Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-5747 84 Distributors Brockhaus Commission Kreidlerstraße 9 D-70806 Kornwestheim Germany tel. +49-7154-1327-33 fax +49-7154-1327-13 [email protected]Gazelle Book Services White Cross Mills Hightown Lancaster LA1 4XS United Kingdom tel. +44-1524-68765 fax +44-1524-63232 [email protected]National Book Network 15200 NBN Way Blue Ridge Summit, PA 17214 USA tel. +1-800-4626420 fax +1-800-3384550 [email protected]Tower Books Unit 2/17 Rodborough Road Frenchs Forest, NSW 2086 Australia tel. +61-2-99755566 fax +61-2-99755599 [email protected]Rolf Rave Modern Architecture in Berlin With a foreword by Wolfgang Schäche. 280 pp. with 930 illus. in black and white, 160 x 210 mm, soft-cover, English ISBN 978-3-936681-29-1 Euro 36.00, sfr 59.00, £ 32.00, US $ 49.90, $A 69.00 Although Berlin’s history encompasses more than eight hundred years and its beginnings reach back as far as the twelfth century, its present-day urban image is essentially characterized by struc- tures and building measures from the nineteenth and twentieth centuries. Four »modern« development phases, whose respec- tive qualities were vastly unalike, played a determining role in this image: during the second half of the nineteenth century, against the backdrop of industrialization, Berlin’s rise from a comprehen sible Prussian capital and residence to an expanding metropolis of the German Empire; the 1920 consolidation of the city with the surrounding ninety-three townships, rural communities and prop- erties to form »Greater Berlin«; following the destruction of World War II, working »back to back« politically, territorially, and regard- ing the look of Berlin’s divided, urban structure until 1990; and from the reunification to the present-day, the ongoing structural and spatial connections as well as architectural refinements re- quired for Berlin’s role as capital of the new Federal Republic. The contents of this architectural guide vividly stand out against the backdrop of Berlin’s recent history – a course of events as multifaceted as it was, in part, excessive, up until today. This pub- lication deliberately focuses on the city’s last one hundred years when, generation by generation, Berlin daringly and almost obses- sively rediscovered itself architecturally. The selected examples not only convey a visually impressive and representative longitudi- nal progression, but also in which form the most provocative of social movements, changes and breaks presented themselves in the architecture of the city. With texts and images, the book presents 466 architectural works built from 1907 to the present day. The author’s choices support the greater intention to present what can now be deemed contemporary, typical, and exemplary about every period of Ber- lin’s diverse, irregular, and amazingly rich architectural history. That the examples offered here blatantly declare themselves prod- ucts of the »modern age« and »Neues Bauen« permits them to be understood as a »manifesto in images« which consolidates to a twentieth-century architectural collage, whose quality and wide range grant it an unquestionable uniqueness. Rolf Rave is an architect practising in Berlin together with his wife Roosje. He comes from a family of architects and art histori- ans; his father, Paul Ortwin Rave, director of the Berlin Nationalga- lerie until 1950 and director of the Berlin Kunstbibliothek from 1950 to 1961, was the editor of Karl Friedrich Schinkel. Lebenswerk from 1939 until his death in 1962.
Rolf RaveModern Architecture in BerlinWith a foreword by Wolfgang Schäche. 280 pp. with 930 illus. in black and white, 160 x 210 mm, soft-cover, EnglishISBN 978-3-936681-29-1Euro 36.00, sfr 59.00, £ 32.00, US$ 49.90, $A 69.00
Although Berlin’s history encompasses more than eight hundredyears and its beginnings reach back as far as the twelfth century,its present-day urban image is essentially characterized by struc-tures and building measures from the nineteenth and twentiethcenturies. Four »modern« development phases, whose respec-tive qualities were vastly unalike, played a determining role in thisimage: during the second half of the nineteenth century, againstthe backdrop of industrialization, Berlin’s rise from a comprehensible Prussian capital and residence to an expanding metropolisof the German Empire; the 1920 consolidation of the city with thesurrounding ninety-three townships, rural communities and prop-erties to form »Greater Berlin«; following the destruction of WorldWar II, working »back to back« politically, territorially, and regard-ing the look of Berlin’s divided, urban structure until 1990; andfrom the reunification to the present-day, the ongoing structuraland spatial connections as well as architectural refinements re-quired for Berlin’s role as capital of the new Federal Republic.
The contents of this architectural guide vividly stand out againstthe backdrop of Berlin’s recent history – a course of events asmultifaceted as it was, in part, excessive, up until today. This pub-lication deliberately focuses on the city’s last one hundred yearswhen, generation by generation, Berlin daringly and almost obses-sively rediscovered itself architecturally. The selected examplesnot only convey a visually impressive and representative longitudi-nal progression, but also in which form the most provocative ofsocial movements, changes and breaks presented themselves inthe architecture of the city.
With texts and images, the book presents 466 architecturalworks built from 1907 to the present day. The author’s choicessupport the greater intention to present what can now be deemedcontemporary, typical, and exemplary about every period of Ber-lin’s diverse, irregular, and amazingly rich architectural history.That the examples offered here blatantly declare themselves prod-ucts of the »modern age« and »Neues Bauen« permits them to beunderstood as a »manifesto in images« which consolidates to atwentieth-century architectural collage, whose quality and widerange grant it an unquestionable uniqueness.
Rolf Rave is an architect practising in Berlin together with hiswife Roosje. He comes from a family of architects and art histori-ans; his father, Paul Ortwin Rave, director of the Berlin Nationalga-lerie until 1950 and director of the Berlin Kunstbibliothek from 1950to 1961, was the editor of Karl Friedrich Schinkel. Lebenswerk from1939 until his death in 1962.
Ro
lf Rave M
od
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Arch
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Berlin
Men
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ModernArchitecture
in Berlin466 examples
from 1900 to the present dayselected and commented by
Rolf Rave
Although Berlin’s history encompasses more than eight hundred years and its beginningsreach back as far as the twelfth century, its present-day urban image is essentially charac-terized by structures and buildings dating from the nineteenth and twentieth centuries.Four “modern” development phases, whose respective qualities were vastly different,played a determining role in this image: during the second half of the nineteenth centu-ry, against the backdrop of industrialization, Berlin’s rise from a comprehensible Prussiancapital and residence to an expanding metropolis of the German Empire; the 1920 consol-idation of the city with the surrounding ninety-three townships, rural communities andproperties to form “Greater Berlin”; following the destruction of the Second World War,working “back to back“ politically, territorially, and regarding the appearance of Berlin as a divided, urban structure until 1990; and from the reunification to the present day,the ongoing structural and spatial connections as well as architectural refinements re-quired for Berlin’s role as capital of the new Federal Republic.
The contents of this architectural guide vividly stand out against the backdrop of Ber-lin’s recent history – a course of events as multifaceted as it was, in part, excessive, upuntil today. This publication deliberately focuses on the city’s last one hundred yearswhen, generation by generation, Berlin daringly and almost obsessively rediscovered itselfarchitecturally. The selected examples not only convey a visually impressive and represen-tative longitudinal progression, but also in which form the most provocative of socialmovements, changes and breaks presented themselves in the architecture of the city.
With texts and images, the book presents 466 architectural works built from 1907 tothe present day. The author’s choices support the greater intention to present what cannow be deemed contemporary, typical, and exemplary about every period of Berlin’sdiverse, irregular, and amazingly rich architectural history. That the examples offered hereblatantly declare themselves products of the “Modern age”, and “Neues Bauen” permitsthem to be understood as a “manifesto in images” which consolidates to a twentieth-century architectural collage, whose quality and wide range grant it an unquestionableuniqueness.
Rolf Rave is an architect practising in Berlin together with his wife Roosje. He comesfrom a family of architects and art historians; his father, Paul Ortwin Rave, director ofthe Berlin Nationalgalerie until 1950 and director of the Berlin Kunstbibliothek from 1950to 1961, was the editor of Karl Friedrich Schinkel. Lebenswerk from 1939 until his death in 1962.
9 7 8 3 9 3 6 6 8 1 2 9 1
5 4 9 9 0ISBN 978-3-936681-29-1036.00 Euro
059.00 sfr032.00 £049.90 US $069.00 $A
Erich Mendelsohn, 1926
ModernArchitecture
in Berlin466 examples
from 1900 to the present dayselected and commented by
Rolf Rave
Edition Axel Menges
What does a city consist of? Of everything that has been said, dreamt, destroyed, happened. Thebuilt, the vanished, the dreamt of that came to nothing. The living and the dead. The woodenhouses that have been demolished or burned down, the palaces that might have been, the bridgethat was drawn but never built. The houses that are still standing, in which generations have lefttheir memories. But there is much more than that.
A city is all the words that have ever been said, an incessant, neverending murmur, whisper,song and clamour that has resounded over the centuries and then been blown away. It cannothave disappeared if it had not been part of it, even that which can no longer be recovered be-longs, simply because it was once, here, at this spot, shouted or spoken on a winter’s nigth or asummer morning. The field preaching, the tribunal’s verdict, the cry of the flogged, the biddingat the auction, the decree, the proclamation, the demonstration, the pamphlet, the announce-ment of a death, the calling of the hours, the words of nuns, whores, kings, regents, painters,sheriffs, hangmen, shipmasters, lansquenets, lock-keepers and master builders, that ceaselessconversation in the living body of the city, which is the city itself.
Cees Nooteboom in: 25 Buildings You Should Have Seen: Amsterdam
All rights reserved, especially those of translationinto other languages.
Printing and binding: Graspo CZ, a.s., Zlín, Czech Republic
Some texts for older projects contributed by Hans Joachim Knöfel
Translation into English: Karl Edward JohnsenEditorial work: Rebecca Chestnutt, Nora Krehl-von Müh-lendahl, Robert Niess, Roosje Rave, Wolfgang SchächeCity maps: Julia Wolter, based on maps by Senatsver-waltung für Stadtentwicklung, BerlinBook design: Rolf RaveCover design: Axel MengesCover photo: Daniel Libeskind, Jüdisches Museum, Berlin (photo: Bitter & Brett)
Preface
“It is a tragic blow of fate that Berlin, a Wendish fishing settlement, which evolved to acity with over a million inhabitants and capital of the German Empire, should be cursedfor steadily outgrowing itself: to always become and never to be.”
An excerpt from Berlin – Ein Stadtschicksal (Berlin – a city’s fate) by Karl Scheffler,Berlin, 1910.
Although Berlin’s history encompasses more than eight hundred years and its beginningsreach back as far as the twelfth century, its present-day urban image is essentially char-acterized by structures and buildings dating from the nineteenth and twentieth cen-turies. Four “modern” development phases, whose respective qualities were vastly dif-ferent, played a determining role in this image: during the second half of the nineteenthcentury, against the backdrop of industrialization, Berlin’s rise from a comprehensiblePrussian capital and residence to an expanding metropolis of the German Empire; the1920 consolidation of the city with the surrounding ninety-three townships, rural com-munities and properties to form “Greater Berlin”; following the destruction of the Sec-ond World War, working “back to back” politically, territorially, and regarding the ap-pearance of Berlin as a divided, urban structure until 1990; and from the reunification tothe present day, the ongoing structural and spatial connections as well as architecturalrefinements required for Berlin’s role as capital of the new Federal Republic.
What the development phases up to the reunification had in common was their un-hesitatingly rigorous and result-yielding treatment of the existing city and its architec-ture. This was strongly supported by an impetuous and, in each case, zeitgeist-driven be-lief in progress. In this way, the emergence of the unrestrained building boom of“Berlin’s middle class” during the reign of the German Empire wiped out the classical de-sign of Karl Friedrich Schinkel’s Prussian capital, while the architectural vocabulary of thenew city, formed by industrialization, was forced to experience its crude, spiritual andphysical dismantling during the period of the Weimar Republic, when Berlin advancedto the heights of a metropolitan city and, culturally speaking, became for awhile the“hub of the avant-garde world”. Last but not least, thanks to its uncompromising andradical architectural concepts meant to establish a conscious break with the middle-classcity of the nineteenth century, the “golden twenties” turned this pulsating metropolisinto no less than a legend and proclaimed its “Neues Bauen” (new way of building) anexpression of Modernism and social progress. During this period nearly every well-known architect associated with the avant-garde, whether inland or abroad, regardedBerlin as an intellectual focal point as well as a vanishing point. This was where one feltexplicitly challenged to make an adequate contribution to the heated debates concern-ing the ideal architectural perspective for the twentieth century.
Following the period of the Weimar Republic, the coming to power of the Naziregime, which lasted from 1933 to 1945, caused a further break in the previous develop-ment phase. With obviously different political motivations in mind, this phase, too,hoped to radically change Berlin’s existing layout. Its plans culminated in the 1936 prepa-rations for Albert Speer’s “redesigning of the Imperial Capital”, a mammoth project inanticipation of the wartime aggression of the National-Socialist state and meant to
transform Berlin into “Germania”, the future “Capital of the World”. However, theplanned destruction of the existing city, in the grip of such architecturally backwardmonumentality without a standard, was ultimately brought to its unplanned and hor-rific conclusion under the hailstorm of bombs which fell at the end of World War II.
The improvisations of the first postwar years were followed by a political “reconstruc-tion” of the city that was divided in two parts. Yet, in the one or the other urban sector,this soon revealed itself to be a reorganization that had nothing in common with thecultural inheritance, since no serious thought was given to restoring what was damaged.Nevertheless, citizens of both urban parts believed that they were taking full advantageof the chance to develop the vision of a “new city” on the rubble of the old one. In theWest this was pursued using theoretical measures and models and the design repertoireof the Modern age; in the East it entailed engaging at first a “Socialist urban planning”imported from Moscow and a corresponding architecture of “national traditionalism”.Until the reunification in the year 1990, architectural “rebuilding strategies” as unalikeas these complied with the respective territorial affiliations of a good many socially pre-determined changes in Berlin’s overall framework. But while they occasionally broughtabout exemplary architecture, the same strategies failed to make the promised “city oftomorrow” a reality.
Urban structures which existed separately and internally fragmented for decadeswere spatially integrated thanks to numerous architectural programs initiated since thereunification. These stood out clearly for the first time among the countless vehementlyplaced twentieth-century models that preceded them, and, by virtue of their inherentconceptual approach, they supported the notion of rediscovering the historic city and itsmetropolitan typologies, which meanwhile had been thoroughly forgotten. At the be-ginning of the twenty-first century, the fact that critical reflection directed at culturalinheritance created a connection to Berlin’s complex architectural history promoted aproductive dialogue between the old and the new, while representing a supportive per-spective for the future as well.
The contents of this architectural guide vividly stand out against the backdrop ofBerlin’s recent history – a course of events as multifaceted as it was, in part excessive, upuntil today. This publication deliberately focuses on the city’s last one-hundred yearswhen, generation by generation, Berlin daringly and almost obsessively rediscovered it-self architecturally. The selected examples not only convey a visually impressive and rep-resentative longitudinal progression, but also the form in which the most provocative ofsocial movements, changes and breaks presented themselves in the architecture of thecity.
With texts and images, the following pages present 466 constructions built from 1907to the present day. The author’s choices support the greater intention to point out whatcan now be deemed contemporary, typical, and exemplary about every period of Berlin’sdiverse, uneven, and amazingly rich architectural history, while aspiring to individuallyilluminate and explain each one. That the examples offered here blatantly declare them-selves products of the “Modern age” or “Neues Bauen” permits them to be understoodas a “manifesto in images”, which consolidates to a twentieth-century architectural col-lage, whose quality and wide range grant it an unquestionable uniqueness. The spec-trum of these structures addresses every important phase of architectural development
during the designated time period: from the emergence of the programmatic in thetwentieth century, manifested in works by Alfred Messel, Hermann Muthesius, PeterBehrens, Heinrich Tessenow, and Ludwig Mies van der Rohe; to the heroic 1920s, amongwhose protagonists were Walter Gropius, Erich Mendelsohn, Hans Poelzig, Bruno andMax Taut, as well as Hans Scharoun; to the postwar period with structures by Alvar Aalto,Le Corbusier, Egon Eiermann, Oskar Niemeyer, and Pierre Vago; and up to the beginningof the twenty-first century, embodied in architecture by Josef Paul Kleihues, OswaldMathias Ungers, Frank O. Gehry, Daniel Libeskind, Hans Kollhoff, and Helmut Jahn.
With Modern Architecture in Berlin we have a specialized handbook devoted toBerlin’s architecture, and its selected high-quality objects encourage us to partake in theadventure of this city and its significant architecture.
Wolfgang Schäche
Author’s note
The intention of this book is to lead the reader toward 466 constructed examples fromthe history of twentieth-century architecture, revealing the beginnings of Modernismand the development from 1907, the influential 1920s to the present. Each object signif-icant to us in this respect is depicted in a half-page-wide column. Arranged by objectnumber (001 through 466), an accompanying image is shown for identification purposes,below which is either a ground plan or interior shot – the third dimension, as it were –as well as the project’s title, construction period, location, architect, and client. This in-formation is followed by a brief text which characterizes the object or places it withina specific context.
All the presented objects are arranged topologically. They follow a conceivable route,a route consistently developed from a prominent inner-city “Platz” or “square”. Thereare 8 routes, 8 directions, and 8 “Plätze” (squares): for N (north) Pariser Platz, located infront of the Brandenburger Tor; for NE (north-east) Gendarmenmarkt; for E (east)Alexanderplatz; for SE (south-east) Mehringplatz, formerly the town gate in southernBerlin; for S (south) Potsdamer Platz; for SW (south-west) Lützowplatz; for W (west)Breitscheidplatz, near the Bahnhof Zoo; and for NW (north-west) Hansaplatz, located infront of the meanwhile 50-year-old city district Hansaviertel, where the Interbau, thefirst building exhibition after World War II, was held.
Presented in a list at the front of the book, these routes lead from the inner city to-ward regions on the outskirts, and toward respective districts on the periphery. The fol-lowing page presents a stylized map of Berlin whose 8 sections appear, in turn, at thebeginning of each route. In addition to the object numbers listed in both the map andthe architect’s specifications, the reader finds letters added as references to objects notdepicted here.
An alphabetically arranged list at the back of the book names every featured archi-tect, artist, and engineer, together with the respective object number. In conclusion, asecond list names all the participating photographers and/or designers.
Because of its structure and both lists, this book not only functions as a guide but alsoas an easy to handle yet extensive reference work on Modern architecture of this cen-tury in Berlin. The opening text by Wolfgang Schäche describes the historical develop-ment of Modernism, the early beginnings and the turning away from Historicism, theradical breaks instigated by the Bauhaus in the twentieth century, the restrictive phaseof fascism in the 1930s, the new start and postwar urban hostility in the 1950s, with theInterbau exhibition the building boom, the new self-awareness of the 1960s and 1970s,the large-scale building exhibition IBA with international participants in the 1980s, theend of the Communist regime, and ultimately the reunification of Berlin’s two halveswith newly conceived urban-planning guidelines put to use in the 1990s and at the be-ginning of the twenty-first century.
Hardly another city reveals so much history, so many breaks and new starts, to the ex-tent that this one does; hardly another city possesses so much building history – or sorich a history of building.
Rolf Rave
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001 Haus Sommer / Haus Liebermann Josef Paul Kleihues 002 Botschaft der USA Moore Ruble Yudell003 Französische Botschaft Christian Portzamparc004 Haus am Pariser Platz Laurids Ortner, Manfred Ortner005 Akademie der Künste Günter Behnisch & Partner, Werner Durth006 DG-Bank Frank O. Gehry007 Holocaust-Denkmal Peter Eisenman, Richard Serra008 Britische Botschaft Michael Wilford009 Jakob-Kaiser-Haus 1 and 2 Schweger Assoziierte010 Jakob-Kaiser-Haus 3 and 7 Peter Busmann, Godfrid Haberer and others011 Jakob-Kaiser-Haus 5 and 6 Pi de Bruijn, Peereboom Voller and others012 Jakob-Kaiser-Haus 4 and 8 von Gerkan, Marg und Partner013 Deutscher Bundestag Foster + Partners014 ARD Hauptstadtstudio Laurids Ortner, Manfred Ortner015 Paul-Löbe-Haus Stephan Braunfels016 Marie-Elisabeth-Lüders-Haus Stephan Braunfels017 Childcare center Gustav Peichl, Rudolf Weber018 Kronprinzenbrücke Santiago Calatrava019 Bundespressekonferenz Gernot Nalbach, Johanne Nalbach020 Fire and police station Matthias Sauerbruch, Louisa Hutton021 Bundeskanzleramt Axel Schultes, Charlotte Frank022 Schweizer Botschaft Diener & Diener023 Carillon Bangert, Jansen, Scholz, Schultes024 Kongreßhalle / Haus der Kulturen Hugh A. Stubbins025 Hauptbahnhof/ Lehrter Bahnhof von Gerkan, Marg und Partner026 Museum für Gegenwartskunst im Hamburger
Bahnhof Josef Paul Kleihues027 Haus am Karlsplatz Walter A. Noebel028 Residenz am Deutschen Theater Krüger, Schubert, Vandreike; Bellmann, Böhm029 Max-Plank-Institut Hannelore Deubzer, Jürgen König030 Bundesministerium für Wirtschaft und Technologie Thomas Baumann031 Bundeswehrkrankenhaus Heinle, Wischer und Partner032 New Media Center Carlos Zwick033 Bundesministerium für Verkehr, Bau- und Woh-
nungswesen Max Dudler034 bender/slender Britta Jürgens, Matthew Griffin035 Borsig-Areal Hilde Léon, Konrad Wohlhage, Siegfried Wernik036 Edison-Höfe Manuel Alvarez037 Kapelle der Versöhnung Rudolf Reitermann, Peter Sassenroth438 Kopfbau Spreeschlange Jörg Pampe439 Spreeschlange Georg Bumiller
a Torhäuser Josef Paul Kleihues 1996–98b Rieck-Hallen Wilfried Kühn 2004c Gustav-Heinemann-Steg Max Dudler 2005d Kronprinzenkarrée Tchoban, Prasch, Sigl, Voss 2004/05e Spreebogenpark Sauerer & Weberf Business premises Bernhard Winking 1996/97g Dresdner Bank von Gerkan, Marg und Partner 1996/97h Hotel Adlon Patzschke, Klotz & Partner 1995–97i Filling a building gap Claus Kampmann, Rudolf Fiedlerj Garten der Geschichte Frédéric Giròtk Sammlung Boros Karl Bonatz 1942, Jens Caspar, Peterssohn
Französische BotschaftFrench Embassy1998–2002Mitte, Pariser Platz 5Architect: Christian PortzamparcGeneral planning: Steffen LehmannClient: The French RepublicThe former building acquired by Napoleon III in 1860for the French legation, today the building’s playfuland highly expressive façade also portrays France as amodern and liberal state while perhaps disrupting thehomogeneity of the immediate space. The arrange-ment of its building parts – from offices, residentialchambers, a consulate for altogether 200 employeesspanning two courtyards, to the “English courtyard”and sunken “sculpture courtyard” – occupies 7 floorsand reaches as far as the Wilhelmstraße.
Haus am Pariser Platz1998–2001Mitte, Unter den Linden 80Architects: Laurids Ortner, Manfred OrtnerClient: Allgemeine Beteiligungs- + Gewerbe-
immobilien Verwaltungs GmbH + CoThe basement storey of this residential and officebuilding contains a large social space, the ground floorhouses smaller shops, and the five upper floors accom-modate office spaces. In the roof section are apart-ments with arcades, and included for their lighting areconspicuously tall battlement-like dormer windows. Atthis spot, the noble aura of the Trosselfeld travertine,tin-plated sheet-copper roof, and bronze fittings of thewooden windows justly compares with the representa-tive Hotel Adlon (the brothers Patschke), and with theneighboring structure on the right (Hans Kollhoff).
N
Haus Sommer South-west side
Detail of the rotonda
001 002 003 004
Haus Sommer / Haus Liebermann1995–99Mitte, Pariser Platz 1 and 7Architect: Josef Paul KleihuesClient: Harald Quandt GrundbesitzOriginally built from 1788 to 1791 as lateral extensionsof the Brandenburg Gate by Carl Gotthard Langhans,both new buildings reflect less the details and morethe style of their historic classical models, which cele-brate clearly designed and subdivided white struc-tures. Today the “houses” no longer serve any residen-tial purposes and function solely as representationaland exhibition spaces. The indexed quote of both log-gia was first inserted during a second building phase.
Botschaft der USAEmbassy of the United States2004–07, draft 1996Mitte, Pariser Platz 2Architects: Moore Ruble YudellManagement: Overseas Buildings OperationsFollowing the complete destruction of the passed-down property (formerly Palais Blücher) purchased bythe United States in 1931, a significant location for theAmerican presence was created here. In the sense ofensuring the greatest possible security, the generalplanning was greatly delayed by 9 /11 issues. Yet thebuilding’s inherent openness is fully guaranteed for itsvisitors: the entrance offers itself on Pariser Platz, thepublic square it faces; the grand inner-courtyard has a garden on two levels; and the three orientating sides(toward the square, city park, and Jewish memorial)are differently designed. The same applies to theconstruction of the rooftop elements crowned by adome which, visible in the west, creates a strong refer-ence to the rotonda of the Reichstag building (013).
Pariser Platz
007 008 N
Stele field with view of Potsdamer Platz
Cross section
Holocaust-DenkmalMemorial site of the Holocaust2001/2002Mitte, Ebertstraße at the corner of BehrenstraßeArchitect: Peter Eisenman in collaboration with
Richard SerraInitiator: Lea RoshExhibition design: Dagmar von WilckenClient: Stiftung Holocaust-DenkmalOn the occasion of a 1994/95 international competi-tion, the call was made for proposals by artists and ar-chitects for creating a memorial site dedicated to theHolocaust. The submissions intended for this promi-nent site were examined from the standpoints of theiradaptability and possible effects. In 1997, emergingfrom a second competition round with 7 participants,and from a series of subsequent revisions, as well asaccompanied by the theoretical contributions ofrenowned personalities, the memorial site took on aclear form and is meanwhile a very impressive locationfor the people of the whole world.
Britische BotschaftBritish Embassy1998–2000Mitte, Wilhelmstraße 70/71Architect: Michael WilfordWall design: David TremlettDancing columns: Tony CraggClient: Bilfinger und Berger /ARTEOSBuilt at an historic site, the newly-built British Embassyinterrupts the conventional building line both three-di-mensionally and colorfully. It offers glimpses into thegarden courtyard with an English oak tree. Behind thisstands the “grand staircase”, connecting the mainlevel to the spacious “wintergarten” (sun lounge), con-ference room, and library. The architecture’s large andenergetic forms communicate with magnificent walldesigns and sculptures. The actual world of the em-bassy’s administration first commences on the 5thfloor.
North façade
North–south cross section Longitudinal section
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Akademie der KünsteAcademy of arts1999–2002Mitte, Pariser Platz 4Architects: Günter Behnisch & Partner with
Werner Durth, Ruth Berkthold and FranzHarder
Client: Akademie der KünsteThe result of a 1994 in-house competition announcedby the academy of arts, the building was erectedwhere the academy’s original building, 1905–07 byErnst von Ihne stood, and incorporates the preservedexhibition hall with skylight. The new building respectsthe rigidity of the site’s border. While spreading out inits depths as far as Behrenstraße, its open and trans-parent aspect is sustained throughout all its parts:foyer, exhibition hall, administration area, café, sunlounge, assembly hall, club rooms, sculpture garden,and basement storage areas. A financially tight spotcould be alleviated by having the south wing takenover by the Hotel Adlon.
DG-Bank1996–2000Mitte, Pariser Platz 3Architect: Frank O. GehryClient: DG-BankViewed from its north façade facing the square, whichGehry himself refers to as an “urban backdrop”, thebuilding shows itself from a highly disciplined side, anddisplays the usual command of form and detail. Hous-ing 40 apartments, its south side is divided from themain wing of the Deutschen Genossenschaftsbank(DG-Bank) by a large atrium with a conference hall in-serted under glazed sheds and reflects, at the sametime, the sculptor’s well-known and computer-sup-ported virtuosity.
“Sky ladders”
Southern street-border development
Jakob-Kaiser-Haus 5 and 61998–2002Mitte, Dorotheenstraße at the corner of
EbertstraßeArchitects: Pi de Bruijn, Jan Dirk, Peereboom
Voller with Yushi UeharaProject director: Marcel CampschroerClient: Bundesbaugesellschaft BerlinA second glazed skin not exactly following the build-ing line gives the house a mysterious exterior. With fi-nesse, this compositionally integrates the entire roof ofa corner development devised for a building formerlythe chamber of associated technicians in 1911. An ac-cess route from the building’s west side was also de-veloped here. This directs the visitor to a spaciousfoyer, which connects both structural rows by way ofa cross-cut tunnel over the Dorotheenstraße.
Jakob-Kaiser-Haus 4 and 81998–2002Mitte, Dorotheenstraße at the corner of
WilhelmstraßeArchitects: von Gerkan, Marg und Partner
with Hubert Nienhoff and Uwe GrahlProject directors: Bernd Cossman, Henning
Schlattmeier, and Beate KingLandscape planning: WESOn Wilhelmstraße, the building opens itself to the city.Located here are two shops, the Parliament’s book-store, and the visitor’s entrance. In addition, a staircasethe height of the building divides the two houses,which are connected by the second of two bridges,and the view extends as far as the Spreeufer. The gar-den courtyard is dramatically enriched by the erraticstone overhangs and rock formations arranged byMatthias Jackisch.
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Northern street-border development
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Jakob-Kaiser-Haus 1 and 21998–2002Mitte, Dorotheenstraße 100Architects: Schweger AssoziierteFloating boats: Christiane MöbusStanding nearest to the parliament building, but alsoin close proximity to the Palais of the ParliamentaryPresident designed by Wallot in 1897, this building isthe entree of the entire complex. On one floor it allowsvisitors access to all four connecting houses of themagistral seat. The arranged quarters for members ofParliament, located on both sides of Dorotheenstraße,are directly connected to the Bundestag (House ofGerman Parliament) by way of a tunnel.
Jakob-Kaiser-Haus 3 and 71998–2002Mitte, Dorotheenstraße 99Architects: Busmann + Haberer with Alfred
Bohl and Bruno VennesArtwork: Dani KaravanIn compliance with a general decision of the BerlinSenate’s planning director, Hans Stimmann, unlikewith the Paul-Löbe-Haus, the so-called “Dorotheen-Blocks”, simultaneously used as offices for members ofParliament, were planned in unalike building units.What applied here, in the southern section of the com-plex, was to fully integrate the existing building struc-ture. Its core formerly accommodated a venerableapartment building, and later a bank in the year 1910.Now, in order to attain a flourishing and successful en-semble effect, a brick sculpture was placed in front ofone of the courtyard pediments.
Courtyard toward the Spree River with artwork by Dani Karavan
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Main hall Façade facing the Spree River
Plan of a standard floor showing both the houses left and right of the Spree River
Paul-Löbe-Haus1997–2001Tiergarten, Paul-Löbe-Allee 1Architect: Stephan BraunfelsProject management: Günter Kaesbach,
Philippe VerninClient: BundesbaugesellschaftBoth building parts result from a 1994 competition.Their evident harmonizing also rests on their similarstructural elements, for example their chamber-likefloor plans and exposed concrete surfaces. By visuallyreferring to the Federal Chancellery, they complete the“Band des Bundes” or “strip of national governmentstructures” in an easterly direction. A street-level,glass-roofed main hall compiles all the design nuancesleading to the building for the parliamentarians’ of-fices. A detached restaurant and assembly hall (Eu-rosaal) are located on an open square – the so-calledSpreebogen of the Spree River.
Marie-Elisabeth-Lüders-Haus1998–2003Mitte, Otto-von-Bismark-Allee 1Architect: Stephan BraunfelsProject management: Karin Melcher, Ramsi Kusus,
Philipp JamweClient: BundesbaugesellschaftConnected with the building for the parliamentarians’offices (81,000 sqm for circa 276 million Euro) by anarrow bridge leading over the Spree River, the parlia-ment’s library (65,000 sqm for circa 170 million Euro)forms the east terminus of the Spreebogen. Also lo-cated here is the semi detached hearing room. As partof the “strip of national government structures”, orig-inally intended to find its center in a democratic forum,the relationship between the two buildings is furtherstrengthened by large protruding roofs, under whichlie the front steps to the square.
View of the north and west façades
Plan of the ground floor
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Deutscher BundestagHouse of German Parliament1995–99Tiergarten, Platz der RepublikArchitects: Foster + PartnersProject management: Mark BraunClient: Deutscher BundestagEmerging from numerous competition phases and thesubsequent demand for a dome, the war-damagedReichstag, designed from 1884 to 1894 by Paul Wallot,was cleansed of all its architectural detail work savethe initials of its Russian conquerors. As early as the1960s, Paul G. R. Baumgarten implanted the ascetic,parliamentary chambers in the building. The dome,somewhat lower than the one in Wallot’s construction,both illuminates and ventilates the parliamentarychambers located directly below it – with two spiralramps serving as the visitors’ routes to and from thedome’s interior.
ARD-HauptstadtstudioBerlin studio of the ARD broadcasting network1995–98Mitte, Wilhelmstraße at the corner of ReichstagsuferArchitects: Laurids Ortner, Manfred Ortner,
with Hans-Peter WulfLighting design: Licht-Kunst-LichtClient: SFB/WDRThe brick-red colored concrete panels dissipate in thefoundation on Reichstagsufer and continue their patharound the corner to incorporate a studio windowflush with the façade, from which a direct view ofthe parliament is meanwhile obstructed by buildings.Opening from a tripled impost on the ground floor, alarge glass-roofed staircase commences on the 1stfloor.
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West façade
Plan of the 1st floor
BundespressekonferenzFederal press conference1998–2000Mitte, Schiffbauerdamm at the corner of
ReinhardtstraßeArchitects: Gernot Nalbach, Johanne NalbachCourtyard garden: Cornelia Müller, Jan WehbergClient: Allianz VersicherungThe result of a competition: while on computer screensthe building’s wall surfaces appear to have reservedgray-blue tones, by day and by night its façade shim-mers in the cityscape, a gleam with 5 different mate-rials. On the 1st floor, the conference room takes on aspecial significance through prominently framed win-dow sections. Intended as a meeting place for journal-ists, the restaurant is located at the building’s ground-floor level. Floor area: 17,700 sqm; building costs: circa51 million Euro.
Fire and police station2002–04Tiergarten, Alt-Moabit 143/145Architects: Matthias Sauerbruch, Louisa HuttonClient: Senatsverwaltung für StadtentwicklungAt a former freight depot, the remains of a warehousewere both redesigned and structurally expanded witha longitudinal aisle whose outer skin consists of red(for the fire station) and green (for the police station)shimmering glass panels. Joined and curved, the pan-els not only reflect daylight; when interacting with ar-tificial light, they also establish a relationship to thenearby Federal Chancellery similar to that of the Com-muns to the Neues Palais in Potsdam.
alleeArchitects: Gustav Peichl, Rudolf WeberClient: BundesbaugesellschaftIn an all-providing state like the Federal Republic ofGermany is becoming – justifiably so – provisions arealso made for working mothers by developing suitablechildcare possibilities. With this objective in mind, thecheerful and carefree sky-blue triangle – a foreignspecies in its own right – effectively fills a spacious tri-angle of 3,635 sqm, magically created with yet an-other leap across the Spree River by the “strip of na-tional government structures”.
Kronprinzenbrücke1997/98Mitte, intersection of the Kapelle-Ufer and
SchiffbauerdammArchitect: Santiago CalatravaClient: Brückenbauamt BerlinInstead of his dome for the Reichstag, a bridge on theSpree River? This was by no means one of Calatrava’sfavorite projects – and posted among his internationallisting of successes, his Internet page describes it thatway. Although the overall treatment of the bridge isimpressive, the oversized guardrails closest to the river,and the primitive guardrail terminations at either endof the walkway harm the flow of energy throughoutthe construction’s slender elements. Following Cala-trava’s contribution, farther down the river this ishardly the case with the new Gustav-Heinemann-Brücke by Max Dudler.
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Cross section
Carillon1987Tiergarten, John-Foster-Dulles-Allee at the corner
of the QueralleeArchitects: Bangert, Jansen, Scholz, SchultesClient: Land BerlinThe decisive factor regarding this structure (the resultof a group of short-listed competition contestants) wasmore so the expression of a musical instrument andnot merely the designing of a tower. Financed by Mer-cedes and donated as a present on the occasion of theCity of Berlin’s 750th year celebrations, the bells wereimported from Holland and the structure’s concretevariants manufactured by Strabag Bau. Ranging from8 kg to 7,8 tons, the Carillon’s 68 bells, located aboveand below the control panel in the bell chamber, makeit Europe’s largest instrument. A computer stores up to99 melodies for so-called everyday purposes.
Kongreßhalle – Haus der Kulturen1958Tiergarten, John-Foster-Dulles-Allee 10Architect: Hugh A. Stubbins (Cambridge, Mass.,
USA)Contact architects: Werner Düttmann, Franz
MockenClient: Benjamin Franklin FoundationThe conspicuous roof construction seems suspendedby a cable network and rests on only two vault abut-ments, serving as the stabilizing reinforcement and an-choring ring over the walls of the lecture hall, whichdissolves as joined individual shells. Notwithstand-ing that a heavy concrete block crashed down – whyever – on 21 May 1980. The large auditorium seats1,250 guests, and a smaller one offers seating for 400.The structure includes a conference hall, restaurant,and, located above the entranceway, a terraced stair-case on a platform. Stubbins in former times was assis-tant of Walter Gropius.
East façade
Central staircase Plan of the ground floor
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BundeskanzleramtFederal Chancellery1995–2001Tiergarten, Willy-Brandt-Straße 1Architects: Axel Schultes, Charlotte FrankSculptures: Eduardo ChillidaColored walls: Markus LüpertzLandscape: Cornelia Müller, Jan WehbergStructural engineers: GSE, Saar, Enseleit und
PartnerThe Federal Chancellery represents the completed por-tion of a 1993 east–westerly, urban planning competi-tion in the “strip of national government structures”.Developing westward, the H-shaped complex forms acourtyard garden extending over the Spree, and east-ward a cour d’honneur. Its northern façade houses theactual entrance from which foyers, conference rooms,spaces for the press, a sky lobby, and the chancellor’sapartment follow on 8 levels. Most of the office spacesare grouped on both flanks of the building around a“wintergarten” or sun lounge.
Schweizer BotschaftSwiss Embassy2000Tiergarten, Otto-von-Bismarck-Allee 4Architects: Diener & DienerWest pediment: Helmut FederleClient: Bundesamt für Bauen und LogistikLocated for over five decades at a desolate spot, afterthe fall of the Berlin Wall the Swiss Embassy nowstands in the immediate vicinity of the Federal Chan-cellery, in the heart of the government district, whereit appears in a new splendor. The hypersensitive qual-ity of the building’s structural presence and form-re-lated language – with extensions attached to the sidesof its pediments – seems to almost shamefully ration-alize its unique and unintentional position (costing 22million Swiss francs).
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Plan of the 1st floor
Haus am Karlsplatz1997/98Mitte, Luisenstraße at the corner of Reinhardt-
straßeArchitect: Walter A. NoebelClient: Bundesverband der ZementindustrieFacing the Rudolf Virchow memorial statue by FritzKlimsch, built from 1906 to 1910 and depicting Titanconquering the Sphinx, this building greatly accentu-ates the corner of the block. Through its structural di-vision and staggered parts, it assumes a spot that com-pliments the finely detailed, urban scheme of theLuisenstadt quarter. The quarry-stone façade followsthe principle of two levels in order to minimize thenumber of visible joints. The building’s urban mix in-cludes apartments, suites, and shops.
Residenz am Deutschen TheaterResidential premises at the Deutsches Theater1993–99Mitte, Reinhardtstraße 29Architects: Torsten Krüger, Christian Schuberth,
Bertram Vandreike; Götz Bellmann, WalterBöhm
Peripheral-space planning: Hans LoidlClient: allbau GmbH“In connection with the historic gate (from a formerriding school), this diversely utilized complex – for res-idential and gastronomical purposes, as well as forpublic services and theater culture – creates here anenduring reflection of the multicultural lifestyle in theambitious metropolis of Berlin.” Two U-shaped resi-dential buildings flank the recessed commercial cube,with a rehearsal stage for the Deutsches Theater. To-gether with the preserved gate, these help to producean inviting, public space for a centralized site. Thecube’s significance is accentuated by horizontal wallbands made of metal.
Grand Gallery
Station roof Cross section of the exhibition halls
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Hauptbahnhof / Lehrter Bahnhof1998–2010Tiergarten, InvalidenstraßeArchitects: von Gerkan, Marg und PartnerClient: Deutsche BahnThe station – rather a functional structure than archi-tecture – is located where the war-destroyed stationand the former municipal railway station originallystood. At the junction of the circle line and a newnorth–south underground connection, it creates a cen-tral hub in the form of two skyscraper segments im-bued with a 430-m long platform area and 3 pairs oftracks. The station’s roof is yet another step in the min-imizing of support-free constructions made of steeland glass, with diagonally-arranged bottom chords fly-ing outward from side supports. Unfortunately, for fi-nancial reasons the station’s east terminus was decid-edly shortened by 50 m.
Museum für Gegenwartskunst im HamburgerBahnhof1992–96Tiergarten, Invalidenstraße 50–51Architect: Josef Paul KleihuesProject manager: Roger KarbeLight object /entranceway front: Dan FlavinClient: Senator für Bauen, Wohnen und VerkehrThis converted structure is the result of a limited com-petition process. Not long after its completion, theformer train terminal was replaced by the LehrterBahnhof and rebuilt to a museum dedicated to trans-portation and technology. Through the sensitive treat-ment of its building substance, and by adding a“grand gallery”, the resulting spatial offer proved mul-tifaceted and multimedia-related enough for a “mu-seum of contemporary art”. Meanwhile – after re-structuring the existing storage areas – the “Flickcollection” as well enhances the museum’s west side,designed by Johannes Kühn, Wilfried Kühn, SimonaMalwezzi.
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Lobby
Bundeswehrkrankenhaus BerlinBerlin army hospital1997/98Mitte, Scharnhorststraße 13Architects: Heinle, Wischer und Partner with
Christian PelzeterClient: Bundesbauamt Berlin III“Incorporated into the spatial concept together withthe first two floors of the original building substance,the new building creates a functional unity and leadsto a separating of the areas for inpatients and outpa-tients. The new lobby is defined itself as the connect-ing element between the public space and hospital,and functions as the service center for patients andemployees.”
New Media Center1998Mitte, Chausseestraße 8, Novalisstraße 11Architect: Carlos ZwickClient: 1. GCNApart from the new building on Chausseestraße anddifferent parts of the original structure, the projectconcerns the hall of a former locomotive manufacturer(035). With foldable shading elements, the latticeunits of the new building change the face of thefaçade, contrasting its wood and glass sections.
View of the entrance side
West façade
Attic-floor foyer
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Max-Planck-Institut1998–2000Mitte, Schumannstraße 21–22Architects: Hannelore Deubzer, Jürgen König
with Christa KleineConstruction management in collaboration
with Döpping WidellClient: Max-Planck-Gesellschaft, MunichOn the main grounds of the Charité university hospi-tal, the institute’s building – also used by the Germancenter for rheumatism research – encourages interdis-ciplinary collaborative work. The U-shaped construc-tion is closed by an elaborately designed entrance hallmade of red concrete blocks. Emerging from a 1994competition, its design focuses on a long-term urbanplanning rearrangement meant to orient itself alongexisting axial references.
Bundesministerium für Wirtschaft undTechnologie1993–2000Mitte, Scharnhorststraße 34–37Architect: Thomas BaumannConstruction management: Dieter SchnittgerLandscape architects: Cornelia Müller, Elmar
Knippschild, Jan WehbergClient: Ministerium für Bauen, Wohnen und
VerkehrFollowing severe destruction caused by war, the infir-mary for the disabled was first the seat of the supremecourt and later the government and diplomatic hospi-tal. While establishing the concept for the greatestpossible restoration of the structure – to accommodate300 office spaces, conference rooms, a cafeteria, andprinting works – traces of its different periods werepreserved. Along the navigation canal in Spandau, thelarge and encompassing saddle roof, with its photo-voltaic panels, forms part of a lighting and illuminationconcept.
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Site plan Site plan
Borsig-Areal2000–03Mitte, Chausseestraße at the corner of Schlegel-
straßeArchitects: Hilde Léon, Konrad Wohlhage,
Siegfried WernikClient: Versorgungswerk der ZahnärztekammerBefore the former gates to the city, the only preservedelement of the historic Borsig Werke facilities (456 to459) is the carefully restored administrative building,while the block edge development connects with anexisting apartment building, engaging in an interplayof Modern modules, floor-height French doors, andquarry stone slabs. The block becomes realignedthrough a new pattern continued by way of thefaçade’s painted coat.
Invalidenstraße 116–119Architect: Manuel AlvarezClient: HAVIKA LofthouseApart from developing and reutilizing individualhouses, in this case rehabilitating a block also meansproducing a coherent, block-integrated, and connect-ing network, which utilizes the existing courts and pas-sageways in order to gain access to every spatial pos-sibility for the presentation of exhibitions and events –like the “Design May 2005” cultural event.
Inner courtyard
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Bundesministerium für Verkehr, Bau- undWohnungswesen1997–99; old building, 2000Mitte, Invalidenstraße 44Architect: Max Dudler with Christian BernriederGeneral planning for old building (until 1998):
Gerber ArchitektenClient: Bundesamt für Bauwesen und Raum-
ordnungFollowing a 1996 competition, it was decided that thebuilding formerly the “Geologische Landesanstalt”and “Bergakademie” (built by August Tiede from 1875to 1878) would receive two structural additions. Thelarger of the two is already completed. Rising over abase, the clear lines of a skeletally-structured cube ofgray-green trade granite is closed by an elaborate casement window of black anodized aluminum. Itsatisfies the demands for the spatial atmosphere and acoustics while inserting itself at the top floor. Aglass-roofed courtyard houses 3 meeting rooms; thebasement area accommodates 88 parking spaces.
bender/slender2003/04Mitte, Hessische Straße 5Architects: Britta Jürgens, Matthew GriffinClient: Jürgens, Jürgens, GriffinIn the immediate vicinity of the “Platz vor neuem Tor”,where two cubes by Josef Paul Kleihues celebrate sym-metry, the aluminum strip of a diagonally protrudingbar of office and studio spaces devilishly interruptsthe building line: “Bender strives for the future, and in-corporates the past in dialogue with itsneighbors.”A maisonnette apartment lies “slender” on the neigh-boring side wing. In any case: the harmonizing ofclient and architect gives birth to fantasy.
