Hangar Explorations - The RAW area in Halle/Saale by RegionalesBauenLUH

HANGAR EXPLORATIONS THE „RAW“ AREA IN HALLE/SAALE

Edited by Jörg Schröder und Riccarda Cappeller Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover

// TABLE OF CONTENTS

// INTRODUCTION

07 01 - HANGAR AND FUTURE HABITAT HALLE 09 // Concept and Objectives: Experimentation, Reycle, Remix 11 // Localization: RAW and Context Halle 13 // Organization: Three Thematic Areas

15 02 - METHODOLOGY 17 // Workshop-Situation and Model-Making Phase I: Exploration and Programm PhaseII: Concept, Design, Theoretical Reflection Phase III: Process, Communication,Visualizataion 22 // Reference Projects 24 // Timeline 25 // Literature and Further Links Halle 27 29 31 37

03 - EXPLORATION AND PROGRAMMATIC IDEAS // Contextualizing // Archive Material // Site Visit

61 04 - CONCEPT AND DESIGN PROPOSALS // Students Projects 65 Northern Hall. Temporary + X 75 HYBRID HALL 87 RAW QUARTER. Residential + Arts + Work 99 CULTURE HALL 109 // Participants 110 // Imprint

Graphic based on Google maps

// INTRODUCTION

The former Reichsbahnausbesserungswerk (RAW: National Railway Repair Works) in Halle is a huge former industrial site of 10 ha, directly beneath the city centre and the railway station—a brownfield since 30 years and isolated through the railways infrastructure. The current dynamics of Halle as cultural, creative, scientific, and industrial centre open up a new backdrop to look at and explore this area and the fascinating former industrial buildings as space of possibilities—as a HANGAR to experiment and construct urban future. Halle’s position in the metropolitan network of central Germany and near to Berlin add a possible wider significance and interaction for the RAW area as innovative urban hub. This book shows the results of a design research approach to explore potentials of the site and the existing built structures and to envision its future attractive role and shape. Built on research through modelling and referencing, with a creative use of current theoretical debates, a series of spatial and programmatic concepts targets an urban vision of RAW, as place to live, work, research: a new pole for innovative and creative activities, incrementatal and activating, setting arts, culture, and living at the core of a new productive space in the city. Starting from ideas for temporary adaption and a first activation, accelerating forms of digital production and cultural industries linked with innovative housing models, and featuring an art hall for cultural events and exchange, fairs and conferences, HANGAR aims at a multiple and urban performativity for the RAW site.

Together with students in the B.Sc. and M.Sc. courses in architecture and urban design, we defined HANGAR as a maximum space of possibilities, making use of the special architectural character of huge floorspace, long wall, repetitive grids of columns, but also the nature that occupied the empty buildings, the urban silhouette of Halle, and the visibility of and from the highspeed trains. Effectively, in the case of the RAW area the purpose of the huge halls was the maintenance and repairing of trains. Working with the existing site, its fragments, and its generosity, presents the opportunity to contribute to an ongoing discussion on dealing with industrial heritage as a potential for new urban Habitats: as situations of complexity, social, economic, cultural, and political exchange, triggering active engagement by the citizens and start-ups in developing ideas and testing out new possibilities to understand, design, shape spaces of interaction. Many thanks to René Rebenstorf, the vice-mayor for urban planning of Halle, for the initiative, information, and discussion. Thanks also to the collaborators from the Stadtarchiv Halle, especially Ralf Jacob and the Landesarchiv Sachsen-Anhalt, especially Thomas Brünnler for their kindly help to find old pmaps of the site. This design research project has been possible thanks to the energy, curiosity, and creativity of our students—in the digital formats during the Covid-19 pandemic, hybridized thanks to material model building, and incentivized with interactive workshops. We all got fascinated by RAW and the opportunities it can offer for Halle.

INTRODUCTION

Jörg Schröder

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HANGAR EXPLORATIONS

Site-Visit RAW, Halle

Bibliography: Corboz, A. (1978) 'Old Buildings and Modern Functions'. Lotus International 13 (December): 69-79 Dell, C. (2019) – Towards the improvisation of space, Berlin: Jovis Ricci, M. (2015) ‘The Recycle Goa Proactive Manifesto’, in Ricci M., Schröder J., Re-cycle Italy. Towards a proactive manifesto. Rom. Aracne

// HANGAR EXPLORATIONS Concept and Objectives

Building on the design research project “Cosmopolitan Habitat. Urban Narratives” from Summer 2020, where the reconstruction of urban performativity within and after the Corona crisis was discussed, examining and designing several case studies and new urban networks in Halle, this new project “HANGAR” focuses on the area of RAW as future part and place of urban life. The notion of public space, urban networks triggering community and places fostering innovation through spatial and material atmospheres, connectivity, and performativity addressed, also here played an important role. Discovering the near to 10 ha site of the Reichsbahnausbesserungswerk (RAW) in Halle as a new urban element with possibilities for improvising and experimenting processes of spatial agency, social engagement and creative production, was the main idea, while recycling the existing material and thinking of new connections and an inclusive mix were other topics impromptu design project. To engage with a real place, react to its challenges and at the same time develop innovative and utopic ideas requires a certain openness of the designers, an improvised action that tests out possible ideas and takes heterogeneity as a condition for spatial production. Improvisation, following Christopher Dell, is understood as “active way of dispositioning toward, understanding of, and looking at the city […] – a mode of de- and re-territorializing oneself in the making of and perceiving the city, and of accepting the foundational role that contingency plays in this process.” (2019, p. 8) It leads to new relationships and assemblages of actions that test out forms of place-making and living models based on co-living and co-creating. The students worked in groups, thinking, discussing and designing spatial adaptions based

on flexibility and offering ways that would make later changes and transformations possible. The existing architecture was taken as starting point to implement this flexibility through designing the action of re-cycling, putting the unused and abandoned back into circulation (Ricci 2015) and adapting it to present needs, both in terms of content and technical aspects that create a material continuity (Corboz 1978). Looking at the site and exploring it, created a first visual experience and allowed to understand the atmosphere and value inherent in these spaces –a base to transform the aesthetics of perceiving into one experiencing with it – building architectural models and start to experiment while discussing on the public dimensions, new openings and uses of the different places. Drawing out a spatial organization and ideas to combine uses, creating spaces in-between that would allow new intersections and add alternatives to what could already be found in the city, opened many questions: How could HANGAR become a future habitat and gain significance as place for encounter and exchange? Which would be possible visions for an urban design experiment and how could it be realized within the urban context of Halle? What questions would need to be asked and discussed and which projects would support the process of re-discovering the existing, think of a mix of uses and new user constellations, design its future, and communicate the processes that lead to it? A series of topics is integrated in the creative project: bringing together the idea of flexibility and an ongoing process of development in new urban models, the architecture designed, reused, and recycled as collective interpretation and the use looking at the performativity and cultural capacity of the space, connecting actions and places.

HANGAR AND FUTURE HABITAT HALLE

Jörg Schröder and Riccarda Cappeller

Graphic based on Google maps

// LOCALIZATION Context Halle and RAW

Halle/Saale Halle an der Saale, in the south of Saxony-Anhalt, has been always connected to an international network of cultural exchange: through trade (since the Hanse), migration, and knowledge transfer. The city with 238,357 inhabitants (2018) is located at the shore of the river Saale and has been founded in 806, based on the extraction and trade of salt. Important for Halle was also the archdiocese Magdeburg and Luther´s reformation in the 16th century. Also, the Martin-Luther-University in Halle is from this time. In terms of connection and mobility, already in 1860, the city was chosen as main connection point for the train traffic and still plays an important role in-between Magedeburg and Leipzig, but also in the connection of ErfurtKassel-Berlin. Halle is well known for its huge development area „Halle-Neustadt“, planned and built for 70.000 chemical workers during the reconstruction after the second world war – 1959. Until the reunification this part in the west of the city remained nearly independent. Afterwards, between 1990 and 2005, around 80.000 people left Halle, a topic thematised in the „IBA Stadtumbau 2010“. Today Halle is part of the conurbation area Halle-Leipzig and is with the airport Halle-Leipzig and the proximity to the highway intersection „Schkeuditz“, logistically well located and an often chosen location for companies (logistics, chemistry, renewable energy, engineering). With the Martin-Luther University, and the art and design school „Burg Giebichenstein“, Halle is a student city, where culture and creativity actively take part in urban space. In both a social and a spatial sense its heterogenous character is a potential for ongoing processes of transformation and as connection point for many initiatives and diverse fields of interest.

Freiimfelde and RAW Area The Freiimfelde area with the slaughterhouse complex from 1893, to which the former Reichsbahnausbesserungswerk (RAW National Railway Repair Works) east of the rail tracks and partly cut from the inner city, belongs to, has been in focus of interest for a couple of years now. Through its small businesses and production facilities or workshops it is characterized by a high degree of mixed uses. The localization close to the railway trails for both places brings advantage as with the growing frequency of use of the railway lines in-between Berlin and Munich and the regional connection to Leipzig, they also gain attractivity and become important sites for the city to think of and imagine in a future sense. Moreover, in both places still allow expansion and have potential for further developments and new urban spaces. The area of the former Reichsbahnausbesserungswerk with historic halls from 1860, served for repairing trains until ten years ago, and has been closed in 1996. It is situated right next to the train station and ten minutes away from the historic centre of Halle. The area is around 100,000m2 big and currently nearly unused. Only in the outside spaces some building materials are stored. In terms of the buildings, the northern hall is in quite good state and could be used with smaller repairs. The large complex of several halls more in the south are rather ruinous with demolished roof structures and main building parts. Nevertheless, the architecture of the site and its generous spaces are an exceptional setting that opens many possibilities and requires a processual approach that proposes a continuous development and transformation, inviting and including possible future users at an early stage.

HANGAR AND FUTURE HABITAT HALLE

Riccarda Cappeller

1 TEMPORARY + X Social Facilities Co-Working 2 CULTURE + LIVING Production Art and Craft Co-Living Models

3 ART HALL Exhibition Congress Ateliers

REFERENCES DELL, C. (2019) – Towards the Improvisation of Space, Berlin: Jovis

// ELEMENTS FOR AN OPEN SCORE Three theamtic Areas

With the aim to define alternatives to a mere distribution of uses according to a master plan or the partial sale of singular buildings or parts of the area, an integral approach is fostered. It departs from a conceptual pre-definition that brings together culture, art, social initiatives and inner-city production as well as new living models, looking the area as a whole: An urban space with various elements open to transformation, that has to be rediscovered, re-vitalized and developed step by step, searching possible constellations of actors and uses that allow an urban complexity to happen and the application of new financial, but also architectural and social instruments in urban design. To approach the 100,000m2 area, it is thought in three pieces that could be connected to a processual transformation, keeping a general idea to hold it together: 1. the northern Hall as activator, open to participatory processes and first community-gatherings, 2. the first halls of the main complex as innovative sector where cultural production, arts and craft, co-working and co-living come together through new spatial ideas, and 3. the art hall as new performative space for larger exhibitions and congresses linked to the city´s cultural scene. To think the incorporation of temporary uses and strategies for processes and programs that slowly make the area usable as experimental zone and model project and creates additional and inclusive living spaces for the city open to everyone are equally important as to design sustainable and circulatory processes and solutions for establishing new sharing economies, spaces and programs for more cultural exchange on a long-term view. The three spaces looked at as single elements allows to step back from the overall vision and focus, while proposing several solutions for each part that could later be connected

again. As in music, this process is about creating a partition for an open score to be improvised on at a later point (Dell 2019). 1. Temporary + X as activator As the northern hall is the one in best estate, it is imagined for initiating the process on site, bringing together the „pioneers“– interested user groups, small entrepreneurs, start-ups, already involved initiatives and businesses, creating a flexible space that adapts according to the „modi operandi“ within. As constant construction site it allows new ideas to emerge, people to connect and test in small scale. 2. Culture + Living as innovator Working with the existing spaces but also including new elements that change not only the content but also the appearance of the space and react to contemporary challenges of the urban are planned here. Merging creative, cultural production and the request for more housing could also open the space to new living and working models thinking mobility and a networking society in relation to the regional and supra-regional connections. 3. Art Hall as performer Connecting the site to Halle´s cultural scene and opening new possibilities for education, exchange, collaboration, creativity, presentation and discussion, spatially combined or in co-existence, is the idea for the main former wagon hall with its still existing train trails in the floor. In combination with spatial ideas for the access, use and flexible partition of the space, the design idea here could also implement a new event, following the cultural traditions and highlights, such as „Theater der Welt“ (world theatre) in 2008, the annual „Händelfestspiele“, „Women in Jazz“, or the Summer Happening of the Design and Art School Burg Giebichenstein, just to name some.

HANGAR AND FUTURE HABITAT HALLE

Riccarda Cappeller

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0 timeline

references

working ways

METHODOLOGY

left:Project RAW Quarter (Lennart von Hofe, Karina Zinn, Marie-Sophie Waldminghaus) right: Project Culturehall (Phillipp Koch, Hendrik Vortmeyer)

„Architectural thinking and making are about associating various elements, connecting different components (both non-human and human, material and immaterial) by activities of modelling, testing and transforming artefacts, often in a specific material thinking; thinking through the material and the artefacts, including their making.“ (Nilsson 2013, p. 9) In order to encourage an activity of modelling and testing as mentioned by Nilsson, and to (re-) think the RAW area in an experimental way, the process of idea-finding and re-conceptualization as well as the discussion of new forms, ideas and their spatial realization is addressed through model-making. In the scale 1:200 each of the three parts of the area is built and worked with, creating an understanding of the place through abstraction, to then imagine and design alternatives, materializing them in the models. The students, as urban designers involved in this

design-research practice, here act as bricoleurs, combining heterogenous materials, discoveries and findings, through improvising with them and opening their minds to wild thinking, as coined by Lévi-Strauss (1968).1 While connecting different – cultural, aesthetical and technical – components and materializing them in a model, an ongoing discussion and exchange can be used as another instrument for designing. Co-Creation and Collaboration, which during the Pandemic is often lost in-between the virtual worlds, enables a more complex, interdisciplinary and multi-perspectival thinking process that, in particular for the urban design discipline, has to be practiced more often. As the course is designed as workshop-situation with only a few general meetings with all participants, the teamwork of two or three, plays a key role for a critical discussion of theoretical and practical ideas, also in-between the general meetings.

More ideas on design-research practices with small explanations can be found in the online publication „Knowing [by] designing“, edited by Caroline Höfler

METHODOLOGY

// WORKING WAYS Modelmaking and Workshop-Situation

PHASE I Exploration, Visions, Programm

As researchers go out into the field to collect insights and do practical experiments to learn through their empirics, also in this design project the exploration phase is implemented for creating a base of knowledge and discoveries to work with. Due to the ongoing pandemic, the site-visit remained virtual, which for the participants of the course made it difficult to really experience the place. Nevertheless, photographs, (archival) maps and further explanations by the city´s planning department where available resources that together with online research and the reading of small reports about the transformation or state of the place, allowed them to build an understanding of the site, its context and connections around as well as to develop an idea for the role the place could play within the city ’ s future. This first phase was layed out to undertake analytic steps and to examine the place, closely observe its images and to try to gather information about the

existing spatial setting. While on the one hand it was about digging into the site, on the other hand it aimed to encourage mapping first programmatic ideas and creating initial, more intuitive visions. In terms of tools for the communication of the discoveries and ideas gained during this process, diagrams, programmatic schemes, Photo-collages and photos combined with written observations as well as possible procedures for the start of a transformation process looking at ways for connecting the community, engage users and start to actively add on, change and produce space, showed first ideas for the RAW area. The technique of collaging and modelmaking at this point allowed to transport something that might have still not be graspable in words or accurate drawings—associations, blurred visual ideas and possible happenings that would make sense in the place without yet knowing how they could be made possible through spatial changes.

Project Northern Hall. Temporary + X ( Ilya Yazadani, Sarah Tischer, Ajda Lukman)

These first ideas and approaches together with the reference projects (see p. ...) helped the students to take a direction, select and define the main topics and programs to work with and think about how they could be connected or realized step by step. Taking into consideration the observed aspects of the existing buildings, known through the explorative phase, and posing questions to discuss and sharpen the ideas, visions and thoughts, lead to the formulation of design concepts that could work for each of the previously defined parts of the area. The topics of recycling, urbanity, creating new habitats with a programmatic mix and ways to generate a strong link to culture as public, integrative and connecting element, where also reflected in theoretical inputs each group had to present together with their proposal. Thinking about the future of the whole space in general, we imagined an area for experimentation, an open space for the city and its inhabitants to

test out ideas—new living models and ways of co-creating public spaces that could show alternative ways of urban development and would be open to the changing demands of society. To take this direction alternative combinations of uses, undefined spatial situations with open possibilities, realizations thought in processes and the participation of interdisciplinary working and actively intervening groups that are used to often changing surroundings and the act of improvising, where imagined. „In terms of urbanism, this indeterminacy [which we call for here] means that a particular site, can no longer be matched with any predetermined purpose. From now on each metropolitan lot accommodates—in theory at least – an unforeseeable and unstable combination of simultaneous activities; which makes architecture less an act of foresight than before and planning an act of only limited prediction. “ (Koolhaas 1978, p. 85)

Project RAW Quarter (Lennart von Hofe, Karina Zinn, Marie-Sophie Waldminghaus)

METHODOLOGY

PHASE II Concept, Design, Reflection

PHASE III Process, Visualizataion

„[...] while reading a book or listening to a music piece one could imagine a life space, starting from a personal sensation and projecting it in the architectural practice: personally, I find it much more fascinating when an architectural idea originates from estranged fields and then, by observing the plan, you are able to associate it to everything and yet to nothing that has been already seen.“ (Congiu 2012, P. 13). To imagine is to create images. Part of the course was also to develop and test out a visual language that would represent and narrate the design project in an adequate way and show not only a final project, but also its capability to adapt, change and be re-interpret by its users. As Michele Congiu argues on projecting in the architectural,

and we would add also the urban design discipline, the difficulty is to show the necessary information to understand the project, but at the same time to leave open as much as possible in order to allow interpretation – in terms of the elaboration and detailed articulation of the built elements, but also the use, happenings and performances not jet foreseeable. To take part in the actual and ongoing discussions the city started for the future of the RAW area, the concepts and design proposals presented here intend to open discussions based on concrete spatial interventions, readable in the models and collect and give ideas that, as the students in the process of their development, act in concert.

Project Hybrid Hall (Pia-Marie Hoff, Lilly Irmer, Celine Rodewald)

REFERENCES CONGIU, M. (2012) Writing Architectural Narratives.Tangram Edizioni Scientifiche:Trento LÉVI-STRAUSS, C. (1968) Das wilde Denken (frz. 1962). Übers. von Hans Naumann. Suhrkamp: Frankfurt, p. 1-13. KOOLHAAS, R. (1978) Delirious New York. A Retroactive Manifesto for Manhattan. Oxford University Press: Oxford. NILSSON, F. (2013)“Knowledge in the Making. On Production and Communication of Knowledge in the Material Practices of Architecture”. FormAkademisk - forskningstidsskrift for design og designdidaktikk 6 (2). https://doi.org/10.7577/formakademisk.569.

Zeppelin mit Alpenpanorama, Project RAW Quelle: Quarter Stadt (seeFriedrichshafen previous page)

// REFERENCE PROJECTS All examples shown could be explained and looked at through the three topics mentioned. Nevertheless, an emphasis lies on a characterization through the most significant aspects of their urban performance

IDEA: FLEXIBILITY, ONGOING PROCESS The examples of the Fun Palace and the idea of Infinite spaces, which was the French contribution to the architecture´s biennale in Venice 2018, that showed examples of a different kind of spatial transformation, give a theoretical background though their aim for future space. In both, it is imagined as an ongoing, never process of transformation able to adapt to changing challenges through a basic structure open to

more flexibility. In terms of the Fun Palace this means the vision of a theatre stage-like space, that could transform all the time. In the research on Infinite places, large disused areas are thought anew changing the traditional approach to the built environment and its transformation, creating new regulatory instruments and building codes. Important here is the involving of local communities and the support of social initiatives.

ARCHITECTURE: RECYCLE, CULTURAL EXCHANGE, PROGRAMMATIC MIX 22

Important here is the architectural space, its atmosphere and cultural capacity, referring to an historical and social significance. The examples shown are former spaces of production, old factories (Baumwollspinnerei, Tabakfabrik), depots for trams (Uferhallen/Uferstudios) and cars (Kanal Centre), and cultural spaces (Palays de Tokyo). All of them are transformed and re-vitalized within a process, taking the space „as found“ as inspiration and important message. Both their spatial

character and the historic, social and cultural background which also influences people´s attachment to the places, supports the creation of new urban spaces for public cultural exchange, artistic production and presentation, merging the arts, social facilities, start-ups, creative production and events that open the spaces, and in some cases, in others not, make small transformations or adaptions to their structure, reacting to the necessities of the implemented uses.

USE: CO-WORKING AND CREATIVE PRODUCTION In order to show space as educative and engaging meeting point these examples host public and collaborative uses that allow people from various backgrounds to come together and actively take part. They are places of co-working and creative production that offer a variety of spatial situations. The Tapetenwerk Leipzig and the Kreativquartier München are both places with workshops, ateliers smaller offices, arts and crafts, stages and exhibition spaces where events take place. While the Tapetenwerk is privately

owned, the Kreativquartier belongs to the city and is a model project for an ongoing alternative development. The Parckfarm in Brussels is part of a larger development plan and was realized in order to create local and sustainable socio-economic dynamics through an open platform with a public kitchen, facilities for workshops and exchange and urban gardening projects. Also owned by the city, the LocHal in Tilburg was created as new cultural center, hosting a library, various labs and open spaces for the public.

Fun Palace, 1970s Cedric Price

Infinite Places, 2018 Project at Venice Biennale

Kanal-Centre Pompidou Brussels 2022/23

Baumwollspinnerei, Leipzig Tabakfabrik, Linz ca. 2014 2007/2008

Palays de Tokyo, Paris 2012

Tapetenwerk Leipzig 2012

Kreativquartier München 2011 ongoing

LocHal, Tilburg 2018

Parckfarm Brussels 2013/14

Uferhallen / -studios Berlin 2010/19 ongoing

// TIMELINE

15.10. INTRODUCTION Give-Out References First Tasks: Exploration + Collection Ideas Organization Questions 11.11. PHASE 1: Exploration and Programme Online-Exploration + Localization Photos Observations and Ideas Programming 24 PHASE 2: Concept Ideas and Design Progress Presentation Reference Projects + Discussions Creative + Utopic Ideas: Collages, Mind Map Theoretical Reflection 23.11. PHASE 3: Process, Transformation, Visualization Correction Concept (Model/ Collage/Diagrams) Project Narrative + Representation Discussions

8.12.

Final Presentation

22.12.

Hand-in Documentation

Content-related Literature

Informations Halle and Surrounding

- CORBOZ, A. (1978) ‘Old Buildings and Modern Functions‘. Lotus International 13 (December): 69–79

Halle – Culture Schwemme e. V. Halle Peisnitzhaus e.V. Volkspark e.V. La Bim Wuk Theater Quartier Goldene Rose Designhaus Blech (Raum für Kunst) Hr Fleischer (Kunstkiosk) Künstlerhaus 188 Werkleitz e.V. (Zentrum für Medienkunst) Radio Corax (kulturelle Vernetzung Stadt) Kulturstiftung des Bundes

- DELL, C. (2017) ‘Towards the improvisation of space‘. Filozofski vestnik, letnik 38, številka 3, str. 119-136, 180-181 - DIEZ, T. (2016) Fab City Whitepaper. in IAAC Bits, June 2016. https://issuu.com/iaacbits/ docs/6.4.4_white_paper_fab_lab - PERTRESCU, D. (2008) Community and the Space for it - ENCORE HEUREUX (2018) Infinite Places. Constructing Buildings Or Places? Éditions B42: Paris - Enorm stadt Magazin (01/17) Urbania Gestalten - FERRERI, M. (2014) The competing values of temporary use. Wick Zine, 5(19), 4-7. - HAUSER, S. UND GETHMANN, D. (Hg.) (2009) Kulturtechnik Entwerfen: Praktiken, Konzepte und Medien in Architektur und Design Science. transcript: Berlin - KASSEM, A. (2019) ‘A Performative understanding of spatial design, learning from exhibitions‘. SHS Web of Conferences 64. https://doi.org/10.1051/ shsconf/20196403006. - Ricci, M. and Schröder, J. (2016) Towards a proactive manifesto https://issuu.com/recycleitaly/docs/16_re-cycle_towards_a_proactive_man - SIMEOJORIDIS, Y. (2000) ‘Notes for a cultural history between uncertainity and the contemporaryurban condition‘, In: Koolhaas, R. Mutations. Actar: Barcelona - SCHRÖDER, J. (2018) ‘Regenerative City Design‘, in Schröder, J.; Carta, M.; Hartmann, S. Creative Heritage. Jovis: Barcelona

METHODOLOGY

// LITERATURE

25 Halle – Education + Multiplicity + Exchange Leopoldina Martin-Luther-Universität Kunsthochschule BURG Technologiepark weinbergcampus Arbeitskreis Innenstadt Hallianz e.V. Sprachbrücke Euroakademie Berufsschule Welcome Treff Jugendwerkstatt Eigenbaukombinat (Mitmachwerkstatt) Repair Cafe Area/Leipzig Kreativorte Mitteldeutschland Haushalten e.V , Leipzig (Wächterhäuser) Kulturfabrik Pittlerwerke Werk 2 Kunstkraftwerk Werkstätten leipzig

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LORATION AND PROGRAMMATIC IDEAS

Sketch on connectivity and organization of the area

// CONTEXTUALIZING Riccarda Cappeller

Accessing information about the former industrial site of the RAW area during the pandemic resulted to be an unexpected challenge due to the restricted travel, closed institutions and the area´s shared ownership, split in-between the German railway (Deutsche Bahn) and private owners, which didn´t allow a spontaneous or individual visit by the students. Very important and indispensable for the groundwork of the design project, was therefore the on-site exploration with René Rebenstorf, the Vice-Mayor for urban development and environment in Halle. He explained the current municipal and investors intentions for the area and ongoing discussions on its future, while answering to all kind of questions and guiding through the partly decayed, partly still preserved buildings and large halls with its impressive size and atmosphere. The dimensions of both the site and the existing buildings were surprising and stressed the importance for thinking about it with an overarching concept and an incremental development, both aspects integrated into the design task for the students. (explained in p….) Data collection The on-site exploration and field research in the south-eastern part of Halle and the even by Hallensers (people living in Halle) few known RAW area allowed to gather visual impressions and photographs, get informed on the most recent plans of the city, understand the size of the site and the dimension it offers and sort out necessary spatial connections and possible content-related aspects that would lay a base for the design of new and future-oriented ideas and their embedding into the city of Halle. Unfortunately, the information and spatial experience of the RAW area

could only be communicated and passed on to the students afterwards. Their design ideas therefore are built upon the materials presented in the following: a sketch bringing together the main ideas and decisions already taken or planned; various archival maps from the Stadtarchiv Halle and the Landesarchiv Sachsen Anhalt in Dessau, showing the place as it was designed and used originally in the 1970ies; a digitally accessible googlemap with situated photographs that allowed a digital exploration and localization of the photographs, and the photographs themselves that could be used to analyse the space in its current state or project ideas onto it, for example through photo-collages. 29 Urban Boulevard as main urban connector One main element that together with the general partition and pre-defined topics was set as a common departure point and later appears in the design projects, was the planned new connection of the RAW area to the Hauptbahnhof in the north east and with this a new axis and “urban boulevard”, that would run through the whole place as important public space and infrastructural connection, linking the different already existing and planned buildings, such as the northern hall and the planned office building for the federal authorities, the main building complex with its spaces for culture and living and the arts hall as well as possible further alterations around the old community and social house opposite to it, on the east. The boulevard is an element of social and spatial connection, that addresses a new direction and opening of the existing spaces.

// ARCHIVE MATERIAL

Lageplan 1971 Quelle Archiv-Pläne: Stadtarchiv Halle

Lageplan 1975, Quelle: Landesarchiv Sachsen-Anhalt, M404 Reichsbahnausbesserungswerk Halle, Nr. 36

Lageplan 1979 Quelle Archiv-Pläne: Stadtarchiv Halle

// SITE VISIT

HALLE / SAALE EXKURSION

SITE VISIT 37

VIEW TOWARDS MAIN BUILDINGS

Quelle Google Maps

1 NORTHERN HALL

Foto: Jörg Schröder

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1 NORTHERN HALL

Foto: Riccarda Cappeller

2 CULTURE + HOUSING HALL 2

Foto: Jörg Schröder

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2 CULTURE + HOUSING HALL 2

Foto: Jörg Schröder

2 CULTURE + HOUSING HALL 2

Foto: Riccarda Cappeller

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2 CULTURE + HOUSING HALL 2

Foto: Jörg Schröder

2 CULTURE + HOUSING HALL 2

Foto: Jörg Schröder

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3 CULTURE HALL 3

Foto: Riccarda Cappeller

3 CULTURE HALL 3

Foto: Jörg Schröder

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3 CULTURE HALL 3

Foto: Riccarda Cappeller

3 CULTURE HALL 3

Foto: Jörg Schröder

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3 CULTURE HALL 3

Foto: Riccarda Cappeller

3 CULTURE HALL 3

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3 CULTURE HALL 3

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3 CULTURE HALL 3

Foto: Jörg Schröder

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3 CULTURE HALL 3

Foto: Jörg Schröder

4 OUTSIDE

Foto: Riccarda Cappeller

SITE VISIT

4 OUTSIDE

Foto: Riccarda Cappeller

4 OUTSIDE

Foto: Riccarda Cappeller

SITE VISIT

4 OUTSIDE

Foto: Riccarda Cappeller

4 OUTSIDE

Foto: Riccarda Cappeller

SITE VISIT

4 OUTSIDE

Foto: Riccarda Cappeller

ducationalVersion

temporary

culturehalle

hybrid

raw quarter

STUDENT PROJECTS

XX // HYBR

RID HALLE

PROJECT OVERVIEW 63

46 // TEMPORARY+X XX // RAW QUARTER: RESIDENTIAL + ARTS + WORK

XX // CULTUREHALLE

PHASE 0

PHASE 1

PHASE 2

PHASE 3

TEMPORARY+X

The Northern Hall is situated right behind the main train station of Halle and part of an old industrial area. It presents the first of three hangars originally used for the maintenance and repair of railways. The main idea behind the project is how to revive the hangar und establish a new urban space for the city of Halle while maintaining the industrial character. So that a new function can arises within its walls which still connects to its old use and therefore strenghtens the building`s historic backround and its connection towards the city and its region. Because the Nothern Hall is the smallest of the three hangars and the one in best estate, smaller temporary uses are proposed to reactivate the site. Thus this design project is divided into several phases to develop a concept on how to rehabilitate the hangar. Futhermore each phase is subdivided into a programmatic and a structural approach. This strategy makes it possible to integrate an oberservation of other projects and different literature sources, where the belated inclusion of local citziens, the low degree of conceptualisation, the profit orientated approach or the exclusion of smaller institutions and companies in such projets are criticized. So, in the project, the first phase –Phase 0 – mainly deals with catching the interest of different kinds of user groups to engage as many future actors and participants as possible. Also it evaluates the “As-found”-situation and determines which parts are worth preserving and which are restructurable. It defines the main programmatic topic and the project´s aim – the temporary uses in the fields of crafting and microfarming, that creates a

connection to the old industrial function. Phases 1 and 2 are about Networking and Assembling the various ideas for the design project resulting from different kind of workshops, meetings and discussions. After a thoroughly done analysis of Halle and its region to set straight what kind of space the city really needs, small divers teams would be formed to work together to collect and structure their ideas and interventions for the rehabilitation of the hangar. So that in the end one focused program will be developed. After a coherent program is worked up the planning and builing of these installations will take place in a step by step process further and further leading toward a “recycled” new urban space. For Phase 3 the outcome was difficult to predict due to its huge distribution of possible temporary activities and the planned citizens participation the vision we defined is one possible solution of many we could imagine. It arranges the permanent funtions in a L-shape around the main hall, installs a bridge to highlight the industrial structure and creates a walkway leading to another level outside used as a glasshouse build on the old walls. Due to pavement design the main hall is futhermore divided in long- and short-term uses to allow an everchanging circulation of activities and exchange between the new formed community.

Sources Text: https://taktyk.cargo.site/Parckfarm (05,01,2021) M.Ferreri: The competing values of temporary use (2014) A.Corboz: Old builings and modern functions (1967)

STUDENT PROJECT

Ajda Lukman, Ilya Yazdani, Sarah Tischer

Reflections and thoughts on the design process

Aim and first thoughts At the very beginning of our design process we decided to preserve as much as possible from the old structure. So one of the first questions was how to reestablish the existing halls, convert them to a completely new use and at the same time keep their soul, authenticity and history. Furthermore the decision for a concept of temporary spaces gave us programmatic flexibility and many possiblities. The main concept of micro-farming and crafting allows a manufactoring of certain products which could transmit the feeling and “live-style” of a new urban quarter and its arising community. They generate exchange not only connected to its spatial site but transported also into the city or beyond these boundaries. As an example we thought about foodtrucks as one possible medium to form these connections. The notion of “recycling” Our architectural concept aims to modify the building at important points, in order to open up the place to its surrounding outdoor spaces. At the same time the old industrial structure is preserved and even strengthened by adding a bridge to it to give it a new purpose and add a new level to the hangar. With this structural interventions we

wanted to propose both – the rethinking of the existing and the addition of something new. Permanent and Temporary Important was also to set a more permanent counterpart to the ideas of temporality. While the charm of temporary projects thrives from the exciting and short-term “pop-up” character meaning their transience and uniqueniess - they also bring a sense of inconsistence. Therefore permanent uses help to create a growing community so that some kind of stability can be established. Our draft arranges a series of fixed funtions around the “temporary” main hall such as a community kitchen and an urban gardening project. Temporary+X as a intermediator As an answer to the conflict between small selforganised and bigger - more stable - organisation we understand our design project to be some kind of intermediator between the different social groups coming together on the whole area. We want it to adress all kind of different participiants. Therefore the planned open spaces and smaller volumens put in the side ship of the hangar offer a high flexiblity and adaptability.

Sources https://taktyk.cargo.site/Parckfarm (05,01,2021) M.Ferreri: The competing values of temporary use (2014) A.Corboz: Old builings and modern functions (1967)

STUDENT PROJECT

Step by Step approach Essential for our design project is the structuring of into various phases, which allows a reconsideration, backtracking and quick adaption at any stage, which responds to the multitude of people we imagine in this project and the ever changing needs of a city and its inhabitants.

STUDENT PROJECT

CONCEPT

GROUNDFLOOR PHASE 1

45 m

STUDENT PROJECT

CONCEPT

GROUNDFLOOR PHASE 2

45 m

MODELL

SECTIONS PHASE 3

STUDENT PROJECT

CONCEPT

GROUNDFLOOR PHASE 3

45 m

Figure 1. Axonometry - Designelements GSEducationalVersion

// HYBRID HALLE

By changing the use of the former “RAW-Gelände” and reprogramming the former industrial structure, it is reconnected with the urban and social context of the city. In order to revitalize the halls, the big open space is divided into three areas and programmatically defined through inhomogeneous and temporary as well as continuous uses. The three areas, living, working and culture, are formally linked by reoccurring design features. In the living part of the halls, modules of different sizes are available that can be adapted to the specific needs of each resident. Through the opening of the existing facade to the north, residents are also connected to the outside green space. By removing the existing roof of the halls, the space within the northern halls is transformed into a public inner courtyard that is defined by urban gardening and open spaces. In the work area, modules create space for possibility. The designed boxes can be moved freely, which enables the people working there to create different space configurations and to use the surroundings of their own box as a semi-public space. The individual boxes are only equipped with the bare essentials, as there are large rooms in the southern area with common equipment, which are accessible to everyone. Above this on a second level there is a public library that provides both study and co-working spaces. This place programmatically connects the big halls with its urban and social context. This is emphasised by an big elevated glass box, placed above the library which creates a landmarklike long-distance effect due to the view of the outside. Compared to the living and working area, the cultural area is more open, but takes up

design elements and aspects of the other areas. All three areas are connected with each other so that a free flowing public space is created. Comparable to the other areas, the cultural part houses many different uses, which again leads to a better exchange and public programs. There are, for example, some two-storey units that are accessible from the Urban Street on the outside and are therefore ideal for businesses that have a small inner-city production. Furthermore there are studios and seminar rooms that can be rented, some of which can be used regularly, others temporarily. Just like the studios, the main hall is accessible from an internal open space. This large open space with its stage and grandstands can be used as a theatre, concert hall or auditorium where the café serves as a point of attraction. If closed, the space surrounding the boxes create calm spaces. This is also evident in the facade, as there are openings you can sit in that connect to the outside space. In the middle of the free flowing interior space there is another, vertical opening in the roof, which gives the place underneath a special quality as well as a landmark effect. All three areas are different but are formally and programmatically connected to one another through the outside space, the urban street as well as openings inside. Each of the three parts influences the local and regional context in different ways.

Sources Text: http://www.spinnerei.de/ (30.05.2020)

STUDENT PROJECT

Hoff, Irmer, Rodewald

Working Model: testing Volumes

Reflections and thoughts on the design process Flexible space and adaption to users Due to the flexible floorplans in the apartments and in the working area a sustainable, adaptable place is created. Therefore the concept works in every stage of the project. Within the design, different public spaces are spatially but not socially defined. This is to allow space for unpredictability and bottom-up proposals issued from real claims. Because of the informality of the spaces they have an identity-forming effect. Since they can react to their specific context, the programme of the spaces can always be adapted to the users. The design does not aim to create a uniform social space, but to offer a collective of residents and visitors several spaces in one place for possibilities that has a unique character and creates identity. Walkable distance Since many aspects of human coexistence, such as living, working and free time, are close together and easily accessible by foot through the newly programmed halls, a social density is created in the big area. This social density makes it possible for the different, smaller spaces to function according to their own dynamics and adapt specifically to the residents needs. Inner City Production In order to strengthen the connection of residents and visitors with their social and urban context, we were inspired by the principles described in the “Fab-City Whitepaper”. It was particularly interesting to find out what influence local, inner-city production and cycles have on the understanding of the city and urban space. If one

were to consider our design as a kind of city within the city, the “RAW-Gelände” could be seen as a kind of testing ground to try out the approaches of the “Fab City”. However, it is unclear how strict one would have to be in implementing the rules and principals in every-day-life to be successful. In any case, it should be noted that inner-city production is certainly identity-forming, as described in the text and therefore favour other participatory processes. In addition, we believe that even if the restructured “RAW-Gelände” functions as a whole, it is still important to link it spatially, socially and programmatically to its urban context. The design is therefore not to be understood as an enclave or island in the city, but as part of it. Both, the cycle of “live, work, life” and the processbased development of the entire project create identity and therefore transform, the “RAWGelände” into an active urban and social part of the City of Halle again.

Sources: Community & Space for it, Doina Petrescu Fab City Whitepaper

Pictograms/ diagrams free layout

!! links : JPG , no PDFs and Ai

Figure 2. Siteplan - Connection and Program

Figure 3. Public space and modules

Figure 4. Programs working together

Figure 5. Impact on the surrounding - locally and globally

STUDENT PROJECT

ANALYSIS

Figure 6. Ground-plan

20 m

Figure 7. First floor plan - library level

20 m

STUDENT PROJECT

CONCEPT

Figure 8. Roof with openings and glass boxes

20 m

Figure 9. Different module configurations

STUDENT PROJECT 83

Figure 10. Spatial configurations in the work area

CONCEPT

GSEducationalVersion

Figure 11. Remodelled northern halls

STUDENT PROJECT 85

Figure 12. Model

86 Figure 1. Modell

Figure 2. Modell

// RAW QUARTER: RESIDENTIAL + ARTS + WORK

The central halls of the RAW area – the second segment – consist of former factory workshops and storehouses. As the analysis of the construction showed, most of the roof material was damaged, but the supporting structures were in good condition. Therefore, we decided to remove the roofs and open up the halls at first. The further development shall take place in phases. For the first phase, we connected the proposed interventions of the city for the RAW area to our concept: a bridge on the south-eastern side, which connects the area to the city and orthogonally a boulevard on the north-eastern side of the halls. From the bridge we created huge stairs, which directly lead into the RAW Quarter and build the start of a new axis throughout the halls. Besides, the bridge enables to create a connection to the third segment and with two staircases, that integrate ramps for bicycles, it leads to the boulevard, a new urban space leading through the whole RAW area, and the park located between halls and tracks, which contains a common yard for gardening, green houses and cafés. In phase two, a culture hall where different events like concerts, exhibitions or performances of diverse artists can take place, will emerge in the south-eastern part of our segment. Furthermore, there will be a quarter office, where people can discuss and decide how the quarter can be further developed. The cultural area is a solid building with an event hall, cloakroom and gastronomy, but always changes its program depending on the current users, which can move the flexible stage. In Phase three, the halls in the northern part will be re-used as a place for working, with focus on production. It has an open structure, that

harmonises with the consisting ones. Towards the boulevard it is more open and gives the possibility for flexible use as for workshops, presentations and repairing. The working part in the back has constant structures for offices or maker spaces with open work courts. To complement the open floating space in the front, there are two main entrance halls, that are free from any interventions. While some parts of the halls will be covered wth new roofs, the entrance halls will be still open to preserve the character of the industrial history. For more density and as counterpart to the highrise on the Riebeckplatz, we decided to build living-towers that assembled up of modules in phases four and five. These living-towers shall create a new way of living through condensed private spaces and complementary functions. Next to the continuous staircase, there is a free space, which can be individually used by the residents. Beside it there is a common space like a lending library, meeting room or common kitchen on each level. On the ground floor are rooms for functions like laundry and storage. An entrance court creates an enjoyable atmosphere for each building access. The structural main topic was to re-think the halls as a fundament for the housing. So the living-towers and the existing walls create a second facade together, which creates a space inbetween, a revolving platform, which is not only used as access for the individual flats, but also as addition to the living space. All in all, RAW quarter will become a new part of the city, that gives diverse program and structural transformation, common spaces and flexibility. It combines residential, work and art and is a place for creativity, encounter and interaction.

STUDENT PROJECT

Karina Zinn, Lennart von Hofe, Marie-Sophie Waldminghaus

Reflections and thoughts on the design process For the project we had to get to know a place from afar, formulated guiding principles for the urban transformation and finally developed a spatial attempt for a completely new urban quarter for the city of Halle an der Saale. The draft and way of working was structured in stages. Due to restrictions, a physical site visit has not been possible. This unfamiliar situation led to the need of a new kind of approach.

Get to know the existing Provided pictures and information in combination with online research enabled to understand the site, its characteristics and condition. In terms of structure the large number of factory halls of different sizes, the irregular connections between those and the location next to the tracks striked the eye. On the architectural side, it was the high-quality brick walls, the steel roof framework and its columns underneath. Old, New + Analogies Our main objective was to keep and even free the identity-establishing structures and elements. Architectural, there were two main concepts: the principle of the “house in house” where a new building is put into the existing halls, creating a usable “space in between” by keeping some distance and appreciating the old and new and the concept of “parasitic architecture” where the new build contrasts with the materials and form of the old structures while preserving it at the same time. By using reference projects, we developed a concept with structures and rules that would be universally applicable in our area. In view of the aspects of urban planning, we aimed

to reach a strong contrast with highly compressed private rooms and an open public structure. After drawing up the concepts, we reviewed them and examined what influences have to be considered and what needs to be softened to enable to leave the theoretical level and make it realisable. Dimensions and design principles On a printed plan of our site, we predefined the positions of functions and condensed spaces horizontally. Next to the tracks, where noise can be expected, the buildings stand closer together, while the structure opens up to public areas like the boulevard and green spaces. The physical model helped to proportion the relation between the existing and the new build, especially in vertical. The main spatial difference is set between the public areas of culture and working and the residential buildings. The private living spaces were strongly compressed to encourage community and create density and an urban atmosphere inside the new quarter. Because of their height, there was the need for a review of natural lighting and shading and the vertical proportion to the urban context. These checks and subsequently adaptions helped to find the final proportions of the volumes. The spaces for working and cultural activities were designed more open in their structure to complement with open spaces. Their heights were limited by the existing halls. All of these areas were brought into a balanced ratio.

When thinking about the different spaces more precisely, we wanted to not just create a space with fixed boundaries and program, it shall go beyond like “a fully lived space” as Edward Soya called it1. A combination of a built form of space and the perceived space, something that could be. Open spaces, transformable in form and in use . Contextualise By imagining the movements of different kinds of users, we found answeres to the questions how to reach the area from the city, how and where to get in and how the connections and relations to its surroundings are. This way we integrated the draft into the bigger context of the area and the city. Moving through The inner circulation needed clear and instinctive orientation, which was generated by a continuous main axis. Additionally, free circulation should be enabled, so the axis overlaps with open floating spaces, generating multiple possibilities to move. Creating spaces for a new society As Team 10 already formulated in 1986 “[A] new sort of society needs a new sort of environment. An open society needs an open city.”1 It is necessary to respond with the design and concepts of spaces to developments in society. So, for our open society where individuality is important, but community is also an important aspect, we tried to create spaces that are open and flexible and float and mingle into one another. While the condensed part on the back, is characterised by the repeated motif of the “space in-between”, the front has differentiated open spaces that are oriented to new build structures.

Impressions and atmospheres When the design itself was finished, the 3D-Model helped to give an impression of atmospheres by generating images from the human perspective. It was possible to show aspects like the integration and harmony of old and new structures and the different atmospheres of the various kinds of spaces. The physical model created an overview of the project and the principles used. Reflection To reflect the approach and process of the project, the main question of the book “Kulturtechnik Entwerfen” comes to mind, which questions if designing just uses several cultural techniques or is even one itself.2 Throughout the process of designing, we used different techniques for different phases, but these techniques were not used completely separately from each other they complemented each other and just their combination enabled reaching the shared objective of creating the new RAW Quarter. Reflecting this process, designing felt like more than just the addition of several techniques.

Sources: Notes for a Cultural History Between Uncertainty and Contemporary Urban Condition, Yorgos Simeoforidis Kulturtechnik Entwerfen, Daniel Gethmann + Susanne

ANALYSIS

Phase 1: Connection + Phase 2: Culture

Figure 3. The new RAW Quarter

Phase 3: Working + production area

Phase 4+5: Residential towers

Figure 4. 3D-Section - Living priciples

256 living units

+41 social spaces Figure 5. Analysis

ANALYSIS

Figure 6. Ground floor - program

20m

STUDENT PROJECT 93

Figure 7. Zoom out

Figure 8. Ground floor

STUDENT PROJECT

CONCEPT

20m

Figure 9. Inside a residential tower - the space in-between

STUDENT PROJECT 97

Figure 10. RAW Quarter Working area

Figure 1. Modelfoto

// CULTUREHALLE

The southern part of the greatest building complex is planned to be revived as a cultural event and art exhibition hall which can be used for the main events in Halle as well as new types of exhibitions. For example the Kunstmuseum Moritzburg can use the area for new temporary exhibitions and for the artwork of the students. Other imaginable usages are for the Händelfestival or the Theaterfestival which both happen every year. There are offered many different usages linked to art and culture as well. The most important features of the transformation concept is to keep the old industrial structures while opening up the halls and finding a flexible form of separation possible different kinds of uses. The main entrance for the art district is from the south and is connected to the new boulevard in the east which serves as an internal connection and links the area to the main station and Freimfelde. The front square offers an outdoor workshop area and outdoor exhibitions, the entrance hall is used as a foyer and connector between the different parts of the complex. It houses the souvenir shop and a counter with cloakroom too. On the left there is a cafe with an outdoor seating area. On the right there are public workshops and a printery which can be reached from the outside too. A separated hall with elevated stage can be used for concerts, lectures or theater performances. There is also a backstage with storage in the back. The main part is more flexible and offers space for many different usages like exhibitions, conferences, workshops, cinema, dancing events or lectures and can be reached from the foyer and side entrances next to the boulevard. This area consists of three different halls With the aid of

the curtains and the movable walls you can create separated spaces for different usages and manage the stream of visitors. Thus could be hold different events at the same time but it is also possible to use the whole building for one huge exhibition. The walls can be stored in an annex. Another outbuilding contains space for utility and storage, another one the management offices. In the northern hall, the foyer and the cafe are staircases to link the ground floor to the first floor which is like the southern part of the area more rigid. From the gallery in the entrance hall practice rooms, where associations can practice are connected as well as recording, VR-, video and photo studios, which can be used from the interested visitors. On the right side are private artist studios with outdoor working areas which can be visited sometimes. A bridge cuts trough the northern and southern part of the hall and you can get a view of the exhibitions from above. The lower parts are crossed with a closed bridge. It leads to an elevated bike and pedestrian path above the northern side annex which connects the area to the surroundings in the east and south of Halle above the train tracks. Thus serving as another main access point apart from the art hall to the cultural and housing part in the northern half of the building complex too.

STUDENT PROJECT

Philipp Koch, Hendrik Vortmeyer

Reflections and thoughts on the design process

100

Reuse and new connections The southern part of the main hall complex is planned to serve as an art exhibition and conference center. Our aim was to keep the character of the huge connected halls and add some details to improve the ways of using the buildings. We also decided to structure the outdoor spaces around the building complex. An important conceptual decision was the new connection to the east and west above the train tracks and via the buildings. Another idea was to keep the coherent halls as one large space for exhibitions that could be devided according to the uses. To define the inner structure of the buildings we extended the connection to the northern end of the area with an elevated structure through the halls. Architecture and exhibitions In “A performative understanding of spatial design. Learning from exhibitions” from Ayman Kassem we’ve found out that architecture and exhibitions are somehow connected. Spatial design could be a performance of space like theater or different transforming events. They are changing all the time and therefore have to be flexible and variable. And so the space becomes the performer. Building upon this idea we developed a system of flexible movable walls and curtains between the halls. Thus the space can be arranged to suit the concept of the exhibition. The second text which is closely connected to our topic is “Towards the improvisation of space” by Christopher Dell. For him spatial improvisation is not just repairing situations in urbanism but also could be a mode of practice. To produce new urban

spaces in situ rather than only navigate through them. Because the urban sphere is full of change, intersection movements and unforeseeable situations the social condition of a city can not be captured permanently. Therefore city is a space of possibilities and contingency. If you want to plan in the city Dell says that you have to exert targeted influences on changes to the city while analyzing the existing features. From this article we learned that our actions should not only be based on creative drive planning but must interpret the increasingly disparate social claims to the city too. We agreed with Dell’s opinion therefore trying to enable the possibility of improvisation which is very easy in the flexible exhibition part but should also be considered in more rigid practice rooms and studios section. There could be offered a wide range of different and changeable usages in a consistent cover.

Sources Dell, Christopher: Towards the Improvisation of Space, HafenCity Univesity Hamburg. Kassem, Ayman: A Performative understanding of spatial design, learning from exhibitions, City University Tripoli. https://www.mataderomadrid.org/en (06.01.2021) https://www.spinnerei.de (06.01.2021)

SPATIAL DESIGN

Anyman Kassem

Christopher Dell

101

TRANSFER

Figure 2. Spatial Design

102

Figure 3. Usage - ground floor

Figure 5. Rigid and flexible

Figure 4. Usage - first floor

STUDENT PROJECT

CONCEPT

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Fig. X: title - Rotis Sans Serif Std regular; 6PT; baseline grid

Figure 6. Ground Floor - Händel Festspiele

Figure 7. Section

xxx m

37.2 m

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Figure 8. Ground Floor - art exhibition | conference

37.2 m

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CONCEPT

105

Figure 9. First Floor - with elevated pathway

37.2 m

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Figure 10. Storyboard - stage hall

STUDENT PROJECT

CONCEPT

107

Figure 11. Storyboard - exhibition hall

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TEACHING

STUDENTS Lilly Irmer Lennart von Hofe Pia-Marie Hoff Philipp Koch Ajda Lukman Celine Rodewald Sarah Tischer Hendrik Vortmeyer Marie-Sophie Waldminghaus Ilya Yazadani Karina Zinn

TEACHING AND STUDENTS

Prof. Dipl.-Ing Jörg Schröder Riccarda Cappeller M.Sc. M.A.

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// IMPRINT

HANGAR EXPLORATIONS THE RAW AREA IN HALLE/SAALE Edited by Jörg Schröder and Riccarda Cappeller Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover

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Based on study projects at the Faculty of Architecture and Landscape Leibniz Universität Hannover ISBN: 978-3-946296-38-6 Published by: Regionales Bauen und Siedlungsplanung Leibniz Universität Hannover Herrenhäuserstraße 8, D-30419 Hannover www.staedtebau.uni-hannover.de Design and Layout: Riccarda Cappeller, Rebekka Wandt Cover by Rebekka Wandt, based on drawing by Lennart von Hofe, Marie-Sophie Waldminghaus,Karina Zinn ©2021 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