Architectural Ethnography - of House W

Architectural Ethnography: Case Study House W

Institut für Stadt- und Regionalplanung ABRIDGED HOUSE

LOCATION

INTRO

CHRONOLOGIES

“Architectural Ethnography, in reconnecting pieces of today‘s disconnected society, and critiquing from viewpoints both inside and outside of architecture, allows us to learn many things from the drawings of our time” - Momoyo Kaijima 2018

Through our research the intertwining chronologies of different actors and networks who influenced the house or were influenced by it were created.

The chronologies of its primary three loci, of Egon Wrobel - its current and longest resident, of the cemetery which as an extension of Berlin’s imprints of the house, and of the ABRIDGED HOUSE house itself.

For her “Experiments” with Architectural Etnography Kaijima proposes varying modes of viewing - drawing of architecture, drawing for architecture, drawing among architecture and drawing around architecture. Through our distinctive perspectives each of us have attempted exactly this. Our theoretical understanding of the topic was informed through the readings of Tim Ingold, Bernard Rudofsky, Bruno Latour and Albena Yaneva - yet we carry out the study only in its original mode- “as an experiment”

Berlin

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Haus W ABRIDGED HOUSE ABRIDGED HOUSE

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HAUS -W Wrobel’s house is located in the far suburban, just outside the official boundary of Berlin. Built in 1945 by Carl Metzner from the ruins of Berlin, it tells a fascinating tale of time, space and context and most importantly of its residents.

Drawing something in all its details means seeing it another time for the first time.

The process of drawing is intertwined with the process of understanding what we see.

The process to getting out of the comfort zone and towards new experiences, drawing as a reproduction of our mind.

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Like a trace of perceptions that are formed in our subconscious and are expressed through drawing.

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Adding/leaving stuff out on purpose, different to a photograph which shows how something REALLY is.

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Investigating a place unknown to me using drawing as the core method – also the uncertainty of where this investigation might lead

0 1937 - Karl Metzner - a Berlin stone mason sculptor starts his office and workshop right next to the railway station of the newly planned central cemetery of Berlin- in preparation for the grand capital of the world Germania.

1 1945 - At the end of the WWII the Metzners decide to leave Berlin city which had suffered huge damages in the bombing. They decide to build a house in Stahnsdorf in the outskirts of Berlin where Karl Metzner formerly had his

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Drawing is a different way of thinking.

Reproducing what is perceived through drawing, captures something more.

2 The raw material from the house comes from the rubble of the Berlin bombing, among which are some parts of museums and famous structures. Metzner given his vocation as a stone mason/sculptor skilfully integrates this into his house.

3 Another source of material is from the old cemetries of Schöneberg, Berlin. from which 15,000 graves were moved to the Stahndorf cemetry.

The surplus gravestones surved as a resourceful alternative to building materials in post war Prepared by : Anto Gloren | Instructor: Oxana Gourinovitch | Chair : Prof. Stephanie Herol

Autoethnographic imprints are strongly produced in our drawings.

Drawing enrich our understanding of the built environment and its cultural significance.

4 1973 - After the death of her husband Johanne Metzner sells her house to Wilfred Zander - a professional film stuntman. In the stories related in popular account and printed in newspapers - Zander is believed to have kept his pet tiger in the back yard.

Our Interview with Zander though revelaed this was only a legend, there were infact two donkeys that have mutated to a tiger in the 5 1975 - Within three years Zander’s application to migrate to West Germany was accepted. He sold the house to Egon Wrobel - an artist and sculptor.

Egon has changed the house through his art exhibits and extensions and has been home to him since then.

6 Egon’s and Haus W are coherently connected inseparable entities. As Wrobel also works in his workshop that he built at Haus W, his work additively transforms the house progressively.

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