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[re]Forum in Berlin
A Thesis Submitted to the Faculty of the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Architecture at The Savannah College of Art & Design Nick Place Savannah, Georgia June 2017
Hsu-Jen Huang Ph.D, Committee Chair Arpad Ronaszegi, Committee Member Scott Budzynski Ph.D, Committee Member
CONTENTS
List of Figures
1
Abstract
6
Chapter 1: Speculative Germany 1.1 1.2 1.3 1.4
The Fracture of Germany The Social and Economic Classes of a Reunified Germany Historical Consciousness of a Mending Country Berlin: The Divided City
8 9 12 14
Chapter 2: Speculative Identity 2.1 2.2 2.3 2.4 2.5
Contemporary Berlin City of Design Cultural Metropolis Singularity National Pride
18 18 20 21 22
Chapter 3: Speculative Development of Berlin 3.1 3.2 3.3 3.4 3.5
Polycentric Development Transformative Character Integration Redevelopment New Collective Memory
26 29 30 35 38
Chapter 4: Ideas & Strategies 4.1 4.2 4.3
Berlin and the Uncanny An Alternate Plan for Berlin New Babylon
42 43 44
Chapter 5: Location 5.1 5.2 5.3 5.4 5.5 5.6
Macro Analysis Demographics Climate Analysis Site Selection Site Transformation Site Analysis
48 51 54 57 59 61
Chapter 6: Representative Identity 6.1
Representative Identity
66
6.2 6.3 6.4 6.5 6.6 6.7
Technology Berlin Aesthetic Music Time Period Pop Culture The Berlin Aesthetic
66 66 66 67 67 68
Chapter 7: Design Process 7.1
Computational Design
72
Chapter 8: Final Design 8.1
Final Algorithm
82
Chapter 9: Conclusion 9.1
[re]Forum in Berlin
118
Appendix
119
Bibliography
141
LIST OF FIGURES
1
Chapter 1 Figure 1.1 Figure 1.2 Figure 1.3
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9 10 13
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Chapter 2 Figure 2.1 Figure 2.2 Figure 2.3 Figure 2.4 Figure 2.5 Chapter 3 Figure 3.1 Figure 3.2 Figure 3.3 Figure 3.4 Figure 3.5 Figure 3.6 Figure 3.7 Figure 3.8 Figure 3.9 Figure 3.10 Figure 3.11 Figure 3.12 Figure 3.13 Figure 3.14 Figure 3.15 Figure 3.16 Figure 3.17 Figure 3.18 Figure 3.19 Chapter 4 Figure 4.1 Figure 4.2 Figure 4.3 Chapter 5 Figure 5.1 Figure 5.2 Figure 5.3 Figure 5.4 Figure 5.5 Figure 5.6 Figure 5.7 Figure 5.8 Figure 5.9 Figure 5.10
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Figure 5.11 Figure 5.12 Figure 5.13 Figure 5.14 Figure 5.15 Figure 5.16 Figure 5.17 Figure 5.18 Figure 5.19 Figure 5.20 Figure 5.21 Figure 5.22 Figure 5.23 Figure 5.24 Figure 5.25 Figure 5.26 Figure 5.27 Figure 5.28 Figure 5.29 Figure 5.30 Figure 5.31 Figure 5.32 Figure 5.33 Figure 5.34 Figure 5.35 Figure 5.36 Figure 5.37 Figure 5.38 Figure 5.39 Figure 5.40 Figure 5.41
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By Author
83
Chapter 6 Figure 6.1 Figure 6.2 Figure 6.3 Figure 6.4 Chapter 7 Figure 7.1 Figure 7.2 Figure 7.3 Figure 7.4 Figure 7.5 Figure 7.6 Figure 7.7 Figure 7.8 Figure 7.9 Chapter 8 Figure 8.1
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Figure 8.2 Figure 8.3 Figure 8.4 Figure 8.5 Figure 8.6 Figure 8.7 Figure 8.8 Figure 8.9 Figure 8.10 Figure 8.11 Figure 8.12 Figure 8.13 Figure 8.14 Figure 8.15 Figure 8.16 Figure 8.17 Figure 8.18 Figure 8.19 Figure 8.20 Figure 8.21 Figure 8.22 Figure 8.23 Figure 8.24 Figure 8.25 Figure 8.26 Figure 8.27 Figure 8.28 Figure 8.29 Figure 8.30 Figure 8.31 Figure 8.32 Figure 3.33
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Abstract
[re]Forum in Berlin
Nick Place
June 2017
The aim of this thesis is to address the disconnect between the current generation and the modern identity of Berlin, Germany. Concentrating on the contemporary focus of technology and automation, computational design is the driving force behind the redesign of an existing public forum in the central Mitte district of Berlin. The material culture of Berlin and the importance of musical associations throughout the city and its importance to the existing urban culture provides the data necessary for algorithmic form generation. Using the idea of layering, multiple tiers of music influence the formation of the structure; Time Period, Pop Culture, and the Berlin Aesthetic. These extracted data values each affect separate functions of the algorithm, therefore generating an exclusive framework. Growing above the existing statue of Karl Marx and Friedrich Engels, one of the competing monuments of the city, there is no attempt to conceal history, but rather to allow for different perspectives on the past, while remaining grounded in the present. Through computational design, under the influence of culturally significant music, Marx-Engels Forum is transformed into an embodiment of history as a physical manifestation of the city culture through the Berlin Aesthetic.
Keywords: historical consciousness, reunification, separation, generational identity, cultural memory, computational design, berlin aesthetic, social impact, urban culture, automation 6
Chapter 1: Speculative Germany
7
from the League of Nations and “In Berlin, Germany’s wounds still lie open everywhere.” -Brian Ladd, The Ghosts of Berlin
commenced a campaign across Europe under the simplified idea that Germany was taking what was rightfully theirs for the betterment of
1.1
The Fracture of Germany The history of Germany is
the country and for the expansion of Germany. And with the invasion of Poland, Great Britain and France
one of many colors. The bulk of
declared war, thus igniting the
the issues came to light when the
flame that would come to be World
National Socialist German Workers’
War II.
Party, under the leadership of Adolf Hitler came into power in 1933, most widely known in the United
After a long campaign, the
States of America as the Nazi
destruction of most major German
Party. Under the Nazi Party rule, the
cities and a devastating attempt
governing system soon became a
at genocide and the “ethnic
dictatorship, ruling through fear and
purification” of Germany, the Nazi
enforcing racist and discriminatory
Party was eventually defeated, and
practices, most notably anti-
with that came a strenuous and
Semitism casually under the guise
rather passive aggressive struggle
of German pride.12 Extremely
for power of the country3. During
unhappy with the terms of the strict
the Cold War, Germany was taken
provisions put upon Germany after
control of, and split between the
World War I dictated through the
communist Soviet Union, and the
Treaty of Versailles. Going against
Democratic United States and
these sanctions, Hitler withdrew
supporting Allies. Germany was 8
establishment of a new democratic government, the reunification of East and West Germany was initiated (Figure 1.2).
1.2
The Social and Economic Classes of a Reunified Germany Following the reunification of Germany, many unexpected complications swiftly emerged. Among these, and one of the largest economic issues was
Figure 1.1 East and West Germany
the spread of capitalism. What
thenceforth divided in half, East
was left of the industry of the
Germany (communism) and West Germany (Democracy)(Figure 1.1).
4
This act is what has created the largest fracture in social classes currently existing in the country today. The Western portion of the country prospered while the East suffered. After about 45 years of the tension between the two competing powers, the Soviet Union fell, and the Berlin Wall along with it, and with that the 9
socialist East Germany simply couldn’t keep when introduced into the same market as the already prosperous West German industries. Two widely different economies (socialist and capitalist) were merged together, with no prior precedent, which created clashes between economic and social classes. Nowadays, the Berlin Wall has been down for about twenty-seven years and
Figure 1.2 The Fall of the Berlin Wall
one of the highly debated topics
are only interested in money and
is whether or not East and West
that 45% believe westerners are
Germany are really truly unified
shallow.5 The study goes on to
as one. In 2012, twenty-two
further elaborate with comments
years after the reunification, the
from an editorial newspaper with a
Allensbach Institute conducted a
musing that the east tends to think
major study on the social views
of the north in an overwhelmingly
and prejudices held between and
negative way. However, when
against those from the East and
westerners were interviewed, they
the West. According to the study,
viewed those hailing from the east
71% of those in the east viewed
as “distrustful,� however only a
the westerners as being arrogant,
very small percentage of them
57% think that those from the west
viewed their fellow countrymen
10
as arrogant. It seems that these rather massive gaps in wealth have
thereby weakening the social foundation for health.”7
created an understandable amount of friction between the two broken halves of a 6continually mending country, and this in turn has resulted in the differences in social views and perceptions carried on from one half to the other. The most crucial problem caused by this separation is the lack of cohesion within the population. The creation of a cohesive
description. The events of World War II and the Cold War ruptured the existing underlying social structure of the German population, creating an overall deterioration in the overall well-being of the nation. This brings up many questions, such as the ever so prominent pondering as to what the long
country is imperative. Veronique
term effects might be for such a
Heon-Klin approached the subject
critical disruption. Veronique Heon-
in The Influence of Geopolitical
Klin expands upon that aspect as
Change on the Well-Being of a
well by saying, “Such upheaval
Population: The Berlin Wall by flatly
also causes short-and long-term
stating:
psychological distress for the
“Social cohesion is widely recognized as a fundamental precondition for healthy populations. It is also well established that cohesion is a result of social, cultural, and political integration within a society. Events or processes that rupture ties within and among social groups can undermine social cohesion, 11
Germany fits right into this
affected individuals,” and that “divided social groups can come to hate each other.” 8This backs up the study results of the Allensbach Institute on the overall mentality of both sides of Germany. After 40 years of separation, the country of
1.3
Germany has be reunified, but not
Following the bombings by the
successfully on either a micro or a
Allies of almost every major city
macro scale. This conclusion just
in Germany, a large portion of the
begs the question; What can be
country had to be reconstructed,
done?
from the ground up. Among the
Historical Consciousness of a Mending Country History is something that
most devastated cities were Dresden, Frankfurt and of course the capital city, Berlin. In the cities, specifically in Berlin, it seems
one cannot, nor should forget.
impossible to turn a corner and
History and the recollection of the
not see some sort of monumental
past is what makes something
icon or museum dedicated to
whole. Providing the answers
either those who lost their lives in
for the most basic of questions
the holocaust, or just those badly
of Who? Where? And most
affected by the campaign over forty
importantly and serious the
years ago under the rule of the
question of why? History paints a
Nazi Party. These monuments vary
vivid road map for all who inquire,
wildly, whether it is something as
and is something that should
simple as the Holocaust Museum
always be evoked, whether it is
of the Jewish Memorial, all the way
to learn from past mistakes or to
to the naming of streets after Stalin
make predictions for the future.
and the Soviet Union; anything to
Just by simply visiting Germany it will become readily apparent that the entire country has a love-hate relationship with remembrance of the past.
illustrate the appreciation for the ousting of Nazism is something that the “New Germany� wishes to publicize in order to announce an enigmatic and loosely defined 12
Figure 1.3 Berlin From Space At Night
13
future of the country and its
of recent history” is astonishing. 10
democratic government.9 How
Could this be due to the fact that
much does this really affect the
the remainder of people directly
Citizens of Berlin, and their daily
affected are on their way out, and
life though? The answer to that
with it bringing a new age group to
can only be described, or at least
inhabit the country and its cities?
determined by taking a close look
Perhaps it is for the best for the
at the citizens, and the different age
new generation to live with these
groups who are affected. According
monuments, in a remembrance of
to Felix Lutz makes an observation
their own, and with that create a
that in terms of the younger
new collective memory with which
generations, the “remarkable loss
to commemorate the country’s
rich history without opening up old
in debt to some, it might be even
scars. Pushing past the conflicting
more shocking that according to
identities of the countries past,
recent statistics, the city of Berlin
and now the present and how it
is in more debt than the American
relates to the rest of the world
city of Detroit.11 However, due to
is something that could be
German law prohibiting bankruptcy
implemented to direct attention
in national cities, they must make
to the more internal issues on a
due with sixty-three billion euros
much more micro scale, affected
of hefty debt, distributed through
by the economical portions of the
every citizen, cushioned by the low
past conflicts, in lieu of focusing
interest loans the city is allowed
solely on the world view, and how
to take our annually through the
they fit into the grand spectrum of
federal government.12
the European and whether or not redemption has truly been granted. 1.4
Berlin: The Divided City In modern day Berlin, division is still very real (Figure 1.3). Berlin has now become a town for the youth. Cutting edge architecture in addition to various company startups, coupled with the overall famous affordability in living costs and it sounds like the perfect place. However, while it may be common knowledge that Berlin is
The idea of Berlin is alluring all in its own right, however compared to the rest of the country Berlin is swarmed by immigrants and expatriates looking to enjoy the widely publicized “Berliner Lifestyle.� However, due to this sudden influx of upper to middle class workforces, those native to the city as victim to gentrification and thus forced out of their homes due to skyrocketing prices.13 However, the government has recently been working diligently
14
on a way to aid the struggle of
exposure, the most opportunistic
Berlin natives with affordable public
and architectural intervention must
housing initiatives prohibiting
be left to the micro scale, towards
qualifying renters from being
unification efforts in a local form
priced out of their homes, with
through the built environment.
their rent being solely based upon income,14 Aside from the financial difficulties facing a surprisingly high number of Berliners, the city itself is also still physically divided. Subtle hints consisting
1 2 3 4 5 6 7
of artifacts of the past post-war eras, the differences between
8 9
East and West Berlin in terms of Wealth is widely abundant through
10
types of commerce available on
11 12 13
either side, and even down to the paving of the streets and paths, or especially the architecture. This undoubtedly affects the ways in which the two sides view each other, such as what was previously mentioned earlier in the chapter. Whether or not it is due to direct effect from certain age groups or through prejudices thrust upon the younger groups due to influential 15
14
“Nazi Party - World War II.” “German Territorial Losses, Treaty of Versailles, 1919.” “The Holocaust.” “How Did the Cold War Start and End?” “Germans Still Divided, More than Two Decades after Reunification.” Ibid. Héon-Klin et al., “The Influence of Geopolitical Change on the Well-Being of a Population: The Berlin Wall.” Ibid. Alan Bairner, “The Cultural Politics of Remembrance: Sport, Place and Memory in Belfast and Berlin.” Lutz, “Evolution and Normalization: Historical Consciousness in Germany.” “Pleite-Städte.” Ibid. “Berliner Haben Zukunftsängste Wegen Steigender Mieten”; Obermueller, “Save Berlin.” O’Sullivan, “Berlin’s Bold New Affordable Housing Plan Stops the Rent From Getting Too Damn High.”
16
Chapter 2: Speculative Identity
17
the foreigners tend to flock to the “All free men, wherever they may live, are citizens of Berlin. And therefore, as a free man, I take pride in the words, ‘Ich bin ein Berliner.’”
most central of Berlin’s twelve boroughs (Figure 2.1) whereas the native Berliners sprawl out towards the surrounding districts, with the
-John F. Kennedy
older inhabitants settling on the 2.1
western side.2 Berlin is gaining
Contemporary Berlin
the reputation around the world
The contemporary Berlin
as being a cultural icon in an ever-
of today is worlds apart from its
proliferating era of technology,
pre-reunification predecessor, fully
boasting an impressive number of
developed into a cosmopolitan
venues for music and art. Post-
metropolis known throughout the
Wall Berlin is also known as an
world. Boris Grésillon addresses
experimental playground for not
the shift in identity of the ‘New
only the artists, but for architects
Berlin’ by describing Berlin as the
and designers in kind.
“only German city to have been confronted, in its very fabric, by the fact and the consequences of
2.2
City of Design Due to this increasing
reunification.“1 Officially, the city
motivation towards pursuing the
is no longer divided politically,
creative arts, in 2005 the City of
but the imaginary barriers remain.
Berlin was awarded by the United
The population of the city is no
Nations Educational, Scientific and
longer mostly native Germans, but
Cultural Organization (UNESCO)
is widely consisting of foreigners
the title of “City of Design” and was
making the city a giant multicultural
added to the index of the Creative
environment. Ironically enough,
Cities Network. Due to the inclusion 18
Figure2.1 Boroughs of Berlin
19
of various schools of the arts and
architecture and design, all the way
private art institutions, design
to photography and fashion.3 This
and educational opportunities
unique dichotomy between the
are prevalent throughout the city
urban landscape and the artistic
with an unprecedented freedom
mindset sets a unprecedented
to explore artistic interests not
model of Berlin as a city who
seen anywhere else in Europe.
truly understands the relationship
This open-minded mindset
between the urban structure and
ranges widely from the fields of
the social interactions, inevitably
reconstructing the city’s cultural profile. 2.3
Cultural Metropolis Referring back to the work of Boris Grésillon, “Berlin is not only the German city best endowed with cultural facilities, but it is also unique within Europe.”4 This uniqueness, or singularity, assigned to Berlin is namely due to the way in which the city was developed on an urban scale through an unusual dichotomy of opposing cultural centers, which will be covered in more detail in a later chapter. This prolific Cultural Renaissance however was sparked before the Wall’s demise along the perimeter within the confines of the western territory of West Berlin. Brian Ladd, in Ghosts of Berlin writes about this link to the Berlin Wall and the birth to new artistic experimentation by referring to the wall as “an all-purpose bulletin board as well as an experimental
Figure 2.2 Kruezchev-Brunecker Kiss Mural
studio for art with political overtones,” 5which eventually spiked interest to tourists and travelers alike. This also brought about a flux of international artists from around the world, aiming to make the Wall their canvas through various murals, many well known to this day (Figure 2.2). Upon the fall of the wall, due to both sides of Berlin developing as two separate entities, Berliners found themselves with twice the cultural facilities that cultural European cities have, such as Paris. Even today the city of Berlin’s cultural repertoire has increased exponentially, consisting of three operas, at 20
installations (figure 2.4), all the way to massive sculptures (figure 2.5). 2.4
Singularity One of the reason’s that Berlin remains a point of interest throughout the world as an object of curiosity is its major differences between other European cultural metropolitan cities in the attitude and character that the city portrays as a monument to the experimental nature of its cultural substance. Additionally, it is the only European
Figure 2.3 Berlin Street Grafitti
least eight symphonic orchestras and hundreds of choirs, theaters, galleries and museums, making it the up-and-coming cultural hub of Europe.6 Today Berlin remains a shining beacon to the arts and a successful model of sociospatial relationships between the urban landscape and creativity, prominently displaying art ranging from graffiti (figure 2.3) and wall 21
city in history that has been literally and figuratively separated, developing separately under different political and economic systems, while suddenly being merged together, creating a diverse and detailed social structure between east and west Germans and the increasing population of multicultural inhabitants and youth. While there are many other contributing factors to the individuality of Berlin, these are the
most important in establishing and recognizing the underlying identity. 2.5
National Pride For many years, the idea of national pride in Germany was an extremely awkward and uncomfortable subject. Due to the backlash of the events of WWII under the leadership of Hitler and the Third Reich, and the division of the “Iron Curtain” brought about through the onset of the Cold War, Germany unwillingly became an unintentional monument to a malfunctioning political system.
Figure 2.4 Berlin Wall Installation
On the subject, Brian Ladd says,
“Some Germans fear that the weight of past misdeeds has made their fellow Germans uncertain what it means to be German and afraid to act in the name of Germany. The German thus accused see things differently: they say that any move to discard the burdens of the past will return Germany to blind confidence and thus to disaster.”7
Within the very recent history however, German national pride has begun to manifest itself through the success of Germany in the World Cup in 2014 (Figure 6). Although it may be a somewhat new topic, football has offered the country an appropriate outlet to exhibit national pride. Journalist Alex Taylor addresses a call-to-
22
Figure 2.5 The Molecule Man on the River Spree
action for the exhibition of German
remembrance and progress in the
pride in an online article when
urban landscape of the German
saying, “This self-inflicted guilt by
capital is imperative for the
association has gone on far too
understanding of the transformative
long.�8
character of not only the German While there is a difference
between the pride of a nation and the pride of a city, such expression is extremely important for the process of reconstructing a modern identity, free from the negative connotations of generations past and the weight of the shackles of history. Representing release from the dichotomy of historical 23
people, but also the inhabitants of Berlin, whether they are native Germans, or the foreign population that make up the multicultural amalgamation that makes Berlin the cultural metropolis that it is today.
1 2 3
4 5 6
7 8
Grésillon, “Berlin, Cultural Metropolis: Changes in the Cultural Geography of Berlin since Reunification.”, 284. “Demographic Data for Berlin.” “Berlin | Creative Cities Network.” Grésillon, “Berlin, Cultural Metropolis: Changes in the Cultural Geography of Berlin since Reunification.”, 285. Ladd, The Ghosts of Berlin: Confronting German History in the Urban Landscape., 26. Grésillon, “Berlin, Cultural Metropolis: Changes in the Cultural Geography of Berlin since Reunification.” Ladd, The Ghosts of Berlin: Confronting German History in the Urban Landscape., 11. Taylor, “German Pride Is No Longer an Awkward Concept, but a Celebration of.”
24
Chapter 3: Speculative Development of Berlin
25
3.1
Polycentric Development Various models of urban development exist throughout Europe, but often the two models of choice are monocentric and polycentric development. Monocentric development is the organization of an urban area, or region around a single center, which can be affiliated with various motives, such as politics, social, culture, but is usually driven by economics.(Figure 3.1)1 The other model is polycentricism. This model follows similar organization but focuses around multiple hubs. Berlin, like numerous other European cities follows a structure of polycentrism (Figure 3.2). In the case of Berlin though, this polycentrism was directly
Figure 3.1 Monocentric Organization
related to the placement, and physical intervention of the Berlin Wall, and how it forced the two halves of the city to develop separate from each other.2 Referring to Chapter 2, the division of the city is what made Berlin the cultural metropolis that is it today. Both East and West Berlin developed their own cultural centers, from which they organized around. To the east, there was the Mitte, more specifically the area around Alexanderplatz (Figure 3.3) and in the west, the district of Charlottenburg and the area around the metro station by the Zoologischer Garten (Figure 3.4).3 More recently however, a newer cultural center formed after the fall of the Wall with the construction of the new Potsdamer Platz (Figure 3.5). When referring to the
Figure 3.2 Polycentric Organization
26
three cultural hubs (Figure 3.6) Before the fall of the wall, architects Oswald Mathias Ungers and Rem Koolhaas wrote a manifesto suggesting a massive urban transformation for the city of Berlin long before the fall of the wall in 1977. The proposal of the manifesto was the radical idea of developing the city for a shrinking number of inhabitants. By focusing on specific areas to develop, and leaving the remainder to its own devices, the city of Berlin would Figure 3.3 AlexanderPlatz
27
essentially become a series of ‘islands’ connected by a highway system with
Potsdamer Platz development, Boris
the rest of the city a deteriorated
Grésillon says that it is, “A new urban
sea of green, coined by the authors
centre, intended both for business
as the ‘Green Archipelago.’5 Berlin
and culture, is being created from
has undoubtedly developed much
scratch, perhaps a deliberate policy
further than the proposal of the
on the part of Berlin authorities to
‘Green Archipelago’, but to a certain
signify that business and culture are
degree retains a similar structure in
by no means incompatible, certainly
that the previously mentioned cultural
a new model of urban centrality in the
centers are the ‘islands.’ However, the
German capital.”4 Thus being said,
remaining areas of the city failed to
the cultural structure of the city was
deteriorate, and in turn transformed
altered, organizing the city around
into the developing areas that they are
Figure 3.4 Zoologischer Garten Station
Figure 3.5 Potsdamer Platz
28
today. 3.2
Transformative Character After the destruction of most the city following allied bombings in WWII and the reconstruction efforts after the fall of the Wall, the city of Berlin
Figure 3.6 Basic Organization of Berlin
began to transform. To generate a new identity for the city, and to harness the creative energy brought about through the artistic developments of both sides of Berlin, the city allowed for experimentation and manipulation of the urban landscape through the implementation of more alternative design towards the reconstruction of the city. Brian Ladd mentions Berlin as, “the quintessential modern city, the place of the most outrageous experimentation ---- in architecture…” and “Architects find that they and their work receive more attention in Berlin than almost anywhere else, although
Figure 3.7 Contemporary Stilwerk Building
not all that attention is welcome or flattering.”6 While the acceptance of this new wave of architecture seems great for attracting the attention of
29
Figure 3.8 Building with scars from WWII
3.3
young architects and urban planners,
Berlin’s past (Figure 3.8). While most
the real success lies in proper
of the newly constructed buildings
integration, and the acceptance of
throughout the city streets remain
both those who call to remember, and
uncontested, many controversial
those who wish to forget.
projects have taken place, some
Integration Berlin is a truly modern city. Spread
being more successful than others whether it is through acts of reconstruction, or commonly through
across the urban landscape the likes
the monumentalizing of the country’s
of contemporary architecture (Figure
past.
3.7) lives in harmony with architecture of the city’s past, some surviving structure still bearing the scars of
Daniel Libeskind won critical acclaim in 1999 for his design for 30
Figure 3.9 Daniel Libeskind Jewish Museum
31
the Jewish Museum in Berlin (Figure
through the language of architecture.8
3.9). Through his competition
The metaphoric expression of space
winning design, Libeskind used the
represented through the building to
concept of ‘lieu de mémoire’ by
this day create an experiential journey,
Pierre Nora, otherwise known as
bringing about a true phenomenology
‘place of memory’.7 In the process
of built space. These elements of
of constructing a place of memory,
experience are especially present
Libeskind focused on the three
in areas of the museum such as the
main axes on which he organized
Schalechet (Figure 3.10) installation
his concept: The Axis of Continuity,
located in the ‘memory void’ section,
the Axis of Exile, and the Axis of
the stair of continuity (Figure 3.11) and
Holocaust, which he embodied
Garden of Exile (Figure 3.12).
Figure 3.10 Schlaechet in the ‘Memory Void’
Norman Foster’s design for the remodeling of the Reichstag in 1999 is also an additional piece of noteworthy architecture in terms of integration with the surrounding urban fabric and what it stands for (Figure
Figure 3.11 Staircase of Continuity
3.13). While not as experiential and
of Germany’s political system, towards
emotionally evocative as the Jewish
the promise of a bright future. While
Museum by Libeskind, the design
exhibiting the grand classical design
still embodies political metaphors,
of the original Reichstag building, the
embodying the underlying principles
building serves as a ‘living museum’ 32
Figure 3.12 The Garden of Exile
in cohesive symbiosis with a new
is a testament and Memorial to the
glass dome atop the roof (Figure 3.14),
Murdered Jews of Europe during the
meant to embody the transparency
events of WWII. The main controversy
of the government and the political
stems from the way in which many
processes that take place below.910
visitors act when interacting with the
A more controversial addition to the city of Berlin however that has received much speculation in terms of its passivity is the Holocaust Memorial designed by architect, Peter Eisenman, which opened to the public in 2005 (Figure 3.15). The monument itself 33
public memorial, and whether this is an appropriate response due to not understanding the true severity of what the holocaust is and the horrors that it represents. In a case study of the memorial, Quentin Stevens describes the memorial as such:
Figure 3.13 Reichstag Exterior
“The memorial as built is a five-acre field of 2711 plain gray concrete stelae (pillars) arranged in straight rows along two axes, with narrow aisles that allow walking in between them. The stelae are of varying heights, generally becoming taller toward the center of the field; the ground surface also undulates, creating a complex three-dimensional space.”11
and sensory experience, meant to be ‘analogous’ to the experience of holocaust victims, and yet people are oftentimes seen running, laughing, and climbing on the pillars, and in many cases drinking.12 This is viewed by many as exhibiting a deep disrespectful attitude, and are not considered as tolerable actions. For many
The memorial is meant to evoke an understanding of the severity of the crimes perpetrated against the jewish people through metaphorical
years, however, the memorial has stood, and has now become an accepted, permanent fixture in the urban fabric of the capital city of 34
Figure 3.14 Reichstag Dome by Lord Norman Foster
3.4
Berlin. However, there are current
not they represent the city of Berlin, or
developments in the city that are
the character of the German people
still currently very controversial.
in a positive and constructive way.
Redevelopment Berlin, as the transformative
35
One of these ongoing projects, which is currently under construction is the reconstruction and development of
metropolis that it is, is still undergoing
the Berlin Palace, otherwise known
major redevelopment. While many
as the Berliner Stadtschloss (Figure
projects are ongoing, there are two
3.16) across from Lustgarten Park
currently under development that are
and the Berliner Dom (Figure 3.17),
controversial and offer a degree of
which are all both culturally and
questionability as to whether they are
historically important site in Berlin. The
not only necessary, but whether or
design currently under construction features a northern façade and rooftop dome as a complete reconstruction of the original palace, and featuring a contemporary eastern façade, representing the past and present. Wolf Burchard refers to the
13
controversy of the palace and its construction in an article for Apollo Magazine. He says:
Figure 3.15 Memorial to the Murdered Jews of Europe by Peter Eisenman
controversy over the reconstruction of the Berlin City Palace, prospectively named the Humboltforum, stems from many factors, but mostly comes from the argument over its necessity
“The debate as to whether Berlin is in need of a rebuilt royal palace has gone quiet, since it is too late to stop the construction; it is the new function that must be addressed. Will the content be worth of the elaborate façade? The eyes of the world will soon be on the Schloss – not just for its success or failure as a museum or as an exercise in reconstruction, but as yet another intriguing example of Germany’s engagement with its cultural and political past.”14
and appropriateness over the reconstruction of a palace embodying
This statement raises an
the monarchy of a German past just
increasing awareness over the void
for the exhibition of art and various
that Berlin is attempting to fill with
intercultural exchanges. The new
its still plentiful barren landscape 36
Figure 3.16 Construction of the new Humboldtforum (Old City Palace)
brought on by the aftermath of
extension to the building, providing
WWII and the Cold War. The real
additional space to properly display
question though; is there a more
an increasing collection of modern
meaningful alternative?
art. The competition winners are
The second current redevelopment within the city of Berlin is that of the Kulturforum, a collection of various cultural buildings, adjacent to the Neue National Galerie (Figure 3.18), and Potsdamer Platz. The new development taking place is an architectural design competition for a new museum, connecting to the Neue National Galerie as an 37
the Basel, Switzerland based firm Herzog & de Meuron, for their proposal of a perforated ‘shed’, to extend the National Galerie. (Figure 3.19)15 Among forty other competitors in the competition, their design was chosen, but it remains unclear why. Clearly their design does not reflect the new transformative nature of Berlin and German identity that is clearly in
Figure 3.17 The Berliner Dom (Berlin Cathedral)
Germany’s haunted past.
need of development to represent the optimistic future of a ‘New Berlin’. Instead, the firm seems to have decided to make less of
3.5
New Collective Memory As previously mentioned
a visual statement, coming off
throughout the chapters, tension
as a meek, literal translation of
exists within the city of Berlin,
a storage warehouse or barn.16
between those who wish to forget,
The time to implement a cutting-
and those who wish to remember. This
edge redevelopment has arrived,
dichotomy creates a ghostly veil of
illustrating a prominent modern
remembrance over the city, impeding
presence through expressive
any future progression towards a
architectural language to tell a
new national identity. Yael Zerubavel
new story of Berlin, and away from
speaks on the issue by saying that 38
Figure 3.18 Neue National Galerie by Mies Van Der Rohe
Figure 3.19 Winning Design for National Galerie Extension by Herzog & de Meuron
39
“the cultural interplay of ‘history’ and ‘legend’ reveals the transformative character of collective memory and
1
2
its susceptibility to conflicting views that turns the past into a contested area.”17 Maurice Halbwach says, “The mind reconstructs memories under the pressure of society,”18 and due to that, through the elimination of societal pressure, the freedom to generate new memories can
3 4 5
6 7 8 9
arise. Through the creation of a new paradigm for the construction of social space and place in the architectural and urban landscape, a new model for sociospatial structure can exist. Applying this new system to an area
10
11
12
13
of redevelopment currently under controversy, a new modern site of remembrance can be created, in order to generate the means for a new collective memory for the newer generation, in an attempt to create an understood national identity and to evoke the newly found sense of
14 15 16
17 18
Oueslati, Alvanides, and Garrod, “Determinants of Urban Sprawl in European Cities.” Grésillon, “Berlin, Cultural Metropolis: Changes in the Cultural Geography of Berlin since Reunification.”, 6-7. Ibid. Ibid. Ungers and Koolhaas, The City in the City Berlin: A Green Archipelago. Ladd, The Ghosts of Berlin: Confronting German History in the Urban Landscape., 3-4. Pješivac, “Between Museum, Monument and Memorial: Daniel Libeskind’s Jewish Museum in Berlin (1999).”, 101-104 Ibid. Stungo, “Arts: Germany Recalling As Berlin Is Rebuilt, Norman Foster’s Reichstag and Daniel Libeskind’s New Jewish Museum Are Symbols of the Need to Remember, but Also to Move on.” Lisa, “Foster & Partners’ Beautiful Green Renovation of Berlin’s Old Reichstag Parliament Building.” Stevens, “Visitor Responses at Berlin’s Holocaust Memorial: Contrary to Conventions, Expectations and Rules.”, 37. Ibid. Burchard, “Royal Remains: As Berlin’s Humboldt Forum Is Being Constructed on the Site of the Former Stadtschloss, It Raises the Question--Often a Fraught One in the Post-War Period--of What Rebuilding a German Palace Means Today.”, 148- 152. Ibid., 152. Mairs, “Herzog & de Meuron to Extend Mies van Der Rohe’s Neue Nationalgalerie.” Ibid. Zerubavel, The Historic, the Legendary, and the Incredible: Invented Tradition and Collective Memory in Israel., 118. Halbwachs, On Collective Memory., 52.
National Pride. 40
Chapter 4: Ideas & Strategies
41
“Amidst the ruins of monuments no longer significant because deprived of their systematic status, and often of their corporeality, walking on the dust of inscriptions no longer decipherable because lacking so many words, whether carved in stone or shaped in neon, we cross nothing to go nowhere.” -Anthony Vidler, The Architectural Uncanny
a history of the uncanny, with the separation and reconstruction, the invasion of an endless parade of monuments plagues the city without hinting to the current cultural growth, but instead emphasizing the past. In The Architectural Uncanny, the ”uncanny principle” of Sigmund Freud is expanded upon equating
4.1
Berlin and the Uncanny Berlin today is an edifice of the uncanny. The uncanny, as written upon by Anthony Vidler in The Architectural Uncanny is essentially a simplified term to describe the transition of the familiar to the unfamiliar; the idea of something new and foreign invading something familiar.1 The idea of the uncanny, at least on the level of architecture is not of the architecture itself, but more of acting as a cultural representation of estrangement, and through that, the architecture is invested with uncanny qualities. Berlin has
to the dichotomy between what Freud calls heimlich and unheimlich, or simplified to homely vs. the unhomely.2 Using the uncanny as a strategy for change is therefore a powerful tool, especially on a large scale urban level. Utilizing the uncanny in a metropolitan way, a distance can be created from reality caused by reality. An architectural intervention that itself acts culturally as a representation of estrangement can not necessarily become a repeated architectural practice, but become a representation of that past estrangement; a world estranged 42
Figure 4.1 The “Collective Plan,” Hans Scharoun 1946
and decentered. 4.2
An Alternate Plan for Berlin Following the end of WWII,
43
river. This design decentralized the city and created functional divisions throughout, dividing them into cells with approximately 1,000 residents
the fate of Berlin was uncertain
per cell. These proposed cells
and became this “Tabula Rasa”
were to be separated into industrial
of immense potential. During this
and commercial districts, which
time, Hans Scharoun was hired to
were set aside and separated the
create a new city plan, referred to
entire region through only road
as the “collective plan”, which was
and rail connections. Similar to
collectively designed with a group
the previously mentioned Green
of chosen designers. This plan was
Archipelago proposed by Rem
used as an opportunity for them to
Koolhaas and Oswald Ungers,
break away from the shackles of
where the city is essentially divided
the past governments and to adapt
up into separate islands, the
to the natural form of the spree
plan remained a pipe dream and
remained on paper, never to break ground due to the preservation of almost all underground infrastructure remaining intact despite the devastation of the city on the surface.3 Abstracting this idea of decentralization and applying it to the already
Figure 4.2 New Babylon, Constant Nieuwenhuys,1956-1974
polycentric city plan of Berlin, a successful intervention can be implemented to make a statement of change, while simultaneously remaining centered with the existing urban fabric. 4.3
New Babylon New Babylon is a concept
Figure 4.3 New Babylon, Constant Nieuwenhuys,1956-1974
of all work in order to offer the
that stems from an idea of visual
free creation of your own life and
artist Constant Nieuwenhuys
to focus on play, while leaving the
from 1956-1974.4 As a way to
work aspect of daily life behind.
create a worldwide city for the
5
future, New Babylon is a means
Babylon is a city composed of
of investigating the potential
megastructures that are built and
added value that art can provide
connected above the existing city,
in ways of intensifying daily life
allowing the inhabitants to travel
through creative expression. This
between environments created
is achieved through the automation
inside the structures in search of
In an architectural sense, New
44
“new sensations” and to eliminate any limitation on the creation of mood and atmosphere and for the environments to be created by the “activity of life.”6 Using this idea of New Babylon and existing above the existing city, a statement can be made in terms of coexistence with the past and current city for the creation of an image for the future. 1 2 3 4 5 6
45
Vidler, The Architectural Uncanny., 3-14. Ibid., 23 Ladd, The Ghosts of Berlin: Confronting German History in the Urban Landscape., 177-178. “Constant Nieuwenhuys and His New Babylon Project 1956-1974 | Foundation Constant / Stichting Constant.” Ibid. Ibid.
46
Chapter 5: Location
47
5.1 Macro Analysis
Waterways & Bodies of Water Harbors & Locks Berlin Limits
Figure 5.1 Waterways & Infrastructure
Railways Berlin Limits
Figure 5.2 Railways
48
Future Developmental Areas Agricultural Land
Figure 5.3 Environmental Relationships
Protected Areas Vegetation Areas Designated Gardens
Figure 5.4 Developmental Relationships
49
Low Medium High
Figure 5.5 Urban Density
Very High High Low Very Low Lowest
Figure 5.6 Population Density
50
5.2 Demographics
Pankow
Reinickenborf
Lichtenberg Friedrichshain-Kreuzberg
Spandau
Mitte
MarzahnHellersdorf
CharlottenburgWilmersdorf
Steglitz-Zehlendorf
Tempelhof-Schรถneberg
Figure 5.7 Boroughs of Berlin
Figure 5.8 Boroughs Distribution
51
Neukรถlln
Treptow-Kรถpenick
Figure 5.9 Population By Borough
Figure 5.10 Population By Land Area (sq. km.)
52
Figure 5.11 Ethnicity Distribution
Other (Americas)
Iranian Arab
Afro-German/Black African
Turkish
South Asian
Other European
East Asian
Former Yugoslavia Y
Southeast Asian
Russian
Other
Polish Ethnic German
Figure 5.12 Ethnicity Breakdown 65 and up 40 to 65 25 to 40 15 to 25 Under 15
Figure 5.13 Age Group Breakdown
53
5.3 Climate Analysis
Figure 5.14 Sun Path Diagram vs Dry Bulb Temperature (C)
Figure 5.15 Wind Rose (m/s)
54
Figure 5.16 Hourly Dry Bulb Temperature (C)
Figure 5.17 Hourly Wind Speed (m/s)
Figure 5.18 Hourly Relative Humidity (%)
55
Figure 5.19 Psychometric Chart
Figure 5.20 Comfortable Hours in Comfort Polygon - Hourly
Figure 5.21 Comfortable Hours in Internal Heat Gain Polygon - Hourly
56
5.4 Site Selection
Figure 5.22 Berlin City Limits
400
0 100 50
Figure 5.23 Site Macro Context
57
200
Marx-Engels Forum is a public park located in the city of Berlin, nestled within the Mitte district along the banks of the River Spree. Created while under communist rule in the East, the park is dedicated to Karl Marx and Friedrich Engels, the authors of the Communist Manifesto, where
Figure 5.24 Marx-Engels Forum, ca. 1986
the two are displayed as statues, positioned in the center of the park for public use and perusal. The current state of the forum however is in disarray as the city of Berlin is currently installing a new metro line underneath the plaza. The future of the park is uncertain at this point, with no concrete plans for the future.1
1
Ladd, The Ghosts of Berlin: Confronting German History in the Urban Landscape.
Figure 5.25 Marx-Engels Forum, 2016
58
5.5 Site Transformation
59
Figure 5.26 Berlin, ca. 1650
Figure 5.29 Berlin, ca. 1800
Figure 5.27 Berlin, ca. 1690
Figure 5.30 Berlin, ca. 1850
Figure 5.28 Berlin, ca. 1750
Figure 5.31 Berlin, ca. 1880
Figure 5.32 Berlin, ca. 1910
Figure 5.33 Berlin, ca. 1940
Figure 5.34 Berlin, ca. 1986
60
5.6 Site Analysis
Figure 5.35 Berlin Site Extents
61
Site
Site
Building Footprints
Roadways Cycling Paths Railways
Figure 5.36 Figure Ground
Figure 5.37 Circulation
Site
Place of Worship
Development
Points of Interest
Traffic Components
Site
Playgrounds
Transportation Infrastructure
Future Development Areas
Figure 5.38 Infrastructure
Figure 5.39 Development
62
Figure 5.40 NE Site Context
63
Figure 5.41 SW Site Context
64
Chapter 6: Representative Identity
65
6.1
Representative Identity
to this generational interest in automation, computational design
For the purpose of this
will be implemented as a form-
thesis, three areas of the urban
finding method through the use of
culture of Berlin will be selected
an algorithm.
as parameters and criteria for the proposal of an urban and architectural intervention:
6.3
Berlin Aesthetic
1.) Technology
Due to the material culture
2.) Berlin Aesthetic
of Berlin, places and venues play a major role in defining the city. Berlin
3.) Music 6.2
is defined aesthetically with a very
Technology
grungy tone spread throughout the city in every borough. This grunge
During the current modern
being a societal norm is a unique
era, Berlin has become an official
identifier not usually present in
startup hub of Europe. Due to the
other cities or urban areas making
chic aesthetic and attitude of the
is an exclusive characteristic.
city, coupled with the unbelievably low cost of living, the city has garnered interest from all over the world. Due to this peaked interest, it is said that a new startup is born every twenty minutes1, which has attracted many well-known startup companies such as SoundCloud and WorkHub.2 This focus on Technology in Berlin, in addition
6.4
Music Berlin is, and will forever be a city of Music. Deeply engrained in the roots of the city, Berlin has long been a cultural hub for the music world, setting the tone for the rise to prominence of Techno music and birthplace for innovation. Berlin 66
Figure 6.2 When I See You Smile - Bad English
2.) Pop Culture Figure 6.1 Berlin Housing Block
3.) Berlin Aesthetic
today leads the world, dramatically changing the way music is made
6.5
and listened to, while also sporting
In the month of November,
the greatest and most famous
1989 topping the Billboard was
nightclub scene in the world,
When I See You Smile by the
with many doubling as cultural institutions across the city.
band Bad English.4 This song is
3
chronologically important due
As a representation of
to coinciding with the fall of the
the city, the parameters for the
Berlin Wall and the reunification of
computational algorithm will be
Germany and the city of Berlin.
defined through layers of music, each with varying importance to the culture and history of Berlin: 1.) Time Period 67
Time Period
6.6
Pop Culture During the 70’s, David Bowie moved to Berlin to recover
Figure 6.3 Heroes - David Bowie
from a cocaine addiction and recover from a near physical and mental breakdown.5 During his time there, he became a pop culture icon for the city, remaining prominent in Berliner culture for decades to come. During his time living in Berlin, Bowie recorded three albums, but the first song he wrote in the summer of 1977 was the song Heroes, becoming a motif for the city and eventually a “rock anthem” for Berlin.6 6.7
Figure 6.4 Boarding Time - Sizarr (Official Video)
crucial aspect to the urban culture of the city of Berlin is the “Berlin Aesthetic” and understanding the importance of the visible and mental aspects that make Berlin unique and separate from all other cities. The Song Boarding Time by the German band Sizarr captures the Berlin Aesthetic both lyrically and visually in their music video, with imagery projected through sounds and sights, representative of the Berliner lifestyle.
The Berlin Aesthetic As previously mentioned, a 68
1 2 3 4 5 6
69
“One Born Every 20 Minutes - Berlin Is the City of Startups | Talk Business.” “Startups in Berlin • • Berlin Startups List.” “The History Of Techno In Berlin.” “The Hot 100 - 1989 Archive | Billboard Charts Archive.” “Bowie in Berlin: ‘He Drove Round the Car Park at 70mph Screaming That He Wanted to End It All’ | Music | The Guardian.” Ibid.
70
Chapter 7: Design Process
71
7.1
Computational Design The process behind the algorithmic driven design for
around the trails of the swarm agents, generating a unique form influenced from the music data.
this project is based upon the relationship and interactions between world coordinate locations and audio spectrum data. The
Music Clubs
Music
surrounding music venues and nightclubs determine the location parameters of the algorithm, representative of current Berlin culture. The spectrum data to be analyzed and interpreted is the
Spectrum Plot Data
Location Points
song When I See You Smile by the band Bad English, which was the number one rated song on November 9, 1989, the day that the Berlin Wall Fell. The spectrum from this audio file was plotted to extract the decibel and frequency values, which were then used to control
Computation
the trajectories of flocking swarm agents which are emitted from the locations of music venues and nightclubs. Once the paths of the agents hit the extents of the site, isosurface geometry is then formed
Iterations
Figure 7.1 Simplified Process
72
When I See You Smile - Bad English -No. 1 Billboard Spot November 1989
Frequency (Hz) Level (dB) 21.533203 -76.929901 43.066406 -75.803566 64.599609 -74.339226 86.132813 -74.470978 107.666016 -73.955330 129.199219 -74.868996 150.732422 -76.387672 172.265625 -75.433037 193.798828 -75.895988 215.332031 -76.636993 236.865234 -76.089279 258.398438 -75.726814 279.931641 -75.017792 301.464844 -74.667824 322.998047 -74.325089 344.531250 -73.507622 366.064453 -70.573807 387.597656 -71.350227 409.130859 -72.677765 430.664063 -69.901451 452.197266 -69.807098 473.730469 -71.819527
73
Figure 7.2 Algorithmic Process
495.263672 516.796875 538.330078 559.863281 581.396484 602.929688 624.462891 645.996094 667.529297 689.062500 710.595703 732.128906 753.662109 775.195313 796.728516 818.261719 839.794922 861.328125 882.861328 904.394531 925.927734 947.460938 968.994141
-70.812401 -68.577240 -64.214706 -50.076782 -39.720657 -41.191547 -56.420509 -68.525352 -70.104836 -70.715508 -69.114059 -66.430008 -52.935520 -41.301682 -41.370167 -52.440166 -55.234497 -38.200478 -32.829147 -38.535191 -56.961197 -62.821392 -66.543159
990.527344 -68.700058 1012.060547 -68.945160 1033.593750 -68.614471 1055.126953 -67.203247 1076.660156 -65.519791 1098.193359 -64.409615 1119.726563 -61.426025 1141.259766 -53.329803 1162.792969 -38.680367 1184.326172 -35.556267 1205.859375 -43.392353 1227.392578 -61.164925 1248.925781 -65.700874 1270.458984 -67.714592 1291.992188 -69.827209 1313.525391 -70.603561 1335.058594 -69.942169 1356.591797 -70.747795 1378.125000 -70.411720 1399.658203 -70.409920 1421.191406 -71.118973 1442.724609 -71.583641 1464.257813 -71.397263
MUSIC DATASET ANALYSIS
1485.791016 -70.763260 1507.324219 -67.696884 1528.857422 -61.670368 1550.390625 -55.360664 1571.923828 -49.573997 1593.457031 -52.265003 1614.990234 -65.926071 1636.523438 -72.083862 1658.056641 -73.334595 1679.589844 -69.503517 1701.123047 -62.141739 1722.656250 -55.435646 1744.189453 -47.775459 1765.722656 -42.006264 1787.255859 -44.882084 1808.789063 -59.819096 1830.322266 -67.588165 1851.855469 -69.717155 1873.388672 -70.604301 1894.921875 -70.270309 1916.455078 -70.400513 1937.988281 -70.203583 1959.521484 -70.179939
A FLOCKING AGENTS
City Connections Relations To Contextual Music Culture
A
B
B GEOMETRY GENERATION 74
Urban Extents - Macro
Urban Extents - Micro
Site Extents - Micro
75
Figure 7.3 Micro & Macro Form Generation
Iso
Plan
Iso
01
Iso
Plan
02
Iso
04
Iso
Plan
Plan
Iso
Plan
Figure 7.4 Morphology Iterations
Plan
03
Iso
05
Iso
07
Plan
Plan
06
Iso
08
Plan
09 76
N
50M
200M 100M
Figure 7.5 Site Plan - Macro
77
Humboldt University
Lustgarten & City Palace
Fernserhturm TV Tower
Alexander Platz
Music Culture Locations
78
AA
BB
BB
N
25M
100M 50M
Figure 7.6 Site Plan - Micro
25M
100M
50M
Figure 7.7 Section AA
25M
100M
50M
Figure 7.8 Section BB
79
AA
01
Existing Site Conditions
02
Restoration of the Past
03
Relations to Existing Music Culture
04
Paths Created from Music Data from Points
05
Geometry Formation I
06
Geometry Formation II
Figure 7.9 Transformation Diagrams
80
Chapter 8: Final Design
81
8.1
Final Design As the project progressed, the project evolved into a more complex algorithmic design process incorporating more than one song and dataset into a layering of music, each separately
system was also incorporated into a layered framing and paneling system, algorithmically driven to manifest the grungy berlin aesthetic that is representative of the material culture Berlin has adopted. The program of the site and
representing an exclusive tier of
the generated structure is also
Berlin urban culture. The chosen
highly varied and loosely defined
tiers are: Time Period, Pop Culture
to allow the inhabitants to choose
and the Berlin Aesthetic, whose
how to inhabit the space, while
songs are previously mentioned
still remaining representative of a
in Chapter 6. The data from the
typical public forum found in most
spectrum plot of each song now
cities throughout Europe. The
each controls different attributes
existing centered circular plaza of
of the swarm agents flight patterns
Marx-Engels Forum is transformed
independently from each other.
and sunk into the ground and
Those attributes each being
replaced with structurally reinforced
separately controlled are particle
glass, moving the existing
speed, particle acceleration and
monuments back to the center,
particle mass. With each of these
with the addition of a nightclub
attributes being controlled by a
underneath allowing a new
different song, the generated form
perspective of the past, with the
is much more interesting on an
future towering overhead.
aesthetic level in addition to a more defined theoretical framework. A highly varied aged copper paneling
82
When I See You Smile -Bad English
Heroes -David Bowie
Boarding Time - Sizarr
83
Figure 8.1 Final Form Finding Algorithm
Figure 8.2 Final Form
84
85
Figure 8.3 Form Elevational Exploration
Figure 8.4 Experiential Perspectives on Existing Site
86
N
100M
25M 50M
Figure 8.5 Final Site Plan - Micro
Figure 8.6 Final Site Section
87
01 Existing Conditions
03 Music Relationships
05 Geometry formation I Figure 8.7 Final Transformation Diagrams
02 Landscape Creation
04 City Flocking
06 Geometry formation II
88
N
50M
200M
100M
Figure 8.8 Final Site Plan - Macro
89
90
Figure 8.9 Panelization Algorithm
91
Figure 8.10 Leg Panelization
Figure 8.11 Experiential Paneling View
92
93
Figure 8.12 Panel Density I
Figure 8.13 Panel Density II
94
95
Figure 8.14 Leg Density Study
Figure 8.15 Cable Connections
96
Figure 8.16 Framing System Algorithm
UP
UP
UP
0
1
Level 5 1 : 500
5
15
25
50 m
Figure 8.17 Underground Level
Figure 8.18 Experiential Framing View
97
Figure 8.19 Framing Detail View
98
Event Space Day or evening events Premiere celebrations Performance Space Concerts Theatre Exhibition Space Art Galleries Night Club
Retail
Dancing Bar DJ
Misc Shops Dining Cafe Resturaunt Exterior Space Communal space Rest space Meeting space 99
Figure 8.20 Program Distribution
Figure 8.21 Developable Layouts
Figure 8.22 Generated Layouts
100
Figure 8.23 First Floor
101
Figure 8.24 Second Floor
Figure 8.25 Third Floor
Figure 8.26 Fourth Floor
102
103
Figure 8.27 Aerial View
104
105
Figure 8.28 Nightclub Interior
106
107
Figure 8.29 Plaza Exterior
108
109
Figure 8.30 Marx-Engels Plaza
110
111
Figure 8.31 River View
112
113
Figure 8.32 Form Interior
114
115
Figure 8.33 Composite Image
116
Chapter 9: Conclusion
117
9.1
[re]Forum in Berlin Berlin is a city of its own accord. While split between calls for remembrance and calls to forget, a tensional flux exists, splitting the city into an unbalanced dichotomy between generational identity, leaving reunification as just an idea of the past. As the future development of Berlin falls under increasing speculation, a balance between past and present identities must be created more than ever. Architecture should be representative of those who inhabit it, and should manifest the surrounding culture it embodies, especially with a city as culturally rich as the cosmopolitan metropolis of Berlin.
118
Appendix: Exhibition
119
Thesis Exhibition at Eichberg Hall, Savannah College of Art and Design: Final Boards & Models
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
Bibliography
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Published on Jun 14, 2017
Published on Jun 14, 2017