INTERDISCIPLINARY, INTERCULTURAL, INTERACTIVE: EXPLORING NEW EXHIBITING PRACTICES
Master-Thesis at the Bauhaus University Weimar Study course Mediaarchitecture
Alla Grishko
INTERDISCIPLINARY, INTERCULTURAL, INTERACTIVE: EXPLORING NEW EXHIBITING PRACTICES Dipl.-Arch. Alla Grishko / Matr. 112436 Master-Thesis at the study course MediaArchitecture Prof. Ursula Damm (Gestaltung medialer Umgebungen in MediaArchitektur) Prof. Dipl.-Ing. Dipl.-Des. Bernd Rudolf (Bauformenlehre in MediaArchitektur) Bauhaus Universit채t Weimar, 2015
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This Thesis is dedicated to all the people by or against their will living in a foreign country. To that feeling of not belonging, being strange and not fitting in. Remember – home is always with you, you can find it in things around you.
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CONTENTS PREFACE
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PART ONE. MEDIUM ARCHITECTURE
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PART TWO. FREMDE. ZUHAUSE. ON BELONGING PART THREE. HOME AWAY FROM HOME BIBLIOGRAPHY
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LIST OF ILLUSTRATIONS APPENDIX
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PREFACE
It all began around three years ago. I left my home country and moved towards the utopian imagery of a better and brighter future in another country. As everybody among my foreign friends, I faced the cultural shock and misunderstanding, which are essential to one living in a foreign country or environment. Yet the genuine identity crisis took me over first in Norway, at the time of my internship at the end of my studies. In a company of other internationals, it was common to introduce oneself starting “Hello, my name is ... and I come from NN”. It was the first time for me that such a simple question seemed to be so complicated to answer – how would people with migration background answer short and understandable? And most important, where is “the home” to me now? The feeling of being foreign in a particular place or environment is among the emerging questions not only to millennials, but also to many other people. Persons, whose country of birth ceased to exist, and those, who found their country in a state of war and were forced to exile; and those, who under different circumstances don’t feel like they belong anymore, they all relate to this feeling. The desire of this Master-Thesis is using the tools of Mediaarchitecture to give an opportunity for those, who feel themselves foreign and alien, to find a home away from home. It is also an opportunity for all those people, who are lucky enough to not ever feel themselves foreign, to change the roles and to experience the feeling of foreignness. And lastly, the main strive is to start a dialog between the both groups, as well as to provide a platform for cooperation and better integration. The thesis consists of three parts: the first chapter accommodates research on the mediality of architecture. The second chapter investigates the phenomena of foreignness, home and belonging; the third holds a design proposal for the installation “Home away from home” in a newly reopened Weimar premise.
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PREFACE
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PART ONE. MEDIUM ARCHITECTURE
COGNITIVE APPARATUS
“I see as the fundamental task of architecture the mediation between the world and
ourselves, history, present and future, human institutions and individuals, and between the material and spiritual. (…) As the settings of our lives are losing their human
meaning, it is the task of art and architecture to re-mythicize, re-sensualize and reeroticize our relationship with the world.”
- Juhani Pallasmaa, The Eyes of the Skin, 2012
With this quote, Finnish architect and theorist
However, using which tools could it
Juhani Pallasmaa mentions the significant
communicate?
quality of architecture, namely the mediality
The classical media, which architecture
of architecture.
comprises, are the very familiar analogue ones: light, space, air, colour, texture, symbol, sound
To begin with, what exactly the media is and
and material. Meanwhile, due to technological
how could it relate to architecture? Different
progress and digitalisation, so-called “new
dictionaries define term media more or less
media” such as digital imagery and audio,
similar; for example, the MacMillan Dictionary
data, computing and devices also became
Online (“medium”, Def. 1, 2015) states
often exploited in architectural space.
following: In his case study of Medium Architektur,
medium noun /ˈmiːdiəm/ (pl. media, mediums):
Zimmermann (2003, p. 9) offers to define an architecture by its media, as well as to perceive
1. a way of communicating information and ideas a. a particular type of art used as a
architecture as a medium itself. He compares it to such cognitive apparatus, a perceptual
way of expressing ideas or feelings
machine, which to the particular way mediates the reality.
Consequently, applying this term to architecture, we can define mediaarchitecture
Indeed, it can be perceived as a kind of
as “type of communication of information,
machine, which transmits certain emotions
ideas and feelings through architecture”.
and feelings with a help of its tools. It affects all our senses simultaneously. Pallasmaa (2012,
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MEDIUM ARCHITECTURE
of our body. Our domicile becomes
p. 45) defines the touch of architecture as
integrated with our self-identity; it
a multi-sensory experience, which not only
becomes part of our own body and
transmits the attributes of space and scale, but
being.
also strengthens the existential experience and sense of being in the world as the very sense of self.
In addition, he alleges, that the experience of architecture, along with space, matter and
In the works of Zumthor (2006) and Pallasmaa
time fuse in a common dimension, which
(2012) the language of architecture compared
affects one’s sensations. This dimension
to a code, which is learned before words and
becomes an essence of self-identification
which affects directly the nervous system and
with this very place and moment. To put it in
one’s imagination, an instinctive adventure.
another way, via senses architecture becomes
The archetype of such adventure is found, for
the medium between the world and us.
instance, in our childhood memories. Long before words or language we would recall
Several studies allocate the idea of an
the atmosphere of a place: whether it be own
alternate dimension to architecture (Zumthor,
room, classroom, street, neighbours backyard,
2006, Zimmermann, 2003, Pallasmaa,
playground or kitchen. Much in advance of
2012). For example, Zimmermann expresses
learning a language we learn atmospheres
the immersive aspect of the virtuality of
of the environments; they mediate through
architecture as: “Architecture has appeared
senses and perceptions. Stumbling upon a
in different illusion techniques always as a
sharp corner of a table, a child gets his first,
simulation, as a construction of virtual spaces.”
pre-lingua cognition of the architecture
(2003, p. 12).
and space. Equally, while traveling we
Whereas Zumthor (2006, p. 12) comments,
encounter architecture and space, and this
that he perceives architecture neither as a
new experience unintentionally becomes an
message nor a symbol, but as “envelope and
important part of who we are.
background for life which goes on in and around it, a sensitive container for the rhythm
Atmosphere of the architecture is a
of footsteps on the floor, for the concentration
representation of one’s experience, recalling
of work, for the silence of sleep”, and which
something both known and yet brand new.
exists in its own dimension.
Pallasmaa (2012, pp. 76-77) brings forth the
Also, further adds “In my work, I contribute
connection of the experience of architecture to
to the existing physical framework, to the
self-identification through the act of memory;
atmosphere of places and spaces that kindle
he states:
our emotions” (2006, p. 85).
All experience implies the acts of recollecting, remembering and
comparing. An embodied memory
has an essential role as the basis of
remembering a space or a place. We
transfer all the cities and towns that we have visited, all the places that we have recognised, into the incarnate memory
In essence, architecture reciprocates reality of its tools to virtuality of created atmosphere. According to Pallasmaa (2012), one’s emotions and associations to the space are being echoed by space in its atmosphere, which attracts thoughts and perceptions. Architecture is experienced rather as an embodied spiritual essence, which gives one’s existential
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experience “a strengthened coherence and
Unlike Unwin, Pallasmaa (2012, pp. 12-13) sees
significance�.
architecture as a channel not only between
A broader perspective has been mentioned
architect and a person, but also between
by Unwin (2010, pp. 220-221), who implies
a man and the world. He carries out the
the ability of architecture to mediate beyond
idea that the buildings and cities provide
accustomed senses:
the horizon for the understanding and confronting the human existential condition.
Architecture involves other senses too,
Architecture projects meanings, and gives an
emotional senses: curiosity, uncertainty,
opportunity to reflect on own sense of self
trepidation; fear; contradiction; refuge;
and being. It accommodates and integrates
humour; well-being; secrecy; display;
our thoughts and feelings, and allows us to
transition; arrival; exclusion; welcome;
experience ourselves spiritually.
these reside in a person. All these and
Altogether these studies provide
entertainment and many others. All
more are part of our experience and
important insights into the topic of
enjoyment of buildings. They depend
the mediaarchitecture. They reveal the
not just on information received
communicative role of architecture and its
from our five senses. They depend on
environments and nurture the sensuous
interpretation. Architecture mediates
experience. Architecture in all its complexity
between people and their surrounding.
acts as a medium itself.
Architecture is also a mode of
communication between the mind of
the architect and that of the person, a gift from one to the other.
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MEDIUM ARCHITECTURE
PAVILION. PRODUCTION OF EXPERIENCE AND SENSATION
One of the most standout examples of the
Over the course of the last century, pavilions
mediality of architecture in a classical way
(from Latin ‘papilla’ /butterfly/) shifted their
could be seen in a German Pavilion, built by
purpose from initially intimate, ‘cocoon’
Mies van der Rohe for 1929 Barcelona Expo.
space in backyard gardens of the 18th century
Here, van der Rohe used different materials
to an open platform for artistic expression
and textures to enhance the space and to
and statement masterpieces. In his study,
create translucent, almost floating impressions
Bergdoll compares this transformation to
of the walls. Marble in different colours, red
“transformations in architecture itself, from
curtains, transparent glass and the perfection
a quest for new forms or representational
of the water reflection in the yard are so
specificity to a search (…) for autonomy of
harmonizing with each other, that the
expression and space-making”. (2009, p. 14)
pavilion appears to be a sculpture, rather than
In his later essay for Detail Magazine, he notes,
an architecture. Not to mention the initial
“the boundaries between the object and field,
temporary life of it – even the medium of time
the architect and the participant are becoming
affects the ambiance.
blurred through the installations”.
In his analysis of pavilions, Bergdoll (2009, p.
The museums of the twenty-first century
14) characterizes the Barcelona Pavilion as “an
emphasize not solely on the archiving the
iconic embodiment of the spatial potential of
artistic works anymore, but as “the fields
a new architecture of abstraction”. Indeed, it
for experimentation and as the venues for
was the one-of-a-kind masterpiece, intended
experiences” (Bergdoll, 2013, p. 1068).
to display the architecture as national pride.
The pavilion of nowadays, therefore, is
Both abstract and experienced space, it turned
not only architectural shell, but also an
the visitor to actor – and while strolling
atmospheric enhancement of the existing
between the walls and spaces of the pavilion,
building (as in, for instance, Venice Biennial,
one continually discovers new perspectives and
Monumenta, Documenta and similar).
views.
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PROGRAMMING NATURAL AFFECT. MEDIA ARCHITECTURE BIENNALE 2014
In order to find out, how Mediaarchitecture
As a part of the Biennale in Aarhus, I also
is being perceived by professionals all over
participated in a “Programming natural affect”
the world, November 2014 I went to the
workshop, led by Anna Ulak (University of
MediaArchitecture Biennale, which took place
Toronto) and Philipp Rahlenbeck (MultiTouch
both in Copenhagen and Aarhus.
Berlin).
At the pre-event in Copenhagen on the 19th
The goal of this workshop was first to create
of November, we went on a bus tour to the
in teamwork a pavilion structure from pre-
most mediaarchitecture sites of the Danish
fabricated blocks. Secondly, the workshop
capital. They ranged from analog art objects
aimed to introduce the participants to the
to the Kinect-based light installations and
basics of VVVV programming, and to let them
facades. What could be seen in any of them
create the code of “natural affect”, which
was a participatory objective: whether it
would be projected on the sides of the pavilion
be changing the “happy wall” by manually
during the main exhibition in Godsbanen.
reassembling it, using the warmth of one’s
The structure that we built had pathways and
body to move the light or sending the sound
niches and could be experienced from both
of your walk over the ocean.
outside and inside, amplifying the augmented environment of nature. As a result, we
The lectures and talks were very exciting and
created an interdisciplinary and collaborative
brought better understanding of the variety
pavilion, which mediates the nature affect
of Mediaarchitecture practices. Stage design,
through metaphors. This project has also been
installations, urban interventions, media
mentioned in architectural media afterwards.
facades, interface design, architecture and many other facets. Not to mention, it was an excellent opportunity to meet and talk to the pioneers of the field.
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MEDIUM ARCHITECTURE
EXHIBITIONS. PERSPECTIVE OF PERCEPTION
“Architecture can make space for art, and art can make space for architecture. Landmarks are not always visible; icon exists in the mind. Within architecture the iconic is to be found in the relationship between content and form.”
– Snøhetta, Conditions. Snøhetta: Architecture. Interior. Landscape, 2007
In the past decades galleries, pavilions and
Greenberg et al. (1996) argues, that exhibitions
the biennale have experienced a big change
are not only for a chosen circle of persons, but
in the exhibiting practices: going hand in
that they are the medium through which art
hand with the technological boom, the art has
becomes known. They act as a primary site
developed rapidly and brought interactivity
of exchange, where the cultural meanings of
into exhibitions. Professionals from all kinds
art are appearing and being transmitted. This
of different fields and countries come togeth-
view is supported by Pallasmaa (2012, p. 99),
er, to work interdisciplinary and share their
who writes that:
skills. Globalisation triggered the intercultural Our culture identifies the world of
collaborations and introduced a new approach
ideas and the everyday, and thus
to the teamwork. The border between artist
nullifies the function of art as mediator
and curator, architect and artist, contemporary
between the two (…) art must stir a
art and science, becomes less visible, whereas
consciousness of the metaphysical
art and architecture flow into symbiosis amid
dimension superseding the everyday (…)
exhibition planning processes.
The job of architecture is not to beautify or ‘humanise’ the world of everyday
In his study ‘Exhibition Rhetorics: Material
fact, but to open a view into the second
Speech and Utter Sense’, Ferguson (1996)
dimension of our consciousness,
identifies exhibitions as a form of communi-
the reality of dreams, images and
cation within the professionals of art spheres
memories.
and its subcultures, “meaning artists, critics, art historicians, and students, as well as respective patrons from government or commerce and other private spheres.” Regardless of limita-
The topic of medium exhibitions has been
tions of mass media 20 years ago, this state-
thoroughly explored in infamous art critique
ment misses the important aspect, namely the
series “Inside the White Cube” by Brian
cultural experience of non-professionals.
O’Doherty. Analysing the works of Duchamp,
In contrast to Ferguson, in the same book
Kaprow, Kienholz, Segal and Oldenburg, he
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the one hand surveys and evaluates
expresses the shift from the sterile artificial
the installation, and on the other,
atmosphere of the classic galleries to the
follows those associations, recollections
significance of perception experience in
which arise in him, he is overcome by
the galleries of modernism: „Modernism
the intense atmosphere of the total
underlines the fact that „identity“ in the
installation.
twentieth century is centered around perception, on which subject philosophy, physiology, and psychology have also
This atmosphere Rebentisch (2003, p. 57)
converged major efforts.“ (1999, p. 61). He
characterizes so: everything observed, is
names the perception the obsession of the
considered a part of the situation; one feels,
twentieth century, which mediates between
therefore, that it acts in a still undefined way
object and idea and consists of them two.
to the experience of the object.
Indeed, the perception and experience
Such inclusivity of situation could be seen,
became more accentuated during the course
for instance, in recent work of Ilya and Emilia
of exhibition development in the last half-
Kabakov for Manifesta 2014, “The Strange
century. Taking, for example, the ‘total
City”. Erected within the vast area of Grand
installations’ of Ilya Kabakov: the visitor does
Palais in Paris, a group of seven wooden white-
not observe the installation from outside, but
painted buildings, connected by walls and
is accepted and fully immersed in its artificial
passages, enclose multiple versions of failed
yet so sincere space. The room consist not
Utopias. The labyrinth-like outside and inside
only of objects, organised by some obscure
spaces form an imaginary city, where each site
guideline, but also of arranged walls, floor,
represents various subjects. The “districts” are
and ceiling, hence creating that virtuality of
titled The dome, The entrance to the city, The
the atmosphere of the place.
empty museum, Manas, The center of cosmic
Rebentisch (2003, p. 57) in an analysis
energy, How to meet an angel, The gates, The
of Installation Aesthetics [Ästhetik der
white chapel and The dark chapel.
Installation] defines the Kabakov’s total
In his review for Art Observed, Yerebakan
installation as “entire machined space”
(2014) comments:
– identically to a comparison of medium The Empty Museum, with its simplicity
architecture to a cognitive apparatus by
and commentary on the notion of
Zimmermann, mentioned in a previous
exhibition design, suggests a bold, yet
chapter.
subtle setting to stand inside, while
In a lecture in 1993, Kabakov described the
Manas, showcasing a Tibetan city
dramaturgical effect of his installations as
symmetrically present on the floor and
follows (translated by Rapp (2008)):
the ceiling, accents the spiritual aspect
The viewer, who so far has felt rather
of the Kabakovs’ master plan. Visually
free, like he does when viewing
the most narrative of the rooms, How
paintings or sculpture, finds himself
to Meet an Angel, tells the story of
controlled by the installation when
mankind trying to reach to its angel
he is near one, in a certain sense, he
by climbing on a ladder in a lyrical yet
is its victim. But he is simultaneously
simple style.
both a victim and a viewer, who on
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MEDIUM ARCHITECTURE
In spite massive expanse of the Grand Palais
in a center of Schneider’s work (Bronfen,
space, the installation offers certain warmth
2001). Bronfen suggests: “our existence in the
and integrity, challenging visitors to perceive
world is radically determined by the spaces we
and to cogitate themselves outside the works
inhabit, [therefore] we can never escape the
towards “a better world”.
dislocation they impose on us.”(p. 48). She also quotes Heidegger’s understanding of the
The similar concept to the Kabakov’s ‘total’
space: a room made within the boundary, not
installations can be seen, for example, in works
where something stops, but “from which the
of Gregor Schneider. Representing Germany
essence of someone or something emerges”.
at the Venice Biennale in 2001, he recreated
Gregor Schneider changes the existing bound-
his famous Totes Haus u r – an ideal copy of
aries of a space, and new dwelling occurs.1
his family house in Rheydt, which he was rebuilding since 1989. Inside the pavilion,
The importance of the experience is also
he constructed new walls and new rooms
mentioned in different studies of the art
within the rooms, rebuilding spaces within
professionals across the ocean. For instance,
the existing space. Though the interior at the
in 2007 Grynsztejn, at the moment the Senior
first sight does not show any abnormalities,
Curator in SFMOMA, wrote in her introduction
the cognition as if somebody has already been
to the major exhibition “Take Your Time:
there and inhabited this very house persists.
Olafur Eliasson” following:
The visitor sees the elusive and evanescent We have arrived at a point when
traces, which retained in details across the
art, the museum, and cutting-edge
building, but never meets anyone.
commerce increasingly share visual modes of organizing meaning and
Kittelmann et al. (2001, p. 15) describes his
express related ambitions to provide
impressions of visiting the original Haus u
the individual with what have been
r in Rheydt: “experience of the rooms only
described as “models of experience,
assumes a formerly unknown dimension with
opportunities for self-recognition, and
the knowledge that you are entering an art
the ingredients of identity”. (2007, pp.
work, with the awareness that you are being
12-13)
incorporated by that work.” Following the corridors and passages from one room to another, one notices that the walls seem to be
In subsequent chapter Grynsztejn examines
too thick; the tea room is very steadily rotated,
the usage of possessive pronoun ‘your’ in
and the light coming from the windows are
many titles of Eliasson’s works (as in “Your
actually not the daylight.
rainbow panorama”, “Your emotional future”,
He adds: “[house] confronts the visitor with its complete situation, to the extent that he or she does not just encounter the mere building
1 Futhermore, In her study Bronfen (2001) investigates
itself, but is surrounded and captured by its
the application of Freud’s theory on “heimlich” and “un-
whole atmosphere”. Alike the rooms, visitor appears to be dislocated in an uncanny once familiar atmosphere – and this destabilization of familiarity stands
heimlich” to Totes Haus u r and Schneider’s work in general. Although this theory could be interesting to cogitate in relation to the understanding of “fremde and zuhause” in next chapter, in my thesis I leave the philosophical aspect of this case for a futher reading.
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“Your black horizon” and further). With this
and educated architect. In her objects, she
tactics, Eliasson “openly calls for an actively
merges the art and architecture and questions
engaged spectator, catching the viewer in
the concept of default display environment.
a principal role in the aesthetic production
On her site, Condorelli (2012) writes:
of the artwork”, and encourages individual Can an architecture be utilised to
awareness, reflection and consciousness.
exhibit itself, as a form of display to create altered conditions? Can an
For example, in “Your atmospheric colour
installation develop a context that
atlas”, visitors have to orientate themselves
actively and explicitly produces the
through the extremely colour-fogged space
exhibition, and discourages attempts
using the intuitive “color atlas”. Nearly blinding with the density of the fog, artist puts
at embodiment or representation? Can such an installation be both object and
an emphasis on experience and provides an opportunity to heighten visitors’ senses and to
subject?
perceive the room like they have never done before.
She critisizes the idea of architecture in the
Among Eliasson’s approaches Grynsztejn also
museum as only the outside building, and
mentions “creating the context for a social
adds: “An exhibition (…) should display
dimension – a space for plural human activities,
the means, relationships, and underlying
encounters, and communicative pleasures
ideologies of the production of space, and
– that counters the formatted and unitary
become a space of production: of sensibility, of
collective encouraged by commodification.”
relationships, and of a specific understanding
(2007, pp. 12-13). This, for instance, can be
of objects, context and experience.”
seen in his famous “The weather project”
(Condorelli, 2012)
[2003] or more recent “Riverbed” [2014]. Along with experience and perception, Similar to Eliasson, James Turrell has been
exhibitions format is used to raise the subject
creating spatial installations, where the light,
of (often national) identity issues. One of
the immaterial, was physically available to
the first attempts to communicate on the
experience (Helfert, 2004). This can be seen
controversial topics related to race, gender and
in Turrell’s “Back Side of The Moon “ [1999],
sexual orientation was initiated by the curators
which he created in collaboration with Tadao
of the 1993 Whitney Biennal. The selected
Ando. In this case, the visitor first experiences
works were produced by artists, accociating
the absence of light, to mention later that
themselves with these categories. Additionally,
the light actually has been in this room all the
in his book “Show time” Hoffmann (2014)
time. It just needed the eyes to adjust to the
mentions several internationally influential
dimness of the room’s atmosphere. Turrell’s
exhibitions on this topic: 31st Panorama of
spaces are based on the interplay of illusion
Brazilian Art: Mamõyguara Opá Mamõ Pupé
and perception, and stimulate the visitor to
(“Foreigners Everywhere”); What, How and for
walk through the whole space, experiencing
Whom in 11th International Istanbul Biennial:
the different perspectives.
What Keeps Mankind Alive?; In a Different Light [which displayed queer artists and queer
Another example of interdisciplinary approach
cultural influcences]; and Phantom Sightings:
can be seen in work of Céline Condorelli, artist
Art After the Chicano Movement [a survey of
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MEDIUM ARCHITECTURE
Mexican-American artists]. It is important to realize, though, that such installation art addresses the concrete subjects: social-situated individuals. One should not misunderstand the experience of “interested� art as a bare identification or counteridentification experience. According to Rebentisch (2003, p. 284) the experience of art, especially of participatory art, avoids simple identification tags and puts the recipients itself in a self-reflexive performative relation to the art object. This relationship is of individual subjects to the aesthetic object. To summarize, due to globalisation and easier mobility of today, the issue of national identity continues to be prevalent for persons of several generations. Henceforth, exhibition format tackling the perceptual and sensuous experience will endure, as there are many people who can relate.
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PART TWO. FREMDE. ZUHAUSE. ON BELONGING
EMOTIONAL WAREHOUSE
“It was 1981. New York. I was writing in Spanish and then translating into English.
When, soon after, I tried my hand at English, I was shocked at the extent to which not only the way I was writing has changed but even what I was saying. It was as if with the language, I was also leaving behind a whole way of looking at things, of writing them. Even when we think we know what we are about to write, the moment we
start writing, language takes us on an excursion of its own. And if that language is not ours, we are definitely in foreign territory. Lately, I have started to feel that way about
Spanish. I have managed to become a foreigner in both languages, moving somewhat nomadically through the discourse of an unofficial itinerary.”
- Beatriz Colomina, Privacy and Publicity, 1994
Feeling themselves foreign is, to some
different kind, unfamiliar, weird, strange, in
extent, familiar to many people. Whether it
contrast to the familiar (strange).
is traveling, estrangement from a group of friends, moving to another place, disapproval
The two most coomon aspects of foreignness
of the society or cultural differences.
are the lack of certain experiences and the not-
It would seem that in 2010s, when the mobility
belonging to a group. In the first case, there is
became so much easier and accessible, one
something unknown to me or us, in the second
should gain more intercultural experience and
case are others alien to me or us and vice
better understanding for others. However,
versa. For instance, not sharing the common
chasing after their career dreams and hopping
childhood background of the place as a lack
from one continent to another, we continually
of a certain experience can make a person
face the crisis of identity and belongness.
an outsider during the childhood memories conversation.
In his study „Basic Motives of Phenomenology
One can distinguish between a cultural and a
of Foreignness“ [Grundmotive einer
social foreignness, yet both forms are clearly
Phänomenologie des Fremden] Waldenfels
intertwined since the culture is depicted as a
(2012, p. 111) indicates three aspects of
social process, and contrariwise socialization is
„foreignness“: firstly, something, which
dependent on cultural symbols. (Waldenfels,
appears outside the one’s own realm, in
2012, p. 115)
contrast to the inward (foreign). Secondly, it is what belongs to others, in contrast to one’s
Still, foreignness is not a general function,
private (alien). Thirdly, it is something of a
which is applicable to everybody. It relies
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FREMDE. ZUHAUSE. ON BELONGING
on one’s particular previous experience,
being a part of a society.
characterized by feelings of insecurity,
What is more, it questions the approach in
endangerment, and incomprehension.
architecture practices of either providing place
Remoteness, absence, distance, as well as
or not.
moments of loneliness and placelessness, signify no impairment of this experience, they
The feeling of foreignness is deeply connected
belong to its essence. This experience is much
with the notion of home. Without yet
important and essential. It can not be derived
experiecing the feeling of unbelonging, a
from one’s own, nor be put in the general
person cannot wholly understand the value of
(Waldenfels, 2012, p. 57).
home. In their case study of Home and Belonging,
Several authors have further studied the
Kusenbach and Paulsen (2013, p. 13) state:
connection of foreignness to the place
“Feeling of disconnection or alienation are
(Foucault and Miskowiec, 1986; Augé, 2000;
intertwined with the home experience and
Sandin, 2003).
likewise require a solid conceptual framework
In Place and Placelessness, Relph (1976, cited
for emotion.” They outline the acquaintance
by Sandin, 2003, p. 74), interrogates placial
between the home and belonging as
experience and the connection of self-
following: although both concepts are dealing
identification to the actual physical place. He
with people and places, belonging emerges
proposes to gradate the notion of belongness
within the areas of (im)migration, (trans)
to a place into seven degrees of inclusivity,
nationalism, citizenship, geographic locations
instead of typical either/or approach.
as well as urban community or space.
These degrees Sandin briefly characterizes as following:
Similarly, Easthope (2004, pp. 131-132) argues: “A person’s sense of place can provide (…)
• existential insideness (a self-evident, close
with a sense of belonging and of comfort. It
habitual relation to a place)
can be a wonderful thing to share with people
• empathetic insideness (a reflected, respectful
from other areas and other cultures.” She says,
• behavioral insideness (a navigating,
a modern world, people strive for a home as a
and understanding relation)
utilitarian and pragmatic presence)
• vicarious insideness (a sense of knowing a place th¬rough mediation)
• incidental outsideness (a visitors attitude –
that impacted by instability and incertainty of secure and stable place. Easthope cites in her study the Dupuis and Thorns’ (1988) four conditions of ontological security in the home:
place as occasional utility)
i) home is a site of constancy in the social and material environment
• objective outsideness (a deliberately distant
(security)
and observing position of interest)
ii) home is a spatial context in which
• existential outsideness (not feeling involved
day to day routines of human existence
at all, even though being there)
are performed (security)
iii) home is a site where people
This system of classification helps distinguish
feel most in control of their lives
the level of integration of an individual into a
(stimulation) because they feel free
community, the process from not belonging to
34
35
FREMDE. ZUHAUSE. ON BELONGING
“REGARDLESS OF HAVING LIVED IN EIGHT HOUSES, I HAVE HAD ONLY ONE EXPERIENTIAL HOME IN MY CHILDHOOD; MY EXPERIENTIAL HOME SEEMS TO HAVE TRAVELLED WITH ME AND CONSTANTLY TRANSFORMED INTO NEW PHYSICAL SHAPES AS WE MOVED. I RECALL VIVIDLY THE SENSE OF HOME, THE FEELING OF RETURNING HOME FROM A SKIING TRIP IN THE DARKNESS OF A COLD WINTER EVENING. THE EXPERIENCE OF HOME IS NEVER STRONGER THAN WHEN SEEING THE WINDOWS OF THE HOUSE LIT UP IN THE DARK WINTER LANDSCAPE AND SENSING THE INVITATION OF WARMTH WARMING YOUR FROZEN LIMBS.”
– JUHANI PALLASMAA, THE EYES OF THE SKIN, 2012
36
from the surveillance that is part of the
foreign, an individual can not truly appreciate
contemporary world (security)
the meaning of home. Moreover, home should
iv) home is a secure base around which
not be understood simply as geographical
identity)
meanings imposed on the very moment and
identities are constructed (security and
location, but as a complex interplay of
Easthope (2004, p. 134)
place.
The phenomenon of belonging is often investigated as a socio-political issue, where social dynamics and constraints play the defining role. Thus, many people would first identify their home depending on a social context, like country or place of origin, communities, geographic location of their habitat. In the same time, home, according to Kusenbach and Paulsen (2013, p. 16), “is typically understood as an issue of creativity and adaptation, which foregrounds individual agency, self-expression and identity”. This view is usually coherent to the terms of inclusion and exclusion. The notion of home is specified by a group of meanings, allocated by individuals or group to particular places. These meanings are impacted by social, political and emotive context of “interaction, relationships, institutions, structures, and cultures”, as well as identities of these very persons (Kusenbach and Paulsen, 2013, p. 2; Easthope, 2004, p. 135). In other words, every person will uniquely define and experience the feeling of home on account of his or her personal background. It becomes the place for self-establishment and representation, where a person is not afraid to express his or her individuality in regard to gender, race, sexuality or other. The home corresponds the mirror of self and acts as an emotional warehouse. To sum up, the notions of foreignness and home are tightly connected and dependent on each other. Without ever feeling oneself
37
FREMDE. ZUHAUSE. ON BELONGING
THE SURVEY FREMDE VS ZUHAUSE: FEELING SELF AN ALIEN VS FEELING SELF AT HOME In December 2015, I created a survey titled “Fremde vs. Zuhause. Feeling Self and Alien vs. Feeling Self at Home” on a specialised website. The survey consisted of 10 questions: first six about the person’s migration background and further four about their understanding of being foreign and being at home. I was interested in which way my friends, who live abroad, perceive the notion of home, and if they ever feel foreign the way I do. The publication was done through social media: Facebook and the University pinboard (Piazza). While I was expecting to become not more than 10 answers, within 3 days the amount of answers was more than 40. In the course of two weeks, almost 80 respondents completed the survey, they forwarded it to their friends and were thanking me for the opportunity to think about this important topic and to reflect on it. Initially created for internationals, this survey also reveals some answers from Germans, who in some situations feel themselves foreign in their own country. These sincere answers give a small but very fond insight on the subject of home and belonging, and offer a great opportunity to sit down and meditate on your own perception of home. The punctuation and spelling were not changed; the first question (“Your name”) is spared in terms of privacy.
This survey is a part of the Master-
for my study.
Thesis at the Bauhaus-University Weimar.
You can go back to previous pages in the
The aim of the project is to research the
survey and update existing responses
definition and perception of Foreignness
until the survey is finished or until you
and Homelike of the people, currently
have exited the survey. After submitting
residing not in their home country,
the survey, you will not be able to
and to use the outcome of the survey
update existing responses.
for better user-oriented design of the
At the end of the survey, please click
architectural space as a medium.
the button SUBMIT
The survey consists of 10 questions and
All the answers will be used solely for
will take you approx. 10 minutes.
the studying purposes.
You will be asked a bit of information
Thank you for participating in my survey.
about your person, and your perception of
Your feedback is important.
the terms of being foreign and being at home. I kindly ask you to answer all the
I wish you a good day and thank you for
questions, as they all are very important
the support!
38
WHAT IS YOUR AGE? (Answered: 79 Skipped: 0)
18 to 24 29.11% (23) 25 to 34 65.82% (52) 35 to 44 5.06% (4)
IN WHAT LANGUAGE DO YOU SPEAK MOST OFTEN? (Answered: 79 Skipped: 0)
In what language do you speak most often? Answered: 75
Skipped: 0
100 80
52
60 40 20 0
13 1 Chinese
English
German
2
1
1
1
2
2
Greek
Italian
Japan es e
Portu gu ese
Russian
Spanish
Other: English and German 1 English and Serbian 2 English and Finnish 1 English and Greek 1 English and Bengali 1
39
FREMDE. ZUHAUSE. ON BELONGING
IN WHAT COUNTRY YOU GREW UP? (Answered: 79 Skipped: 0)
IN WHAT COUNTRY DO YOU CURRENTLY RESIDE? (Answered: 79 Skipped: 0)
40
ABOUT HOW LONG HAVE YOU LIVED IN A COUNTRY YOU CURRENTLY RESIDE? (Answered: 79 Skipped: 0)
Years 2
Months 10
Months 5
Months 7
Months 4
Years 1 Months 4
Years 5 Months 5
Years 2 Months 4
Months 14
Years 6 Months 1
Years 1
Years 6 Months 5
Years 11 Months 3
Months 11
Years 2 Months 2
Months 9
Months 8
Years 3
Months 9
Years 2 Months 4
Months 4
Years 1 Months 3
Years 2 Months 3
Months 3
Years 1 Months 2
Years 0 Months 2
Years 4 Months 6
Years 2 Months 5
Years 3
Months 11
Years 2 Months 3
Years 0 Months 3
Years 2 Months 2
Years 1 Months 4
Months 6
Years 0 Months 4
Years 3 Months 3
Years 0 Months 8
Years 1 Months 4
Months 8
Years 17 Months 4
Years 4
Years 3
Years 3 Months 4
Years 3
Months 4
Years 3
Years 3
Months 2
Years 0 Months 6
Years 3 Months 3
Years 2
Years 1
Years 4 Months 4
Years 3 Months 1
Months 3
Years 2
Months 6
Years 2 Months 5
Months 3
Years 3
Years 2 Months 1
Years 3 Months 2
Years 1 Months 1
Months 3
Months 4
Years 0 Months 11
Years 2 Months 27
Years 3 Months 5
Years 2
Years 2 Months 3
Years 2 Months 2
Years 0 Months 6
Months 3
41
FREMDE. ZUHAUSE. ON BELONGING
WHAT WORDS COME TO MIND WHEN YOU THINK OF THE TERM OF FREMD (FOREIGN/ALIEN)? (Answered: 62 Skipped: 17)
the unknown, something unconnected
diversity
1/27/2015 9:46 PM
12/21/2014 2:53 PM
not at home, away, new things, changes,
different, far, distant
communication difficulties, learning new
12/21/2014 10:40 AM
things 1/13/2015 9:30 PM
u 12/21/2014 9:28 AM
Acceptance, different 1/9/2015 3:12 PM
loneliness 12/21/2014 12:13 AM
TOURIST 1/5/2015 10:52 AM
Friend 12/20/2014 7:50 PM
language, travel, refugees, exciting, new 12/27/2014 6:06 PM
derelict 12/20/2014 7:43 PM
cullture, language, friends 12/27/2014 12:30 AM
mentality 12/20/2014 9:14 AM
alone, abandoned, disconnected 12/22/2014 8:21 PM
nicht dazugehรถrig, unsicher, erschรถppft 12/20/2014 5:03 AM
international, deutschkurs 12/22/2014 10:11 AM
unsecure, 12/20/2014 12:36 AM
Space, rejection
cfn
12/21/2014 11:18 PM
12/20/2014 12:08 AM
language,
homeless, loneliness
12/21/2014 8:45 PM
12/19/2014 11:00 PM
faraway, alone, adventure, challenge
Food, drinks, people, places
12/21/2014 8:06 PM
12/19/2014 10:16 PM
unbekannt, ungewรถhnlich
exclusion
12/21/2014 5:54 PM
12/19/2014 9:08 PM
42
Identity, feeling dis/connected, (not)
Moral judgement
belonging somewhere
12/19/2014 1:19 PM
12/19/2014 7:22 PM new. different. welcoming as well as home Exchange
sick and alone
12/19/2014 7:09 PM
12/19/2014 1:06 PM
New. Scared. Exciting.
traveling
12/19/2014 6:32 PM
12/19/2014 1:00 PM
Multicultural, unknown, interesting,
In german i think it means somebody who
language
works/lives in another country. But in
12/19/2014 5:15 PM
general i feel that it has a negative meaning.
Out of place, tourist, not a local
12/19/2014 12:56 PM
12/19/2014 5:14 PM Being a by-stander, located outside of lost between the wrong people.
the common and usual perception and
12/19/2014 3:44 PM
common experiences of those around you. In addition I would add the feeling of
Being cut off, alone. Finding it hard to
not being able to express yourself/
connect. Feeling lost.
fully contribute to the environment in
12/19/2014 3:43 PM
which you are surrounded (i.e. in social situations, occupational, etc.)
Something you don’t know; something
12/19/2014 12:46 PM
unfamiliar that could sometimes be intimidating
Ausländer. Integration. Flüchtlinge
12/19/2014 3:32 PM
12/19/2014 10:33 AM
different, misunderstood
weirdo
12/19/2014 3:22 PM
12/19/2014 10:06 AM
unknown, adaptation, culture, language,
unknown, adaptation
strange, unfamiliar
12/19/2014 9:55 AM
12/19/2014 3:12 PM Excluded, different Weird, strange, different, alone, new
12/19/2014 6:14 AM
12/19/2014 2:56 PM Adventure Foreign, strange
12/18/2014 9:16 PM
12/19/2014 2:22 PM Different, unknown, exciting, new, sad, dark, cold
misunderstanding, stressful
12/19/2014 1:59 PM
12/18/2014 8:43 PM
43
FREMDE. ZUHAUSE. ON BELONGING
People with White skin and blond hair
strange, distance, newness, fresh start,
12/18/2014 7:55 PM
opportunity, possibility, adapting 12/18/2014 6:21 PM
outsider, newcomer, incompatible 12/18/2014 6:55 PM
outsider, exotic, different 12/18/2014 6:10 PM
stranger, “us” vs “others”, cultural clash
Hostile, uncomfortable, inhospitable
12/18/2014 6:54 PM
12/18/2014 6:05 PM
Not at home
FREMDE WELTEN
12/18/2014 6:42 PM
12/18/2014 5:47 PM
Does not belong in that place
new, unknown, uncertain
12/18/2014 6:32 PM
12/18/2014 5:27 PM
unknown, strange, singular.
Something new or strange.
12/18/2014 6:27 PM
12/18/2014 4:56 PM
landscape, mentality and cultural habits 12/18/2014 6:21 PM
COULD YOU WRITE AN EXAMPLE FROM YOUR LIFE, WHEN YOU FELT YOURSELF FREMD/ALIEN? (Answered: 59 Skipped: 20)
being gay growing up in my hometown
and understood it better than most of my
1/27/2015 9:46 PM
German friends. 1/13/2015 9:30 PM
I lived in Scotland for 5 years. About 2 months after my arrival, I had an
When things that are regarded as normal
inflamation in my eye and needed to get it
in the country I live are totally
checked in hospital. It took the doctors
unacceptable for me. Like the low family
a while to find out what it was. I did not
values that I usually see in Germany,
really understand the Scottish accent,
how they put their grandparents in a
even less the medical meanings. I was not
residency and just leave them there and
sure about the health system and had no
almost never go visit them. Or how the
idea what was happening... at that time
young people don’t stand up to offer
I wished I was at home... good thing: as
their seat to the elderly. It is in these
I needed to go to the clinic regularly
times that I realize that I don’t belong
I quickly picked up the Scottish accent
to this place and probably even don’t
44
want to.
noch Situationen in dem ich mich ein
1/9/2015 3:12 PM
bisschen allein fühle, dafür können meine deutschen Freunde nichts, sie meinen es
Honestly , i dont feel myself as a
auch nicht böse, wenn sie z.B. davon
foreign in germany .Maybe the reasons
anfangen über ihre Kinderzeit zu erzählen
of this that lots of turkish live here
oder wenn sie über Kindergeschichten
,german’ integration with other culture
reden, die ihre Eltern denen erzählt
or graduating from german school.
hat. Was mir immer wieder auffällt ist
But during my internship period in
zum Beispiel wenn wir Lieder singen: sie
architecture office, Düsseldorf , people
können alte Trinklieder, die man in den
made me alienation with their curios
Kneipen singt, ich nicht oder Disney
questions about how are the architectural
Lieder; meine Freunde singen das auf
and cultural approaches to design in my
Deutsch und ich kenne das nur in meine
home country. Also , german language must
Muttersprache oder auf Englisch. :) Naja
be spoken in office .All of these lead me
so ist das einfach nun mal... Danke, dass
to understand living abroad now.
ich an deine Umfrage teilnehmen konnte
1/5/2015 10:52 AM
und du mir zugehört hast, ich glaube du verstehst alles und kannst es genauso
When i was about 16 years old, i did a
nachvollziehen
three month work experience in the french
12/22/2014 8:21 PM
part of swizerland. That was the first time i left my home country on my own for
At a store,when I said that I didn’t
such a long time. Not knowing any people
understand what the saleswoman was
and not understanding much french, it
saying in German, and then her attitude
made me feel lonely and fremd for a few
completely changed ( for the worse).
days.
12/22/2014 10:11 AM
12/27/2014 6:06 PM Because I am not religious, I felt alien In christmas time i feel like i am a new
when I found my self in a situation that
arrived tourist in the town. Christmas
consist of religious group rituals.
songs and decorations makes me feel like
12/21/2014 11:18 PM
as if i am in a movie not real life. Since i did not experience it every year
when i don’t understand what the people
of my life, it make me feel like that i
around me are speaking. when i need legal
am a foreigner.
consultancy
12/27/2014 12:30 AM
12/21/2014 8:45 PM
Hey! Wir hatten ja schon letzte Woche
There are many times in my life that i
darüber geredet aber ich schreibe lieber
felt as alien, as far as i can remember
nochmal :) ich fühle mich mittlerweile
most of them i was in my own country and
nicht mehr so oft fremd, ich lebe
it had to do with a lack of understanding
jetzt lange genug in Deutschland und
and/or communication from/with the people
ich beherrsche die Sprache ganz gut,
around me.
denke ich. Aber leider gibt es immer
12/21/2014 8:06 PM
45
FREMDE. ZUHAUSE. ON BELONGING
During a trip to Poland I found myself
your German is not so good
lost in the city of Breslau. By mistake
12/20/2014 7:43 PM
I took a bus that headed to another destination than my hotel. I tried to
in Brazil it´s difficult to feel fremd or
ask some polish people about the way to
excluded. After a time living in this
my hotel but they couldn’t understand
culture you feel more fremd, when you
any other language but polish, so I had
come back to Thüringen. A strange feeling
to find my way back to my hotel all by
I have in a evangelic church in Brazil.
myself. I didn’t have a map with me or
12/20/2014 9:14 AM
anything else that could assist me in way-finding. In order to find my way back
wenn ich im mittagsraum sitze und immer
to my hotel I used the map of a bus-stop
wieder nichts verstehe weil alle hindi
and memorised the polish names of the
sprechen und nicht englisch. Und auch
streets that I had to follow to get back
wenn ich alle immer wieder daran erinnere
to my hotel. For the following 2 hours
bitte manchmal englisch zu sprechen. das
that I walked through the city of Breslau
Bewusstsein seine Mitmenschen mit in
trying to get back to my hotel, I felt
Unterhaltungen einzuschließen ist hier
helplessly “fremd” in a foreign city in a
einfach nicht...
foreign country.
12/20/2014 5:03 AM
12/21/2014 5:54 PM When people see you as a lower being. when a patient told me he did not want
12/20/2014 12:36 AM
any foreing treating him. 12/21/2014 2:53 PM
fgm 12/20/2014 12:08 AM
when a car stops on the street to let me move on. Usually in my city, the car
When old people stare at me with disgust
comes first.
in their eyes..
12/21/2014 10:40 AM
12/19/2014 10:16 PM
hj
I lived in foreign countries for many
12/21/2014 9:28 AM
years and sometimes feel that I am a complete alien to everybody. I do not
Universität
have a specific example right in my
12/21/2014 12:13 AM
mind, but not being able to understand jokes, idioms, etc. is quite frustrating
When I make a cup of tea every morning,
sometimes.
my housemates think it’s strange that I
12/19/2014 9:08 PM
drink so much tea. Tea is very important in my culture.
Missing (proper) cutlery in american
12/20/2014 7:50 PM
school cafeterias. 12/19/2014 7:22 PM
All the time in Germany. Specially, when somebody don`t know English here, and
When it’s -10 I’m wearing warm winter
46
jacket and boots and some Canadians a
A german Volksfest, where i was among
happy walking in flip flops and hoodies.
others beeing german and i felt so out
12/19/2014 7:09 PM
of place. For example watching a soccer worldcup game with all the german fans...
Mostly when Norwegians have some ritual
it alwas makes me feeling in the wrong
that I just do not understand the joy of
place, not understandig how germans can
(yet). All this talking for instance, I
lack so much a sense of decency. most
cannot keep up with that. It should be
other people i saw having a national
noted that that is an interesting and not
event, where kind of nice still... but
a pitiful situation. There is something
germans arent.
to learn, some joy to ‘get’. This
12/19/2014 3:44 PM
requires some thinking and trying and stepping out of the comfort zone. Thats
I study Lehramt, and the Luxembourgish
really living.
education system is completely diffrent
12/19/2014 6:32 PM
from the german. So whenever i learn about education in Germany, i have to ask
Although my experiences in Germany
things that are self-evident for everyone
have by and large been very positive,
else.
there have been occasions where I felt
12/19/2014 3:43 PM
discriminated due to my inability to express myself in German in a way that I
Every time I had to talk on the phone in
would do in English or Greek. One example
german.
that comes to my mind is when I moved
12/19/2014 3:32 PM
in my current apartment and there was a pre-existing problem with the drainage,
People often notice from my appearance
which I realised after moving in. It
that I’m foreign and talk to me in
took about 5 phone calls to the property
English, even if all I want is being
manager (Hausverwaltung) to explain the
treated equally.
situation. I was ignored repeatedly, and
12/19/2014 3:22 PM
ended up calling a plumber and paying myself to repair the damage. Although the
Unlike in Bosnia, Serbia has less respect
result might have been the same even if
towards religion. The main reason for
I could communicate in English with this
that may be the war that happened in
person, it was not this that made me feel
Bosnia in the ‘90-s. Even after the
alien. It was the helplessness of being
war, the people maintained a sense of
ignored and disrespected that caused the
spirituality, they wanted to preserve
feeling, along with frustration for not
their culture and customs, which are
being able to defend myself.
closely linked to religion. While
12/19/2014 5:15 PM
clinging on that, they maintained their individuality. I didn’t notice that
Several times, living in Thailand the
in Serbia though. There are no bigger
Thais always referred to you as farang,
differences between these two countries.
meaning foreigner and alien.
The main burden was to gt used to the
12/19/2014 5:14 PM
currency. 12/19/2014 3:12 PM
47
FREMDE. ZUHAUSE. ON BELONGING
When thinking of an example of feeling
in their behaviour, only bad-hidden
“fremd”, I think of instances where you
sympathy.
are with a group of people, maybe even
12/19/2014 1:19 PM
friends, and for some reason you don’t feel like you are a part of, or belong
it is mostly when i find my self in a
to the group. You don’t connect with the
German on German conversation, and my
people you are with. You feel distant.
German is not so good to understand
You can’t wait until it’s over.
everything so i feel a bit like an
12/19/2014 2:56 PM
outsider 12/19/2014 1:06 PM
When I came to Norway, the first month I felt myself fremd as I didn’t know
Can think about this situation, don’t
anything about the rules, traditions/
remember it.
culture. Now I got used to everything,
12/19/2014 1:00 PM
even I can speak local Norwegian a bit, unfortunately I’m leaving. It happened
An example is when i was at some services
the same in Finland, I lived for couple
in the town hall and the behaviour of
of months, I got used to everything then
the employee was really irrational. Of
I left the country.
course she put obstactles to my purpose
12/19/2014 2:22 PM
there and she did not help the situation at all.
Anytime Germans start remembering
12/19/2014 12:56 PM
childhood games/songs/tv-shows/etc. and I don’t know them, because I grew up
The strongest feelings of foreignness
somewhere else entirely. That makes me
which I have felt were when I first
feel like a complete outsider. Or anytime
moved to Germany and had to deal with
someone asks me (this happened a lot in
bureaucratic and occupational issues
the first semester I came here) where I
related to my job and living situation.
am from (usually they expect somewhat
Not being able to understand the official
like Bayern/Berlin/Hamburg) and I answer
language in which all the documents and
“Brazil”. They response is to always
forms were in (German) made me feel like
look at me like I’m an alien (but in a
I had less control over defining my life
friendly way).
and making sure that I followed all of
12/19/2014 1:59 PM
the laws properly. That and having to learn all of the traditions and customs
I feel like the natives are constantly
of the German people in everyday life
judging your morality, but always
(which at times were difficult for me
starting from stereotypical clichès.
to deal with personally since there
Due to the fact that you moved to their
are customs in America like conducting
country, that subconsciously entitles
small talk or simply kindly smiling to
them to be better than i am, and
strangers on the street, etc.).
therefore to try to save me. They feel
12/19/2014 12:46 PM
the need to tell me what i do wrong. Cannot stand that. There’s no curiousity
48
Some incidents of discrimination while
Well I feel alien almost always when I’m
searching for a new flat. Also one time in
surrounded by Germans. They normally
the post.
don’t understand sarcasm, so when I’m
12/19/2014 10:33 AM
trying to make little jokes nobody laughs. Moreover, they ask me what I
When I had difficulties with understanding
mean by saying that or make comments
their accent (wich is really strong in
which clearly show that they think I’m
that region where I live) and pokes
serious. I often feel like they perceive
sometimes
my questions in a wrong way and feel
12/19/2014 10:06 AM
offended, while there was no intention to be offensive. So basically I suppose that
When they tend to use the phrase because
my level of socio-cultural competence
she/he is a foreigner. Of we do anything
still remains quite low and I need to
that is not inside of their way of living
make an enormous effort to make our
they tend to excuse it with that phrase.
communication work.
As if someone do something just because
12/18/2014 6:54 PM
you are foreigner. 12/19/2014 6:14 AM
When everybody here in Germany uses the formal way of adress. It dosen’t make me
everyday at work
feel good at all!!
12/18/2014 9:16 PM
12/18/2014 6:42 PM
When I first arrives in Germany to study I
Whenever riding the subway or walking and
did not know anyone... The first week was
koreans look straight at you.
quite isolated.
12/18/2014 6:32 PM
12/18/2014 8:43 PM When traveling by Indian, the culture I was working on my Diploma project
was so different that I could not really
and I was away from home for almost 6
understand the situations. Sometimes the
months and my parents had renovated our
misunderstanding was due to the language,
entire house during that time. So when I
or body language and sometimes could not
returned home I felt I had come to some
identify if the environment was dangerous
different place. And I felt alien for a
or not. Besides the experimentation of
while even though I was at my house.
different odors and flavors, and the way
12/18/2014 7:55 PM
in which people interact. 12/18/2014 6:27 PM
When I’m going outside with some friends and they told stories about when they
searching for a room - interviews
were in elementary school, and what kind
situations, where everyone talks native
of snacks were their favorites. I wasn’t
German and you don’t really following the
able to understand because the snacks in
conversation when i don’t know some rules
Asia are totally different from the ones
or regulations and somebody is explaining
I ate in Panama.
it in German and I still don’t really
12/18/2014 6:55 PM
understand : ) 12/18/2014 6:21 PM
49
FREMDE. ZUHAUSE. ON BELONGING
The first night I went into a pub: I got
Not so often. Maybe, when I go to Wg
in with my friends (all internationals)
parties where the non-English speakers
and it was only 6pm, but the whole pub
are around.
was full already! People from all ages
12/18/2014 5:47 PM
where there, from 16 year olds to some in their eighties. And though there were
Well..there were a lot of situation in
a lot of free tables, everyone was just
my life, in which i felt fremd. When i
standing around in front of the bar,
started to work for the first time. I
chatting. As I am in the South Yorkshire,
did’t know my new colleagues. Also when i
which is pretty much in the north of
went for the first time abroad in a state,
England, everyne was (for me at that
in which i didn’t know the language and i
time) speaking with a pretty heavy accent
couldn’t understand the peope. Personally
and I had to ask the barkeeper 3 times
i think that people feel fremd in every
till I understood what he wanted from me
new beginnig in their life.
:/ I felt a bit stupid but it was really
12/18/2014 5:27 PM
nice and strange, how everyone around me was so nice about it and tried to help me
When Im in a group of people and they
^-^
share common backgrounds/languages. Some
12/18/2014 6:21 PM
of the comments or joke I just cant get... I cant remembr a specific example
When I just arrived I had to open a bank
because it’s very uncommon for me to feel
account. I went with my supervisor from
alien in a negative way.
work, since I can’t speak the local
12/18/2014 4:56 PM
language. When we were trying to open the account, the lady stated that I would not be able to have a debit card, withdraw money or make transfers. This meant that the money would be there and me, the owner of it could not even touch it. If I wanted to use it, I woould need to ask a local friend, who did have all these options to make me a favour. The lady quoted some new legislation. I felt impotent against such a system. It really made me dislike this legislation, and the fact that I had no control over what is mine. That instant, I felt like a powerless person. 12/18/2014 6:10 PM
50
WHAT MEANS HOME TO YOU? (Answered: 56 Skipped: 23)
It’s a comfort zone with people I deeply
I don’t feel home a lot, definitely home
care about.
is not a place, it is a feeling.
1/27/2015 9:46 PM
12/21/2014 11:29 PM
where my family lives - my husband, my
home is where the hearth is :)
child - doesn’t matter where
12/21/2014 8:47 PM
1/13/2015 9:36 PM safety, intimacy, joy, snugness my family
12/21/2014 8:37 PM
1/9/2015 3:18 PM Home is everywhere where I feel welcomed relaxing space. do everything without
and safe.
disturbing others , privation.
12/21/2014 5:54 PM
1/5/2015 11:32 AM love, happiness, secure, comfort, place friends, family,
where i want to be
12/27/2014 6:16 PM
12/21/2014 2:55 PM
home is peace
the place where people know me, many,
12/27/2014 12:40 AM
many years ago 12/21/2014 10:46 AM
Wärme, sich gut fühlen und die Zufriedenheit, die man im Bauch,
loved close people
Herz und überall im Körper bis zu den
12/21/2014 12:16 AM
Fingerspitzen fühlt, wenn man von Menschen umgeben ist, die dich lieben und
Somewhere I feel comfortable, when I see
es immer gut mit dir meinen und wollen,
my family
dass du glücklich bist.
12/20/2014 7:52 PM
12/22/2014 8:44 PM place where my family is I am not sure anymore. I keep moving
12/20/2014 7:44 PM
through most of the part of my adult life. But I would say that home will
there are a positiv home-feeling and a
always be where I grew up, where my
negativ home-feeling.
family and childhood friends are still
12/20/2014 9:18 AM
there. Home is also where you feel comfortable enough to call home.
the place where i can be no matter what,
12/22/2014 10:21 AM
where i can be completely myself. 12/20/2014 5:07 AM
51
FREMDE. ZUHAUSE. ON BELONGING
place where i feel secure 12/20/2014 12:37 AM
behave or rather where you feel able to act the way you actually are. 12/19/2014 3:24 PM
feeling happy and having friends
A place where I have good friends
12/19/2014 11:01 PM
and where I can be myself and feel comfortable
Where you can smoke, speak your own
12/19/2014 3:04 PM
language 12/19/2014 10:16 PM
Home it’s the place where your loved ones are waiting for you, the place you feel
Place where I feel safe.
yourself comfortable, the place you feel,
12/19/2014 9:10 PM
it’s yours. 12/19/2014 2:24 PM
Somewhere / a place you don’t have to explain yourself to others, where people
Actually I don’t know where home is
understand you, your inner motivation,
anymore. I used to feel more at home at
viewpoint and mindset.
my parents house back in Brazil, but
12/19/2014 7:29 PM
nowadays I feel so relieved when I come back home - to my home here in Weimar.
Family and friends
Regardless where I’d been before (Brazil,
12/19/2014 7:13 PM
excursion, a friends house), I’m always looking forward to returning to my little
Where family and friends are, and I can
cozy hole here in Weimar (and that is
feel “whole”.
pretty scary).
12/19/2014 5:30 PM
12/19/2014 2:11 PM
Home is the apartment your living in. Or
i have no idea, i’m really wondering
The place where you are most comfortable
it everyday. Where friends are? No, my
living in or long for. Home can be very
friends are all gone from homecountries.
general something that reminds you of a
Where family is? No, family looks back,
very happy time like a song or fruit.
not forward. Where opportunities are?
12/19/2014 5:18 PM
No, opportunities are unpredictable and
place where i want to stay
shifting with time. Where your culture
12/19/2014 3:45 PM
grew? I grew up in Italy under the egemony of American culture, media-wise,
Connection
but i’m definitely not american. So,
12/19/2014 3:45 PM
where? 12/19/2014 1:28 PM
It means a place or time where/when I feel completely calm and in peace with
where my family and friends are
myself
12/19/2014 1:07 PM
12/19/2014 3:36 PM where my family is Being in a place where you know how
12/19/2014 1:01 PM
everything works, whereyou know how to
52
Home is where i was born and raised in my
Well.. It’ kind of hard question.. home
life. It means actually the place where i
is where I’m allowed to do whatever I
feel comfortable in any reason.
like I like, when I’m coming back home
12/19/2014 12:57 PM
and somebody is cooking in the Kitchen it feels home, where I can settle down
Home is the place where I can realize
comfortably and read I feel at home, when
myself and the goals that I have set in
I have guests
the phase of life in which I find myself.
12/18/2014 6:42 PM
12/19/2014 12:56 PM Where you feel at ease and are with where do I currently live
people that love or appreciate you.
12/19/2014 10:07 AM
12/18/2014 6:33 PM
where you have spend most of your life.
pretty easily said: bein where my family
12/19/2014 9:59 AM
and friends are, a safe and comfortable place. I don’t need much, but I need
Family and friends. Place that is
someone near me I can realte to.
comfortable and warm.
12/18/2014 6:23 PM
12/19/2014 6:15 AM Being with my loved ones, warm meals, a Where your heart is
nice bed and even small fights with people
12/18/2014 9:17 PM
you love, followed by laughter. 12/18/2014 6:11 PM
People. Friends. Family. Safety. Warmth. 12/18/2014 8:45 PM
Family, friends, warmth 12/18/2014 6:06 PM
Where I have comfort to at ease , that is my home.
Home is where the lovers are.
12/18/2014 7:56 PM
12/18/2014 5:47 PM
First of all I associate “home” with my
Home for me means a place, where friends
parents and relatives, basically my home
and family are.
town in my home country.
12/18/2014 5:31 PM
12/18/2014 6:58 PM Wherever you are happy and feel safe. A place were I can be happy and welcomed. 12/18/2014 6:56 PM It is a place that I worked for comfort, both physical space and interpersonal relationships. 12/18/2014 6:55 PM
53
12/18/2014 5:07 PM
FREMDE. ZUHAUSE. ON BELONGING
COULD YOU WRITE AN EXAMPLE FROM YOUR LIFE, WHEN YOU FELT YOURSELF AT HOME? (Answered: 51 Skipped: 28)
- spending time with the whole family.
by myself... I made countdown until
But also spending time alone in a pine
last day in siegen . then i moved to
forest makes me feel at home. I grew up
berlin , it was winter period . Climate
in a pine forest region, the forest was
conditions made me depressed.In addition
right behind the house. I spent a lot of
, berlin is so international city and
quality there with friends and family.
to meet with local people is almost
Entering a pine forest, doesn’t matter
impossible and you have to spend your
where, gives a feeling of balance, safety
time with internationals who generally
and familiarity.
decided to leave their countries.. When
1/27/2015 9:46 PM
i returned to istanbul end of my study , i said “home sweet home . my beautiful
When we took our newborn baby home from
caotic city” . It s not about missing my
hospital, that was when I felt really at
family,friends or growing up in istanbul
home.
, totally related with social life . But
1/13/2015 9:36 PM
now i have lived in weimar for 3 months .Eventhough i have some of problems that
I miss my family. When I go visit them,
i wrote above , it s my second home.Never
and find them awaiting for me in the
get bored and want to change city in my
airport, I feel home, I feel safe, I
spare time. City has a spirit with its
feel loved. In Berlin my friends are my
culture and nature , especially clear sky
family, it is a different type of family,
with stars in nights . Again counting
but we spend a lot of time together, we
days to go to weimar again=)
respect and take care of each other. My
1/5/2015 11:32 AM
friends here make me feel valued and loved. Whenever I am with them, I feel
In my hometown we have the tradition of
home.
making a big easter fire. We would make
1/9/2015 3:18 PM
a huge fire and all friends an family members would come and have a bbq and
I ll evaluate cities as zuhause. I can
beer and big fun together. A few years in
give an example from my erasmus period
a row it was not possible for me to join
in Siegen and Berlin. I spent 1 semester
and when i did again i felt home. It was
each of cities. As a person who never
not only the place where it took place
lived far away his family before and
but even more all the people beeing there
comes from a metropolitan city (Istanbul)
knowing each other very well.
, to live in Siegen was the hardest
12/27/2014 6:16 PM
experince in my life . The city was too small, had not any activities even
anywhere that i feel absolutely peaceful
for erasmus students , the dormitory
gives me the feeling that i am home. Can
life , doing everything , daily needs,
be a friend’s place, a relative’s place 54
or even a cafe/bar that i often hang out.
to quot the words of a dear friend of
12/27/2014 12:40 AM
mine when he spoke about home, it was the first think that came to mind when I
Es gibt ganz ganz viele Situationen,
read the question, his words are included
in dem ich mich @home fühle. Ich weiß
in this video. https://www.youtube.com/
einmal, da war ich in der m18 und es
watch?v=QW7yrnG4D4c
war wieder sehr sehr voll, ich glaube
12/21/2014 11:29 PM
es war Donnerstag abend, und ich war am Anfang gestresst und es waren so
i can not define “something” or some place
viele Menschen da und meine Freunde und
as a home anymore, i enjoy more “being
ich sind rausgegangen und wir standen
on the road” more then feeling home at
im Garten, es war warm ich glaube das
somewhere
war Spätsommer, und wir haben uns dann
12/21/2014 8:47 PM
draußen unterhalten und getrunken, standen im Kreis und eine meiner
I wear an old scarf scented with my
Freundinnen hat dann zu mir gesagt “Du
perfume, a perfume i wear since i was
darfst dich nicht so stressen lassen, du
back in Greece. Just the smell of it
musst chillen, der Stress ist es nicht
makes me feel at home.
wert” und ich habe einfach gelacht und
12/21/2014 8:37 PM
Grimassen gemacht. Aber dann haben meine anderen zwei Mädels gesagt “wir haben
The last time that I felt “at home” was
dich doch lieb” und “Wir wollen nicht,
a few days ago in a coffeeshop in Berlin
dass du Falten kriegst”. Wir haben uns
talking with two greek friends about our
zu viert umarmt und es war ein Moment
dreams and plans for the new year.
vollkommener Zufriedenheit und Angekommen
12/21/2014 5:54 PM
sein. Wir haben uns nur noch angelächelt und gelacht :D Es war wirklich ein
everytime i go back to my country to
wunderschöner Abend.
my parents house adnwhen the plane is
12/22/2014 8:44 PM
landing in my city airport when i arrive to visit
Three years ago, I went to Hamburg with
12/21/2014 2:55 PM
the Erasmus program. After two months there I started calling it home. It
When I cook something that my mother made
wasn’t just the city that made me feel at
in the time when I was a kid.
ease there, but mainly the amazing people
12/21/2014 10:46 AM
I met there and made this experience for me unforgettable. To this day, I
when I with my family
still consider this people, not just my
12/21/2014 12:16 AM
friends, but my family. So home is where
Right now, because I’m visiting my mum.
my “family” is.
Everything is familiar to me and I feel
12/22/2014 10:21 AM
welcome. 12/20/2014 7:52 PM
A place would feel home for me when I am sharing a love with an other person, a
When I see people, to whom I am important
friend or a family member. I would like
12/20/2014 7:44 PM
55
FREMDE. ZUHAUSE. ON BELONGING
When I come back to my house in Weimar
a way that “Heimat ist da, wo man sich
with my children, meet our friends,
nicht erklären muss”. “Feeling at home”
family.
is not lasting however. Nowadays, with
12/20/2014 9:18 AM
constant mobility for study/work purposes the places around the globe where family
when i come home after work, have dinner,
and friends can be found are multiple.
play cards or read or watch a movie...
As a result one never feels “whole”.
normal stuff, and it feels right to be at
There are constantly goodbyes and new
that place. than i feel at home
encounters. At the same time, life goes
12/20/2014 5:07 AM
on in your absence, therefore familiar places where one had felt “at home” are
the moment when im in my own bed
less so from time to time. In the end,
12/20/2014 12:37 AM
one has to decide whether there is one place called “home”, more than one, or
No clothes, food, music and bed and
this does not exist at all. I tend to
pillow
believe that feeling at home reflects
12/19/2014 10:16 PM
how one feels for a specific period in life (and in time) and this changes
When I can close the door and feel that I
constantly.
won’t be bothered, this is when I feel at
12/19/2014 5:30 PM
home. Where I can sleep and nobody will wake me up in the middle of the night.
When you can completely relax and be
Comfortable and pleasant environment
yourself with the people you know best.
helps as well.
12/19/2014 5:18 PM
12/19/2014 9:10 PM i did my civil service instead of a Being abroad in Oslo, studying among
military service in bolivia. and with all
other Erasmus students, we we’re all
the nice people and the great friends i
different but charing a lot of common
met there, i really felt home. right now,
motivations and thoughts: Leaving our
i feel home at weimar, where i study.
home countries, exploring the word
12/19/2014 3:45 PM
while studying, exchanging thoughts and perspectives. For this period of time,
Sitting on the couch with my mom and
Oslo and the people around me, made this
sister, watching tv, and laughing at the
place felt like home.
same jokes. Going to the supermarket and
12/19/2014 7:29 PM
knowing exactly where all the products are.
In Canada I feel myself at home. Many
12/19/2014 3:45 PM
things such as nature, climate are very similar to Russia.
Once I felt at home in Dresden. It was
12/19/2014 7:13 PM
the first time I ever went to this city to visit a friend. In the morning while
When I first settled in Germany and I
me and my friends were sitting around the
found people that I could communicate
table having breakfast I felt at home
with. It felt like ‘being at home’ in
12/19/2014 3:36 PM
56
When I was abroad, I remember having a
But what is not home to me anymore, is
dinner with a new group of friends. We
surely new home to plenty. Maybe home is
had a really nice time and laughed a lot.
the frame?
Nothing special happened, it was just
12/19/2014 1:28 PM
a good feeling being of going from the stage of getting to know each other, to
around the people i love
becoming real friends. In that moment, I
12/19/2014 1:07 PM
felt really comfortable and like I was in the right place with the right people. It
Now, when I moved to Nth to my husband,
felt like home.
because he is my family.
12/19/2014 3:04 PM
12/19/2014 1:01 PM
I can’t recall an example right now,
An example is leaving with my family back
but as I said anytime I am somewhere
at my country.
else I remember (mostly when I’m annoyed
12/19/2014 12:57 PM
or tired) that what I’m doing is all temporarily, that in a few hours/days/
I experienced a different amount of
weeks I will return home (hopefully in
“homeness” in carious German cities. In
time to take the bus home, so I don’t
Weimar, I felt at home with the people
have to walk 30 minutes), open my
that I was living with, we accepted
suitcase(s), take a sower in my lovely
each other and had a lot in common and
and clean bathroom (it’s a standard
took care to make sure it stayed that
bathroom, but to me it’s paradise: I
way by undertaking activities together
am the only one who showers in there),
when possible. In Münster I felt home
eat something I cooked (there’s nothing
in my apartment because I was able
like home-cooked food to make you
to completely define my life and daily
feel warm from the inside), eventually
routines independent from any flatmate.
turn on a series to watch while I eat,
Since I was living in a unique structure
procrastinate, eventually start unpacking
(a converted observatory tower) I was
and in the end dive into my paradise: my
able to identify with the structure and
bed. As you can imagine now, I am not the
when asked by someone where I lived I
most social person you know.
could always surprise them with the
12/19/2014 2:11 PM
answer. This gave me a common story to tell through which I was able to identify
I thought about feeling myself at home
myself with. Finally, in Leipzig I feel
in Venice, where i studied for the last
at home because of all the cultural and
2 years of my bachelor. Venice is slow,
free time activites which are present
un-optimized, is a constant exercize in
in the city which makes me feel like an
scale, thus provides a sense of community
active part of the city.
that is irreplicable. Everything is very
12/19/2014 12:56 PM
human. When i went back, after more than a year, the missing part of the community
a place where I come back every evening,
feeling was the people, in one year
where I can stay alone and relax
everyone changed, leaving only the frame.
12/19/2014 10:07 AM
57
FREMDE. ZUHAUSE. ON BELONGING
When i am in panama.
When am with my foreigner friends or in
12/19/2014 6:15 AM
my home country. 12/18/2014 6:33 PM
whwn I’m next to my family!!! 12/18/2014 9:17 PM
Haha, probably everytime I get coffee with a friend, or call my family on
When I finished my masters degree I hostea
Skype. Just being near someone you love
a little party atbrge exhibition space
already picks you up and brightens your
- later in the night I remember looking
day. Especially when I am home with my
around at the people who were with me
mum or call her and here my cat meowing
there dancing and celebrating and felt a
in the background - I can so imagine both
real sense of belonging and that I really
of their faces it feels like being there,
cared for them.
being home.
12/18/2014 8:45 PM
12/18/2014 6:23 PM
Whenever I travel and when I check into a
While being in Norway, I went to visit a
comfortable hotel I feel I am home.
family member over a weekend. He cooked
12/18/2014 7:56 PM
meals for me, we spent time together watching tv, having sweets and going
Having a nice dinner surrounded by
out to walk his dog. This weekend was
friends and people I like
memorable, because of the warmth of a
12/18/2014 6:58 PM
loved one. 12/18/2014 6:11 PM
If I can sleep without thinking too much, I feel like ‘I’m home(feeling safe)
Nice food and warm foot
12/18/2014 6:56 PM
12/18/2014 5:47 PM
When I lived in mexico city, in an
I feel at home, every time i am at home
apartment shared with friends, cooked
with my family.
together, we shared experiences and we
12/18/2014 5:31 PM
developed projects. 12/18/2014 6:55 PM
After having a great time with friends and i get to retreat to “home” to
i felt myself like at home, when I was in
rest....
Granada, even if I couldn’t speak Spanish
12/18/2014 5:07 PM
it was very bright and sunny and I wanted to stay there and paint Berlin felt like home, when my friends came there to visit and we were talking Georgian in foreign country 12/18/2014 6:42 PM
58
PART THREE. HOME AWAY FROM HOME
The initial aspiration of this thesis was to create a multicultural pavilion, which using different exhibiting techniques would be understandable to everybody, no matter which language do they speak or which background do they have. The leitmotif was decided to be the notion of foreignness and unbelonging - as a topic, to which the majority of international students in Weimar could relate. However, the outcome of the survey brought two major points to the research on the topic of foreignness: firstly, not only internationals feel themselves foreign; and secondly, this feeling is quite current for the people of my generation. Inspired by such type of pavilions, where the curator takes already existing building and recreates the particular atmosphere within it, I was eager to find an appropriate space on the Campus territory, and to create there new ambience. Fortunately, in the same time the city of Weimar and Studentenwerk ThĂźringen have passed over the ownership of a former club to the student initiative K.T.W.. Following is a concept of a participatory exhibition named “Home away from homeâ€? in that premise, which desires to start the dialog between foreign and home; and which in a metaphorical way represents the very analog interaction between the both sides.
61
HOME AWAY FROM HOME
LOCATION
January 2015, after more than one year of transition time, the 2-storey premise of a former “student club Schützengasse” was finally given back to the student community. In the last years, the place became alienated from the people of Weimar and especially students, as a consequence of the old club politics. However, now the renovated club, standing under the name “Project EINS”, aims to recreate the place as a space for public activities and events, especially for students. In their statement, Projekt.Eins wants students to get the feeling of belongness and acceptance, and ability to participate without any limits. The aspiration of turning an alienated space into a familiar place of belonging makes this location the perfect spot for the participatory exhibition “Home away from home”. Located in the middle of Weimar old city, it also has advantage of short walking distance to the University Library, Campus, tourist spots, two squares, national theatre and the public transport. Thus, citizens as well as tourists, locals and internationals, students of Hochschule für Musik and Bauhaus Universität Weimar, have easy access to the location. -> Situation plan, M1:5000
62
63
HOME AWAY FROM HOME
Site plan with indicated entrances to the premise from the street, M1:1000
64
View from the corner of Sch端tzengasse/Hummelstrasse
View from the intersection of Schillerstrasse, Theaterplatz and Sch端tzengasse
Entrance to the premise
65
HOME AWAY FROM HOME
4
2 3
6
5
1
Floorplan ground floor (EG), M1:200
Room index: 1. 2. 3. 4. 5. 6.
Entrance area 15,8 sq.m. Room for events, 99,5 sq.m. Office room 22,3 sq.m. Project room 29,7 sq.m. Corridor 8,48 sq.m. Terrace
66
3 1
2
4
Floorplan underground floor (KG), M1:200
Room index: 1. 2. 3. 4.
67
Space for events, 123,78 sq.m. Technics room 13,46 sq.m. Kitchen 20,77 sq.m. Corridor 6,3 sq.m.
HOME AWAY FROM HOME
View from the bar, underground floor, state of 05.02.2015
View to the former Dj-room,underground floor, state of 05.02.2015
View to the kitchen and the stairs, underground floor, state of 05.02.2015
68
View to the stairs in the ceiling, underground floor, state of 05.02.2015
View from the Dj-room towards space, underground floor, state of 05.02.2015
View towards bar, underground floor, state of 05.02.2015
69
HOME AWAY FROM HOME
IDEATION PROCESS
70
71
HOME AWAY FROM HOME
CONCEPT HOME AWAY FROM HOME The space is divided in two parts - “fremde” and “zuhause”, and can only be accessed via stairs. FREMDE
ZUHAUSE
When one goes down the stairs, he finds
The person goes inside and looks around:
himself in a dark, cold, foggy room. He cannot
warm copper-like light brightens the area, a
see the way or the borders of the room;
carpet covers the floor, cushions and plaids
he only knows the way he got in. There, to
are distributed over the place. There are
the left, something radiates a light: a small
things which all somehow remind him of
window 15x20 cm cut out from the black wall.
home – books, warmth, coziness. He wanders
When he approaches the window, he can see
through this place: at one point, he stands
something inside – warm light, nice sound,
under the beam of sound – it plays an ambient
cozy inviting atmosphere. However, how to
sound of some dinner of friends. He cannot
get there? There should be some way to get
understand the words, but the intonations
inside. He keeps wandering in a room, lost
and the laughter remind him of a dinner with
and confused, until discovering a small niche
his friends he had back home. Standing there
in a back wall – there is a tunnel with a dim
for a while and listening to them, he moves
light at the end. He approaches the end and
again and finds a book, ‘Bibliothek der Fremde
stands under the spotlight, realizing there
& Zuhause’. There the people are sharing the
is a mirrored door in front of him. He sees
moments when they feel foreign and when
his reflexion in the mirror and understands,
they feel at home. He thinks how would he
that this door has no handle. Instead, there
answer, and what defines home to him? Going
is a bell rope hanging next to it. He takes all
deeper in this room, he finds more things he
the courage and pull the bell rope, instantly
could interact with. At some point, the bell
hearing the ringing of the bell on the other
rings again, and he goes to open the door
side of the space. Then followed by the sound
from the inside to another stranger, or maybe
of the steps, the door opens from the inside by
a friend. After some time spent in there, he
another person.
goes out through the same door – but now easily finds a way out.
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73
HOME AWAY FROM HOME
SYMBOLS AND METAPHERS
First room is a metaphor for feeling foreign/
Second room represents finding home.
alien. This is a collective experience, a cooperative WINDOW: Seeing there is some ‘home’ but not
part of the notions of home.
knowing how to approach it. Feeling excluded. The most important finding during the DARK FOGGY ROOM WITH NO SEEN
research was that, unlike the notion of
BOUNDARIES: The tough way of wandering
foreignness, the feeling of home is very unique
and searching for a way, knowing no rules
to each person and is directly influenced by
and no signs. Attempting to find the way in -
the identity of oneself. Also, whilst expressing
willingness to integration.
their ideas of home, majority of people has named other persons (family, friends). The
MIRROR: At the end of the foreign experience,
experiences and the imagery of each and other
one has to face himself and to accept self the
are very different, and many unique factors
way he is – unique. Einzigartig.
are defining it.
DOOR AND THE BELL: This is a metaphor of
The proposal to the “Zuhause” space,
the very analog interaction: it requires ACTION
therefore, is a a curated selected collection of
(pulling the bellrope), REACTION (another
the things, objects, experiences, and artifacts
person hearing the bell and willing to open
of home created by different people and
the door), and INTERACTION (opening the
brought under one space (with already pre-set
door from the inside and going through the
artifacts, performing as ‘triggers’).
opened door). In relation to foreignness it
The artifacts meant to be gathered by call
symbolises the process of integration and
for artists and beyond, and collaborative
finding home: the work should be done from
workshops. They would be arranged and
both sides (foreign, local) and their willingness
placed in certain time, so that all the artifacts
to cooperate.
are creating the mutual homelike atmosphere. There are several spaces which could be used
The door itself is a way to finding the ‘home
(but not limited to): shadow box (in german
away from home”.
Setzkasten), tribune, video room, projection plane, bar. The main showpiece and the inspiration for the whole project meant to be the book “Bibliothek der Fremde & Zuhause”, containing the answers to the survey.
74
CULTURAL ARTIFACTS
Pre-set (‘triggers’)
Gathered
_Carpet cross-cultural artifact of home
Collective image of home achieved by
_call for artifacts for artists and beyond;
_Cushion
_collaborative work;
symbol of comfort _workshops:
_curatorial selection and displaying management of the “artifacts of home”
_Book symbol of collected knowledge and transference of experience
_Sound ambient sound of a dinner among friends and family
_Skype connection to the people one cares about
75
HOME AWAY FROM HOME
New displays
New partitions
Existing walls and partitions
76
Floorplan Exhibition, M1:100
77
HOME AWAY FROM HOME
Sectional elevation A-A, M1:100
Sectional elevation B-B, M1:100
78
Sectional elevation C-C, M1:100
Sectional elevation D-D, M1:100
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HOME AWAY FROM HOME
MATERIALS
Material
Specification
Pieces/Sq.m.
Light
spotlight in fremde
1 pc.
warm copper lights in zuhause
6 pc.
Fog
Haze machine
1 pc.
Wallpaint
color Anthracite
25,4 sq.m.
Partitions
double-sided plaster board,
39,4 sq.m.
colored; or molltone Mirror
one-piece mirror
1,68 sq.m.
or mirror foil Doorbell
mechanically operated doorbell, activated by
1 pc.
pulling the cord Carpet
orient rug, in red color tones
1 pc.
(approx. 17-20 sq.m.) Seating boxes and
18mm birch multiplex, non-coated
14,4 sq.m.
Shadow box
18mm birch multiplex, non-coated
18,05 sq.m.
Table
18mm birch multiplex, non-coated
1,43 sq.m.
Cushions
40x40 cm cushions, dark red
10-12 pc.
Technics
directional loudspeaker
1 pc.
IPad
1 pc.
tribune
80
Anthracite
Birch multiplex
Bell
Carpet
81
HOME AWAY FROM HOME
82
Visualisations, Fremde room
83
HOME AWAY FROM HOME
84
Visualisations, Zuhause room
85
HOME AWAY FROM HOME
86
Model photos
87
HOME AWAY FROM HOME
IN CONCLUSION
This thesis was undertaken to research the existing interactive and interdisciplinary exhibiting practices and to design the multicultural exhibition, which would stimulate better understanding of each other. The analysis of the foreignness and home carried out here has extended the knowledge on the notion of belonging and provided the valuable outcome and inspiration for the design concept in a form of the survey responses. The concept of an exhibition “Home away from home� aims at bridging the gap between the different groups of people. Its participatory aspect suggests involving the participants in a dialogue and obtaining the notion of belonging and home. It also offers a space for collective work and discussions regarding notion of foreignness, and gives a glimpse of the feeling of being alienated. With the use of the various media (light, color, texture, reflexion, analog interaction), the former club space transforms into a place of belonging, into the home away from home. Limited to the concept and ideation, this project would involve further and more precise development in the case of implementation. A multidisciplinary teamwork then is suggested, to cover all possible aspects and to deliver the quality of experience. All in all, it could be a perfect meeting space for the Weimar people.
88
BIBLIOGRAPHY
Augé, M. (2000) Non-places introduction to an anthropology of supermodernity. Reprint. edn. London [u.a.]: Verso. Bergdoll, B. (2009) ‘The Pavilion and the Expanded Possibilities of Architecture’, in Cachola Schmal, P. (ed.) Der Pavillon. Lust und Polemik in der Architektur ; [anlässlich der Ausstellung “Der Pavillon - Lust und Polemik in der Architektur”, 11. Juli - 20. September 2009, veranstaltet vom Deutschen Architekturmuseum, im Auftrag vom Dezernat Kultur und Wissenschaft, Stadt Frankfurt am Main] = The pavilion. Pleasure and polemics in architecture. Ostfildern: Hatje Cantz Verlag, pp. 12-33. Bergdoll, B. (2013) ‘The Pavilion and the Expanded Possibilities of Architecture’, Detail Zeitschrift für Architektur + Baudetail [...] [Deutsche Ausgabe], 10 Serie 2013(10), pp. 1060-1068. Bronfen, E. (2001) ‘Chryptotopias. Secret Sites/Transmittable Traces’, in Kittelmann, U. (ed.) Gregor Schneider: Totes Haus ur, La Biennale di Venezia. Ostfildern-Ruit: Hatje Cantz Verlag, pp. 33-60. Colomina, B. (1994) Privacy and publicity modern architecture as mass media. Cambridge, Mass [u.a.]: MIT Press. Condorelli, C. (2012). The Parliament [Installation]. Bildmuseet, Umeå, Sweden, 20 June - 9 September 2012. Easthope, H. (2004) ‘A place called home’, Housing, theory and society, 21(3), pp. 128-138. Foucault, M. and Miskowiec, J. (1986) ‘Of Other Spaces’, Diacritics, 16(1), pp. 22-27. Greenberg, R., Ferguson, B. W. and Nairne, S. (1996) Thinking about exhibitions. London [u.a.]: Routledge. Grynsztejn, M. (2007) ‘(Y)our Entanglements: Olafur Eliasson, The Museum, and Consumer Culture’, in Grynsztejn, M. (ed.) Take your time: Olafur Eliasson [... on the occasion of the Exhibition “Take your Time: Olafur Eliasson” ; San Francisco Museum of Modern Art, September 8, 2007 - February 24, 2008 ; The Museum of Modern Art, New York, and PS 1 Contemporary Art Center, April 13 - June 30, 2008 ; Dallas Museum of Art, November 9, 2008 - March 15, 2009]: San Francisco Museum of Modern Art; Thames & Hudson, pp. 11-32. Helfert, H. (2004) Technological Constructions of Space-Time. Aspects of perception. Media Art Net: Zentrum für Kunst und Medientechnologie Karlsruhe. Available at: http://www. medienkunstnetz.de/themes/overview_of_media_art/perception/scroll/ (Accessed: 18 February 2015). Hoffmann, J. (2014) Show time the 50 most influential exhibitions of contemporary art. New York, NY: D.A.P. Kittelmann, U., Bronfen, E. and Birnbaum, D. (2001) Gregor Schneider: Totes Haus Ur ; La Biennale
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BIBLIOGRAPHY
di Venezia 2001 ; [anlässlich der Ausstellung “Gregor Schneider - Totes Haus Ur”, La Biennale die Venezia 2001, Deutscher Pavillon, 10.6. - 4.11.2001]. Ostfildern-Ruit: Hatje Cantz. Kusenbach, M. and Paulsen, K. E. (2013) Home international perspectives on culture, identity, and belonging. Frankfurt am Main: Lang. “medium”, Def. 1 (2015): MacMillan Dictionary Online. Available at: http://www. macmillandictionary.com/dictionary/british/medium_1 (Accessed: 26 February 2015). O’Doherty, B. (1999) Inside the white cube: the ideology of the gallery space. Ahmanson Murphy Fine Arts Imprint Expanded edn. Berkeley [u.a.]: Univ. of California Press. Pallasmaa, J. (2012) The eyes of the skin architecture and the senses. 3 edn. Chichester: Wiley. Rapp, R. (2008) ARNDT - ILYA & EMILIA KABAKOV (2008). Available at: http://www.arndtberlin. com/website/page_14155 (Accessed: 15.02.2015 2015). Rebentisch, J. (2003) Ästhetik der Installation. Zugl Diss Univ Potsdam, 2002, Suhrkamp, Frankfurt am Main. Sandin, G. (2003) ‘Dealing with Non-place in exploitation, belonging and drifting’, Nordisk Arkitekturforskning, 12(2), pp. 67-85. Snøhetta (Oslo) (2007) Conditions Snøhetta architecture - interior -landscape. Baden: Lars Müller Publishers. Unwin, S. (2010) Twenty buildings every architect should understand. Architecture notebooks 1. edn. London [u.a.]: Routledge. Waldenfels, B. (2012) Grundmotive einer Phänomenologie des Fremden. 4 edn. Frankfurt am Main: Suhrkamp. Yerebakan, O. C. (2014) Paris – Ilya & Emilia Kabakov: L’Ètrange Cité (Strange City) at Grand Palais Through June 22nd, 2014. Art Observed. Available at: http://artobserved.com/2014/06/parisilya-emilia-kabakov-l%E2%80%99etrange-cite-strange-city-at-grand-palais-through-june22nd-2014/ (Accessed: 18 March 2015). Zimmermann, G. (2003) ‘Medium Architektur’, Thesis: wissenschaftliche Zeitschrift der BauhausUniversität Weimar, (no. 49), pp. 9-15. Zumthor, P. (2006) Thinking architecture. 2, ext. edn. Basel [u.a.]: Birkhäuser.
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LIST OF ILLUSTRATIONS
Page 17: German Pavilion in Barcelona.
All other pictures are courtesy of author if not
Both photos are courtesy of author.
stated otherwise.
Page 18: Pavilion Programming Natural Affect (MediaArchitecture Biennale 2014, Aarhus, 2014). Photos: upper © Anna Ulak, Philipp Rahlenbeck; lower left © Wolf Leeb; lower right courtesy of author. Page 21: Valie Export - Autohypnose. © Valie Export Page 22: Ilya and Emilia Kabakov - The strange City (Monumenta 2014, Paris) All photos: © Didier Plowy for le réunion des musées nationaux – grand palais Page 25: Gregor Schneider - Totes Haus u r (recreated for Venice Bienalle 2001) All photos © Gregor Schneider / VG Bild-Kunst, Bonn Page 26: Olafur Eliasson - The Weather Project (Tate Modern, 2003) Both photos © Andrew Dunkley & Marcus Leith Page 33: Street flower © Alexis Doyen Page 63: site photos Schützengasse street Two upper photos are courtesy of author; lower photo © Rebecca Zachau Page 79: Upper left photo: Birch multiplex © Finnforest Deutschland 2015; photo in the middle: staff call bells © xlibber (licensed by wikimedia commons: http://commons.wikimedia. org/wiki/File:Staff_Call_Bells_ (7964118810).jpg#/media/File:Staff_ Call_Bells_(7964118810).jpg); lower photo: turkish rug © Lavender Rugs
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LIST OF ILLUSTRATIONS
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APPENDIX
3/23/2015
Weimarer Schützengasse wird Begegnungsstätte | TLZ MONTAG, 23. MÄRZ 2015
22.01.2015 - 11:00 Uhr
Aus dem ehemaligen Studentenclub Schützengasse wird eine Begegnungsstätte für Studenten aus aller Welt.
Der ehemalige Studentenclub Schütze wird wiederbelebt als Studentische Projektwerkstatt unter dem Namen Projekt Eins. Schlüsselübergabe von Dr. Ralf Schmidt-Röh, Geschäftsführer des Studentenwerkes Thüringen an Udo Nauber, Vorsitzender Kulturtragwerk e.V.. Foto: Michael Grübner
Weimar. Am Mittwoch um 13 Uhr übergab das Studentenwerk die Räumlichkeiten an die studentische Projektwerkstatt "Projekt Eins" übergeben, heißt es in einer entsprechenden Mitteilung. Die Leitung des Projekts übernimmt der Kulturtragwerk Weimar (KTW). Der gemeinnützige Verein koordiniert dabei Nutzungsanfragen von Initiativen der Studierendenvertretungen, der Bauhaus-Universität, der Hochschule für Musik Franz Liszt, sowie weiteren studentischen Vorhaben. Beide Weimarer Hochschulen erfreuen sich eines großen Anteils ausländischer Studierender, mit denen speziell durch die Initiative Bauhaus Internationals - eine enge Kooperation vorgesehen ist. Poetry Slams, Piano-Abende, Spiel-Abende, Karaoke, Ausstellungen und Tanzkurse sind nur Ausschnitte der Veranstaltungen der Bauhaus Internationals, die hervorragend in die Räume passen. Konkret bedeutet dies für die obere Etage wechselnde Veranstaltungen von Tanzkursen bis hin zu Podiumsdiskussionen. Die Räume der unteren Etage werden zur Nutzung an studentische Initiativen und Projekte vergeben. 22.01.15 / TLZ Z0R0006614541
Zurück
http://www.tlz.de/web/zgt/suche/detail/-/specific/Weimarer-Schuetzengasse-wird-Begegnungsstaette-2094715052
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1/1
Die Vertretungen der Studierenden fördern und betreuen zahlreiche studentische Initiativen. Die Vertretungen haben eigene Richtlinien, die die Initiativen berücksichtigen müssen, um durch den StuKo oder StuRa gefördert zu werden. In diesen Richtlinien sind folgende Punkte vereinbart:
APPENDIX
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-Projekt EINS-
Die bereits etablierte Struktur der Vertretungen wird demnach anerkannt und ist ein wichtiger Bestandteil für eine langfristige studentische Ausrichtung des Projekts EINS. Die studentischen Initiativen die sich dem Projekt EINS öffnen sind langfristig ein großer Mehrwert für stetig wechselnde Kultur und aktueller Trends in der Studierendenschaft.
-Studierendenzentrum in Weimars InnenstadtStudierende in Weimar suchen permanent nach Raum für Wissenschaft, Kunst und Kultur um sich zu verwirklichen und um die Weimarer Bevölkerung daran teilhaben zu lassen. Die bisherigen Räume und Flächen reichen nicht aus. Projekt EINS möchte dies durch einen Begegnungsraum für Kunst und Wissenschaft von Studierenden als Gastgeber erreichen. Der Standort Schützengasse stellt damit die ideale Fläche zur Belebung der Innenstadt Weimars dar. Der gemeinnützige Verein Kulturtragwerk koordiniert Nutzungsanfragen von Initiativen der Studierendenvertretungen, der BauhausUniversität, Hochschule für Musik sowie weiteren studentischen Impulsvorhaben in Nutzungs- und Kooperationsvereinbarungen. Langfristig soll mit dem neuen Ansatz, Initiativkultur und damit eine studentische Ausrichtung sichergestellt werden.
1
2
3 4
Die folgende Graphik zeigt die strukturellen Verbindungen bei Realisierung des Projekt EINS.
StuWe
Nutzungsvereinbarungen
StuKo/ StuRa
Initiativen Ini- Richtlinien
KTW
Die Akteure .......................................................................................................................................2 1.1
Kulturtragwerk e.V. (KTW) .......................................................................................................2
1.2
Studentenwerk Thüringen (StuWe) .........................................................................................2
1.3
Studierendenvertretungen (StuKo/StuRa) ...............................................................................3
Nutzungsvereinbarung
Initiativen
Nutzungsmöglichkeiten ....................................................................................................................3 2.1
Allgemeine Raumnutzung ........................................................................................................4
2.2
Internationaler Treffpunkt .......................................................................................................4
2.3
Die Räume ................................................................................................................................5
2.4
Überblick der Initiativen ...........................................................................................................9
2.5
Öffnungszeiten und Reservierungen ........................................................................................9
2
Erscheinungsbild und öffentliche Wahrnehmung ..........................................................................10 Finanzierung ...................................................................................................................................10 4.1
Ausgaben ................................................................................................................................10
4.2
Einnahmen..............................................................................................................................10
einzelne Projekte und Initiativen nicht allein arbeiten, gerade durch die Bündelung der verschiedensten Ideen kann ein interdisziplinärer Austausch entstehen. Eine Weimarer Subkultur inmitten der Hochkultur. Die Innenstadtlage ist dafür von immenser Bedeutung. Eine neue öffentliche Wahrnehmung studentischer Projekte soll entstehen.
Die Akteure
1.1 Kulturtragwerk e.V. (KTW) Der KTW e.V. ist ein gemeinnütziger Verein. Er wurde im Jahr 2002 gegründet, um die Ausrichtung des jährlich am 1. Mai stattfindenden Seifenkistenrennens in Weimar zu ermöglichen. Seitdem ist der Verein Träger für zahlreiche studentische Großveranstaltungen. Der KTW ist eine Initiative des Studierendenkonvents (StuKo) der Bauhaus-Universität Weimar (BUW), Mitglied der LAG Soziokultur Thüringen und Partner der BUW. Der Verein hat sich zur Aufgabe gemacht öffentlicher Träger und Netzwerkstelle studentischer Projekte und neuer Kulturformate zu sein.
In der unteren Etage sollen Räume als Initiativ- und Projekträume genutzt werden, die für einen längeren Zeitraum an studentische Initiativen vergeben werden. Da die meisten studentischen Initiativen oft nicht länger als ein Jahr bestehen, werden auch diese Räume jeweils unterschiedlich genutzt werden. Die weiteren Kellerräume (Werkstatt, Vorbereitungsraum) sollen flexibel nutzbar bleiben und keinen festen Projekten zugeordnet werden.
1.2 Studentenwerk Thüringen (StuWe) In diesem Konzept überlässt das Studentenwerk Thüringen die Räumlichkeiten der Schützengasse 2 im Kellergeschoss und Erdgeschoss dem KTW in einer Überlassungs- bzw. Betriebskostenvereinbarung. Neben einer Vereinbarung wie die anfallenden Betriebskosten an das Studentenwerk abgeführt werden, sollen auch weitere Vereinbarungen getroffen werden.
Die große Fläche im Kellergeschoß, ehemals Tanzfläche, soll wie der obere Veranstaltungsraum im Erdgeschoss flexibel für Veranstaltungen genutzt werden. Beispielsweise kann der Raum für Filmpremieren, oder Präsentationen mit Projektionen genutzt werden.
Stand: 18.11.2014
2.2 Internationaler Treffpunkt Die Innenstadtlage ist gerade für ausländische Studierende und potentielle Studierende ideal um sich zu treffen und gemeinsame Projekte umzusetzen.
1.3 Studierendenvertretungen (StuKo/StuRa) Die Vertretungen der Studierenden fördern und betreuen zahlreiche studentische Initiativen. Die Vertretungen haben eigene Richtlinien, die die Initiativen berücksichtigen müssen, um durch den StuKo oder StuRa gefördert zu werden. In diesen Richtlinien sind folgende Punkte vereinbart:
3
2.1 Allgemeine Raumnutzung Die Räumlichkeiten sollen vor allem flexibel genutzt werden. In der direkten Umsetzung heißt das, dass wir in der oberen Etage wechselnde Veranstaltungen haben, die von Tanzkursen bis Podiumsdiskussionen reichen sollen. Dafür muss der Raum möglichst neutral gestaltet werden und die jeweiligen Veranstaltungen passend bestuhlt bzw. frei geräumt sein.
Im Projekt EINS bildet der KTW den Koordinator aller Akteure. Der Verein pflegt die Vereinbarungen mit allen Akteuren und prüft stetig auf studentische Einflussnahme. Weiterhin möchte der Verein durch seine Einnahmen und vorhandene Infrastruktur Kultur und studentisches Engagement in 1 Weimar fördern. Der Status eines gemeinnützigen Vereins soll bei der Umsetzung des Konzeptes langfristig unberührt bleiben.
Nutzungsmöglichkeiten
Die bisherige Nutzung der „Schütze“ als reiner Clubbetrieb und Veranstaltungsraum ist in Weimar ein veraltetes Modell. Die Räumlichkeiten bieten sehr gute Voraussetzung für Initiativen, da sie durch ihre Innenstadtlage sehr gut angebunden sind, „studentisches“ in die öffentliche Wahrnehmung transportieren können und weiterhin die Räumlichkeiten eine mannigfaltige Nutzung zulassen. Das Projekt EINS soll in einen Ort der Kreativität, des Austausches und der Begegnung verwandelt werden. Zum einen soll durch Initiativen, die durch die Studierendenvertretung verwaltet werden und zum anderen durch Projekte, die durch den KTW unterstützt werden das Projekt EINS genutzt werden. Es soll ein Ort geschaffen werden, an welchem Studierende in Weimar sich über Ihre Ideen und Projekte austauschen können. Neue Synergien können entstehen und das kreative Potential, das in so vielen Initiativen steckt, könnte durch einen regen Austausch gefördert werden. Dabei sollen Stand: 18.11.2014
Stand: 18.11.2014
1
5 namentlich benannte Studierende der BUW oder HfM, einer davon als Hauptansprechpartner ausgearbeitetes Konzept für ein langfristiges Projekt mit der Angabe, in welchen Aufgabenbereichen der Studierendenschaft die Initiative tätig ist und einen Mehrwert bietet Wirtschaftsplan, in dem sämtliche Einnahmen und Ausgaben (auch von/an Dritte)verzeichnet sind Offenheit für alle Studierenden der BUW und HfM Transparenz der Aktivitäten und Möglichkeit der Partizipation bieten Dokumentation der aktuellen Arbeit der Initiative in Publikationen
In Weimar gibt es durch die Hochschule für Musik und die Bauhaus-Universität einen großen Anteil an ausländischen Studierenden. Natürlich steht das Projekt EINS allen Studierenden offen, aber es ist speziell mit den Bauhaus Internationals eine enge Kooperation vorgesehen. Die Bauhaus Internationals haben selbst verschiedene Veranstaltungsreihen, für die Räume benötigt werden. Die beiden großen Veranstaltungsräume im Erdgeschoss und im Keller eignen sich hervorragend für die einzelnen Veranstaltungen.
5 namentlich benannte Studierende der BUW oder HfM, einer davon als Hauptansprechpartner ausgearbeitetes Konzept für ein langfristiges Projekt mit der Angabe, in welchen Aufgabenbereichen der Studierendenschaft die Initiative tätig ist und einen Mehrwert bietet Wirtschaftsplan, in dem sämtliche Einnahmen und Ausgaben (auch von/an Dritte)verzeichnet sind Offenheit für alle Studierenden der BUW und HfM Transparenz der Aktivitäten und Möglichkeit der Partizipation bieten Dokumentation der aktuellen Arbeit der Initiative in Publikationen
Poetry Slam, Piano Abende, Tandem Treffen, Spiele Abende, Karaoke, Ausstellungen und Tanzkurse sind nur ein Ausschnitt der Veranstaltungen der Bauhaus Internationals, welche hervorragend in die Räumlichkeiten der Schützengasse passen. Durch eine intensive Zusammenarbeit soll ein Beitrag zur Integration der ausländischen Studierenden in den Alltag geschaffen werden. Das Projekt EINS ist einerseits als Veranstaltungsraum, aber auch als Begegnungsraum zwischen den Studierenden aus aller Welt konzeptioniert.
Die bereits etablierte Struktur der Vertretungen wird demnach anerkannt und ist ein wichtiger Bestandteil für eine langfristige studentische Ausrichtung des Projekts EINS. Die studentischen Initiativen die sich dem Projekt EINS öffnen sind langfristig ein großer Mehrwert für stetig wechselnde Kultur und aktueller Trends in der Studierendenschaft. Die folgende Graphik zeigt die strukturellen Verbindungen bei Realisierung des Projekt EINS.
StuWe
Nutzungsvereinbarungen
100
StuKo/ StuRa
Initiativen Ini- Richtlinien
2
4
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5
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2.4 Überblick der Initiativen Als Initiativen werden studentische Gruppen bezeichnet, die als solche von den Studierendenräten anerkannt sind oder bereits mit dem KTW eine Kooperationsvereinbarung abgeschlossen haben. Welche Initiative für die Initiativenräume in Frage kommt, wird für 1 Jahr gemeinsam mit dem StuKo/StuRa festgelegt. Für das Projekt EINS können folgende Initiativen beispielshaft genannt werden:
2.3
Die Räume
marke.6 – studentische Semesterausstellung Tonraum– musikalische Workshops, Feiern Lucia Verlag – studentischer Verlag Eject – studentischer Verlag PAPKA –studentischer Kartonverlag Port – studentisches Magazin Projektil – studentische Veranstaltungsreihe Raumstation – kreative Ausstellungsideen Maschinenraum – IT Gruppe für Programmierung und Problemlösungen Bauhaus FM – studentisches Radio Textilwerkstatt Maschinenraum – studentische Hilfe für Computertechnik
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Initiativen für flexible Nutzung:
Räume E- Erdgeschoss Raum
Nutzungsart
Nutzungsbeispiel (Initiativen, Bemerkungen)
E1
Treffpunkt, Ausstellungen, Sitzungsraum, Salsa, Tango
E2 E3
Flexibler Veranstaltungsraum stud. Treffpunkt Flexibler Veranstaltungsraum Tagesbüro
E4 E5
Terrasse Flur
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Ausstellungen, Sitzungsraum Raum der zu Öffnungszeiten oder Besprechungen Anlaufpunkt ist. Dient auch als Projektraum der Bauhaus Internationals Treffpunkt
Bauhaus Orchester – ehrenamtliches Orchester Horizonte, Projektil Der Laden – studentische Ausstellungsreihen SKHC – Seifenkistenrennen Weimar (Workshops, Büro, Werkstatt) Maschinenraum – studentische Hilfe und Computertechnik Workshops Salsa und Tango Tanzabende Kontor/Stift – Non Profit Ini für studentische Arbeitsmaterialien Summaery – Semesterausstellung der BUW Back Up –studentisches Filmfestival in Weimar, Vorträge, FilmPodium, Diskussionen Improvisationstheater Konglomerat – studentische Veranstaltungsreihe Internationale Studentenwoche – Ini des KTW WE ARE BEAT – studentischer Rock n Roll Mama Ghana – Vortäge studentischen Projekte der Entwicklungszusammenarbeit
2.5 Öffnungszeiten und Reservierungen Die Reservierung für Räume und Veranstaltung wird grundsätzlich durch den Projekt EINS Koordinator in einem Kalender vorgenommen. An mind. 2 Tagen in der Woche ist sind offizielle Sprechzeiten vorgesehen.
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Erscheinungsbild und öffentliche Wahrnehmung
3
Der Standort hat sich für Weimarer Bürger zunehmend entfremdet. Begründet liegt dies vor allem in einem langjährigen Clubbetrieb, welcher auf beiden Etagen durchgeführt wurde. Das Gebäude sowie 9 dessen Inhalte bzw. Veranstaltungen sollen öffentlich zugänglich gemacht und von einem breiteren studentischen Publikum wahrgenommen werden. Fest verankerte Meinungen sollen damit aufgebrochen werden, sowohl im äußeren Erscheinungsbild, als auch im digitalen Auftritt. Studierende sollen das Gefühl bekommen, dazuzugehören und ohne Barrieren mitwirken zu können. Aus diesem Grund wurde für das Vorhaben der neutrale Begriff „Projekt EINS“ verwendet.
Stand: 18.11.2014
Räume K- Kellergeschoss Nutzungsbeispiel (Initiativen, Bemerkungen)
K1
Feiern, Filmvorführungen, Präsentationen, Karaoke (Bauhaus Internationals) Rohkost Zubereitung, flexible Nutzung durch Initiativen Tonraum Ini, kleine Seminare für Licht und Ton
K2 K3/ K4 K5 K6 K7 K8 K9 K10 K11 K12 K13 K14 K15
flexibler Veranstaltungsraum stud. Treffpunkt Vorbereitungsraum Workshops, Lounge Initiativenraum Initiativenraum Initiativenraum Lagerraum Initiativenraum Werkstattraum Lagerraum Technikraum Betriebsraum Betriebsraum
Finanzierung
4
Raum Nutzungsart
Bandtechnik, Probenraum nicht verfügbar nicht verfügbar Schließfächer Getränke oder Technik nicht verfügbar Offene Werkstatt für Workshops, kleiner Lagerraum Getränke oder Technik Licht- und Tonsteuerung, Künstlertechnik
Das gesamte Vorhaben wird großzügig angenommen, damit Puffer im Laufe der Probezeit und damit auch eine größere operative Planungssicherheit gegeben ist. Nach Erfahrung der bisherigen Kulturarbeit des KTW in Weimar ist die Realisierung von besonderer Kultur immer eine Investition. Aus diesem Grund sollen Einnahmen (Eintritte, Getränkeverkauf) bei Veranstaltungen mit Besucherandrang die weniger wirtschaftlichen Projekte querfinanzieren.
4.1 Ausgaben Im Folgenden sollen in einem Entwurf laufenden Ausgaben vorgestellt werden. Die Ausgaben für Umbaumaßnahmen, Einrichtung und Reparaturen bis zum Beginn des Betriebs sind zunächst nicht berücksichtigt. Sonderveranstaltungen sollen sich selbst finanzieren, nicht rentable Veranstaltungen werden durch rentable Veranstaltungen bzw. Förderungen ausgeglichen. Die markantesten Ausgaben ergeben sich aus den Nebenkosten für Ver- und Entsorgung. Personal wird je Veranstaltung abgerechnet bzw. über ehrenamtliches Engagement des Vereins realisiert. Die folgende Tabelle zeigt die wichtigsten Posten für den Betrieb auf.
6
Tabelle1: geplante Betriebskosten in EUR Nr Posten
101
1 Nebenkosten 2 Puffer 3 Office 4 Reinigung 5 Sonstiges
Bemerkung Ver- und Entsorgung Reno/Material/etc. Verbrauchsmaterial Toiletten/Erdgeschoss partiell Reparaturen, etc. Summe
4.2
Einnahmen
mtl. Betrag
Jahresbetrag
800,00 150,00 50,00 150,00 50,00
9600,00 1800,00 600,00 1800,00 600,00
1200,00
14400,00
APPENDIX
102
Räume: Mieter:
Studentenwohnhaus Schützengasse 2, 99423 Weimar KulturTragWerk e.V.
Geschoss:
Erdgeschoss (EG) Raum
Raum
NF
TF
VF
Nr.
Nr.
Bezeichnung lt. Planung
in m²
in m²
in m²
1.04.1
2.
1.04.2
Vorraum Garderobe
beheizt
unbeheizt
3,53
Fläche KTW in m² beheizt
17,47
17,47 10,00
3.
1.04.3
Büro
10,00
4.
1.04.4
Clubbereich
99,50
99,50
5.
1.04.5
Clubbereich
21,35
21,35
6.
1.04.6
Gang
7.
1.04.7
Barbereich
unbeheizt
3,53
Garderobe
8,48
8,48
29,70
Einzelflächen in m²:
29,70
181,55
0,00
8,48
27,47
190,03
Gesamtfläche in m² :
3,53
31,00
150,55
8,48
159,03
521,23 m²
Mietfläche Gesamt (KG,EG):
Räume:
Fläche Std. Wohnen in m²
lfd.
1.
1
ANLAGE
ANLAGE
Studentenwohnhaus Schützengasse 2, 99423 Weimar (ehemals SC Schützengasse e.V. neu KTW)
1
Geschoss: Kellergeschoss (KG) Fläche Std. Wohnen in m²
lfd.
Raum
Raum
NF
TF
VF
Nr.
Nr.
Bezeichnung lt. Planung
in m²
in m²
in m²
1.
0.1.16
Lager
beheizt
unbeheizt
17,68
17,68 9,85
Fläche KTW in m² beheizt
unbeheizt
2.
0.1.18
Lager
9,85
3.
0.2.01
Billard
35,28
4.
0.2.02
Barbereich
49,2
49,20
5.
0.2.03
Tanzfläche
39,30
39,30
6.
0.2.04
Treppenraum
7.
0.2.05
Nebenraum
6,30
6,30
8.
0.2.06
Nebenraum
13,28
13,28
7,54
35,28
7,32
7,32
9.
0.2.07
Nebenraum
10.
0.2.08 a)
Gang
11.
0.2.08 b)
Gang
5,16
12.
0.2.09.
Lager
19,26
13.
0.2.10
Lager
20,30
15.
0.2.11
Lager
3,34
3,34
16.
0.2.12
Bierkeller
12,98
12,98
17.
0.2.13
Lager
13,46
18.
0.2.14
Vereinsraum
27,60
27,60
19.
0.2.15
Bar
6,37
6,37
20.
0.2.16
Lager
21.
0.2.17 a)
Flur
22.
0.2.17 b)
Flur/Witschaftsraum
4,47
23.
0.2.18
Vorraum WC
4,50
4,50
24.
0.2.19
WC Herren
14,49
14,49
25.
0.2.20
Vorraum WC
6,20
6,20
26.
0.2.21
WC Damen
9,84
9,84
27.
0.2.22
WC Personal
3,78
28.
0.2.23
Waschraum
3,76
29.
0.2.24
Küche
30.
0.2.25
Lager Küche/ Lüftungstechnik
11,50
11,50
31.
0.2.26
Wirtschaftsraum/ Lüftungstechnik
3,52
3,52
Einzelflächen in m²:
7,54 11,04
11,04 5,16 19,26 20,30
13,46
11,16
11,16 20,78
20,78 4,47
3,78 3,76
20,77
341,45
20,77
15,02 420,03
Gesamtfläche in m² :
103
63,56
0,00 57,83
57,83
161,51 362,20
200,69
APPENDIX
Acknowledgement
I would like to thank my supervisors, Prof. Ursula Damm and Prof. Bernd Rudolf, for their guidance and their knowledge in the field of media and architecture. Their advices provided the invaluable support during my thesis, and I am very grateful for that.
I would also like to thank Dr. Sabine Zierold for the seminar on the mediality of architecture, which gave me the first insight on the topic of medium.
Explicit praise for Dominique Hurth for the treasured insight on the displaying and exhibiting practices, and for the inspiration for this thesis.
A special thank to Sasha, Rubab, Colin, Sandra for help and friendship during all this time.
Thanks to Udo, Projekt.EINS and Bauhaus Internationals for willingness to cooperate.
Furthermore, I would love to thank Andreas, for his love, kindness and support, and patience he has shown during this hard time.
Separate thank to my family for their endless love and support from so far away.
Above all, I would like to thank all the people, who opened their heart to me and answered the survey without you, this thesis would not have been possible.
104
30.03.2015 I hereby confirm that the work presented has been performed and interpreted solely by myself except for where I explicitly identified the contrary. I assure that this work has not been presented in any other form for the fulfillment of any other degree or qualification. Ideas taken from other works in letter and in spirit are identified in every single case.
Alla Grishko
105
APPENDIX
106