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Creative Infidelities On the Landscape Architecture of TopotekÂ 1 Edited by Barbara Steiner

Contents 7

Notes from the Editor

9 Texts 9 Post-industrial Park State Horticultural Show Eberswalde 27 University Square Martin Luther University Halle (Saale) 43 Castle Park State Horticultural Show Wolfsburg 61 Kindergarten Griechische Allee Berlin 83 Market/Parking KAiAK – Art and Architecture Berlin 99 Railway Cover Theresienhöhe Munich 121 Evergreen Heerenschürli Zurich 139 Superkilen Copenhagen 159 Lorsch Abbey UNESCO World Heritage Site Lorsch 183 TXL Design Manual Berlin 213

The Thoughts, Working Methods, and Approaches of Topotek 1

228 Images 407

Where do things go from here?

Topotek 1’s first project, Sophienstraße, Berlin

Notes from the Editor This book is being published to mark the 20th anniversary of Topotek 1. It introduces Topotek 1’s most important approaches and methods, and showcases ten significant projects and works in detail. Collaboration partners from the fields of architecture, art and design, private and public clients, planners, project managers, and contractors consider the joint undertakings from different angles. This not only allows readers to picture complex realities in the field of landscape architecture, but also to view processes of collaboration. Particular emphasis is placed on the relation between single performance and cooperation, and the crossing of disciplinary and cultural borders. The book is the result of a two-year collaboration with Topotek 1 and Rasmus Koch Studio/Copenhagen. The designers’ office developed its visual concept, guided by a text section and a section driven by images. The text section is structured around ten key projects and reference projects Topotek 1 has realised since the end of the 1990s. Each project is introduced by a summary of its key features, followed by an interview with its ‘creators’ (essentially Martin Rein-Cano, Lorenz Dexler, and collaboration partners) and ‘Comments’, which presents collections of statements from those who were involved to a great extent in Topotek 1’s projects and worked closely with them on their conceptions and realisations. All comments are allocated to headings significant for the respective project. An e ssay introducing the main aspects of Topotek 1’s approach concludes the text section, which is followed by a comprehensive range of images and an interview I conducted with Martin Rein-Cano, Topotek 1’s founder, about upcoming projects. In this connection, distinct visualisations are shown, which point to the broad range of styles the office uses in precise relation to the c haracter of each project. The title ‘Creative Infidelities’ pays tribute to Jorge Luis Borges, whose thoughts on translation have had an enormous impact on Topotek 1’s work.* Following Borges’s idea that mistranslations and fragmentary translations allow for displacements and regional transpositions that enrich the original rather than diminish it, Topotek 1 deals with gestalt, forms, and content in an open and liberating manner. We—Topotek 1, Rasmus Koch Studio, and I—would like to invite readers behind the scenes of creating landscape architecture to look at the changes the profession has undergone over the years. Barbara Steiner

* The title refers to reflections on Jorge Luis Borges by Sergio Gabriel Waisman: Borges and Translation: The Irreverence of the Periphery, Lewisburg, PA: Bucknell Studies in Latin American Literature and Theory, 2005

The Martin Luther University Halle-Wittenberg is the largest university in the state of Saxony-Anhalt. Located in the north of the historic city centre and within the Ring—the road that encompasses the centre—the university campus hosts late classicist, neo-classicist, and Wilhelminian buildings built in the course of the 19th and early 20th centuries. After German reunification, the ensemble was to be enlarged and two competitions were held—one in 1994 and the other in 2000. Over eight years, the new Juridicum and the Auditorium Maximum were erected and entire site redesigned. Architect Gernot Schulz won both competitions (in 1994 with his partner Thomas van den Valentyn and in 2000 under the name Gernot Schulz Architects). Having already developed a rough concept for the University Square (Universitätsplatz) in 1994/95, he later invited Topotek 1 to join him to work out the details.

Topotek 1 created public space, related the buildings to one another, and presented them as an ensemble made of striking singularities. Moreover, Topotek 1 enhanced the quality of stay and defined the place as truly urban, as a generous urban setting with magnificent old and new buildings as backdrops. Open to the general public, University Square can be appropriated for various uses—from lounging about, meeting people, and staging theatre. Editor’s note: When University Square is italicised, it refers to the title of Topotek 1’s project; roman type is used for the location.

The design of the square responds to the given situation: first, natural vegetal cover and un controlled growth had to be purged and the premises cleaned up. Today, solitary plane trees are contrasted with groups of American oak trees. Topotek 1 restored the park, accentuated the individuality of the historic buildings, and opened the site towards its surrounding. A long bench of black-coloured concrete serves as a place for reclining and sitting, as table and platform. However, the steps that connect the downward sloping site with the historic city centre are the most significant design element. Urban furniture and walkway in equal measure, the stairway guarantees a quick connection between the Ring, campus, and city centre and nevertheless invites the passers-by to stay. (This stairway is accompanied by a second, much smaller one next to the Auditorium Maximum.) In contrast to the extremely conspicuous ‘stairwaypiece-of-furniture’, the design of University Square itself is almost conservative. The choice of materials—recycled stone paving and traditional laying technique—emphasises the connection to the city centre’s ordinary pavement, and embeds the look of the square almost naturally in the old town’s appearance.

University Square – Martin Luther University, Halle (Saale)

Introduction

City Map of Halle (Saale), 1:25000, etching, 1840 (detail)

University Square (aerial view)

Thicket and parking (before designing the square)

Lounging about at University Square

Giant stairway

University Square â€“ Martin Luther University, Halle (Saale)

Introduction

Residency of the German Ambassador in Slovakia (view from the garden)

Residency of the German Ambassador in Slovakia (ramp and stairway)

University Square, site plan

University Square â€“ Martin Luther University, Halle (Saale)

Interview

Gernot Schulz (gernot schulz : architektur GmbH) and Lorenz Dexler in Conversation with Barbara Steiner When did you work on your first joint project? Dexler — Our first joint project was the residence of the German Embassy in Bratislava (1999–2008). We met Gernot more or less by chance, through a former employee of ours who later worked at his office in Cologne. Today he is an important partner for us. The project for the embassy looks simple, but it was actually very complicated because of the site. The Federal Republic had bought a piece of land in a wonderful location—with a view of the castle and the Danube—but unfortunately, it could not be directly accessed from the road due to its topography. The only solution that made sense was to put in an extremely steep ramp, which is what we later did. So this gorgeous piece of land had been purchased, but the investment that had to be made had been vastly underestimated. For this reason, the project was delayed by several years. The collaboration with Gernot—especially under these circumstances—was adventurous, and our relationship became very close. Schulz — The construction of the German Embassy in Bratislava resulted from a so-called VOF procedure (contract for the execution of freelance services) that was awarded to us in 1999. As we were acting as the general planners, we had already placed our tender as a team, with Topotek 1 and structural engineers. This kind of procedure is unlike other competitions, where each applicant submits a design; here, the client searches for an office that is suitable for the construction task. Following building negotiations, which are usually lengthy, the winning office is awarded the contract, and does not start work on the designs until this point. So in Bratislava, we worked with Topotek 1 on the development of the concept from the very beginning. That was the exceptional thing about it. You can see from the result in Bratislava that the interior and the exterior work really well together; it is clear that they had been developed from a single line of thought. From an example like this, the client can see that landscape architecture is not something that should come last; the landscape must be incorporated in the design from the very first moment. And when did the design for University Square in Halle come in? Dexler — Gernot was working on the university buildings in Halle, in particular the Audimax, when the project in Bratislava began. This meant that we had many discussions concerning University Square right from the beginning. Gernot set great store by our advice during the preparation phase of the project; I remember that we discussed materials and barrier-free access. Our participation in the project arose almost as a natural progression. Once the design of the square became official, he took us on board, and we took on the planning of the square. It was our first big public square, just as Eberswalde had been our first big park. From the very first day, we were impressed by the existing architecture and the topography. It created a very special atmosphere, not only in the area that was later to become the university campus, but in Halle as a whole. When I visited Halle for the first University Square – Martin Luther University, Halle (Saale)

Interview

In 1993, the historic centre of Köpenick was desig nated as a redevelopment area, in order to reduce vacancies and stimulate housing investment. Yet at that time, there was little interest from investors in undeveloped land. For this reason, the Senate Department for Urban Development and the Treptow-Köpenick District Office commissioned the project KAiAK – Art and Architecture (Kunst und Architektur in Alt-Köpenick) in 2006/07, put into practice by the association stadtkunstprojekte. Artists, landscape architects, and architects were invited to suggest temporary uses of the urban wastelands and the gaps between buildings; citizens participated in the selection of the plots. Finally, an interdisciplinary advisory board made a r ecommendation for five projects to be carried out. Among them was Topotek 1’s proposal for two p ublic squares, each featuring dual functions: parking and playground, and parking and market.

The combination of market and parking can be often found in German towns and thus references a quite familiar typology. People usually know the rules, and the market’s time schedule is typically set by local authorities. With Playground/Parking, however, debates about priorities would have come to a head more evidently than with Market/Parking, which is usually closed to cars only once a week. Addressing two controversial groups—children and car drivers—the concept would have demanded continuous decisions regarding the respective functions. Related to one another, the two designs would have p rovoked different sorts of regulations: a priori (market days) and ad hoc (children playing) arrangements. In the end, only Market/Parking could be realised. The soundings discussions with the owner of the second piece of land failed; it was impossible to come to an agreement. *

With its concept, Topotek 1 responded to a huge problem in Köpenick Old Town: the unsatisfactory parking situation. The areas the landscape architects selected for their project had previously been used informally as parking lot. Topotek 1’s intervention started from that fact and was impressively straight forward: the parking was kept, but carefully designed with an asphalt ground painted bright red, using standard paint. The red paint, the lilac lines, and huge numbers for the parking areas were applied with a standard road marking machine. A red caravan served as the ticket booth for the parking attendant.* A giant red parasol was set up to indicate the current function of the square: parasol open = market day (the square would be closed to cars); parasol closed = the square is available for parking. Parasol, caravan, ground—all in red, together with the lilac lines and white numbers— not only attract attention, but also add aesthetic quality to the otherwise strictly pragmatic demands of a car park.

Market/Parking – KAiAK – Art and Architecture, Berlin

Meanwhile, the new owner has made several changes; the caravan no longer exists. Market/Parking never fully operated due to the temporary relocation of the market to another square, where it ultimately remained.

Introduction

Disorganised parking (before KAiAK)

Maquette of the Market/ Parking (red) and of the Playground/Parking (green)

Applying parking area markings

Market/Parking and Playground/Parking (concept scheme)

Market/Parking – KAiAK – Art and Architecture, Berlin

Introduction

Market/Parking â€“ KAiAK â€“ Art and Architecture, Berlin

Parking lot

Production of the giant parasol

Open parasol

Interview

Martin Rein-Cano in Conversation with stadtkunstprojekte e.V. What was the basis of your idea for KAiAK? Rein-Cano — The design has various origins. Our aim was to give the site a new meaning within the context of the town. We aimed to achieve this through the implementation of two themes. The first theme is ‘flexibility’, b ecause our design does not restrict the location to a single function or usage. In former times, it was normal procedure for various functions to be superimposed in one area of a town. In our opinion, this kind of super imposition generates a sense of urbanity. Of course, superimpositions hold conflicts if, as in the case of Köpenick, a single location functions as a car park and a playground at the same time. This creates tension at the location. But it is exactly this kind of tension that makes the place urban. Monofunctional places are tension-free. Was the idea of flexible functionality imposed from outside, or did you develop the idea with the specific context of Köpenick in mind? Rein-Cano — The theme of ‘flexibility’ arose from differing wishes of the inhabitants of Köpenick with regard to this public space. Many people want parking areas in the town, others want a market square and complain about the piece of wasteland, which, in their view, is an ‘eyesore’. Topotek 1 tried to interpret the various contradictory demands on the place, and to turn them into something positive. The fact that our design has a flexible approach is, in my eyes, less ideological than exclusive solutions that are restricted to a single function. Instead of searching for a solution to the conflicts between the various wishes of the inhabitants, we accept them and express them in an aesthetic way. We make a declaration regarding the ambiguity of a place—a final decision has yet to be made concerning its purpose and function. What is the second theme that determines your design for KAiAK? Rein-Cano — The second theme could be described as the ‘holiday feeling’. Thanks to its waterfront location, we see the old town of Köpenick as a small holiday resort. Thus we wanted to create an impression of serenity, lightness, and freshness—that certain summer feeling. That is what the giant parasol stands for; we associate it with summer and holidays. The sunshades develop an important signal effect in the public space when they are opened and closed, like the ringing of church bells. They signalise a change in the function of the area. We kept the design of the ground very simple: a coloured surface with lines running across it. The surface can be activated in different ways, according to the various functions. You could compare it to the lines on a sheet of ruled paper—it is preset, and the text is added later. How would you describe Topotek 1’s general approach? Are there particular methods that you use again and again? Rein-Cano — Most importantly, we try not to copy ourselves. And we ask ourselves: what are the innate properties of the location we are concerned with? Our tactic here is not to attempt to solve the problems a place brings with it, but to take things a step further. We want to highlight the problem; Market/Parking – KAiAK – Art and Architecture, Berlin

Interview

60m

Layout of sports grounds

Connecting boulevard

Comments by:

Sports Grounds

Peter Bielman divisional director Field Sports and Tennis, City of Zurich

Bielman: The Heerenschürli sports complex is one of the largest in Zurich. The focus is on games played on grass pitches/fields, such as football and baseball. As far as the grounds and the building are concerned, Evergreen has made optimum use of space. The baseball field has been positioned to accommo date to the sections of pathway bordering the sports complex. All activities held on the grass pitches can be watched from several different sides. No extra buildings were required to cater for the spectator infrastructure, everything is incorporated in the building of Jean-Pierre Dürig. The generous outside grounds mean that larger sporting events with a temporary infrastructure can be held here. During normal daily operations, local residents can use the grounds as a recreation area.

Kurt Gfeller project manager Office of Parks and Open Spaces, City of Zurich Alexander Kochan landscape architect at Topotek 1, project team member Harald Müller landscape architect at Topotek 1, project manager Stefan Müller operations manager City of Zurich, Department of Sports, Heerenschürli Sports Complex Marcel Dünner division manager Safety Solutions Geobrugg AG Romanshorn

Evergreen – Heerenschürli, Zurich

The long bench at the main axial crossing

Harald Müller: The master plan envisaged by Topotek 1 and Dürig incorporated the entire area. In the beginning, however, it was only intended to implement the eastern half. The other half was to remain as it was, with the option of developing it at a later stage. It was planned to build pathways, the operations centre, and the skate park right from the beginning. However, in the end it was possible to finish all of the fields, simply because there were sufficient funds left over. Once 90 per cent of the invoices had gone through, nine months before the project was completed, the decision was made to implement the remaining half of the area, in order to strengthen the overall impression.

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Gfeller: The area featuring the connecting boulevard, which appeared as an option in the competition programme, was adopted as a fixed element of the project at a very early stage. Additionally, the perimeters of the project were extended several times to improve the accessibility of the sports facilities from the neigh bouring residential area, the existing community centre, and public transport stops. This was a central issue for the parliamentary advisory committee and fitted in well with the concept of the sports facility, which was also to provide added value for local residents. Stefan Müller: The modern facility has received extremely positive feedback from the community and visitors. Many people visiting the area for the first time are surprised at how modern and clearly laid out it is. The athletes are of a similar opinion. Special mention is often made of the size and clear layout of the grounds, the modern architecture, the generous use of greenery, the large number of artificial pitches, and the fact that they can also be put to full use. Children can play and teams can train there, and there is always a guarantee that events and camps can take place. There are no more cancellations due to bad weather. Thanks to the large tarred surface, we are also able to stage large-scale events. For the European Soccer Championship, we were able to create an infrastructure suitable for a huge event, attended by more than 1,000 people. We have hosted the Coca Cola Junior League tournament four times. Those were enormous events, with large numbers of visitors and attractions.

Comments

Playing baseball

Watching baseball

Construction of the pitcher’s mound

a pitch. The rules stipulate that it should not be more than twenty-five centimetres high. There can be variations within this guideline. Baseball players attach a great deal of importance to the geometry and quality of this hill. The high mechanical load demands a surface layer that is flexible yet resistant. In the baseball scene, the way the hill is constructed is considered a secret by the respective home clubs. Consequently, it was not easy to acquire the necessary information. We more or less stumbled upon the final solution we used to build the pitcher’s mound for Heerenschürli.

decathlete, came along and threw the first baseball he could find against the fence. It went through with virtually no resistance and landed in the middle of the field. Of course, there was a huge commotion.

Baseball Field

Gfeller: A particular problem was pre sented by the fact that there are hardly any technical norms for baseball fields, only general conventions. Because of this, even the specialists were not always unanimous in their opinions. A specific characteristic of baseball fields is that certain deviations from the conventions can be stipulated in the so-called ground rules. Alongside the generally accepted rules, specific rules can be drawn up for individual grounds, which are then valid for any championship games held there. To give an example: due to the fact that the baseball field at Heerenschürli is lower than the surrounding terrain, an access ramp was required for the mainte nance of the grounds. During the early stages, an agreement was made with the baseball specialists to incorporate the access point—an opening in the enclo sure wall—in the ground rules. In this case, for example, the rulebook would specify that any ball landing in this opening over the wall line would be out. This rule applied only to games taking place at Heerenschürli, because this particular situation would never arise elsewhere. However, with international games in mind, it was not accepted by the Federation once the facilities were finished. As a result, a special door had to be constructed allowing the opening, 7.5 metres wide, to be closed off seam lessly. This had to fit completely into the wall recess of the access ramp since, for security reasons, it is not permissible for components to protrude in the direction of the field. Another example is the construction of the pitcher’s mound, the small hill where the pitcher stands when throwing

Evergreen – Heerenschürli, Zurich

Harald Müller: The height of the ball- catching fences also presented us with some difficulties. In football, the situation is clear: the fence behind the goal must be six metres high and the rest can be lower. On our football pitches, we decided that all of our fencing would be built six metres high—i. e., a uniform height around the entire field. In baseball, there is no compulsory height for fences. When I took over the project, it was said that seven or eight metres would be sufficient. After consulting with the Zurich Baseball Club and the Swiss Baseball Club, we agreed on seven metres. But once the fencing was up, we found that balls went over it all the time, which could hit other people—football players or passers-by. Finally, an inclined section was added to the fencing, to ensure that balls were stopped. Of course, we tested how much the ball protection fence could withstand, and during our tests no balls went through. But then the groundskeeper, who is a former baseball player and

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Dünner: When the professional baseball player threw a ball through the fence, we were very concerned at Geobrugg. We had done previous tests ourselves— theoretically, a ball with a diameter of 7.4 centimetres cannot pass through a mesh size of 6.5 centimetres. But evidently it moves so fast—perhaps at 150 kilometres per hour—that if it hits the netting in a certain way it compresses, and the leather can push its way through the fence. To prevent this from happening again in the future, we had to mount ad ditional horizontal rods. It was not so difficult to draw the rods across, but they had to be exactly the same colour. So a lot of further effort was required, but every thing worked out perfectly in the end.

Comments

Superkilen Copenhagen

Title: Location: Collaboration: Clients: Planning: Completion: Size: Commission Type:

Superkilen Copenhagen, Denmark BIG – Bjarke Ingels Group Superflex Københavns Kommune Realdania 2008–2011 2012 27,000 square metres Competition, 1st prize

Superkilen is part of a greater urban development project for the Nørrebro district in Copenhagen. The name derives from kilen, which means wedge in Danish and basically describes the form of the area, a wedge-shaped urban space. In 2008, BIG – Bjarke Ingels Group, Topotek 1, and Superflex won the competition, which aimed at dealing with the ethnically and socially diverse neighbourhood. After intense preparatory work, meetings with potential user groups, and public debates, the project was realised between August 2010 and June 2012. Superkilen is structured along three spatial zones: ‘The Red Square’, ‘The Black Market’, and ‘The Green Park’. Coordinating the colours red, black, and green, the objects and trees are embedded in the respective areas, which serve as a sort of backdrop for the objects populating the park—including waste bins, benches, manholes, bicycle racks, play and sport items, street lighting for ads (light boxes), bus shelters, a fountain, and even sculptures. The most important difference to other park furniture is that the items are collected from different places around the world. Although everyday, and not special in typology, the objects were supposed to have certain design qualities, create relationships with different people, and in this way establish e motional connec tivity. They were chosen after several sessions with people from Nørrebro, preceded by various modes of search—such as announcements in newspapers, handouts, posters in libraries, and a call in the Internet. In five exemplary cases, the artist group Superflex pushed citizenship involvement to the extreme by asking people who do not usually attend official meetings—mostly elderly people and young poeple—to propose their objects of desire. With these proposals, Jakob Fenger, Bjørnstjerne C hristiansen, and Rasmus Nielsen travelled to B angkok, Palestine, the US, Spain, and Jamaica to r esearch and find the desired pieces. Apart from these very particular cases, the final selection was then made by a jury, which consisted of BIG, T opotek 1, Superflex, Lemming & Eriksson, and Help.

Superkilen, Copenhagen

After the selection, the objects were partly bought from catalogues, partly reconstructed from photo graphs, or newly built. They had to be redrawn, modified according to technical, economic or legal requirements, and produced by Danish firms. Some were done in collaboration, such as the giant Japanese Octopus that was built on-site by Japanese and Danish workers. Particularly in regard to the collaborations and the productions commissioned in Denmark, misunderstanding, mutual approximation, and translation became obvious issues. Some objects, cheaply produced at their places of origin—such as the neon sign with the half-moon and the tooth, which is a dentist’s sign from Doha/Qatar—became well-executed pieces. The park’s concept speaks of ‘being alien’ and ‘belonging to’, and also mirrors migrant experiences in its ambiguity. Details caused by the changes—for example, blocked swings, solid, shatterproof glass, and graffiti protection surfaces—stimulate reflection about security standards, regimentation, protection, economy, and nonchalance in different places all over the world. The colours play a very crucial role in the overall concept; it is after all colours that define the identity of the three areas indicating the different uses and functions. Conceived as an activity zone from the beginning, ‘The Red Square’ has become an i ncredibly populated area, with parties and music events almost every day. ‘The Black Market’, projected as ‘urban living room’, serves as a space for lingering, as a cat walk, and as a trendy meeting point. ‘The Green Park’ suggests leisure activities—such as biking, playing ball, and barbecuing—by addressing mainly children and families. Based on former projects, Topotek 1 proposed coloured asphalt coating for the park’s floor space, a material usually used in traffic areas, on parking decks, on bridges, or at airports. Superkilen offers visual coherence but disrupts this coherence in many places. It is deliberately ambivalent and challenges notions of what looks good. The park, its objects, and their relation to the surroundings are not completely seductive; there is also something hideously aggressive and un comfortable about. The joint project by BIG – Bjarke Ingels Group, Topotek 1, and Superflex is e ssentially the expression of a society that is becoming increasingly heterogeneous and fragmented. With Superkilen, the project team has found a spatial and visual expression for an inherently heterogeneous, yet shared, space.

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Introduction

First sketch for Superkilen (rendering)

Invitation for civic participation

â€˜The Black Marketâ€™ (aerial view)

Constructing the Japanese Octopus

Iraqi swing

3 2

7 4 5

Superkilen, Copenhagen

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Introduction

Cover from A Metropolis for People, Ed. City of Copenhagen, The Technical and Environmental Administration

Comments by:

Urban Renewal

Tina Saaby chief city architect of Copenhagen since 2010

Saaby: We have a mapping system for our city development projects. It is a ‘socio-economic’ map, which allows us to get some kind of overview of the whole city. We use it as a tool for pointing out n ecessities for urban development in these specific areas. To be able to do so, we go out and start mapping the situation—actually, we carry out different kinds of mapping in those areas. Most important is to identify the area’s potential. Therefore, it might not be surprising that there is a chapter about character in the city of Copenhagen’s architecture policy. We look into the architecture and the cultural history of the respective area, and try to find out about the culture of the people living there. In addition, we have a city-life strategy that focuses on three aspects: more urban life for all, more people to walk more, and more people to stay longer. All of this is connected to the principle of diversity, because it is very important that the urban spaces not look all the same. Unfortunately, there is a tendency that the projects in deprived areas end up looking the same. This is also the reason we try to go out and look at the architecture and the urban fabric in detail; we look into the cultural history and the culture that we can find among the people living there—all to identify the area’s potential. Nørrebro is a former working-class area of the city. It is more diverse compared to areas that are more coherent in the building structure and u rban fabric. There is a difference when you go to Vesterbro and when you go to Nørrebro, not just because of the social history but also the history of the a rchitecture and of

Astrid Bruus Thomsen head of programme, Realdania Nanna Gyldholm Møller project manager, BIG Ole Hartmann landscape architect at Topotek 1, project manager and construction supervision

Superkilen, Copenhagen

154

the urban development. I think it is very important to go out and try to feel this, because it is the beginning of getting something that is unique. Looking at Superkilen, all three goals of the city are really visible. Superkilen is a strong urban statement. Bruus Thomsen: When the project s tarted, Nørrebro was in a really bad situation, really going down. In connection to this, Realdania supported three projects in collaboration with the city; Superkilen is only one of them. With Superkilen, we wanted to show the quality of the neigh bourhood, which is really multi-ethnic. Nørrebro is alive twenty-four hours a day. What we did not want, however, was to support gentrification, which takes residents and their problems somewhere else. We wanted to improve the situation for the people who were already there, and to show the strengths of Nørrebro by focusing on all the good things that were already there. In this regard, we are in accordance with the city’s policy. So, the first thing we did was to find out more about Nørrebro’s strengths. We commissioned an analysis; then we set up a competition, which BIG and its team won. Their proposal applied to our idea of not only maintaining diversity, but also showing its strength. We repeatedly discussed the project in many details. If you have soil from Palestine or a manhole cover from Israel, will some people spit on it? Perhaps. However, we hope of course that no one would do this. The idea is that everybody respects that we are coexisting.

Comments

Colour samples for ‘The Red Square’

Funding

Competition

Participation

Bruus Thomsen: If I remember correctly, the city put 30 million into this project. Most probably we were asked: Do you want to join us so that we can do more? Then, I think, there was a meeting with the municipality, and it became a bigger project. Realdania often works in partner ships with municipalities. The model is that these projects are mainly financed 50-50. Not all of the project investment comes from us. It is very important to have local investment in the project: money from the municipalities or from other organisations to secure the commit ment to the projects. Only if stakeholders really want to build it, maintain it, and take care of it, will we commit to the projects. Sometimes we give cash, and the partners invest more time to make the project happen. But as I said, we prefer the 50-50 model, because this means equally shared responsibility and commitment to the project.

Hartmann: The competition was a com plex procedure, with two first prizes; the two winning offices then entered into a new competition with each other. The project by Topotek 1, BIG, and Superflex was considered the ‘crazy’ option, whilst the other was perfectly suited to the clas sical Danish way of thinking—i. e., it was very good, but somewhat conservative. I seem to remember that it was Real dania who was strongly in favour of the unusual prize. That could possibly be seen as the turning point in this competition. In the second phase, it was my task to prove to the awarding authority that our project was financially feasible. A board of external consultants had come to the conclusion that our design would be twice as expensive as indicated in our plans. I had to prove to the client that we would stay within the financial limits we had quoted. The fact that I am German but also speak Danish gave me a definite advan tage here. Finally, it was decided that Topotek 1, BIG, and Superflex were to be entrusted with the implementation of the project. At this point, it was no longer merely seen as a ‘cool’ project—it was also believed that it would be possible to finance it, as was indeed the case.

Hartmann: From the beginning, public participation was an important factor. Citizens were invited to participate on several different levels; Superflex involved the public in the most radical way. There were enlightened people amongst the citizens who took pride in the fact that there were fifty-seven nationalities living in the district surrounding Superkilen. They liked our concept and gave it a lot of sup port. On the other hand, there were others who were against everything, on principle. For example, the operator of the sports hall made a radical comment regarding our suggestion for ‘The Red Square’: ‘Red is the colour of war.’ Suddenly red became associated with war, a lthough the decision regarding the colour of the square had long since been made. But the discussions became more and more heated. A coating company produced true colour prints for the client on the basis of NCS. There were four colour shades altogether—some had more of an orange tone, whilst others tended towards magenta. The colours were shown to the citizens. The reaction was: ‘The colours are too loud.’ The citizens were asked to make alternative suggestions, remaining within the spectrum of red. There was another meeting with the citizens, and this time the colours they had chosen were printed out. However, all of their colour choices were more or less shades of brown. At this point in the proceedings, Realdania functioned as an icebreaker: ‘We have specialists here who know a lot about colour, we should trust them.’ The problem with participation is that it can soon undermine all of the specialised knowledge of an architect or a landscape architect. Processes involving absolute

Saaby: Partnerships with private partners are important, particularly with big projects. The 50-50 principle is a method that allows us to go to our politicians and say that we have a great project. When they see that we could get 50 per cent from a private partner, they often see it as a good opportunity. So, if they say ‘no’, they also say ‘no’ to this amount of money. Certainly, I got the idea from Realdania to give only 50 per cent, because they wanted to see that we were serious about doing a project. So, it is a way of committing to each other. It is a way to make things happen, in fact. I think the collaboration is good for both sides: the cities could often not do these projects alone.

Superkilen, Copenhagen

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TXL Design Manual Berlin

Title: Location: Collaboration: Clients: Planning: Completion: Commission Type:

TXL Design Manual Tegel Airport, Berlin, Germany MVRDV Senat fĂźr Stadtentwicklung, Berlin (Workshop) Tegel Projekt GmbH Berlin (Berlin TXL Design Manual) 2008â€“2015 2020 Application procedure

In the course of planning the new BER Airport in the south-east of Berlin, Tegel Airport was about to be closed, and in this context, subsequent uses were discussed. In 2008, a basic evaluation commis sioned by the Berlin Senate for City Development formed the point of departure for the project, followed by a series of ‘site conferences’ and work shops. The c onferences addressed the local public, which was invited to partake in debates about the future of T egel Airport, and the international workshops aimed at developing and discussing concepts for Tegel’s subsequent uses and strategic development. Interdisciplinary teams—among them MVRDV together with Topotek 1—joined the brainstorming process, which resulted in the master plan Berlin TXL. This time, Topotek 1 took the lead on the project. Finally, a research and industry-based technology park with the Beuth Hochschule (University for Applied Studies) at its core was envisaged, promoting the design, production, and export of urban technologies for the cities of tomorrow, as well as a smaller section dedicated to housing units. The new Tegel operates under the name Berlin TXL—The Urban Tech Republic. In 2012, the Tegel Projekt GmbH was commissioned to develop and expand the site, fill around 150,000 square metres of building space—integrating Terminals A and D, and the utility buildings—and bring in new industrial settlements. The TXL Design Manual provides certain rules for this. It worked out guiding principles for the development of the site, to give it an identity and to avoid the usually messy, unattractive look of business parks. The in-between structures—such as roads/streets and trees—play a leading role in structuring and defining the area. Divided into zones, each has a distinctive look and function—including education, production, trade, and housing.

TXL Design Manual, Berlin

Particular emphasis is placed on the selection of trees: Topotek 1 plans to have so-called climate trees on the campus grounds. Together with Humboldt University’s division of Urban Ecophysiology of Plants, and in close cooperation with Lorberg nursery, tests were performed to find out which trees are likely to grow well in the future. However, the climate tree is only one type of tree that will populate the airport grounds in the future. At the fringes of the area, where there is already a substantial tree population, indigenous trees—such as pine trees, birches, and oaks—will be predominant. Generally speaking, Topotek 1 opts for great diversity: b lossoming and non-blossoming, s ingle- or multi-stemmed trees. The office favours compositions of various trees, rather than avenues with trees of one species. The former airport area is p erfect for testing future urban planting. In this r egard, it is in full accordance with the area d evelopers’ objectives to transform the former Tegel Airport into a test site for tomorrow’s forms of living and working. Apart from the trees, the large airfield—with its landing strips, access routes, and roads—will structure the area and significantly shape its look. Topotek 1 integrates in situ concrete slabs—7.5 metres × 6 metres—on the airport grounds into its concept, in order to create continuity between what used to be there and what will be there tomorrow. The concrete slabs are to be perforated so that trees can be planted in the openings. One of the office’s rules is: ‘Whatever is a lready there must be preserved. If anything is m issing, it is replaced using the materials from the airport: in situ concrete and asphalt.’ Trees and roads provide the frame for the new settlements. Topotek 1 and MVRDV suggested building typologies for the private plots, i. e., the mass distributions of the building structures and the buildings’ heights; defined the number of window openings, the type of roof (either with greenery or solar panels), and the position of logos. Additionally, limitations—for example, building borders and park ing solutions—are imposed on buyers and developers. With TXL Design Manual, an overall framework is created, which e ncourages diversity while promot ing a specific spatial character for each sector. The concept leaves space for interpretation, for disrupted harmonies, as well as inventive growth.

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Introduction

TXL Design Manual, Berlin

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Berlin TXL, existing situation

Berlin TXL, opening / ongoing construction work, 1974

TXL Design Manual

Introduction

TREE SPECIES BY NEIGHBORHOOD

Cercis canadensis multiple trunks Eastern redbud Height 6-8 m Width 6-8 m

Maclura pomifera Osage orange Height 10-15 m Width 8-12 m

Parrotia persica multiple trunks Persian ironwood Height 5-7 m Width 5-10 m Research project

Ginkgo biloba, multiple trunks Ginkgo Height 15-30 m Width 10-15 m

Liriodendron tulipifera ‘Fastigiata’ Säulen-Tulpenbaum Height 15-20 m Width 5-7 m

Fraxinus ornus Manna ash Height 8-10 m Width 4-8 m

Thuja occidentalis ‘Brabant’ White cedar ‘brabant’ Height 15-20 m Width 3-4 m

Prunus sargentii, multiple trunks Sargent cherry Height 6-12 m Width 5-8 m

Betula papyrifera, multiple trunks Paper birch Height 15-20 m Width 10-15 m

Acer rubrum, multiple trunks Red maple Height 7-12 m Width 4-7 m

Tree Assortment Campus

Public Space

In order to fulfil the functional requirements of the Campus Quarter, which is the most highly frequented and diverse area, the tree species used here are especially striking with regard to their closerange appearance. There will be a large variety of new and decorative tree species to mark the special character of the quarter as a central area. Tree species of many different origins and appearances give the area a horticultural character. Prolific flowering species are set beside various leaf and trunk textures, resulting in an interesting composition. This is enhanced through varying colour palettes at different times of the year. The graduation of various tall trees and trees with multiple trunks provides a spatial effect, highlighting the horticultural aspect of the quarter. The result is a park-like area with a particularly pleasant atmosphere.

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- In the campus area, the tree species from this tree assortment are available for selection - Trees should have a trunk circumference of at least 0.25 m at the time they are planted

TREE SPECIES BY NEIGHBORHOOD

40%

dominant tree species typically found in heath areas, indigenous Quercus robur English oak Indigenous Height 30-35 m Width 15-25 m

other tree species typically found in heath areas, indigenous Betula pendula, multiple trunks Silver birch indigenous Height 8-22 m Width 6-8 m

Pinus sylvestris Scots pine Indigenous Height 10-30 m Width 5-8 m

40%

tree assortment, indigenous

Sorbus torminalis Wild service tree Indigenous Height 10- 20 m Width 7-12 m

Prunus padus ‘Tiefurt Castle’ Bird cherry Indigenous Height 3-10 m Width 4-7 m

Castanea sativa Sweet chestnut Indigenous Height 10-35 m Width 10-15 m Research project

Tilia cordata Small-leaved lime Indigenous Height 20-30 m Width 10-15 m

Acer campestre, multiple trunks Field maple Indigenous Height 10-15 m Width 8-12 m

Quercus petraea Sessile oak Indigenous Height 20-30 m Width 15-20 m

Fraxinus excelsior Common ash Indigenous Height 20-35 m Width 10-15 m

TXL Design Manual, Berlin

Ostrya carpinifolia Hop hornbeam Indigenous Height 10-15 m Width 8-12 m

Tree Assortment Cité Pasteur - “Business in a Green Environment” - South Entrance The quarters Cité Pasteur, “Gewerbe im Grünen” and South Entrance differ both with regard to their building types and to their existing situation. What they have in common is a high incidence of indigenous trees, strongly associated with Tegel‘s urban heath (pine, oak and birch). The concept is so closely oriented on the existing situation that the selected tree assortment extends and adds to the existing species, thus reinforcing the identities of the quarters. Cité Pasteur: The Cité Pasteur quarter requires a particularly pleasant ambiance. To comply with this, new trees will be planted, and some of the healthy existing ones conserved (pines, oaks, birches and linden trees) to create an atmosphere of half-shade and light open spaces. “Business in a Green Environment”: The area “Business in a Green Environment” comprises parts of a dense mixed oak forest with a

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special conservation status (§26 NatschGBln, Nature Conservation Act Berlin). The existing stock is supplemented by planting additional oaks, as far as the main road in the west. Solitary structures and developments are carefully placed in the clearings of the existing forest. South Entrance: The dense development at the South Entrance, along with typical varieties of heath trees, signifies the context of a transition area between the city and the surrounding landscape.

- Cité Pasteur, “Business in a Green Environment” & South Entrance: - 40% of new trees planted consist of the dominant species typically found in heath areas (common oak) - 20% of new trees planted consist of other tree species typically found in heath areas - 40% of new trees planted consist of harmonising indigenous species - Trees should have a trunk circumference of at least 0.25 m at the time they are planted

Introduction

40%

dominant tree species typically found in heath areas, indigenous

20%

other tree species typically found in heath areas, indigenous

Betula pendula, multiple trunks Silver birch Indigenous Height 8-22 m Width 6-8 m

Pinus sylvestris Scots pine Indigenous Height 10-30 m Width 5-8 m

TREE SPECIES BY NEIGHBORHOOD

Quercus robur English oak Indigenous Height 30-35 m Width 15-25 m

20%

Tree Assortment Hangar Zone

tree assortment, not indigenous

Tilia americana ‘Redmond’ American basswood Cultivated Height 17-25 m Width 12-20 m

Alnus spaethii Spaeth’s alder Cultivated Height 12-15 m Width 6-8 m

Cladrastis kentukea Kentucky yellowwood Not indigenous Height 8-10 m Width 6-10 m

Platanus acerifolia London plane Not indigenous Height 25-30 m Width 15-20 m

Sorbus intermedia, mehrstämmig Swedish whitebeam Not indigenous Height 8-12 m Width 7-12 m

Sorbus aria Common whitebeam Indigenous Height 6-15 m Width 4-8 m

Sorbus aucuparia, multiple trunks Rowan Indigenous Height 5-10 m Width 4-6 m

Juniperus communis Common juniper Indigenous Height 3-5 m Width 1-2 m

Prunus avium ‘Plena’ Double white cherry Indigenous Height 7-12 m Width 4-6 m

Taxus Baccata ‘Fastigiata’ Irish yew Indigenous Height 5-7 m Width 2-3 m

Crataegus monogyna Common hawthorn Indigenous Height 2-10 m Width 3-8 m

Research project Sophora japonica Japanese pagoda tree Not indigenous Height 15-20 m Width 12-18 m

20%

tree assortment, indigenous

The functional requirements of the Hangar Zone, an open and transparent field of innovation, are met with an informal mix of mediumsized and imposing large trees of various shapes and forms. The graduation in the height of the vegetation reflects the leap in dimensions of the buildings. Additionally, the tree species reflect the character of the existing concrete surface, providing a powerful spatial effect in the area around the roads and front gardens. The planted trees appear to form a permeable border around the rather loose architectural ensemble. At the centre of the Hangar Zone, the situation is determined by informally placed individual trees, small groups of trees and multi-stemmed trees. A sea of blossoms in various shades of cream and yellow paints a particularly pleasant picture in the industrial quarter, especially in spring and summer. Various leaf and stem textures, multiple shades of green and the appearance of the tree species here, most of

Main road perspective Hangar Zone - Campus

TXL Design Manual, Berlin

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which are indigenous, contribute to the Hangar Zone‘s extremely interesting design ensemble.

- In the Hangar Zone, the species from this assortment of trees are available for selection - 40% of new trees planted consist of the dominant species typically found in heath areas (silver birch) - 20% of new trees planted consist of further tree species typically found in heath areas - 20% of new trees planted consist of harmonising indigenous species - Trees should have a trunk circumference of at least 0.25 m at the time they are planted

Public Space

Introduction

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Topotek 1â€™s office SophienstraĂ&#x;e 18, Berlin

Thoughts, Working Methods, and Approaches

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The Office Even if it may initially appear unusual for a landscape architecture office, Martin Rein-Cano, Lorenz Dexler and Francesca Venier are all primarily interested in architectural questions. This is ultimately what the name Topotek 1 signifies: ‘We find architecture fascinating, and this is expressed in our way of dealing with landscape. The aesthetics of doing always demands a tectonic approach. That is what our name stands for. A place must be firm.’ The Topotek 1 team currently consists of Rein-Cano, Dexler, Venier, and forty employees. The office was founded by Rein-Cano in 1996, and since 1999 he has run the company in equal partnership with Lorenz Dexler. Both studied landscape architecture in Hanover, with excursions into the fields of architecture and town planning (Dexler), or architecture, art, and art history (Rein-Cano). Francesca Venier has been a junior partner since 2014. She first studied product design, later architecture and urbanism at the Politecnico di Milano. At first glance, Topotek 1’s projects appear extremely heterogeneous. In fact, this only applies to their outward appearance, not to the office’s approach and attitude. So when Topotek 1 speaks of a ‘purposely lived eclecticism’, they are referring to material language, to the vocabulary of forms and references. The variety involved must be understood in a wholly paradigmatic way: ‘We have always been sure that you cannot approach projects with just one strategy, one position’. In line with this, the various political, economic, social, and cultural contexts remain readable and invariably become part of the office’s concepts and implementations. In short: with its projects, Topotek 1 reacts to given situations and expectations: ‘The general context is the most important factor; we allow the context to exert its influence. Not only the site, client, partners, country, budget, or seasons play a role, but also whatever is happening to us at that moment in time, what we are seeing, the themes we are discussing—all of these things influence our decisions. The process leading to the outcome is as decisive as the result.’ Spatial Relationships The office’s interest in spatial metrics, grids, and mapping was first expressed in the Post-industrial Park for the State Horticultural Show Eberswalde. For the purposes of defining and clarifying the expanse of the terrain—literally in order to read the location—Topotek 1 decided to map the territory, which had been shaped by old industrial works. Starting from the former rolling mill, steel strips were spread across the territory, like the meridians and parallels across a globe. ‘We had the grid and the meridians, which gave the place a scale. We wanted to make the landscape readable and walkable. Actually, the whole p roject Thoughts, Working Methods, and Approaches

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396â€“399 Ortus Artis, Garden of Cell No. 20, Certosa di San Lorenzo, Padula

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The following interview examines TopotekÂ 1â€™s current situation, after having worked in the field of landscape architecture for the last twenty years. Martin Rein-Cano talks to Barbara Steiner about his thoughts and upcoming projects.

Let us start with the relationship of space and place: to simplify matters, one could say that place is specific and space is general. Over the past decades, however, various attempts have been made to make associations between the two, ranging from neo-Marxist to feminist approaches. Each of these approaches rejects the either/or logic that has characterised most previous geographic and social thought. Topotek 1 commits to a complex connection. How do you view the relation of space and place from a contemporary point of view? It is the narrative—supported by storytelling— that defines a place, turns a space into a place. A place is connected to stories and to history—i. e., the accumulated memory of a society. To me, the ideal place has many layers; it is rich in stories and inhabited by many people who are able and willing to tell them. Of course, spatial qualities are also relevant; they encourage or hinder certain uses or narratives. Places and spaces are invariably intertwined. Against this background, where would you place landscape? Landscape is narrated space: talking and writing about it makes it real, and in this way it becomes a place. Let me explain more clearly: Lucius Burkhardt—the Swiss sociologist, political economist, and inventor of ‘strollology’ (Spaziergangswissenschaft)—carried out the following experiment: whilst strolling with his students through Kassel, he transferred the narrative of Captain Cook’s first Tahitian expedition to the German town. That is to say, he transposed the text to a completely different context. This clearly shows that the perception of landscape is not necessarily governed by its reality. Burkhardt was very much interested in the various views on landscape, the relationship walkers have with their surroundings, and how they interpret what they see. In accordance with Burkhardt, I am fully convinced that the perception of landscape is highly dependent on the stories that are told about it. Exposed as it is to natural forces—such as wind, sun, and rain— people have often asked who creates a landscape, why, and when. Where are the borders between man’s creations and God’s? B ecause of this ambi guity, landscape has become a part of religious narratives. Language, literature, p aintings, and films have an enormous impact on our perception, and they strongly shape our understanding of landscape. Projections also play a part, which is probably one reason landscape has become so useful for the building of narratives and identities. In this regard, how do you understand your role as landscape architects? Is it shaping narratives and identities? One could say that we have a share in creating new narratives/identities, borrowing from narratives that are already there. Superkilen

enefited from the various people who came b from all over the world. They proposed certain benches, waste bins, lighting, play items, etc., and these objects were accompanied by stories rooted in different cultural backgrounds. Suddenly, Nørrebro in Copenhagen was connected to various parts of the world; new narratives were born. If one thinks of space, one can also think of an idea. One can borrow an idea and build a material manifestation out of it, although this may result in many different translations. The original is not required. Jorge Luis Borges, one of my favourite writers, speaks of this. In The Book of Sand, he introduces the idea that everything appears in twilight. It would be too banal to reduce his interest in twilight to his increasing blindness; for me, as a seeing person, the emphasis on twilight is highly stimulating. I regard it as a zone of transition, which allows you to interpret things differently. I often use the Borges quote, ‘The original is unfaithful to translation’. With the ‘creative infidelities’ one finds in his fictions, essays, and translations, he questions the primacy of ‘original’ texts, which for him are no more faithful than their translations. Mistranslations and fragmentary translations allow for displacements and r egional transpositions that enrich the original rather than diminish it. I like the fact that you can re create ideas that materialise in different ways. Both the idea and the manifestation become a part of identities. Borges was seen to lack a clear political position. His generation was expected to be clear, but he was not. Generations of architects and designers were convinced that the ‘right’ idea would work anywhere—whether it was applied to Germany, Pakistan, India, or South America. It is my belief that we do not have to restrict ourselves to ‘one thing’, ‘one idea’. You have repeatedly said that landscape architecture is, in principle, inherently eclectic. One could look at Greek temples or Chinese pavilions in the English landscape garden in terms of the ‘creative infidelities’ Borges describes. The temples and pavilions are b asically interpretations. The English landscape garden was greatly inspired by paintings—whether from Nicolas Poussin or Claude Lorrain. It became a reproduction, an imitation of a picture that never existed in real life. A ‘Wunschbild’ (ideal) was copied and transferred to reality. Parts of this scenery were ‘Gothic’ follies, rustic hermitages, ‘Greek’ temples, and ‘Chinese’ pavilions. In short: the English landscape garden featured motley assemblages of eccentrically eclectic buildings and exotic plants. However, due to the process of translocation and localised reinterpretation, the identity of such elements in the garden is never pure—something

Where do things go from here?

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Quarry Park is a project in Be’er Sheva, the largest city in the Negev desert of southern Israel. It is part of a head-totoe makeover of the city, which involves the construction of about thirty-five projects, facilities, and civic improvements. The quarry—located in the midst of the city—served as a source for building the city during the Ottoman Empire. Against this background, Topotek 1—along with Kate Orff (scape), New York, Peter Veenstra (Lola), Rotterdam, Yael Moria Klain, and Jonathan Cohen-Litant, Tel Aviv—have developed a project that gradually transforms the abandoned Be’er Sheva quarry into a public park with various attractions, amongst others a cultural centre. The dynamic and participatory process of carving and extraction spans a time frame of about thirty years.

Title: Location: Collaboration:

Be’er Sheva Quarry Park Be’er Sheva, Israel Jonathan Cohen-Litant Lola landscape architects Moria Sekely Landscape & Architecture scape / Landscape Architecture Client: City of Be’er Sheva Planning: 2014–2010 Completion: 2020 Size: 50,000 square metres Commission Type: Direct commission

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Topotek 1’s Staff Members 2016

Mirko Andolina Laure Aubert Silvia Bachetti Celine Baumann Bojana Bjelic Arne Burghardt Yiwen Chen Pablo Cuesta Pérez-Agua Chiara Di Palma Stefan Edelhoff Julia Freifrau von Lindenfels Kriss Gabriel Elisabeth Gruenagel Moustafa Hamdi Stefanie Harnisch Zoe Hochstein-Morran Dorothee Holzapfel Franziska Juhasz

Viktor Kopeikin Katalin Ledacs-Kiss Pia Flor Rebeca Mastrantonio Harald Müller Lucia Nadalin Maria Ippolita Nicotera Toni Offenberger Malgorzata Anna Okolowicz Janka Paulovics Anni Peller Mathilde Pinatel Giulia Pozzi Gil Ramer Thomas Roob Kristína Rusnáková Elisabetta Sanna Stephan Schmidt Shyuen-Wen Shyu

Katja Steckemetz Anastasia Sukhoroslova Zihong Tang Yananan Thongbai Emilie Van Daële Kathrin Weber Mara Werner Xia Yi Pavlo Zabotin

Topotek 1’s Former Staff Members

Vinzenz Adldinger Giuseppe Alizzi Anna Sissela Andersson Alexandros Antoniou Yael Arazi Ines Bahr Cristina Baixauli Sandra Ballerstedt Philip Bartos Nadine Bau Catherina Bauer Ferdinand Bayer Clay Baylor Lars Behrendt Katie Black Stefano Boccardo Maik Böhmer Christian Bohne Alexander Bölk Ulli Bormuth Camille Boulouis Lena Brögger Francesca Brosa-Lohse Judith Brücker Dan Budik Joaquin Cano Maria Carlsson Danielle Choi Quentin Colas Roma Cuevas-Aromi Sabine Dahnert Tiffany Dang Manuel Dantas Vilaça Nils Degen Catinca Dobrescu Tamer Elshayal Elena Erickson Taro Ernst Li Fangting Frank Feinle Hanji Feng Elena Ferrari Milena Feustel Carolin Fickinger Eleonora Fiorentino Anddys Firstanty Janina Fitermann Thilo Folkerts Judith Frankenberg Anton Fromm Gregor Fürniss Daniel Angulo Garcia Pamela Gast Sabine Giersch Luka Gilic Frans Gillberg Daniela Guerrier Janna de Haen Inga Hahn Ole Hartmann Sebastian Hauser Dominik Heers Thomas Hindelang Steffi Hoffmann Sabine Hofstetter Lars Hopstock Andreas Horn Philippe Houdayer Signe Hougaard

Melanie Huland Britta van Hüth Marius Hüther Ralf Imbery Annika Janthur Yu Jia Emily Johnson Michela Di Saverio Frithjof Kahl Ellen Kallert Marta Kayser Liz Kelsey Tanja Kerzig Martin Kibler Andreas Kicherer Cansu Kilciler Kwi-Hae Kim Alexandra Klatt Adrian Klein Alexander Kochan Gesa Kokkelink Matthias Kolle Jennifer Kopp Julie Köpper Iana Korolova Nils Kortemeier Björn Krack Mareike Kruiskamp Natalija Ktitorova László Kugler Marion von Kutzschenbach Sigurd Larsen Daniel de Leew Victoria Lesch David Levain Anna Levonmaa Karoline Liedtke Iván Linares Quero Jasper Lippert Cornelia Löffler Mania Lohrengel Karen Lohrmann Ruben Lopez Vazquez Hagen Lorenz Marisa Lubinsky Anna Lundqvist Kobe Macco Georg Mahnke Maayan Matmon Knut Maywald Alexandre Mellier Anja Menge Max Merz Matthias Meßner Rita Mettler Jörg Michel Takuma Minato Karli Molter Claire Mothais Svenja Mussmacher Duarte Natário Johan Navjord John O´Keefe Lisa Oregioni Thomas Oxvig Claudia Pandasi Conrad Panzner María Pérez-Hick Piñero Sara Perovic

Sofia Petersson Tobias Phersson Alice Pina Riccardo Pisu Luca Pitasi Luzia Posselt Frank Pötzl Nicole Ptak Steffen Rank Kerstin Rauchensteiner José Ignacio Rejas Fernández Zoé Renaud Angelo Renna Pernille Riis Andersen K. Veronica Rivera Yadiel Rivera-Diaz Judith Rodríguez-Portieles Katja Rostock Shavana Schäfers Manuela Schinina Moritz Schloten Bianka Schneider Verena Schönhart Anna Schroedter Jean Francois Seage Nancy Seaton Cord Segal Ninni Segerstedt Elisa Serra Jie Yin Shi Yun Sun Shim Jörg Sieweke Patrick Soetewey Yoann Sourice Enrico Stech Julius Strauß Anastasia Sukhoroslova Heather Sullivan Filippo Tiozzo Karina Tischer Charlotte Tobey Anja Tost Laura Vahl Amandine Varieras Alejandro Vazquez Laura Veronese Nicol Vitali Jonathan Walsøe Michael Wartjes Ragnar Weber Ida Marie Wedfall Lukasz Wenglorz Andreas Westendorf Manja Woitunik Shuo Yan Yena Young Hannes Zander Alena Zgorskaya Yuechan Zheng David Zimmermann

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Martin Rein-Cano interviewing Jorge Luis Borges (1980)