Tacheles : ARTWORK
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b.1989architecture and mixed media
FELICITY PASSMOREPROF. KALVELAGE
A participatory sculpture formed over a series of years, layers of medium applied directly upon one another, with little overall consideration about how the individual pieces of layers come together. Some individuals are invited to contribute whilst oth-
ers take it upon themselves to add what they feel is necces-sary. It represents the thoughts, impressions and forms of the people then and there in Berlin in the Tacheles, but about out there, about them in the rest of the world. A microcosm about the reunification of Germany and Berlin growing international
appeal. A symbol of berlin homegrown sub-culture.
The Tacheles evolves slowlyat the rate of human production capabilities.
There have been two major alterations in the past that although carried out by larger bodies and at bigger strength.
The first is the insertion of the windows, effectively sealing the ruin and creating thus an inside and an outside.
The second is the recent construction of fences and walls, to eradicate the outside
Are these interventions a part of the artwork or are they adestruction of the artwork?
The artist of the Tacheles is the collective, so it would depend if the interventions were carried out with the intention of being part of the collective or not.
In the first instance with the architectural glass sealing there seems to be an desire to improve the artwork, as all are trying to do, but in a bigger (larger than human productive: machines) capitivity. Verdict : Intervention
In the second instance with the walls and fences, there is a need to destroy the artwork or at least destabalise it. Verdict : Destruction
Is there an architectural intervention that can allow the Tacheles artwork to continue to exist and and relate to the urban environment that it is in?
The urban environment wants to encroach onto land that was originally part of the Tacheles artwork.
The Tacheles is an important part of the urban fabric and plays a significant role in diversity of its local neighbourhood, and also acting as an international attractor. It was born at a crucial moment of Berlin history - the fall of the wall. Providing a living, functioning accessible moment, that is not a museum.
How to define a zone/space for the Tacheles artwork, to prevent it being eaten by urban regeneration?
brunnenstrasse new scene
kurfenstrasse new scene
The Tacheles artwork is site specfic to the old Friedrichstrasse building which is visible at its eastern entrance and all but re-duced to its foundations elsewhere and covered with sand.
The old passage building is a tool for defining the Tacheles physical limits of its foundation. (refering to the physical home of the Tacheles artwork) In a manner it is a Tacheles raft. A ship of informal and often rushed construction from whatever mate-rial is to hand.
What is the appropriate architectural intervention?
As the architect in the situation of the Tacheles acting in unison and on the side of the collective.
The definition of the artwork and its prescence on Friedrichstrasse requires to be made more visible and defined.
The Tacheles artwork acts as a public space in the urban envi-ronment and I think that this urban passage opening up is re-quired. This free public accsibility is one of the most important thing it provides for the city. The Tacheles provides an impor-tant substance to the city as it is something unusual with a very different function.
So the instigation of the passage which can find one end in the existing arch and the other end in the new friedrichstrasse architectural intervention.
Finally the artwork should be bordered on the eastern side, in a way to defend its situation to this large expanse of high value land.
The design of this architectural interventions?
The new architectural archway to the west onto Friedrich-strasse. As a solid barrier between the street and the Tacheles site. It requires an arch in the centre in similar scale to the oth-er arch. The face of the architectural intervention should differ on both sides : to the street there requires a strong solid pres-ence, signifying that there is something of interest behind the facade but playing a defensive role. There requires a similarity to the facade of the still exisiting facade on the eastern gate-way. The inside facade to be designed with a non-uniformed exterior edge and to provide open access as on the existing interior facade. The spaces provided in this structure (tacheles plus) should be not defined by a paticular use but provide a range or architectural spaces that can be inhabited and used by the collective to expand from their otherwise confined area in the exisiting building.
The design of this architectural interventions?
The new architectural archway to the west onto Friedrich-strasse. As a solid barrier between the street and the Tacheles site. It requires an arch in the centre in similar scale to the other arch. The face of the architectural intervention should differ on both sides : to the street there requires a strong solid presence, signifying that there is something of interest behind the facade but playing a defensive role. There requires a similarity to the facade of the still exisiting facade on the eastern gateway. The inside facade to be designed with a non-uniformed exterior edge and to provide open access as on the existing interior facade. The spaces provided in this structure (tacheles plus) should be not defined by a paticular use but provide a range or architectural spaces that can be inhabited and used by the collective to expand from their otherwise confined area in the exisiting building. Construction costs to be kept low through material use and basic connections, this building will see heavy use and therefore a strong base. Being the western entrance but facing to the east there is a reminiscence of the pervious orient side of the passage.
To reform the passage?
The passage is the tool used to guide the individual through the Tacheles activity and to provide the most captivating view of the Tacheles artwork. The two arches provide the ends but there needs to be a guide or guides to bring the individual through the space. The original passage provided some im-portant characteristics. Firstly the direct path way extending from the arch to provide a vista. Straight passage to allow the individual to wander and compare one thing to the next without paying attention to the shifting vistas. Secondly there was a dome in the middle providing a focus. Also allowing giving the whole experience a center, a mid-point. As passing from one earths crust to the other and entering to the core in the middle of your journey. So the circular space requires a sign but per-haps not a scultpure heavy with meaning. By digging away the sand to provide a gently sloping surface to this point from both archways. Both brings to the surface the circular foundations of the dome and also guides the indivdual down and then out again. A small divergence to the centre of the earth.
How is the artwork treated on its eastern side?
To the east is an wide opening which leads to the large ter-rain vague of 13,000 sq/m. The tacheles requires some border to this side which allows it to keep this defined space. A road passing along this route from the auguststrasse junction to Jo-hannisstrasse would define the edge of the artwork. Roads are public highways are often negative in their severance of a site but here its division will allow the Tacheles to float free from this large sect of land which burdens it so heavily and puts it to threat.
Does it matter what function occurs on the other half of the land?
Ultimately the Tacheles is rightly of importance and it is sit-ting of land of high value. The other portion has higher value than as a carpark. It is very central, with access of three of its sides. It cannot be offended and must accept the existance of the Tacheles artwork on its side, but a healthy dialogue either celebration or arguementation. Once the requires seperation of the space has occured, perhaps it will becoming clearer the role of this space and how and if at all it interacts with the Tacheles artwork. Its role could possible support the Tacheles and verify it as an artwork. However the Tacheles artwork must strengthen itself alone and I feel that the architectural interven-tions proposed will give it this capability. The city alone must verify it as an public artwork.
So not a new Guggenheim then?
With five Wright Guggenheims fitting there perhaps it is too large, or perhaps it gives the potential for a greater Guggen-heim with out reaching aspirations for the city. It shows the scale of this area, and the potential it has to do something magnificent and alternative for Berlin. The Tacheles has set the standard of an alternative informal and accepted situation and perhaps this can allow this site to enpower itself also.
PLANFelicity Passmoreb. 1988Computer graphics.
PLAN 1.1000Felicity Passmoreb.1988Computer graphics.
SECTION 1.500Felicity Passmoreb.1988Computer graphics.
ELEVATIONS 1.500Felicity Passmoreb.1988Computer graphics.