The Work II: Architecture, Urban Design, Drawings, and Sculptures (2000-2016) [1 ed.] 9783035622799

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ROB KRIER ROBKRIER The The Work Work II II Architecture, Urban Design, Drawings and Sculptures

2000-2016

The TheWork WorkII

ARCHITECTURE, URBAN DESIGN, DRAWINGS AND SCULPTURES 2000–2016

ROB’S EDITION Birkhäuser Basel

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In memory of my parents, Maudy and Jempy Krier. They protected my dreams. Page 1 – Portrait sketch (of the author) my wife My heartfelt thanks go first of all to allbythose who have madeGrützke, such a valuable Roswitha 1986 contribution to the preparation and realisation of my projects, and then to all thosebook who have contributed to the printing the two This has been compiled from variousofpublicabooks It ondemonstrates my work: tions. not only my work as a town – Dorothea German planner and Wagner architect,for butproofreading also that as a my visual artist texts, and sculptor and my desire to see both in union. Designs that emerged under my leadership have been – Andyfrom Tarrant them into English, taken the translating following books (either in full or in amended form): – Marisa Lock for the technical editing of my layouts, linking of the infinite number of images and the – the Architectural Monographs, Rob Krier, Archiadjustment my layout templates, tecture andof Urban Design, Academy Editions + Ernst und Sohn, 1993, ISBN 1 85490 204 0 (HB), – PISBN aul Kallnbach for finalising 1 85490 205 9 (PB) the layout and monitoring the quality of the book. He has beenResirespon– Rob Krier, Zeichnungen und Skulpturen, sible for many of my books in recent denz Verlag, 1995, ISBN 3-7017-0948-3 – Rob Krier., Christoph Kohl, Potsdam-Kirchsteigfeld, The Making of a Town, AWF-Verlag, 1997, Page 1 – 3-933093-00-7 Portrait sketch (of the author) by my wife ISBN Roswitha Grützke, 1986. – Rob Krier, On Architecture, Academy Editions / St. Martin's Press, 1982, ISBN 0-312-68541-6 Images texts0-312-68542-4 are my own and are authorised by Cloth,and ISBN Paper me. – Rob Krier, Urban Projects, 1968-82, 5 IAUS, Rizzoli NY, 1982, ISBN 0-8478-0409-7 – Rob Krier, Ein romantischer Rationalist, This book has been compiled from various publicaA Romantic Rationalist, Springer, Deutsches tions. It demonstrates not only my work as a Architektur-Museum, Frankfurt am Main, town 2005 planner and architect, but also that as a visual artist – Rob Krier, Town Spaces, Contemporary andInterpretations sculptor and my desire to see both in union. in Traditional Urbanism, BaselDe/ signs that emerged under my leadership have been Berlin / Boston, 2003 taken from the following books (either in full or in amended Images andform): texts are my own and are authorised by me. – Rob Krier, Architectural Monographs, Architecture and Urban Design, Academy Editions + Ernst und Sohn, 1993, ISBN 1-85490-204-0 (HB), ISBN 1-85490-205-9 (PB) – Rob Krier, Zeichnungen und Skulpturen, Residenz Verlag, 1995, ISBN 3-7017-0948-3 – Rob Krier, Christoph Kohl, Potsdam-Kirchsteigfeld, The Making of a Town, AWF-Verlag, 1997, ISBN 3-933093-00-7 – Rob Krier, On Architecture, Academy Editions / St. Martin’s Press, 1982, ISBN 0-312-68541-6 Cloth, ISBN 0-312-68542-4 Paper – Rob Krier, Urban Projects, 1968-82, 5 IAUS, Rizzoli NY, 1982, ISBN 0-8478-0409-7 Rob Krier, Ein romantischer Rationalist, A Ro– mantic Rationalist, Springer, Deutsches Architektur-Museum, Frankfurt am Main, 2005

Editors: Dorothea My heartfelt thanksWagner go first of all to all those who have made such a Translation: Cathal Whelehan, Fiona Greenwood valuable contribution to the preparation and realisaFincannon, Sara King, Dorothea Wagner tion of my projects, and then to all those who have contributed to the prinLayout, andtwo typesetting: Rob Krier ting of the books on my work: Cover design: Heike Strempel – Dorothea Wagner for proofreading my German Paper: 115g/m² Magno Volume texts, Printing: BELTZ Grafische Betriebe GmbH – Andy Tarrant for translating them into English, Congress Number: –Library MarisaofLock for theControl technical editing 2021939422 of my layouts, the linking of the infinite number of images and the adjustment of my layout templates, Bibliographic information published by the German Library for finalising the layout and moni–National Paul Kallnbach The German National Library lists this publicatoring the quality of the book. He has been responsible tion in the Deutsche Nationalbibliografie; detailed for many of my books in recent years. bibliographic data are available on the Internet at http://dnb.dnb.de. Thank you all very much! This work Rob is subject Copyright: Krier to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reISBN................. printing, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or in other ways, and Printed.............. storage in databases. For any kind of use, permission of the copyright owner must be obtained. ISBN 978-3-0356-2279-9 e-ISBN (PDF) 978-3-0356-2280-5

© 2021 Birkhäuser Verlag GmbH, Basel P.O. Box 44, 4009 Basel, Switzerland Part of Walter de Gruyter GmbH, Berlin/Boston

9 8 7 6 5 4 3 2 1 www.birkhauser.com

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CONTENTS

A dream of reuniting architecture and fine arts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 The Figural City, by Michael Graves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Motivation thismonographic monographicintrospection introspection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Motivation for to this Composition Composition of of urban Urbanspaces Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Pavilion for the Landesgartenschau, Freiburg . . . . . . . . . 1986 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Citadel Broekpolder, Beverwijk/Heemskerk . . . . . . . . . . 2000–2008 . . . . . . . . . . . . . . . . . . . . . . . 34 House for my friends, Pantasina, Liguria . . . . . . . . . . . . . 2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 segment,inFrisco, Texas Street segment Frisco, Texas . . . . . . . . . . . . . . . . . . . . . . 2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Window in the woods, Almere . . . . . . . . . . . . . . . . . . . . . 2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Lignano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Façades on Leipziger Platz and Voßstraße, Berlin . . . . . . 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Façade study, Galerie Unter den Linden, Berlin. . . . . . . . 1996 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Rivierenbuurt, The Hague. . . . . . . . . . . . . . . . . . . . . . . . . 2000–2009 . . . . . . . . . . . . . . . . . . . . . . . 90 Woonkathedraal, The Hague. . . . . . . . . . . . . . . . . . . . . . . 2001–2002 . . . . . . . . . . . . . . . . . . . . . . . 124 Tacheles — – Johannisviertel, Tacheles Johannisviertel,Berlin Berlin. . . . . . . . . . . . . . . . . . 2000–2002 . . . . . . . . . . . . . . . . . . . . . . . 128 Cité-Jardins Le Plessis-Robinson, Paris . . . . . . . . . . . . . . 2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 ZAC du Parc, Vitré . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1997–2002 . . . . . . . . . . . . . . . . . . . . . . . 143 Val d'Europe, Marne-la-Vallée . . . . . . . . . . . . . . . . . . . . . 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Kloosterveste Assen Kloosterveste, Assen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Lloyd Pier, Rotterdam . . . . . . . . . . . . . . . . . . . . . . . . . . . 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Strijp S, former Philips works, Eindhoven . . . . . . . . . . . . 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Development plan for Ouderkerk, Amsterdam. . . . . . . . . 2001–2003 . . . . . . . . . . . . . . . . . . . . . . . 178 Housing on Wielandstraße, Gladbeck. . . . . . . . . . . . . . . . 2001–2002 . . . . . . . . . . . . . . . . . . . . . . . 184 Chimney in our flat, Berlin . . . . . . . . . . . . . . . . . . . . . . . . 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Bataviahaven, Lelystad . . . . . . . . . . . . . . . . . . . . . . . . . . . 2002–2009 . . . . . . . . . . . . . . . . . . . . . . . 188 Landstraat Noord, Bussumfor Harbour and new concept . . .the . . town . . . . .hall, . . . .Bussum . . . . . . . . . . 2001–2010 . . . . . . . . . . . . . . . . . . . . . . . 204

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Olympic village, Düsseldorf . . . . . . . . . . . . . . . . . . . . . . . 2002–2003 . . . . . . . . . . . . . . . . . . . . . . . 208 Kamperpoort, Zwolle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Alter Court), Munich 2002-2003. . . . . . . . . . . . . . . . . . . . . . . . 215 . . .residence, . . . . . . . . Munich . . . . . . . . . 2002–2003 Alter Hof Hof (Old — Restructuring the old Woonzorgpark Bilderdijk, Hoogeveen . . . . . . . . . . . . . . . 2002–2008 . . . . . . . . . . . . . . . . . . . . . . . 222 Sculptor’s workshop, workshop, Bargemon Bargemon . . . . . . . . . . . . . . . . 1991–2003 . . . . . . . . . . . . . . . . . . . . . . . 232 My sculptor’s Apartment villas, Heiligendamm . . . . . . . . . . . . . . . . . . . 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Housing complex Paktuynen, Enkhuizen . . . . . . . . . . . . 2003–2009 . . . . . . . . . . . . . . . . . . . . . . . 244 Living on islands, Heerenveen . . . . . . . . . . . . . . . . . . . . . 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Urban renewal, Culemborg . . . . . . . . . . . . . . . . . . . . . . . . 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Urban development Hattersheim, Frankfurt a. . . . . . . . 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 amM. Main De Stadsbleek, Oldenzaal . . . . . . . . . . . . . . . . . . . . . . . . . 2003–2016 . . . . . . . . . . . . . . . . . . . . . . . 268 Oberkassel, Düsseldorf . . . . . . . . . . . . 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 New development of Oberkassel, Düsseldorf Restructurisation of Boddenkamp, Enschede Restructuring of Boddenkamp, Enschede . . . . . . . . . . . . . 2003–2004 . . . . . . . . . . . . . . . . . . . . . . . 280 New opera house, Muscat . . . . . . . . . . . . . . . . . . . . . . . . . 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Urban development, Amstelveen . . . . . . . . . . . . . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 Burcht Luyvestein, Suytkade, Helmond . . . . . . . . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Housing complex Ismaninger Straße, Munich . . . . . . . . . 2003–2004 . . . . . . . . . . . . . . . . . . . . . . . 301 Foundation of a new village, Muiden . . . . . . . . . . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 305 New community on aformer formerfactory factorysite, site,Ede Ede. . . . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Extension of the former court of justice, Utrecht . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Arcad Europea, Prague . . . . . . . . . . . . . . . . . . . . . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Assumerhof, Heemskerk. . . . . . . . . . . . . . . . . . . . . . . . . . 2003–2010 . . . . . . . . . . . . . . . . . . . . . . . 320 Urban development, development Borbeck Urban Borbeck area, area, Oberhausen Oberhausen. . . . . . . . 2004–2006 . . . . . . . . . . . . . . . . . . . . . . . 330 a. M. . . . . . . . . . 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Garden City Unterliederbach, Frankfurt am Main IJburg – urban development of a new island . . . . . . . . . . 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 New Argentinie, IJhaven, Amsterdam . . . . . . . . . . . . . . . 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Living in the historical centre, Bilbao. . . . . . . . . . . . . . . . 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

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How to build in Bilbao . . . . . . . . . . . . . . . . . . . . . . . . . . 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 My Sculptor’s How to build inworkshop, Bilbao . .Duomo/Andora 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 418 . . . . . . . . . . . . . . . . . . . . . . . . 2003 Olympiakwartier, AlmereDuomo/Andora 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 448 .Duomo/Andora . . . . . . . . . . . . . . . . . . . . . . . . 2003 My sculptor’s Sculptor’s workshop, workshop, New district Bangert en Oosterpolder, 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 456 Olympiakwartier, Almere . . . . . . . . . . .Hoorn . . . . . . . . . . . . . . 2004 Melchior house, Ersange 460 . . . . . . . . . . .Hoorn . . . . . . . . . . . . . . 2008 New district Bangert en Oosterpolder, 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Monumenthouse, to Freedom 2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 462 Melchior Ersangeand . . Unity, . . . . . .Berlin . . . . . . . . . . . . . . . . . 2008 Sculpture depot, Duomo/Andora 470 .Berlin . . . . . . . . . . . . . . . . . 2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 Monument to freedom Freedom andunity, Unity,.Berlin Monument to and European Embankment, St. Petersburg 2010–2012 476 Sculpture depot, Duomo/Andora . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 . . . . . . . . . . . . . . . . . . . 2009 Cité Judiciaire, Luxembourg 1991–2008 . . . . . . . . . . . . . . . . . . . . . . . 476 520 . . . . . . . . . . . . . . . . . . . . . . 2010–2012 European Embankment, St. Petersburg Petersburg European embankment, St. Reconstruction of the New Market, 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520 576 Cité Judiciaire, Luxembourg . . . . . .Berlin . . . . . . . . . . . . . . . . 1991–2008 Conversion of aofBarracks, 582 .Berlin . . . . . . . . . . . . . . . . 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Reconstruction the new market, NewBamberg Market,Berlin Kulturforum, 588 . . . . .Bamberg . . . . . . . . . . . . . . . . . . . . . . . . 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582 Conversion aa barracks, Conversion of ofBerlin Barracks, Bamberg The scandal ofBerlin architectural 609 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588 Museum of the 20th Century, Kulturforum, . . . . . . .competitions .Kulturforum . . . . . . . . . . . . . . . . . . . . . .2015 District of Tegel Airport . . . .competitions . . . . . . . . . . . . . . . . . . . . . . .2016 The scandal of architectural 609 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 A Legacy it’sAirport, calling.Berlin into 620 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 District ofand Tegel Airport . . . .question . . . . . . . . . . . . . . . . . . . . . .2016 District of Tegel Postscript . . .its .it’s . calling . calling . . . . . into . into . . .question .question . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 A A legacy Legacyand and 620 Statement of 629 Postscript . . .Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1997–2016 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Project staff 630 . . .Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1997–2016 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 Statement of Biography 631 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630 Project staff Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631

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A DREAM OF REUNITING ARCHITECTURE AND FINE ARTS

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I have mostmost oftenoften sepann my my publications publicationssosofar,far, I have separated my two fields of work, architecture rated my two fields of work, i.e.i.e. architecture and and drawings / sculptures. As a consequence, the drawings / sculptures. As a consequence, the impresimpression arose that just happened to be sion arose that there justthere happened to be several artseveral artists with the same name on the scene. ists with the same name on the scene. The different The different editors reinforced this suspicion. Now editors reinforced this suspicion. Nowthefriends have friends have encouraged me to pacify two souls encouraged mebody to pacify twothem soulsonce housed my housed in my and tothe unite andinfor all. Under titlethem “Theonce Work”, have now body and totheunite and Ifor all.thus Under the brought together architectural projects, drawings title “The Work”, I have thus now brought together and sculptures from adrawings specific and period to present architectural projects, sculptures from them as a whole. a specific period to present them as a whole. Browsing through the pages for the first time, the Browsing through the pages for the first time, the reresult looks surprising, multifaceted, sometimes sult looks surprising, multifaceted, sometimes chaotchaotic. It reveals the inner turmoil and multiple ic. It reveals the inner turmoil and multiple personalipersonalities of the author, who, in his youth, could ties of the author, who, in his youth, could not decide not decide on one or the other. On my journeys as a on one or the other. On my journeys as a schoolboy, schoolboy, I was dazzled by the beauty of holistic I was dazzled by the beauty of holistic works of art works of art to such an extent that I thought that to such an extent that I thought that contemporary arcontemporary architecture and arts would have to chitecture and arts would have to be able to achieve be able to achieve this quality, too. And I was naive this quality, too. And I was naive enough to believe enough to believe in the unity of all arts under the in the unity of all arts under the auspices of architecauspices of architecture, as it had been presented to ture, as it had been presented to us as the mother of us as the mother of all arts in class. It was only all arts in class. It was only much later that I realised much later that I realised that the arts had become that the arts had become dramatically estranged from dramatically estranged from one another under the one another under the pressure of the modern art marpressure of the modern art market. The picture ket. The picture frame is merely a mean relic of the frame is merely a mean relic of the painting’s lost painting’s lost bearing to the surrounding architecturbearing to the surrounding architectural space. al space. From the beginning of my time at grammar school From the beginning of my time at grammar school on, I drew and painted without the instruction or inon, I drew and painted without the instruction or inspection of a teacher, following only my inner urge, spection of a teacher, following only my inner urge, mostly during the holidays. Due to the religious mostly during the holidays. Due to the religious ededucation received from our mother I thought to ucation received from our mother I thought to find find the fulfilment of my artistic will to express the fulfilment of my artistic will to express myself in myself in biblical motifs. I chose themes that depicted biblical motifs. I chose themes that depicted humans

inhumans deep self-absorption and which revealed spiritual in deep self-absorption and which revealed conflicts. expressiveness of hands inspired meinto spiritual The conflicts. The expressiveness of hands pen my me firsttolittle book onlittle the subject, of the spired pen my first book on Play the subject Hands. the Hands. field of In architecture, I wanted to dedi-I Play ofInthe the field of architecture, cate myself in a similar wayintoasacred I bewanted to dedicate myself similarbuildings. way to sacred gan to intensively myself prepare for my first church buildings. I beganprepare to intensively myself for design with Prof.design Josef Wiedemann at the Technical my first church with Prof. Josef Wiedemann University in Munich by performing site measureat the Technical University in Munichaby performing ment the gothic cathedral in Auxerre. a siteofmeasurement of the gothic cathedral in Auxerre. This as as seriously today as itasdid Thissubject subjectanimates animatesmeme seriously today it back then. then. But despite all myallefforts, I haveI never did back But despite my efforts, have succeeded in realising this dream of myof youth. I had never succeeded in realising this dream my youth. planned multifunctional sacred buildings in all my I had planned multifunctional sacred buildings in large-scale urban designs, I’ve onlybut actually built all my large-scale urbanbutdesigns, I’ve only one chapel. Asone is chapel. the case architecture and town actually built Asfor is the case for architecture planning general, in both of which undergone and towninplanning general, bothhave of which have a undergone frustrating adecline in the 20th century, the quality frustrating decline in the 20th century, ofthe church buildings has sunk rapidly. some quality of church buildings hasThere sunkare rapidly. touching exceptions: Dom van der Laan, Granpré There are some touching exceptions: Dom van der Molière, Plecnik, Molière, Le Corbusier, Alvaro Aalto and Laan, Granpré Plecnik, Le Corbusier, others. To date I haven’t dared to sketch a valid soluAlvaro Aalto and others. To date I haven’t dared to tion for this temple theme. sketch a valid solution for this temple theme. During to dedicate dedicate Duringmy mystudies, studies,IIhad had an an urgent urgent desire desire to myself to town planning. My journeys across Eumyself to planning. My journeys across Europe rope shown its distress, shocked me had had shown me itsmedistress, whichwhich shocked me much much more than the banality of contemporary new more than the banality of contemporary new conconstruction. Theimpacts impactsofoftown townplanning planning encroach encroach struction. The much more decisively on people’s social living conmuch more decisively on people’s social living conditions. ditions.Here, Here,I Ifelt feltmore moremotivation motivationtotofind findopportuoppornities for corrections than in the elitist sacred architunities for corrections than in the elitist sacred artecture. Besides that, my faith was chitecture. Besides that,naive my naive faithundermined being unmore and more by ecclesiastic prescriptions, which dermined more and more by ecclesiastic prescriptions, shackled our life as withcouple constraints which shackled oura young life ascouple a young with and burdened us with spiritual reprisals. constraints and burdened us with spiritual reprisals.

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When the priest priest refused refused to tobaptise baptiseour oursecond secondchild, child, When the who had been been stillborn, stillborn,because becauseaccording accordingtotochurch church law the stuck in limbo, the innocent innocentcreature creaturewas wasnow now stuck in the I bitterly goodbye to the Roman Catholic institulimbo, I said bitterly said goodbye to the Roman Catholic tion. In doing so, theso, religious themes bowedbowed out of institution. In doing the religious themes my as life an architect and artist. out life of my as an architect and artist. After receiving I threw myreceivingmy myuniversity universitydiploma, diploma, I threw self intointo working on competitions in my time, myself working on competitions in free my free in thein naive hope hope that I that could build build a career as anas artime, the naive I could a career chitect in this way.way. ThisThis strategy was unsuccessful; an architect in this strategy was unsuccessful;in ten years, I didn’t in ten years, I didn’twin wina asingle singlecompetition. competition.HowevHower, mymy architectural and urban designdesign theories ripened ever, architectural and urban theories and, fromand, the middle of the 1970s ripened from the middle of on, thebecame 1970s more on, precise. by the intensive became This moreprocess precise.was Thissupported process was supported exchange with myexchange brother Leo, who by the intensive with mythrough brotherbrilliant Leo, tenacity had made his own way had as anmade architect withwho through brilliant tenacity his own out studies. wayacademic as an architect without academic studies. I summarised my my former former experiences experiences inin my myfirst first book, Stadtraum (Urban (UrbanSpace), Space),where whereI lamented I lamentbook, Stadtraum ed streets squaresininmodern moderntown town the the lossloss of of streets andandsquares planning and depicted depicted the thehistorical historicaldevelopment developmentofof planning and this process from from its its ideological ideologicalfoundations foundationsininthe the this process Renaissance to the the 20th 20thcentury. century.This Thistheoretic theoreticwork work was a good good preparation preparation to to my myappointment appointmenttotothe the newly created createdchair chair the foundations of archifor for the foundations of architectural tectural composition at the Technical composition at the Technical UniversityUniversity in Vienna.in Vienna. Here,the under the protection the alma mater, Here, under protection of theofalma mater, I Icould could advance theories for debate in competiadvance mymy theories for debate in competitions tions without the to need to speculate for profit. without the need speculate for profit. With these attention of the then these works, works,I Iattracted attractedthethe attention of the Acting Director for Urban in Berlin, Hans then acting Director forDevelopment Urban Development in Christian Müller. Together withTogether a group with of young colBerlin, Hans Christian Müller. a group leagues, given theI was opportunity to build a largerto urof youngI was colleagues, given the opportunity ban complex in southern Friedrichstadt, in the middle of

realise first cityinsquare, which IFriedcalled which buildI acould larger urbanmy complex the Southern Schinkelplatz. At the sameoftime, I succeeded in buildrichstadt, in the middle which I could realise my ing a round Vienna, patronage of the first city square square,inwhich I under calledthe Schinkelplatz. At Councillor for Building and Construction, Professor the same time, I succeeded in building a round Rudolf At under the end the 1980s, of squareWurzer. in Vienna, theofpatronage of the the city Counme to restructure the area around Hague asked The cillor for Building and Construction, Professor the central station,At and the of beginning of the city 1990s, Rudolf Wurzer. theatend the 1980s, of the new housing estate, Kirchsteigfeld, was realised The Hague asked me to restructure the area around inthe Potsdam. central station, and at the beginning of the 1990s, the new housing estate Kirchsteigfeld was All these inprojects are accompanied by sculptural realised Potsdam. works, which also gave me the strength needed to face everyday quarrels of an architect. hope that Allthe these projects are accompanied by Isculptural construction will find its way back to its former clasworks, which also gave me the strength needed to sical andquarrels that theoficonographic facecomplexity the everyday an architect.richness I hope ofthat the construction fine arts willwill oncefind again embellish its way back to its former classical complexity and that the iconographic richness of the fine arts will once again embellish the architecture of future generations.

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FOREWORD

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o have credibility in the eyes of young people, a teacher must be able to tie theory to practice. Some individuals are able to communicate an encyclopaedic knowledge with passion and conviction, but in our field that is not enough. The art of architectural composition is illustrated by the example of models: its theories must take into account the laws of construction and the logic of internal planning. As an applied art, building needs a foundation that remains valid beyond individual displays of architectural bravura. My own work is an attempt to uncover the different facets of this architectural truth. My main area of concern was urban development. The great hopes and promises of the pioneers of the Modern Movement were not fulfilled — as we well know. Holding to their arrogant, naive belief that each generation had to invent anew the themes of the city and architecture, the Modernists practically made it a crime to refer back to the experience of the past. My projects were quickly categorised by critics as old fashioned, reactionary and eclectic. I was told that they were “not in keeping with the spirit of the age”. During the last century, the environment has been exploited on an unprecedented scale: we have seen more destruction, more power, than ever before. Our aggressive society

and culture is reflected in the unbending form of the modern city — which I reject, sadly and with bitterness. This abbreviated selection of works expresses my criticism of the much-praised spirit of the age. My brother, Leo, has played a decisive role in my artistic development. Possessing quite different talents and temperaments, we found ourselves inexplicably on the same track and argued about how to realise our shared conception of architecture. For a long time I found his unswerving, uncompromising attitude hard to understand, as I am personally not capable of such singlemindedness. Whereas Leo’s quick-witted energy is directed wholly towards architecture, I continue to waver — as indecisive as when I was 20 years of age — between architecture and sculpture. My hesitancy means that my dreams of art always remain dreams. However, if you chew on a piece of tough meat for long enough and with enough determination, you are bound to digest something in the end. The sheer physical effort will bring its reward. And so I continue to work with these divided desires, hoping, at the critical moment, to draw some strength from the poetic stalemate that would make the struggle worthwhile.

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Michael Graves THE FIGURAL CITY Introduction

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rban design embraces the entire physical fabric of a city — the buildings themselves and the open spaces between them. The inherent reciprocity between object and space is thus fundamental to the composition of cities. Every intervention in a city creates a dynamic between object and space, which in turn affects the physical and social vitality of the surrounding domain.

Composing the urban space along with the buildings counters one of the greatest criticisms of the modern idiom — the lack of context or identity. The phrase »International Style« “International Style” expresses this globalisation as a goal, with the unfortunate result that the corresponding abstraction is disorienting and alienating to society. Modern, abstract spaces are indistinguishable from one another and appear to be interchangeable.

Like Rob Krier and Christoph Kohl, I have long been fascinated by the contrast between the traditional European city and the modern city idealised by Le Corbusier as a series of point block towers in the landscape. Influenced by ideas of functionality and hygiene, as well as by the availability of new structural systems, Le Corbusier assumed a continuous ground plane, a spacious urban garden filled with object buildings. By contrast, in a traditional city such as historic Siena, it is the buildings rather than the space that appear to be continuous, as if carved from a cohesive masonry mass. This compositional difference is analogous to an additive versus a subtractive approach to sculpture. A sculptor working in steel, for example, assembles the artwork piece by piece, whereas a sculptor working in stone carves away the mass.

lt has always been interesting to me that the concept of interchangeability also occurs in traditional architecture. Unlike the modern example, however, this interchangeability is not driven by aesthetics or style but rather by the human tendency to gather. The American ethos, from the time of Thomas Jefferson until today, tends to work against the collective in favour of the individual. We in America feel that the reverse has always been true in Europe. Architects such as Krier and Kohl have capitalised on this European urban tradition of defining the collective, gathering spaces for the citizens of the city. Through the analyses, the drawing techniques, and the resultant projects, one always senses a positive relationship between building and space.

As urban design, this analogy implies a purposeful shaping of public space by manipulating the forms of the building solids. In a traditional city, the enclosing gestures of building façades define urban space as a series of contained figural voids. In the modern example, the space is an open-ended void and the objects are the figures. Although portrayed here as a polemic for sake of illustration, the concepts of figural solid and figural void — or object-building and object-space — are not mutually exclusive in a city that evolves over time. In fact, as Rob Krier points out in his essay, this multivalent approach contributes to the sense of context, where the character of the architecture and open space creates an identifiable neighbourhood. In many of the developments he and his partner have planned, including De Resident in The Hague, where I designed one of the buildings, this urban approach also allows the integration of existing buildings and new construction into an eclectic but coherent urban environment.

Among the techniques they use in analysing this relationship is a graphic convention developed by Giovanni Battista Nolli in his 1748 plans of Rome. Nolli describes the city through a depiction of the figural void of the public realm at the ground level. By blacking out the completely private areas of buildings, Nolli clarifies not only the obvious public streets and squares but also the public interiors of major pieces of architecture. This creates a powerful description of the city as a continuous public realm where outside and inside are interlocked. My historic example and any number of the typologies compiled by Rob Krier emphasise the primacy of urban gathering space. In theirurban urbandesigns, designs,Krier Krier Kohl recognise the In their andand Kohl recognise the opopportunity to shape bothspaces the spaces between buildportunityto shape both the between buildings and ings and the themselves. buildings themselves. Their interest in the buildings Their interest in planmaking plan-making and continuum in the cultural continuum theleads traand in the cultural of the traditionalof city ditional city leads to of rich and varto the development ofthe richdevelopment and varied urban typologies. ied urban In the ways thatoldthey In the waystypologies. that they embrace both the andembrace the new both the old and the andthese createtypologies a sense ofare identiand create a sense of new identity, posty, these typologies are positive itive models for our times and themodels future. for our times and the future.

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MOTIVATIONFOR TO THIS MOTIVATION TO THIS THIS MOTIVATION MONOGRAPHIC INTROSPECTION MONOGRAPHIC INTROSPECTION MONOGRAPHIC INTROSPECTION

A A

midstthe thereworking reworkingof ofmy my long long years years of of activity activity in in town town midst planning and residential design, across a flood of illustrated planning and residential design, across a flood of illustrated projects,I Iwould wouldlike liketototake takeaabreather breather in in order order to to explain explain the the projects, reasons for this catalogue raisonné and to take stock myself of reasons for this catalogue raisonné and to take stock myself of this personal “obituary”. this personal “obituary”.

feel feel the the apparent apparent vacuum. vacuum. The The opposite oppositeisistrue: true:atatlast lastI Icould could dedicate myself completely to my artistic passion. Since dedicate myself completely to my artistic passion. Sincethen, then,I I spend spend half half of of the the year year in in my my Italian Italiandomicile domicileininLiguria Liguriaunder under the open sky, moulding large figures in plaster, and small ones the open sky, moulding large figures in plaster, and small ones in clay. I never learned classical sculpturing in stone or marble, in clay. I never learned classical sculpturing in stone or marble, and it would be foolish to plunge into this highly demanding and it would be foolish to plunge into this highly demanding handicraft in old age. Besides, I wouldn’t have the necessary handicraft in old age. Besides, I wouldn’t have the necessary physical strength for it. So I stick to plaster and clay, trusty physical strength for it. So I stick to plaster and clay, trusty materials from my early years. During the winter months in materials from my early During winter months Berlin, I try to rework my years. experiences in the urban design and ar-in Berlin, I try to rework my experiences in urban design architecture didactically and critically and to publish them and in the chitecture didactically and critically and to publish them in the chitecture didactically and critically and to publish them in the form of e-books. form of e-books.

My building activities came to an end with the global crisis of My building activities came to an end with the global crisis of 2008. All projects in the Neth-erlands collapsed, and as far as 2008. All projects projects in inthe theNeth-erlands Netherlands collapsed, collapsed, and andasas far far as I know only one of them could be brought back to life. My arI chitectural know only advice one oftoo them could be brought back to life. My was no longer asked for. After the fallarof chitectural advice too was no longer for. All After fall of the Wall I didn’t build a single house asked in Berlin. mythe efforts to the Wall Iindidn’t build a single Berlin. my efforts to qualify competitions failed,house and Iin didn’t getAll beyond the first qualify andforI didn’t get beyond the phase in of competitions the selectionfailed, process the reconstruction of first the phase of the selection process for the reconstruction of the Berlin castle. I present these experiences in Berlin castle. I present these much the same wayexperiences as I explainedin much the same way as Istudents, explained In Germany, public authorities them in lectures to my InasGermany, public authorities them in lectures to my well as private investors unduly and I don’t mince mystudents, words asmisuse well asthe private investorsofunduly and Iit don’t my words instrument comwhen comes mince to my negligence misuse theA instrument of comwhen it comes to mythe negligence petition. myriad of design vaand errors. Achieving perfect petition. A myriad of design vaand errors. Achieving theitperfect riants are developed, but usually built product, as I know from riants are not developed, builtarchitect product,friends as I know it from they are paid for,but andusually there is my Hilmer + they are not paid for,the and there is my architect friends Hilmer + no guarantee that winner of Sattler and Hans Kollhoff, was& notheguarantee Sattlerone andofHans Kollhoff, was first prizethat willthe be winner awardedofa never my key strengths. the first prize will be a my key strengths. building contract. Noawarded other acaInever didn’tone haveofthe necessary resobuilding contract. No other acaI didn’t the necessary resodemic guild allows itself be milution to have ruthlessly assert myself demic guild allows itself itself tomibe be lution ruthlessly myself susedguild so recklessly. I consider on the to building siteassert or against misused sorecklessly. recklessly. consider sused II consider on the building site or against these so procedures illegal, as arinvestors. these procedures illegal, as arinvestors. chitecture is not a manufacturing chitecture is not a manufacturing industry. In France, for example, As I had to divide my time betindustry. In France,system for example, a fair competition is practiAs I teaching, had to divide my timeworbetween sculpturing, a sed. fair competition system practiEach member of theischamber weeninteaching, sculpturing, working my office, travelling and canEach participate and sed. memberinofathetender chamber lecturing, construction almost alking in my office, travelling and apply with theirinportfolio. can participate a tender and ways missed out. I also didn’t lecturing, construction almost alA jury decides the number of apply with their on portfolio. have talent out. to beI aalso business waysthe missed didn’t thatonis the reasonable Acandidates jury decides number (up of manager. I paid maxihave the However, talent to be a business to six), and are paid(up for mum attention to urban design candidates thatthese is reasonable manager. However, I paid maxidon’tare darepaid to keep Schinkelplatz, Berlin, Germany, 5.6.80 and theattention resultingtobuilding typototheir six),work. and Ithese for mum urban design the account my dare manytovain buildings is a major task their work. I of don’t keepattempts in competitions, which logies. The construction of residential and the resulting building typoswallowed up my my many designvain energy. WheninI competitions, was an adolescent, town planning, so I focused in particular on the development the account of attempts whichI in logies. The construction of residential buildings is a major task bore this challenge passionately, every topicanmeant the exa-I of floor planning, plans of apartments I consider ideal as far as swallowed up my design energy. as When I was adolescent, in town so I focusedwhich in particular on the development mination of new, fundamental, questions; enabled life is concerned. The position of the living room always bore this challenge passionately,theoretical as every topic meantit the exa- family of floor plans of apartments which I consider ideal as far as me to advance and to ripen theoretical in my profession. as a plays an important role, as well as its relation to the kitchen and mination of new, fundamental, questions;Later, it enabled family life is concerned. The position of the living room always university teacher, feltripen this challenge was an academic the dining area. The terrace should be optimally oriented to me to advance andI to in my profession. Later, duty, as a to plays an important role, as well as its relation to the kitchen and besides, I teacher, wanted toI transpose my knowledge in academic building. Being sun, the bedrooms and bathrooms should be protected. university felt this challenge was an duty, the to the dining area. The terrace should be optimally oriented to in the secure position of a professor, I could in take the liberty of Thus, the living room comes into a central position, like the besides, I wanted to transpose my knowledge building. Being the sun, bedrooms and bathrooms should be protected. ; the my insights test. I didn’t havetake to win, as I was square in town planning. Clients and public authorities inputting the secure positiontoofthe a professor, I could the liberty of public Thus, the living room comes into a central position, like the under the almahave mater. this floor plan. They argued would authorities mean all putting mypatronal insightsprotection to the test.ofIthe didn’t to win, as I was criticised public square in town planning. Clientsthat andit public My professional may mater. seem demoralising — movements would have to pass by the central room that under the patronalbreakdown protection of of2008 the alma criticised this floor plan. They argued that it would and mean all however, I was so absorbedof by2008 my sculptural that I didn’t would lead to undesirable conflicts; the children couldn’t My professional breakdown may seemwork demoralising — this movements would have to pass by the central room and that however, I was so absorbed by my sculptural work that I didn’t this would lead to undesirable conflicts; the children couldn’t Schinkelplatz, Berlin, Germany, 5.6.80

Schinkelplatz, Berlin, Germany, 5.6.80

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steal off at night without their parents noticing. One could also number of façade variations from fromaaaclassical classicalrepertoire, repertoirewhich which classical repertoire, steal off at night without their parents noticing. One could also number of façade variations from observe the activities in the living room and on the terrace from should line these public spaces. In the beginning I tried to observe the activities in the living room and on the terrace from should line these public spaces. In the beginning I tried to the bedrooms. In my opinion, this is exactly what makes living create this variety in a natural way by engaging several architects. the bedrooms. In my opinion, this is exactly what makes living create this variety in a natural way by engaging several architects. together so exciting. Alongside that, I gave the living rooms The result was convincing when local politicians granted me The result was convincing whenaslocal me together exciting.shapes. Alongside that,criticised I gave with the living rooms strong authority as a supervisor, was politicians the case in granted the Dutch differentso geometric This was the argument strong authority as a supervisor, as was the case in the Dutch different geometric shapes. This was criticised with the argument that they would be difficult to furnish. However, through all the village of Brandevoort. When this was not the case, I decided to villagethe of Brandevoort. this repertoire, was not thethat case,isI to decided that they would difficult to users furnish. However, through all the create variety fromWhen my own say toto years I only metbeenthusiastic of my floor plans. In Vienna create the variety from my own repertoire, that is to say to years I only met enthusiastic users of my floor plans. In Vienna I designed a penthouse for my family according to the same ty- design all houses myself and have them finished by my skilled designed aapenthouse penthouse for my family according to the same design all houses myself and have them finished by my skilled II pological designed for my family according to the same tytheme. In the 1970s and 1980s, I managed to team in the office. typological theme. InInplan the 1970s 1980s, managed to team in the office. pological theme. theexperiments 1970s and andin 1980s, implement these floor ViennaII and in Berlin. implement these floor plan experiments in Vienna and in Berlin. The traditional brick masonry accommodates the variation in It takes enormous energy to coordinate the planning activities It takes coordinate activities The many enormous colleaguesenergy and to to reconcile themthe in planning a harmonious enthe traditional designs. brick masonry accommodates the variation in of of many colleagues and to reconcile them in a harmonious enthe designs. semble. For Kirchsteigfeld near Potsdam, a project in which 25 semble. For Kirchsteigfeld nearbig Potsdam, a project in which 25 international architectural In the Netherlands, France, and big international architectural InSpain, the Netherlands, France, conand firms participated, I regularly orwhere cross-wall firms participated, regularly orSpain, where cross-wall conganised correction Iand harmostruction enjoyed great popularity, ganisedworkshops, correctionwhich and always harmostruction enjoyed popularity, nisation I had no chancegreat to build walls nisationpleasantly, workshops,but which always I that had were no chance to buildFurtherwalls passed came to not straight. passed pleasantly, that were straight. Furthernothing. Everybodybut wascame over-to more, firenot safety and escape pronothing. Everybody was overmore, safety and escape proburdened, as the pressure was tocol fire demanded clearly separated burdened, as corrections the pressurewere was tocol high, and the day demanded and night clearly areas. separated The resihigh, andI wasn’t the corrections day and floor nightplan areas. The resinot paid. officially were endential degenerated to not paid. wasn’t officially endential floor system, plan degenerated to titled to actI as a master planner, a corridor and all my titled to actthe ascity a master a struggles corridor for system, and typology all my and neither nor theplanner, client a rich flat and neitherme theincity norrole. the client struggles a rich flatthe typology supported that The were in for vain. Since middle supported municipal me in thattown role. The were in 90s, vain.I can Since the middle responsible planof the hardly publish responsible municipal town responsible town planof the 90s,I Icould can plans. hardly publish ner, despite municipal whose vote against residential floor make the 1990s, hardlyTo planner, whose against us us wedespite won thevote competition, things worse, in the ner, whose vote against residential floorregulations plans. To make was even a professed enemy of EU countries were modified. didn’t prevent us winning us we won thefrom competition, things worse, regulations in the my philosoFrom then on, were nowhere could I theurban competition, was even a prowas evendevelopment a professed enemy of EU countries modified. phy. Thus, the architectural exbuild generous and exciting stairfessed enemy of my urban demy urban development philosoFrom then on, nowhere could I periment ended with a Thus, secondwells, as I hadand learned to apprevelopment philosophy. the phy. Thus, the architectural exbuild generous exciting stairrate built result, which my first ciate in Vienna. In France, stairarchitectural experiment ended periment ended with a secondwells, as I had learned to appresemester students in Vienna wellsinare only single-lane with built a secondrate built result, rate result, which my first ciate Vienna. In France,escape stairwould have put to shame with routes. During the inauguration which my first semester students semester students in Vienna wells are only single-lane escape bravura. of a residential building for social in Vienna to would havewould put to have shameputwith routes. During the inauguration housing in Montpellier, the builshame with bravura. Prager Platz, Berlin, Germany, 15.10.80 bravura. of a residential building for social ding was to be visitedtheatbuilthe end of the ceremony, in the A good layout of a city is by no means a guar-antee for an archihousing in Montpellier, significant result that make building history. The presence theend first of visitors wanted to descend A of isis by no means aaguar-antee for ding was of tothe beprefect. visitedWhen at the the ceremony, in the tecturally A good good layout layout of aa city city by nowill means guarantee for an an archiarchiquality of the city plan is fatefully connected to the quality of from an upper storey apartment, the spiral staircase was presence of the prefect. When the first visitors wanted to descend tecturally significant result that will make building history. The the buildings. A banal urban layout, furnished with outstanding hopelessly blocked; nobody could go upstairs nor down-stairs, apartment, the the spiralspiral staircase was hopefrom an anupper-storey upper storey apartment, staircase was quality of the city plan is fatefully connected to the quality of always appear exciting, whereas elaborate and the elevator wasnobody out of service. lessly blocked; nobody could go upstairs or downstairs, and the architecture, the buildings.will A banal urban layout, furnished withanoutstanding hopelessly blocked; could go upstairs nor down-stairs, and interesting layout, provided with banal buildings, will elevator was out was of service. architecture, will always appear exciting, whereas an elaborate and the elevator out of service. be boring or even repulsive. That was the sad end of my floor plan research for residential always and interesting layout, provided with banal buildings, will buildings. Yetsad evenend today public authorities still callfor forresidential innovative always be boring or even repulsive. That was the of my floor plan research residential in practice designs suffocate The mediocre architectural result in Kirchsteigfeld was a bitter buildings. Yetdesign, even today public however authoritiesthese still call for innovative Thearchitectural buildings that have erected after end in a maze of rules and regulations. Therefore, subsequently, in experience. design; in practice, however, these designs suffocate The mediocre result in been Kirchsteigfeld wasthe a bitter residential design, practice however of my mission in 1996 have made a mockery of all previous town planning I devoted myself to the composition of a variety in aa maze mazeof of rules subsequently in experience. The buildings that have been erected after the end rules and and regulations. Therefore, subsequently, Today, even the statutory regulations of the plan of urban space sequences and to the invention infinite efforts. of my mission in 1996 have made a mockery of master all previous town planning I devoted myself to the compositionofofana variety of urban space sequences and to the invention of an infinite efforts. Today, even the statutory regulations of the master plan Prager Platz, Berlin, Germany, 15.10.80

Prager Platz, Berlin, Germany, 15.10.80

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disregarded,and andthe thearchitectural architecturalquality quality has has fallen fallen to to the the road thethe carrier of of areare disregarded, road and and path pathnetwork networkunfolds unfoldsnaturally. naturally.It Itis isboth both carrier lowest level. As I had feared such a development from the behuman communication which protects the community, and the lowest level. As I had feared such a development from the be- human communication which protects the community, and the ginning, I had a bronzemodel modelofofthe theperfect perfectquarter quarter in in its its comcom- spatial systems. ginning, I had a bronze spatial frame frameof ofpublic publicand andprivate privatetransportation transportation systems. pletion fixed to the inauguration stele. It should give an indepletion fixed to the inauguration stele. It should give an indestructible testimony to my intentions. With Le Corbusier I will primary components and functional systems of a town structible testimony to my intentions. With Le Corbusier I will These These primary components and functional systems of a town sing from the same hymn sheet: „Le bon dieu n’a pas voulu que have disappeared in contemporary town planning. I denounced sing from the same hymn sheet: „Le bon dieu n’a pas voulu que have disappeared in contemporary town planning. I denounced ce fût un chef d’oeuvre“ – “The dear Lord didn’t want it to be a this loss in the 1970s in my book Stadtraum (Urban space), —“The “Thedear dearLord Lord didn’twant want ce masterpiece”. fût un chef d’oeuvre“ it ittotobebea/ sadly Sspace), this loss in the my book (Urbanthe Or with –Botho Strauß (in didn’t his book Herkunft without any1970s lastinginsuccess. My Stadtraum theorems demand rea masterpiece”. Or with Botho Strauß (in his book Herkunft / masterpiece”. Or with Botho Strauß (in his book Herkunft / sadly without any lasting success. My theorems demand the reOrigin): “Just let the vandals of the State destroy and ruin”. valuation of the traditional, classical components of a town, Origin): “Just let the vandals of the State destroy and ruin”. valuation of been the traditional, classical of a town, which have misused during the components Nazi dictatorship in which were misused during the Nazi dictatorship in Germahave been misused during the Nazi dictatorship One of my sculptures crowns the stele at the entrance to Kirch- Germany. The Nazis concealed the brutality of their regime with in ny. The Nazis concealed the the brutality regime stele at the entrance to seen Kirchcrowns KirchOne of my sculptures Germany. The Nazis concealed brutality oftheir theirStill regime with steigfeld, hoping to serve as the a patron saint. She can be in rudiments of classical architecture and urbanofdesign. today, steigfeld, hoping to steigfeld, hoping to serve serve as asaapatron patronsaint. saint. She can be seen in the rudiments of classical andisurban design. Still today, the picture on the right. urbanistic discoursearchitecture in this country afflicted by this tragic the picture on the right. the urbanistic discourse in this country is afflicted by tragic combination, andthis I don’t combination, don’t I had some more bitter see any chanceand for Ithis some II had had some more morebitter any inchance for this experiences before Ibitter blew tosee change the foreseeexperiences experiences before Iblew blew to change my top —before I’d hadIenough able future. in the foreseemyoftop — my top —I’d I’dhad hadenough enough able future. participation games. natural parcelling of In the Netherlands, in of The participation games. of participation games. land and property andof the contrast, I have never in The natural parcelling The natural parcelling In the Netherlands, private ownership of the houbeen criticised land and and property and of land property and contrast, I have and never ses related to it had ceased defamed for my urban private ownership of hou-of the private ownership been criticised and exist. In itcontemporary designs, as for was,my andurban is, sestorelated to had houses related toceased it had defamed town planning the case in as Germany. In is, to exist. In contemporary ceased to exist. my In ambicondesigns, was, and tion, to let flourish once competitions in Germany, town planning myplanning ambitemporary town the case in Germany. In again variety archiI was always eliminated tion, to let flourish my ambition, toand let once flourcompetitions in Germany, tectural wealth, as we find in the round or in again variety archiish once againand variety and I wasfirst always eliminated it in the heritage of Eusome cases not even al- in tectural wealth, wealth, as we findas architectural in the first round or ropean urban design, lowed to participate. But it infind the itheritage Euwe in the of heritage some cases not even alseems to be nothing but this was no reason to ropean urban design, of European urban design, lowed to participate. But a sociocultural masquethrow in the towel. I have seems to to be be nothing nothing but but a seems this was no reason to rade, an act. I was aware always had a slight hope a sociocultural masquesociocultural masquerade, throw the towel. I have of this from the beginthat the in negative experirade, an act. I was aware an act. I was aware of this always had a slight hope ning, yet to date I am not ences which are imposed of aware this the beginfrom thefrom beginning, yet to that the negative experiPotsdam Kirchsteigfeld, watercolour, 1980 of any other soluon society by the errors ning, to I am date I yet am notdate aware ofnot any variety enceswill which Gobelin tapestry by Roswitha Grützke, 145 cmof×contemporary 103 cm, 2012town planning tions which will generate in a city. and mistakes oneare dayimposed lead awaresolutions of any other soluother which will on society by the errors to a cultural revolt. tions will generate variety in aascity. generate variety in aagain city.be Thewhich building must respected an elementary component, and mistakes of contemporary town planning will one day lead to Eastern a cultural revolt. numerous buildings constructed with precast as a sizeable unit in the urban context. The number of flats in a In Germany, Thebuilding buildingmust mustbeagain below respected as to anallow elementary rather in order socialcomponent, contact. Le concrete slabs already fell victim to the wrecking ball, but not as Corbusier’s a sizeable unit the urban context. number of flats in a nearly Eastern Germany, numerous buildings constructed with preIn Eastern Germany, buildings constructed with precast unitéind’habitation with its The 500 flats is a degenerated enough. Francenumerous has an annual demolition programme of building must beand rather low in order contact. Le 20,000 cast concrete hadfell already to constructed the wrecking concrete slabs slabs already victimfallen to thevictim ball, but not mass dwelling unfortunately stilltoinallow voguesocial — some wealthy social housing buildings. What iswrecking being Corbusier’s withanonymous its 500 flatshiding is a degenerated ball, but nearly enough. has an annual demolition nearly enough. France has an France annual demolition programme people useunité it as d’habitation a most welcome place. instead, isnot indeed technologically better, but nearly indistin- of mass dwelling and unfortunately still in vogue — some wealthy guish-able programme of housing 20,000 housing buildings. What is being from the old social ideology; it isWhat just trendier, thus higher 20,000 social buildings. is being constructed The block well-proportioned and human-scale unit is the in price, and more spectacular and photogenic architecture people use it as a most welcome anonymous hiding place. constructed instead is indeed technologically better, butindistinnearly instead, is indeed technologically better, butfor nearly second elementary component in the art of town planning. Its magazines. indistinguishable from old ideology; it trendier, is just trendier, thus guish-able from the oldthe ideology; it is just thus higher size varies to its location the urban fabric: small The block as according a well-proportioned andinhuman-scale unit is the in higher in and price, andspectacular more spectacular and photogenic for archiprice, more and photogenic for architecture and dense in the component centre, bigger in areas centre, and big investors plan whole areas according to the most second elementary in the art ofnear towntheplanning. Its Nowadays, tecture magazines. magazines. loose at the periphery. Between the blocks of buildings, the advantageous planning and construction conditions. This cannot size varies according to its location in the urban fabric: small and dense in the centre, bigger in areas near the centre, and Nowadays, big investors plan whole areas according to the most loose at the periphery. Between the blocks of buildings, the advantageous planning and construction conditions. This cannot Potsdam Kirchsteigfeld, watercolour, 1980 Gobelin tapestry by Roswitha Grützke, 145 cm x 103 cm, 2012

Potsdam Kirchsteigfeld, watercolour, 1980 Gobelin tapestry by Roswitha Grützke, 145 cm x 103 cm, 2012

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held againstthem, them,asaslong longasasititisispolitically politically permitted. permitted. In In be be held against Kirchsteigfeld, there was a legally binding land-use plan with Kirchsteigfeld, there was a legally binding land-use plan with design regulations,but butthey theywere wereundermined undermined atat discretion, discretion, as as design regulations, long as nobody took legal action. long as nobody took legal action.

not onon us us to to livelive not an an obligatory obligatory network networksystem, system,which whichimposes imposes together with people inside and outside our family without together with people inside and outside our family without taking wewe can only livelive taking action. action.ItItisisonly onlytotoaalimited limitedextent extentthat that can only alone and without relying on social relationships.” (GK) alone and without relying on relationships.” on social social relationships.” (GK) (GK)

Built mistakes affect their users like drugs, especially when How far can man, as a sensitive creature, hold his ground in Built mistakes affect their users like drugs, especially when How far can man, as a sensitive creature, hold his ground in they have been realised with a lot of money. The social alienation these disruptive tendencies? As a town planner, I feel the danger they have been realised with a lot of money. The social alienation these disruptive tendencies? As a town planner, I feel the danger and isolation are accepted as deluxe ingredients, as long as the that social ties break down in building ensembles which destroy andstress isolation are acceptedkeeps as deluxe ingredients, long as the social that social tiesThus, breakIdown of breadwinning the parents busy.asThe children contact. preferintobuilding go back ensembles to empiricalwhich valuesdestroy and stress of breadwinning keeps the parents busy. The children social contact. Thus, I prefer to go back to empirical valuesinand rebel more quickly against the isolation in so-called luxury flats age-old structures which have proven to be of high quality rebel quickly against isolation even in so-called luxury age-old provensystems, to be ofbefore high Iquality andmore search for warmth in the community, if they have to flats give social lifestructures across all which cultureshave and social plunge in andupsearch for warmth in community, even if they have to give social life across all cultures and social systems, before I plunge the comfort to which they became accustomed. into unfamiliar experiments which carry the inherent danger of up the comfort to which they have become accustomed. became accustomed. into unfamiliar experiments which carry the inherent danger inflicting real damage on society. In all my town-planning of inflicting real damage on society. Instudies all my town-planning A friend of mine, the I have tried to A economic friend of mine, the studiesthis I knowledge, have tried to and social transfer economic transfer scientist and Guy social Kirsch, and I havethis not knowledge, been disscientist Guy Kirsch, and I from have itnot countered my tearful crisuaded bybeen archi-discountered suadedcritics from itwho by architicism ofmy mytearful peerscriwith tectural acticism of my peers with tectural who acthe following comment: cuse me ofcritics epigonism, the“The following comment: contemporary socuse me of epigonism, historicism, Disney ciety doesn’t needsothe kitsch and — in Disney Ger“The contemporary historicism, classical townneed whichthe you man-speaking countries ciety doesn’t kitsch and — in Gerwant totown impose on you it any —man-speaking fascistic tendencies. classical which countries more! We have to deal want to impose on it any — fascistic tendencies. with We a quicksand In retrospect, I must say more! have tosociety. deal The traditional that it was worthwhile with a quicksand society. In retrospect, I must say neighbourhood structures to swim the streThe traditional neighThe traditional that it against was worthwhile have been broken by exam. I was young, bourhood structures neighbourhood structures to When swim against the stretreme mobility and moa professor Zurich beenbroken broken by have been have by exam. When Iinwas young, dernmobility communication told me that if one wisextreme mobility and treme and moa professor in Zurich technology. We talk on hed to achieve somemoderncommunication communication dern told me that if one wisthe phone when we take thing with all his might, We technology. technology. We talk talk on on hed to achieve somea walk in the countryside he will achieve it. I theorphone when we take thing with all his might, a stroll through the must admit that I achievwould achieve it. I a walk in the countryside willin achieve Brandevoort, Netherlands, watercolour, 2012 city, when we are at edhemore town plan- I or home a stroll through the must admit Gobelin tapestry by Roswitha Grützke, 145 cm × 103 cm, 2012 or when we are travelling in faraway countries, and we ning than I had dared to hope for in the beginning. that I achievcity, when are at without paying attention to the people ed more in town plantalk loudlywe to ourselves home or when we are travelling in faraway countries, and we ning than I had dared to hope for in the beginning. who we pass, with whom we are dining, or with whom we sit Guy Kirsch, with whom I talked a lot about the question of how talkclosely loudlytogether to ourselves without attention tooften the people in the train or inpaying the airplane. How have I to build a town, once mentioned a Buddhist proverb: “Go who weear pass, with weprotect are dining, sit through Guy Kirsch, with whom lot about thesand”. question of how used plugs in whom order to myselfortowith somewhom extentwe from the world withoutI talked leavinga traces in the I would closely together to build a town, once mentioned a Buddhist proverb: this bad habit.”in the train or in the airplane. How often have I like to complement the poetic modesty of this maxim with “Go a used ear plugs in order to protect myself to some extent from creative through note: the world traces in theactions sand”.inI would “Testwithout whetherleaving the traces of your this this“Our badsociety”, habit.” in which the most diverse world cultures and re- world like to contribute complement the poeticwelfare modesty this maxim with to common andof could serve as a a creative whether the traces of your actions in this ligions intermingle, “is characterised by liquefying values and model fornote: future“Test generations.” “Our society”, in which most diverse cultures and re- world contribute to common welfare and could serve as a social struc-tures”. Thethe question whetherworld we “can be and want to beintermingle, a neighbour”, up againby and again. “Itvalues is beyond 2015 ligions “iscomes characterised liquefying and January model for future generations.” doubt that we areThe in need of neighbourly help more than social struc-tures”. The question whether we be often and want structures”. question whether “can to ourselves. In cases of emergency, we “It are is dependent to we be admit a neighbour”, comes up again and again. beyond January 2015 on it, and we relish this help. Neighbourhood, therefore, is doubt that we are in need of neighbourly help more often than we admit to ourselves. In cases of emergency, we are dependent it, and andwe we relish on it, relishthis thishelp. help.Neighbourhood, Neighbourhood, therefore, therefore, is Brandevoort, Netherlands, watercolour, 2012 Gobelin tapestry by Roswitha Grützke, 145 cm x 103 cm, 2012

Brandevoort, Netherlands, watercolour, 2012 Gobelin tapestry by Roswitha Grützke, 145 cm x 103 cm, 2012

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Rob Krier COMPOSITION OF URBAN SPACES

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he expansion of urban centres worldwide has social security, without which living together in an reached unforeseen proportions in the last 170 urban framework is impossible. years. In 1830, Vienna’s population was 255,000, Berlin’s 353,000, Rome’s 164,000, Amsterdam’s Sociologically based protests against aberrant urban 207,000, Moscow’s 334,000, Madrid’s 200,000, design, such as Alexander Mitscherlich’s Die UnParis’s 1,092,000 and and London’s London’s 1,786,000. 1,786,000. In the wirtlichkeit unserer Städte (Frankfurt 1965) Paris’ 1,092,000 past, cities stood out clearly from their surroundings, had no lasting effect on urban planning practices. both in terms of outline and in appearance; as well, The theorems of of the the Charter Charta of Athens (1933) were their architecture could be unmistakably identified as too deeply entrenched in the minds of the technocrats: belonging to a specific culture. Only because of its water the division into functional zones — living, working, boundaries could Venice preserve that wonderful culture, shopping, traffic, etc. — was too easy to use, quality as its urban form. All the other cities have been and it was commercially successful. In contrast, a funclike the the one one we we find find inin mediaeval medieval towns profoundly affected by rapid growth. tional mix like necessitates coming to terms with the potential for Until the Second World War, good master builders, social conflict. With a fatal cult of modernism, urban well grounded in a sound building crafts tradition, planning that practices s functional separation promotes could honourably embellish the development plans social disintegration, because this concept treats the of new suburbs. Through the conservation of local and city as an abstract system. The visions of total urban regional traditions in Helsinki, Amsterdam, Vienna life — unlimited freedom of choice and mobility — are and Budapest, entire urban districts with their own seductive in their deceptive naiveté and nostalgic distinct identities came into being; as the buildings were appeal. At the same time, we content ourselves with in a natural way embedded in their respective existing a few intact urban situations that appear like islands harsh city cityscape. cultural milieux, they were not interchangeable. in in aa harsh scape. The The rare rare neighbourhood neighbourhood atmoatmoHowever, the fundamental notions relating to sphere, which for Berliners is expressed by the term function, hygiene and structure that underpinned the Kiez (award denoting the different neighbourhoods new wave of construction quickly attained broad of the city, each with their own character and identity) dissemination, being easily adaptable to the different thrives particularly in places where the architectural climatic and cultural conditions. This led to a level- fabric is historic, where the streets and squares are ing of urban design and to an architecture that was of human dimensions, with lush greenery and wide similar all the world over — and similarly interchange- pavements. The buildings are of moderate size and able. The pioneers of the modern age, in their blind differ in their outward appearance in spite of their belief in progress, welcomed this development, typological identity. An urban world of such a density celebrating a universal, rational technology as a benefit cannot, of course, be everywhere in the city. Not to mankind. If the designs that these visionaries everywhere can be a Kiez. But even for quiet resicentury drew up at the beginning beginning of of the the twentieth 20th century are dential districts, there are models that show how are still fantasy and evenhave haveananelement element of of the the neighbourhoods can be created through clever spatial still fullfull of of fantasy and even poetic about them, then the pallid products of the build- formations. ing trade subsequent to 1945 are all the more disappointing. The formerly complex language of architecture Over the centuries, innumerable models for urban with its regional colour was reduced to a form of living have been tried out; they supply us with an technical expression. inexhaustible store of experience for the solution of future problems. In spite of all the destruction caused Urban design got lost at the same time. In the newly by two world wars, this built encyclopaedia can still founded cities such as Brasilia or Chandigarh, nothing be be experienced. experienced. A A city citythat thathas hasbeen beensubjected subject to as to as remains of the traditional network of spatial inter- much decimation as Berlin is particularly instructive connections that we find in the centres of classical cities due to the contrast between old and new. When except yawning voids. The compositional backbone I was still a student, I was already fascinated by urban of streets and town squares has disappeared design, even though I had no knowledge of the from sight in the modern cities. Freestanding rows of enormous complexity of urban logistics. The way buildings or loosely arranged building figures have cities in Germany were rebuilt after the Second World taken their place. They were the result of a lucrative War appeared to me to be only a wretched imitation of building boom that took place to the detriment of the quality of a world gone by.

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The horror that I felt as I travelled through this country of devastation shook me deeply and sparked in me the desire to search for solutions that could compare with those represented by the old models. The following stages of learning came into being in the comparison between beautiful and ugly, desirable and reprehensible. In my teenage years, I had seen Echternach, the little town on the border between Luxembourg and Germany with its magnificent baroque abbey where I went to school being rebuilt after the turmoil of war, becoming more beautiful than it had been before. This experience gave me an unconscious security in comparing old with new. Reading, writing and arithmetic were taught in the school, but to the detriment of seeing and hearing: the world of the fine arts and music was pushed aside in drawing and religious instruction. When at seventeen I told head that master that I to wanted to 17 I told the headthemaster I wanted become become artist, he disabused desirability of of an artist,an he disabused me me of of thethedesirability this venture, speaking contemptuously about the low social standing of this field of endeavour, and forced me to take a special course in mathematics until my school-leaving examination. In spite of intensive study, this world has remained closed to me. The school couldn't̓ extinguish my desire to investigate my surroundings through their outward appearance. The teaching program that I later carried out with students of architecture was strongly oriented towards seeing, assessing the quality of that which was observed and clearly representing it. The towns that have naturally grown over time represent our textbook of urban design and architecture. The secrets of their structures can hardly be grasped through books. One has to travel to research them and make comparisons between cities and from country to country. The network of streets that run through the city in innumerable variations, like arteries, represents the supporting structure that determines the development of the townscape: it is finely meshed in the town centres, widerwidely meshedmeshed in the suburbs. The development around more in the suburbs. The development the periphery of a field is surrounded by streets, around the periphery of that a field that is surrounded by the citythe block, the elementary component of every streets, city is block, is the elementary component of urbanurban structure. TightTight and and homoge neously formed in every structure. homoge neously formed thethe centre, in centre,it itloosens loosensupupand andwidens widensout out towards towards the thethe block structure, outskirts. The Thenarrower narrowerthe themesh meshof of block structhe more transparent, porous the ture, the more transparent, porousand and sus suspenseful penseful the town is. This is true mainly for town centres that have developed over over time, time, founded founded hundreds hundreds or or thousands thousands developed

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of years ago. The dimensions of the block structure were always proportionate to the size and height of the buildings. The speed and manoeuvrability of the carriages and carts and the volume of traffic determined the width of the streets. In Barcelona’s old town, whose Roman ground plan is still clearly recognisable, the adaptability of such a structure appears particularly surprising in view of the dramatic changes in social structures over the course of the centuries. The network has functioned well without interruption, and life in this wonderful chaos is becoming ever more appealing. The old town, until a short time ago still a place of refuge for the poor, has intrepidly changed into a chic address for the wealthy. Only Barcelona as a whole can afford the luxury of such an urban jewel. Without the dynamics of a big city in the background, Barcelona would have come to a standstill, remaining in the same state as Aigues Mortes, the romantic little town on the French coast of the Mediterranean, though this would not have been a tragedy. This comparison illustrates just two of the different standards and worlds that were supported by a spatial and architectural concept that has continued to maintain its validity. City Block and Building From a purely geometrical perspective, the city block is the original cell of every urban design structure. lt defines the networks of routes around its edges and the building plot structure in the middle. The latter determines the rhythm of the buildings at the perimeter of the block. The building plots mirror the relations of property ownership and in so doing, the relations in the society that has adopted them. In the towns of Flanders and the Netherlands, a mature and self-assured bourgeoisie developed very early. The architecture of their houses testifies to their culture and wealth. Berlin, on the other hand, developed into a city of tenants in the period between 1850 and 1940. The town houses were often built on huge, ungainly blocks. As a consequence of the intensive exploitation of building space, cramped inner courtyards with bad hygienic conditions came into being. Even though there was an enormous qualitative drop between the flats at the fronts of the buildings and those at the backs, the different social classes nonetheless lived in immediate proximity to each other: the councillor of commerce, the teacher, the clerk at the post office and the kitchen maid. They all profited from this community of utility. At the same

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time, factory workers lived in Wedding (a district in Berlin), for example, in mass living quarters that »could kill people”, people«, as as the the Berlin Berlin caricaturist caricaturist and and “could kill social critic Heinrich Zille accusingly asserted in drawings and verses. The people called the buildings with this ghetto-like inner life Mietskaserne (tenement blocks; literally: rental barracks). The second basic element of urban design — after the city block — is the building itself. lt must have human dimensions and should not be too tall or too long; lang, otherwise its effect is that of a barracks. No city should be erected using oversized components — this is what the urban design of the last decades has shown us. Around the perimeters of many historic city centres, rigidly functional residential areas have arisen. The goals have been achieved, but towns didn’t come of it, not even suburbs, at most Siedlungen (housing estates or subdivisions). These terms have a pejorative connotation. The Siedlung (in this case, settlement) is a primitive form of land occupation. In contrast, the German word Vorort Vorort (suburb; (suburb; literally: literally: »place “place before before or in front front of of another another place«) place”) does does imply imply aa higher higher or in stage of development, and at any rate, one can feel the link to a town nearby. The French term faubourg, the ltalian suburbio and the English suburb, however, are clearly derogatory terms for this un-urban form of settlement. With the elements of city block and building, we have the tools to design complex urban structures. My didactic publications engl. ed.: Urban didactic publicationsStadtraum Stadtraum(1975, (1975, engl. ed.: UrSpace, 1979) and Architektonische Komposition (1985, ban Space, 1979) and Architektonische Komposition engl. ed.: Composition, (1985, engl.Architectural ed.: Architectural Composition,1988) 1988) form the basis for this book, which deals with the composition of entire towns and their neighbourhoods. Knowing all the conceivable urban space typologies and the variety of possible façade designs in public spaces are further necessary prerequisites. An intelligent urban ground plan on which ugly buildings have been erected will be unattractive for both residents and visitors. On the other hand, a simple grid pattern layout without spatial suspense can be made into an architectural event through the use of beautiful building façades. Indeed, the greatest enjoyment is derived from the combination of both qualities. A full register of urban architecture can only assure the external shell. Life then has to take root of its own accord, filling it to completion over the course of generations, breathing a kind of soul into the abstract structure. lt is only in such a cultural medium that

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unique towns with a heady variety come into being. The prerequisite for this is the evolutionary capability of their structure. The road network as the support of the public supply system cannot be varied much. The buildings, however, should be easily adaptable and replaceable at need. Buildings that are too large would significantly limit this flexibility. The Urban Order — The Centre, its Districts and the Suburbs Although city blocks and buildings are the basic components of a town or city, it is not the act of merely adding them together that will result in an exciting place. The city is subject to a hierarchic order with the space being subdivided into clearly discernable areas depending on its size. In the growth process, the centre and its districts must repeatedly readapt. When drafting a new plan — like our proposal for the town of Brandevoort in Brabant in the Netherlands — well-tried urban models are to be the inspiration for the dimensions to be established for the centre and the suburbs. The middle of Brandevoort, 600 m x× 800 m, with its 1,700 detached row houses, is divided like the model of a Roman castrum into four quarters by a street crossing — Cardo and Decumanus. At the points where they meet the boundaries of the town centre at the north, south, east and west sides, gateways form, each one differently designed. A broad belt of green surrounds the town centre, so that its form is clearly visible. Like a network of arteries emanating from the heart of the village, the main axes of the suburbs develop from the city gates. The re-establishment of Bussy St. Georges, east east of of Paris Paris ininthe thedepartement department Bussy-St.-Georges, Marne-la-Vallée, found its starting point in a different geometry. The coordinating body, Établissements Publics d'Aménagement de Marne-la-Vallée, had prescribed a regular street grid of 400 m x× 350 m. At the time of our planning, it was already completed. We supplemented this grid, which ignored the topography of the Île-de-France, by all those givens that the technocrats had eliminated from the maps: old country lanes, important location routes for the plots of land, which had also left their traces in the topography, streams, old stands of trees and a Route Napoléon, which ran diagonally across the plateau. This unobtrusive archaeology has significantly enriched our plan. Here too, the middle of the town has been clearly worked out. The body of water that the ecologists wanted as a reserve basin is laid around it like a garland and accompanied by sports and leisure areas. An old road between two villages passes through the

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centre, as Broadway cuts through New York. We used the existing grid square as a Cardo-Decumanus system for the centre. The urban quarters with their centrally placed squares are clearly arranged around the main town square. Every quartier has its own layout and thus acquires an unmistakable identity. The suburbs are less clearly oriented to the centre than it was possible to do in Brandevoort, due to a pre-existing access grid. Our new street structure links up naturally with the old country lanes and tries to cover up the wide-mesh boulevard system elegantly without losing the orientation towards the centre. The actual size of a town and the administrative apparatus to be accommodated determine the size of the districts. For example, the district of Kreuzberg in Berlin has as many residents as Luxembourg has inhabitants, although geographically, that country is as big as the whole of Berlin. In spite of this enormous difference in size, the number of public authorities per resident remains relatively constant. Schools, kindergartens, playgrounds and sports fields, youth centres, meeting facilities, cultural and commercial facilities all have to be sensibly distributed in the districts. A church community centre is adapted to the size of the parish and is always a manageable unit. Formerly, the church had to be reachable on foot, and the size of the building corresponded to the importance of the parish as well as to the reach of the preacher’s voice. Even with these more important urban units, the human dimension plays an important role. Technical innovations may change our lives ever so much, but at some point we fall on our feet again and notice that we are bound to these physical limitations. And the more technology gives us wings, the more they will gain in emotional significance. It is not by chance that the New Urbanism movement, which propounds many of my theses, is widespread in the United States, the country that has reached the highest level of technical development. We have now arrived at the real subject: »How “How do we plan and build a city?” city?« lt sounds as if it would be child’s play. In actual fact, in the urban design that we are striving for, we are concerned with elementary things that the modern city has repressed. High technical and electronic standards allow us to forget urban buildings as the protective shell around our daily activities. Person-to-person communication without physical movement has long been possible. Rapid locomotion can no longer be ignored. We can live in seclusion, comfortably acquire the necessary and forget the

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village, the town and the city. All this seems to have made the town superfluous. In many places, it exists only as the setting for bank holidays or the backdrop for vacations. As developable land is not available in unlimited quantities, we have to think at the same time about how existing urban structures can be condensed in order to conserve the necessary agrarian reserves and to care for the ecologically valuable regions. A few years ago, in the context of the extensive case study »Brabant 2050«, the government of that “Brabant 2050”, province asked us to analyse the behaviour of the development axes in the southern Netherlands and how to increase the density of the villages and towns. This was to be done in detail for an exemplary grid square, without the whole landscape being encumbered with urban sprawl. We chose a map sector that also included our new plan for Brandevoort. The size of the blocks has to be such that the first development with single-family houses can be replaced with multi-storey buildings. This way, the population density can be increased within the same town limits. lt is somewhat strange that we have to plan within a short time a development that formerly took place gradually over centuries. Urban planning advances in spheres where control over adequacy and scale quickly gets lost. The search for visionary solutions prevails again and again. Helplessly, designers illustrate their fantasies with shrill new creations from the store of images from abstract art. Things are built and tried out. That which is created causes a considerable media spectacle for a short time and very quickly sinks back into the banal requirements of everyday use. Let us leaf through the last decades’ publications about new towns and find out what has become of Chandigarh or Brasilia in the meantime. The plans for these cities were designed by Le Corbusier and Oscar Niemeyer, strong personalities in the arts world who strove to attain an idealised and symbolical figuration in the ground plans. They therefore designed the most important monumental buildings themselves. However, a new city plan should not contribute simply to an artist’s selfactualisation, no matter how important he or she is. lt has to emerge out of the store of experience of local and regional urban architectural culture and fit seamlessly into this cultural landscape. In the case of Brandevoort, the district council of Helmond, which was in charge of the planning for this

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re-establishment, explicitly specified this objective. A “classical »classical Brabantian town” town« was to come come into into being. In order to make it clearer, the politicians organised a bus trip to those towns in the surrounding area that they considered exemplary. Normally, much skill is required to convince the client of the rightness of our planning philosophy. With Helmond, we were preaching to the converted, as much with regard to the politicians as to the developers. We presented the final concept using a model made by the students I had in Vienna at the time. Over 900 students participated in a design seminar on a town plan similar to that of Brandevoort. The combined models at a scale of 1:100 resulted in a wonderful whole. During the design phase, every student had to take into account the plans of his neighbour, so that a minimum of coordination was ensured. The student model sparked off a discussion on questions of detail. The project was given the green light at an almost festival-like event. In order to win clients, the Brandevoort developers presented the building plans and models in the context of a trade fair for the construction industry, on a round town square like a theatrical backdrop. 700 potential buyers registered their interest for the 50 buildings of the first block, so that a notary’s office had to be entrusted with carrying out a selection procedure. The developers had regarded the closed block figures of the town centre with great distrust, because they were afraid that they would be difficult to complete. The opposite happened: the attraction of being able to live once again in a normal neighbourhood proved to be an absolute hit. The buildings could hardly be erected as quickly as people wanted to move in. Canon of Elements A glance back into cultural history shows that long periods of time were necessary to unfold and round off an epoch. The Egyptians lived several thousand years with an astonishingly static image-world. The Greeks needed almost a thousand years to develop the design of their temples to completion. The architectural language of classical antiquity continued to survive a further two thousand years on all continents, right up to the present time. This was only possible because the canon of the elements in architecture, sculpture and painting had developed up to a point where it gained universal validity. Despite regional peculiarities and individual artistic temperaments, the rules of design allowed for optimal adaptation and variation. With the revolution in the arts at the beginning of centuryand andthe the movement movement beginning ofthe thetwentieth 20th century

26

towards unrestricted freedom of personal expression, the validity of the classical repertoire was seriously put to the test. The unsettling thing about today’s world of artistic expression is the mania for uniqueness that keeps museums and galleries on tenterhooks. Architecture and urban design are not spared this. lt remains to be seen when the protests that we know from opponents of the global market economy will reach the art scene. lt is depressing and sad at the same time to meet with almost exactly the same collections in the new museums right across the continents. After Germany’s reunification, we saw that the museums of the former German Democratic Republic could not manage any longer without Andy Warhol, Mario Merz and Joseph Beuys. Even the renovated concrete slab constructions in the new states of Germany look like Western products now. In today’s artistic production, the attachment of the product to the person of its creator or inventor is restrictive. The soughtafter uniqueness of the artistic object lives in a world of its own; it cannot be handed down. Bacon and Beuys, Kiefer and Merz are worlds that simultaneously live next to each other: each one a very intense experience in itself, they sparkle together in a collection like spirits of the time that will remain basically irreconciliable. In museums, they stand as if panopticon, degraded to Punch and Judy figures. in a panopticum, They have nothing to speak of beyond their own selves. If we compare Le Corbusier’s work with the late work of Ludwig Mies van der Rohe, Frank 0. Gehry’s with Norman Foster’s or two of the same deconstructionist tendency, Coop Himmelb(l)au and Daniel Libeskind, then we will get the same result — disharmony. In past times, the art of composition using pictorial means could be taught. Theoretical approaches were based on a tradition that had given rise to products that lasted hundreds of years. They had gained general recognition and one did not have to be the representative of a philosophical tendency in order to find access to them or even to understand them. What can I teach students nowadays about the form of the modern building? They have seen a lot of things in the built world, discovered fantastic leaps of joy in modern construction. They want to be just as revolutionary. How can a teacher rein in such a comprehensible desire to create one’s own world wonder? lt is a question of opening their eyes for critical viewing and understanding, of showing them the anomalies such ego trips can lead to. lt is a thankless

Rob The Work II 150219 partproducts 1_Layout 1that 27.02.2020 Seite 27of lasted 19:12 hundreds

years. They had did not have to be the representative of a philosophical tendency in order to find access to them or even to understand them.27 What can I teach students nowadays about the form 27 of the modern building? They have seen a lot of things 27 in the built world, discovered fantastic leaps of joy in modern construction. They want to be just as revolutionary. How can a teacher rein in such a comprehensible desire to create one’s own world wonder? lt is a question of opening their eyes for critical viewing and understanding, of showing them the anomalies such trips lead to. lt is a thankless task to teach the ego virtues ofcan restraint. taskdeal to teach We with the ourvirtues themesofinrestraint. the domain of urban design Wesuch deal with ourvirtues themes the domain of urban design task to teach the restraint. in a manner as toofindistance ourselves from all in such a manner as from all We deal with our themes indistance the domain urban design spectacu lar effects. Wetowould likeourselves to of move towards spectacu effects.asWe towith movequiet towards in such alarsolutions manner towould distance ourselves from all »normal« that protectlike life and »normal«lar solutions thatwould protect lifetowith and spectacu effects. like movequiet towards comfort and leave We room for daydreams, solutions comfort and leavewith room for that daydreams, solutions »normal« solutions thatpoetry protect lifemistakes with quiet “normal” that are so filled canand be that are painlessly. so poetry that mistakes becomfort andfilled leavewith room for daydreams, endured The discipline attached to solutions thecan plan endured painlessly. The discipline attached to the plan that are sooften filledappear with poetry that mistakes can be ning may strict and artificial, from aning may often strict and artificial, from endured painlessly. The discipline attached to the plan single mold as it appear were, but it always leaves gaps forasinglemay moldoften as and it appear were, but ituncertainties always leaves gaps fora ning strict and artificial, from inconsistencies planning – even outsingle mould were, butisitituncertainties always leaves inconsistencies planning – even mold Hardly asasand ititwere, but always gaps for right failure. anyone called to leaves account for outbad inconsistencies and planning — even outright failure. Hardly anyone However, isuncertainties called tothese account foroutbad inconsistencies anddesign. planning uncertainties – decisions even planning in urban right failure. Hardly anyone isown called to these account for bad bad planning in Hardly urban decisions right failure. anyone is called to account for have a stubborn lifedesign. of theirHowever, – whole generations decisions planning intourban haveforced a stubborn of their own – whole generations planning design. However, these decisions are livelife with the consequences of planning have aa stubborn life of own are forced to live with thebusinessmen consequences of planning stubborn life oftheir their own— – whole generations errors. Politicians and have a very errors. Politicians andthe have a very are forced torelationship live with consequences ofaplanning am bivalent tobusinessmen plans: they are graphic ambivalent relationship plans:ofthey are a graphic errors. Politicians and businessmen have aeasily very and spatial medium the to effects which can andbivalent spatial medium effects which can easily am to plans: they are a graphic beguile andrelationship seduce. the Plans can of nurture false hopes beguile and seduce. Plans can nurture hopes and spatial medium the effects of whichfalse can easily that make a bitter awakening unavoidable. Because so that make a bitter awakening unavoidable. Because so beguile and seduce. Plans can hopes much unknown is inherent as nurture fermentfalse in urban muchmake unknown is inherentunavoidable. astheferment in are urban that a bitter awakening Because so planning, the decision-makers, politicians to planning, theatdecision-makers, politicians are to much unknown inherentmercy. astheferment urban some extent theisplanners' Urban in design is some extent the planners' mercy. UrbanNo design is theatdecision-makers, the politicians are to aplanning, domain with outstanding moral primacy. artistic a domain withat outstanding moral primacy. No artistic ̓ mercy. some extent the planners' design is vanity should take precedence overUrban human basic should take precedence over human basic avanity domain with outstanding moral primacy. No artistic needs here. Let us remember Heinrich Zille: »Architecneeds here. us remember Heinrich Zille: »Architecvanity should take precedence over human basic ture can killLet people«. ture can killLet people«. here. us Zille: »Architecneeds here. Let usremember rememberHeinrich Heinrich Zille: “Architure can killkill people«. tecture can people”. The applied arts of architecture and urban design The applied architecture design work with a arts set ofof objective theoand remsurban that do not workto with a arts set of theoand remsurban that do not The applied of objective architecture design have be reinvented by every generation. The staging have towith besequences reinvented byanevery Thestructure staging work a set ofinobjective theo rems that do not of spatial urbangeneration. architectural of spatial urbangeneration. architectural have to besequences reinvented byanevery Thestructure staging can draw upon a ingigantic store of know ledge. canspatial draw upon aparameters store of know ledge. of sequences ingigantic an urbanare architectural structure Their geometrical infinitely variable, Their geometrical are infinitely can draw upon for aparameters gigantic store ofonknow ledge. the opportunities innovation based avariable, secured the opportunities for innovation on secured Their geometrical parameters arebased infinitely variable, repertoire are boundless. The adherence to arules that; repertoire are true boundless. The adherence tocopying that the opportunities for innovation based arules secured are tried and is not tainted the wayon is. areprofound tried and true is not tainted the way is. repertoire are knowledge boundless. The adherence tocopying rules A of history enables usthat to A profound of history enables to are tried emanations and knowledge true is of not the way copying is. confront thetainted times critically and toushold confront emanations times critically and A profound knowledge of history enables ushold to alternative models upoftothethe modern city. The to theme alternative models up tothethe modern city. The confront emanations times critically totheme hold of the composition ofofurban spaces will beand explained of thethe composition of urban will explained alternative models up to the spaces modern city.be The with aid of typological projects that I theme have with aid of typological projects thatexplained I have of the the composition of urban spaces will be compiled since 1965. compiled 1965. with the since aid of typological projects that I have compiled We are onsince such1965. lonely guard duty with the defence Wetraditional are on such lonely the defence of urban designguard that Iduty find itwith is a wonder that of traditional urban design that Iduty find one itwith is aofthe wonder that We areNetherlands on such lonely guard defence in the of all places, the most in traditional the sive Netherlands of allthat places, ofwonder the most of urbanmodern design I find one itinis aEurope, that progres and countries this progres sive in Europe, this in the is Netherlands of all countries places, one ofdiscussed, the most theme notand onlymodern openly and seriously theme onlymodern openlycountries and seriously discussed, progres sive in Europe, this but alsois putnot toand the test. but alsoisputnot to the theme onlytest. openly and seriously discussed, but also put to the test.

general recognition and one Rob The Work II 150219 partgained 1_Layout 1 27.02.2020 19:12 Seite 27

Intermezzo: Freiburg im Breisgau, Germany My pavilion for the regional horticultural exhibition (Landesgartenschau) in 1986 has found an admirer who regularly sends me the most romantic photographs. I’m glad to see how harmoniously this love nest fits into the landscape, unconcerned with the critical architectural discussion. (Photo: C. Szaktilla)

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2001

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Overwhelming Duomo, March 2001

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1995—2008 1995–2008

Tell me what affects you

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CITADEL BROEKPOLDER Beverwijk/Heemskerk, Netherlands, 2000–2008

South-eastern elevation elevation Southeastern

Marketplace Market placewith withhealthcare healthcare centre, church store church and and department department store

Entrance to the town

The the market marketplace Thelandscaped landscaped part part of of the place

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The overall plan

The plotting of the centre

I

nn the master plan plan from from the architect architect Teun Teun Kolhaas’s Kolhaas’ master 2000, a grid square of 300 m × x 300 m surrounded by water was designed for the centre of a new town of 10,000 inhabitants, commissioned by the communities of Beverwijk and Heemskerk. The site has been built under the responsibility of ING/VOMAR and Deltapolder. The perimeter was lightly pressed in at intervals, which resulted in the star-shaped ground plan, its points ending in triangular bastions that stand in the water. The existing access street running diagonally across was to be maintained. It was interrupted in the middle and diverted around a small multi-purpose cultural building with a signal tower. The obstacle blocks the direct view through the centre. Tie-ups Tie-ups at at the the gate gate situations situations and and atat the themarketmarket tre. place have the same function. Objects whose purpose is to arrest the glance are also planned at the points where the lanes end at the water, in order to achieve more spatially consistent containment of the centre with its 450 apartments. Shops, restaurants and cafés, a supermarket, a healthcare centre and educational and cultural facilities offer the chance that from the outset, a living urban atmosphere will take hold.

Layout plan of the town centre

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The centre, square-cut, slightly rotated in the old plan

Starting from the given square-cut floor plan, I developed a star-shaped figure in order to break up the exterior walls and make them look interesting.

A first step, manifold, but very complicated. Orientation is difficult. Bird’s eye view Bird’s-eye viewfrom fromthe thesouth-east southeast

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The transversal course of the main road had to be adopted from the official plan. The building blocks are still too large.

These sketches are very near the final plan.

Eastern elevation

Lot plan of the first two building blocks under construction

Southern elevation

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Aerial view from the centre; the other districts do not follow our urban design philosophy

The entrance to Broekpolder centre with view of the marketplace market place

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The centreseen seenininthe thesunset sunset’s The centre lightlight

One of the typical streets,; car traffic for delivery is allowed, two parking spaces per house are provided in the courtyard. Every house has an individual architectural image.

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Bargemon, France January 1996

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Between Bargemon, Luxembourg, Amsterdam and Berlin February 1996

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TheThe health centre thirdfloor floorisisoccupied occupied flats. health centreseen seenfrom fromthe the marketplace. market place. The third byby flats.

The place with health centre, a markethall on the left,left, withwith a ventilation tower tower for thefor underground parking. Themarket marketplace withthethe health centre; market hall on the a ventilation the underground This location waswas originally designated for a church. parking. This location originally designated for a church.

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THE FOUNDER developer, Cees Zwanenburg,asked askedme metotocreate create an inaugural thethe centre of Broekpolder. TheThe developer, Cees Zwanenburg, inauguralsculpture sculptureforfor centre of Broekpolder. createdaafigure figure with the I Icreated thesymbolic symbolictitle title“The TheFounder” Founder.

Design of the socle

Veiled sculpture, with Roswitha and Nadine

The inhabitants of Broekpolder organised a brilliant festivity…

Unveiling ceremony

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You could feel the figure’s body

Finally …

… to celebrate the inauguration of their sculpture

… the secret is disclosed

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The Founder — my sculpture for Broekpolder

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29 February 1996

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9–19March March1996 1996 9—19

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Flats on the city edges

The city centre has around 450 family houses,

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including the flats on the block and town corners. What an amazing variety of different façade designs!

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View marketplace Viewininthe thedirection direction of of the market place

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TheThe main road, which thetown. town.The Theplanned planned church with its tower should served main road, whichcuts cutstransversely transversely through through the church with its tower should havehave served eye-catcherininthe themiddle middle of the place that thethe straight view andand the traffic. as as anan eye-catcher the market marketplace thatwould wouldblock block straight view the traffic. no money available sacralbuilding, building,aacheap cheap market markethall tower for for the the underground car park the monument. As noAsmoney waswas available forfor thethe sacral halland anda aventilation ventilation tower underground car replace park replace the monument. What a sad prioritisation in this saturated consumer society! What a sad prioritisation in this saturated consumer society!

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South side of the centre

The health centre

Waterfront

West side

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with flats on top

Same location with the finished health centre

on the south side

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April 1996

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April1996, 1996, travel April Travelsketches sketchesbetween betweenVienna Viennaand andBerlin; Berlin, bottom right, figure by by Max Max Klinger Klinger in in the the Belvedere Belvedere in in Vienna, Vienna, 1901, 1901, 80 80 cm cm tall tall right aa figure

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An archaic sacral building in the form of a simple tent

Corner bastions in the centre of Broekpolder, floor plan and façade

Sketch of a sacral building with tower

The church in the centre of the market marketplace; addition, the place; ininaddition, there is a department store; below: its façade

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All access routes to the town centre are designed differently.

Living on the waterfront

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The buckled outer edges of the town are clearly visible.

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Corner towers accentuate the access to the village centre. Surprising reflections can be discovered in the moats. Dominique and Frank, members of my staff, were mainly responsible for the high quality of the execution. Unfortunately, the architectural language of the town centre didn’t rub off on the surrounding built-up areas.

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1995–2008 1995—2008

Life stories

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HOUSE FOR MY FRIENDS INEZ FRANKSEN AND MICKY MÜLLER-SCHWARZ Pantasina,Liguria, Italy, 2000 Pantasina, 2000

Bath

Bedroom

Guest Ground floor, new kitchen and living room, the old house on the left

Storage

Kitchen, Dining room

South façade on the courtyards, the old house on the left

The old house and the courtyard

East façade

This is a sketch for the enlargement of the Ligurian house of our Berlin friends Inez and Micky. Their old house, 6 m × x 9 m, has only one bedroom and a kitchen and dining room on the main floor. The bathroom is only accessible from outside, in the basement. The enlargement develops on an existing substructure.

Staircase tower in connection with the old house

Tempietto on top of the of staircase with a view on the Mediterranean Sea

Bath and bedroom on the same level as the old house

North façade

Garage

Living room with connection to kitchen and dining rooms

Section through the living room and the courtyard

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STREET SEGMENT IN FRISCO Texas, USA, 2000

O

ne day in October 2000, an American colleague from the city of Frisco in Texas paid me a visit and asked me if I would be inclined to design an exemplary street section for an urban design project of his practice. He showed me examples of wonderful existing brick architecture in the neighbourhood, which had been built

around 50 years ago in an insouciant classical style. He didn’t have to ask me twice, and a few days later I gave him a series of façade designs. The respective floor plans had already been developed by his staff. I have witnessed myself on my journeys what is possible in the United States.Classical architecture is regarded as a status

Façade studies in different scales

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symbol by the wealthy anyway, and they demand it as a matter of course from the architect, whereas this attitude is considered intolerablyanti-modern anti-modernamong among EuEured as intolerably ropean experts. A realisation of this classical architectural style with visible bricks, as it was a tradition in Frisco, would have given my designs a local

touch that would have homogeneously fitted into the environment. The architectural guest packed my drawings and bid a kind and enthusiastic farewell, and I never heard from him again. Maybe my designs have been realised in Frisco, quietly and secretly.

LessLess monumental architectural elements Ionicororcorinthian Corinthian columns tympanums have given monumental architectural elementsthan thanthese these Doric, doric, ionic columns and and tympanons wouldwould have given a more decent appearance street.The Thebrickwork brickwork would have helped to simplify details. a more decent appearancetotothis thisnormal normal living living street. would have helped to simplify thesethese details.

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Captivated 1997

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WINDOW IN THE WOODS Almere, Netherlands, 2000

T

he population of the town of Almere was supposed to double from 100,000 residents in 2000 to 200,000 in 2010. Together with Heijmans Almere, we participated in an investor’s competition in 2000. There was only arable land here, wrested from the sea approximately years ago.ago. Almere is fenced in all approximate ly 30 thirty years Almere is fenced in around by by young forests. all around young forests.

View from the central square

For the village, we sought a structure that could be set in optimum fashion into a forested scene and we decided on a fern or leaf-type figure. The tips of the blocks can penetrate deeply into the stands of trees and almost disappear into the forest. The streets curve wildly so that the end of the town cannot be seen from the village green in the middle. From street to street, ever new spatial situations arise. A clear rectangular square forms the heart of the village. After the surprising experiences coming through the village, its effect is is that that of of aa peaceful peaceful pole. pole. A A school, school, aa kindergarten, kindergarten, aa covered market marketand and a home are covered a home for oldfor agepensioners pensioners are situated here. The less expensive houses are located at the lower entrance of the village, while the tips of the leaves and the top end are the more expensive locations: this way, opportunities for communication and encounters are almost a given; seclusion is costly. With regard to the acquisition of daily household necessities, neither the town as the project's ’ sponsor nor the developers have produced a concrete concept. A small space has been reserved for sports in this luxurious enclave, and close to the upper green, a chapel with a little campanile is planned. Nonetheless, a housing estate philosophy that leads to such isolated residential idylls deserves critical scrutiny.

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Bird’s-eye viewfrom fromthe thesouth south Bird’s eye view

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Thesefour fouroil oilpaintings, paintings, 100 100 cm x× 140 cm, were made These made during duringthe theChristmas Christmasholidays holidaysofof 1997 Törbel,ininthe thecanton cantonof ofValais, Valais, at at an an altitude of 2,000 1997in inthe themountain mountainvillage villageofTörbel, 2,000 metres. metres

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LIGNANO Lignano, Italy, 2000

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L

ignano, situated between Venice and Trieste, has a population of approximately 10,000 and one of Italy’s most popular beaches. During the summer, the population increases to as many as 100,000. At the western end of the gigantic resort town, a pine forest left in its natural state with a dune topography was to be developed in order to provide accommodation and cater to a further 10,000 summer visitors. An area of roughly 70 hectares was planned for forthe thenew newtown. town. The 30 The thirty different design variations drafted in the year 2000 range from linear systems with a boulevard-like centre to the concept of a clearly delimited neighbourhood centre as an autonomous body with the periphery developed in all four directions. The existing accommodations in the immediate environs are of surprisingly high quality. Lignano’s reputation has suffered severely from the mass tourism of the past decades. lt was all the more surprising to discover residential situations on the hilly building plots under old pine trees near the beach that offer a high degree of privacy and protection from the onslaught of visitors. A special feature of the plan is a neighbourhood with a spiral street plan. Illustration 13 shows the block structure of the last proposal, 14 the development in a more continuous, loose fashion, 15 the green spaces and streets and avenues lined with trees, 16 the traffic patterns, 17 the provisions for parking and 18 the network of pedestrian and bicycle paths.

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Sketches Sketches March–June 1997 March—June 1997

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Sketches Sketches 13–24 June 13—24 June 1997 1997

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FAÇADES ON LEIPZIGER PLATZ AND VOSSSTRASSE Berlin, Germany, 2001

M

y answer in a limited competition for façades of a shopping centre on Leipziger Platz and on the backside street.

Elevation on Leipziger Platz

Façade on Leipziger Platz

Backside elevation on Voßstraße

Site model

Façade on Voßstraße

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FAÇADE STUDY, GALERIE UNTER DEN LINDEN Berlin, Germany, 1996

F

açade competitions are a dishonourable matter for architects. The municipality and the owner feel no shame in making their vain and irresponsible selections from sketchily ad hoc designs as they please.

The fact that I haven’t built one single house in Berlin since the fall of the Wall teaches me the bitter lesson that my philosophy of architectural composition does not match with the city of today.

Unter den Linden

Glinkastraße

Corner CornerUnter Unterden den Linden / Glinkastraße Linden / Glinkastraße

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Berlin—Luxemburg, 21 September 1997

Berlin—Amsterdam—Berlin, October1997 1997 Berlin–Amsterdam–Berlin, 99October

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Back to Berlin, 23 September 1997

Luxemburg—Berlin, November1997 1997 Luxemburg–Berlin,2323October October1997 1997    Berlin—Vienna, Berlin–Vienna, 4 4November

Travel notes from two Leporellos, between 21 September and 4 November 1997

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RIVIERENBUURT The Hague, Netherlands, 2000–2009

S

outh of the De Resident quarter, towards the old Hollandspor station, is located a district that has been very neglected in terms of urban planning, and this is why the red-light district was able to establish itself there. The focus of the redevelopment intervention we began in 2001 for the Community of The c Hague was one of the few canals that remain in The Hague, the Boomsluiterskade. On the premises of the state printing offices, which are still active, a residential quarter was to be built for Eurowoningen.

View from the canal

When we established the plans for the quarter, we were attempting primarily to design a very transparent traffic pattern and, for the future, to unblock throughways that were then impassable. An existing street that runs east-west supplied the first stimulus for this. A square dominated by a twelvestorey tower opens onto the canal. The inspiration for the funnelshaped square came from The Hague’s own repertoire of squares: the Plaats in the city centre opens in the same way towards the old government sector and the adjoining lake. In order that as many residents View into the canal

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The development of the funnel-shaped canal

as possible can enjoy the water’s proximity it extends right into the square — to the almost hidden octagonal courtyard, which sets the concluding accent to this urban architecture composition. Multi-storey Multi-storey flats flats were were to to be be conconstructed structed at at the the canal’s canal’s edge edge and and on on the multistothe octagon; octagon;ininaddition, addition, multirey town houses with storey townhouses withindividually individually designed facades facadeswere were planned. planned. The The gable motifs were to emphasise gable motifs ought to emphasise the the eventful quality further. eventful quality stillstill further. At the time, local politicians expressly specified two tower accents at the canal axes: one tower was to be oriented from the old station towards the town hall, the other from the central station and De Resident towards the south. These 50-metrehigh residential towers were to disperse gracefully into the sky, creating unique living situations with oriels and loggias. The people call them»Woonkathedraal« “Woonkathedraal” — call them — that that is “cathedral for living.” is »cathedral for living.«

Layout plan, final version

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Sketches of the corner buildings beside the tower

Rivierenbuurt on the canal, Boomsluiterskade

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Rivierenbuurt — living on the canal

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Pavilion made from solid brick, providing access to the underground car park under the water basin on the main square

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Guardian

2 January 1998

Is it the afterglow, the autumnal forests, the sparkling sea that make him so curious? No, he greets the ghosts of the heroes and hears their wild laments and is awestruck by the tremendous roar.

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Boomsluiterskade,; on the right: view of the inner square

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Here’s a collection of beautiful houses from The Hague. My collage is completely arbitrary. The names of the streets where they stand are noted below. For comparison, see our designs.

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The merry diversity of the façades in the design were soberly reduced for economic reasons when the time came to begin building. The courtyard façades suffered catastrophically, inflicting irreparable damage to the quality of life.

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The residential tower in the grips of the funnel-shaped square, “A piece of recovered city”, with a dedication to the mayor, Maurice Norder

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The tower stuck between the buildings surrounding the square

Sketch of the tower

Likeable neighbourhood Likable neighbourhood in the skyline

The water basin at the funnel-shaped square, looking in the direction of the regenerated square

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House types on the square

Hillebrand Jacobsplein — the surrounding district is filled with buildings lacking any standards!

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Travel sketches January 1997

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Test placement of the Raftsman in Claviers, the neighbouring village of Bargemon, home of my brother Leo. The nudity of the sculpture caused a stir among the residents, so the sculpture as well as the plinth had to be removed after a short guest appearance. 1997

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Houses on the square

and in the same block on the canal

Plan of the tower, oblique view and loggias

A look into the execution plans from the studio

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Spatial sketch of the first square design, looking towards the city centre

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The battle of the architectural scales,; in the background, the building operation by Hans Kollhoff

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Willem Silviusstraat, looking towards the west

House corner in Willem Silviusstraat

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Adriaan Vlackstraat, one half of the octagonal square

Corner Silviusstraat CornerChristoffel Christoffel Plantijnstraat / Willem Plantijnstraat / Willem Silviusstraat

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Straight through Rivierenbuurt

Diverse house variations

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Surprises never end

at Hillebrand Jacobsplein

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The houses on the octagonal square — the reality was sobering At home

The transition passage between Jacobsplein

First draft of the octagonal square at the end of Hillebrand Jacobsplein (rejected)

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The houses could have been so varied. It remained a dream. and the octagonal square

No entrance without a bench

Final design with open road junctions at the square, with a fountain and a gate building leading to the central square. Le bon Dieu ne l’a pas voulu.

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Berlin, 6 May 1997

Berlin, 6 May 1997

Berlin, 11 May 1997

They hide behind a strong figure, everyone shouting in the background, 15 May 1997 / The Hague, ’s-Hertogenbosch, Helmond / The Brabant caller

Helmond–Amsterdam–Berlin, Helmond—Amsterdam—Berlin, 16 May 1997

From Helmond to Amsterdam by train 17 May 1997

On the run 4 June 1997

Note opposite: Summer weather, all villages have one or more church spires, in Brandevoort we will also need one. It is so green outside ... the landscape has finally awoken.

My daughter Nadine bought this drawing My daughter Nadine bought this at the opening of the exhibition in Mudrawing at the opening of the exhibition nichin in the Pixis gallery 11 SeptemMunich in the Pixisongallery on ber 2015 2015 11 September

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— Berlin 4 May May1997, 1997,Rome Rome–Berlin A few more weeks in Rome and I will not recognise my handwriting. I had begun this leather-clad sketchbook (16.5 cm ×x 23.5 cm) in Rome and filled filled it with 43 drawings up to 7 August 1997. Afterwards, it disappeared from my studio in Bargemon and I forgot it. it. In In summer summer,2015, 2015 the theMunich Munichgallery galleryowner, owner Christian Christian Pixis, Pixis called me in Liguria and told anan antiquary in Munich. Obviously sometold me methat thatthis thissketchbook sketchbookhad hadshown shownupupinin antiquary in Munich. Obviously soone hadhad stolen it. Pixis wanted to to return it ittotome. meone stolen it. Pixis wanted return me.I Iwas wassosomoved movedby bythis thismagical magical discovery discovery that that II asked asked him him to to keep keep and and protect protect it. it. In In the the autumn autumn of of that that same same year, year, he he displayed displayed it it in in his his gallery in Munich. This incident was the beginning of a spontaneous friendship.

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Even I allowedmyself myselfto to be be tempted tempted to towers, Even I allowed todraw drawsketches sketchesofof towers, this Rivierenbuurt, a retirement home thisone one on on Boomsluiterskade Boomsluiterskade atatRivierenbuurt, forfor an old people’s home

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Here’s skylineatatthe thetown towncanal; canal, left people’s home, Here’s thethe skyline left,the theold retirement home,then thenRivierenbuurt, Rivierenbuurt; adjacent, an existing high-rise residential and opposite, Living at Cathedral at the Spui adjacent an existing high-rise residential buildingbuilding and opposite the Livingthe Cathedral the Spui (see next page) (see next page)

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During work city centreofofThe TheHague, Hague,starting starting in been pressured to achieve During my my work forfor thethe city centre in 1988, 1988,I Ihave haverepeatedly repeatedly been pressured to achieve extremely large floor areas. When keeping with the normal 5 to 6 storeys, this could only be realised with several extremely large floor areas. When keeping with the normal five to six storeys, this could only be realisedtower withbuildings. several The most most recentrecent high-rise buildings by Hansby Kollhoff show how muchhow pressure on the district. tower buildings.The high-rise buildings Hans Kollhoff show muchweighs pressure weighs on the district.

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The trip to this romantic dream world reminded me of the long years of work spent measuring the cathedral in Auxerre. How I would have reacted had I actually been commissioned belongs to the sphere of unresolved professional adventures. This sketch, showing the geometric nesting of structures, is an attempt to rationalise — or clear out — the first rapturous design approach.

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WOONKATHEDRAAL — TWO SENTIMENTAL VISIONS The Hague, Netherlands, 2001–2002

Living should also find its cosy niches up in the heights … On an extremely narrow plot at the Spui in The Hague, around the corner from the Rivierenbuurt, a high-rise residential building was to be constructed. The building shown on this sketch was spontaneously called Woonkathedraal.

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The bigger the economic pressure, the more solemn the aesthetic implementation — out of defiance!

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They all chickened-out 8 June 1997

These These bucks bucks can can’t live in in harmony harmony with with ‘t live each July 1997 1997 each other other 44 July

Neither can they 6 July 1997

Agreement would still be possible 6 July 1997

Rarely were there three so different 7 July 1997

They have not got much to talk about 11 July 1997

Frightened 11 July 1997

An endless subject 11 July 1997

They don’t ‘ deign to look at each other 11 July 1997

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Three who wanted to love each other 8 June 1997

Pixiscame brought me this a very personal to Berlin When Pixis to Berlin, hedrawing brought with me this drawing withnote a very personal note. Note on the back: Back from Stralsund (where I had been working with my Viennese students). The three big churches are overwhelming. Marc has called from Rome. Papa congratulated me on my name day (St. Robert).

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TACHELES JOHANNISVIERTEL TACHELES— – JOHANNISVIERTEL Berlin, Germany, 2000–2002

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ecause of its complex urban design situation, this project virtually provoked a play of variations. Before the war, this plot of land was occupied by a glass-roofed gallery, crowned by a cupola 24 m in diahad been been designed designed by bythe thearchitecht architect Franz meter. It had Ahrens. Ahrens.

that are now occupied by a great variety of shops, cultural organisations and gastronomic enterprises. The success of the concept is due in part to its small-scale heterogeneity, which was revitalised after the city’s reunification when people sought the old urban quality in the desolate environs of the historic centre.

In all our proposals to the Fundus-Gruppe (made in the year year 2000), 2000),the therestoration restorationofof gallery’s forthe thethe gallery’s former mer ground plan re-emerged repeatedly in different ground plan reemerged repeatedly in different forms. forms. The cupola a circular plaza, glass The cupola becamebecame a circular plaza, the glassthe gallery a normal shopping street. the whole comagallery normal shopping street. As theAs whole complex is plex is considered to be building, a single building, could considered to be a single we could we establish establish distances between the buildings usual distances between the buildings that usualthat developdevelopment plans forbid. Thisthe way, the design ment plans forbid. This way design could could bring bringbeing into being a properly atmosphere. into a properly urban urban atmosphere.

Our first concepts for Tacheles were based on the idea of a labyrinth similar to the topography of the Hackesche Höfe. However, the solution that we finally arrived at provides a clear avenue through the block.

Not far away from here, the Hackesche Höfe (architect: August Endell) have developed into a popular and commercially successful concept. lt is a series of courtyards once used by workshops and warehouses

The streets and squares are open to vehicular traffic in the morning hours, and commercial deliveries are taken at street level as usual. The building units are individually designed. The composition of the circular open space is derived from the architecture of the old cupola. Gates that have been made slightly taller accentuate the entrances from the main streets.

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Rotunda

Final design

Shopping street with arcades

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Some sketches of the houses in the interior streets

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Two larger groups of buildings,; above: on Oranienburger Straße, below: inside the complex

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Oranienburger Straße; the pair of towers signals the entrance into the new district

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The semi-circular squareatatthe theentrance, entrance, seen The semicircular square seen from fromOranienburger OranienburgerStraße Straße

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The breakthrough to Friedrichstraße. I tried a new interpretation of the three-dimensional vividness of the Berlin façades.

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The round square, with an accurate reconstruction of the façades of the former glass-covered gallery, which at this point had been crowned by a glass dome. The architect was Franz Ahrens.

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A design with arcade buildings extending into the street. There is a view from Friedrichstraße into Oranienburger Straße; the round square is in the middle.

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The new passageway, seen from Friedrichstraße. Here, too, the passage is accentuated by two towers. After one and a half years of the most intensive planning, the work was stopped. To this day, this site in the city centre is vacant.

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Left: my studio in Bargemon, 1996,; right: mounting of the sculpture for the inauguration of “Kirchsteigfeld” in Potsdam, also 1996

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CITÉ-JARDINS LEPLESSIS-ROBINSON PLESSIS-ROBINSON CITÉ-JARDINS Paris, France, 2000

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n this Paris suburb, an unusually courageous urban development policy has been pursued under the direction of the mayor, Philippe Pemezec. The Parisian architects Nada and Marc Breitman were able to design a whole quarter of unique quality. All the aspects of theory and practice that we advocate were perfectly implemented in their project. L’avenue du Général de Gaulle

Place de la Résistance

On the site, which has been targeted for development since 2000, a series of municipal buildings dating from the 1930s had to be pulled down. We conserved the old street pattern with its trees, and using this as a basis, we designed a street network whose composition is as spatially eventful as possible to provide an optimal link-up with the old Plessis. The district is situated between the old town and a daily market, a location that will imbue the quarter with a lot of liveliness. The square, which links the new quarter with the old town, is developed in the form of a crescent, framing a traffic circle. Corrective measures to the urban design extending well beyond the building site proper had to be taken into consideration, so as to enable the city to react to this new quarter in the future.

Layout plan with current surroundings

The big rectangular square

Octagonal square Octogonal square

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ZAC DU PARC Vitré, France, 1997–2002

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or the traveller coming from Paris, Vitré, a town of 18,000 inhabitants, lies at the threshold of Brittany. a well-conserved stock The town townhashas a well-conserved of medieval buildings; worthy stock of mediaeval buildings; wor-of mention the castle with thy of are mention are crowned the castle towers that serves theserve town crowned withnow towers thatas now hall,theand the hall, town’sand Gothic church. as town the town’s In a suburb at the of this inGothic church. In aedge suburb at the cunabulum architectural edge of this of incu nabulum of history, archia plot ofhistory, industrial land vacant, tectural a plot of fell industrial thereby foroffering 250 deland felloffering vacant, space thereby tachedfor houses and pairshouses of semi-despace 250 detached and tached, have beenwhich in thehave planpairs of which semi-detached, ning works 2001.works The area has been in thesince planning since sufficient for sufficient the composition 2001. Thespace area has space of well-proportioned that can for the composition ofblocks well-proporbe grouped around a series of inner tioned blocks that can be grouped streets and squares. around a series of inner streets and squares. Access to the buildings is controlled by a gatehouse whoseis gateway Access to the buildings controlledis flanked by towers. The gateway main streets by a gatehouse whose is convergebyon a central square. One flanked towers. The main streets of these streets follows a crescentconverge on a central square. One of shapedstreets coursefollows and endsa at a beauthese crescenttiful, romantic 19th park. shaped course and endscentury at a beautiThe design of the houses iscentury clearly ful, romantic nineteenth inspired traditional Breton archipark. Thebydesign of the houses is tecture. inspired by traditional Breclearly ton architecture.

Street elevation at the back of the crescent

View from the middle street

Block structure with the building parcels

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Collage of old Breton houses, realised by the Conseil d’Architecture, d’Urbanisme et de l’Environnement (CAUE) de Côte-d’Or

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Above: multi-storey dwellings facing the park,; below: street façades of the new district designed “à la manière bretonne”

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Commercial centre of Vitré

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Porte commerciale de Vitré — Conception of a disciplined architecture for all commercial activities

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Life February 2000, Snatched and snared was I, as torn from the divine revelation forced out of intoxicated bliss

Pallbearer 23 February 2000

Child riding on his father 3 March

March 2000

Mascha und Dascha grow together 4 March

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Intimate entanglement

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Towed away February 2000

You catch me to spite and mock me verminous absurdity. Would the load be lighter here upon your stormy loins? Like a sapling in the winter storm – am I still a living thing?

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Bear me

March 2000

Wield me into the everlasting beholden to my soul and to celestial song do pilot me to new sounding spheres

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VAL D’EUROPE Marne-la-Vallée, France, 2001

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nother one among the innumerable lost competitions. At least no money has been lost in the office. I did the freehand drawings alone, and my wife Roswitha transcribed the floor plans and calculated the size of the flats during our summer stay in Liguria. Later, I was sorry that I had respected the arbitrary urbanist requirements of the design director of Disneyland, which, according to my urban design theory, I ought to have corrected. I am particularly proud of the fact that my architecture was considered not to be suitable for Disneyland — a reproach always addressed to me by malevolent critics.

Site plan with the green courtyards

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Ground level of the urban block figure which was prescribed by the promoter

Some plans of the apartment types

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Different views of the housing estate

Above: Rue des Bois de Paris,; below: the large boulevard Rue des Grands Prés

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Rue des Grands Prés

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Flautist

Hommage to Eberhard Blum 8 September 2001

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KLOOSTERVESTE Assen, Netherlands, 2001

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ear the town of Assen in the north of the Netherlands, a new town has come into being since 2001. Its cultural and commercial centre has yet to be planned. We were to take over the role of supervisor for a master plan already in existence, and sketch out our vision of the appearance of this centre for the community. This was the first time in our professional practice that such a request had been made: we were to direct the execution of a plan — of exceptional quality — which we had not drawn ourselves. We were unable to find out who was responsible for this exciting idea. Our positive attitude to this successful architectural design was correspondingly expressed in the improvisations we lined out. The undertaking has not progressed any further.

Squares inside the theround roundcity cityofof Kloosterveste, Assen Squares inside Kloosterveste Assen

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Schoolstraat — one of the curved streets

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These ideal visions, like many illustrations of my projects, came into being as provocations. In the background loomed the dramatic question,; why the new towns of today don’t look as architecturally exciting as the old ones. Nobody is tempted to plan his Sunday

afternoon walk to a contemporary suburb, whereas cities like Venice or Florence are overcrowded. Nevertheless, I am always happy about this cultural mass tourism. People desperately assault the beautiful cities because the ugliness of our new world instinctively repels them.

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I am just waiting for the moment when the pent-up anger breaks out and protest mobilises in the form of blockades and demonstrations and the politicians will be forced to intervene against the deformation of our built environment. This has already happened with some

rare cultural buildings; but here I’m speaking of the new large-scale urban design monstrosities threatening to strangle the cores of our cities. I recall the dictum of critic,Heinrich HeinrichZille Zille(1858—1929): (1858–1929): the Berlin social critic “Architecture can kill people.”

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Wasted 15 July 01

Farewell 5 April 01

RepentancesofofSt. St.Peter Repentances Peter Duomo 13 August 01

The Crouching 22 July 01

Reality August 2001

Give Way 25 August 2001

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Wasted

15 July 2001

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LLOYD PIER Rotterdam, Netherlands, 2001

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t the Lloyd Pier in the port of Rotterdam, large ships were formerly loaded and unloaded. After the moorings were transferred, the pier became available for new uses. In view of the city’s dynamic development, waterfront living has become a topical issue and at the same time an architectural challenge.

View into Pierstraat

In the design we developed together with van Wijnen, in the context of a competition in 2001, towers stand at the quayside with their feet in the water. U-shaped buildings link the towers, so that an urban sequence of streets and squares is created, the design of which ties in with the existing buildings. The buildings are five and six stories tall, and on the side towards the water, they are provided with green areas and gardens. The towers increase in height towards the end of the pier, from 10 to 20 stories, which corresponds to the maximum permitted height of 90 metres. Loggias, terraces and oriels produce a strong relief effect which endows the towers with an appearance of grace and elegance.

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Anxious

28 July 2001

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STRIJP S, FORMER PHILIPS WORKS Eindhoven, Netherlands, 2001

Site plan with the main roads

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he classic Philips works in the centre of Eindhoven were moved out, and as much as possible of the valuable existing structural fabric was to be converted into a multifunctional district. The difficulty in linking it to the surrounding areas led to the development of a particularly autonomous structure to which the environs — currently still too weak — will have to react in future.

470,000 sqm floor space!

This project came into being in 2001 in the context of a consultation with investors, its goal being to analyse the profitability of a conversion integrating new buildings in addition. In the utopian vision that we have developed together with Amstelland, the business centre as such is conceived as a compact, oval town clearly delimited from its environs “moat” surrounding surrounding environs by by aa »moat« it. The majority of the pre-war industrial buildings to be revitalised are located on the central longitudinal axis, and the most important traffic axes meet at the new central square. The blocks in front of the centre are for the most part residential developments whose modest elevation height creates the transition to the existing urban areas. Layout plan

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Sketches of the design steps

A slightly utopian vision of the new global industrial site, visualising the excessive programme of the investors

Last solution

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DEVELOPMENT PLAN FOR OUDERKERK Amsterdam, Netherlands, 2001–2003

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The interventions in red

he small picturesque town of Ouderkerk lies on the river Amstel near Amsterdam. Our role was to make a new street on the north-ernedge edgeof of the the town town centre, northern tak-ing care of various existing taking care of various existing buildings. These determined the buildings. These determined the choice of a horseshoe shaped choice of a horseshoe-shaped square along order to square alongthe thestreet streetinin order bring together all elements in one to bring together all elements in harmonious urban design one harmonious urban compodesign sition. Beyond this central we composition. Beyond this part central proposed interventions in other part we proposed interventions areas around raise upthis the one, discusin other areastoaround to sion for a future strengthening of raise up the discussion for a futhe general urban structure. ture strengthening of the general urban structure.

Ouderkerk, the harbour

Model,; the village church at the bottom

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Horseshoe-shaped piazza with the town hall on the left

Church square seen from the church

Main square

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HOUSING ON WIELANDSTRASSE Gladbeck, Germany, 2001–2002

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n a tract of land gently sloping in a southerly direction, a neighbourhood of onefamily homes with a special village-like atmosphere around a central square that follows the slope. Towards the bottom of the valley, the building development becomes less dense, with freestanding free-standing houses. houses. All All houses houses can can be be accesaccessed with cars and have a garage either as a part of the house or directly adjacent. Visitors find parking space on the green public roads. The irregular blocks create surprising spatial sequences.

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CHIMNEY IN OUR FLAT Berlin, Germany, 2001

Little intermezzo chimneydecorated decoratedwith with sculptures Little intermezzo— —my mydesign design for for this chimney sculptures is ismodelled De Resident ResidentininThe TheHague Hague modelledon onthe thetower tower of De

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In the Wind 1 October 2002

The Founder May 2002

Humiliated 10 May 2002

Silent 8 August 2002

On the Lookout 10 August 2002

Repressed 15 August 2002

Couple Embracing December 2002

In the Wind 1 October 2002

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BATAVIAHAVEN Lelystad, Netherlands, 2002–2009

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ith the the development ith development of of the the harharbour district district for bour for Rabobank Rabobank since start2002, Lelystad community took a ing inthe 2002, the Lelystad community tookimportant a very important stepthetowards very step towards develthe development theThe entire city. opment of the entireofcity. harbour The harbour lies of in the the coastal middle district lies indistrict the middle of theand coastal and forms a central strip formsstrip a central element. element. Together with Wissing Stedenbouw en Ruimtelijke Vormgeving, we quickly developed a design concept that respected the basic requirements of the community and the interests of concerned parties in the area. The idea of the development of the harbour basin as a bay along the coast seems quite appropriate for the site of Bataviahaven as a highlight and programmatic focus of the coastal strip at the summit of Suyderseeboulevard and Batavia Stad. This theme is developed distinctly and independently. The promenade and its development are taken up in a connecting curve. Harbour, promenade and street form a mutually reinforcing spatial ensemble.

First sketch of the harbour elevation

The main features of the urban design proposal’s spatial structure are: the relationship to Batavia Stad, the distinct blocks of buildings, the inclusion of lower-level private parking, the promotion of residential streets free of cars and the contrast of the activity on the promenade with the quiet privacy of the courtyards.

Layout plan

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Lelystad, Bataviahaven, northern elevation

Harbour façade

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Bataviahaven — new harbour of Lelystad (watercolour)

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Daily life on the edge of the port of Lelystad (watercolour)

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The first block, seen from the water

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The low-rise front buildings are destined to be shops. They are to be used as flats until the harbour buildings are finished.

The most beautiful compliment my brother Leo ever paid me is related to this building: “Oh, I would also like to live here with a view of the sea!”

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At the southern courtyard, there are cosy sun terraces, counterbalancing the northern sea view

At the courtyard side, each block is to gently decrease step-by-step from seven to three storeys, like this one, which was the first to be realised.

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Two corner towers

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Photomontages of the future port architecture

The harbour life full of hustle and bustle… even with only one building block

Bataviahaven in Lelystad, on the border of IJsselmeer/Markermeer

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Five of these happy blocks were planned,; the global crisis in 2008 stopped the project.

Joie de vivre

How Google shows the atmosphere and the life in Bataviahaven

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HARBOUR AND NEW CONCEPT FOR THE TOWN HALL Bussum, Netherlands, 2001–2010

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hen I first met the municipal council in Bussum, a beautiful oil painting hung the paint-ing hung above above the the desk desk of of the mayor, showing the old inner harbour and the high tower of the city church in the background. The water basin had meanwhile been filled in; the square was used as a car park. My question on

whether they could imagine excavating the old harbour was approved with enthusiasm. They also encouraged me to consider an alternative to the detested modern town hall. This dream still slumbers in the drawer of the master planner.

Sketch of the urban situation and vision of a new town hall, 1 June 2001

The new harbour and the town hall in the background, 3 April 2001

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The excavated harbour basin with the new district surrounding it

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OLYMPIC VILLAGE Düsseldorf, Germany, 2002

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n November 2002, in the course of its candidature for the Olympic Games 2012, the city of Düsseldorf organised a design workshop during which five teams, formed of renowned

vacy in winding streets and small squares were basic ideas of the design. A new bridge over the Rhine was to connect the village directly to the sports facilities. The district of Ober-

architects, town planners and landasked to develop scape architects, were should develop a cona concept for the areaininquestion. question. My cept for the area My team’s work focused on the design of the Olympic village which was to have an urban character. A closed building block, a central axis with a meeting point, and intimate areas offering pri-

kassel in Düsseldorf was the inspiration for aa var-ied varied architecture, tion for architecture, similar similar to the one we try to realise in all our urban design projects. A perfect model was thus in the immediate vicinity. The Olympic village and the bridge to the sports facilities

The Olympic village with the new bridge over the Rhine, 24 November 2002

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The Olympic village seen from the Rhine bridge

The large green space in the middle of the Olympic village

Another view of the large green space in the Olympic village, 24 November 2002

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Self-sacrifice 14 August 2004

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RESTRUCTURING THE DISTRICT OF KAMPERPOORT

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Zwolle, Netherlands, 2002

nfortunately, this is another plan that didn’t get beyond the stage of a first sketch. At the western border of the wonderful historic centre of Zwolle, which still shows the shape of its medieval fortification, a large urban wasteland had to be restructured. Arbitrary new construction activities forced the city council to look for a regulative master plan. The historic plan (in the middle on the right) shows how important the western arterial road — Hoogstraat — was in the past.

The The historic historic centre centreof ofZwolle; Zwolle,on onthe theleft, left the district Kamperpoort Kamperpoort

Today’s planning chaos

The Sassenpoort

City map, around 1850, with our planning area, Hoogstraat, on the left

My attempt to give the district a self-contained and homogeneous order (Hoogstraat is situated at the level of the bridge) 8 March 2002

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I 20 December 2003

II 24 December 2003

III 27 December 2003

IV 29 December 2003

Four sculptures on the subject of Rescuing for my project City of Justice in Luxembourg

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IV 29 December 2003

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ALTER HOF — RESTRUCTURING THE OLD RESIDENCE Munich, Germany, 2002–2003

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iewing all planning planning tasks tasks in in an a histohistoiewing rical context, this is one of the most difficult. The traces of the castle and later residence of the electors have been covered over the centuries. The designation of the location for shops, offices, and housing implicates that this new “content” will shape the typology of the building and its appearance. A public function with a prestigious character would have increased the value of the old court in quite a different way.

In our concept, we aim at creating a lively silhouette, which had been typical for the place until the interventions of the 19th century. A new pair of towers flanks the north portal. This side of the court needs a companion piece to the south tower, a special valorisation, since the castle chapel that once stood here was demolished. The apartment buildings are concentrated on the eastern side of the court. The gables, designed in many forms, allow a generous utilisation of the deep attic storeys. The apartment and office buildings are designed differently and can be easily distinguished from one another. They fit into the typology of solid structures in the neighbourhood and attempt to seamlessly adapt to the atmosphere in the centre of Munich. The same is true for the choice of materials and colours. 3 March 2003

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he old residence was severely damaged during the last war. In the following years, it was reconstructed with mediocre architecture that did not at all meet the requirements of the central location and should now be replaced. A competition was to deliver a suitable solution, but this usually goes wrong, as it did here. The new building by the winner of the first prize is even worse than the post-war architecture. This time, the question “How can we build in a way in line with the historical fabric?” particularly motivated me, as I had studied architecture in Munich. After so many years Ground floor, façades on Sparkassenstraße

First floor, façades on Schrammerhof-/Fisterstraße

East façades of Alter Hof, the Burgstraße crosses the old gate on the right side and the new gate on the left side 29 January 2003

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it was fascinating to discover the local Bavarian architecture which I had completely ignored as a recalcitrant student. I was enthusiastic about its folkloristic expressiveness and tried to perpetuate some of it in my project. The most important contribution was the remodelling of the north gate. In the Middle Ages, the castle chapel was located here. It didn’t survive the centuries. I didn’t have the courage to reconstruct it, but I respected its former dimensions. Instead, I tried to create a new, ceremonial gate architecture with two finely chiselled towers. Second floor, façades on Dienerstraße

Third floor

The corner of Sparkassen- and Fisterstraße with the existing bridge connecting to the Münzhof on the right 30 January 2003

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The south gate opposite, with its famous blue and white lozenge painting, the Bavarian emblem, has survived through the ages and deserved a respectable companion piece. At the same time, this landmark should serve as a signpost to the new residence on Maximiliansplatz. When I presented my project, I garnered disdainful comments.

The North gate

Fourth floor, south façade of Alter Hof

Section through the two gates

Fifth floor, east façade of Alter Hof, looking west

Isometrics of of Alter Alter Hof, Hof, seen seen from from the the north-east northeast Isometrics 28 January 03

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The Burg-tower in the medieval skyline

The western corner of the Hof with the Burgkapelle

Model of the medieval situation of Alter Hof, looking from the north into the courtyard

Some Bavarian architectural details in the streets around Alter Hof

Isometrics of Alter Hof, seen from the southwest, south-west,with withBurgstraße Burgstraßeand andBurgtor, Burgtor,the theoldest oldestpart partdating datingback backtotoaround around1150 1150AD AD 29 29 January January 2003 2003

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September 2005

Third 3rd version 2005

July 2005

15 August 2005

2005

9 August 2005

20 July 2000

June 2005

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2005

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WOONZORGPARK BILDERDIJK

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Hoogeveen, Netherlands, 2002–2008

n the very centre of Hoogeveen in North Holland, the municipality planned a large mixed-use complex on an empty plot of land surrounded by moats. Most of it was dedicated to residential units and care facilities for elderly people. Normal urban functions were to intermix so that the elderly people wouldn’t be isolated in a ghetto. I had in mind an exciting spatial organisation that was to provide the maximum possible variety of meeting places for the inhabitants. The first sketch shows an

exciting interplay of maze-like paths and square niches. It’s a pity that this unique figure had to be given up in the course of the revisions done for economic reasons. It reminds me of sculptures by Jacques Lipchitz or the cutouts by Henri Matisse. It is floating on the water, accompanied by green islands that stick to its exterior walls like sponges. Anchored by a solid pedestal, it moves like a dancing couple, free from the stolidness of populated places.

First site plan surrounded by water, 27 August 2002

Seniors’ paradise, Hoogeveen, floating over the water like a dream, 28 September 2002

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3 November 2003

The first alternatives. The programme extended to the smaller side of the main street with apartment houses.

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Here, the first first sketch sketch is is still still alive alive. Here, the

The appreciate . The flat flat parcels are easy to appreciate.

The The building building blocks blocks are are closed. closed .

Here, Here, they they open open up up to to the the outside. outside.

An oval reception square on the main street and a small change in the routing

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Two Two towers towers as as landmarks landmarks on on the the street street

Congenial spatial spatial chaos chaos along along the the inner-street inner-street sequence sequence Congenial

The Therational rational end end of of the long research

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Hoogeveen,; the façades, almost ready to be built

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he design of irregular building volumes and spatial sequences is a dangerous game because the aesthetic coherence can easily be lost. If, however, the house is harmoniously designed as a small module and if the addition of the modules is varied and artful, then the prerequisites for architectural success should be fulfilled. I always gave my students the following advice: When you can watch, use or hear a building, a painting, a sculpture, a designed object of daily use or a piece of music again and again with great delight, then you have evidence that you have a precious work of art before you. This test

Collage of different working plans

is an unmistakable sign of the aesthetic quality of the object or the abstract work of art in question. I have never heard of people who, in their leisure time, go for walks in suburban areas disfigured by the most banal buildings. Beautiful town centres, however, how-ever,can can barely barely resist resist the stampedes of visitors.

Examples of the working drawings, details still in progress

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Two different interpretations of the reception square on the main street, 28 September 2002 and 17 December 2003

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The atmosphere inside the village for elderly people, 28 September 2002

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Couple embracing December 2002

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Irresolute 11 August 1996

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MY SCULPTOR’S WORKSHOP Bargemon, France, 1991–2003

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or my sculptural work, I needed a workshop where I could handle figures up to 6 m high. The City of Vienna had commissioned me to create such a monumental sculpture for my round Camillo-Sitte-Platz. During a Christmas holiday with my brother Léon in Bargemon in the south of France, we both decided to take up residence here. He bought a house in the neighbouring village, Claviers, and I found this former shoe factory in Bargemon, which I could arrange for my purposes with little effort.

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There was already a two-storey room, 9 m high. On the f first Floor, accessed by a spiral staircase, only a kitchen and bathroom had to be installed. A loft conversion with terrace wasn’t authorised by the municipality. A large skylight provided for exciting daylight, and I had a crane attached to the roof beams. I was able to buy a secondhand forklift, and I mounted a working cabin on the sling bar so that I could easily rise and descend along the figure with my buckets full of plaster. I attached all figures that had been completed in the course of the years on rolls so that I could always keep keep my myworkspace workspacefree. free. However, 12 years later my workshop was so crowded that I could barely move. At that time, I moved to Italy, where I can work outdoors during summer, under a tent roof that protects me from the sun. A Parisian music publisher bought the workshop and its equipment and makes it available to artists free of charge. Every year when I visit I am happy to see my workshop in such good hands.

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Bargemon, the door to my sculptor’s workshop, rue de Seillans

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APARTMENT VILLAS Heiligendamm, Germany, 2003

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eiligendamm, situated on the Baltic Sea coast of Mecklenburg-Vorpommern, is the oldest seaside resort in Germany and continental Europe; it was founded as early as 1793. The place became famous worldwide as the venue of the G8 summit meeting in June 2007. Due to the neoclassical white buildings lining the beach promenade, it is also called “white town by the sea”. This impressive town as a work of art was erected between 1793 and 1870 by the master builders J. C. H. von Seydewitz,

C. T. Severin, and G. Demmler and is without doubt Germany’s most beautiful seaside resort. It was intoxicating and a challenge to design some multi-family villas that would match harmoniously with the historic buildings, just a few steps from the most beautiful of them, a little inland. It is a pity that it didn’t go further than these sketchy visions for the developer, the Fundus group, and that not even a single floor plan has ever been designed. A first layout sketch, the crescent looking to the main building complex

The reception square surrounded by an arcade, 16 February 2003

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The site plan of our project

A strange detail: the historical buildings don’t stand perpendicular to the sea

One of the neoclassical houses

Behindthe thereception receptionsquare, square,the thevillas villasstand standininaasemi-circle semicircle in front of the high trees of the park, 18 March 2003 Behind

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The main hotel and conference complex in the middle

At the beginning of the 19th century, neoclassical architecture was the architectural expression accepted everywhere … 17 March 2003

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Other beautiful villas — they survived the GDR regime, but some are in a rather bad condition

... it provides perfect living comfort, even for today’s needs, and assures a perfect aesthetic result 17 March 2003

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Shouldered 2004

Remote face 22 July 2004

On guard 3 August 2004

Violent confessional 7 August 2004

Nadine, butterfly of longing 8 August 2004

Alarmed 8 August 2004

Swan song 9 August 2004

Storming 13 August 2004

Don’t start 15 August 2004

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Alarmed 8 August 2004

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HOUSING COMPLEX PAKTUYNEN Enkhuizen, Netherlands, 2003–2009

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roofs, arranged in a circle. The curved façade of our project envelops the houses like a protective shield and opens up to the canal across from a gateway.

nkhuizen looks back on a thousand-year history and was for a long time one of the most important fishing harbours in the Netherlands. On the site of an abandoned factory, near a marina, a new housing estate is to come into being. It faces a row of e old workman’s houses with pretty façades and bright red This project was drawn on my 65th birthday in Italy, 10 June 2003

The new gate seen from the old workers’ houses, 21 February 2004

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Enkhuizen in 1652

Our project in construction on the left, behind the harbour, The Zuider church, 15th century, in front of the houses with the red roofs the Drommedaris gate, 14th century

The workers’ houses, left, in front of the slight curve of the crescent and the gate towers, 21 February 2004

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The model of the intervention, on top left, the house at the end of the canal (see next page)

Thebuilding buildingoperation operationcontinues, continues The evenafter afterthe thecrisis crisisof of2008. 2008 even

The view from one of the terraces over the roofs of the beautiful workers’ houses further toward the Zuidersee

The site plan and the layout of the houses and the flats around the gate building, carports behind the houses on the north side,; on the left, the house at the end of the canal

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The entrance to the park with the workers’ houses The house at the end of the canal

The beautiful workers’ houses

This a brilliant position a house canal, despite partly north-facing, 22 February 20042004 This is aisbrilliant position forfor a house at at thethe endend of of thethe canal, despite being partly north-facing, 22 February

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The houses on the passage to the north gate

First construction phase on the north side

Left wing of the north gate

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First building operation with the right tower on the crescent

The right wing is in construction.

Looking to the canal side, in the early morning

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The first houses...... first construction phase of the appartment apartment houses

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... and the single-family houses on the crescent, looking to the sunny garden side

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28 December 2004

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LIVING ON ISLANDS Heerenveen, Netherlands, 2003

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eer = mister, veen = peat,; Heerenveen was founded in 1551 for the purpose of digging peat. The wooded area was very popular with the local wealthy people who erected their country residences and

manors there, in the style of the town hall shown here. In order to avoid further dispersed settlements and to facilitate contacts in the neighbourhood, I proposed to concentrate several small groups of houses on islands. The site

The town hall

The delirious nature

The programme: 34 bungalows, 24 single-family houses, 21 flats, 79 units in total, 25 October 2003

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27 January 2004

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URBAN RENEWAL Culemborg, Netherlands, 2003

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ulemborg, founded in the 12th century and located in the middle of the Netherlands, south of Amsterdam, has an interesting twin layout in the centre, surrounded by water. In the Middle Ages, the city was known for its generous asylum law. The more historically valuable part is on the southern bank of the river Lek. We were commissioned to submit proposals for urban renewal, particularly for the southern part of the city. They were to help the municipality to initiate and subsidise gentle renova-

tions over a long period of time, both in public spaces and in private homes. The plan on the bottom left shows (in black) the most critical locations in need of a speedy intervention. A new square in the middle of the lower district would contribute to a significant revaluation of the quarter and accommodate important public functions. The proposed architecture was to fit in with the Dutch tradition.

The town hall, architect: Rombout Keldermans 1533

The binnenpoort (gate) and the late gothic St. Barbara church

An example of how a desolate street could be refurnished

The urban renewal proposals are marked in black.

The district with the piazza and other interventions marked in red

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Tower houses on the border of the canal could be a tremendous attraction.

These drawings were made over photographs of real situations in the city, showing how nice the city could be,. 21–23 September 2003

The new piazza in the southern quarter with a public building

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I inserted my sketch of the vision of the new district into that beautiful ancient aerial view of Culemborg, anno 1649 ...

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... the castle from the 14th century was destroyed by the French army in 1672

The entrance to the southern quarter as it exists today, and as it could be with a portico house

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April 2002

19 May 2002

June 2005

Les repentirs de St. Pierre 13 August 2005

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28 July 2001

8 August 2001

8 August 2002

10 August 2002

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The Founder 2002 The Founder 2002

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URBAN DEVELOPMENT HATTERSHEIM Frankfurt am Main, Germany, 2003

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nother project among many that weren’t realised, but remain interesting as theoretical studies. Today, I think that the first and the fourth proposals would be feasible for development. They are based on experiences I gained in Holland through the realised projects Brandevoort and Vleuterweide. They blend in with the intact landscape like organic structures. I developed a first project of this type for the Flemish town of Aalter in 1965.

Type I: An intact, spatially coherent system of roads leading inwards, with a central square in the middle. From the centre outwards, the row row houses housesare arereplaced replacedby bydoubledouble and single-family single family homes. Car access is from an encircling ring road leading to the courtyards which are open at the rear side, so that the residential streets remain virtually free of of traffic. traffic. At At the thenorth-western northwestern edge, an unobtrusive commercial zone is provided for.

Type II: Attempt to obtain a higher density in the centre. As a result, I was forced to form several small squares which don’t differ much hierarchically. The character of the village is transparent to the exterior, but can formally be perceived as a closed image. Type III: The core of the village has shrunk. The buildings are coherent and homogenous. At the borders, transparent lowdensity areas fit into the landscape. Type IV: This last variant is based on the first one, the only difference being that the exterior building blocks have been embedded in the landscape like leaves, the result of which is an even more closed structure.

Type I

Type III

Type II

23 August 2003

Type IV

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Visit to Echternach, Luxembourg August 2003

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April 1986

Salvat ii Papasseit Papaseit Barcelona, 1986 Salvat

February 1994

May 2005

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DE STADSBLEEK

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tudying the history of Oldenzaal, one learns that the core of the city was already populated in the 8th century and that a Scottish monk — Saint Plechelmus — built a church here in 765. A curious coincidence gave us a plot of land in the form of a bishop’s mitre; an invitation to a particularly stately civic architectural style that would have pleased the patron saint.

Oldenzaal, Netherlands, 2003–2016 The elaborate architecture facing the public space was bought with a meagre construction style facing the courtyard. Also, the forms of the roofs are partly a sham: half sloped to the street, and flat to the courtyard. Only the small houses inside are well balanced. The garages are greened carports, partially sunk below ground level. In the courtyards, they are situated in front of the ground-floor flats in order to assure natural lighting and ventilation.

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To some people, the playful variety may seem like theatre. I am fully aware of that. Our society no longer consists of bourgeois families who can afford to build a house in town, as it used to be.

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That does not release us from the obligation to design neighbourhoods in which our children are able to recognise their own homes. This can be achieved with restrained means that do not immediately turn upside down the whole world of forms in housing construction.

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7 August 2004

March 2005

9 August 2004

9 August 2004

15 August 2004

August 2001

15 July 2001

25 August 2001

15 August 2002

2005

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NEW DEVELOPMENT OF OBERKASSEL Düsseldorf, Germany, 2003

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his wonderful district from the 19th century has already been mentioned as an example when presenting the project for the Olympic village from 2002.

The width of the plot offered the unique possibility of creating a new, square-like centre, across which the existing road network could be reconnected. The archi-

Now we turn to the questions of the conversion of an abandoned goods station. The local authorities invited me to work out an alternative to the official development plan which is reproduced here and does not feature any attractive urban or spatial qualities.

tecture was intended to match the diversity and individuality of the existing town houses and be developed on single parcels of land. Serial, monotonous and repetitive architecture was to be avoided.

The official building plan (red) for the area between Greifsweg (left) and Hansaallee (right)

Street view of Hansaallee, 19 October 2003

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The district with the green central space and integration of existing buildings,; an industrial strip on the left

The new district in the urban context of Oberkassel, 20 October 2003

A larger industrial strip on the left with two green spaces, which makes no sense

View of the green central space, 19 October 2003

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Portraits

Grandfather Nicolas 1958

Grandmother Ketty 1973

Grandfather Mathias 2008

Grandmother Triny 2009

Mother Maudy 1987

Father Jempy 1987

Sister Marthy 2006

Sister Marianne 2006

Brother Leon ´ 1998

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Félix Bargemon Félix Bargemon 1997

Andreas Brandt 2005

Eberhard Blum December 1997

Daughter Nadine 2006

My wife Roswitha 1998

Victor Conzemius 1996

Marc Breitman 1998

Self-portrait 1981

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RESTRUCTURISATION OF BODDENKAMP RESTRUCTURING OF BODDENKAMP, ENSCHEDE Enschede, Netherlands, 2003–2004

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oddenkamp is an old industrial area on the border of the centre of Enschede. There is a mixture of factories, villas, crafts enterprises, a technical school, a bank, and a supermarket. The aerial photograph shows how extremely difficult it would be to achieve an overall restructuring structuring of of this this towntown planning chaos.

The reaction to our first suggestion was not positive, and it became clear very quickly that the city council was aiming for modernist architecture. This has been confirmed by the first projects already realised. Master planners should be be on on-site should site conconstantly if they want to deal wisely with local circumstances.

The district Boddenkamp in Enschede

First sketch of a green space in the centre of the district

Irregular street and square composition

The same exercise in different variations

Composition of different closed square sequences

Like the piazza in Vigevano, Italy, by Donato Bramante

A horseshoe-shaped horseshoe shaped piazza, like De Resident Resident in in The The Hague Hague De

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The existing Boddenkamp district

The different square sequences in their built context

Proposals for houses in the Dutch architectural tradition

The last proposals in their real urban contexts. Such a master plan must be established as a precise building code with many design details able to survive long-term realisation over decades. And the politicians must take care to execute it faithfully.

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Still, you bloom but in the dews of night 8 August 2002

Reeling,

your body sways like words aglow rocked by dream tempests, star-befouled disembark the sinking raft April 2002

On the lookout, not a breath stirs 10 August 2002

Demeaned,

as if high heaven’s mysteries, like untold earthly pangs beat low your back 10 May 2002

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Wind Wind

11October October 2002 2002

Whipped, tidings tease, tease, Whipped,wide-open wide-openspaces spacesglare, glare, their their tidings andininthe thespider’s spider’sstrands, strands, you fall and and andfall. fall.

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Our mother fell peacefully asleep on Tuesday, 18 February 2003 at 2:30 in the morning, at the age of 93 years

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NEW OPERA HOUSE Muscat, Oman, 2003

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was invited to participate in a selected competition for the design of a new opera house for Muscat, the capital of Oman. This was a special challenge, as I had to immerse myself in the Arab architectural tradition, which was largely unknown to me. The ruling leader of the state, Sultan Qabus, loves European classical music. He keeps a symphonic orchestra for which he wanted to build the new opera house. The programme was extre-

Ground floor

mely inflated; it was meant to guar-antee optimal conditions conditions both both guarantee optimal for opera performances and for concerts, which meant that for concerts the backstage had to be closed by a mobile backstage area. The project by the architects Wimberly Allison Tong & Goo was realised. Its external appearance is surprisingly good, but the interior is overloaded. It would have been a pleasure to work with such very good local craftsmen.

First floor

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Elevation Elevationofofthe thefirst firstreception receptionhall hall

Proscenium Proscenium

Exterior Exteriorand andinterior interiorelevations elevationsofofthe thearcaded arcadedcourtyard, courtyard,July/August July/August2003 2003

Corner Cornertowers towersofofthe thecourtyard courtyard

Section Sectionthrough throughthe themain mainspaces spaces

Lateral Lateraland andfront frontfaçades façadeswith withthe thefour fourbastions, bastions,reserved reservedfor forthe theperforming performingartists artists

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Main entrance situation, 15 August 2003

Back side,; in this proposal the backstage is covered by a dome, 16 August 2003

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Covered walkway, main reception space in front of the courtyard, 30 August 2003

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Top Topview, view,proposal proposalwith witha abig bigdome dome

Section Sectionthrough throughthe thecourtyard courtyardand andthe thesurrounding surrounding double-storey double-storeycovered coveredwalkway, walkway,connected connectedtotothe the inside insidefoyers. foyers.Proposal Proposalwithout withoutthe thebig bigdome. dome.

Covered Coveredwalkways walkwaysaround aroundthe thecourtyard courtyard

Thereception receptioncourtyard courtyardwith witha afountain fountainand andthe thecovered coveredwalkways, walkways,connected connectedtotothe theinterior interiorfoyers foyers The 1919August August2003 2003

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Central courtyard, 1 September 2003

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Second foyer with access to the staircases and the elevators, 29 August 2003

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The auditorium seen from the stage

Longitudinal section through the audience and the orchestra stage

The auditorium accommodates an audience of 1,500 people

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URBAN DEVELOPMENT Amstelveen, Netherlands, 2004

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On the left, the old industrial site; site, next to it, it the the usual usual modernist urban development modernist urban development

n the site of a former gunpowder factory, a small administrative building had to be designed that would match with the old industrial architecture. Next to it, a business park with a green space crossed by a runnel was planned — a common pattern in town planning. Of course course,IIwas waskeen keen to to present present my my urban design philosophy, but it never came to anything.

The rearrangement of the area according to my new urban design philosophy

The new buildings are similar to the old industrial buildings (on the right) in scale and architectural language

The first small project, the administrative building with an intimate courtyard, 4–10 October 2004

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I live like a tightrope artist. I’ve barely arrived at one end, when I am already drawn, over dizzy abysses, to the other uncertain bank.

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Devoted, you give your warmth August 2002

Abandon, don’t be too sure 15 May 2000

On the brink, headlong in blind faith

Cowering, stopped short, waiting

20 March 2000

September 2004

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Self-sacrifice 14 August 2000

Compelled to bitter forfeit you’re sworn to stormiest assent, aghast before the inner abyss.

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BURCHT LUYVESTEIN, SUYTKADE Helmond, Netherlands, 2004

t the edge of the city centre of Helmond, the founding city of Brandevoort, a series of built-up islands were to be created in a large canal. The master plan is by Sjoerd Soeters, a most imaginative Dutch architect and friend to whom I also owe the invitation to the Haverleij project.

v

A

His urban design for that place could have been penned by me. I didn’t want to lag behind him in imagination. A castle near Brixen in South Tyrol served as an inspiration. This project was also brought to a stop by the crisis in 2008.

The arrow indicates our project.

An octagonal floating courtyard with four geometrically different corner towers

Two different models

To live on the water is not quite child-friendly. Generous terraces should provide secure places to play in the fresh air.

Modern cross-wall construction of interior supporting structures made of concrete walls allow the corner towers to protrude capriciously as architectural sculptures. The corner towers should be shaped like bodies – as if they were guardians of the island.

The very uneasy silhouette should create the impression of a floating haunted castle.

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HOUSING COMPLEX ISMANINGER STRASSE Munich, Germany, 2004

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uring my studies in Munich I was so blinded by my desire to become a modern archi’ recognise the tect that I didn't quality of the city’s traditional local architecture. The romantic playfulness of the Munich town houses has a particular and unique aura that I only learned to appreciate much later. The project gave me the opportunity to use this architectural language. It came into being during a sunny holiday on Ibiza at the turn of the years 2003/04 and was shortly thereafter discarded by the ungracious client, although I had myfree-hand freehand drawdraw transformed my ings to computer renderings. Just how many times have I wasted the most beautiful days of the year on futile architectural designs?

Munich Bogenhausen, Ismaninger Straße, 8 January 2004

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At risk 8 August 2004

Sightless in defence,

bowed before the world’s din, plunge deafened

into the gales of night, your face wilting as you go.

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FOUNDATION OF A NEW VILLAGE Muiden, Netherlands, 2004 Thisstudy studyisisbased basedonona aprevious previousurban urbandesign: design:Window Windowininthe theWoods WoodsininAlmere, Almere,of2000 This 2000

Urban density, 4–5 / 2–3 / 2 floors, see colours

Main pathways to the centre

Bank promenade and the ring walkways

Circulation on the border of the quarters

Network of all bicycle and pedestrian paths and roads

New waterways and ponds connected to the old ones

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uiden is situated at the mouth of the Utrechtse Vecht to the IJmeer. This could have become a wonderful project, if a local felt pushed local colleague colleague wouldn’t hadn’t felthave pushed aside. aside.

New and old natural monuments, castle, cemetery

My offer to engage several planners in the realisation couldn’t smooth out his jealousy, and that was the end of the project.

Open green spaces penetrate the village in the direction of the centre.

chapel bastion castle

cemetry

Public and private green spaces,; all streets have trees

Cultural and social institutions

Sports, leisure and recreation

Industry, trade, shopping, hotels

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The well-conserved castle at the mouth of the river

New landmarks

Rough draft of the urban structure

Last corrections

Close to the final proposal, trade and offices along the canal

This bastion defended the trade at the river’s mouth.

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The impressive Muider castle built in 1350

1 April 2004 — this remains the best proposal

Extreme densification — speculation for more profit ruins the initial idea

More transparency

Harbour atmosphere

The end of the project. The main idea was destroyed by too many machinations. It made no sense to continue.

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13 March 2001

Reality, that like a net veiling your sight September 2001

Retire,

I hold the vagaries of your lust at bay 25 July 2001

Wasted, you realised so late how great the weight of mourning was

Swan song,

That the heart breaks in unfulfillable lust for life 9 August 2004

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Far-away face 22 July 2004

In the hour of the oracle search heaven for signs, which in silence’s bliss deny mortality, melt and fade.

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NEW COMMUNITY ON A FORMER FACTORY SITE Ede, Netherlands, 2004

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new mixed-use locality was to come into being on the empty former industrial site. The plan was for 1,400 residential buildings, a 50,000 m² business zone with conm2 gress centre, hotels and shops. The crisis in 2008 also snuffed out this project.

The factory in 1922, reminiscent of an Asian temple complex

Site plan of the Enka industry, ca. 1,000 m x× 500 m, situation in 2002

First sketches, on the basis of the historic industrial complex, a perfect square

Extending out from the entrenched centre, which is surrounded by water, are three residential leaf-shaped zones.

The most interesting functions that make an independent small town attractive should be located in the centre: cultural facilities, shops, hotels, congress centre, and businesses. A spectacular urban figure can enhance quality of life, as we have experienced in Brandevoort.

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Violent confessional 7 March 2004

‘ start 15 August 2004 Don’t

On guard 3 August 2004

Stumbling March 2005

As if blinded, victim to exhaustion. Reeling unsupported, speechless, in a riot of thought.

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Crouching Boy August 2005

inspired by Michelangelo’s Crouching Boy at the Hermitage in St. St Petersburg Petersburg

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Bathing scenes in Andora, Liguria June 2004

When you are in motion, be like water Chinese proverb Berlin, January 2005

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Lecture in Kuwait December 2005

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EXTENSION OF THE FORMER COURT OF JUSTICE Utrecht, Netherlands, 2004

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hotel and city museum were to be set up in the former palace of justice, which is a listed monument. Being the investor, the hotel could use the impressive historic building, whereas the museum had to content itself with being located in the rear

wing. As compensation, it was able to unfold under the square as a high vaulted room surrounded by a twostorey arcade. Dim daylight falls into the room through pretty skylights.

Hotel

Museum >

Existing building

Underground museum

Square with daylight pyramids for the underground museum

First floor

Ground floor

Main room in the underground museum, 13 January 2004

Second floor

Attic

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ARCAD ARCARDEUROPEA EUROPEA Prague, Czech Republic, 2004

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t the initiative of the Czech president, Václav Havel, Havel, all all Eurosident Václav European states were invited to build a small, permanent pavilion on the castle hill. I was to represent my home country, Luxembourg. The initiators’ first idea was for free-standing buildings to form a loose urban ensemble like a row-house complex.

I proposed several alternative coherent urban structures meant to symbolise — among other things — the social and political solidarity of the European Union. Unfortunately, the extensibility of the complex wasn’t yet up for debate. The project didn’t progress beyond the first ideas.

The European village according to the local plans

First version

Third version

Second version

The visual axis of the last version focuses the towers of the Basilica of

The Luxembourg pavilion, 18 January 2004

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15 August 2002

September 2005

Bond IV Leave the house that had become

Day’s decline... your soul of ash slips through

a dungeon for us both

my helpless arms

Playfellows August 2005

Carry me from out of the mire 28 July 2004

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Whereto... In the panicked pulse of rescue, you vow anew love’s fiery glow and save with brutal force — ignoring cost, struggle and abuse — your prey onto the unsure shore 17 July 2004

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ASSUMERHOF Heemskerk, Netherlands, 2003–2010

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ssumerhof in the southeast of Heemskerk is an ensemble of 6 single-family six single-family houses, houses, 46 46 row houses and a multi-family house in the centre, which was initially conceived as a hotel. The architectural language should relate to the baroque castle, Assumburg,and andits its large large que castle Assumburg park, which lie in a line of sight of our complex. Originally a larger village was planned that would have extended to the surrounding water with several finger-like branches.

It was fun to design the different houses by type using such a strict principle of variation that there is barely any repetition. An isolated small group of houses of this type will always be a social enclave; the most varied and sophisticated architecture cannot change this. A typical product of an anti-social, anti-children and oversaturated hedonist society.

Preliminary sketches

Type II, a cross tower penetrating a square base, 19 January 2004

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On top, a cross tower penetrating an octagon; in the middle, a variant for a multi-family house; below, the simplest type 20 January 2004

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Some of the house types

Sketch of the entrance gate

One of the two green spaces ...

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The village is an island and looks like a butterfly.

… with the main building in the middle

The stately architecture of the main building

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November 2005

Shadow-talk, with limbs sinking earthward May 2005

Makeshift sail, Grab. Warn. Wave. As if defenseless

Dignity of Women

(excerpt, by Friedrich Schiller, translation by Marianna Wertz) But now, so softly, persuasively pleading, Women with scepter of morals are leading, Smother they discord, all raging enlight, Teach they the powers, that hateful develop, Each in a more loving form to envelop, And what forever would flee, they unite.

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URBAN DEVELOPMENT, BORBECK AREA

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Oberhausen, Germany, 2004–2006

nother object lesson for the development of a housing estate on an abandoned industrial site. Thanks to the engagement of a

pact on the dimensions of the blocks, surrounded by entirely normal roads. It was important to find a structure that would allow an extremely high

citizens’ group, the old workers’ houses were able to be saved from demolition. They were completely integrated into our plan. The initial considerations were dominated by 1910-1927 the new road network where the new houses should stand. This had an im- Houses for the workers of the Gutehoffnungshütte (GHH)

degree of community life in the district, while respecting all landscape and ecological circumstances. The new district must have a centre where community facilities can develop.

First sketch for the pathways on the empty site

The entrance to the new village from Ripshorster Straße, leading to a central square and two expansion arms

The square has enclosed architecture with gates for cars and pedestrians,; the expansion arms create irregular spaces.

This star or flower figure allows a perfect integration of the old houses,; all the streets focus to a unique centre, good orientation

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The same star concept enriched with a ring road around the central blocks and a public building in the centre, perhaps a chapel

Research going on for the space between the two arms and the star figure

I am more and more interested in irregular squares and streets with a continuous architecture along the main streets and squares and a transparent concept to the borders. The green spaces penetrate the blocks from outside.

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2004–2005 2004—2005

2005

June 2005

My daughter Nadine, butterly of longing 8 July 2004

The desire of dreams sucks you up like astral dust

Do understand that darkness will quite snuff out your soul

Softly beloved, you strain the oar yet fail to break the fury of the waves. Let drift the boat that so eludes control. Count upon the miracle. Third version,2005 2005 3rd version,

Startled 2005

Knowing of the perils of the deep, I seek you out in warning. Dream-fibre taut, to mask the wariness in you.

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Notes on a lecture tour

Rome, March 2006 – Aachen, May 2006

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GARDEN CITY UNTERLIEDERBACH Frankfurt am Main, Germany, 2005

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here was already a final structural plan (No. 824) by the town-planning office and a draft development plan by the colleagues from Planungsgruppe P4. An interested Dutch investor we knew didn’t want to realise this sort sort of of chaotic, chaotic dispersed settlement and asked us to develop an alternative employing the urban design qualities that distinguish our projects. This is how this study, which was never realised, became a theoretical textbook example. The procedure shows the fundamental evil of contemporary town planning: Abstract functional plans assign the main functions, but there is no concept of building volumes and urban spaces. This is the only way to explain why rows of houses could be so nonsensically strewn about the landscape. To top it all off, they form a swastika. Official development plan

The municipality wanted a loose and transparent settlement, but you can’t create an urban atmosphere that way.

Concept of the Planungsgruppe P4

Attempts to correct the urban design, based on the official development plan, 6 February 2005

An irregular layout of the roads crossing the quarters would enhance the spatial experience. The proposal is still too stolid.

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Four blocks of the P4 plan

Ouranswer answerfor forfour 4 blocks Our blocks

An optimistic model photographed in front of the entrance to our office in Berlin, Mommsenstraße

Propositions for the house façades

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Caryatids for for my project Caryatids projectininBilbao Bilbao

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IJBURG — URBAN DEVELOPMENT OF A NEW ISLAND Amsterdam, Netherlands, 2004 with Nada and Marc Breitman

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new island in the east of Amsterdam was in discussion for urban development. This rational plan was approved by the city council.

I was frightened by the uninspired and stolid block layout with its long, monotonous boulevards without a clear centre.

Here is a first first sketch which should should be beundersunderstood the tood asasa a critique critique of of the official official plan. The same pattern, but with more surprises. This new city promises to be a dream ...

One main access road crosses the island right in the middle,; it is relieved by two access roads on the borders. The green spaces and the course of the canal have been adopted from the official plan.

Here, the island is divided into three independent quarters. They are sculpted on a good scale of around 700 m diameter.

As the plan was a contribution to a competition, we had to confine ourselves to the section of land in question; its development is shown on the following pages. 22 October 2004

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This Thisproject projectwas wasdeveloped developedwith withmy myold oldFrench Frenchfriends, friends Nada Nada and and Marc Marc Breitman. Breitman. The The programme programme consisted consisted of of shops, shops, offices offices andflats. flats.We Wedecided decidedto toopt optfor foraatough toughurban urbanatmosphere; atmosphere, small small blocks blocks with with an an irregularly irregularly shaped shaped space space in in the the middle. middle. and

Flexible floors with high ceilings on the first and second floor,; the flats above. The high density was required. We decided to vary the design of the façades according to the layout of the flats,; one by Marc, the next one by me, and so on.

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he individual building blocks are presented clockwise from northwest southwest. Each north-west to to south-west. block has a glass-covered courtyard with surrounding galleries onto which staircases and lifts open. Above the offices on the second floor there is a decorative glass roof that separates the upper residential floors. The inner courtyards of each block are geometrically unique. The living spaces are highlighted by hatching.

competition, we never got the chance to correct our plans. The assignment of façade compositions to the individual house axes is a playful interpretation of the bourgeoishomehome the bourgeois building tradition. I have chosen this design technique in many projects as a

The smaller units, the bachelor flats, are located on the narrow interior lanes. On the numerous house corners, living rooms with projecting terraces were planned to make use of this privileged situation. In this phase of the competition, the floor plans were not highly developed. But as we didn’t win the

means to bring diversity to the street façades. In this case, two intimate friends allowed themselves a great design pleasure. Shortly after, we were able to realise a similar design in Bilbao. I will get back to that later ...

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Rob

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gothic corner — Rob

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could write a book about the design game we played here. The countless hours spent correcting student works provided fruitful training for the invention of so many rhythmically and structurally different floor plans and façades. I certainly benefited more from this didactic supervision than my students, because I could make use of this experience in my own designs. Subsequently, each of

my projects became an object lesson about the art of composition with architectural elements. To designate this process, I have consciously chosen to use the term usually reserved for music writers, namely: composition.

In thethe stacking stacking In architecture architecture asasininmusic, music, and of building building elements elements in in both both and lining-up lining-up of structural and andmaterial materialvariety variety follows similar rules. My My imperfect imperfect musical musical educaeducasimilar rules. tion doesn’t doesn't allow me to provide more precise analogies. analogies.But But I know my I know from from my emoemotional experience that music good evokes music tional experience that good evokes a similar, aesthetically-founded a similar, aesthetically founded sensual sensual excitement good architecture excitement as good asarchitecture does. I does. I emphasise word “similar” beemphasise the wordthe “similar” because the cause theofspheres of musical expression and spheres musical expression and sensasensation go beyond those the other tion go beyond those of all of theallother arts. arts. The design of buildings always implies The design of buildings always implies

the trivial It the trivialbackground backgroundofofusability. usability. cancan never riserise in such profound and It never in such profound free freespheres and spheresasasthe theart art of of music, music, painting, sculpting sculpting or painting, or lyrical lyrical poetry. poetry. have the the afThe applied appliedarts artsalways always have tertaste ofofbeing aftertaste beinguseful, useful, of of losing losing value by by being value being used, used, of of being being sussusceptible to to erosion ceptible erosion by by climatic climatic efeffects and to being threatened with destruction by by natural destruction natural disasters disasters or or human vandalism. vandal-ism. human

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o some people, this kind of design may seem too playful and over-the-top. I cannot deny that we had lots of fun, and I confess that such hilarity is only possible among intimate friends who want to go wild in their common field of activity once more. My Gothic contributions, or the tree

new design worlds, which were abruptly smothered in the technical era after World War I. Le Corbusier, the Bauhaus building school, and the movement of De Stijl put great hope in the Ère machiniste, but they were rapidly overrun by their dreams of rationalisation. The building industry took possession of their purist ideology in order to promote its desire for profit maximisation and made architecture banal at breakneck speed. The futuristic dreams of the German architects Bruno Taut, Hans Scharoun and Hermann Finsterlin, of the

house designed for for this this block, block, are are outouthouse designed growths of this pleasure in designing. Now, we in recent building history are not alone in taking such flights flights of fantasy. Heaven knows that Art Nouveau artists approached approached architecture architecture with more courageand and more inventivemore courage more inventiveness. ness. with the elThey They meltedmelded naturenature with the elements ements of building, thereby softening of building, thereby softening its its strong geometryand andopening opening brand brand strong geometry

Italian Antonio Antonio Sant’Elia his Italian Sant’Elia and and his friends belonging Nuove TenTenfriends belonging to to the the Nuove group, ofand the Russians denze group, the of Russians around around Wladimir Jewgrafowitsch TatWladimir Jewgrafowitsch Tatlin, lin, moved into veritable utopian dimoved into ver-itable utopian dimensimensions. Compared towe them, find ons. Compared to them, findwe ourselourselves down to earth and playing ves down-to-earth and playing with with well-known patterns. still well-known patterns. What What still hurts hurts me today is the fact we let me today is the fact that wethat let ourselourselves be persuaded to such an exves be persuaded to such an extreme treme density. density.

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— corner — Marc

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he Berlin eaves height of 22 m still guarantees a perfect European city scale. Today, it corresponds to five or six storeys. We gave in to the pressure of the investors, as in two other projects, Nieuw Argentinie in Amsterdam and a residential complex in Bilbao, which was the direct result of these studies. Finally, I should talk about how to compose these very slender, high façades. During a study trip with my students to Moscow in the 1980s, I marvelled at the high building blocks from the

1920s/1930s which looked as if 1920s/30s which looked as if seveseveral individual houses ral individual houses had had beenbeen stastackedone oneupon upon the the other. other. We cked We proceeded in a similar way. The sections of the façade always corresponded to the width of the flats behind. If we had to revise the design, important corrections could be made here. At first sight, the following themes can be recognised:

foundation and attic frame the middle floors, which are in turn partitioned when they are too slender or too high. These sections, isolated inwhich could couldbebe isolated divid-ually, fit individually, fit together harmoniously in both structure and proportion. I will give a detailed report on the subject in the context of the two other projects with my Paris friends Nada and Marc Breitman.

Of course, each of us draws first and foremost from our own personal design repertoires. We didn’t have to coordinate with each other, because we have worked according to similar traditional principles for many years. However, the orientation of the Breitmans is much more classical than mine. I undertook the task of arranging the puzzle and of piecing it together harmoniously.

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Leftand andright: right:two twodifferent different glass-covered lobbies,ininthethemiddle: middle:entrance entrancearrangement arrangementofofthethefour 4 blocks, Left glass-covered lobbies; blocks, drawing drawing by by Marc, Marc, 2004 2004

Every house gets a different brick colour, November 2004

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The piazza between the four blocks, November 2004

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Sleeping Shepherd 2008, inspired by Adolf von Hildebrand (1871–1873), the original of which is in the Alte Nationalgalerie, Berlin

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NEW ARGENTINIE, IJHAVEN Amsterdam, Netherlands, 2005 with Nada and Marc Breitman

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hortly after we lost the competition for the construction on the IJburg island in the east of Amsterdam we were asked by the client ififwe wewouldn’t wouldn’tlike liketoto develop same client a concept to rescue one of his major projects which hadn’t found buyers because of its brutal architecture. Fortunately, it had not yet been built. built. The Thearea area isislocated been located near near the the cencentral station, at the IJhaven, across from Java-

and was was formerly eiland, and formerly built built over over by a huge storehouse. storehouse. II proposed proposed small small building building huge with varied blocks with variedfaçades. façades. This This concept rejectedby bythe thecity’s city’s design commitwas rejected design committee, tee, whodemanded demanded the the reconstruction reconstruction of of the the who former industrial building volumes. At that point, I quit the project and left it to my friend Marc to carry out the project in line with the desires of the municipality. In my

In this project, we proceeded as in the previous one, in IJburg. We designed the façades alternatively, and Marc painted them in watercolours.

II compiled front is oriented to the north compiled all all houses houses in in aa dreamy dreamy diorama; diorama; unfortunately, unfortunately, the the water waterfront 10 October 2005

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eyes this demand, which the committee imposed upon me with unbearable aggression, was a misdirected reference to a function that is incompatible with housing. Marc didn’t want to give up a big project in such a prominent location; besides, he and the client were close friends. So he realised the two gigantic residential

machines with commitment and passion. Our romantic preliminary study was silently reactivated. The design should be taken seriously as a warning to not let yourself be arbitrarily tempted and to not violate your own principles. It especially appeals to colleagues who work in the field of teaching.

Asisisapparent apparentininthe thesigned signeddrawings, drawings,ititwas wasaahot hotdesign designsummer. summer.From Frommy myItalian Italiansummerhouse, summer house,I Isent sentmy mysketches sketchestotoMarc, Marc, As and andhehedid didthe thesame, samevice viceversa, versa,and andthen thenwe wemet metininhis hisholiday holidayhome homeininthe thesouth southof ofFrance Francetotodiscuss discussthem. them.

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I tried to design and again and again correct all façades in line with their own rhythmic divisions and proportions. The three most important ratios result from the partition of the circle in three, four and five parts.

Proportions from the partition into three parts = 1:0.866

four parts = 1:1.4

five parts (golden ratio) = 1:1.618

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The area of the last building block, which was never constructed, was irregularly shaped and allowed the formation of a courtyard open to the water, as shown above. In the last version there is an elevation like a tower at the back, which offers a fascinating play of proportions. Of course course II also also provided provided tions. Of for some figures.

This would have been an exciting courtyard. Due to the opening, more flats would have profited from views of the water. 9 October 2005

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Nada and Marc Breitman are responsible for the realisation of this housing estate. The client demanded an extremely high attention to detail which, in my experience, can only be guaranteed by the repetition of many identical building elements.

It would have been difficult to realise in such a high quality the variety of different façades that we had sketched in the preliminary design. But Marc is very able to assert himself on the building site and in relation to the client who, in this lucky case, was a long-time friend.

I have to admit that I got frightened when I received these pictures, despite their remarkable quality of workmanship. The nightmare of the machine à habiter (Le Corbusier) had reappeared, only wrapped in a flattering sheath. However, it cannot mitigate the oppressing presence of the huge building volume, and the quality of the building elements also suffers from the repetition. What a pity, Marc, I would have been glad to keep at it! We will make up for it all in Bilbao.

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Inspired by Caravaggio June 2008

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LIVING IN THE HISTORICAL CENTRE

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Bilbao, Spain, 2005 with Nada and Marc Breitman and Iñaki Aurrekoetxea

his project in the Abandoibarra district in the centre of Bilbao, in collaboration with my Paris friends, immediately followed the IJburg adventure in Amsterdam. The first design sketches have been taken over from that project — not to make Dutch candies palatable to Basque clients, but simply to rapidly test whether the new client was willing to embark on such an adventure with us. With Anton, the boss, we hit the nail on the head.

The master plan by Pelli, Balmori and Aguinaga, 1998 Cesar Pelli recommended me for the block between the piazza and the park on the left. He was one of my architects architectsin inDe DeResident Residentin inThe TheHaugue. Hague.

Besides, he was also a potent art collector; he also promised to order a series of sculptures for the building. In the end, I made 40 figures, partly in plaster, partly in bronze. Our contact Our contactarchitect, architect,Iñaki, Iñaki, isis an an old friend who, at the end of the 1980s, had asked me for a big sculpture for one of his projects. Excellent prerequisites for an exciting project! The mayor, too, declared that our sketch was his favourite project.

The first design collage of 23 different façades, 18 January 2005

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Some significant façade details, especially oriels, seen in the medieval city centre

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Corner buildings from the 19th century

Dramatic balconies

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The problem of the corner house. The building law forced us to keep a straight line on the ground floor, so the oval tower could only begin at the first floor.

A ontop topof ofthe thecorner cornertower towerin infront frontof ofthe themuseum museum Abeautiful beautifulflat flatfor forour ourpromoter, promoter Antón, Antón on

A sequence of geometrical spaces inside the flat

Position of sculptures on the building

Sketches of the design process,; my corrections were made by correspondence

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Discussion about the corner towers, the geometries of the courtyards, the divisions of the houses, and the proportions in the composition of the façades, mainly after the golden ratio, M:m = 1:1,618

In all my projects you can find my adherence to different proportions according to the measures deduced from the partition of the circle in three, four or five parts. Have a look in my book Architectural Composition, in the chapter about proportions.

This is my favourite design in the whole building. The façade is composed of different layers, as a superposition of four elevations. The pillars are decorated with figural inscriptions. I had a hell of a time getting building permission.

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At the beginning of the planning process, we had the progamme for a private museum over two storeys, the whole ground floor behind the arcade and one floor below. An irregular forest of columns, baring the walls of the upper floors, defines the space.

Our promoter is a art famous art collector whoawanted a permanent exposition close to the museums famous museums of the city, Our promoter is a famous collector who wanted permanent exposition close to the famous of the city, Museo de Bellas Artes justthe in Museo front ofdeBellas our building minutes away.Guggenheim, Unfortunately, thisminutes programme was cancelled. Artesand justthe in Museo front ofGuggenheim our building 3and the Museo three away. Unfortunately, this programme was cancelled.

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Every house was drawn in that way in Breitman’s office.

Typical Spanish flat plans: very deep and narrow rooms,; the only comfortable spaces are at the corners. Life happens on the streets,; people only sleep at home.

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On the left: this is how you discover the building block coming from the Guggenheim museum,; above: this is how it faces the oval square. The left sunny side looks to the Museo de Bellas Artes.

Coordination meeting between Marc and Rob in Duomo, Liguria, supervised by Roswitha, with the caryatids in the background

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These six caryatids have an older story. They were originally conceived for the City of Justice in Luxembourg, a project that I will present later. They were rejected by the minister of building affairs and found a new destination in Bilbao, escorted by some fellows.

Nineteen caryatids were prepared in Berlin as 30 cm high clay models. From A4 drawings, I enlarged them to their full size of 1.8 m, ordered Styrofoam blocks 50 cm × x 60 cm × x 180 cm and with a hot wire, cut away the superfluous material sides. material on on three 3 sides.

Then I began, with the help of my sculptor friend Rudolf Borkenhagen, to peel out the naturalistic bodies. Afterwards they were transported to my workshop in Italy for the final touch.

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I had to make make dramatic dramaticcorrections correctionsfollowing followinga critique critique from my wife, Roswitha, who is still not happy with the result. I must confess that it was the first time that I plunged into a similar experience, having no definite control where they would be placed or how they would be seen from below and

Myfirst first error error was was the naturafrom far away away on on the thestreet. street. My listic size of 1.80 m. They should have been at least 2.20 m high. The second error was that I worked on them upright, as if I would stand at the same height as the building, instead of being in an almost horizontal position.

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uring my work on the caryatids, I always alwaysassembled assemthem them as if they bled as if were they engrossed in deep were engrossed in conversation. A tordeep conversation. turous uncertainty torturous uncerA accompanied my tainty accompanied sculptural work,work, my sculptural as my workshop in

as my isworkshop in Liguria so far away Liguria so far away from theisbuilding site from building site in thethe Basque region. in the Basque region. The photograph in the The photograph in the middle illustrates the middle illustrates the problem; these figures problem; these figures would need a frame to would needtheir a frame strengthen apto strengthen theirisappearance, which too pearance, which is too

delicate. But I couldn’t verify the dimensions of the figures or how they would appear from a distance on site. Thus, they seem to be standing helpless and lost in front of the screaming shear walls.

Their intimately whispered conversations die away in the loud built environment. Our very emotionally charged architecture was built on a dialogue with the Basque tradition. A further experiment could profit from these experiences.

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He fell into a frightened helplessness

The same figure seen in different angles from the square

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Everybody is concerned with their own problems

Marc came to my home in Liguria to survey the production of the caryatids.

Leave me alone

Intimate whisper

Iñaki

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We tried to organise the party. The happy dog by Jeff Koons in front of the Guggenheim museum in Bilbao, close to our building site

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I had a great time with the caryatid family in my Ligurian garden before they had to travel to Bilbao.

Their destiny to carry architectural elements on our building left them looking a bit sad. Is it a punishment?

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In front of our building block there is a monument with a fountain enriched by a beautiful figure sculptured out of a light-blue stone. I decided to paint the caryatids in the same colour, imitating also the irregular texture of that stone.

What a hell of an architectural drama in the façades looking onto the oval square!

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The side of the building looking to the Museo de Bellas Artes

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A quieter aspect of the façade facing the oval piazza

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A detail in one of the houses facing the oval square. There is a discordance between the scale of the figures and their supporting socles, a lack of coordination between Marc and I. Too late for a correction,; I am sorry about that.

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On the northern street façade, we assembled two figures in order to strengthen their sculptural presence on the large socles.

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Still You bloom, but in the dews of night unwrap the journey’s riddle without the almond’s shell

In the colours plunge and dive silent, harbouring exigency silent, draw near uncertainty.

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The desire of dreams sucks you up like astral dust into the flickering beyond. The waning light beckons.

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Dramatic accumulation of architectural elements on the square between the two towers. Every house is a different colour.

From the oval square to the northern street – the tower (R) with the golden head (M) and two bronze figures on the base, and one of the northern façades, with a dense composition of oriels (M) and figures (R)

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The east façades (M, R, M), the corner (M), facing the park and where the gothic house appears (R)

Marc’s generous oriels with the best view of the park. On top, a terrace with two of my bronze figures, observing the outdoor activities in front of the living room. This flat was sold at the best price.

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Square side (M)

South, park side (R)

South, park side

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East side (R)

East side corner (M)

South, park side (R)

West side, facing the museum (R with M details)

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All of the façades’ architectural details were elaborated in the Breitman office in Paris, and the plans for the flats were drawn up in the Bilbao office of Iñaki Aurrekoetxea, who was also responsible for the construction management.

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The gothic house, my favourite design … caught between Marc’s houses. The blue-grey colour of the different gothic figures changes slowly from dark to light.

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Two dramatic bronze heads carrying the first gothic elements

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Life stories

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A proud and self-confident expression

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A deeply forlorn expression, sorrowful

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Crestfallen, resigned to my fate

I turn a cold shoulder to your hypocrisy

Stop embellishing

Unsettled, but it didn’t break me

Noble reserve, without commitment

The enlarged drawings were carved up to 3 cm into the material. I had begun to work out the designs as bas-reliefs, but I realised that they were not recognisable from a distance.

How smartly did I trick you

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The drawings carved into the pillars

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They support a heavy balcony

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The caryatids on the corner house facing the park and the museum

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The bronze figures waiting to be brought to their final location on the building. They were all cast in the foundry of Marco Flierl in Berlin in 2010.

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The encounter encounter of of architecture architecture and and sculpture sculpture The Invitation card card for for the the inauguration inauguration party party of of the the sculptures sculptures in in the the Museo Museo de de Bellas Bellas Artes Artes in in the the presence presence of of Invitation the and the the mayor mayor,Iñaki IñakiAzkuna Azkuna thepromoter promoterAntón, Antón Iráculis, Iráculis and

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Ten people carried the double figure into the arcade’s round foyer.

It was called Light and Shadow.

This double figure has a long story. It was moulded in clay, 55 cm high, in Vienna in 1985, then enlarged in plaster to 150 cm in the rooms of my institute at the Technical University in Vienna. Later, two of my collaborators brought it to the monumental size of 5 m. I finished it in my workshop in Bargemon, France.

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The first model in terracotta, 55 cm, 1985

Its Its first first version, version, made made of of artificial artificial stone, stone, stands stands on on my my Camillo-Sitte-Platz Camillo-Sitte-Platz in in Vienna Vienna 23, 23, Breitenfurterstraße. Breitenfurterstraße. finally cast in bronze and brought to my project, project De It was then finally De Resident Resident,ininThe TheHague. Hague.

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The Bettembourg figures were copied in glass fibre-reinforced plastic. They were meant to be mounted on the façades, but our client preferred decorative positions in the house lobbies.

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Angry

Judicious

Haughty

Devoted

These figures, 170 cm high, were sculpted for the castle of Bettembourg/Luxembourg and cast in solid iron in 1988.

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The different geometries of the extremely narrow courtyards and the 5 m wide shopping arcade

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One of the nicest sunny living rooms with two oriels, looking to the Museo de Bellas Artes and the park

The flats in the round tower facing the oval square, with a view to the Guggenheim museum. Photograph by Aitor Ortiz, taken from a book about our project, edited by Iñaki Aurrekoetxea, animation by me.

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HOW TO BUILD IN BILBAO? The concept and implementation of the architecture of a block in the heart of the Basque city.

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ne of the most important matters in all of my urban development projects is to involve a team of like-minded architectural colleagues in the design of the individual buildings around a block. With this, the single buildings should be once more emphasised as individual components of an overall composition and the ensemble should gain in vitality and variety. In my presentations, I like to invoke the everyday scene of thethe fourth floorto to her a family, in inwhich whichthe themother mothercan cancall callfrom from 4th floor children playing in the street that their dinner is ready and they can also differentiate their apartment windows and doors from those of the neighbours; an age-old quality which allows urban development to create the places of identity and security that we call “home”. In contemporary architecture, this basic philosophy of democratic and human construction has been sacrificed to rational, economical and, not least of all, political arguments. Dictatorial regimes abused mass housing, so that people, as individuals, were rendered submissive in their thinking potency and brought into line with the crowd. In capitalism, the achievements of building technology for making money quickly and effectively were welcomed with open arms and, in many places, abused without compunction. We architects were aware that our endeavours went against the flow to the prevailing zeitgeist. Yet we were validated in our stance by the spontaneous acceptance of our designs by buyers, users, and passers-by. Added to this, there was also the fact that, prior to drawing up our design ideas, we had conducted intensive studies of Bilbao’s architecture and documented it in countless photographs. We wanted to reinterpret the essential typological features of the architecture in material and colour, clear in the knowledge that our budget could only recall but a touch of that old quality. Only in the restoration of old monuments can traditional craftsmanship be revived and solid natural materials be deployed once more. I have enjoyed a long friendship with Nada and Marc Breitman;

one which goes far far beyond beyondour ourshared shared professional passion. I have included included them many of of my my urban urban development development projects, projects, have them in in many above all Holland.And Andvice viceversa, versa, they they have have incorporated above all in in Holland. incorporated me into into their their projects projects as as aa sculptor. sculptor. Shortly Shortly before before the the invitation invitation me from Bilbao overtook me, we had had just just completed an unwitting test run for the Bilbao project as part of a competition for an urban development project on an island off Amsterdam. Instead of my tried-and-tested method of teamwork with a large number of architects, we decided, as teachers of architecture, to implement an example of the team process ourselves. We designed the buildings around the block perimeter alternatingly; Marc would design one, then me, and so on. As can be easily imagined, we had a terrific amount of fun in the process. As Marc is a strict classicist, I would take the opportunity to break ranks from time to time. In this way, my pen created a tree house, later a gothic building, which I then incorporated into the Bilbao project. The intention was that it should cater to its own vortex there. At this point, I must add that I didn’t always have positive experiences in my dealings with the colleagues I had incorporated by urban into my urbandevelopment developmentoperations. operations. II had had to to cope cope with quite a few disappointments as regards their willingness to play within the team. They also frequently failed to meet the quality standards I had envisioned. I was only able to enforce high standards of architectural quality if I had political support from the master master planner. me to to the planner. In In precarious precarious situations, situations, this this moved moved me carry out whole ensembles by myself with my young employees, or to incorporate my students. I was always certain of the quality to be achieved in collaborations with Marc. Allow me to explain here how the small-scaled solution for the façades came about in the Bilbao project. The unusually solid block was, by Spanish proportions, a typical architectural guideline; one which I had had no prior experience of. Town houses on the block perimeter were not possible here. The courtyards were too small. For this reason, we decided to accentuate the apartment axes on the outside. One could accuse us of producing pure backdrop architecture, which is something we are unable to dispute. However, the identification aid that this method provided for the inhabitants, enabling them to locate their apartment in the façade, seemed to us to justify the solution. You will recall the story about the children that I mentioned at the start. We too wanted to avoid having our enjoy-

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ment and passion for the playful handling of architectural language dampened and to present a fireworks display of compositional variants for building façades. HOW DID THE BILBAO PROJECT COME ABOUT? Years earlier, Cesar Pelli was one of my architects on an urban development project that I realised with a team of international designers for the city of The Hague in the Netherlands between 1988 and 2002. By way of friendly revenge, he recommended me as one of his architects for an urban development he had won in Bilbao. Of the great number of colleagues who I have incorporated into my projects, this is only the second time I have received a return invitation. Thank you, Cesar! He closely tracked the development of our project, asking for frequent reports and calling for corrections. The City of Bilbao was very anxious that Cesar gave his blessing to our extravagances. was absolutely absolutelydelighted delightedabout aboutthe theinvitation invitationtotoBilbao, Bilbao,asasI I was Ihave havehad hadprofessional professionaland andclose close personal personal contacts contacts with the and Spain Spain since sincethe the70s. 1970s. in Swiss TiBasque region and JustJust as inasSwiss Ticino, cino, a group of extremely talented architects had gathered in a group of extremely talented architects had gathered in the the Basque region the beginning 1970s and organBasque region at theatbeginning of theof 70sthe and organised archiised architectural symposiums in San Sebastián, to which my tectural symposiums in San Sebastian, to which my brother, brother, andregularly I were regularly invited. This isI met where I met Leo, andLeo, I were invited. This is where Manuel Manuel de Sola Morales Rubio, who first published my book de Sola Morales Rubio, who first published my book “Urban Urban Space withinGili in 1974, first in Spanish, (under the Space” with Gili 1974, first in Spanish, (under the title title Stuttgart, Teoria y Practica de los Espacios Urbanos), “Stuttgart, Teoria y Practica de los Espacios Urbanos”), before beforereleased being released one year in German. littlearound later, being one year later in later German. A little A later, around the middle of the 1980s, Manuel recommended me as the middle of the 80s, Manuel recommended me as a sculptor a sculptor for two monumental figures Port of Barcefor two monumental figures at the Port at ofthe Barcelona, which lona, which were unveiled for the Olympic Games. During were unveiled for the Olympic Games. During one of these one of thesethe gatherings, the Spanish publisher of gatherings, Spanish architect and architect publisherand of the magazine the magazine Nueva Forma, Juan Daniel Fullaondo, asked me Nueva Forma, Juan Daniel Fullaondo, asked me for publication for publication material. He printed everything sentway, him.the In material. He printed everything I sent him. In Ithis this way, the whole body of my early architectural and artistic whole body of my early architectural and artistic works up to worksappeared up to 1975 appeared in his magazine. 1975 in his magazine. In the period 1988–91, the city of Irun appointed me to design the district between the old city hall and the church, which was still in ruins from the civil war. At almost the same time, Leo á to draw up and I were appointed by the city of St. Sebastian the urban development plans for a former industrial site, “Venta

Berri”. Both designs fell victim to changes in political leadership; the same happened with an assignment from the city of Bilbao for a housing block in its “Txurdinaga” district, which had made it through all stages from design performance up to planning permission. The block, measuring 54 m ×x 54 m, was 6 building composed of six buildingtypes typeswhich, which,depending dependingon on their their oriorientation, had varying typologies of floor plan and elevation design. A seminar had even been staged on the subject and was attended by practising architects. It should have held good as a model procedure for an entire city district, a forerunner of the now realised complex at the City Museum in Bilbao. As though it were a late reward for these efforts, the sculptural assignment presented to me by Iñaki Aurrekoetxea followed; I was to produce a figure for his project for a pedestrian promenade in a suburban district of Bilbao. Leo designed the base with a 9 m high pillar to support the figure. In March 1993, this and other works from my architectural and sculptural portfolio were published in the high-quality Basque magazine Composicion Arquitectonica in a quite uniquely beautiful way. It must be quite plainly discernible from my descriptions that the link between the fine arts and architecture is very close to my heart. Sculpture and painting have been crowded out of modern architecture and almost completely banished to a mere museum existence. Only very few architects have made them an inseparable part of their buildings, such as Le Corbusier, for example. As he himself was a passionate collector, our client was thankfully quite prepared to support this concern. WHERE THEN COULD SCULPTURES BE MOST MEANINGFULLY DEPLOYED? One of the most characteristic building elements in Basque architecture is the mirador – these wonderful glazed loggias, protected from wind and weather, which project slightly out from the façade and create a transparent extension of the living space into the street space. I designed a series of 20 caryatids that were to act as playful supporting structures for these miradors. They consisted of female and male figures with a height of 1.8 m. They are modulated in the classical manner, naked in thefaçade façadewith withaaweatherproof weatherproof finish. finish. stucco, and coated coated across with the In the the Gothic Gothic House, House, towards the park, carved reliefs reliefs over over 22 m m In high have high have been been integrated integrated into into the the piers piers in in the the façade. façade. These, These

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too, depict human figures, whose poses can only be poetically construed. In addition to these, there are a number of 2 m high bronze figures at particularly prominent points. One of these, a double figure, stands at the beginning of the arcade along the oval space, opposite the Museum of Classical Art. Each building entrance has also been enhanced with a 1.7 m high figure in semi-relief. In all, just over 40 figures were installed. I have already spoken of the poetic message in my figures, as I like to paraphrase their expression with lyrical lines. I have taken the generic title of my theme from Balzac, who summarised his novel works under the heading Comédie humaine. The poses of the human body embrace a virtually inexhaustible abundance of possible expressions, which I cannot reveal here. To do this, I would have to show every single figure from various viewpoints and explain them with the help of the corresponding texts. In this publication, with an architectural focus, these should be perceived as a sculptural enrichment that touches on a declarative plane in a way that the pure geometry of the construction construction cannot. cannot.This Thisproject projectshould shouldbebe directed at of the directed at my colleagues as a critical experiment, independent of the semy colleagues as a critical experiment, independent of the selected architectural language, which will provide sufficient fuel for conflict on its own. We have made every effort to blend our design as carefully and sensitively as possible into Bilbao’s existing architecture, as if it had always stood on this spot. As it is, many observers on the street fancied that it was a renovated old building. I took this commentary as a flattering compliment. We were fully aware of just how much we would be working against the zeitgeist. The just-completed neighbouring buildings pay conspicuous homage to the modern fashion. The role of trends practised today can only be weighed up and judged in this hard confrontation. We are grateful that Bilbao made this experiment possible for us. Without the courageous and committed support of the officiating Mayor, his specialist team, the open-minded clients and m the dedication of our contact architect, Iñaki Aurrekoetxea and his team, this project would not have been so consistently executed. The final construction plans for the façades were drawn up in the Breitman practice in Paris. As university lecturers, Marc and I were obligated to enter into this venture at the risk of having to accept bitter criticism from our own professional circles. We are aware that this experiment represents a playful beginning in expression and form – one which must mature fur-

ther over the course of many more attempts. With this test run, we hope we can encourage some of our colleagues to continue our experiment and to finally put a stop to the serial and repetitive addition of identical architectural elements. Berlin, October 2011 RK *

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Ignudi 2009 on the ceiling ceiling of of the the Sistine Sistine Chapel Chapel in in Rome, Rome, at the painted paintedby byMichelangelo, Michelangelo,1508—1512 1508–1512

“Between the narrative scenes, and frequently overlapping them, are twenty nude youths or ignudi. ... Like living sculptures sitting on the architectural frames of paintings, the ignudi are animated bodies without precise narrative justification or meaning. Arranged in every conceivable manner, they appear natural, even comfortable, but most of their poses are utterly impossible. As with his

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figures in marble, Michelangelo suggests relaxed languor while inventing unlikely, even painful, contorions. In bodily contortions. Inthese thesefugures fugures–– twenty painted reconstructions of ancient statues – Michelangelo created a repertoire of poses and forged an ideal of male beauty that would serve as a school of art for centuries.”

(William E. E. Wallace, Wallace, Michelangelo. Michelangelo. The The Artist, Artist, (William the Man Man and and his his Times, Times, Cambridge the Cambridge 2010) 2010) I couldn’t resist the temptation to translate the two-dimensional drawings into three-dimensional works – an exercise that I would like to realise with students.

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MY SCULPTOR’S WORKSHOP Duomo /  ndora, Italy, Duomo /A Andora, Italy, 2003 2003

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fter moving from my studio in Bargemon in the south of France to Liguria, I was searching for a piece of land where I could build a sculptor’s workshop. But my long search was in vain, and finally our Italian neighbour allowed me to use his private road as well as his plot of land and his barn. The only access to the little village of Duomo is via a bumpy and steep donkey’s pathway. I had got a loud and rattling transport crawler to carry carry my my materials, materials which was now used on the building site. From there I could easily deliver my materials.

The drawings illustrate the conversion. The old roof structure was unsound. The thick masonry had been erected in dry construction and its instability was alarming; there were even some wide splits in the walls. The exterior construction had to be stabilised with an interior reinforced concrete shell cast against the walls and a floor slab. In front of the house, there is a very old olive tree of 15 m. In order to have a full view of this natural wonder from the house, I broke into the gable wall of the barn, adding a tall gothic portal.

Only when the roof was uncovered did I discover the beauty of the view offered by the whole panorama of the landscape from this dais, and decided to build a pavilion-like turret.

Thus, the pavilion with its panoramic view now sits like a captain’s perch on top of the roof and dormer ridges. My Sicilian master builder Ferro was builder,Salvatore Ferro, well versed with all trades up to the installation of a bathroom.

The first version was a square, the second, as expected, an octagon and certainly much more difficult to be cut into the roof construction.

I found a brilliant local, Egyptian-bornwindow windowmanmaEgyptian-born nufacturer,Giorgio Giorgio Shoukri, ufacturer, Shoukri, for the gothic portal, the windows and the pavilion. He made the whole body out of one piece, and it was lifted with ladders and ropes.

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The ground floor

The tribune with the air space

The woodwork of the roof

Cross-section

Longitudinal section and side façade

The masonry is flush with the roof tiles

Front view and back view,; an equilateral triangle determines the ridge height

Eaves – the rain gutter is slightly recessed from the masonry

The position of large pale stones. Two of them form the capstone,; above it, there is a round boulder found in the river bed.

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The dormers and their stone masonry, seen from outside

Ascending to the tempietto

The masonry of the dormer lies on a Longitudinal section seen through double layer of supporting beams. the dormers

The lattice design of the gothic portal

The relation of the radii of the arches to the width of the gate is that of the golden ratio.

The stairs are steep, like in a ship.

The dormers, seen from inside

The latticework in the gothic figure was constructed with shifted centres.

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Fireplace with figures on pedestals

Here with Here, with aa round round shape shape

Chimney with stone ornaments

Top of the chimney

Concept for an extendable table

The square tempietto

In the end, I thought that the square, temple-like turret was too solemn, and the penetration of the chimney also bothered me.

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Detail of a window of the square tempietto

Finally, Finally, aa return return to to the the octagonal octagonal look-out lookout

My also did did the the woodwork woodwork of of the the pavilion pavilion up up to to the the balustrade balustrade. Mymason, mason Salvatore, Salvatore also

The kitchenette and the studies of the staircase which was finally executed in single masonry

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The end result was something similar.

Walls in the courtyard with niches for sculptures

Final chimney design

A SalvaA challenge challenge for for my my mason, mason Salvatore, who made many adjustments

Different designs for a fountain with figures; the one shown in the middle was realised

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The two-storey living room and workshop

My daughter Nadine and her boyfriend Christian, who use the house quite a lot in summer, wanted to add a touch of Bauhaus style. Let’s wait and see how long we can stand the effect of the intense colours.

Glimmering evening light in the olive tree

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A steep staircase with staggered steps leads to the pavilion on the roof.

A chestnut trunk carries inserted pieces; pieces, steps made of Olive wood olive wood

The staircase is like an abstract sculpture. In the village, I found a retired train conductor, Enzo Bianco, whose passion is carpentry. He is a true artist. I came upon the chestnut tree trunk 50 km away,; Enzo found the branchless olive wood steps deep in our valley, where the olive trees are rather sturdy.

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Our village of Duomo/Andora with the castle and the chapel, with Roswitha’s house at top right, my barn with its tempietto to the left of the defence tower

My barn, seen from the donkey’s path. The mulatiere is a strada comunale, a communal road.

View out of my tempietto into the hilly western landscape

The tempietto, surrounded by olive trees. Curtains protect me from the sun.

View to the east and to the west. When there is direct sunlight, it gets very hot. But the temperature can be regulated very quickly by letting a draught in. Every other window is a hopper window. Constant ventilation avoids the appearance of water condensation on the window frames made of aluminium.

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On the balustrade, there is an accumulation of small sculptures, including one of my paternal grandmother.

Terracotta model of the Jumper who sits enthroned over the fountain in the courtyard

Reading corner at the southern dormer

The Marc Breitman, Breitman, and and to to its its right, right, in in The bust bust of of my my friend, friend Marc white terracotta, my paternal grandfather

Ascension to the tempietto with the circular work plate

The closable stairwell, seen from above. When we have guests, we close the hatches and put a stool on it.

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Wild crowding crowding on on the the tribune. tribune. This This is is the the place place where where II send send faxes faxes and and e-mails, emails, whereas Wild whereas II draw draw in in the the tempietto. For my guests, there is also a TV connection. In the evening hours, I take pictures of my small figures in front of white canvas in a stretcher frame, illuminating them with spotlights.

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The enchanted enchanted atmosphere atmosphere in in my my courtyard, courtyard which is protected on all sides. Here, under the flickering The flickering light shining in through through the the delicate delicate leaves leaves of of the the olive olive tree, tree, II create create the the models models of of my my sculptures. sculptures. in

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The barn, seen from my lower meadow. I worked here before buying it. The communal donkey’s path passes between them. A model of the Catalan poet, Joan Salvat i Papasseit, decorates the water basin.

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The Jumper greets all passers-by on the donkey’s path.

The Jumper above the water basin, which is fed by the little brook flowing along the donkey’s path, which itself frequently fills all the garden basins in the village. My oleanders had just been brutally trimmed. The flickering light makes the olive leaves shimmer silver. The place where I work on large sculptures is behind, on the upper plateau.

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The Jumper should have dived over a wall of water

His reflection on the water, in which a figure lies slumbering

Sinking into an ocean of oleander blossoms

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The series of 19 caryatids was created in this place. Most of them were made for the Cité Judiciaire in Luxembourg, but the Minister of Public Works wouldn’t have them. They finally found a new destination at our building complex in Bilbao.

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In intimate dialogue

friend Marc My friend, Marc Breitman, Breitman, with with whom whom II planned planned aa block block of of 23 23 houses houses in in the the centre centre of of Bilbao, Bilbao, came came to to Duomo Duomo to to visit visit my my caryatid layer and and caryatid family. family.They They were were destined destined to to carry carry the the glazed glazed oriels oriels in in the the façades. façades. II had had coated coated them them with with aa weather-proof weatherproof layer they were ready for transport.

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25 June 2004

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OLYMPIAKWARTIER

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Almere, Netherlands, 2004

he planning area can be seen at the bottom right edge of this aerial photograph. It is via this tongue of land that a new motorway and railway shall connect the new city of Almere, with its nearly 200,000 inhabitants, with Amsterdam. This exposed location is to be expanded to act as a gateway district to this new city. The town-planning office had predefined a fan-shaped layout of the blocks at the northern edge of the planning area which was to be included in our design. The first of the below sketches shows a strong foundational idea, but it was

unfortunately diluted by too many panellists. The elevated railway line and its station painfully cut the district in half. It would have been better to clearly frame it with massive architecture. An example for that could beenbeen the subthat couldhave have the urbans crossing suburban crossing of of the the Museum Island in Berlin, where it virtually melts into the museum buildings. On ground level, a pedestrian crossing between the two district halves could have run undisturbed. For legal reasons, a certain distance around the railway line had to be kept free.

The first strong idea for a centre with connections to the existing Almere

Under the new conditions, the district develops like a fan on both sides of the railway line.

A central boulevard ring connects the two district halves.

Difficult perspective. You can feel that the two halves will lead their own independent lives.

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Above, a last attempt to connect the two halves

Labyrinthine road systems

In search of a varied urban layout. The only possible connection at ground level was defined by the railway, which, on top of that, runs at a slant.

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Towers at the edges of the block

District centres

Streets running east-west

More streets creating spaces

Circuits in the districts

Spaces and gates

The spatial backbone north-south

This is the score for an urban design choreography.

The edge of the district with its road junctions and gates

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Sketches of spatial situations, transferred to Almere from other projects

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The architectural variety, so often demonstrated, was also to have unfolded here. The project was torpedoed by the modernist approach of the town-planning officers.

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The railway line is anti-urban; it could have been challenged with a cluster of towers. This would have simultaneously had the effect of emphasising the district’s centre.

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Inspired by Gogol: Fair at Sorochyntsi 26 January 2004

4 December 2004

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Lecture tour to Kuwait December 2005

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NEW DISTRICT BANGERT EN OOSTERPOLDER Hoorn, Netherlands, 2005

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n the time preceding the great financial crisis of 2008, Dutch towns tried to spur large urban development programmes, which then all broke down miserably. The Hoorn authorities didn't̓ want to fund a new and autonomous town in the open landscape, as was the case with Brandevoort. Instead, and unfortunately, a huge plot of land was to be attached to an existing settlement with scattered buildings. This makes it difficult for the inhabitants to think of their settlement as an independent village. The individual districts are arranged

The building site with its centre

A round town centre

The first structural sketch

perpendicularly along a central route. In order to control the dimensions in my first design, I transferred parts of the Brandevoort project to this location. The centre was originally to have formed a solid unity, but unfortunately it was broken into two entities in the course of the needs assessment. Thus, a sort of twin figure came into being, with parking in car parking in multi-storey multi-story car parks in the two centres. The houses climb up the parking decks as if they were hills – which is unique in the flat Dutch country. Two models, shown below, were up for debate.

This version is more severe.

The decision of the communal authorities to build a reduced centre on an artificial parking hill was economically unrealistic. This solution would have had a chance in a big city, but not in the countryside.

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This sketch shows that the central access and the division of the centre destroy the homogeneity of the town layout. Even graphic efforts undertaken in a New Year’s Eve mood couldn’t help.

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Model of half the town centre

This three-dimensional visualisation looks like a toy model.

A school and sport centre are hidden in the hill town.

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Ascension to the upper square

A linear urban development in the landscape

The main square

A central canal emphasises the division of the districts.

The numerous stairways recall Mediterranean cities and are not very suitable for people with disabilities. This vision was a pleasure to draw, but it was doomed to failure.

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MELCHIOR HOUSE Ersange, Luxembourg, 2008

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n the very same day when the Cité Judiciaire was inaugurated, aa young inaugurated, young teaching teacher couple asked me to design a single-family home in the vicinity of the city of Luxembourg. They had a large private library that they wanted to expand.

The books were to lend the house its special atmosphere. Between the pillars that define the living room, shelves pile up and continue on the first floor. Above the oval air-filled space, the central room unfolds into the living library.

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MONUMENT TO FREEDOM AND UNITY

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Berlin, Berlin, Germany, Germany, 2009 2009

he he reunification reunification of of Germany Germany was was the the result result of of aa nonnonviolent revolution by the citizens of the violent revolution by the citizens of the GDR, GDR, in in contrast contrast to to such such earlier earlier historic historic events events as as the the French French and and –– later later –– the the Russian Russian and and Chinese Chinese revolutions. revolutions. Those Those had had taken up the cause of similar humanistic ideals, taken up the cause of similar humanistic ideals, but but in in the the end end didn't didn't̓ hesitate hesitate to to resort resort to to brutal brutal frenzies frenzies of of violence. violence.

houses West with with aa great great variety variety of of artistic artistic means. means. houses East East and and West The artworks can be observed from the central The artworks can be observed from the central room, room, which which is is always always open open and and accessible. accessible. These These activities activities make make the the place place aa memorial memorial that that is is always always changing. As Germany, in general, and the city of changing. As Germany, in general, and the city of Berlin, Berlin, in in particular, particular, also also have have much much work work before before them them to to achieve achieve unity, unity, this this house house should should also also actively actively document document the the fusion fusion of a people. of a people.

The The reunification reunification was was aa gift gift –– the the peaceful peaceful miracle miracle of of the the East German movement for unity and freedom. The monuEast German movement for unity and freedom. The monument ment should should recall recall the reunification. Here, the reunification. Here, aa meeting meeting II would like to replace would like to replace should should ememcreate erge, create the the atmoatmoerge, one one that that tells tells sphere the sphere of of this this event event the story story of of the the culculvia the artistic tural upheavals via the artistic tural upheavals of of means reunification means of of archiarchireunification not not tecture. shown tecture. With With its its shown anywhere anywhere geometric forms, it else in Berlin. As geometric forms, it else in Berlin. As National Kaiser Kaiser Wilhelm WilhelmMonument, Monument,sculptor: sculptor:Reinhold ReinholdBegas, Begas,architect: architect: Gustav Gustav Halmhuber Halmhuber National is able to define the the first of the fouris able to define the National Kaiser Wilhelm Monument, sculptor: Reinhold Begas, architect: Gustav Halmhuber the first of the fourinterpretive year-long interpretive scope scope year-long installatiinstallatiof the topic – reaching far and allowing many interpretaons, I propose to represent the CITY as of the topic – reaching far and allowing many interpretaons, I propose to represent the CITY as aa backdrop, backdrop, using using tions. aa site tions. site plan plan and and elevation. elevation. It It is is the the immanent immanent picture picture of of the the social social structures structures of of the the two two different different regimes. regimes. My My idea idea was was to to give give to to both both Eastern Eastern and and Western Western Germany Germany one house each, as an empty shell. Both On one house each, as an empty shell. Both houses, houses, with with their their On the the east east side, side, the the repetitive, repetitive, row row upon upon row row of of blocks blocks that that open side, are attached to a curved withe, like two cylinder destroy the individual. On the west side, the traditionally open side, are attached to a curved withe, like two cylinder destroy the individual. On the west side, the traditionally halves, grown halves, split split by by aa grown open open city. city. narrow gap. The Two pavilions narrow gap. The Two pavilions walls frame walls have have empty empty frame the the former former window openings plinth construction. window openings plinth construction. and In and symbolise symbolise aa In one one of of them, them, aa still unready and staircase leads still unready and staircase leads to to uninhabited house, the uninhabited house, the lower lower historic historic standing vault. standing between between vault. It It is is meant meant to to East and West. permit further East and West. permit further actiactiThese vities These building building vities in in the the monumonuparts are made of ment at a parts are made of ment at a later later date. date. brick, The brick, just just like like The second second pavilpavilSchinkel’s ion Schinkel’s building building ion shall shall serve serve The monument came through the Second World War relatively undamaged. The monument came through the Second World War relatively undamaged. aa cc aa dd ee m y a n d information purpoThe monument came through the Second World War relatively undamaged. my and information purpoItIt was demolished in the winter of 1949/50. It was was demolished demolished in in the the winter winter of of 1949/50. 1949/50. Friedrichswerder ses. Friedrichswerder ses. II would would appreappreciate it if historic building materials could be sought and and Church. As the point is to represent process still under way, ciate if historic building materials could be Church. As the point is to represent process still under way, ciate if historic building materials could be sought sought and the ideal house of the aspired-to unity is to be inserted into reused. The two lions from the zoo retake their place on the ideal house of the aspired-to unity is to be inserted into reused. The two lions from the zoo retake their place on the the the centre of the split cylinder as an open steel structure. It reconstructed the centre of the split cylinder as an open steel structure. It reconstructed plinths plinths of of the the former former memorial. memorial. This This proviproviis sion is slightly slightly taller taller than than the the other other building building parts, parts, covered covered with with sion also also contributes contributes to to the the rehabilitation rehabilitation of of the the old old vault vault glass, and towers over the memorial site by frosted tower over the memorial site by day and below. frosted glass, and tower over the memorial site by day and below. night night like like aa bright bright crown. crown. With With this this project, project, II intentionally intentionally wish wish not not to to realise realise aa classic classic My proposal: and rigid idea of a monument. It can only thrive My proposal: and rigid idea of a monument. It can only thrive if if the the city city of of Berlin Berlin and and the the federal federal authorities authorities really really engage engage themthemThe selves The whole whole project project is is like like an an open open stage stage which which can can be be used used selves in in this this active active project project over over time. time. by numerous directors, changing every four years. Repreby numerous directors, changing every four years. Representatives sentatives of of all all arts arts should should be be invited invited to to stage stage the the empty empty

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East façade, seen from the entrance of the palace. The two lions from the memorial by Reinhold Begas should be mounted here once more.

West-east section through the middle

Section through the base, with south elevation

Floor plan. The site is across from the entrance of the palace.

South-north longitudinal section on the existing sub-construction

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The west façade in front of the palace in the background

Seen from near the palace bridge, with the reconstructed façade of the palace

A presentation of the western urban world – a confrontation of an ideal and the world as actually constructed

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The monument in front of the palace contour

The monument monument between between the the building building academy academy and and the the reconstructed reconstructed place; place, in in the the background, background the The the Old Old Museum Museum by by Schinkel and and the the Bode Bode Museum Museum Schinkel

Presentation of the misery of the GDR’s prefabricated buildings

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Here they areare deconstructed, clearly diIt is immensely immensely difficult difficult to toexpress expresssomething somethingsymbolic symbolicwith withabstract abstractbuilding buildingelements. elements. Here they deconstructed, clearly vided into two curved curved divided intodifferent differentlayers layersand andarranged arrangedsynoptically. synoptically.The Thecentral centralcylinder cylinderintended intended to to represent represent unity is divided into two discs and and highlighted factthat thathas has become become painpaindiscs highlighted in in crimson crimson in in this this perspective. perspective.Even Even20 20years yearslater, later,unity unityisisnot notaccomplished, accomplished, aafact fully apparent today with with the the problem issue of of refugees. The curved refugees. The curvedwalls wallsofofthis this“German “Germanhouse” house”don’t don’thave havewindows, windows, merely merely blind blind niches, suggesting the hope of later vitalisation. An lattice open latticework over this problematic describing imaginary niches suggest the hope of later vitalisation. An open work archesarches over this problematic centre,centre, describing imaginary domes. domes. In my perspective drawing, I have visually exaggerated this connecting archawith a lacework of lights shining at night that In my perspective drawing, I have visually exaggerated this connecting arch with lacework of lights shining at night that symsymbolise the desired unity as an image from a dream. bolise the desired unity as an image from a dream.

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work to to represent represent the the fragile fragile desire for unity. It is littered with varying seaThe arched structure is designed as a transparent lattice latticework sonal flowers that find their breeding ground in hydro-cultures. They are intended to keep alive the yearning for unity. The centre is represented as an elevated stage from which the different sections are accessible. The two empty house shells, East and West, open up from the centre and can be used alternatingly by Eastern and Western artists, as in a dialogue. The exhibitions can also be organised by private galleries. As the subject of East and West will someday be exhausted, this open pair of houses will become the stage for an open debate between opposing artistic tendencies.

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Floor plans for spatial stagings in the open niches of the Memorial to Freedom and Unity in Berlin

Slabscut cutwith witharches archesdivide dividethe theroom roomup... ... Slabs

… tocomplex complexspatial spatialcompositions, compositions,offering offeringvarious variousexhibition exhibitionopportunities opportunities … up into

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was tempted to add some examples showing how many different spatial layouts can be built into an empty room. These are subjects that have been solved in the past with bravura, using vault constructions. With today’s modern building techniques,

unfortunately, they have practically been lost. Spatial ambiance is extremely important when presenting works of art. Discs and pillars as load-bearing elements can be arranged regularly and irregularly, thus creating differentiated parts of rooms in floor plan and elevation.

The most important sources of light in the daytime are skylights. The exhibiting artists would design their exhibition spaces themselves. They can also have two storeys. As installations are much in vogue nowadays, the room type should be adapted as closely as possible to the contents.

Artists are hardly ever involved in the design of contemporary museums. Here, they find a space for practical experimentation. As the presentation should change over time, academies of art should also be involved in this processual project.

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SCULPTURE DEPOT Duomo / Andora, Italy, Italy, 2009 2009 Duomo /Andora,

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ince I produce around 25 figures every year, each summer when I stay in Liguria, you can easily imagine that storing my sculptures is a pressing issue. Furthermore, the stockroom must be burglar-proof, as it is unwatched for half of the year. Not long ago, a whole year’s worth of production was stolen from my studio. It is almost touching that I found a lover of my sculptures in that way.

The studies of my memorial to unity and freedom in Berlin preceded this sketch. The house should be made of visible local shale, with many niches for the sculptures. It was not just about a stockroom in which the objects of art could stand tightly stacked in shelves. I also wanted to increase their aesthetic value by giving them a real home.

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Sant’Andrea in Mantua

Sant’AndreaininMantua, Mantua,by byLeon LeonBattista BattistaAlberti, Alberti,1472—1514 1472–1514 Sant’Andrea

Mantua, the dome of Sant’Andrea, by Philippo Juvara, 18th century

Cremona, the cathedral with bell tower and baptistry

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Above: A birthday sketch for Jessika, 2009 Left: Sketches from my voyage to Lombardy, Mantua and Cremona, 2009

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Two interpretations of the subject Help me

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EUROPEAN EMBANKMENT St. Petersburg, Russia, 2010–2012

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received the invitation to participate in a limited competition while in hospital following a hip operation. The preliminary urban development competition had been won by the office of nps tchoban voss, with offices in St. Petersburg and Berlin. They had proposed an intelligent block concept with a central square and a new dance theatre, but the architecture is abhorrently modernistic. The urban development concept included the participation of different architects. This promise was kept and 18 practices invited to take part.

I received the assignment for the building Neva riverbank, on the Newa riverbank, marked marked with an arrow. From the riverside promenade you can see the rear façade of the Hermitage. It was thus a highly challenging location, and was furthermore oriented to the south. In accordance with the tradition of the city, I wanted to create monumental architecture that would present itself generously as a whole, but with filigree and surprising variation in the details. In order to achieve this, I wanted to enrich the façade with an extensive array of sculptures.

The location in the city plan of St. Petersburg

During the competition phase, we had to design a waterside and a square-oriented façade on a given house format. This is my riverbank façade...

…and this is the slightly curved façade facing the square. Both are modelled on classical compositions, accentuating the edges and the centre and emphasising the ground floor and the attic storey.

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The house on the riverbank with its corner towers and central portal

The house facing the square is in line with the spatial requirements; the portal in the centre offers passageways to the slightly elevated interior courtyard. The building lines don’t allow any profound modulations of the building volume.

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Proposal for a corner facing the square. On the right: I summarised my sculptural decoration under the heading Comédie humaine.

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Presentation of the approved project, end of October 2011, with the extensive pictorial programme ...

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ollowing the first phase of the competition, I received the assignment for the location on the water described above. The only task was to design a façade for a given floor plan. As the façades that my colleagues had to develop in the neighbourhood had similar dimensions, it made no sense to offer differently designed house parcels. So I tried to enliven my 130 m façade by dividing it into parts that were differently shaped and rhythmically arranged.

... of sculptures and bas-reliefs with the theme Comédie humaine

From the edges inwards, the avant-corps projections decrease, so that the portal in the centre withdraws almost bashfully — a purposefully anticlassical composition. Here the proof of the division of the circle into four parts (1:1.41) and into five parts (1:1.618, the golden ratio).

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SKETCHES OF THE MOST IMPORTANT PARTS OF THE BUILDING

The corner avant-corps, left and right, with their common proportions and slightly different details

The vivid projections left and right of the corner avant-corps — two fascinating exercises in composition

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The small central portal

The background façade with its rhythmic composition. The storeys are overlapped by ornamental building elements.

This is the background façade upon which the vivid projections are silhouetted. The green steel elements shove themselves in front of and between the stone elements, simulating different surface layers.

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The Hermitage museum complex, seen from the European embankment. From left to right: Hermitage Theatre —

This palace-like façade architecture doesn’t match my lifelong ambition to create relatively small lots at the edge of a block.

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— Old Hermitage — Small Hermitage — Winter Palace (the New Hermitage is situated behind the Old Hermitage.

St. Petersburg with its neo-classical architectural tradition has seduced me to find an answer to the vibrant architecture of the Hermitage and the Winter Palace.

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We spent another year working out all the details for this version of the plan until we got a letter from the project coordinator, Sergei Tchoban, dated December 18, 2012 informing us of the sad news that the Russian Federation had taken back the property. The new idea was for local architects to construct court buildings there. Thus, my Comédie humaine came to a cynical end.

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Just Justbefore beforethe thecancellation, cancellation,IIhad hadpublished publishedmy myproject, project,including including the thewhole wholepictorial pictorialprogramme, programme,ininaabook bookwith withtexts textsininGerman, German, English, English,and andRussian. Russian.ItItshould shouldhave haveaccompanied accompaniedan anexhibition exhibition of ofour ourprojects projectsininthe theHermitage, Hermitage,but butthis thisexhibition exhibitionalso alsofailed failedtoto take takeplace, place,even eventhough thoughall allthe thearchitects architectsinvolved involvedhad hadgiven giventhe the museum museumthe theoriginal originalplans plansas asaagift. gift.

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THE FOUR DIFFERENT ENTRANCES TO THE HOUSE

Foyer in front of the lifts

Entrance A, seen from the river bank.

Foyer in front of the lifts

Entrance B, seen from the river bank.

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Foyer in front of the lifts

Entrance C, left corner building

Foyer in front of the lifts

Entrance D, right corner building

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Divided passion drives you on brawny wings 31 August 2011

By hook and crook 27 September 2011

Captive in the scent of jasmine 6 July 2011

Carry me to the other side January 2005

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By force I must bind you to the injured ways of the heart 4 July 2011

Maternity 2014

Icy grasp for lucky streaks 14 August 2011

Rescue January 2005

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14 June 2011

Whereto in the panic pulse of rescue 17 December 2004

Winged Harmony, the worldly scales glide towards her, voracious and heavy with lust, in the ecstasy of spring 14 April 2010

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No holding back under my rosy gateway 5 September 2010

To hold in shifting perils 19 August 2010

Resistance, what should I care about shared roots 12 August 2010

Divided in frantic flight 12 September 2010

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Soul-hunter, chased like an animal 27 December 2003

En route to you, half turning back, half pushing you 17 July 2010

Enchanted realms, my angel 4 July 2010

My reflection July 2010

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The night is a scream that burst my chains 21 July 2010

There is no host of stars 14 August 2010

No escape from this strong-arm track, oh, bloodthirst unleashed 13 September 2011

Tango, whirling in perfect accord 25 July 2010

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Whither are you guided by tormented yearning (May 2010)

A breath of confused devotion 12 June 2011

Triumph of tender seduction 6 August 2011

Tangled like branchwork 24 June 2011

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Reluctantly part the ways 10 June 2011

Triumph of tender seduction 6 August 2011

Show me Show me the theway way 17 July 2011 2011 17 July

By force I must bind you to the injured ways of the heart 4 July 2011

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Left: Drunkenly floating, tangled like thorn bush and nettles 27 June 2011

Master Eckhart: “More anonymous than if it had names, and more unknown than it would be known” 29 September 2011

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Dignified 6 July 2010

e Vain Entrance 3 May 2010

Hypocritical show 7 June 2010

Without reproach 25 June 2010

Unwavering 6 July 2010

Without sacrifice 6 July 2010

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Humble 28 June 2010

Troubled 28 June 2010

Without twilight trilight Without 28 June 2010

Drop of ploy 18 August 2010

Lost in the starry vortex 13 August 2010

To the preacher 10 June 2010

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These multi-part grisailles, 65 m × x 1.3 m, were made for the Cité Judiciaire in Luxembourg. They weren’t hung there permanently.

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Based on these subjects, I created the bas-reliefs shown on the following pages for my building in St. Petersburg. They should also have been 1.3 m high.

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he bas-reliefs shown on the following pages are made of white terracotta and are 20 cm high. This is the reason why the details could only be moulded very roughly. The final height should have been 1.3 m! Before enlarging them to their final size, there should have been an intermediary stage of at least 50 cm height to ensure the quality of the final product. Considering that the heads of the following figures are only 1.5 to 2 cm, there would have been much correction work to do. A huge amount of sculptural work lay ahead of me, and it would have only been possible with the help of professional workshops, like those doing the reconstruction work of the historical façades of the Berlin palace. I had already made the relevant enquiries just before the job was cancelled. The most promising had come from New York. The reconstruction of the sculptural ornaments of the Berlin palace shows that, even today, ,you can find academically trained sculptors who are able to set ambitious figures in stone.

Schlüterhof, Berlin Palace

On the following pages the bas-reliefs can be seen without their assignment to the places on the façades where they should be mounted. Each relief’s theme is given as a red caption, followed by a lyrical description.

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Dimensions in the execution planning façades concerning the sculptures and bas-reliefs

DISTRUST

Which ineradicable poison erodes our sensitive world?

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The thematic background of the sculptural ornaments is the Comédie humaine, the human comedy

Does a corrosive net enclose brain and heart until the desired unity suffocates within it?

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CONCORD

In resistance resigned to doubt, after yoke and affliction defying all entreaty

DEFENCE

What seems to bind us together so unrestrained and at the same time divides us with wild force?

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The brand of sorrow veils the void with faded dignity

Defence is the slogan when doubt corrodes the brains and slowly poisons heart and body

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RECONCILIATION

No in between, no frenzy, no obfuscation

STRIFE

No protection from powerful, brutal spirits that one calls evil

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No renunciation of the light or false triumph, cast the anchor stone

Ever-stalking phantom, that in its ghoulish course tears limb the sphere of man

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CLAIMING HIS RIGHT

Always one step ahead, always reluctant, always vehement,

Lusts, wild and crude, let the idle delusion rule unrestrainedly

IN FORCED HARMONY

In the hereafter’s talons caught ...

… bound coward’s flight in the world

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NO LIMITS ...

Carry me with you into your timelessboundless dreams

… does your wild wandering through the treasures of reason and fantasy know?

UNISON ...

The bond they entered into knits them together to an inseparable unity

… is the magic word, that enchains all fears of life with soft ties

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RUSH FORWARD

Steamroll everything with injurious violence

SETTLE THE DISPUTE

One broken by guilt, stifled in rancour

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in a blind delirium

whose embers burn conscience and soul

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FORGIVENESS

A human place, day of the cunning

DESPERATE

Your idle dominions are hopeless, a struggle with crushing violence

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Power of the unrestrained on the path of broken hearts

because in the end you always destroy what you have created

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RECONCILIATION

Protect the moment of unstressed emotion

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and flee from the evil spirits who disturb the peace

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CITÉ JUDICIAIRE Luxembourg, 1991–2008

The finished project, in 2008

Site plan, as built

n the Holy Spirit Plateau on the edge of the old centre of Luxembourg, the design brings together the various departments of justice of the city as well as the country country on on the the floor floorplan planofofana historic for-tressby byVauban. Vauban. Developed Developed in in conjunction with fortress Léon Krier, this was achieved by proposing a new city district with streets, alleys and squares accessi-

ble to the public and by assigning the various departments to individual buildings. One of the registered build-ingswas wasgutted gutted and and integrated integrated into the Tribubuildings nal d’Arrondissement (District Court). The ensemble fits in architectural and urban terms into the historical context. In 2002, the UNESCO World Heritage Committee approved the project.

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All buildings with their ground floor plans, as realised

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The Saint-Esprit plateau with the planned Tower of the Winds

Two important parts are missing: the tower as a symbol of the third force in the state, and the portal building of the Supreme Court. Both fell victim to political intrigues.

The court houses fit fit into into the the historical historical substance substance of of the the city city — — aa view view in in the the morning morning sunlight sunlight courthouses

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CITÉ JUDICIAIRE IN LUXEMBOURG Basic concept and building type Shortly after we were appointed in 1991, my brother Leo and I presented two different designs to the Minister of Public Works, Robert Goebbels:

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A classical type in the form of a large and coherent building complex. A palace of justice with one single central access and an interior division into different departments. This has the advantage of economic accessibility, with only one doorman, but the disadvantage of a difficult orientation inside, which – if the buildings are lowrise – can only be resolved with a complicated navigation system. Due to the closed building form at the outside, the site security of the complex is easy and cost-efficient.

Our professional reputation is based on the propagation and advocacy of a classical, traditional building philosophy. By choosing us to carry out this architectural undertaking, the Ministry of Public Works had made a clear choice. The state had made a programme of pursuing harmony with the historic fabric of the city in terms of typology and architectural division into small sections.

II The second building type in the form of a city of justice is an original idea by my brother Leo. In France, the name of Cité Judiciaire is widespread, but it has never generated a corresponding urban design in which each function is assigned its own individual house or block. It is a disadvantage that each department needs its own doorman and safety arrangements. As far as I know, this building type was realised for the first time in Luxembourg. The fact that my brother could land such a big score out of his ideal interpretation of a large complex precisely in our home country particularly embittered our Luxembourg critics.

III The second proposal found general and spontaneous approval. It is an open, democratic design that takes its toll in terms of planning and maintenance costs, but shows a clear commitment to a human social system.

V The architectural design of the different functional units should be varied and at the same time ensure a consistent appearance. For the colour scheme of the façades, we chose slightly different shades that fit in with the houses of the old town. We also applied the design regulations of the historic centre. All buildings have steep slate roofs and all windows have white glazing bars. When composing the façades, I kept to the rules of classical architecture with the formation of socle, central section and attic in the horizontal arrangement of storeys. In the different buildings,the storeys are clearly distinguished and separated from each other with individually shaped cornices. The upper storey with the lower part of the roof is always clearly accentuated. I gave full and special attention to the corners of the buildings and blocks. The entry to each building is marked by its own individual gate architecture.

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Interior design. Unfortunately, before construction works started, a riding hall from the 19th century had to be demolished. Its interior was made of curved panels, one metre thick. In order to compensate for this loss, I chose a similar construction type for most of the audience halls in the Cité. The shape of the halls slightly differs. In one of the halls of the District Court, I took the liberty of paying a small tribute to the wonderful Adolphe Bridge in Luxembourg, the New Bridge. This mode of construction was especially widespread in Catalonia, for example for the old dockyards and the Sala Tinell, the king’s chamber, in Barcelona. All floors in the offices and in the audience chambers are made of solid oak and have high baseboards. The marquetry and the frames of the heavy, sound-absorbing doors made of dark oak differ from house to house. The built-in furniture in the audience chambers is also made of dark oak. The floors in the publicly accessible halls are covered with simple and inexpensive tiles, but the patterns in black and white are quite original.

On the subject of “art within architecture”. The old well that stood on the Holy Spirit Plateau is to be set up again in the back. For further interventions, an international invitation to tender had been issued, and the results were judged by a professional jury at the end of the year 2000. My original idea was to organise a workshop with several artists right at the beginning of the planning who would elaborate pictorial representa-tions representations of justice pictorial of justice issues, but this proposal didn’t find approval. A law concerning the provision of money for artistic interventions for public buildings was only passed by the Chamber of Deputies in 2003, which was too late for this project.

VII All exterior areas have traditional pavements. In front of each entrance, there are individual decorative patterns that greet the entrant like stone carpets.

IX We were able keep to the construction budget! As is usual for for public public buildings, buildings, the the pace pace of of construction construction fell fell usual far short short of ofthat thatwhich whichI know I know from private buildfrom thethe private build-ing ing sector. date completion,planned planned for for 2007, sector. TheThe date of ofcompletion, couldn’t be kept. The users, who were rightly impatient, nevertheless decided to move in in July 2007, although construction works work continued continuedininall allfour four corners corners –– a real imposition on their sensitive business. For the craftsmen, too, who had to struggle another few months until the definite completion of every detail, this was not a normal situation. It required plenty of patience from all parties involved until they had fully explored the new complex and learned how to handle it properly. I tried to do justice to the architectural whole and to each small detail. The judiciary has the right to stand out from the mass of the urban fabric. This could only be achieved by an architectural language that is restrained and noble at the same time.

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State UNESCO Stateofofthetheproject projectinin2000, 2000,asasapproved approvedbybytheUNESCO

Offices of the judges

The District Court In the background, the Tower of the Winds, that that,later later,fell fellvictim victimtotothe theintrigues intriguesofofthe themayor mayor

The Magistrates’ Magistrate Court The Court

The General Services in the background The Juvenile Court, which was later relocated

The Social Services

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Above, view from the west, facing the town

The High Court

The General Services and the Law Library

TheMagistrates’ Magistrate Court The Court

Below, view from the fortification walls in the east

The District Court in the background

Judges and Magistrates The High Court in the background The Tower of the Winds

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The District Court

Ground floor: the new construction below nestles rakishly up against the old building

The building is situated on the edge of a steep ramp to a tunnel running under the Old Town, leading the traffic northwards.

The pedestals on the tower piers should have been decorated with sculptures, but the Minister of Public Works blocked the project.

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rom the area south of the main station, an old stone bridge with 50 m high pillars leads to the town centre. Across the valley of the Petruss, the District Court, which has to cope with the most intensive judicial activities, designates the presence of Justice in the old town as a j main eye-catcher.

Our childhood home was not far away from this place, and when we were young all routes to the old town led across this familiar bridge: to the cathedral, to the grammar school, to the music conservatory, and to family and friends.

Main audience chamber

The glass-covered hall connects the old and the new buildings. The main access is via the Holy Spirit Plateau.

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Broad arcades lead to seven audience chambers of different size

The arch trusses in the audience chambers differ from each other. These evoke the stone arches of the nearby Adolphe Bridge.

These arch constructions are so strongly dimensioned so as to support the differently dimensioned audience chambers above the floors. Ventilation is effected via the cavities of the suspended ceilings.

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The Courtand andthe theJuvenile JuvenileCourt Court TheMagistrates’ Magistrate Court

Sketches from the design phase

bridgeleads leadsfrom fromthe theMagistrates’ Magistrate Court Court to to the the audience audience chambers chambers of of the the District District Court. Court. It It also also serves serves as as aa portal portal to to the the Holy Holy Spirit Spirit Plateau. Plateau. AAbridge

Each building its own, individually composed architecture, inside outside Each building hashas its own individually composed architecture, inside andand outside.

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The dramatic situation at the Old Bridge

To the corner tower, the buildings increase in height

The tower is an eye-catcher of the City of Justice; view from the cathedral

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First glance from under the portal bridge into the Holy Spirit Plateau framed by the courthouses

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Magistrates’ Courtand andJuvenile JuvenileCourt Courtare areconnected connectedby byan anaudience audiencechamber chamber Magistrate Court

Detail Court Detail of of the the Magistrates’ Magistrate Court

Front part of the Juvenile Court

Above: the audience chamber of the Juvenile Court was given an especially intimate atmosphere; ononthe Court theleft, left,the thereception receptionhall hallofofthe theMagistrates’ Magistrate Court

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The High Court between the library

and the District Court

The Tower of the Winds had a technical function besides its symbolic significance. Inside, it hid the 2 m diameter chimney of the heating plant of all the City of Justice buildings. It would have been a magnificent viewing tower with a view of the whole Old Town. It fell victim to the intrigues of the mayor.

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The rear part of the High Court. The large arched window belongs to the main audience chamber.

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The portico of the High Court not realised

The crossing arches form a dome. The exterior cubage behaves according to the dimensions of an equilateral triangle.

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Foyer to the ...

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... High Court

Unfortunately, in reality, there are no colours!

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High High Court Court

façade façade with with triangulation triangulation

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The glass-covered glass-covered interior interior courtyard courtyard The

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View from the foyer (Salle des Pas Perdus) to the interior courtyard and the main audience chamber in the background; on the right: the interior courtyard with the staircase to the large audience chambers on the second floor

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Mounting of the grisailles with their French and German sentences (1.3 m × x 65 m)

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Two days after they were mounted, the Minister of Public Works had my paintings dealing with the subject of guilt and atonement taken down. He argued that, in Luxembourg, the architect has no right to work as an artist in his own building.

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The distribution of the paintings around the interior courtyard of the High Court Texts of the grisailles I. NO IN-BETWEEN, NO FRENZY, NO OBFUSCATION, – RECONCILIATION – NO RENUNCIATION OF THE LIGHT, OR FALSE TRIUMPH, CAST THE ANCHOR STONE.

III. YOU FLEE FROM GUILT, THAT RESPECTS NOT YOUR PRIDE, – NO AGREEMENT IN SIGHT – AS AVARICE AND VANITY, PARALYSE YOUR HEART AND MIND. IV. WILD ROUNDELAY, WAVERING AND WAWERING AND WRITHING, WRITHING, GROPING FOR – ACCORD – DRIFTING BALSAM FRAGRANCE, KINDLES BUT FAINT DELIGHT.

II. A HUMAN PLACE, DAY OF THE CUNNING, – FORGIVENESS – POWER OF THE UNRESTRAINED, ON THE PATH OF BROKEN HEARTS.

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V. NO PROTECTION FROM POWER, BRUTAL SPIRITS, THAT ONE CALLS EVIL. – STRIFE – EVER STALKING PHANTOM, THAT IN ITS GHOULISH COURSE TEARS LIMB THE SPHERE OF MAN.

VII. ONE BROKEN BY GUILT STIFLED IN RANCOUR – SETTLE THE DISPUTE – WHOSE EMBER BURN CONSCIENCE AND SOUL. VIII. IN RESISTANCE RESIGNED TO DOUBT AFTER YOKE AND AFFLICTION – CONCORD – THE BRAND OF SORROW VEILS THE VOID WITH FADED DIGNITY.

VI. IN THE HEREAFTER´S TALONS CAUGHT – IN FORCED HARMONY – BOUND COWARD’S FLIGHT IN THIS WORLD.

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Details in the High Court

Details of the entrance doors to the High Court, handles in the form of Corinthian columns

Pillar base in the atrium

Pedestal with figure at the staircase

Variants of column capitals

Pillars in the atrium

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Entry to the large audience chamber on the ground floor

The overlapping ceiling between the load-bearing arches. The scales hide lighting and aeration.

Ornamental balustrade

The side panels of the audience chamber between the arches, with benches

The architectural division of the atrium walls

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The foyer (Salle des Pas Perdus), where advocates and clients can talk to each other

One of the large audience chambers on the second floor

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The large audience chamber on the ground floor. The strong arches have to bear the chambers on the second floor.

The large audience chamber in the District Court, for comparison. These arches bear a whole office storey above.

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The figures I intended for the niches in the eastern façade of the High Court. The Minister of Public Works torpedoed their installation.

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Bashful

Obedient

Reprimanding

On guard

These figures escaped the Minister’s eraser. They were displayed in the drawings from the beginning. The construction company Bleck & Söhne in Berlin placed a studio at my disposal in which I could make the sculptures and bore the installation costs.

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High Court, corner solution

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The windows of the large audience chamber in the District Court in the background, and on the right, the rear façade of the High Court

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The Tower of the Winds, development of design variants

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The exhibition areas in the storeys are dedicated to the town history.

These figures were modelled on the oxen figures on the cathedral in Laon.

Final version

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The tower fell victim to political intrigues ...

Pavilion variants with café and restaurant

Image of ruins

Dorian round temple with belvedere

Rib vault with counter-bearing

This could be remnants of fortification architecture.

A pavilion of columns encases the existing lift installation.

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... instead, instead, only only aa pavilion pavilion should should arrise arise ...

In lieu thereof, only a pavilion was built that houses the lifts to the underground car park and to the lower town of Grund.

A glass dome encloses the triangular machine housings for the lifts.

A solid cylindrical construction, pierced by a glass cross

The two existing triangular solid bodies are doubled,; a glass cross squeezes into the space between.

The space between the triangular bodies should ideally be enlivened with figures. Columns, too, were considered.

The extensive arches span the old building fabric.

The building was executed very roughly.

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The library building and the General Services

One of the many preliminary designs for an entrance avant-corps for the library. There is a comical contrast between the monumental gesture of the porch and the mousehole-like entrance.

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The proportions following the division of the circle into three parts (basis M to height m = 1:0.866), four parts (1:1.41) and five parts (the golden ratio, 1:1.618)

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Library and General Services

The rotunda of the library is crowned by a high dome.

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The archive on the ground floor,; the two-storey audience chamber above,; on top, the three-storey library

The cosy study area in the middle of the domed hall. The books are freely accessible from all sides. After the opening ceremony for the City of Justice, when I accompanied the Grand-Duke and the Grand-Duchess into this hall, the latter observed: “Oh, this looks like the Vatican!”

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Principles of classical jurisprudence at the portal of the library

The Berlin-based American Ann Holyoke Lehmann designed the lettering the arched portal. The Berlin-based American artist, artist Ann Holyoke Lehmann, designed the lettering of theofarched portal. Principles of ancient jurisprudence in Latin, German were the to decorate concave surfaces. ofPrinciples ancient jurisprudence in Latin, French and French Germanand were to decorate concavethe surfaces. Our reaction Our reaction wasindignation deep indignation when we learned the project hadrejected been rejected because of the German language. was deep when we learned that thethat project had been because of the German language.

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Caryatids

Sixteen caryatids were meant to enliven the upper window niches. The Minister of Public Works also torpedoed this plan. Shortly thereafter, I was able to mount these figures on my building in Bilbao.

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Assemblages of caryatids

In such an arrangement, the groups of caryatids develop dramatic and melancholic expressions. expressions

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The human comedy

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RECONSTRUCTION OF THE NEW MARKET Berlin, Germany, 2015

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he devastating destruction wrought by the war completely erased the historic centre of Berlin. Reconstruction work during the GDR era didn’t respect the plan of the old town. The resulting wounds are irreparable. What we can build into these waste wastelands, lands, in in the hope of again bringing normal life into the city, can fill the void only provisionally. The city of citizens has definitely been lost, as only big corporations can invest in such expensive estates. A dramatic example of this kind can be observed around

Schinkel’s Friedrichswerder Church. The small-plot structure and the height of the old buildings have been ignored to such an alarming extent that the sensitive with one one of of the most church buildingg building with beautiful museum-like interiors throughout Berlin has now been closed for years, and is even in danger of collapsing.

Left: the Berlin City Palace, above:; the enclosed St. Mary’s Church, 19th century

The centre of Berlin, around 1900

St. Mary’s Church, seen from the City Palace, around 1900

The sketches for the reconstruction of the waste land between between the town hall and wastelands St. Mary’s Church shown here are meant to be simply a gentle suggestion.

The void between Rotes Rathaus (Red City Hall), c Marienkirche (St. Mary’s Church) and Cathedral, around 1980

The GDR practised the dogma of international modernity.

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Marienkirche

Rotes Rathaus

Two sketches showing a possible spatial connection between Rotes Rathaus (Red City Hall) and Marienkirche (St. Mary’s Church)

Marienkirche

Rotes Rathaus

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Details

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CONVERSION OF A BARRACKS INTO A RESIDENTIAL DISTRICT Bamberg, Germany, 2015

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iraculously, the town of Bamberg escaped the destruction of the war. For contemporary town planners, it can serve as a model and example of the art of central European urban architecture. Every intervention inside and outside of such valuable building substance has to align with the quality of the succession of urban spaces and to find inspiration from the established building typology.

Any insipid contemporary intervention, however, is an insult to this cultural heritage. Regrettably, Bamberg hasn’t escaped such bad planning, mostly in it’s outskirts. The The Green its outskirts. Green politician politician, Ursula UrsulaSowa, Sowa,a graduate architect, has tried for quite some time to organise an international building exhibition (IBA) on the former barracks site. Within the course of the preparations, a competition Plan of Bamberg from 1617, detail, above left the cathedral from the 13th century

The barracks site, with the houses in black, in the east of Bamberg

The first sketch for a band district,; the barracks buildings are preserved

resulted in the same freestanding objects in a typical row-on-row construction that tragically recalls the barracks architecture. In the course of her efforts, Mrs Sowa invited me to give a lecture in Bamberg. Knowing about the IBA project, my statement focussed focused on on my statement the art of urban composition. Motivated by the initiative of this committed politician, I visited the site and then began to elaborate a conceptual sketch for the conversion area. The longterm objective of this study

was to preserve the intact building substance that the Americans had left behind in perfect condition. It was an interesting coincidence that the American University of Notre Dame in South Bend was willing to send a group of students to Bamberg, under the direction of Professor Lucien Steil, in order to elaborate the district in detail on the basis of my planning.

Bird’s eye view of the barracks, from the south-east. Today, thousands Bird’s-eye of refugees live in the lower part.

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Half-timbered houses in Bamberg on the bank of the river Regnitz

The verdant romantic sketch – all barracks buildings have been integrated,; the houses on the edges of the block are designed differently

The atmosphere in the new district is inspired by the wonderful and varied baroque building substance.

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Swept away

2014 Vienna Medical University

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Breakup

2014 Vienna Medical University

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Vienna Medical University, 2015

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Vienna Medical University, 2015

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MUSEUM OF THE 20TH CENTURY, KULTURFORUM Berlin, Germany, 2015

The museum and its integration into the urban context

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rior to the call for submissions of this competition, the media in Berlin were all talking about the Kulturforum and that there would be an urban design ideas competition. Regrettably, this stage was skipped. Nevertheless I consider it indispensable to think about an urban reorganisation for this area. I have therefore embedded our project in a long-term proposal for an ensemble that integrates the new Museum of the 20th Century into a frame that embraces – spatially as well as functionally – the Museum of Decorative Arts (Kunstgewerbemuseum), the Picture Gallery (Gemäldegalerie) and the Museum of Prints and Drawings (Kupferstichkabinett). The street profile of Potsdamer Straße shall be reduced, without a middle grass verge, and receive a structural framing on both sides. The bend of the street offers the opportunity of a decelerating roundabout framed by a round square. From here, the Kulturforum develops, becoming denser and more attractive as an urban magnet. From the roundabout, a multi-storey underground car park under the Forum can be accessed. It is not part of the programme, but it is useful to making the place more attractive. The new buildings on Potsdamer Straße would primarily cover the space required by the Berlin State Library and the Philharmonie and could otherwise be used for flats, offices and shops. They would also make the pedestrian connection between Potsdamer Platz and the Kulturforum spatially attractive. Kulturforum spatially attractive. The extensions of the Museum of Decorative Arts, the Picture

Gallery and the Museum of Prints and Drawings marked in red border on the urban park of Tiergarten to the north; they are daring and could only be realised in the long term. Over the medium-term, however, there will be a chance to create a shared, attractive entrance at the front end of the Forum that could replace the present foyer and the inhospitable oblique ramp.

Remarks on the museum type In front of the New National Gallery (Nationalgalerie) a round tower at the south-east southeast corner corner marks marks the the entrance entrance to the new museum. Inside, the visitor is greeted by a light-flooded rotunda with ticket and information desks, grand staircases and lifts to the exhibition floors. From here, a slightly oblique, glasscovered gallery overlooking the floors to the Forum can be accessed. At a right angle to the middle air space, there is a column grid of 7.5 m x× 7 m that is framed on the outside façades by a 5 m wide ring of daylight cabinets. The first two floors floor), the floors are 6 m m high high (including (includingthe thecabinets cabinetson onthe thethird 3rd floor), last floor is 8 m high in the centre, so that the height of the National Gallery (10 m) is not dramatically exceeded. In the basement, there are extensive depots as well as the storerooms for utilities, staff rooms and restoration workshops that profit from the daylight introduced by the slope on the southern side of the site. Lorries have easy access from here and can safely load and unload their precious cargo inside. Two big

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goods lifts are situated near the delivery zone and transport the works of art upstairs. On this level, there is a private entrance to the museum for the staff staff from from the thepublic publicunderground undergroundcar carpark. park. The pedestrian tunnel that should later connect the National Gallery to the new museum will of course terminate in the entrance rotunda of the latter. Here, via an airy space and generous staircases, all floors are connected to each other.

there are offices for the museum administration and direction, spread over three floors.

On the ground floor, around the gallery zone illuminated by daylight, there is an area of more than 2,000 m² for temporary exhibitions, with an adjoining catering area at the Forum, the arts library library and and the the scientific scientific services servicesacross acrossfrom fromSt.theMatSt. thew’s Church, as as well as asrooms Matthew’s Church, well roomsfor foreducation, education, media media and visitor’s service, wardrobes and staff rooms, an audio room, Museum of Prints and Drawings and a library. So there’s quite a lot going on here! It was of great importance to us that there be quiet rooms on the outer façades on all floors, with small reference libraries that invite the visitors to relax.

In this very small scale of 1:500 I don’t want to define the design of the façades in detail. A somewhat more accurate detail of the overall plan suggests a delicate façade relief that is related to St. Matthew’s Church in colour and pattern. The designated building site doesn’t give much space to develop designideas. ideas.Except Exceptthe forForum, the Forum, new spaces public landscape design all newallpublic spaces are extensively withastrees, as is custom in Berlin. are extensively plantedplanted with trees, iscustom in Berlin.

On the first floor, there are six rooms of different size, from 200 to 1,300 m². m2. They can be easily adapted to the changing requirements of the museum. The walls along the generous walkways offer space for hanging pictures that relate to the subjects of the interior rooms. The circle of intimate cabins follows the exterior walls and offers, along with the quite quiet zones, contact with city life. The north-south direction of the glass gallery makes orientation in the building easy. As the upper floor is 8 m high, it’s use use is is extremely flexible. flexible. The The cabin cabin area area preserves the its intimate character of the other floors. In the round south tower

The sculpture garden on the roof is a special attraction of the museum. It is abundantly planted and enhances the quality of the ensemble with a rooftop coffee bar where people can relax, if the season allows it.

As the model board hardly allowed for a presentation of the requested integration into the urban context, I added separate roadside structures on Potsdamer Straße. If I had to show them to the jury, I would have to remove a few trees in the insert model. In order to depict the urban design composition of the Kulturforum, I added an extra construction on the square that goes beyond the insert model. Here I wanted to create a new and shared entrance for the existing museums. The building volume of the new museum would be incomprehensible without these new constructions.

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Design stages of the Kulturforum

In the first step, the museum unfolds on the given site, and an architectural frame is created that incorporates the surrounding buildings.

A distinguishable forum frames all cultural buildings and integrates them into an urban ensemble. All buildings are accessed from here.

Museums, State Library and Philharmonie are blind boxes without windows. They can be extended and surrounded by lively town houses.

Philharmonie and State Library remain untouched. The incline of the forum allows direct access from the National Gallery.

The inclination of the forum divides the Museum of the 20th Century into three distinguished building volumes, which increases the urban transparency.

I would havehave lovedloved to lettothis idea I would have letmature, this ideabut it broke too many the rules of theofcompetition mature, but it of broke too many the rules of the competition.

The most radical solution would be to integrate all buildingsininaanew newurban urbandesign design allfree-stranding freestanding buildings concept, in in order order to to create create streets streets and and squares. squares concept,

On the right, coming from Potsdamer Platz, a road leads over a round traffic square directly to the forum. The tower of St. Matthew’s Church is in the field of vision.

Each focal point of the collection has its own house: classical modernism 1933(–1945), DADA, the surrealists, and the time between 1945 and 2000.

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The solution chosen for my competition entry

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The plan that I submitted for the competition

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The basement with delivery zone, depots, restoration workshops, storerooms for utilities, sanitary and staff rooms

Ground floor with entrance, shops, convertible exhibition areas, catering, scientific services and audio room

First floor with exhibition rooms, focused on one topic, around a glass-covered gallery

Second floor with open mobile exhibition areas; cabins frame the upper floors

Planted sculpture garden on the roof with coffee bar

Longitudinal and cross-section through the glass gallery

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New National Gallery by Mies van der Rohe, 1962–1968

South South view view with with St. St. Matthew’s Matthew’s Church Church by by Friedrich FriedrichAugust August Stüler Stüler (1845) (1845) on on the the left; left, on on the the right, right the polygonal tower of the museum entrance. The site slopes towards the church.

State Library by Hans Scharoun, 1967–1978

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Philharmonie by Hans Scharoun, main hall, 1957–1963

Detail of a façade made of brick,; the colour is similar to that of St. Matthew’s Church

Longitudinal view of the Kulturforum with the new entrance to the Picture Gallery on the right, the Museum of Prints and Drawings and the Museum of Decorative Arts

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offers large large exhibition exhibition spaces spaces for for sculptures; sculptures, here, here aa montage The new Kulturforum offers montage of of the the Monument Monument to to the the Third Third International International by Vladimir Tatlin (1927). In the background, the joint entrance to the Picture Gallery, the Museum of Prints and Drawings and the the Museum Museum of of Decorative DecorativeArts. Arts and

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The with objects objects by by Anselm Anselm Kiefer Kiefer The entrance entrance rotunda rotunda to to the the Museum Museum of of the the 20th 20th Century Century that that is is part part of of the the exhibition exhibition area; area, here, here with

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The glass gallery that cuts the museum diagonally offers a lot of space for convertible exhibitions on the ground floor,; here again with works by Anselm Kiefer

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The museum as an open skeleton structure, allowing for great flexibility and variability. I also have in mind unimpeded views that recall the spatial complexity of Gothic cathedrals.

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Urban design models for the Kulturforum in Berlin

Pompeii, the forum, destroyed in the eruption of Mount Vesuvius in 79 AD

Paris, Palais Royal, with a long building history that began in 1627. Over the years, a whole urban complex around the Palais came into being.

Rome, Vatican Museums, courtyard of the Belvedere by Donato Bramante, 16th century

Vienna, the Hofburg with the Museum of Art History and the Natural History Museum by Gottfried Semper and Carl von Hasenauer, partly completed in 1891.

London, British Museum by Robert Smirke, 1848

Paris, Louvre, with a history stretching back 800 years

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Florence, the Uffizi Gallery by Giorgio Vasari, Bernardo Buontalenti and Alfonso Parigi, 1559–1581

Vigevano, Piazza Ducale (48 m × x 134 m) by Donato Bramante, 1494, inspired by the Roman fora

Vienna, the Graben. With its width of around 30 m, it could be a spatial model for the Kulturforum in Berlin.

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The fragmentary model inserted into the urban surrounding

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View View intointo the the axisaxis of the of the Kulturforum Kulturforum withwith the the newnew shared shared entrance entrance hallhall of the of the Picture Picture Gallery, Gallery, the the Museum Museum of Prints of Prints andand Drawings Drawings andand the the Museum Museum of Decorative of Decorative ArtsArts in the in the background background

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The Kulturforum with a view of the new foyer to the Picture Gallery, the Museum of Prints and Drawings and the Museum of Decorative Arts

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he omission of the urban design competition for the Berlin Kulturforum will certainly result in the choice of another singular structure lacking integration into the urban context, as is already the case with the existing buildings on the forum. Scharoun and Mies van der Rohe could display their contrary philosophies,; both of them, however, denied any integration into the urban context. Both worked egomaniacally and dreamily against the city. Today, these building blocks are regarded as icons of modernity. They are certainly entitled to be called witnesses of their time, but today they leave us with the desperate situation of needing to integrate these capers of idle professional combat sensibly into the present-day city. Everybody complains about the emptiness in this district.

professional and political decision-makers dream of aofsolution Even the non-experts non-expertsrealise realisethat thatnothing nothingfits fitstogether, together,and and professional and political decision-makers dream a solution tochaos, this chaos, without knowing a remedy. still perceptible long-term effects of the cultural of the to this without knowing a remedy. These These are stillare perceptible long-term effects of the cultural shock ofshock the Second Second World War. art of classical town planning didn’t survive the devastated landscapes of the post-war years. World War. The art The of classical town planning didn’t survive the devastated landscapes of the post-war years. Even Even there are sufficient examples on European soilcould that could the techniques of town planning, people thoughthough there are sufficient examples on European soil that teachteach us theustechniques of town planning, but people would rather bury these celebrated models in history, history, and and instead instead unknown unknown innovations innovations are are sought sought after. after.Let Letme mebring bring this to a close by quoting the economist and social scientist, GuyKirsch: Kirsch:“Without “Withoutthe thepast, past,the thefuture futurehas hasno nofuture.” future.” scientist Guy

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Coming into being

The soft clay has to be stabilised

13 September 2015

See the relief on the opposite page

Standing at the grave of a loved one...

Administered humanity... The Earthquake Earthquake Inspired by Kleist: The in in Chili, Chili, 7 September 2015

The overthrown victory

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12 June 2015

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THE SCANDAL OF ARCHITECTURAL COMPETITIONS When the state, the municipality, or private developers face a difficult building project, they traditionally think to organise an architectural competition, which is supposed to guarantee equitable chances to all architects in a fair and democratic process. By doing so, they also hope to find the best solution for the building task. These procedures are regulated by European law and defined differently from region to region. However, these noble intentions unfortunately come at the expense of less well-off artists’ guilds. Open competitions, as the example of the Museum of the 20th Century at the Kulturforum in Berlin recently showed, demand extensive studies from the interested architectural practices that can cost up to 30,000€ but are not remunerated. No other academic profession – be it doctors, lawyers, natural scientists, economic experts or others – would engage in such a risky game, and no trade union would accept such ruinous procedures for their members. The appointment of the members of the jury is not subject to public control, and their judgment is neither revisable nor appealable. Moreover, the party issuing the competition is not bound to the judgment and can decide at its own discretion. Decades ago, the abuse of this instrument had also left its marks on the Kulturforum in Berlin, marks that are hardly reparable. The scandalising chronicle of German architectural competitions is yet to be written. I advocate for abolishing open, unremunerated architectural competitions. There is in fact a fair alternative that is widely practised in France. Following the public call for proposals to a building project, professionals of all ages can apply with their portfolio, independent of their practical experience. Each student already has documentation of their best works. The members of the jury are chosen in the same transparent way. Among the portfolios, a limited number of professionals is chosen, and they are paid to draft a design according to the applicable fee structure for architects. The party issuing the competition is bound by law to realise the design that wins the first prize. In case this party isn’t able to abide the award-winning entry once the procedure is terminated, it has to be repeated. This also has to be done when the winning entry is not realised in time.

Rob Krier Berlin, March 2016

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September 2008

September 2008

October 2008

Inspired by a painting by Matisse October 2008

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October 2008

October 2008

17 June 2015

26 August 2015

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DISTRICT OF TEGEL AIRPORT Berlin, Germany, 2016

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part from the urban fragment of Kurt-Schumacher-Platz, no connection for the new district seems seams convincing in terms of urban design. The integration that will be important in the future is missing in the urban development leading towards Tegel Airport. This is the reason why I considered it absolutely necessary to precede this part of the design with a visionary sketch of the whole district on the entire airfield. The philosophy that underlies the concept of the Kurt Schumacher district is advanced homogeneously in terms of urban space and building typology. I distance myself from the spatial concentration of functions as pushed by the Charter of Athens and advocate for a harmonious mixture of all activities that enliven the city, as can be found in all classical European cities. The main component of the city structure is the block. In their addition, these blocks guarantee a continuous composition of streets and squares. The triangular site allows a division into three districts, each one with a green square in the centre as a main meeting place. Each district is given a different geometric shape and therefore its own distinctive character. On the northeastern edge, a secondary school and a grammar school are situated. The pupils thus have direct access to the existing sports grounds in the north and the meadows in the west, the current airfield.

The middle axis that connects all districts creates a varied sequence of spaces. Here, all local suppliers are situated in attractive locations. The recreational value of the central green square with its little pond is obvious. Another main component of this urban design concept is the house at the edge of the block, standing on its own plot of land. Following an age-old principle, each house is the expression of the individual creative drive of the landlord or the house community; this is the origin of the wonderful variety in our old contemporary building activities are diccities of of citizens. citizens.AsAs contemporary building activ-ities are tated byby big dramadictated biginvestors, investors,this this delicate delicatearchitecture architecturehas has dramatically disappeared from our cities. Instead, an abject banality has taken the upper hand in the building industry that solely and exclusively seeks maximum profit. As planners, we stand helpless in the face of this development, and therefore have to make use of a strategy that again enables this variety and design quality out of mere academic obligation, to the benefit and pleasure of the inhabitants. The houses should be designed by different architects to guarantee wide variety. If the planners are able to offer a rich typology of floor plans and façades, they can participate in the design of more houses. Repetition should be avoided. By virtue of their professional qualification, the chosen master planner shall have the power to steer the harmonious interplay of architectures. Even the most balanced

The right the the building buildingplot plot TheTegel TegelAirfield, Airfield; on on the right,

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layout a beautiful andand exciting cilayout of of aacity cityisisnonoguarantee guaranteeforfor a beautiful exciting tyscape. cityscape.Conversely, Conversely,a adull dull city city layout layout can can be be surprisingly surprisingly enhanced enhanced by by good good architecture. architecture. The The strategy strategy proposed proposed here here must must be be backed backed politically, politically, and and there there have have to to be be developers developers who want to put this political will into practice. practise. We don’t stand alone with this philosophy that places renewed value on the art of – provides users a liveable enof construction construction and and –—above aboveallall — provides users a liveable vironment. It Itcan respecting environment. canbeberealised realisedeconomic-ally, economically, even even respecting the general conditions of social housing. There are only a few, though though for for their their rarity rarity all all the the more more valuable valuable examples examples of of this this town planning strategy town-planning strategy that that bear bear witness witness to to that. that. Street, Street, square, square, house house and and plot plot in in the the ensemble ensemble of of blocks blocks must must be intointo practise as theasfoundational components be recognised recognisedand andputput practice the foundational comof town of planning once more. intelligence of the layours ponents town-planning onceThe more. The intelligence of the and the and quality the façade are indispensable layouts the of quality of the compositions façade compositions are indisconditions for the city of the construction. pensable conditions forand thethe cityartand art of construction.

of the road, road,the thecars carsstand stand open air under planted of the in in the the open air under planted perpergolas. hidden behind hedges, they cannot be golas. As As theythey are are hidden behind hedges, they cannot be seen seen the courtyard. The streets, squares and interior courtfromfrom the courtyard. The streets, squares and interior courtyards yards are abundantly planted with trees, is usual in Berlin. are abundantly planted with trees, as is as usual in Berlin. The The courtyards an average offer generous generous courtyards withwith an average of of 50 50 m m× x7070mmoffer playgrounds for the children. Following an old Berlin tradition, tradition, shops, offices, offices, workshops and studios shall be located where where they can develop most effectively. The town planner planner cannot cannot predefine of predefine the locations in this this quick quick sketch. sketch. The The flexi-bility flexibility of the build-ings will guarantee guarantee that that everything everything fits fits in in the the end. end. buildings will The buildings in the south, along the motorway, are planned to have seven storeys, on the interior axis six, the other buildings five. Thus, we comply with the required 5,000 flats and a gross floor space of 100 m2 per flat including all circulation areas. A few higher buildings in the form of towers that can be recognised in the aerial view are not calculated. The proposed structure guarantees great flexibility.

Here are some details of the block structure and its traffic access. All streets allow traffic in both directions. Perpendicular parking is possible in front of pedestrian and bicycle paths, as is usual in Berlin. The ground floor of the houses is elevated half a floor; the cars drive half a floor lower and can park under half of the house’s width. The tops of these carports serve as private gardens for the flats on the first floor. On the other side

The plot to be developed

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When the airfield is closed down, a wonderful and naturalistic development site will emerge.

The as-yet-unplanned Schumacher district is on the far right and shall become an integral part of the new residential district for 100,000 inhabitants.

Each district has its own spatial centre.

The main square in the centre Model of the centre, surrounded by water

Considerations on building over the whole airfield. This location is called the Urban Tech Republic (UTR). It is a Berlin flagship project and a Smart City location for innovation – lots of promises that are currently recorded in a banal master plan following the zoning principles of the Charter of Athens.

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A first and very romantic design that would hardly have had a chance to be discussed sincerely

This version, which I would like to rework later, is already a bit more rational.

The public buildings are located on the squares of the districts.

The centre of each district has its own spatial shape. Near Lake Tegel and the Berlin-Spandau Ship Canal, a water town could be developed.

One of my favourite versions. The strictly geometric triangular form of the building site allows irregular street and square figures.

Preliminary design of the final version, with a central urban design composition that has already been realised in the Kirchsteigfeld project in Potsdam, 1991–1996

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At the round square

Boat trip near the green square

The final final plan has has aa chance chanceto tosurvive surviveininBerlin Berlindue duetotoits itsstrict strictrationality. rationality.The Thesouthsoutern hernedge, edge,with withseven-storey seven-storeybuildings, buildings,isisnearly nearlyhomogeneously homogenously closed in order to keep away the noise noise of ofthe thebusy busyroad; road;the thecentral centralbuildings buildingshave havesix sixstoreys, storeys,thethe othothers ers recognise a few punctiform accents at the sensitive block corners. five.five. OneOne cancan recognise a few punctiform accents at the sensitive block corners.

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The section shown on top shows the generous courtyards and the economic parking system, half under the house and half in the courtyard. The carports have planted terraces on top. All streets and courtyards are abundantly planted, as is traditional custom in Berlin. The block edges are parcelled into individual houses, and the form of each house is different from the others.

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Portraits

1956

1957

1957

1958

Winged 1974

Stele for Guy 1979

Moon-face 1980

In the wind 1981

Stargazer 1982

1982

Gateman 1982

Berlin Rauchstraße 1984

Small fragment 1985

Maras 1986

Bosch i Alsina, Barcelona 1991

Salvat ii Papasseit, Papaseit, Barcelona Salvat Barcelona 1988

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1986

Bettembourg I 1987

Bettembourg II

Bettembourg IV

Marianne, Bettembourg V

Muzentoren, The Hague 1991—2002

Kirchsteigfeld 1992

Joseph Joseph Bech, Bech, Grevenmacher Grevenmacher 1992–1998 1992—1998

Berlin Friedrichstraße 1994

Victor Conzemius 1996

The Founder Broekpolder 2002

Salvatore Ferro Andora 2002

Guy Kirsch 2014

Bettembourg III

Raftsman, Pforzheim Pforzheim 1988—1991 1988–1991 Raftsman,

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A LEGACY LEGACY AND AND ITS IT’S CALLING INTO CALLING INTOQUESTION QUESTION A self-written monography has the aftertaste of vain self-exposure, self-adulation and fraught boasting. This is not my intention; on the contrary. When I recapitulate my activity as an architect and a sculptor, my main goal is to put it in its true light, as much as possible, as it is reflected in many of my project descriptions. When the global crisis in 2008 stopped all my ongoing building projects, I was brutally jerked out of my naive dream of a secured, lifelong activity. Fortunately, I was able to bridge this sudden vacuum with intense sculptural work. At last, I had escaped from the constraints of the functional requirements of architecture and no longer had to conform to the tastes of my clients. Furthermore, sculpting offers an epic-lyrical depth of expression which is uncommon to the applied art of construction. From adolescence on, I had drawn strength from changing between these activities, a strength that I needed in order to tackle the multiple banalities and low points of planning work, defined as it is by function and construction. Nevertheless, the situation came unexpectedly, and I wasn't̓ prepared for it. On the art market, I am a nobody, and only modest value has been attached to my artistic work as an architect. The last construction projects in Bilbao and St. Petersburg had elevated me to a smug emotional high, as they had made me believe that my artistic product was recognised and useful. Now, deserted by this pressure to perform, I produce into the void. The shelves in my studio fill up with figures drowsing in a half-sleep. My daughters whisper to me: “Daddy, you can’t carry on like this forever!” I know, my sculptural heritage will cause them many problems. I could donate the biggest plaster figures, created in my French studio in Bargemon, to the State of Luxembourg. They are standing in the open arcade of the state archive, a former military hospital in the historic city centre of Luxembourg. This building is situated just below the Cité Judiciaire, the City of Justice, which I was able to build for my home town. Thus, through the intermediary of the then Minister of Public Works, Erna Hennicot-Schoepges, the sculptures have found a permanent home in the immediate vicinity of my architecture. The smaller terracotta figures, however, had been declined. Certainly, I will not be able to professionally market and sell my artistic products during my lifetime. I should have started such an activity much earlier, though this can steal half of the productive time from a young artist and architect. At my advanced age, it doesn’t suit me to curry favour with gallery owners, and organising exhibitions for sculptures is a laborious and expensive business. I'm also not good at begging for support from public institutions.

I think it is more appropriate to invest the whole energy of my remaining years in the completion of my artistic visions than to vie for external recognition. The review of my activity in the form of books is the most meaningful and long-lasting of these. It allows me to put in order my pictorial subjects and to delve into them meditatively during the winter months in Berlin, and to prepare the following work on my sculptures in Liguria in summer. This announced legacy is therefore a record of the theses that dominate the entirety of my artistic work. As I never submitted to the dictate dictatesofofthethe zeitgeist followed temporary fashzeitgeist nornor followed temporary fashions, ions, to legitimate my position otherwise – say, that theois to I haveI tohave legitimate my position otherwise – that is to say, theoretically and philosophically. My motivation do so retically and philosophically. My motivation to do so is to founded is in my extensive teaching and in therelated inner in founded my long teaching activity and in the activity related inner need need to convey to young students my convictions as well as my to convey to young students my convictions as well as my exexperience and passions. perience and passions. I have tried to find archetypical solutions for all my architecture and urban design projects which colleagues can modify individually and interpret personally; solutions able to set a precedent. This applies to house construction, from the conception of the building volume down to the smallest detail, and to urban design, from the layout of the road and square pattern down to the parcel of land. In my lectures, I have always emphasised the freedom to choose forms of regular and irregular geometrical solutions. I always demonstrated these subjects with reliable examples from history, accompanied by my own creative interpretations. I did so because I am deeply convinced that students only follow their teacher when they see that he can prove the validity of his propositions in his own work. Lately, I have heard more and more reproaches claiming that I had oriented myself too much and throughout my whole work on historical models. Well, I cannot deny that. When I travel, I only visit towns with a rich historical building tradition; I give a wide berth to contemporary urban settlements. Exceptions are individual works of contemporary architecture of the highest quality, such as works by Otto Wagner, Jože Plečnik, Adolf Loos, Hendrik Petrus Berlage, Willem Marinus Dudok, Le Corbusier, Fritz Schumacher, Peter Behrens, Joseph Hofmann, Heinrich Tessenow ... While working, I only listen to classical music composed up until the middle of the 20th century. The same goes for the fine arts. and sculptures sculptures created created after after the arts. Rare Rare are are the the paint-ings paintings and the SeSecond World War that move me like the sculpture by Ossip Zadkine in Rotterdam, which commemorates the destruction of the city by German bombers. It is only too easy to understand that contemporary art reflects a mirror image of and to the world so aggressively. The outbursts of violence in social conflicts seldom allow sophisticated aesthetic interpretations. Violence can best be depicted with brutal ugliness – the museums of modern art are full of it. But this attitude cannot be carried forward in-

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finitely with pictorial means of art. The artist’s statement on world affairs ends more and more often in a desperate stalemate. Our time can be more effectively critiqued in literature. Urban planning as it is executed today can only be confronted with models which give humans their dignity back, which respect them as individuals and protect their needs in society with harmonious structures. Suitable Suitableurban urbandesign design archetypes harmonious structures. archetypes can can only be found in the past. past. In In mod-ern modern times, times, the the art art of town planning degenerated into planning has has degenerat-ed intoinhuman inhumanestate estate engineering. engineering. The The serial, repetitive architecture that furnishes our new towns fatally pushes the construction world, world, dom-inated dominated first first and foremost by a commercial way of thinking, too far. The decline of architecture architecture as as an art can be observed throughout the widest possible variety of ofsocial socialsystems. systems.The The classical language of possible variety classical language of ararchitecture has been abused both democratic and dictatochitecture has been abused by by both democratic and dictatorial rial systems in order to mask claims to power. The exsystems in order to mask their their claims to power. The excesses cesses of capitalism are hidden colonnades, architraves, of capitalism are hidden behindbehind colonnades, architraves, tymtympanums towering cupolas. all began St. Peter’s panums and and towering cupolas. It allItbegan withwith St. Peter’s BaBasilica Rome, whichisiscompletely completelyout outof ofscale, scale, and copied silica in in Rome, which much later with the United States Capitol in Washington, and what crowned thethe Nazi ideology in the form of the whichwas wastotohave have crowned Nazi ideology in the form of Hall of Glory in Berlin. the Hall of Glory in Berlin. Urban design is the framework of all economic and cultural activities, the mirror image of the integrity and veracity of human action. Its Its physical physicalpresence presenceininthe thebuilt builtworld worldisisoverwoverhelming. ItItisisthe whelming. theindicator indicatorof ofhumanity’s humanity’s chances chances of survival, almost as unmistakable as the deterioration of the global climate due to the misuse of exhaustible energy resources. When, as an adolescent, I decided to become an architect, I wanted to dedicate myself to the art of sacral building, as an effect of the religious education I had been given at home. But during my university studies I quickly realised that the most exquisite achievements in that field of architecture had been attained long ago, ago, and and that thatmod-ern modern sacral architecture was rather shabby, with just a few exceptions. While on my travels at the time, I painfully experienced the miseries of contemporary town planning. By no means had I wanted to continue the disrespect of scale and the banality of those inhuman districts in my future career. In the field of town planning and housing, more significant things remained to be done for society than in sacral building. Following my university studies, I tried to explain my desperation of this situation in my book, book, Stadtraum Stadtraum (Urban in my (Urban Space), Space), on on the the erosion erosion of of urban urban space in 20th century town-planning. I demonstrated the great variety of spatial experiences throughout history and compared them to the poverty of contemporary settlements. I tried to trace the historic development of this decline from the Renaissance to date. Surprisingly, the book became very popular indeed, but the composition of spatial structures as I demonstrated with numerous examples have thus far not been realised. The theorems of the Athens Charter still rule the thoughts of the town planners.

In the past, the tasks which are now assigned to city planners were the traditional field of responsibility of surveyors. In his book, Entdeckung der mittelalterlichen Stadtplanung. Das Ende vom Mythos der „gewachsenen Stadt“ (Discovery of medieval town planning. The end of the myth of the “naturally evolved town”), Klaus Humpert has proven that even those sober calculators indeed developed an aesthetic sensitivity. The calculated irregularity of many towns founded throughout Germany from the 12th to the 14th centuries, such as Freiburg, Munich, Lübeck, Speyer, Wismar, Offenburg, Breisach, etc., is based on precise measurements that celebrated the complexity of spatial sequences. In the heyday of Gothic, such techniques were no surprise. Personally, I never found a point of entry to the scientific methods for the composition of urban spaces. As a planner and sculptor I trust my gut, weighing the tension between building elements and spatial sequences using my personal instinct. Of course, I am happy as a child when I can later prove dimensional ratios that came to me rather playfully. How can anyone build a doctrine on such a precarious field in which so many decisions are made intuitively? The sentimental pleasure pleasure of of creating creating is is another another crucial crucial motor motor in in my my propromental fession. Goethe’s Goethe’s dictum, youdon’t don’tfeel feelit,it, you’ll you’ll never never fession. dictum, “If“If you get it”, drills like a tantalising needle into the problem of all creative activity, and it reminds us to keep our hands off the business unless we feel a deep calling to it. A calling, however, is just another uncertain factor that can blind and trap young people. When I was 12 years old, I felt a vocation to become an architect, and after my first journey to Rome, at the age of 16, I drifted to sculpture. At the age of 20, I was completely convinced that architecture, as a mater artium, could unify all fine arts, as it had in earlier times. After gaining a small amount of work experience, I was desperately disappointed when I realised that this conclusion was false. In the 20th century, the arts have moved apart slowly, but definitively. Art within architecture is branded a commodity and therefore has no value on the art market, and museums hide large parts of their collections in inaccessible depots. Rarely, sculptures are designed for a special building and engage in intimate dialogue with the building and its function. In most cases, they are artificially added after its completion, as a piece of furniture, in order to meet the “art within architecture” quota. Architecture has fancied itself as a substitute for art. Museums, opera houses, airports, train stations and high-rise buildings look like sculptural structures themselves and make the addition of any sculpted element superfluous. In their out-of-scale dominance they even make all sculptural and pictorial ornamentation look silly. Whenever I was commissioned with a work of architecture, I tried to create some space for sculptural features. I mostly had to pay the costs out of my own pocket, as there was no money insocial socialhousing. housing.My MyBerlin Berlinclient, client,Dieter DieterGraalfs, Graalfs, hofor art in howwever,had hada afond fondweakness weaknessfor forart artand andalways alwaysfound found aa budget budget ever, to cover the costs of casting. It was in Bilbao that I found the most generous sponsorship in an investor who financed more

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than 40 figures on a block of buildings. A similar bit of luck seemed to arise in St. Petersburg, but it shattered shortly before realisation. In order to present the interplay in my work between architecture, sculptures and drawings as homogeneously as possible, I scatter my artistic works in chronological order between the build-ingprojects projectsand andarchitecture. architecture.As As they they inspired inspired each each other building other throughout my working process, they should also stand firmly firmly side by to one one family, family, in in the the printed side by side, side, as as ifif belong-ing belonging to printed overoverview of my works. Dimensional ratios, i.e. proportions, are common to all pictorial and sculptural work. In my lectures, I dedicated a central place to this subject, and in all analytical exercises my students were obliged to verify the proportional qualities of the object they were examining or the design they were drafting. In my book, Über architektonische Komposition (Architectural Composition), an extensive chapter is devoted to the subject. As a student, I came across Le Corbusier’s Modulor, my knowledge of which I was able to deepen later when I measured the Gothic cathedral in Auxerre. Doing this work, I discovered that, besides the Ratio,there there are are other other dimensional dimensional ratios ratios that des the Golden golden ratio, that can be be deduced deduced from from the the division division of can of the the circle circle and and that that can can be be proven in all great architecture. Le Corbusier was fixated fixated on the proportions and proposed proposed aa series series of the proportions of of the the Golden golden Ratio ratio and of numbers, based on a body height of 1.83 m, that he alone could apply consistently. consistently. In In his his book, Modulor, he apply book, Le Le Modulor, he doesn’t doesn’t give give any instructions on how to use his series of numbers. I constructed a proportion compass with which I could determine proportions according to the partition of a circle into three, four, or five parts. With this tool, the most fascinating analyses can be made from plans and photographs of architecture throughout history. This subject runs like a thread through all my projects and pictorial pictorialworks. works.I found I found passion confirmed thisthis passion confirmed whenwhen I obIserved observed works of nature. youthefind theamazing most amazworks of nature. ThereThere you find most geoing geometrical variations, alwaysfeature feature perfect perfect metrical var-iations, and and theythey always proportions and never degenerate into kitsch. My mother always said: “If you feel the need for harmony, then take a walk in the forest. You will find no mistake in nature, not even in dead branches or dry leaves.” The most dangerous thing in architecture is the temptation for over-the-top showing off, and this is true for public and private clients, and for the architect himself. I already mentioned St. Peter’s Basilica., which is certainly not a place of contemplation, but a pretentious testimony to an unrestrained display of power. One could fill entire folders with this kind of embarrassing examples, nurtured by the fury of the representation of state apparatuses, business interests, and private investors. The bigger the concentration of power, the more oppressive and brutal the architectural excesses. Compliantly, our guild lets itto these these aberrations. aberrations. To To resist resist them them would be a self be roped in into testament to ethical and moral stability.

Another postulate that I tried to communicate to my students was respect for the particular regional traditions in which they would later exercise their building work. Two examples from c especially touched me. While building a my practise neighbourhood in Berlin-Kreuzberg with 20 young colleagues, an elderly couple addressed me on the site, saying: “Oh, this really looks like Onkel Toms Hütte!” The housing estate of that name had been built in the 1920s by the well-known architect, Bruno Taut, and and itit remains remains aa fav-ourite favourite and Bruno Taut, and popular popular residential residential area to this day. I was paid a similarly wonderful compliment on my building site in Bilbao: “How nice that you are renovating this old house so beautifully!” Vox populi ... unmistakable evidence that my architecture was a nearly genuine rendition of the Berlin and the Basque traditions. Whenever I received a building commission in a European city, I first intensively studied the local architecture and let myself be inspired by the floor plan typology and the composition and materials of the façades. In this way, I was able to build the town of Brandevoort in Brabant, the Netherlands, which looks as if it had been standing there for centuries. Dutch experts had a positive view and judged it to be the best planning of the past decades. In Germany, this new town was demeaned as retro, unoriginal, and out-of-date, and it passed unmentioned in the architectural magazines. The reason why my teaching activity in Vienna left no enduring traces behind is that the few loyal supporters of my tendency were kicked out of all competitions early on, as I am wanted to to survive survive economically economically had to even today. Who-ever Whoever wanted modernistic bow down to to the thezeitgeist zeitgeistand anddeliver deliver modernisticproducts. products.I mymy hope on the effect effect of publications whose Inow nowpinpin hope on long-term the long-term of publications lives are more than arethan those buildings. Trends whose lives aretenacious more tenacious areofthose of buildings. fade quickly when generations change,change; culturalcultural eras, oneras, the Trends fade quickly when generations other staying that common will on thehand, otherhave hand, have power. stayingI hope power. I hope thatsense common lead us to lead turn us away fromaway the cheap, repetitive and globally sense will to turn from the cheap, repetitive and conformist architecture that is the of theof current conglobally conformist architecture thatresult is the result the current struction mania. Needless to say that aa conversion conversion of of the the soconstruction mania. Needless to say, sobuilding called professionals professionals and andbeneficiaries beneficiariesofofthis thismiserable miserable buildculture cannot be expected. It is It theispain theofdamage done ing culture cannot be expected. the of pain the damage that will the protest of those who who mustmust endure it. it. done thatprovoke will provoke the protest of those endure The social economist, Guy Kirsch, coined the dictum that must lead to a new way of thinking: “Without a past, the future has no future.”

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Portraits

On 2002 On the the Lookout Lookout 2002

Demeaned2002 2002 Demeaned

Justice II 2003 2003 Justice

JusticeIV IV 2003 2003 Justice

Justice III 2003 2003 Justice III

Justice Justice II II 2003 2003

Moonface Moonface 2003 2003

What 2004 What happened? happened? 2004

Nadine Nadine 2004 2004

Self-sacrifice 2004 Self-sacrifice 2004

Desire of of dreams dreams 2005 2005 Desire

Desire 2005 Desire of of dreams dreams 2005

Sinking Sinkingdown down2005 2005

Man Man melting melting 2005 2005

Startled 2005 2005 Startled

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Do understand understand 2005 2005 Do

Makeshiftsail sail2005 2005 Makeshift

2008 2008

Törbel 2008 2008 Törbel

Törbel 2008 Törbel 2008

2008 2008

2008 2008

2008 2008

Inspired by Hildebrand Inspired Hildebrand2008 2008

2009 2009

2009 2009

2009 2009

Studies Studies inspired inspired by by Michelangelo’s Michelangelo’s Ignudi Ignudi in in the the Sistine Sistine Chapel Chapel in in Rome, Rome, 2009 2009

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THE KRIER BROTHERS, LEO AND ROB asseen seenbybyMarianne MarianneMajerus, Majerus,London London1995 1995

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POSTSCRIPT

T

his book can unfortunately only hint at what I would like to have achieved in practice during my 30-year struggle for a valid conception of urban development structures and integrated, clear housing typologies. For many years, vehement criticism of my work and defamatory public disputes consumed an excessive amount of my energy and time. When I did get the chance to build, the modest budgets (for social housing, for example) and the undermining of the architect's̓ authority in the construction process effectively ensured that my ideal concepts were only realised in schematic form. I still find it miraculous that I had the chance to build two real squares: Schinkelplatz in Berlin and Camillo-Sitte-Platz in Vienna. When I was working on my book, book, Urban Urban Space, I would never have believed that I would be Space, so lucky. Though these places are modest in scope, I know that they will provide a fitting setting for public life, blossoming with time and growing old with grace. No architecture critic's̓ commentary

could give me an equal sense of success. My very traditional approach to architecture and urbanism sets me – and some of my friends – far apart from successful mainstream architecture at the end of this millennium. Still, we have had time to prepare our theories well, to separate our ideas from everchanging fashions, and to lay a foundation for building in the future. My teaching activities have taken up much of my time, but they have also given me the means to try out different theories and strategies. My work as an architect has had a distinctly ‘applied’ character. I have never had the opportunity to advance to the higher ranks of the profession and to produce public buildings, such as town halls, museums, churches and schools... the true realm of the architect. I have gambled a lot and lost a lot. This book bears witness to that. Yet, ideas can have strength even if they remain unbuilt. I hope that my drawings, along with their practical message, will recall something of the visionary dream.

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PROJECT STAFF The following are were staff members office of Rob Krier in Vienna to 1994, the office thethe staff members in in thethe office of Rob Krier in Vienna fromfrom 19761976 to 1994, in theinoffice Rob Rob • Nicolas Lebunetel in Montpellier 1992 to 2004 in the office Krier • Christoph Kohl KrierKrier • Nicolas Lebunetel in Montpellier fromfrom 1992 to 2004 andand in the office RobRob Krier • Christoph Kohl in in Berlin from 1993 2010. Berlin from 1993 to to 2010.

Vienna staff H. Auer S. Becker S. Bidwell M. Bier S. Böhm W. Cernek M. Cufer F. C. Demblin B. Dewey G. Fellner S. Fritz M. Geiswinkler D. Henke B. Hönigmann U. Kainzinger (AS) P. Katzberger N. Kostka M. Maggio M. Mauss W. Mayr G. Miller G. Misiek C. Muller K. Müllner R. Newald O. Özer F. Rassad K. Rhomberg A. Roventa W. Rudolf A. Sarnitz U. Schauer M. Scheibl D. Steiner W. Stelzhammer A. Stiller

[AS = administrative staff]

B. Trzeja K. Vouk A. Wald L. Weisser J. Wooding H. P. Wunsch K. Zweifel Montpellier staff M. Candillon J. Ciccariello L. Delafont P. Laporte V. Launois (AS) M. Neri T. Planes C. Robin P. H. Roy R. Urbani Berlin staff F. Altpeter S. Armenia D. Bank P. Berenz R. Branschofsky J. Brunetto H. Buijsen A. Burgio D. Byrne M. Carmen S. Chapoknysch C. Cianfarini (AS) J. P. Colas C. Eberhard H. Ehlers

F. Espinosa Caro M. Festa W. Flegel D. Gamble U. Gardeler S. Hampe W. D. Harmon S. Henning P. O. Hermansson R. Hermsen D. Jones C. Jörder C. Kautz M. Kersting K. Klembt (AS) D. Krämer N. Kraut A. Lehnerer O. Louhivuori D. Lovric J. O. Luhn U. Mahadeva J. Meyer-Arendt P. Niesert D. Nightingale G. Peuntinger S. Raetsch (AS) J. Reif A. Schott R. Seidel S. Sprenger P. Theodorakopoulou B. Utz D. Wagner (AS) K. Wagner T. K.Wille Wilke K. Wilke T. Wille I. Zimmermann

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BIOGRAPHY ROB KRIER BIOGRAPHY 1938

Born in Grevenmacher, Luxembourg

1959–1964

Study of architecture at the Technical University of Munich, Germany

1976–1994

Office in Vienna, Austria

1982

Architecture award of the city of Vienna

1986

Visiting professor at Yale University in New Haven, USA

1965–1966

Collaboration with Oswald Mathias Ungers in Cologne and Berlin, Germany

1988

1967–1970

Collaboration with Frei Otto in Berlin and Warmbronn near Stuttgart, Germany

Über architektonische Komposition (English edition: Architectural Composition)

1989

Honorary doctor of the Technical University of Stockholm, Sweden

1973–1975

Assistant of Johannes Uhl at the Technical University of Stuttgart, Germany

1992–2004

Office in Montpellier, France, in association with Nicolas Lebunetel

1975

Stadtraum in Theorie und Praxis (English edition: Urban Space, 1979)

1993

Office in Berlin, Germany, in partnership with Christoph Kohl

1996

Honorary member of the American Institute of Architects

1975

Architecture award of the city of Berlin, together with Léon Krier

1997

1975

Visiting professor at the École Polytechnique de l’Universite de Lausanne (ÉPUL), Switzerland

Honorary member of the Bund Deutscher Architekten (Association of German Architects)

1997

Potsdam Kirchsteigfeld Kirchsteigfeld –– Eine Eine Stadt Stadt Potsdam entsteht / The entsteht / TheMaking Makingof ofaaTown Town

1998

Retirement from my professorship at the Vienna University of Technology, permanent residence in Berlin

1976–1988

Professor at the Vienna University of Technology, Austria, at the newly founded Institute for Architectural Design

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2003

Town Spaces. Contemporary Interpretations in Traditional Urbanism

2005

Retrospective of my architectural work in the German Architecture Museum (Deutsches Architekturmuseum, DAM) in Frankfurt a. M.

2008

Inauguration of the Cité Judiciaire in Luxembourg. With the global financial crisis, all projects in the Netherlands stopped in the autumn of this year

2010

Resignation from my partnership with Christoph Kohl. Since then, dedication to sculpture

2014

Last designs for a residential and commercial building in Saint Petersburg, a residential district in Berlin-Tegel and a cultural forum near the Philharmonie building and Potsdamer Platz in Berlin

2018

Joint exhibition of my sculptures and tapestries by Roswitha Grützke in the Diocesan Museum in Bamberg and in the Valentiny Foundation in Remerschen, Luxembourg. Our works will be preserved in Luxembourg on permanent loan