Frei Otto, German architect and structural engineer turns 89 today. The 1972 Munich Olympic Stadium is perhaps his best known work. The pioneering tensile structure, which stood in considerable contrast to the strict, authoritarian stadium that was its predecessor, was meant to present a different, more compassionate face for Germany. Today, Frei Otto is still active in practice, working alongside architects such as Pritzker prize winner Shigeru Ban on the Japanese Pavilion at Expo 2000. Thanks for your contributions and Happy Birthday Mr. Otto!
A plan to build 4,700 homes on the site of Berlin‘s Tempelhof Airport was blocked by voters this weekend. The airport, which was built in the 1920s and has a long history as a key site during World War Two and the Cold War, was closed in 2008 and there has since been a debate over what to with the vast site, including a 2011 competition to transform it into a park and other facilities, and an outlandish unofficial plan in 2009 to create a 1km high mountain on the site.
However perhaps the the most popular idea has also been the simplest: in 2010, the airport was opened to the public without any changes, and become an impromptu urban park popular with kite-flyers and roller-bladers who circle the site’s runways.
Read on for more on the story
The Bauhaus school of design has made an indelible mark on the world of architecture, one that is still felt almost seventy years after its closing. After moving the school from Weimar to Dessau in 1925 to avoid confrontation with the Nazis, founder Walter Gropius designed a series of semi-detached homes for the design masters teaching at the Bauhaus. This small neighborhood, nestled in a pine forest near the school building itself, was an idyllic home for the likes of Lyonel Feininger, Oskar Schlemmer, and Gropius himself. They were abandoned in the 1930s as Germany plunged into war, and suffered years of damage from military conflict and neglect. Renovations to the houses began in 1990, and now, 24 years later, the Bauhaus meisterhäuser have been completely reopened.
GRAFT and Kleihues+Kleihues has teamed up with Genossenschaft für urbane Kreativität (Cooperative for urban Creativity) to realize a complex of five towers centered around working and living in Berlin, Germany. Titled “Eckwerk,” the new complex is set to rise within the confines of an existing viaduct, whose shape and materiality served as the project’s main source of inspiration.
J. Mayer H. has won an invited competition to design “Volt Berlin,” a new “shopping and urban experience” center near Berlin’s Alexanderplatz. The winning scheme offers a variety of experiential offerings, including multi-brand shopping, an indoor skydiving and event space, and a 7,500 square meter hotel, all within a single cubed complex whose organization is based off an uneven grid.
Architects: Birk Heilmeyer und Frenzel Architekten
Location: Industriestraße, Coesfeld, Germany
Photographs: Christian Richters, Courtesy of Birk Heilmeyer und Frenzel Architekten
Architects: Schulitz Architekten
Location: Lentstraße 30, Cologne, Germany
Desing Team: Philipp Heitger, Gustavo Oettinger, Rafael Wiglenda, Sebastian Moll, Jasmine Behzadi, Matthias Rätzel, Christian Laviola, Stefanie Blume, Roland Pabel
Area: 12,900 sqm
Photographs: Courtesy of Schulitz Architects
The winners of the international competition to design Berlin’s new Natural Science Museum have been announced. The brief, which called for a large scale iconic building in the heart of the German capital, offered the opportunity for architects and students to design in a city founded in the 13th century.
Understanding that natural science museums are often simply seen as places for public spectacle, the organization behind the competition wanted to ensure that the “importance of the museum’s specimen collections for documenting historical and present-day patterns of biological diversity cannot be overstated.”
See the winning entry, along with the runners up, after the break…
Only 5 more days on the exhibition 2D:3D, an installation by Barkow Leibinger at the BDA Berlin Gallery. Covering the wall surfaces of the small gallery space with “tapete” or wallpaper the façade of the storefront gallery frames what Leon Battista Alberti described as a fenestra aperta. In this configuration the space of the gallery is a projection/ extension of the streetscape in the bourgeois residential historical Mommsenstrasse neighborhood.
Playing with the concept directive 2D 3D, the wall paper on one side of the gallery is a two dimensional pattern: an organic looping structure which repeats and mirrors itself that is both ornamental and geometrically structural in its architectural implication. On axis with the street front façade at the back of the gallery is a wallpaper “portrait” of this system in black and white but now projected as a one-point perspective optically extending the perspective of the gallery itself.