langenhagen Airport. Completed in 1952, it spatially expanded international connections eventually. The Messeschnellweg represents a further strategic project the city took advantage of in 1958. But it was not until the EXPO in 2000 that the system was finally made suitable for mass flow.
FROM THE WORLD TO HANNOVER In 1947 The British occupying power needed a symbol that would present the entire German industry and its fabulous economic upswing to world public. Deutsche Messe AG is founded in Hannover and the first export trade fair brings a huge amount in investment to a post war city. Until today it is one of the most important technology events. Every year, numerous other leading trade fairs “made in Hannover” form the showcase to the world and impress with their individuality, internationality and variety of topics. LIGNA, for example, is still considered the leading trade fair for wood industry, whereas the INFA represents the largest experience and shopping fair since 1981. Visitors are surrounded by an aura of cosmopolitanism and innovative spirit that was not only noticeable in the early days, but offers a great potential for the city itself.
HOSPITALITY IN A RATHER CONSERVATIVE TIME In 1960 the event set new standards and counted more than one million visitors annually. Accommodation industry established rapidly and still could not meet the demand. Spontaneous branches, that can be considered to be a first form of AirBnB, emerged. Citizens („fair mums“) welcome guests to their private apartments and showed openness in an otherwise conservative time.
OPTIMAL ACCESSIBILITY The transfer to and from the exhibition grounds is based on a transport infrastructure that is characterised by Hannover’s central location and the optimal network of different forms of mobility. The trade fair railway station Messe Laatzen is a
INTERNATIONAL RELATIONS AND KNOW-HOW 1970. The city aimed for more diversity and intensified its trade relations beyond the borders of Europe. Federal holdings in Paris, New York and Melbourne can be recorded, likewise Brazil presented itself as a partner to mutually benefit from economic power and know-how. An expansion to Chinese market would follow shortly. During that time CeBIT became independent as a world leader in its field. The year 1996 highlights a new revolution: GLOBIS is the first virtual trade fair location; visitors can call up product information at any time. Nowadays we conclude that this idea will never replace a trade fair on site, but it is indeed an important platform to connect and carry
CITY AND FAIR: SPATIAL SITUATION TODAY To sum up, the trade fair brings diverse topics to the city, but how can we describe the current spatial situation? The Mapping indicates how city and the exhibition ground can be described as two different spaces. On the one hand, the city as a real urban space: it presents a less determined situation; grown in heterogeneous, small structures, patterns and ambivalence. On the other hand, the trade fair: A very functional space that addresses a specialised audience + fairs taking place only temporarily, events are not really carried into the city and are hardly noticeable in everyday life. International guests book hotels and bring purchasing power, but most likely they do not travel with the intention of a city trip. Therefore Hannover Messe can be described as a collection of “Non-Places“ and that is why the question arises: How can we justify the huge consumption of land, if it is not used throughout the whole year? And further, how can we re-link two pools spatially, as well as programmatically? Both aim for new concepts, and a stronger holistic idea! VISION: PROMOTING INTERFACES The second mapping can be read as vision plan: Contrast of function and spacial idea actually offers a great basis for rethinking their cooperation: Both function not contradictory, but complementary. We already notice a change in trade fair behaviour:
Events are smaller and we aim for more personal contact and networking in rather informal spaces. Inferring from this, Hannover Messe should not be limited to the site outside of the city centre. Hannover as city should benefit from the resources, space, knowledge and above all from the cosmopolitan atmosphere the fair creates. IDEAS Two approaches how the location can become more sustainable and also change its certain image: They aim to transform concepts in exhibition architecture in order to offer more possibilities in use. For example they foster the implementation of permanent laboratories and workshops on site. The trade fair could become a sort of new „Think Tank“ and hotspot for young visionary ideas in cooperation with the University. A network of many different actors creates new synergies and connections to the urban space. Another proposal to eliminate the barriers was made in 2010: A convention centre offers space for intervention and for people to gather, also next to the exhibition.
Photo 1: Hannover Messe 1947
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on the idea of a fair - especially during Corona restrictions! 2008 is the year of joint venture and from 2013 on Industry 4.0 is one of the most important keywords in further development.
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urban: less determenind situation, grown in heterogeneous and small structures, ambivalence, openness, common ground
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Fig. 1: Mapping spatial situation today: Hannover Messe + City
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new interfaces + exchanges places inbetween
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Fig. 2: Mapping spatial situation tomorrow: Hannover Messe + City
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Sources: www.hannover.de (01.05.2020) www.chronik.messe.de (28.04.2020) interview: Mr. Spitzenberg Messe Hannover (29.04.2020)
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trade fair multifunctional platform for young target audience laboratories cooperation international platform 365 days! think tank
// (POST)COLONIAL FLENSBURG Jes Hansen
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The mapping of (post)colonial Flensburg started out as a “mapped thought process” and slowly became both a mapping of Flensburg as well as Charlotte Amalie, the harbour city Flensburg traded with in the 18th century. As well as a spacial mapping of colonial markers it turned also into a mapping of non-physical cultural space. While today Flensburg counts 80.000 inhabitants and is mostly known and loved by tourists enjoying the Baltic sea it has a very international past as Denmark’s second biggest harbour in the 18th century, trading with the former Danish West Indies in rum and sugar. This exchange, not only of goods, has long seized as Flensburg lost its trading rights in 1864. Of course as all colonial history this history is a difficult one as Flensburg lived in enormous prosperity through the production of rum while the life in the colony was ruled by slave-labour and exploitation. As a first approach to the mapping I composed a hybrid aerial shot of Charlotte Amalie and Flensburg envisioning it as sharing a small body of water (Fig.1). It was meant to kickstart a fresh look at the relations - or potential relations - between these two very different cities with a linked past and maybe future. Flensburg is mainly known for its harbour, that played an essential role in the growth and forming of the city we see today. To find it’s (post)colonial present spaces we have to go back to finds it’s colonial roots first. I used a subtractive mapping approach to find this past in the city’s fabric. Based on 18th century maps and drawings of the city I erased everything that was not already present in the 18th century from an aerial shot (Fig 2 & 3). This of course does not mean everything in these
parts of the city still stems from colonial times, but these are the places to look for physical markers of colonialism in Flensburg. All these buildings or larger build contexts are directly linked to the colonial activity of the city. A (post)colonial city does not only consist of physical markers though and the immaterial markers are of the same relevance in forming the image and understanding of a (post)colonial city. Even one that is often overlooked. As immaterial markers I selected cultural elements of the city’s identity that stem from it’s colonial past . For Flensburg possible examples are: Danish culture, rum, the harbour-city identity and bilingualism. Such lists are of course more based on feeling then evidence, but the most important finding in this is the fact that there are both physical and immaterial markers of colonialism in a (post) colonial city. The second city in the pair is Charlotte Amalie, the city Flensburg traded colonial goods with. A city still dominated by its colonial history. In this city I applied the same subtractive mapping approach and identification of colonial markers developed for Flensburg (Fig. 4 & 5). In Charlotte Amalie the starting situation is very different though. While Flensburg is a city with a colonial influences Charlotte Amalie is a colonial city. Here the colonial influences do not hint at themselves but itself are prominent elements of space. Essentially most of Charlotte Amalie existing today is directly linked to it’s colonial past. The physical markers selected for this city are buildings that have a direct link to trading with Flensburg as well as they prove the Danish origins of the colonies, as do the street names.
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The immaterial markers show an overlap with Flensburg while still being completely different in their appearances. The rich history and it’s influences are present throughout the city in many shapes and forms. The search for colonial markers was of course not only done for the sake of finding them. They, in it’s assembly form (post)colonial space in the cities of today. In Flensburg with it’s rum houses and feudal residencies of the merchants families, but also in Charlotte Amalie with it’s trading posts, military bastions and Danish churches. Arguably two very different (post)colonial spaces but (post)colonial spaces nonetheless (Fig. 6). After identifying the physical aspects of (post) colonial Space I turned to Homi Bhabha’s theory of ‘Third Space’ to find an approach to map cultural space out of the context of physical space. For third space to exist there has to be first and second space though and Bhabha defined these as such: first space being the individual cultural identity, second space being the adaption to the colonial circumstances and third space the resulting hybrid of these as a potential (post)colonial space. While both Charlotte Amalie and Flensburg have their unique first, second and third spaces it should be possible to work towards a shared third space unifying these two formerly linked cities in today’s world after the spacial turn. If these spaces that influenced each other long ago, and aruably still do, are once again united in new interventions there could be a shared third space that will not only make both cities more cosmopolitan but will also help them in their own futures.
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Sources http://www.geschichte-s-h.de/flensburg/ (30.05.2020) https://www.britannica.com/place/Charlotte-Amalie (30.05.2020) Bhabha, Homi K. (2004). The Location of Culture. Routledge (P. 55)
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Fig. 1: Hybrid Map Charlotte Amalie (top) & Flensburg (bottom)
Fig. 3: Flensburg (substraction & physical markers)
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Fig. 2: Flensburg
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Fig. 4: Charlotte Amalie
Fig. 5: Charlotte Amalie (substraction & physical markers)
Fig. 6: (Post)colonial space
Sources All images authors elaboration with data from Google Earth
Cosmopolitan Habitat.
5. CONCEPT. URBAN NARRATIVES IN PROJECTIVE DESIGN
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Fig. 1: Online Workshop: Urban Narratives
// CONCEPT. URBAN NARRATIVES IN PROJECTIVE DESIGN
Narratives are used in many disciplines creating possibilities for knowledge transfer, capturing attention and communicating ideas, convincing people, starting a discussion, critical reflection or simply enabling ways of telling a story to a specific audience. A narrative or story is defined as any report of connected events, actual or imaginary, presented in a sequence of written or spoken words, or still or moving images. (Oxford English Dictionary 2004) It can create interesting relations between fact and emotion, provide means to make sense of and understand social phenomena and individual experiences (Bond + Thompson-Fawcett 2008). In architecture and urban design, looking at the city and its multiple realities, contradictions, everyday movements and connections between people, spaces and the material surrounding, narratives can “shed new light on the mechanisms that govern architecture and buildings� (Lee et al. 2017, p. 64) and offer ways of engaging with how a city might feel, how it works and is used by the people (e.g.). Where else than in the city can we find this lived complexity that requires alternative narratives and maps (Amin and Thrift 2008) to be able to capture various perspectives, interpretations and visions and keep them alive and open to change. Narrative approaches are grounded in semiotics, where the environment is seen as a sign or set of signs (Ameel 2016) leading to the understanding as metaphors and the city as speaking a language (e.g). Making our bulit environments talk and understand them as urban characters, that according to their uses are able to adapt and change, leads to different perspectives which are necessary to reinvent our surroundings and reinact them as places for exchange and human action.
So in looking at the existing we are better able to understand topics contained and tell their stories to then make sense out of them and propose possible changes. Ferretti following Matthey describes narratives both as tool for analysing and understanding the city and as tool for knowledge creation and projection, which is an understanding closely collected to the design process: The construction of images as change of perception, the call for new instruments and the production of concepts for urban and territorial transformations (Ferretti 2018). Thinking, developing and producing narratives as a framework in-between the analytical and projectual, the personal and the collective was part of the Master´s Urban Design course. To Address the topic together with the students and discuss their analytical fieldwork and first conceptual ideas from an interdisciplinary view, we invited the photographer Christian Dootz, working with Visual Storytelling and Expanded Photography, for an online workshop. Artistic practices can change the perception and aesthetic parameters, recognize potentials and put them into practice, thematise different ways of living, test and question the existing and create synergies. (von Keitz in Finkenberger et al. 2019) So the idea for this common production was to implement methods from the artistic working process and the general understanding of how to create narratives to open up perspectives on the design projects and conceptual ideas and allow a different discussion throughout the creation of a design project. While preparing the workshop a continuous exchange and common brainstorm on the working process of urban designers and architects and photographers or film makers, a possible role of narratives within
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Christian Dootz, Riccarda Cappeller
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114 “Search”, Christian Dootz , 2003
their disciplines and the question of how to form and understand them, started and has been brought together in a discussion, which hopefully will continue in future. Some of the questions we asked focused on the possibility of using narratives in Urban Design, the development and use of strategies to understand and decipher the city and the benefit of new instruments to analyse and interpret the conditions of our built environment and the human interactions within it. RC: Your recent work, which was exhibited in the group exhibit “Das eigene im Anderen – das Andere im Eigenen” from May to August 2020 in the Kubus Galerie Hannover shows various, apparently coincidential scenes from the the city of Kairo – subjective views, personal moments and serendipitous discoveries of street scenes, home living situations, cinematic set-ups, unusual construction sites, shadows and secret light cones that you selected from your high
resolution footage taken from the rooftops and terraces above the city. How did you come to these elements and sequences and what do they tell from your experience, what from the city itself? CD: The series of Kairo images was inspired by the time I lived there, teaching storytelling to Media Design students at the German University of Kairo. Being there, observing and feeling the urban surroundings and coming across unusual spatial connections and atmospheres, I was trying to capture the highly vivid, chaotic, dense and very confusing city, that in the streets was nearly impossible to follow as a foreigner. I discovered the rooftops as hidden observation points and carefully selected positions from above the city according to what was visible from each. In comparison to walking in the streetscapes, here I could pause, had more time and could follow the urban life, movements and single situations of the city or within the personal living spaces, the living
I pose questions to the material and to myself to find a position from which to understand the different stories contained. How much and what exactly has to be told visually to merge the single image fragments into a story and let the viewer discover it, drawing own connections and finding interpretations? In which way can the topic of movement be tackled with photography and how can single elements cause a disruption? RC: This sounds quite similar to the process of starting with a contextually routed architectural or urban design project. Also here we start from the diversity inherent in space, bringing the possibly relevant information together – drawing multilayered maps and first, abstract or imaginary sketches while capturing and understanding a place at a first sight. The performative elements of a space are relevant to analyse a situation that can transform or be transformed (Kassem 2019) Then – and this happens more intuitively– we select parts of it and try to densify, look closer, interrogate the existing or the direct connections to the place and start to put together first conceptual ideas for a
Close up landsacpe kitchen, Christian Dootz , Galerie für Fotografie Hannover 2013
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room or kitchens where people were lingering around. The photography in high resolution made it possible for me to select various settings at a later moment, passing through the material as if it was the real city and discovering it a new, while analyzing. In my photographic work, which I call expanded photography, I combine concepts of synchronism and narrativity from the art of painting and Film. What in the film is mounted as sequence, action, narrative and the filmic movement of a panning shot to a close-up, here is materialized as photographic surface that overcomes the transience of the filmic image and is realized as spatial installation where the observer has to move to perceive the whole work. The selection of a perspective and the oversized reproduction of a lifelike situation are motivated by the curiosity for the discovery of the visually unconscious perception of everyday situations. They lead to hyper realistic images that by showing reality as a close-up become surreal, appear as paradox and trigger imagination.
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future vision, while at the same time keeping the larger dimension in mind. Coming from various angles and topics they point out a direction and formulate an imaginary, which not necessarily has to be a space, but can also be an experience. The way of its communication, and in spatial design this often is done through 3D-Perspectives and other spatial visualizations, shows a performed narrative. The shift from a designed space to the emphasis on formulating experiences, which was first addressed in the 1960s for example with comic like images by Archigram has become a new interest. It brings us to the question of how narratives in spatial design could or should change, at which point we have to include perspectives from other disciplines and how these narratives have to be shaped so that the future users of the spaces in focus understand not only a proposed spatial transformation, but the offered possibilities for them to actively take part in this change and the cultural dimension that space can generally address and transmit. According to Tricia Austin a spatial narrative “comprises a triple sequence of movement: the progression of content through space, and over time, with a deliberate intention to communicate a story” (2020) CD: The intention to communicate a story is indeed crucial, because it defines the role and perspective of the author as well as the purpose of telling the story, which is a necessary departure point and has to be clear to the author. What you name as progression of content through space and time, is what in storytelling might be referred to as the translation of unconsciously stored experiences into action – taking the invented and already outlined characters and events, putting them into relation to each other, creating a plot or
story, manifested as outline of the story and script. When developing this, one continously has to question the resulting narrative – its impact; what does it leave others thinking?, the clarity and its potential – in which directions can it lead?, which in space might lead to show possible impacts of taken design decisions. And this is the point where it gets interesting, because you can begin to leave the explanations out and through irritation provoke critical thinking. Even through the synchronicity or double appearance of the same people and objects in my images, it is still possible to follow a narrative structure which is gained through stylistic devices from film; the close ups and panning shots that reveal a dynamic space and time structure. The combined stills through the chosen, oftenimpossible perspectives bring together reality and a critical view. RC: ... the creation of a scenery, dramaturgy and mental space, as Jean Baudrillard calls it, that is necessary to understand a building as more than a construction and the urban space as more than an agglomeration and works as source for inspiration through creating a conflict running contrary to the functional compulsion of space (1999). This criticality, I think, is what has to be much more integrated, not only in the design concept, but also in the way of its communication. And this is where cinematic and photographic or other artistic methods can help to “reveal the patterns of knowledge, desire and power at play in a particular location [...] [and help] to constitute, in the words of Hannah Arendt (1958,199-207) a public space of appearance”, that proposes and designs ideas for future developments and processes in urban space through a creative, multidimensional, engaging and collaborative action.
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Selected Photographs from recent work on Kairo City cuts, Christian Dootz
Bibliography AMEEL, L. (2016) Narrative Mapping and Polyphony in Urban Planning, via http://www.yss.fi/journal/narrative-mapping-andpolyphony-in-urban-planning/ (02.04.2020) AMIN, A. & NIGEL, T. (2002) Cities: Reimagining the Urban. Oxford: Blackwell Publishing Ltd, p. 1-30. AUSTIN, T. (2020) Spatial Narratives. A Critical Position, in: Dodd M. (ed.) Spatial Practices: Modes of Action and Engagement with the City . Routledge: London BAUDRILLARD, J. (1999) Architektur: Wahrheit oder Radikalität. Droschel Verlag: Graz BOND, S. AND THOMPSON-FAWCETT, M. (2008). Multiplicities,
FERRETTI, M. (2018) `Narrative: Stories from the Periphery´, in: Schröder, J., Carta, M., Ferretti,M., Lino, B.(eds.) Dynamics of Periphery. Berlin: Jovis KASSEM, A. (2019) A performative understanding of spatial design, learning from exhibitions. Shs Web conferences #64,0300 LEE, R., BARBÉ, D. ET AL. (2017), Things don't really exist until you give them a name: unpacking urban heritage. Mkuki na Nyotap: Dar es Salaam OXFORD ENGLISH DICTIONARY, 2nd ed. (Oxford: Oxford University Press, 2004), s.v. “Narrative” VON KEITZ, K. (2019) 'Between Autonomous Avant-Gard and Ornamental repair. Art as an Element of Urban Design', in:
Interwoven Threads, Holistic Paths: The Phronetic Long-Haul
Finkenberger, I. M. & Baumeister, E.-M. & Koch, C. (Eds)
Approach, in: Paul, M. J. & Thompson, S. & Tonts, M. (Eds.):
Amplifier and Complement. About the Relationship between
Qualitative Urban Analysis: An International Perspective.
Urban Planning Artistic Practices and Cultural Institutions.
Elsevier, Amsterdam
Jovis:Berlin
// VOLKSPARK RELOADED Elizaveta Misyuryaeva
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On the threshold between the respectable residential district Giebichenstein and the extensive Saale river bank, at the street called Burgstrasse, lies the former cultural and political meeting space of the workmen’s association. Called simply “Volkspark”, what translates into “park for people”, and finalized in 1907, its rather opulent forms and dimensions in the style of art nouveau, as well as its location overlooking the river made it a famous specimen of a building with this use. In the course of time these specific meeting spaces have found themselves obsolete and are now have to be rethought. Even with its prestige, the Volkspark in Halle (Saale) was not spared. It has endured a variety of different uses throughout the years, though now it is left without a vision again. In the near future, the city hopes to transform the Burgstrasse into a cultural mile which would span from the art campus of the Burg Giebichenstein University to its design campus and might even grow further south connecting other important institutions. The Volkspark is a good starting point, but the question is, what kind of role it should play to consolidate and become indispensable, without imitating the cultural institutions already existing and therefore attracting a constant stream of contributors and visitors. The building doesn’t have to loose its name in the process. Instead, it can absorb what it means to be a place for people in an increasingly diverse society which (still) struggles to overcome social segregation. In this case, an intervention is needed to overcome the boundaries and connect the inhabitants. With the understanding of their needs and the collective pool of ideas it might be
possible to create sustainable spaces with which the people identify with. The project is supposed to be an example for this kind of impulse intervention. Its main concept consists of a non-distructive division of the spacious area of Volkspark with a temporary scaffolding structure that enables smaller, interactive, easier to appropriate spaces and therefore more flexible uses of individual rooms and park sections. The new configuration makes it also possible to guide the visitor through the building in unusual ways, including windows and back doors, and giving him/her a “backstage-like” new experience. The structure could be introduced to the public during a festival where performers and artists interpret the building and every person, either private or as member of an association, institution or similar, has the possibility to network and to brainstorm ideas for collaborations and projects that could be hosted in this place. The new associations could then apply for room occupation. After this event, depending on what connections have been found, Volkspark can work in different “modi operandi”: as a whole, every room on its own or as a patchwork. In the latter parties with similar aims can share rooms and therefore exchange ideas and try out new things. The room occupation should be limited to for example one year and the parties encouraged to expand to other spaces at Burgstraße to revive the unoccupied buildings and slots. At the end of that year the introductional event can be hosted again, so it becomes an experimentation cycle. Sources Text: https://www.volkspark-halle.de/geschichte.html (01.08.2020)
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Fig. 1: Patchwork concept
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Fig. 2: Important places of encounter in Halle (Saale)
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Fig. 3: Connections through possible thematic collaborations
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Fig. 4: Transformation phases and experimentation cycle
Fig. 5: Site plan. Scale 1:2.500
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Fig. 6: Exploded axonometric
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Fig. 7: Floor plans
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Fig. 8: Section A-A
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Fig. 9: Section B-B
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Fig. 10: Modi operandi. Scale 1:1.000
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127 Fig. 11: Perspective of biggest hall
Fig. 11: Perspective view from Burgstrasse with chalkboard on the wall of the former gym and an existing video installation by Werkleitz e.V.
// KULTUR 8 Jean-Edouard Jaber
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Historically, the city of Halle has been an important place for cultural institutions and artists. The city is home to Georg Friedrich Hndel, a renowned classic composer and it hosts annually national and international festivals. The line 8 of the tram constitutes a major infrastructure for the city, as it is the Altstadt and connects the north side to the south side of Halle. Many well-known cultural spots are located along this line, and many of the stations are named after those places. However, a disparity is formed in the city, as there is an unequal proportion of cultural places between Halle’s different urban areas. Around the line, the city centre finds itself to be the most important place for culture. In opposition to that, three areas along the line are segregated to the cultural life of the city, and predominated mainly by housing. The aim is to find a new impulse for these neighbourhoods, to take part in the cultural identity of the city and make culture more accessible and democratic for the people of Halle. In the project “Kultur 8” it is possible by redefining the instaured cultural network of the city in which new politics and ideas are integrated to gain more importance in the city. In other words, it works by finding new partnerships, making new collaborations and giving the people of Halle the opportunity to go and use these areas, which are not really activated today. Working as the radio infrastructure, which is a powerful immaterial way of communication, the idea would be to transgress physical borders and break the existing cultural clusters that we can find today.
developed by a mutualisation between the people working and living around the project. The idea is that you don’t have to be an artist to use these spaces, and that everyone can join the process, by contributing to activities, bringing something new to the others. An other idea of the project encourages not only art demonstration and exhibition, but also a local cultural production with painting classes, music platforms, recording studios, photography laboratory where people could express themselves. Among the three areas, the main focus for the design of the project is the Burgstrasse, around the Diakoniewerk station area. Longing the street, the project finds itself to be the connecting point between the park and the city. Here we have different layers. Three different building typologies allow to have either a clear, or disturbed visibility on the park from the street. The access is reinforced by the cross paths in front of each entrance, inviting the pedestrians to cross the street to have a different experience of Burgstrasse. This accessibility integrates the park into the city, which at the moment is working as a border. The idea for the project in general is to make the inhabitants feel more responsible and active towards their city by designing a place where they can express their convictions and ideas.
Sources text:
The process is characterised by an interdisciplinary aspect in the program: New activities will be
-https://radiocorax.de -The Creative City, Landry
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Area between Burg Giebichentsein and Emil EichonstraĂ&#x;e
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Area between Volkspark and Dianoniewerk
South side from Steinweg
Fig. 1: Cultural intensity along the line 8
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Fig. 2: A radio network in Halle
Fig. 3: Area Emil EichornstraĂ&#x;e
Fig. 4: Area MelanchtonstraĂ&#x;e
Fig. 5: Area Diakoniewerk
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Fig. 6: New politics in the city
Fig. 7: Users of the project
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Fig. 8: Overview plan of the Diakoniewerk project
Fig. 9: Elevation on the street
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133 Fig. 10: Programmatic axonometry of the project
Fig. 11: Mutual activities
Fig. 12: Linear section of the project
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Fig. 14: Second floor of the Sky Building
Fig. 17: Ground floor of the Bandstand
Fig. 15: First floor of the Sky Building
Fig. 18: title - Rooftop of the Covered Hall
Fig. 16: Ground floor of the Sky Building
Fig. 19: Ground floor of the Covered Hall
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Fig. 20-22: 3D View towards BurgstraĂ&#x;e from the park side
// THE NEW CULTURAL HEART Lara Aussel
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It is in the heart of the Freiimfelde district of Halle that the New Cultural Heart project is taking place. Freiimfelde was founded at the beginning of the 20th century outside the city centre as a residential area, built for workers. Freiimfelde is therefore a district located in the industrial and commercial area to the east of Halle. Landlocked between the railway tracks, the industrial area and the green zone, Freiimfelde is like an island cut off from the rest of the city. This district of 3,000 inhabitants therefore does not benefit from the influence of the city centre. The district consists of five main streets, dividing Freiimfelde into sub-areas. In the north, large industrial buildings, former slaughterhouses and the train depot can be seen. To the south is the residential part. The left side is very dense (former urban development around 1910) and the right side consists of later added row houses (19501960) with a lot of open space. The population of Freiimfelde is relatively mixed. Since 2012, more and more people are settling in this area known for its art and culture. Nevertheless, demographic data shows that Freiimfelde is a neighbourhood with high unemployment. Freiimfelde is a young, colourful and poor neighbourhood. Since 2014, the Freiraumgalerie has been revitalizing the district with urban art and giving it a trendy image with its murals. In a survey conducted by the Freiraumgalerie, one hundred people answered the question: how do you identify with the district? The most important answer was “the mural paintings”, which means that the cultural attachment to the district is very important and is just waiting to blossom.
In addition, many young residents, students and artists live here, which creates a dynamic potential for possible cultural activities. This is why I decided to create a cultural complex that is adapted to the needs and scale of Freiimfelde. I have located it in the area of the former slaughterhouses built in 1893 on the site of a former manor house, which is of particular importance for its architectural character. It is an unused and vacant part of the city which is eager to be culturally revived and reconnected with the city and the Leipzig Halle conurbation. I have chosen to keep the slaughterhouse buildings still in good condition. Their renovation has enabled me to highlight this magnificent heritage from the end of the 19th century. The complex is composed of an art school that supervises local artists, a year-round market, a restaurant, a sports hall, an exhibition hall and a library. These cultural spots are connected by an outdoor grid offering spaces for play, relaxation and work. The New Cultural Heart not only energizes Freiimfelde by providing infrastructure on its own scale, but also interacts with the rest of Halle and its surroundings by creating new networks.
Sources Text: -https://www.halle.de/de/startseite/ -https://die-verlassenen-orte.de/veb-schlachthof-halle/ -Booklet « Bürgerschaftliches Quartierskonzept - Halle »
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Fig. 1: Link between the big hall and the outside seating area
Fig. 2: Halle Analysis Townhouses 1950
04 Densified buildings 1910
Slaughterhouses
Train depot
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01 Schlachthof
03 Freiraumgalerie
02 The deposition zone
04 Residential properties
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Fig. 3: Main map of Halle - project location
Fig. 4: Slaughterhouses - current state
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Fig. 5: Ground plane with its raster cutting
Fig. 6: Project overview
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Fig. 7: Cross section
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Fig. 8: Longitudinal section
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Fig. 9: West elevation restored to late 19th century style
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Fig. 10: South elevation
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Fig. 11: Groundfloor - exhibitions rooms with convertible walls
Fig. 12: GF+1 - library mezzanine
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// BEGEGNUNGSZENTRUM FREIIMFELDE Anna Schlarb
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In the new meeting centre Freiimfelde, the social, creative and productive are interlocking. Halle is characterised by the Saale river to the west and train tracks to the east, providing a fast connection to Berlin and Leipzig. There are two social projects in Halle that are important to introduce in relation to the meeting centre. The first is the Jugendwerkstatt “Frohe Zukunft� supporting children and families in precarious situations. The second one is the Stadtmission Halle providing support for people with special needs and their families. They offer assisted living as well as work in different inclusive factories and businesses mainly outside of Halle. The area on which the meeting centre will be developed is located in the city quarter Freiimfelde east of the train tracks. Freiimfelde was developed as housing for workers in the beginning of the 20th century. In the quarter live a disproportional high number of children and people with foreign roots and the population grew 27 times as much as the cities average. It is surrounded by the industrial area Halle Ost. It in itself is not only quartered by wide streets but also by uses and the shape the buildings are in. Despite the border the train tracks form, the slaughterhouse area is well connected to the rest of the cities by public transport. Nevertheless, a survey from 2014 found, that the people miss a common space for exchange, work and life, which is to be developed in the area of the former slaughterhouse. The concept is built on three themes: social, productive and creative working together to create a new social and inclusive environment in Freiimfelde.
The urban actions to be take are the demolition of buildings beyond repair, the re-use of the buildings that can or must be saved and the addition of two new buildings and a structure to close the gaps to frame the area between the buildings. Apart from the two gate houses at the entrance, all of the buildings are to be from the courtyard created by them. The new residential building is clearly set apart from the historic buildings by towering over them, but connected to the light steel structure that is connecting the upper part of the area. In the residential building two models of living are mixed through the floors to create a divers living environment. The first type is an apartment for groups of people supervised by social workers. The groups get special assistance and can be children who can’t live with their parents, people with special needs or the elderly. The second model is more traditional. Every apartment has four to five rooms and are rented out to families or people sharing a flat like students or young adults. All of the apartments are surrounded by big balconies inviting social activity. The former slaughterhouse will become a place again, pulling people from all districts to Freiimfelde becoming a centre for building social contacts and businesses in a welcoming, inclusive environment. Businesses that have their origins in the meeting centre will move into the vacant business units of the western side of Freiimfelde and through that revitalise the whole quarter.
Sources text: survey and statistics (2014) Freiraumgalerie
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Fig. 1: Narrative
Fig. 2: Social projects Halle
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Fig. 3: Division Freiimfelde
Fig. 4: Distribution of the themes
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Fig. 5: Schlachthof evolution in three steps
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Fig. 6: Axonometrie
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Fig. 7: Groundfloor
Fig.8: Section
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Fig. 9: The courtyard
Fig.10: The Entrance
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Fig. 11: Residential building - ground floor, 4. floor, 5. floor, elevation
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Fig. 12: Freeimfelde M1:1000
Fig. 13: Spread
// HARBOUR CULTURE TO CULTURE HARBOUR Jes Hansen
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This project is about transforming the (post) colonial harbour region of Flensburg forward into a future, where a new link with the city of Charlotte Amalie is established and the unsure future of the harbour region is solved through addressing contemporary problems of the city as well as finding new approaches to its past. In that way, through the re-discovery of its history, Flensburg can move into a better future. The project consists of the analysis of the (post) colonial spaces of both cities, a deeper spacial analysis of Flensburg’s harbour region and a project part in which programmatic and spacial changes to the harbour are suggested based on the analysis. Flensburg and Charlotte Amalie where linked in the 18th and 19th cenutry through colonial trades. Flensburg, then a Danish city, imported rum, sugar and molasses from the Danish colonies in the Danish West Indies. This made Flensburg the second biggest harbour in Denmark after Copenhagen. After Flensburg became German it lost its trading rights and with that it’s connections. While in Charlotte Amalie the colonial influence is very visible in its (post)colonial spaces of today, the shared history is mostly lost in Flensburg. A very different (post)colonial space that only has traces of its colonial past left and removed it from the conscious history of the city. The project’s aim is not only to create a new awareness for Flensburg’s history but also to generate new spacial realities using the (post) colonial past and present as a catalyst. The project consist therefore of three major steps. In a first step the “New Network” is established, a network for cultural exchange between the formerly linked
cities of Charlotte Amalie and Flensburg to gain awarness for the former link as well as Flensburg’s role in Danish colonialism. The second step in the localisation of this “New Network” in the city, first in the West Harbour region and later on the East Harbour, to thoroughly anchor the network in the city’s spacial and cultural fabric. In a third step a major programmatic and spacial redevelopment of the East Harbour front is proposed. With this the (post)colonial theories and methods developed and analysed in the first half of the project are used to generate new spaces in the industrially characterized eastern harbour front. Redeveloping former storage houses and finding a new expression for the open and in between spaces, the history of the harbour is preserved while at the same time it becomes a key element to help the city’s future development. (Post)colonial theories applied to space are still a rarity in the field. These theories applied to European spaces even rarer. In the future this should change as a spaces history has always the inherent potential to generate new space, better space, future space. If we find new ways to engage with the city’s history we may find solutions to contemporary problems in very unexpected ways.
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Fig. 1: “Harbour Culture to Culture Harbour” book
Fig. 2: Zoom area Flensburg
Fig. 3: Material Colonial Markers in Flensburg
Fig. 4: Zoom area Charlotte Amalie
Fig. 5: Material Colonial Markers in Charlotte Amalie
As a first step colonial markers haven been identified in both cities. For that the parts of the city that already existed in the 18th century where isolated from the rest of them zoom area. In Flensburg the material markers mainly consist of former rum houses, storage houses, harbour infrastructure and the “Kaufmannshöfe”. The immaterial markers are consisting of the self identification as the “Rumstadt”, the Danish
influences in language and names. In Charlotte Amalie the search for colonial markers is very different as the city was founded for the sole purpose of the exploitation of land and people by the Danish colonial power. Therefore the focus was set on material markers directly linked to the colonial trade with Denmark. The influence of the Danish language is very recognisable in Charlotte Amalie’s spaces.
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Fig. 6: Flensburg east harbour
Flensburg’s East Harbour is the focus area of the exemplary spacial concept developed in the project part. In contrast to the West Harbour with its historic city centre, the many cultural sites and the scenic harbour front this part of the city is dominated by 20th century industrial buildings at the harbour front. The first silos were already build in the early 1930s but the now present silo complexes are mainly a reaction to the cold war in
order to store enough grain in the region. Behind the silos are many businesses located, which are linked to the harbour. Hillside we find the “Volkspark”, one of Flensburg’s major green spaces. This part of the city stands before major change as the harbour industries are slowly seizing and new programs and spacial offers for Flensburg’s inhabitants have to be found.
Fig. 7: Stakeholder locations of the “New Network”
Fig. 8: Stakeholder for the “New Network”
Fig. 9: “New Network” localisation in west Harbour
Fig. 10: “New Network” localisation in east Harbour
The “New Network” will manage the cultural exchange between the two cities. In Flensburg it is made up of eight stakeholder which are already active, independent cultural players in the city. They are located mainly in the West Harbour region of Flensburg where the main cultural institutions are to be found. When established, the “New Network” becomes itself located in the city. At first in the “Große Straße” - the main pedestrian area on the
West harbour with many shops and gastronomies - to anchor it in the city. After it becomes well established it will get an experimental space in a derelict former administration building on the East Harbour, where it can help along the participatory process for the East Harbour redevelopment. Both places will make the Network visible in the city and the region.
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Fig. 11: The “Three Silos”
Fig. 12: Hage-Speicher
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Fig. 13: Stadtspeicher
Fig. 14: Hübsch-Speicher
Three already existing buildings on the East Harbour will be utilized by the new network. These “Three Silos” will re-purposed to provide living spaces, culture and work in the newly developed city quarter. The “HaGe-Speicher” will be transformed into 300 flats with over 100 being publicly funded. The historic “Stadtspeicher” from 1932 will be transformed to exhibition as cultural spaces working on Flensburgs (post)colonial past
and present. The “Hübsch-Speicher” in the north of the East Harbour will be remodeled into a coworking and maker space to provide a necessary place for the industry 4.0 in cooperation with the university. All three buildings are part of the history for Flensburgs harbour and reusing them will retain their history in the city but giving them a new programmatic future.
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Fig. 15: Redeveloped east harbour front
Three former silo buildings containing living, culture and work linked with public spaces and temporary programs will form the start of the new city quarter on the East Harbour of Flensburg. All three buildings are re-purposed former harbour storage houses and silos. Through that the city retains its inherited history but gives it a new meaning in the present. The public spaces between the three silos are informed by Caribbean motifs and open for adoption by Flensburg’s inhabitants. Buzzing in the summer with performances and concerts. The harbour front is a generous pedestrian area connecting to the walkway coming up from the south and allowing tourist to take a stroll through the quarter when arrived at
the ferry pier. The northernmost public space is the “Zwischenraum�. A place that is reserved for future developments at the harbour front and in the meantime an experimental space for the adjacent co-working space and the cultural centre. Behind the buildings the bike link connects the East Harbour to the rest of the city in a sustainable and urban fashion. While taking a walk along the new harbour front the West Harbour, with all its colonial and (post)colonial developments is visible and the many ships entering and leaving the harbour suggest that it found a new meaning in the present.
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Fig. 16: The “St. Thomas Platz”
This is the central public space in the new development. Lying between the residential “HaGe-Speicher” and the new cultural spaces in the historic “Stadtspeicher” it is an elongated space lined with south European palm trees. Named after the central island of the former Danish West Indies, it will be the arrival point of visitors entering the city by ferry or boat. During the summer it can be used for concerts and performances as well as markets. Mobile street furniture gives the space a multitude of possible spacial constellations. The space warps up against the “Stadtspeicher” and “HaGe-Speicher” as it links the two buildings and with that the cities history in the 20th century. Changing murals will be painted on the wall of the
former 1970s storage house. As we see in the West Harbour, the harbour related build structures have not to be used in their intended way to create incredible spaces and atmospheres for the inhabitants and tourists alike. We should learn from the West Harbour and transform the East Harbour now into a contemporary, diverse and active city quarter. With demolishing the build context of the East Harbour Flensburg will inevitably loose a major part of its identity and its 20th century history. A city that owes most of its past to the harbour now owes the harbour it’s future existence.
// CONDENSE & CONNECT CREATING A “COMMON GROUND” FOR HIGHER EDUCATION Enno Alting, Matthias Tippe
Our world is changing. Due to the fast pace of digitization in combination with increasing numbers of students from all over the world and developments such as pandemics, higher education institutions are facing major challenges. The project “Condense & Connect” specifically focuses on the Leibniz Universität in the city of Hannover as a case study (Fig. 1). Our strategic design approaches are therefore not bound to one city alone but are interpreted as an adaptable catalogue that addresses these challenges in general and turns them into opportunities. 160 One example is the increasing shift in space demands and a whole new way of teaching and learning. Future learning environments will have to stimulate students and teachers in various ways. From smaller, more private solutions for individuals to open, engaging group scenarios. Additionally, to meet the challenges of the ongoing fragmentation of learning facilities (cf. mapping) – a development not only characteristic for Hannover – the key of the proposal is to condense existing institutions of higher education and to create symbiotic proximity – both analogue and digital – that acts as the “Resource” for the knowledge network and the overall public. (Fig. 2-3) The project is divided into three action areas (Fig. 4). The first one focuses on future-proofing already existing structures of higher education. For Hannover, we decided to show a transformation process based on the Conti highrise and the adjacent lecture hall building. Higher education facilities with a high percentage of Human Science are more likely to experience a structural shift. The Conti-Campus, therefore, represents not one building but an entire branch of facilities with
rather conventional teaching and learning methods. The open steel-frame structure provides a solid basis for future flexibility and adaptivity. With our approach, we aim to “fill” the box-like architecture with “new life” that comes in size S, M and L. Special modules include anything from videocall booths and small digital conference rooms to breakout spaces or even guesthouses to facilitate a future-proof campus experience. (Fig. 5-9) With visions for a more pedestrian centred Hannover and traffic-calming measurements, transforming and activating streetscapes – more specifically the Nienburger Straße – focuses on an already existing trend in city planning and depicts our second case study. Throughout two phases, the former street is converted into an recreational outdoor area with three “characters”. An “Outdoor Gallery” creates a canvas for various exhibitions at the northern tip of the Nienburger Straße. Adjacent to the Welfenschloss the “Fun and Fitness” zone provides much-needed activity spaces for students and the overall public. Finally, running the length of the Welfenschloss to the Schneiderberg, the Green Zipper connects the previously divided Georgengarten and Welfengarten forming one continuous recreational zone for students and visitors alike. (Fig. 10-13) For the third and final action area, we re-purposed the existing parking lot at the Georgengarten. With a more pedestrian centred design, huge parking spaces will become more and more obsolete and remaining sites offer great opportunities for future developments. (Fig. 14-21) Besides new types of learning, the proposal includes a broadcast centre to support the production of digital media for online classes. The design
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Fig. 1: C. Perspective Georgengarten: “Common ground”
ANALYSIS
Fig. 2: Overview Leibniz Universität Hannover: Institutions around the Georgengarten
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Fig. 3: Adapting educational facilities to shifting space demands
C. Parking Georgengarten
Fig.4: Addressing urban sprawl and fragmentation of institutions
B. Nienburger Straße
A. Conti-Campus
Fig. 5: Case studies: A. Future-proofing existing structures, B. Activating adjacent streetscapes, C. Transforming parking to “New Learning”
CONCEPT
S - Module videocall booths + small digital conference rooms
M - Module breakout spaces + large
S - Module
LUH - Module
XL Campus
guesthouse + communal
merging other LUH departments
S+M+L, whole campus
amenity spaces
(all scales)
“Common Ground�
Fig. 6: A. Transformation Kit
Fig. 7: A. Scenario: Filling the box-like structure with new life
Fig. 8: A. Proposal overview: Applying the transformation kit
Fig. 9: A. Proposal zoom: Conti-Hochhaus
Fig. 10: A. Proposal zoom: Lecture hall building
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digital conference rooms + showers
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consists of four towers connected by a public terrace that spans the size of the former parking lot. The height of the main tower corresponds with the other landmark buildings of the Leibniz Universität – the Conti-Hochhaus, Welfenschloss, and the Hochhaus Appelstraße – and creates a sense of community and belonging for both students and the public. The architecture of the newest location of the Leibniz Universität makes use of sustainable materials and contemporary construction methods based on the idea of “design for disassembly”. One major focus of the proposal covers the human experience (Fig. 19). To create differing levels of stimulations with varying degrees of privacy, each student can choose between four types of learning environments. The open character of the area beneath the terrace – the “Playground” – provides a lofty atmosphere for students and visitors alike. Limited degrees of privacy are paired with a social 164 component offering a range of interaction possibilities. The public “Terrace” creates a common ground for visitors of the new ensemble. Between the new complex of the four towers and framed by the surrounding trees, the spacious terrace implements various environments. From more secluded parts to a very open main plaza. The fifth floor of all towers is connected by a special element: The “Bridge”. Here employees and students can engage in open dialogue and move fluently between different buildings. The open floor creates more private spaces than the terrace down below and offers a more intimate learning and break-out environment. Finally, the “Towers” encompass the “brain” of the complex. Here students and employees are provided with the most focused environment offering room for concentration. The digital infrastructure paired with modules of various sizes ensures that everybody finds just the right amount of stimulation and interaction. All in all, our proposal for the LUH campus aims to provide a “common ground” for students and visitors alike with an inspiring spirit and welcoming atmosphere.
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Fig. 11: B. Nienburger Straße: Programmatic themes
Fig. 12: B1. Outdoor Gallery
Fig. 13: B2. Fun and Fitness
Fig. 14: B3. Green Zipper
connecting views
scalable hights
volumes between trees
versatile set ups
flexible grid
adjustable positioning
historic axis
scalable floor plans
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Fig. 15: C. Embracing site constraints
Fig. 17: C. Proposal on the former parking lot at the Georgengarten
Fig. 16 C. Structural adaptability
Level of Stimulation
Degree of Privacy
Tower
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Terrace
Playground
Fig. 18: C. Types of new learning environments: Offering choices for students and staff, and creating a full spectrum human experience.
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Tower: private Bridge: semi-private Terrace: semi-public Playground:
public
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Fig. 19: C. Building section (top) and vertical organization of different privacy levels (bootom left)
Fig. 20: C. Perspective: “New learning�
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// PARTICIPANTS
TEACHING Prof. Dipl.-Ing. Jörg Schröder Riccarda Cappeller M.Sc. M.A. Dipl.-Ing. Arch. Alissa Diesch Julia Hermanns STUDENTS Jean-Edouard Jaber Lara Aussel Adèle Belon Matthias Tippe Enno Alting Jes Hansen Elisaveta Misyuryaeva Anna Schlarb
PARTICIPANTS Fig. 1: Urban Narratives - Students excursion Palermo 2019
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www.cosmopolitanhabitat.org
// IMPRINT
COSMOPOLITAN HABITAT. Urban Narratives Urban Design Studio
Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover Based on study projects at the Faculty of Architecture and Landscape, Leibniz Universität Hannover ISBN: 978-3-946296-34-8 Published by: Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover Herrenhäuserstraße 8, D-30419 Hannover www.staedtebau.uni-hannover.de Design and Layout: Riccarda Cappeller, Julia Hermanns Cover: Jürgen Kellig ©2020 Regionales Bauen und Siedlungsplanung LUH Text by kind permission of the authors, pictures by the kind permission of the photographers/ holders of the picture rights. All rights reserved
IMPRINT
Edited by Jörg Schröder and Riccarda Cappeller
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