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
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Interview