Document [original]

P H

PLACEHOLDERS

13 pavilions on 13 future construction sites in Berlin

Winter Semester 2011/12

Prof. Boštjan Vuga

architecture design innovation program

5

8

6

10

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3

13

7

11

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PH01 Office – Europa City, Hauptbahnhof

PH02 Retail – Breidscheidplatz, Zoologischer Garten

PH03 Museum – Museumsinsel, Mitte

PH04 Hospital – Lützowstraße, Tiergarten

PH05 Residential – Mauerpark, Prenzlauer Berg

PH06 Spa – Fritz-Schloß-Park, Moabit

PH07 Administration – Kanzleramt, Moabit

PH08 Library – Müllerstraße, Wedding

PH09 Science Park - Tegel airport

PH10 Hotel – Oranienburger Straße, Mitte

PH11 Park & Recreation – Tempelhof airfield

PH12 Performace & Art – Kulturforum, Potsdamer Platz

PH13 Schloss – Humboldtforum, Mitte

PLACEHOLDER PROJECTS

PH10 HOTEL

38

PH11 PARK & RECREATION

44

PH07 ADMINISTRATION

26

PH08 LIBRARY

32

PH06 SPA

20

PH01 OFFICE

8

PH02 RETAIL

14

PH12 PERFORMANCE & ART

50

Aphrodisiac 2

Jörg Stollmann

PH Placeholders 4

Bostjan Vuga

An Instruction Manual 6

David Ruic

PLACEHOLDER PROJECTS

Studio Talks 56

Contents

If the French-style park of Versailles is a model of the ideal city

– a foliated critique of the boisterous and unseemly capital –

then Le petit Hameau, the little farm, and the Chinese-English

garden function as its complementary heterotopia – a labo-

ratory for a well-calculated experiment on the informal. The

young queen Marie-Antoinette commissioned the garden and

its pavilions as a refuge from the court’s formality. They soon

became a testing ground for new social and esthetic codes.

Take a stroll trough this little park on the heights of late 18th

century fashion: passing by the temple of love, the alpine

garden, the grotto and the Belvedere, over flowery mead-

ows, alongside a natural artificial lake, in sight comes Marie-

Antoinette’s little hamlet – a village of 12 Norman-style rustic

farmhouses. Designed by the architect Richard Mique and the

landscape painter Robert Hubert, this village would become

her favorite retreat and finally a center for her more and more

self-paced life. The queen and her entourage playing peasant

life in an enormously expensive stage-set, while huge parts of

her subjects starve and the royal finances are wrecked, has

been termed at least infantile and decadent by period cri-

tiques. But it is this moral discourse that until today obscures a

clearer understanding of the little hamlet as the perfect model

for a place for education and amusement. So let us leave mor-

als – or ethics if you will – aside for a while.

The hamlet’s pavilions’ design task was more challenging than

merely a three-dimensional stage-set. They had to allow for a

fully functioning farm, as the hamlet was an education in nature

and agriculture along the writings of Rousseau, Diderot and

d’Alembert, and the Physiocrats. At the same time, the hamlet

had to perform as an intimate retreat and a festive environment

for the queen and her inner circle. Thus, each pavilion was a

hermaphroditic construction - a refined expression of the ten-

sion between simplicity and artifice.

The mill with its purely decorative wheel made a perfect hid-

den retreat for an amorous dinner party. Its chimera character

shows in its four facades: they hardly bare relation to one

another, disguising the queer in four-fold profanity. The two

dairies were fully functioning but had to refashion the han-

Aphrodisiac

LE PETIT HAMEAU DE LA REINE

dling of their products for the queen – adapted to a uniquely

designed sixty-eight-piece china service, comprising milk

terrines and butter churns. The queen’s house featured the

biggest contrast of picturesque, artificially aged facades to

stunning luxurious à-la-mode interiors. Several drawing rooms,

a billiard room and a small apartment were hidden within the

two farmhouses linked with a wooden bridge construction.

The queen’s house hides the tiniest building of the hamlet: the

little queen’s house – “la petite maison de la Reine.” Measuring

roughly twenty meters square, its interior was raised nine stairs

from the ground with windows made of obscure bohemian

glass, thereby protecting from view Marie-Antoinette’s boudoir,

her place of solitude or enchanted encounters.

The queen and her company did aim at becoming full-time

farmers as little as today’s urban gardening bohemians. But

in comparison with the little hamlet, our contemporary en-

thusiasm for urban nature falls short in producing a similar

complexity of program, spatial experience and performative

potential. Equivalent to the changing from embroidered silk

to light muslin dresses, the hamlet’s staged nature affected

the performance of bodies and minds: the transgression into

another way of life became equally a physical, psychological

and a social experience. The most ordinary, nature in the form

of life stock, turned eccentric and spectacular, and generated

a common ground for individual and social transgressions.

Maybe the abnormal has never found a better place in urban

nature than in Marie- Antoinette’s little farm. Which other place,

if not Berlin, could accept this challenge?

Dedicated to Madame K. M. V. and Monsieur M. C.

JÖRG STOLLMANN

Bibliography:

Annick Heitzmann: Laiteries royales, laiteries impériales: Trianon et Rambouillet.

In: Histoire de l’art 11 (1990), S. 37-45.

Annick Heitzmann: Les jardins du Petit Trianon. In: Les Jardins de Versailles et de

Trianon d’André Le Nôtre à Richard Mique. (Exhibition Catalogue Musée national

des châteaux de Versailles et de Trianon 1992). Paris 1992, S. 19-30.

Stefan Zweig: Marie Antoinette. Bildnis eines mittleren Charakters. Fischer

Taschenbuch Verlag, Frankfurt/M 2012 (Leipzig 1932).

PLACEHOLDERS2 | 3

Stills from: Marie Antoinette. Dir. Sofia Coppola. Perf.

Kirsten Dunst, Jason Schwartzman, and Rip Torn.

Columbia Pictures, 2006

JÖRG STOLLMANN

studied architecture at UdK Berlin and Princeton University. From 2002-2008

he was principal of Instant Architects with Dirk Hebel. Since 2008 he runs

urbaninform, a platform for architecture, urban design and social business,

with Rainer Hehl. He has been teaching at the UdK Berlin and the ETH Zurich.

Currently, he is visiting professor at TU Berlin. He lives and works in Zurich.

APHRODISIAC

How can a grey, normally enclosed zone inside the city tissue,

a ‘non-place’, become a new active public area?

What should the temporary object in this area be like to fore-

cast content and character of the future building?

What should the object be like to offer a new spatial experi-

ence for the visitor and user, to encourage cooperation and

social interaction?

How can a materialisation of spatial and formal concepts

and architectural production influence our way of perception,

movement and activities? Can it influence our behaviour in

public spaces?

How can temporary objects generate a network of new public

areas in the city?

The product of the seminar is a project of pavilions; temporary

structures situated at the 12 chosen micro locations of future

construction sites in BERLIN.

Why Berlin?

Berlin is a city in constant becoming. Berlin is a city, where

new events and new activities more or less temporary occupy

diverse urban spots in the city, make them as attractive public

spaces.

Would these public spaces need a specific architectural prod-

uct with its distinctive and recognizable form?

We will prove that this architectural product has strength to be-

come a generator of very specific public activities. This specific

architectural product will challenge our perception of publicity

and intimacy, it will shift the way we behave in an every-day

environment.

We have chosen 12 future construction sites, 12 urban spots

in Berlin where a new construction is not only planned, but al-

ready defined with an architectural project. There are 12 micro-

locations that are very different in terms of the size, adjacent

conditions and program. The program of the future construc-

tion ranks from housing, hotel, retail to offices, library and mu-

seum, among others. We have included a Tempelhof Airfield as

one of the sites, as well as a location of the Humboldt box, an

actual placeholder on the Schloss future construction site.

So what are architectural products we will employ to foresee

the future?

PLACEHOLDER = PAVILION

As an architectural typology, the pavilion is the most suitable

object for testing new spatial and programmatic concepts. It

is an object that due to its dimensions, temporary structure

and ephemeral character allows for realisation of areas, spatial

complexes and manners of their use that would be question-

able with permanent objects.

Throughout the history, the pavilion has always been the reflec-

tion of the zeitgeist, without being retrospective. With its spatial

design and architectural effects, the pavilion always lights the

way ahead, its experimental character the herald of develop-

ment in the architectural discipline.

PLACEHOLDER = FORECASTER

Placeholders are forecasters of the future object at the select

location. They are areas for socializing, games, new experi-

ences and showrooms for main public activities in the future

object. Placeholders encourage cooperation and interaction

between their visitors and users.

Only through consistent analysis of social interactions be-

tween precisely determined psycho-social profile of users it

is possible to break away and shift from the known and the

tested, thus changing the typology. Placeholders deal with

architectural effects, which generate a new experience to us-

ers, spectators, and citizens. A placeholder thus creates a new

destination. As such, it affects the character of the proposed

future building.

PH Placeholders

BOŠTJAN VUGA

PLACEHOLDERS4 | 5

PLACEHOLDER = LET’S BE VISIONARY!

Can an architectural product be oriented to the future, vision-

ary, but still rooted in the presence, relating to actuality? We

will show how a design of 12 pavilions influences the way we

see ourselves and how we interact with others today. But for

the future. A placeholder is for the future. At least, until the

planned construction on that site is completed. A short-span

future.

So let’s have picnic in a grill tower in the middle of the Tempel-

hof area.

Let’s experience library of the future in Wedding, where there

are no books, where library becomes a marketplace of knowl-

edge.

We can interact with other online costumers who came to an

elevated pavilion of the renovated Bikini building at the Berlin

Zoo to try-on clothes . A changing booth becomes a tool that

changes our attitude to intimacy and exposure in publicness.

Will office development in the future Europa City near the

Hauptbahnhof become a good example how a working

through play will characterise office construction in the future?

The office placeholder will demonstrate how typical office plan

of the 20th century is about to become a real history.

The hotel corridor will change its role. As one and only extreme

functional space of hotel it will transform into a place of inter-

action, curiosity and seduction. Have a glimpse to a neigh-

bouring room!

And finally, imagine a performance on a bridge –like structure

above 6-lane road in the Kulturforum area. Placeholder as a

strong visual connector of institutions on both side of the road.

But then, when you are up there, you do not know whether

you are here to view what others are performing or it is you

who perform. Or both.

Architectural materialisation of the placeholder both supports

and generates that.

Such an ambiguity.

BOŠTJAN VUGA

studied architecture at the University of Ljubljana and at the Architectural As-

sociation in London. In 1996, together with his partner Jurij Sadar, he founded

the architectural office SADAR + VUGA. Since 1998 he lectures at architectural

schools, conferences and symposiums in Slovenia and abroad. He has published

numerous articles on current occurrences in architecture and urban planning, in

national as well as international (professional and broad interested) publications.

He is currently guest professor at ADIP, TU Berlin. He lives and works in Ljubljana.

PH PLACEHOLDERS

+

PARTLY SEPARATED

SEPARATED

PARTLY SEPARATED

PARTLY OPENED

OPENED

BUSINESSMAN BUSINESSMAN : BUSINESSMAN

BUSINESSMAN : CLIENT

FORMAL

(BUSINESS)

FORMAL

(BUSINESS)

INFORMAL

(BUSINESS)

INFORMAL

(BUSINESS)

RECREATION/

WELLNESS

UNITERUPTED

WORK

INFORMAL

(SOCIALIZING)

BUSINESSMAN : EMPLOYEE

BUSINESSMAN

The placeholder design-seminar aims to teach a methodologic

design approach that is predefined by work-step-chapters

leaving all other aspects of design to the individual.

Each student group works on a different site and designs a

placeholder for an individual topic. By following the same de-

sign method, the student projects become comparable while

achieving a large variety of results, guided by one common

„instruction manual“.

CHAPTER 1 – SITE ANALYSIS

Choose a site with an existing planning for a new building or

a building transformation. While this means the location is

prededicated to a given function, its not yet realised future

outcome makes room for emptiness and uncertainty. In this

context the placeholder should become a pioneer settler for

a social activation of the site and its surrounding in the urban

tissue. With this in mind, analyse the site in three categories:

external parameters, internal parameters and soft data.

CHAPTER 2 – SOCIAL INTERACTIONS

In the next step explore future programmatic tendencies in

your specific building type. How will buildings have to adapt

and how will their usage change through technology and near

future changes in society?

As the placeholders design is supposed to simulate these

tendencies on a scale of a pavilion, analyse possible social

interactions. Speculate and describe the future protagonists

and their interrelation by using image banks, diagrams and

scenarios. This will trigger the design of spatial situations in

the placeholder.

CHAPTER 3 – PROJECT BRIEF

Write the project brief for the placeholder. Define the program

and size in a way that the placeholder functions as a forecast-

er and testing ground for the previous speculations.

An Instruction Manual

DAVID RUIC

Mapping in a plan drawing

Diagram of social interaction

PLACEHOLDERS6 | 7

The content of the pavilion is limited to the activities that pro-

voke social interaction. This way it becomes an extract of the

functional melting zones of generic building types.

CHAPTER 4 – MAPPING OF PROGRAM

Then combine the requirements of the site activation with the

desired social interactions in a mapping. Draw maps that are

predecessors of your final floor plans and section drawings

and illustrate your intentions not only with building elements

but use words, arrows, colouration, symbols, images of hu-

man action... Feel free to use mixed media, but be precise on

the scale of your mapping and the position of your annota-

tions.

CHAPTER 5 – SPATIAL PROTOTYPE

From your previously defined intentions extract the most

important architectonical effects. Find representing structures

and examples that can work as an inspiration for the pavilion

construction. Build prototype models exploring the functional-

ity that lead to the final scheme.

At last define a two-word-formula that describes both the

construction design and the perception experience. This ar-

chitectonic formula not only summarizes the concept, but can

work as a future design tool.

THE OUTCOME

Due to its few restrictions and its playfulness the pavilion is a

perfect typology for architectural experiments. This has proven

in history. Consequently, it pushes architectonic expressions

of the future speculations to an extreme and lets the pavilion

be a tool for interaction!

All images by Sadar+Vuga, Ljubljana

DAVID RUIC

studied architecture at the RWTH Aachen and the UdK Berlin. After working in

several offices, he founded his own practice in 2009. Since 2011 he is a lecturer

at ADIP. He works and lives in Berlin.

Spatial prototype for the structure design

Formula: Sequence shell

AN INSTRUCTION MANUAL

01

CHAPTER

MAPPING + MICRO LOCATION

Runt am si dolor acest prae. Iquisti omnimag nimenihil illupti.

TotalTower

futureoffices

intervention

buildings

Placeholder

membrane incubator processor

buildings

The site that will be analyzed is located

in the centre of Berlin, close to Berlin’s

main train station the Lehrter Bahnhof.

Closest neighborhoods are Berlin-Mitte

in the east, Berlin-Tiergarten in the South

and Berlin-Moabit in the West.

Berlin is different to other European cit

-

ies. Due to the history of Berlin there is a

huge open space in the north of the main

station with only a few down rotten build

-

ings. This place was part of the Berlin

Wall. The upcoming project on the site is

called Europa City.

Today these open spaces are still in

progress. Besides the new government

buildings in the south, new business

buildings are being planned along the

river Spree. Like the buildings around

Potsdamer Platz the locations are very

attractive, but rental prices are constantly

increasing.

In contrast, Moabit is known as a

neighborhood with a lot of immigrants

and a high population density. Rental

prices are much lower but will most likely

increase soon because of Moabit’s loca-

tion close to the centre.

Just like the Potsdamer Platz and the

government buildings, the Tiergarten is

very attractive for tourists. There is no

residential area close to the site.

Intervention in relation to the future urban development plan of the area north of

Berlin-Hauptbahnhof.

The placeholder acts as a processor between present and

future.

PLACEHOLDERS8 | 9

The pavilion is 6 meter wide wall made of generic

office space. This office grid is then cut up by

a continuous space that freely runs through the

building. The continuous space is the main cir-

culation space, connecting all floors and allow-

ing for encounters. At three defined areas in the

building this circulation space becomes an event

space, allowing for social interactions and free-

time activities.

It’s temporary structure, made of scaffolding,

does not only mimic the act of construction that

will soon take place, but also suggests a struc-

ture that allows the actual state of change is

possibly more suiting to Berlin’s economy than

a generic work environment found in every me-

tropolis around the world.

The office placeholder is located on a future con

-

struction site for a large office zone just north of

the Hauptbahnhof. By placing our pavillion at the

south end of future construction site,

the pavilion acts as a sort of curtain wall to the

upcoming development, while also becoming

the window to a new vision of a work environ

-

ment. In our opinion this work environment is a

mixture of work&play - a mixture that allows for

more socially oriented programming of space.

Longer working times are becoming more and

more common, calling into question the idea of

‘feierabend’. While it become increasingly hard

to separate our feierabend from our work-time,

the pavilion suggest adding more free-time into

our work-time.

PH 01 OFFICE

SVENJA KRIST, PAUL REINHARDT

Personal conversation in a group

via medium

Personal conversation

Conversation via medium

Taking a break (coffee)

Mobbing

Working in a single

cabin

Having a lecture

Cooperative play Archieve a goal Competition

Having a lecture

Working late Working as partners Working introverted Working in an open space Working in a team

Get/give a compliment Criticise

Resting ( Sleep room...) A break and a cigarette

Recreation with games or sports

Have coffee together Have lunch together

Communication via telephone

Group conversation via medium

Communication via telephone Personal communication

Averagebusinessman

Businessmaninaleadingposition

(e.g.clientormaybefamilymem-

berofbusinessman)

Mediumusedforcommunication

(e.g.e-mail,skype...)

Communication at work

RecreationWork

Play

Receive an order

Personal conversation in a group

via medium

Personal conversation

Conversation via medium

Taking a break (coffee)

Mobbing

Working in a single

cabin

Having a lecture

Cooperative play Archieve a goal Competition

Having a lecture

Working late Working as partners Working introverted Working in an open space Working in a team

Get/give a compliment Criticise

Resting ( Sleep room...) A break and a cigarette

Recreation with games or sports

Have coffee together Have lunch together

Communication via telephone

Group conversation via medium

Communication via telephone Personal communication

Averagebusinessman

Businessmaninaleadingposition

(e.g.clientormaybefamilymem-

berofbusinessman)

Mediumusedforcommunication

(e.g.e-mail,skype...)

Communication at work

RecreationWork

Play

Receive an order

Personal conversation in a group

via medium

Personal conversation

Conversation via medium

Taking a break (coffee)

Mobbing

Working in a single

cabin

Having a lecture

Cooperative play Archieve a goal Competition

Having a lecture

Working late Working as partners Working introverted Working in an open space Working in a team

Get/give a compliment Criticise

Resting ( Sleep room...) A break and a cigarette

Recreation with games or sports

Have coffee together Have lunch together

Communication via telephone

Group conversation via medium

Communication via telephone Personal communication

Averagebusinessman

Businessmaninaleadingposition

(e.g.clientormaybefamilymem-

berofbusinessman)

Mediumusedforcommunication

(e.g.e-mail,skype...)

Communication at work

RecreationWork

Play

Receive an order

Personal conversation in a group

via medium

Personal conversation

Conversation via medium

Taking a break (coffee)

Mobbing

Working in a single

cabin

Having a lecture

Cooperative play Archieve a goal Competition

Having a lecture

Working late Working as partners Working introverted Working in an open space Working in a team

Get/give a compliment Criticise

Resting ( Sleep room...) A break and a cigarette

Recreation with games or sports

Have coffee together Have lunch together

Communication via telephone

Group conversation via medium

Communication via telephone Personal communication

Averagebusinessman

Businessmaninaleadingposition

(e.g.clientormaybefamilymem-

berofbusinessman)

Mediumusedforcommunication

(e.g.e-mail,skype...)

Communication at work

RecreationWork

Play

Receive an order

Personal conversation in a group

via medium

Personal conversation

Conversation via medium

Taking a break (coffee)

Mobbing

Working in a single

cabin

Having a lecture

Cooperative play Archieve a goal Competition

Having a lecture

Working late Working as partners Working introverted Working in an open space Working in a team

Get/give a compliment Criticise

Resting ( Sleep room...) A break and a cigarette

Recreation with games or sports

Have coffee together Have lunch together

Communication via telephone

Group conversation via medium

Communication via telephone Personal communication

Averagebusinessman

Businessmaninaleadingposition

(e.g.clientormaybefamilymem-

berofbusinessman)

Mediumusedforcommunication

(e.g.e-mail,skype...)

Communication at work

RecreationWork

Play

Receive an order

The aim is to design a pavilion that

represents future office typologies as a

forecaster. Located in the centre of the

upcoming Europa City north of the To

-

tal Tower the Pavilion interacts between

present and future. Acting as a membrane

it transforms existing structures and adds

new concepts to improve working quality.

It influences upcoming buildings.

The pavilion should attract all people

approaching the site of the Europa City.

They are able to visit the pavilion to ex

-

perience the new concept. Their experi

-

ence will influence their request for the

construction type of new office buildings.

Today’s service sector is increasing and

approaching greater competition. They

think about different methods to achieve

better working conditions and motivate

their employees. There is a tendency to

create different spatial working situations

to improve working quality.

Communication forms within teams are

improved and promoted. Flexibility and

creativity become more important in to

-

day’s working business. These concepts

use characteristics of work and play to

summarize them.

A working landscape implies a hori

-

zontal usage. But today’s buildings grow

into height. What problems occur by

stacking these landscapes? How are the

slabs connected? How can borders be

resolved?

The aim is to propose possibilities for

vertical landscapes that act flexible and

support communication.

To function as a showcase the place

-

holder will be like an intersection of this

new structure. It will reveal connections

and show moving within the landscape.

Similar to an ant farm, spectators can

view inside the developing structure.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

Analysis of social interactions

The pavilion interacts between the present and the future.

PLACEHOLDERS10 | 11

Entrance

kitchen

cinema

sports

formalaccess

entrance Atmosphere:

-openroom

-easyaccessible

-steadyflow

Programm:

-lobby

-gatherinformation

kitchen Atmosphere:

-openroom

-highlycommunicative

-creative

-resolvedboundaries

Programm:

-kitchen/cafeteria

-placestoeatorhavecoffee

-outsideoflunchtimethisplacecan

pointtomeetandchat

cinema Atmosphere:

-podium

-communicativespace

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-cinema,concertsorevents

-lectures,workshop,seminar

sports Atmosphere:

-seperatedroom

-viewinandviewout

-ease

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-sports(i.e.basketball)

-canbeusedformoreprivate

conferencestoo

(singlecell)

(openplan)

Atmosphere:

-closedroom

-concentration

-focusedonworking

Atmosphere

:

-openroom

-concentrationandcommunication

-workinginanatmospherewhich

ismoreplayful

offices

actasanopenplanofficeoras

cut connect

light

access

communication

additional

access

anonymously

stacked

transformation proposal

Entrance

kitchen

cinema

sports

formalaccess

entrance

Atmosphere:

-openroom

-easyaccessible

-steadyflow

Programm:

-lobby

-gatherinformation

kitchen Atmosphere:

-openroom

-highlycommunicative

-creative

-resolvedboundaries

Programm:

-kitchen/cafeteria

-placestoeatorhavecoffee

-outsideoflunchtimethisplacecan

pointtomeetandchat

cinema Atmosphere:

-podium

-communicativespace

Programm:

-cinema,concertsorevents

-lectures,workshop,seminar

sports Atmosphere:

-seperatedroom

-viewinandviewout

-ease

Programm:

-sports(i.e.basketball)

-canbeusedformoreprivate

conferencestoo

(singlecell)

(openplan)

Atmosphere:

-closedroom

-concentration

-focusedonworking

Atmosphere

:

-openroom

-concentrationandcommunication

-workinginanatmospherewhich

ismoreplayful

offices

actasanopenplanofficeoras

cut connect

light

access

communication

additional

access

anonymously

stacked

transformation proposal

The inside of the pavilion is visible when

you approach the site from the south.

From inside people will more likely have

a look on the future construction site be

-

hind the pavilion. The movement from the

existing buildings to new office buildings

symbolizes the shift within office typolo

-

gies and the placeholder as a transformer

with impact on the future.

The pavilion itself is built of several

horizontal slabs, interrupted by different

spatial and communicative situations.,

breaking up the vertical barrierst of gene

-

reic office space. The pavillion creates a

variability and a gradient between work,

play and playful work.

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

Visibility, accessibility and usage is horizontally and

vertically interconnected.

Atmospheres of the different programmes

The Giant Ant Farm acts as a role model for a

publicly noticeable placeholder.

PH 01 OFFICE

1 Entrance

2 Interconnecting space offering

communicative spaces.

3 Detail of the modular

construction system.

4 Basic structure with

interconnections between the

floor levels.

5 Section and cross-section.

6 Floor plans.

1

4

framework,steel

fastconstruction,easilybuild

prefabricated

walls,fabricmesh

lightweight,seperating

space

prefabricated

guardrail

wiremeshtransparent

floors,woodenslabs

3

2

PLACEHOLDERS12 | 13

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

groundfl.

1stfl.

2ndfl.

3rdfl.

4thfl.

5thfl.

6thfl.

7thfl.

8thfl.

9thfl.

10thfl.

5

6

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

Cafe Creme

nix

,-

Espresso

nix

,-

Doppelter

nix

,-

Club Mate

nix

,-

Koffein

nix

,-

Urlaub

viel

,-

groundfl.

1stfl.

2ndfl.

3rdfl.

4thfl.

5thfl.

6thfl.

7thfl.

8thfl.

9thfl.

10thfl.

PH 01 OFFICE

01

CHAPTER

MAPPING + MICRO LOCATION

Viewto

thecity

Viewto

thezoo

ZOO

NATURE

TOURISTPLACE

CITY

NEWEXTERNAL

PUBLICSPACE

NEWINTERIOR

PUBLICSPACE

NEW

WINDOWDISPLAY

Bikini Berlin is many things in one. Its

an urban hub, a public space, a social

universe and it is going to introduce the

new shopping experience. It has be

-

come more important to enjoy spending

time shopping, whether you’re alone or

in company, instead of searching for ne

-

cessities. In this 21st century, our biggest

challenge is to encourage people to still

go retail shopping despite of the conve

-

nience of shopping online.

Hence, our pavilion plays its role as an

announcement of a new shopping ex

-

perience which emphasize on the pros

of both online and offline shopping, ide

-

ally located between green and grey, be

-

tween animacy and calm, between inspi

-

ration and recreation, the loud tones and

the quiet ones. The transaction and the

contrast between the city and the nature

(the zoo) were the main focus of the pa-

vilion.

“People no longer go shopping in order

to buy necessities; instead, people go

shopping to have a good time, either on

their own or in the company of others.”

Bikini Berlin is more about creating the

21st century experiences.

The pavilion is located on the roof terrace

of the future project, where you can find

the “link between green and grey”. The

transaction and the contrast between the

city and the nature were the main focus

of the pavilion. Pedestrian flow and den-

sity was the secondary consideration in

order to attract more visitors, while ac-

cess points and other aspects such as

traffic, etc. were also considered.

Back side view on Bikini Berlin building. Located next to Gedächtniskirche the site is part of a popular central shopping promenade.

The location acts like a separating wall between the park-like zoo and a busy city center.

PLACEHOLDERS14 | 15

shop. In our pavilion people become the object

of perception (just like the animals in a zoo) test-

ing on the clothes. Shoppers meander around

amongst one another, perceiving the merchan-

dise and other shoppers who are changing be-

hind the half translucent curtains.

Inspired by the zoo, where animals have enough

privacy and personal spaces but can always be

perceived, we developed three changing-room

prototypes of curtains are half translucent, giving

shoppers just enough privacy to change but still

perceived by voyagers.

When the entire pavilion is full, a shopper’s path

or journey is often blocked by occupied changing

rooms. They have the option of either wait and

perceive the changing act or squeeze through

the gaps between 2 changing rooms and con-

tinue perceiving the merchandise.

The micro-location of our pavilion connects the

city and zoo garden. Our pavilion attempts to

programmatically and spatially interwieve the two

mixing the experience of shopping with the ex

-

perience of a zoo visit.

We believe that the best essence in the expe

-

rience of shopping is the tangibility of trying on

products. Commonly, this takes place in chang

-

ing rooms that are hidden in corners of the store

and separated from its display within the store

and store front. Our pavillion breaks this sepa

-

ration by unifying changing rooms and window

displays. The experience of changing becomes

the spatial and programmatic structure of our

pavillion. Spatially, you experience the shop like

a zoo. Through the analysis, we studied percep

-

tion of the animals by visitors and translate them

into our pavilion. Animals are displayed in the

zoo the same way merchandise is displayed in a

PH 02 RETAIL

FRANCESCA DALLAGO, VONNE YANG XIANG JING

Shopper from

distance

Shopper

Imagine self

in product

Stamped image

in shopper’s

mind

Raise

curiosity of

shoppers

Products

Create

imaginary

scenario

Seasonal

theme

Challenging

original idea

of product

Attract shoppers

into changing room

Shoppers

Promote

product

Glass as a

medium of

attraction

Window display

glass

Shopper Wifi Services Retailer Wildlife

+ + +

2. Tangibility

Judgement & decision on purchase-

ment based on experience

Touches and feel the actual

product

Fitting experiences

4. Socialize

Share common interest

Spend quality time instead of purchasing

necessity

Socialize

Purchasement highly influence by peer pressure

Browsing from outside

Has no intention, target or aim

1. Window Shopping

Display from Inside

Window as Medium

3. Guilty Pleasure

Visit stores with full intention of purchasing

Enjoy merchandise choices

Gain satisfaction from purchasing

Fulfill pleasure with shopping

Our pavilion is a huge window display

that attract people to approach the new

idea of shopping experience. We decided

to maximise the extrusion of our pavilion

towards the concrete city to gain more

visibility, snatch and seek for attention

to seduce all type of potential shoppers

who meander around.

The idea behind our pavilion focus on

how people activate the window displays

by interacting with merchandise, hence

indirectly introduce secondary or even

tertiary activities such as social events

and more.

Window display is define as space in

-

stead of just an inactive display. We also

concentrate on extending the depth of an

ordinary window display to maximize and

encourage shoppers to create an open

interactive space, making believing that

they themselves are the best window

displays.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

Revolution of shopping throughout dif

-

ferent centuries shows how shopping

evolved from 1950’s when its luxurious,

into 1990s when shopping became com

-

pacted and for everyone, to 2010 when

people rely on online shopping, and pre

-

sumtiously in 2015s - the near future,

where shopping culture will be upgraded,

or expanded into a combination and a

mixture of other propaganda such as ca

-

fes, exhibitions, galleries, etc.

Why do people go to the store if one can

buy things over the internet?

Bikini Berlin as a compacted Kurfürstendamm

Relationship of window shoppers and products.

PLACEHOLDERS16 | 17

Window

Display

Depth

WindowDisplayDepth

Shoppingspace

&WindowDisplayDepth

Activespace

Inactivespace

Activeviewfromwindowshoppers

Shoppingspace

The new experience of shopping involves

different interactions between people and

merchandise, happening spontaneously

on every available space. These spaces

indirectly become a new type of window

display.

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

The entire atmosphere of the pavilion

should achieve a balance between green

and grey, emphasizing on bringing the

green into the city, making the garden

visible for all. It is an interesting space as

it is going to be a public pace in the future

as the roof terrace, but currently is a pri

-

vate space as it is still a construction site.

However, we fooled with the irony and

created a semi public space that is ex

-

posed to the surrounding, but enclosed

and restrained.

Analysis of different type of window dis

-

play shows how the depth of window dis

-

play directly influences the active spaces

in the retail store. Thus our pavilion fo

-

cuses on window display that is defined

as space instead of just an inactive dis

-

play. We also concentrated on extending

the depth of an ordinary window display

to maximize and encourage shoppers to

create an open interactive space.

Shopping space and window display.

Spatial prototype

Visual connections between the pavilion and street level.

Our pavilion achieves an environment

that reminds shoppers of the surround-

ing jungle: the green jungle of the zoo

and the urban jungle of the city. All these

characteristics will be projected onto

the sectional facade as an announce-

ment screen of the new Bikini Berlin. Its

a circus in the human zoo: the animals

perform the rituals of hunting, gathering,

undressing, and plumage display from

behind the glass for the voyeurs on the

street.

The new experience of a window shop-

ping that we are introducing also involve

people becoming the window display

instead of the mannequin. People inter-

acting with the outside world through

a series of changing room prototype,

by pulling up or down the curtains test-

ing their merchandise, when people

from the external surrounding is seduce

and attracted to watch it as if it is a an-

nouncement screen. We filled the entire

floor space of the pavilion with 3 different

prototype of changing room to create a

“jungle of changing room” metaphorically

forming a “human zoo”.

PH 02 RETAIL

1 Exploded axonometry showing the

construction.

2 Dressing room situations

a Empty.

b Half.

c Full.

3 View from the street up to the

pavilion in between the current

construction site.

1

2a

PLACEHOLDERS18 | 19

3

2b 2c

PH 02 RETAIL

01

CHAPTER

MAPPING + MICRO LOCATION

The frame structure of the pavilion allows to have different levels of permeability of the façade.

Panoramic view into an abandoned outdoor pool in a park next to Hauptbahnhof.

Green spaces, buildings and roadways in the area.

PLACEHOLDERS20 | 21

side“ the frames of the structure. The sequence

of spaces leads the visitor to the two key spaces

of the pavillion - the dressing room and steam

room. Because they are positioned toward the

street, they are the first things you see when you

enter the building, but the last spaces you can

reach if you pass through the building. It’s prox-

imity to the public street creates a disturbing and

yet intruiging relationship to its innermost pri-

vate fuction. The pool is in the middle of the pa-

vilion and perceivable from almost everywhere.

We‘ve also integrated the real path from the park

through the pavilion, capturing some attention.

Through the analysis of the previous chapters, it

is perceptible that the mentality of the people, in

general, has to change in the future and because

of that, we‘ve created one pavilion, which chal

-

lenge the actual society of Berlin. The most im

-

portant social concept in our project is the idea

of intimacy. The structure is based on several

frames, which overlap at times. Each overlapping

of frames creates an individual space. There is a

clear route through the pavilion - from the main

street we are guided through a path with visual

connection to the pool or to a stairs that lead

us to the middle of the pavilion in the first floor

without entering in it. We re in the exterior but „in

-

PH 06 SPA

ISA NETO, MARIANA MATIAS

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

Intimacy, in contrast to publicity, would

be most interesting in a spa. The dress

-

ing room is challenges social behaviors

through the act of dressing and undress

-

ing. The steam room offers spaces where

people constantly see and don’t see.

We believe that transforming the dress

-

ing room as a common space and not

separated for men and women, could

change the behavior of the placeholder’s

users. Then the people have to deal with

each other at some “embarrassing situ

-

ations”, as well as get dressed and un

-

dressed. The current concept of dressing

rooms will be completely modified when

we offer a public space with the main pur

-

pose of “dressing and undressing”, when

we combine it with the steam room.

Prude or open minded social interactions?

Secrecy or intimacy?

Approiate or inappropriate?

What are the limits of social interactions in

the fufuture?

OPENMINDEDMEN

|bodyculture

|metrosexual

|exhibicionist

BEHAVIOUR CONFORT VISIBILITY

STEAMROOMDRESSINGROOM

HowcanIgetmy

clothesoff?

Doesshenotice

howIaminsuch

agreatshape?

..soboring..any

-

wayI‘mnotsee--

inghimwell..

SAUNA

ShouldIjusttake

offthetoweltoo? Justputyouconfortable

anddon‘tcareaboutIwill

think!

CONSERVATIVE

WOMAN

|takecareofherself

|heterosexual

|prude

I’mreallyfine..

Scenarios of social interactions.

PLACEHOLDERS22 | 23

+

=

P L A T F OR MS

B R I DGE

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

Nowadays, it’s supposed that the dress

-

ing room and the steam room are hidden

and closed. In the placeholder they will be

open and exposed with direct perception

from the main street.

How could people’s behavior change

when changing clothes in front of each

other? How could they act or think with all

the permeabilities and impermeabilities in

the placeholder’s atmosphere?

Atmospheric influences on the building and the activities of the visitors.

Cinematic structure: Micro-ambiences inside a

single volume, depending on where we are and

how we move throught the building.

EXPECTATION

ATMOSPHERE

TRANSIVITY

SPACEFOR

CREATIVITY

HIGH

ACTIVITY

LIGHT

VELOCITY

MEETING

ACTIVITY

STRONG

INTERACTION LISTENING

TALKING

DRESSING

UNDRESSING

SHARINGGREEN

SHARINGNOISE

SHARINGLUXURY

SHARINGSPACE

SHARINGFEELINGS

SENSATIONS

EXPECTATION

ILUSIONS

TRANSPARENCY

SECRETISM

INTIMACY

PERMEABILITIES

PH 06 SPA

MAINFACADE1:100

1 The pavilion opens up to the

main street using transparent

materials and dissolving walls.

2 Social interactions inside

the pool and related to the

dressing room.

3 Social interactions inside the

dressing room.

4 Front elevation.

5 Sections.

6 Ground floor and first floor.

2

4

1

3

PLACEHOLDERS24 | 25

5

6

PH 06 SPA

01

CHAPTER

MAPPING + MICRO LOCATION

The site of the future Bundesinnenmin

-

isterium (The Federal Ministry of the Inte

-

rior) is located on the island Moabit which

is part of the district Mitte in Berlin. The

area is mainly owned by the government

which plans to extend the already exist

-

ing governmental district. About 400 m

away from Berlin Central Station the site

is situated along the viaduct of the south

bound railway track within sight of the

Chancellor’s Office to the east past the

river Spree. Past the railway track in the

west the govern- mental area ends and

residential buildings take precedence.

The site is in parts surrounded by public

recreational areas. In the south the large

public park Tiergarten spreads out.

The site is a 31,000 m2 sandpit that

up until the start of the construction was

The area is dominated by wasteland. Due to the construction works on a future administration building it is fenced wasteland at the moment.

The huge site is completely disconnected from it’s surrounding.

being used as a coach park by the fed-

eral government. The site is a remarkably

isolated place within the central part of

the city of Berlin. It is bordered by the rail-

way track, in the north by a about 4-5 m

higher street. Only a few passages in the

west and north permeates the isolation.

The most distinct impression of the site

on arrival is rejection. The whole project

is surrounded by a physical wall through

which hardly any observation is possible.

An overwhelming number of surveillance

cameras and perpetually passing police-

men watch over the site. Mere presence

in the vicinity seems unwelcome. All this

seems to reflect the identity of the min-

istry itself. This place should operate in

silence, without giving or receiving any

input.

PLACEHOLDERS26 | 27

The pavilions’ form interviews the waiting space

and the bureaucratic office space in a continu-

ous onion-like layers that merge and separate at

given points.

The semi-transparency, given by the pavilions

structure and materiality, allows for a certain am-

biguity between adjacent spaces. The assurance

of privacy within this highly bureaucratic space

are constantly questioned. Who is observing

who? Are ‘the citizens’ being observed by ‘the

government’ or are ‘the citizens’ observing ‘their

government’? Or are the two not even separable.

The Placeholder focuses on challenging and

rearranging the hierarchy of an administrative

building. What is true transparency that reaches

beyond window-shopping for empowerment?

The common waiting room in a bureaucratic build

-

ing is often very isolated from the actual bureau

-

cratic procedures taking place within the building.

By breaking up the boarders and interviewing the

two spaces, our pavilion puts into question the

difference between ‘the citizen’ and ‘the govern

-

ment’. Which role do they play in our lives? How

do they influence each other in our everyday lives

and in a broader political spectrum? Does one

rule the other? Are they even separable?

PH 07 ADMINISTRATION

SVANTE KARLSSON, JOHAN TALJE

INTERACTIONWITHTHEDEPARTMENT

OFINTERNALAFFAIRS

INTERACTION-POTENTIAL

INTERNALCOMMUNICATION

INTERNALCOMMUNICATION-POTENTIAL

COMMONER

CIVILSERVANT

DECISION-MAKER

ClosedCommunication

Anideaisborn

SemiopenCommunication

OpenCommunication

Apaperisfiled

Electedofficialwiththepower

topasslaws.

Amemberofthepublicwitha

concernregardinginternalaffairs.

Administativestaff,withoutimme-

diatepowertodecide.

CLOSED

COMMUNICATION

SEMIOPEN

OPEN

SEMIOPEN

OPEN

CommonermeetsCivilServant.

Apaperisfilesonthematter.

CommonermeetswithCivil

Servant.CivilServantmeets

withDecision-Maker.

Commonermeetswith

Commoner.AnIdeaisborn.

Commonermeetswith

Decision-Maker.AnIdeaisborn.

CivilServantsofdepartmentA

filesapaperwhichendupwith

CivilServantsofdepartmentB.

CivilServantsofDepartmentA

meetswithCivilServantsof

DepartmentB.AnIdeaisborn.

THECOMMONER

45Yearoldmale.

Foundthegovernmentsplansoutragousandde

-

cideswithnaiveentusiasmtodohiscivicdutyand

contactthedepartmentabout.it.

THECIVILSERVANT

55Yearoldfemale.

25Yearsatthedepartmentofinternalaffairs.

Feelsstronglyforthesystemandthedemocratic

valuesitrepresents.Butfeelsbadaboutfilinga

complaintknowingthatinmostcasesitwillbe

filedinthebottomofandendlesspileit.

Internet

Levelofsocialconnection

Adocumentispassedon

Searchforinformation

Discussion

Anideaisborn

Listen

Break

The pavilion should disturb the balance

by creating a dialog between people and

those in power. The placeholder should

work with a transparency within itself as

well as towards the administration. A

playfulness in the architecture should en

-

tice action and participation.

As opposed to the plans for the new

ministry, the pavilion should regard hu

-

man scale and establish common ground

where everyone interacts on the same

terms. A variety in space should allow for

spontaneous meetings.

It should crack isolation with intent to

re-evaluate the closed off concept of the

future ministry by encouraging meetings

with others of the public as well as those

in a positions of power and even encour

-

age interaction within the ministry as well.

It should create a possibility for every

-

one’s voice to be heard.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

Analysis of social interactions

Interlocking zones: A visitor is at any moment

a part of a bigger whole.

Observation: Visual connections to the whole.

Osmosis: The public in the city levels out

the absence of public influence within the

administration.

Social connections

PLACEHOLDERS28 | 29

ATMOSPHERE

OPENLANDSCAPE

SEMI-OPEN

OPEN

TRANSPARANCY

TRANSPARANCY TRANSPARANCY

TRANSPARANCY

MORNINGSUN

WIND

EVENINGSUN

TREES

TRAFFIC/NOISE

BARRIER

REIRRAB

MOVEMENT

TNEMEVOM

HIGHSECURITY/LIMITEDACCESS

ENTRANCETOFUTUREBUILIDNG

PRE WW2 BUILDING

PROGRAM

ENTRANCE

OFFICE

WAITINGROOM

OBSERVE

FOYER

INTIMACY

AWARENESS

AWARENESSAWARENESS

PARTICIPATE

LISTEN

TALK

PARTICIPATE

LISTEN

TALK

PARTICIPATE

LISTEN

TALK

PARTICIPATE

LISTEN

TALK

OBSERVE

INTIMACY

OBSERVE

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

Spatial prototype

Sequential experience; one coherent space

+ circulation; folded sequence; non-linear

narrative

Interlocking zones: Previous unrelated spaces

interconnects and creates new possibilities.

Program

Atmospheric conditions.

PH 07 ADMINISTRATION

Entrance

Waiting

Room

Office

Foyer

1 The pavilion opens up in the

foyer.

2 The waiting room and offces

intersect.

3 Ground floor plan.

4 Structural model.

5 Sections.

6 East elevation.

2

3

1

PLACEHOLDERS30 | 31

4

5

6

PH 07 ADMINISTRATION

housewife student

schoolgirl

Luxemburger Str

Genter Str

Leopold

Pl

Müller Str

Technische

Hochschule

park

bürgeramt

access

shops

Shopping

strip

U Leopoldplatz

Bus depot

unemployed

technische

hochschule

majoraccess

routes

public

transport

prominent

views

activities commercial

strip

schools/

kindergartens

T

echnische

Technische

T

Hochschule

Shopping

st

r

ip

shops

U

L

eopoldpl

Bus depot

01

CHAPTER

MAPPING + MICRO LOCATION

Connections on the site with the existing local library.

Urban context and integration of the library into the local community.

GOALS

* Position along existing move-

ment paths.

* Connect existing library to pro-

posed.

* Address existing public spaces.

PLACEHOLDERS32 | 33

of individual computer pods. Different user types

can be close without disturbing each other.

Define: Different zones are not separated with

hard barriers but are simply defined through to-

pography, light quality, spatial proportions and

circulation paths. Cozy, low social spaces make

it easy to communicate. Users can see other us-

ers at any time.

After the construction of the proposed library

the placeholder will provide a celebrated en-

trance and a connection to the existing library.

It provides a connection between the proposed

library and the active, busy public spaces of the

Rathaus and Leopoldplatz and draws the suc-

cessful urban aspects of these into the library

complex.

This placeholder is a marketplace for knowledge,

allowing people to socialize with and learn from

diverse members of the community. It is an open,

active public urban space that encourages inter

-

actions between all users. This is achieved archi

-

tecturally by three strategies.

Soft Edge: The placeholder is formally open to

the surrounding public space; it is a penetrable

‘field’ that fits into existing patterns of use and

circulation, giving shelter and seating while allow

-

ing the general public to walk through or to loiter.

Causal by-passers become aware of the activi

-

ties inside the placeholder. Crossing movement

paths increase the probability of chance encoun

-

ters.

Multiply: Spaces for congregation (‘play space’

or ‘social space’) are created between clusters

PH 08 LIBRARY

EUGENIA ZOUBTCHENKO, ANDREAS WOYKE

housewife student

schoolgirl

MOREDENSE

MOREPRIVATE

MOREINTENSEQUALITIES

2

13

information

2

13

Program: passively receiving information from books.

Programmatic and

Users become a resource, feeding information

back to the library.

Library becomes

but not separ-

Blurred edge bet-

ween context and

placeholder. Library

becomes a forum for

urban life.

2

13

information

2

13

Program: passively receiving information from books.

Programmatic and

Users become a resource, feeding information

back to the library.

Library becomes

but not separ-

Blurred edge bet-

ween context and

placeholder. Library

becomes a forum for

urban life.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

Spatial connections and qualities.

Social interactions of different user groups within the library.

Programme of the past library.

Programme of the future library.

PLACEHOLDERS34 | 35

ALTERTYPOLOGYTOMAKEOURSPACIALFORMULA

isolation social play

views

atmosphere

program

sound

light

views to sky, not to people

at close range

isolated from external

sounds

indirect natural light,

darker for computer use.

cosy, isolated

views to other users, views out to site

Some acoustic protection to help

conversation

di use natural light for studying

intimate but accessible/inviting

users in concentration and collaboration

spaces can be seen

no sound barriers

Bright natural light, Patterns of light and

shade

diverse: ‘hide and seek’ quality,

encourages curiosity and exploration

allows 1 person to concentrate,

to access to digital resources.

group spaces for socialising, group

study of community workshops.

10-15 people

entrance hall, informal social space, events

or exhibitions. Mingling between different

users.

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

Spatial formulas to create the atmospheric situations.

Atmospheric settings related to the needs of the visitors.

Step 1: Setting up the location

of the isolated spaces.

Step 2: Create “study pods”.

Step 3: Pods act as structural “generator”

for the placeholder.

Step 4: The parametrically generated geometry

acts as a element for generating different

atmospheric values within the placeholder.

PH 08 LIBRARY

1 Playspace.

2 Pods.

3 Roof structure.

4 The structural system is

generated from the predefined

specific spaces.

5 Floor plan.

1

2

3

PLACEHOLDERS36 | 37

isolation

space

social space circulation space

play field

B

A

DETAIL MODEL

concentration

pod

ampitheatre social

space entrance

tolibraries indoor/outdoor

zone topography

digital

communication

events,performances,

largegroupgathering

workshops,

socialgroups

meetingpoint,

exhibitions

peoplewatching,

shelter

play,

publicspace

urban

landscape

dogwalking,

play,picnics

4

5

PH 08 LIBRARY

ATTRACT

improveENTRANCE

minimizeimpactagainstoldb.

respectthearea

Oldbuilding

Hotelandboutiques(25%)

Apartments(60%)

CulturalCenter(15%)

Newproject

Demolition

Postfuhramt is located in a central

place of Berlin, in the neighborhood of

Mitte and close to the Museumsinsel and

Scheunenviertel.

The main entrance is on the corner of

Oranienburger Straße and Tucholskys

-

traße. The back entrance in the August

-

straße leads to our place of intervention.

The courtyard in itself is just permeable

to Augustraße, while remaining imperme

-

able towards the rest of streets.

The future project for this site will be a

multi-use complex higher than the his

-

toric building, limiting views and light. As

a critic to this, we proposed to invade the

surface where this project would be built,

and give an alternative to it more respect

-

ful with the surroundings.

01

CHAPTER

MAPPING + MICRO LOCATION

Location in the historical center of Berlin-Mitte.

Hypothesis: In between

GOALS

* Attract people!

* Make the back entrance the main

point of attraction!

* Invade the existing service building!

* Stimulate social interactions!

PLACEHOLDERS38 | 39

The hotel placeholder is an experimental pavil

-

ion which results from the overlapping of differ

-

ent spatial situations and sensations extracted

from the analysis of the generic hotel. It abstracts

these into a combination of spatial options relat

-

ing and exploring the idea of intimacy in public

spaces.

The corridor becomes the main topic of the proj

-

ect. We used it as a tool to find relationships be

-

tween private, intimate and public spaces, de

-

pending on the configuration of the corridor in

each sequence. Corridor becomes a labyrinth.

The possibility of meeting at certain points of the

labyrinth is given by space-time reltion of the dif-

ferent ways. This defines the atmosphere of the

interior of the labyrinth and creates the curiosity

and surprise of visitors. Space-time sequenc-

es and their external parameters such as light,

sound, transparency of borders, create different

atmospheres inside the corridor.

PH 10 HOTEL

ODILE CHABERT, RAQUEL RUIZ

+

CORRIDOR

POTENTIALasaplaceforencounters

INESS

BUS

RECEPTION

TOURIST1

BUSINESSMAN1

MUSEUM

PHO

TOS

WALK

RESTAURANT

NET

BUSI

NESS

LIFT

DOOR

++...

What would happen if the corridor is

not anymore a passageway from one

point to another, but a place for interac

-

tion itself? How could we make people

interact just with small interventions in our

corridor? How could we change their atti

-

tude towards contact with other people?

Separated PROGRAMS result into

separated (or non-existent) interactions.

We INVADE the old building on its ser

-

vice (and unused) part. The CORRIDOR

becomes necessary in order to connect

all of them and make these interactions

possible.

Hotel. Intimacy. Where is the line be

-

tween intimate and public space in the

hotel? Is a sleeping box more private than

a common hotel room? What happens

when you cross the line which divides

private and public space? Is this space in

between defined in hotels?

The corridor. The place in between inti

-

macy and public space?

The scenario: Two actors defined co

-

incide in time and space in the Hotel. In

this story there are another guests/em

-

ployees who interact with the main char

-

acters. Tension (spatial and personal) is

concentrated in the corridor. It becomes

the main stage of social interactions in

the hotel. Seduction. In between public

and intimate.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

Public and private spaces in a hotel.

Corridor as a sudden meeting place.

The corridor becomes a labyrinth which serves

as a border defining space.

PLACEHOLDERS40 | 41

CURIOSITY [exposure]

INTIMACY [yourownspace]

skylight

bed-in-window

observingthecorridor

raisedbed

isolatedofexternalactivity

sleepingingroup

multiplechoice-matress

hiddenbed

workspace

relaxspace

CHANGINGSPACE [sleep/work]

FLEXIBILITY

Rest,breath

gettoknow

walkby,

SEDUCTION

suriosity,

SURPRISE

opacity,

darkness

intuition

SUGESTION

encounters

SURPRISE

watchfromdistance

distension

tension,compresion

I.

II.

III.

IV.

V.

VI.

VII.

INBETWEEN...

PERCEPTIONS

SENSATIONS

I.

II.

III.

IV.

V.

VI.

VII.

Privacy

Intimacy

Public

V.

III.

VI.

VII.

I.

II.

IV.

II.

[b]Borders_sequences

+

PH10 InBetween the Corridor

sequences(storyboard)andexternalparameters

aslight,sound,permeabilityofthemembranes

whichdefinethespace(material:isolation,

transparency,color).

Thespaceinbetweentwopathsortwomem-

braneswillbecharacterizedbythesocialinterac-

tionscatalysedbythelabyrinthitself.

Labyrinthinplanandsection.

LABYRINTH OF PERCEPTIONS

The spatial prototype for the pavillion should give the opportunity

of meeting by chance, walking by without actually meeting, seeing

of the thin membrane that divides one path from another...

The main aim of the labytinth is creating curiosity and surprise.

The space in between two paths or two membranes will be

characterized by the social interactions catalysed by the labyrinth

itself.

Labyrinth in plan and section.

Chapter 5Labyrinth

[a] labyrinth_plan+section

[a] + [b]

LABYRINTH[PLAN+SECTION]

BORDERS[DEFINITION]

+

PH10 InBetween the Corridor

sequences(storyboard)andexternalparameters

aslight,sound,permeabilityofthemembranes

whichdefinethespace(material:isolation,

transparency,color).

Thespaceinbetweentwopathsortwomem-

braneswillbecharacterizedbythesocialinterac-

tionscatalysedbythelabyrinthitself.

Labyrinthinplanandsection.

LABYRINTH OF PERCEPTIONS

The spatial prototype for the pavillion should give the opportunity

of meeting by chance, walking by without actually meeting, seeing

of the thin membrane that divides one path from another...

The main aim of the labytinth is creating curiosity and surprise.

The space in between two paths or two membranes will be

characterized by the social interactions catalysed by the labyrinth

itself.

Labyrinth in plan and section.

Chapter 5Labyrinth

[a] labyrinth_plan+section

[a] + [b]

LABYRINTH[PLAN+SECTION]

BORDERS[DEFINITION]

+

PH10 InBetween the Corridor

sequences(storyboard)andexternalparameters

aslight,sound,permeabilityofthemembranes

whichdefinethespace(material:isolation,

transparency,color).

Thespaceinbetweentwopathsortwomem-

braneswillbecharacterizedbythesocialinterac-

tionscatalysedbythelabyrinthitself.

Labyrinthinplanandsection.

LABYRINTH OF PERCEPTIONS

The spatial prototype for the pavillion should give the opportunity

of meeting by chance, walking by without actually meeting, seeing

of the thin membrane that divides one path from another...

The main aim of the labytinth is creating curiosity and surprise.

The space in between two paths or two membranes will be

characterized by the social interactions catalysed by the labyrinth

itself.

Labyrinth in plan and section.

Chapter 5Labyrinth

[a] labyrinth_plan+section

[a] + [b]

LABYRINTH[PLAN+SECTION] BORDERS[DEFINITION]

The spatial prototype for the pavilion

should give the opportunity of meeting

by chance, walking by without actually

meeting, seeing someone briefly, or hear

-

ing something happening on the other

side of the thin membrane that divides

one path from another.

The main aim of the labyrinth is to cre

-

ate curiosity and surprise. The space in

between two paths or two membranes

will be characterized by the social inter

-

actions, catalyzed by the labyrinth itself.

The experience of boarders that divide

interior ambiences is defined by space-

time sequences (story board) and exter

-

nal parameters as light, sound, permea

-

bility of the membranes which define the

space (material: isolation, transparency,

color) is important.

The change will depend both on our dis

-

tance from the wall and our point of view.

In effect, perception compresses the

qualities of the individual surfaces of the

deep wall into a rich cinematic image.

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

The labyrinth catalyses social interac

-

tions in the pavilion, giving the opportunity

of meeting people by chance, walking by

without meeting, seeing someone briefly,

hearing something happening on the other

side of the membrane which separates the

corridor and the rooms.

Labyrinth’s configuration: overlap and cross ways.

Ways of sleeping in the hotel rooms.

An interconnected labyrinth offers lots of sudden chances towards

guest interaction.

Spatial scenarios of the public corridor.

PH 10 HOTEL

1

3

2

PLACEHOLDERS42 | 43

1 Temporary hotel pavilion in the

backyard of the future project.

2 Sequence of situations inside

the pavilion showing different

situations in public and

intimacy.

3 Section.

4 According to the temporary

character of the pavilion, the

construction system is easy

and quick. Each box (sleeping

room) is self-supporting, and

consists of a steel frame,

closed with two polycarbonate

panels.

5 Ground floor plan

4

5

PH 10 HOTEL

The former airfield is 386 ha big, has a

6 km cycling, skating and jogging trails,

a 2.5 ha BBQ area, a dog-playing field

covering around 4 ha and an enormous

picnic area for visitors.

The site is totally permeable, only a tiny

part of the field is covered with trees and

presents a difference in altitude. This tiny

area is located in the northern part of the

field and provides the only visual bound

-

ary within the field. A fence is running

all around the field, a physical border,

01

CHAPTER

MAPPING + MICRO LOCATION

FACTS

* Northern part is protected from traf-

fic noise.

* Close to the most popular entranc-

es and “crossing zone”.

* 360° view with different sceneries:

the main building, the endless flat-

ness, the mound and its trees.

* Very intimate place where people

are already hanging out.

and the city itself surrounding the place

serves as visual delimitation.

Tempelhof is like a hole in the city. The

perfect contrast to density: a naked flat

field under the sky. It feels like the coun-

try. The weather has a major impact on

the atmosphere of the place. A sunny day

in Tempelhof is colorful and alive, but as

soon as the wind starts to blow or the

rain to fall, Tempelhof shows other faces.

It can be dramatic, introverted, unwel-

coming.

Different local settings and atmospheres on the former Tempelhof

airfield.

Special site connection and integration on the huge former airfield Tempelhof.

PLACEHOLDERS44 | 45

The placeholder can be understood as a vertical

theme park and seen as a landmark standing in

the middle of the former airfield Tempelhof. Each

floor offers different grilling atmospheres and dif

-

ferent conditions for new social interactions.

The horizontal definition of the pavilion leads from

the center to the outer skin: fire, tables, circula

-

tion. Each grill connect to a large central chimney

at the core of the building.

The raw aspect shall not be considered as final

-

ity but like a starting point. Different scenarios

can be envisaged. The pavilion could extend its

present boundaries, new grilling types could be

added and spaces could be cut off from bad

weather. Surfaces could be dedicated to schools

or organizations for workshops. Climbing plants

could be introduced. Or, the placeholder could

be taken into pieces and it’s remains will be cov-

ered by nature after some years.

PH 11 PARK & RECREATION

MADINE DELHOMMEAU, IEVA ZUKAUSKAITE

The vast flat field has got different fac

-

es. The part going from the north to the

east is well integrated in the surrounding,

on the other hand the south, much loud

-

er, seems wild and unfrequented.

We chose as a micro-location a tiny

island of vegetation, the only one, right

between a mound, an old airplane and

a few “sheds”. It is an extraordinary in

-

timate place already used by people as

such, located in the north and easy to

reach from the main entrances.

The analysis of social behaviors in Tem

-

pelhof brought (or draw) the conclusion,

that there is almost no social interactions

between individuals from different activ

-

ity backgrounds. We also observed that

social interactions are increasing when

an activity facility is supplied, there is the

possibility to take part in a project, or

people are involved in an event.

Our task is to create a space, where

people, who normally don’t interact with

another, would start doing it.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

There are almost no social interactions between individuals

from different activity background.

Scenario of new interaction possibilities.

SOCIAL INTERACTIONS ARE

INCREASING, WHEN:

* an activity FACILITY is supplied,

* there is the possibility to take part

in a PROJECT,

* people are involved in an EVENT.

PLACEHOLDERS46 | 47

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

Spatial prototype models.

Layering the spaces on top of each other and docking them to the

bonfire chimney.

Rotating the simplified pyramid upside

down. The bonfire is in the main chimney.

It’s significant function implies a central

position.

Definition of different grill spaces

PH 11 PARK & RECREATION

1

3

2

PLACEHOLDERS48 | 49

1 Public Plancha with shared grill

and tables on the roof.

2 The Integrated Grill Passage

offers intimate grills inside

and outer collective tables.

3 Section showing the huge chimney

with attached grill platforms.

4 a Ground: Hanging out (1.2) and

bonfire (1.1)

b 2nd: Integrated grills (4) and

eating zones (5+6)

c 3rd: Yakiniku grills (8.1+8.2)

and outside eating zone (7)

d 4th: Plancha public grill (9)

5 North elevation.

6 Entrance stair and space for

portable grills.

4a

6

5

4b 4c 4d

PH 11 PARK & RECREATION

Situation on site: traffic all day.

The Kulturforum is situated in the very

center of Berlin next to Potsdamer Platz.

Currently it suffers from huge car traffic

which also divides the area. Free spaces

are used as car parking.

Planned is a new open space design

which likes to densify the area and to im

-

prove the urban connections.

01

CHAPTER

MAPPING + MICRO LOCATION

Traffic directions: now. Traffic directions: master plan.

Hypothesis: Traffic and urban connections influenced by the pavilion.

GOALS

* Unify!

* Overcome borders!

* Create a public space framework!

* Add new programmes!

PLACEHOLDERS50 | 51

osity for what s happening inside.

The pavilions spatial configuration consists in the

combination of three types of spaces for: per-

forming, spectating and circulation. The three

situations alternate and come together in order

to create a variety of spaces where performance

can spontaneously happen.

The pavilions dynamic characteristic, favoring a

continuous movement of flows is a performance

in itself. In this way, the placeholder offers a spe-

cial aesthetic, picturesque experience address-

ing not only to the visual but also to the body and

senses.

The placeholder acts as a spatial forecaster of

the new social interactions determined by the

shift in the relationship between spectator and

performer. The interchange between spectator

and performer takes place at urban scale and

Placeholder’s scale.

Considering the urban scale, the pavilion adds

what the Masterplan lacks, creating a link be

-

tween the dissociated parts of the Kulturforum

area. It acts like a bridge, connecting the circu

-

lation flows between the two sides of the Pots

-

damer Straße. Simultaneously, it represents a

destination, acting irritating on the surrounding

environment by its location, but awakening curi

-

PH 12 PERFORMANCE & ART

SAMUEL PEREA, FLORINA POP

individualism

reinvetion of the public rELATIO NSHI P MAN-SURRO und i NG

counterpublic

WHAT IS A R

T?

collectivity

information

actors

interaction

rELATIO NSHI P

performance

the space of interaction

partic ipat ion for n ew pub lic spher e

new fo rms of s ociab ility

new a rti culat ions

[ ] 1

[ ] 2[ ] 2

[ ] 3

[ ] 4

[ ] 5

[ ] 6

[ ] 7

[ ] 8

ART

ARTIST CONTEMPLATOR

Exchange of information

performance

destination - BRIDGE

superposition of layers

The space for performance and art re

-

quires new articulations as new forms of

social interaction for the cultural events.

The process of defining new social inter

-

actions needs a reinvention of the public

as an open system. This system requires

an active participation of the public. The

trigger for the new space is the relation

-

ship between performer and spectator.

Participation introduces a system where

roles are interchanging. Considering this,

a performer can become a spectator of

the spectator who has become a per

-

former.

02

CHAPTER

SOCIAL INTERACTIONS

03

CHAPTER

PROJECT BRIEF

PUBLIC vs COUNTERPUBLIC

What should be the relationship between

“performer” and spectator?

working for a public means fullfilling its

expectations / enrich its cultural experi

-

ence through participation / the public

is in a constant mobility process / new

articulations of social interactions where

public plays an active role

SOCIAL INTERACTIONS

Who is the “PERFORMER”? / Which is

the new space of performance? / Can a

spectator be BOTH observer and per

-

former?

NEW interactions : artist-spectator, artist

manager, artist-artist ... / performer (ART

-

manager, artist-artist ... / performer (ART-manager, artist-artist ... / performer (ART

IST) - observer (SPECTATOR) / performer

(SPECTATOR) - observer (ARTIST)

Performers and spectators.

THE NEW SPACE

* for the individual and the collective

* transitory/static – permits passing

by/stop and watch

* allows to see and to be seen

* triggers the interchange between

performer and spectator

Destination bridge: Superposition of layersExchange of information.

PLACEHOLDERS52 | 53

+

=

P L A T F OR MS

B R I DGE

Ramp 2

level 2

level 1

Ramp 3

Ramp 1

level 0

we are

PERFORMERS

we are ARTISTS

we are STUDENTS

PERFORMERS?

we are TOURISTS

we are TOURISTS we are STUDENTS we are ARTISTS

we are

PERFORMERS

Crowd: TRANSIT SPACE

Artistic particular action:

CONCENTRATION AND DISPERSION

EMPTY

INSIDE

OUTSIDE OUTSIDE

TRANSIT

SPACE

TRANSIT

SPACE

SPECIAL SITUATION

DAILY SITUATION: SUMMER

DAILY SITUATION: WINTER

ACTORS AND ROLES

+

=

P L A T F OR MS

B R I DGE

+

=

P L A T F OR MS

B R I DGE

+

=

P L A T F OR MS

B R I DGE

+

=

P L A T F OR MS

B R I DGE

Depending on the character of the spac

-

es, narrow / wide – covered / uncovered

– inclined / plane surface, we imagine a

sequence of frames where the shift will

happen.

The relationship between performer and

spectator does not only change inside of

the Placeholder, but also in its relation

-

ship with the city, itslef being as well a

performer as a spectator!

04

CHAPTER

PROGRAM + ATMOSPHERE

05

CHAPTER

SPATIAL PROTOTYPE

There will be specific situations where

the accumulation is greater and the pavilion

will be a transit space and concentration of

performances. If the accumulation is less,

the pavilion will act as an exhibition space

that will focus on the performer-spectator

relationships.

CONCLUSIONS

* Protect the performance from the

noise of the street.

* BRIDGE – connecting the two sides of

the Potsdamer Straße.

* DESTINATION – social incubator

where the shift of the relationship be-

tween performer and spectator is en-

couraged.

Actors and roles.

Spatial prototype

Layered user-specific spaces.

BRIDGE: unifies the area of the Kulturforum

PLATFORMS: offer different spaces where

performances will happen and create a landmark

PH 12 PERFORMANCE & ART

1 The Placeholder connects the

two Kultorforum areas which

are devided by a high traffic

street.

2 The dynamic shape is a

reference to the high traffic

below and lead people inwards.

3 Open spaces provide spectators

and artists a lot of

possibilities to form the

space.

4 A spiral gangway provides

overlappings and visual

connections between different

levels and programmes.

5 Performance space spans above

the street.

1

2

3

PLACEHOLDERS54 | 55

a.

b.

> 1:100

m

PLAN+5,50

1:100

4

5

PH 12 PERFORMANCE & ART

Studio Talks

The ADIP Studio Talks aimed to explore a wide range of architectural strategies, prototypes and

theories relating to the concept of ‘place-holding’. Unlike lectures, our Studio Talks were held in a

more intimate studio space encouraging controversial discussions and challenging the students

prejudices of what a placeholder could be. By doing so Boštjan Vuga’s outsider view was confronted

with Berlin specific insider views.

Some of the addressed topics: What is the relation between image and meaning? How does ap

-

propriation develop into a prototype? What is a performative space?

written and compiled by Birgit Klauck

tech textile foils wrap the void spaces of

many unoccupied lots. The most dra

-

matic expression of this development so

far is to be seen at Leipziger Platz with

its deceptively realistic replicas - showing

the buildings to come. By doing so they

reveal the failure of an urban policy aimed

at restoring the city’s past.

Andreas Ruby highlighted the role of

the image (as representation of built or

unbuilt architecture) in contemporary ar

-

chitecture - in particular in the context of

Berlin. The virtual reconstruction of the

Schloss in 1993, a large textile print of

the building’s historic facade, introduced

a prototype of a new urban typology: the

textile curtain wall. Since then, giant high-

Formulas state concepts or ‘main ideas’,

applied to their architectural products.

SADAR+VUGA use them as the commu

-

nicational tool in the office while develop

-

ing a particular product, in discussions

with the client and presentations to the

public.

Boštjan Vuga highlighted the expression

‘Formula New Ljubljana’, by which he

sees the city’s development as a con

-

stant dynamic process leading to a new

image of Slovenia’s capital. Rather than a

state of frozen identity, this is a dynamic

principle in our society and our city that

will inspire new visions, time and time

again.

mance, a critical roundup of Berlin’s aim

to control its urban transformation. Their

latest project, a World fair on the field of

the former Tempelhof airport thematised

our conception of the world (giving a criti

-

cal account on the relationship between

the first, second and third world) will be

part of the pioneer projects on these one-

time airport grounds.

Planning for a city that evolves not only

through abstract rules and financial in

-

terests, but through the participation and

joined activities of its inhabitants - this is

the work of Raumlabor and its many pro

-

tagonists. The talk of Markus Bader and

Benjamin Förster-Baldenius turned out to

be a vivid illustration of their philosophy.

Instead of a talk we witnessed a perfor

-

01 / The Decorated Void

by Andreas Ruby

02 / Formulas

by Boštjan Vuga

03 / Alles Paletti – Das Temporäre in der Stadt

by Raumlabor Berlin - Markus Bader, Benjamin Foerster-Baldenius

PLACEHOLDERS56

sumption and field of research: the need

for urban redevelopment on the one hand

and the conservation trends of migrants

on the other hand led to conflicts of giv

-

ing way to a new Berlin and making plac

-

es by the very same migrants.

This talk highlighted “Placemaking”, a

strategy of appropriation of space in the

focus of migration and the fall of the Ber

-

lin wall.

Stefanie Bürkle introduced her interdisci

-

plinary art project “Migration of Spaces”

in which she studied brought in and self-

created spaces of migrants – between

arrival country and home country. Her as

-

Are architects the new moderators of

change? This question was a key issue

of our design studio and Carson Chans

talk exemplified his experiences so far.

The talk addressed performative spaces

and their potential to actively contribute

to society and therefore contribute to an

inspiring urban life.

Carson Chan came to Berlin to further

explore the idea of performative space

in architecture which he started with his

thesis project at Havard. Especially in the

recent past Berlin offered ideal economic

conditions to test and verify performative

spaces in action. Thus, in 2006 Carson

Chan implemented Program, a discur

-

sive platform.

spirit of Berlin. Furthermore, these blank

spaces have the potential to program and

develop flexibly, according to the needs

of people and through certain imaginative

moments.

“Raumrohlinge”, a shell with temporary

cover, describes an architectural strategy

which was developed from the practice

of appropriation and then turned into a

sort of architectural prototype. These

prototypes cannot be “finished” nor as

-

sociated with clear typologies. Instead

they want to be raw and imperfect - ex

-

pressing a brutality which relates to the

04 / Placemaking

by Dr. Stefanie Bürkle

05 / Program

by Carson Chan

06 / Stupid But Smart

by Markus Emde

be a perfect example of the new proto

-

type (high tech foils manipulating surface

expressions) which Andreas Ruby intro

-

duced in the first talk, many of magmas

buildings illustrate a correlation between

surface appearance and meaning.

The design of magma architecture is

often driven by their desire to evoke an

experience that relates to the program of

the building - regardless of temporality or

permance of the building.

Exemplary the skin of the olympic shoot

-

ing venue refers to the flow and precision

inherent to the shooting sport. Although

on the first glance this building seems to

07 / Eternally Temporary

by Martin Ostermann

STUDIO TALKS

EDITOR OF THE MAGAZINE

Prof. Boštjan Vuga

Martin Hartwig

Birgit Klauck

David Ruic

Jasper Ugrinsky

Technische Universität Berlin

Institut für Architektur

Architecture Design Innovation Program

Fachgebiet Entwerfen und Innenraumplanung

Sekretariat A61

Straße des 17. Juni 152

10623 Berlin, Germany

http://www.adip.tu-berlin.de

PUBLISHER

Universitätsverlag der TU Berlin

Fasanenstr. 88

10623 Berlin, Germany

http://www.univerlag.tu-berlin.de

ISBN

978-3-7983-2443-5

ARTICLES BY

Jörg Stollmann

Boštjan Vuga

David Ruic

STUDENTS

Eda Ceylan, Tesela Coraj, Francesca Dallago,

Madine Delhommeau, Aylin Duymaz, Ralitsa

Georgieva, Alex Groza, Svante Karlsson, Sven-

ja Krist, Benedikt S. López H., Mariana Matias,

Isa Neto, Odile Chabert, Samuel Perea, Florina

Pop, Paul Reinhardt, Raquel Ruiz, Johan Talje,

Tanar Tuncel, Arsel Türker, Kati Türschmann,

Andreas Woyke, Vonne Yang Xiang Jing, Eu-

genia Zoubtchenko, Leva Zukauskaite

GUEST CRITICS/JURY MEMBERS

Markus Bonauer, Carson Chan, Simon Hart-

mann, Birgit Klauck, Regine Leibinger, Martin

Ostermann, Jörg Stollmann

STUDIO TALK SPEAKERS

Markus Bader, Dr. Stefanie Bürkle, Carson

Chan, Markus Emde, Benjamin Foerster-

Baldenius, Martin Ostermann, Andreas Ruby,

Boštjan Vuga