Das Raumerlebnis wird zum zentralen Anliegen. Der Dolmusch X-press hingegen erzeugte in Berlin eher ein kulturelles Durcheinander. Nach je sechs Tagen Ruhestellung setzte ein innerer Mechanismus das Objekt in Betrieb, um einen gewaltigen Luftballon hervortreten zu lassen. Dieses fulminante Ereignis wurde mit Passanten bei einem gemeinsamen Essen gefeiert. Project: Lebe-Deine-Stadt. Instigator and recipient is the human being, whether as an active designer or as a passive follower.
We all take part in shaping and changing our environment therefore we should be aware of our actions and consequences as well as possible alternatives and opportunities. This is the only way for us to act in a self-determined and responsible manner. It acts as a pool for articles and discussion about sustainable urban development by linking local projects through a global medium.
They have developed a growing pool of merchandising products such as mugs, pens and t-shirts printed with website addresses that contain further information about their particular projects. Der Mensch ist dabei zugleich Geber und Nehmer, ob als aktiver Gestalter oder als passiver Nachahmer. Bernhardt, Cologne URL: www. What makes it interesting is the form that this extra storey takes.
Nevertheless their position connects them visually to the urban context and provides direct communication with the surroundings. The backyard is still accessible, the statics are independent from the neighbouring houses and the plot is inexpensive — it is an overbuilding of a passageway. By moving the mobile interior space dividers the user can mix, separate and overlay micro-ambiences and affect the impression from outside. The paradigm and inspiration for this new quarter stems from the historical city grid and its transformation in rows of high, narrow town houses in limited spaces such as those found in London or Amsterdam.
It attempts to transcend the atmospheric constriction of the typology by bringing light and space into the vertical. Das Haus wird als hochwertiges Einfamilienhaus genutzt — mit sieben Ebenen, einem Atelier, einem Garten und einer ebenerdigen Garage. Large X-shaped columns were used to minimized new foundations near the existing building. The glass is applied as large-scale shingles which form a cladding covering the insulation. In front of the double glazed windows the shingles form large louvres for sun shading and offer insulation through wind protection.
Thus the external shell of the building is transformed into a communicative membrane. A similar parallel is the relationship between the physical light installation and the customized artistic programme being screened on it. The Frankfurt city hall extension takes the form of a new inverted Mansard roof. The original pre-war roof had a shielding function, whereas the new roof faces outwards, addressing the surrounding city. The strict modern extension curbs the excesses of early 20th century eclecticism. A lightweight wooden construction allows for non-standard moments.
Die alten, engen und gewundenen Gassen Frankfurts leben nur noch fort in Form kontroverser Rekonstruktionen. These dissimilar volumes were then connected by creating a wrapping surface that joins them as a sculptural crystalline form. It provides an animated public gesture to the city. Reacting means doing something, therefore tools were used that relate to a particular action such as selecting, tidying, stacking, connecting and wrapping. In a performance sense, all of these activities begin to have a status. The 19th century Kronprinzenpalais used to occupy one of the borders of the square until it was destroyed during the War.
Since four lanes of automobiles and streetcars now raced across the square, pedestrians were banished to the upper level of the concrete lid, which had been decorated with tiny retail pavilions. The city has regained an urban and public space from the desolation of transportation.
A large staircase leads upwards to the three levels available for temporary exhibitions in the glass cube. It is a restaurant, event and meeting place in a glass-encased space and offers spectacular and panoramic views towards the green hills in which Stuttgart is embedded. Das Kronprinzenpalais aus dem For over four decades the location was a large GDR square — the Sachsenplatz — which itself was built as a consequence of Second World War destruction and neglect of the homogeneous pre-war city structure.
The building was placed at the centre of the block to be surrounded later by apartments and businesses facing the enclosing streets. Its spatial and programmatic layout is intended to be easily transferable and adjustable to similar roofscape conditions. This means that existing infrastructure can be shared or extended. The layout of the respective units is composed along the lines of organization and room standards found in hotel chains. Leading designer furniture manufacturers were involved in the product development.
Besides parking facilities, this outdoor space contains individual and shared gardens, play and lounge zones. Light and rain passing through the voids form various light and colour nuances, as well as allow natural vegetation, this creates a pleasant atmosphere on the semi-covered layer. A huge podium above this new entrance brings added drama as a potential stage for summer outdoor performances and open-air events. The opulent driveway that spreads out in multiple lanes under the building was dispensed with and a new structure inserted into the space, which comfortably accommodates all of the organisational functions needed to run a theatre.
Where cars once entered the building is now a studio theatre, a canteen and all of the storage rooms as well as access to the new two storey high foyer in the main building above. The demolition of the Palace of the Republic in Berlin is scheduled to be completed by April , but redevelopment of the area will not commence until at the earliest. The cost is estimated at 7.
The site can be accessed from the existing path on the embankment of the river Spree as well as an existing truck ramp. The rooms and the courtyard offer views of the Spree. At the same time, the partial deconstruction is a chance to rethink and reinvent what exists, thus integrating the past into the future in a way that creates new possibilities for what was once a major Berlin landmark. The design concept that is the conclusion of this analytical-synthetic process consists of 2 main elements the longitudinal shopping mall and the fence exposition.
The shopping mall retrieves the continuity of public space and somehow reflects the suburban character of the environment. The fence exposition is an identity generator and a critical reflection of the gated community culture. It is not possible to walk directly to the entrance of the park because of a gated community between the park and Przy Bazantarni.
As there are parks and palaces Ujazdow, Wilanow, Krolikarnia in Warsaw that are open to the public, we believe the same thing should happen in Natolin. Step one: opening of the viewing axis towards Natolin Palace open the historic viewing axis from Przy Bazantarni to Natolin Palace by removing replanting the trees in front of the Palace. Step two: a new promenade for Ursynow redesign Przy Bazantarni as an attractive promenade to make the street an interesting part for the inhabitants of Ursynow and the whole Warsaw.
The promenade, the Path to Natolin, should be design in a way that the space is attractive to the local community, brings people of the district together and leads them in the direction to the Natolin Palace. It will be a wide pedestrian zone with carefully designed recreational lots, providing interesting space for a variety of social groups. There will be small sports areas table tennis, mini golf, boules, etc. We recognize that the street should have a local character. To achieve that, we design a promenade and reduce traffic simply by narrowing the street lanes and separating them into two each in one direction.
Historical axes parallel to Warsaw escarpment line 12 Some of the trees on the historical axis in the entrance area to the park will have to be removed and will be replanted on the newly designed promenade of the Przy Bazantarni. There is also suggested a fixed line for planting the tall trees in private gardens of the northern gated community so they don t interfere with the opening of the axis to the Palace. New View to the Natolin Palace As the new gated community was raised the connection disappeared and the Kasztanowa Alley in the south gained more importance for leading to the palace.
Przy Bazantarni Steet is lacking its own character.
Without the urban walls but semi-wild spaces instead, on the most of its length it is only the car road that shows some direction. Also the space in front of the church doesn t have any specified character as it is just a car parking. The construction site on the other side of the street and glaze tiles shop near the church tower were considered as empty spaces which can be used for new buildings. Not only the axis of Przy Bazantarni Street in west-east direction is important for this area.
The existing connections in north-south line should be mentioned and used for the development of the area. Along these connections important social functions for the neighborhood are in a row: two gymnasiums, two primary schools, some sport fields, a kindergarten and a church. It includes the green area in the south of the church, too, which gets the character of an educational park because of botanical information and a little garden for pheasants and other birds.
An important element to make the belt visible is to create a path through the whole belt that guides the people. By using lines of different materials as one special design element for the path this connection will be emphasized. To improve the Natolin Campus a new education centre in front of the church will include some important functions which create a meeting point for the neighborhood: a canteen, gastronomies, a library, a language school and rooms for exhibitions, public meetings and adult evening classes. It s friendly and open design is supposed to attract people to go inside, also the green roof is proposed.
It is also meant to be the gate to the area in the north. This education zone is a contribution to create a new centre for the neighborhood which is missed in Przy Bazantarni Street. The church is an important landmark for this area and the square in front of it is qualified to be developed in order to become the functional and social centre for the neighbourhood. The idea is to give this square a new shape by building new urban walls around it.
The square floor is supposed to be on the same level including the road for cars.
The aim of this way of designing is to make this place more pedestrian friendly by forcing car drivers to slow down as crossing the square. The road will be separated from the rest of the pedestrian zone by using small bollards only. Main design elements are the mentioned lines of stone in the pavement.
In a whole, the square is designed cautiously to have free space for temporary uses, e. There is the possibility for the bordering functions, for instance gastronomies, to use the space, too. Present Situation Natolin Campus. The title indicates more than one level. Those are: Connection of Kabaty Forest in the west and Natolin Park in the east of Natolin district by underlining the straight axis and create a link between the residential areas surround.
Because of the idea of connection we decided to develop the already existing green area around the church, right in the middle of the Pheasant Street, as the most important place along this street. In this uprising park we want to establish an attractive water-playground which is supposed to work as a magnet not only for the neighbors living nearby but for all the inhabitants of Warsaw. Additional we want to create sports facilities such as Beach Volleyball, a Climbing Wall and integrate the already existing facilities of Basketball and Tennis. But there will be still enough space for recreation and just relaxing.
The Kabaty Forest in the south west of the city is very popular for the inhabitants of Warsaw as a local recreation area. On the other side on the escarpment of Vistula River there is the Natolin Park with a historical palace. At the moment it is a closed area. We suggest to open at least the very large park to the public to have a bigger variety for leisure time. Ken Street is the main twolane often crowded connection between the city center of Warsaw and the southern districts which crosses the Pheasant Street right in the middle.
At the moment there is a big junction with traffic lights. There is not that much traffic on Pheasant street itself but those who drive on it mostly do it with high speed. Therefore we want to change the junction into a roundabout which slows down the traffic on both streets and simultaneously makes participants on the street more attentively. Beside this we want the Pheasant Street being part of the park in sort of a shared space -concept. The Pheasant Street is going to be changed into a part of the park as a park road where pedestrians and bicycles are the main users. Cars still can drive through but they need to slow down their speed.
At the crossroad on Kent Street two new buildings will create an entrance to the park area. The Chestnut Avenue is located in the south of the park. It is already well organized with pathways, parking space, pavements and cycle ways. In our opinion there is no need for intervention. As already described the traffic on Ken Street in the west will be slowed down by constructing a roundabout.
As there is a huge private property on the edge to this street and just a very small area grazing the park area we decided to neglect the street because it does not really affect the more quiet part of the new park. The northern part of the park will be more organized than the southern part. This is an adaption to the local actualities. Today there are a lot of old trees towards the chestnut avenue in the south with a more or less wild character.
We want to keep this character of the area by putting the new facilities in the middle or in the north. The paths of the park will adapt this idea of organization and wildness. This playground will be an important thing on the spot. We want to create a hill towards the Ken Street. It is going to be the biggest intervention in the western part of the project area.
In direction to the street we want to put some small shops, cafes and restaurants which make the new defined square around the roundabout more attractive and invitingly. On the other side there will be kind of a terrace which can be used for quick and longer stays. Especially for parents who need a place for resting while supervising their kids playing. The playground itself has some different installations which allow the kids to be creative with water, sand and wooden playground equipments. Incidentally the hill works as a noise protection for the park towards Ken Street.
The mainly unused area around the church is under the special consideration for the concept. With the existing sport facilities and green areas it has the potential to become an attractive meeting point in the centre of the whole neighborhood. It is the idea of keeping the structure of the area by using the already existing and self discovered paths of the people to create access on the one hand, and zones of different functions on the other.
The goal is to overcome the current status of a barrier and use the potentials for public space and functions which should be a conscious contrast to the aloofness of the housing districts. The inhabitants will discover the area in a new way by using the new possibilities outside the closed and restricted gated communities. The existing chestnut avenue in the south, which is integrated within the surrounding loop, leads the atractivity towards Przy Bazantarni Street.
Therefore an escarpment in the east of the area is used which also underlines the concentration of activity towards the centre of the whole area. It also functions as a sound protection; it protects the area from the traffic on the street and gated community from the noise generated by the public space. It could be used as a base for a platform that provides a prolongation of the viewing axis of the Przy Bazantarni towards the Natolin Palace. The loop also includes the area of the church at Przy Bazantarni Street what gives an opportunity to restructure the concrete square in front of the building.
This square will become an attractive and inviting green space. On the west entrance of the park, besides the inviting form of the loop, there will be facilities located at the new created lakeshore that continuous the lively character of the Ken Avenue into the park. LOOP Drei solcher Vereinigungsprojekte Berlin , Frankfurt , Hannover werden vorgestellt und der politische Wille der Landesregierung als entscheidender Faktor identifi ziert.
Erst die Krisen der Moderne bzw. Diese Arbeit geht der Frage nach, ob die Regionalplanung mit ihren Instrumenten dies leisten kann. Dabei reicht der Blick von der Bundespolitik bis zur kommunalen Ebene und von der wissenschaftlichen Theorie bis zur planerischen Praxis S.
Current dynamics of urban development in the South suffer from problems of unsustainable supply of resources and removal of wastes. The papers thus focused on innovative approaches to improving on the management of urban resources and the infrastructure necessary to deliver these. These proceedings include all the papers and presentations where these were not accompanied by a paper, together with summaries of workshop discussions and introductions to the document as a whole and to the three major topic sections S.
Academics, professionals and government officials from architecture, planning and including the private development sector presented papers and discussed both the technical and institutional is-sues as to how planning systems and the redevelopment process can be more effective in addressing sustainability issues ranging from the supply of resources, through urban design to concern with appropriate responses to climatic and geographical considerations S.
Renewed Efforts to Plan for Sustainable Development Proceedings: International Conference and Summer School Cities are sprawling into the surrounding countryside everywhere in the world. There is real concern that this pattern of development is not sustainable and that it is urgently necessary to find and then implement urbanisation patterns that will be sustainable for future generations. This year s Summer School took as its topics: the analysis of exactly what is wrong with current planning systems that they are failing to address the problem of sprawl; what are available techniques to analyse and determine whether particular forms of urbanisation are sustainable or not; and how might we reformulate and implement planning systems that will effectively deal with the problems.
The last topic was seen as the most important aspect with the need for planning controls and participatory planning methods as needing urgently to be developed and instituted. In this way, good planning can be interpreted as an essential component of good governance S. Festgestellt werden deutliche Defizite in der Methodenkompetenz der Praktiker und ein Mismatch zwischen an den Hochschulen gelehrten Methoden und den Anforderungen der Praxis; kommunikative Planungsmethoden sind in der Praxis tendenziell wichtiger als elaborierte Bewertungsmethoden.
EU Transport Infrastructure Investment Policy in the Context of Eastern Enlargement The upgrading, expansion and optimization of transport infrastructures is one of the key challenges for creating an ever-expanding sustainable Europe. Officially, the European Union is committed to a shift from road transport to more environmentally sustainable modes, and to decoupling transport from GDP growth.
This book contrasts these official policy goals with the reality of EU transport infrastructure policies and programs immediately prior to Eastern enlargement. The presented case studies show that EU transport sector decision-making is in fact dominated by a discourse of ecological modernization which continues to privilege competitiveness and economic growth over alternative development goals. Juni 22 Nr. Cycling and or? Trams Can we support both? Let me show you around 9 von 26 Where are we now? It was precisely the ambivalence of photography between its inventive and documentary potential that enabled it to establish illusion as a constant ingredient in everyday visual culture.
As a medium it was critically involved in the paradox by which illusion has been perceived as part of a reality of daily life. In both content and iconography the photographic oeuvre of Sabine Haubitz and Stefanie Zoche is an expression of this hypothesis.
Their photographs of an indoor ski slope in Dubai and of Tropical Island in Brandenburg show tourist cells artificially constructed but consumable in wholly real terms. There, in the desert, an indoor slope erected on the model of corresponding sites such as those in Neuss or Bottrop in industrial Northwest Germany.
Here, in a hangar originally conceived for airship production, a tropical amusement park. The photographs in both series are unpopulated. The Bali House in Brandenburg stands for the exotic, the alpine hut in Dubai for the charms of the Alps. Much the same is true of the Sinai Hotels series completed in — It is dedicated to unfinished hotel complexes on the Egyptian Sinai Peninsula. And among the recurrent stylistic elements echoing through it all are Asian aspects while the state of the incomplete hotels recalls archaeological excavation sites.
Since these tarpaulins usually depict precisely the building standing behind them, or, as stopgap markers, the announcement and advertising for a planned building, the large-format prints create a duplication which, notwithstanding certain deviations in the dimensions and perspective in the photographed image, appear almost real. Here their interest is in the different details and elements of the production — less in the finished sets in the sense of perfectly realised illusion or a narrative allusion to the film for which the set provided the location.
The selection of motif and the objective, documentary nature of their photographs testifies to an analytical artistic stance that ponders the subject of staging and setting at a meta-level. The construction is not put on show in order to unmask or deconstruct it, but to present it in its own manifestation and substance of reality, and to lend it pictorial existence. The photographs thus operate less as comment than as information on the reality of the most diverse range of realities. Both conceptions are manifest as pointed apperceptions which ultimately also underlie the sets of photographic work mentioned above.
The evident links also prompts one to examine the specific importance of photography within the artistic careerspursued jointly since , of Sabine Haubitz and Stefanie Zoche. A constituent of the connection between the works is the relation to location as can be made out in each of them; another linking constituent is the concept of sculpture, applying in different ways to the all the different projects and series. This observation, too, supplied the artists with the subject for a photograph series in its own right.
Within the oeuvre to date, photography appears to have run through a number of phases, beginning as a medium of research and for documenting objects in their urban contexts. Then the images of personal awareness of situations increasingly took on their own life as independent artistic statements, without forfeiting their specific quality of reference to place. On the contrary, the act of taking the photograph emerges as a definite site-specific form of action which confronts the reality of place with the reality of the picture.
They take context-guided decisions regarding the respective translation of their observations. The range discussed here by way of example, between the ready-made and the photograph, is eloquent of a strategic way of thinking which successfully alloys personal attention as to the conception and effect of a visual vocabulary of design in spatial situations on the one hand with individual solutions and specific responses on the other. In another sequence that turns from prestige inner-city buildings to the architecture of the periphery, the use of just a few symbols two-story residential structures of the semi-detached archetype, combined with a freshly polished, black station wagon.
The artists have taken the potentially destructive nature of the element water as their subject in other recent works. This could be another link to Metropolis, which culminates in near catastrophe, brought on by a devastating flood in the subcity. Instead they are more concerned with terms such as dissolution, destabilization and decentrification and engage far more with questions and contradictions than with possible answers.
The specific site and its conditions are equally important. In the past, and this now means before global climate change, someone who went outdoors and stepped onto the city streets found himself face to face with public space as a social phenomenon, and with the weather as a natural phenomenon. Outdoors, natural space and public space overlapped each other — natural space with its clouds and winds, precipitation and temperatures public space with its rules of conduct and socially defined functions.
Prior to global climate change human behaviour only marginally influenced the climate, if at all; climate and weather influenced, and still influence human behaviour to this day, particularly in public space. There, human beings react to weather with a mixture of functionality and symbolic codes, with patterns of behaviour that change in the course of history, not least with clothing and accessories set by fashion — weather as a natural phenomenon influences our culturally coded public appearances. Now, after the tipping point of global climate change, what may seem like a natural occurrence is by no means natural any longer, but is in part artificial as well, i.
Und doch sind die Bilder nicht anklagend oder belehrend. The perception of Luxembourg as an international destination among young employees Vysotskaya, Volha Presentation , June Is the Mediterranean urban? And gating large parts of the city, as it happens not only with new estates, but also to older structures, where fences are build up, is anti-urban. Youth transition to the labour market during employment mobility. The fact that a clear demarcation here is ultimately impossible only serves to complicate the issue. Cross-border cooperation as practice formation.
The emissions produced by industrial society have now brought to pass that the climate, and with it rivers and lakes, are no longer unadulterated nature. Socially produced toxins have changed the biosphere and its ecosystems, with far-reaching and often disastrous consequences. One might say that natural space has been negatively colonized with the emergence of this new dimension. One feature of this new dimension is that someone who enters public space today is confronted with a nature whose social transformation is not always immediately recognizable as such.
The fact that a clear demarcation here is ultimately impossible only serves to complicate the issue. If one applies social influence as a yardstick, natural space and public space have converged on each other. How do artists who intervene in public space respond to this convergence?
Water Sabine Haubitz and Stefanie Zoche approach the theme of water from a number of different angles in a series of installations, although ecological aspects are by no means the primary focus of their earlier works. Like a diver in an environment that reminds him of his phylogenetic and ontogenetic origins, carrying him away from his day-to-day world, the viewer looks upwards to see photographs of swimmers placed on elongated lightboxes, tracing their orbits, free of gravity, above his head Gezeiten, i.
Tides, , or of swimmers poised and still in the water, as if in the various stages of a leap in the air in a slow-motion study Luftsprung, i. Cutting a Caper, The interpenetration of water and sky emerges as the theme of one of the first sculptures Shifting Horizons, , that Haubitz and Zoche installed in public space: a wheel with photos of sky and water, set in motion by solar power, creates an optical blending of the two spheres. But in their more recent works, aspects of disasters involving water come increasingly into play.
Alluding to the connection between auto traffic emissions and climate change, they parked a car whose interior had been filled with water up to the headrests on the square in front of the Munich Opera. With irony and sarcasm, they display the car as a victim of future floods likely to occur with increasing frequency - and for which auto emissions are a major co-factor. When comparing the Munich and Delhi installations, a fundamental question arises about differences in the constitution of public space, differences that exist in spite of the totalist dynamic of globalization.
While public space in Munich has been tidied up and homogenized to the point of social sterility and serves mainly as a thoroughfare, public space in Delhi is characterized by a vital heterogeneity, by the living traditions that elude the uniformities imposed by a media capitalism that has reached into the very last nooks and crannies of the world; public space here is not only a thoroughfare, but for many, a space in which to linger as well. As for the climatic dimension mentioned at the outset, in southern Germany even lesser floods are now being classed as disasters.
Even though the monsoon in India causes catastrophic flooding with increasing frequency, lesser flooding is needed for agricultural irrigation. Water is not only necessary for survival, most religions ascribe a function of spiritual purification to it. Their choice of location behind the Kashmiri Gate metro station strikes one immediately: a broad, empty open space, an uninhabited island in a sea of houses, where nonetheless, as soon as the installation is started up at night, the curious, adults and children, emerge from the shadows and follow the video projection on the ground as if they were in an unusual open-air cinema.
A watchtower surveys the surrounding area with floodlights, a lighthouse normally sends out light signals as warnings and orientation aids. This magically circular projection — from a distance it looks as if the moon has been brought down to earth or like a well with light reflecting from its surface waters — shows images of the Yamuna at three stages in its course: at its source in Yamunotri, in Delhi, and where it meets the Ganges near Allahabad. A dysfunctional system of sewage canals prevents the sewage from reaching the treatment plants, with the result that billions of liters of untreated sewage are drained into the Yamuna every day.
And yet there is nothing accusing or doctrinaire about these images. The public follows the images spellbound. The installation achieves what art in public space fundamentally aims at, that art is not only for art experts, gallery and museum visitors, but for everyone. Der blanke Hans, a sculptural object suspended from the ceiling and reminiscent of a lighthouse, dominates the front exhibition space. Within, it harbours a video projection of media images of flooding which it sends rotating across all the walls, doorways and windows, images of cars adrift, inundated streets and houses alternating rhythmically with film sequences of North Sea waves whipped up in a gale and underwater shots of maritime waves.