In Brunnenstrasse, Mitte, a very interesting building has been completed by architect Arno Brandlhuber. This is perhaps the antithesis of the L-40, where the L-40 is carried through with a minimum of compromise and adaptation, this is all compromise and adaptation. And it is all the more interesting for it.
The building is located in a part of town that is currently the forefront of gentrification; one of the last squats across the street was emptied last November, the façade still reads “Wir bleiben alle hier”, we’re all staying here, but the building is now a sad empty shell. New bars and galleries pop up, and the area will continue to become more expensive, like the rest of Mitte. This building is of course a part of this process, but then again, so am I, so I will leave this subject for now.
The building itself stands on the ruins of a previous investor’s dreams, the plot was bought, and foundations built in the middle of the 1990’s by an investor who went bankrupt. To use the existing foundation was one of the first and a very defining decision in the construction process. This was the first compromise, the next is the buildings height, it has been chopped off to allow the people living in the courtyard house behind it to keep as much sunlight as possible. Another compromise is the unquestioning adaptation to the floor heights of the neighboring buildings, which incidentally are at different levels, and meet each other in a low step in the centre of the new buildings that is visible through the façade. The facades are pragmatic and built on a very low budget. The majority of the façade is constructed with translucent polycarbonate sheets, which allow the house to light up at night. The result resembles French Lacaton Vassal in its pragmatic approach to create great spaces on small budgets, but with a certain Berlin roughness to it.
The most interesting part of the building is the gallery in the ground floor, equipped with a wall that swings inward and opens up the gallery to the street in a manner similar to the Storefront Gallery in NYC, but where the Storefront gallery has a nice and specific façade, the façade here looks like an anonymous wall and is covered with posters, stickers and tags, bringing the city into the gallery in a way that the Storefront never managed. It produces a great interface between the city and the building, a way to blur the border between the public and the private, and turns the entire gallery from being a semi-private space to a semi-public space.
In order to understand what is great about this building, it is essential to understand the two major issues that have haunted Berlin architecture over the last decades. Firstly, the city suffers from an architectural trauma imposed by the draconic construction regulations Hans Stimmann introduced here in the 1990’s. These principles defined the “Berlin style”, or Neo-Prussian style, where all new, and preferably adaptations of old buildings would be maximum 22 meters tall, follow the old block structure with outer and inner courtyards, be divided, at least visually, in street facades that were short, preferably shorter than they were tall, with standing windows and facades in natural stone or a material resembling natural stone. This conservative and frightening dogma has been imposed on new constructions across the city. You can see the traces everywhere, and the results are often, at least in my opinion, suspiciously similar to the local architecture of the 1930’s.
Secondly, there is no money here. Ever since the happy days of reunification and grand construction projects, Berlin has suffered, and still suffers from an economic hangover. The city is broke, and investors are cautious, and reluctant to invest in architecture. They often manage to get cheap and very mediocre buildings built in return for promises of creating jobs. This means that value engineered rubbish is built in prominent locations across the city every month. Boxes with no resemblance of architecture but with plenty of space for billboards litter the city these days.
This is a building that presents an alternative for Berlin architecture. This is an architecture much more in keeping with the Zeitgeist of the city than the neo-Prussian value engineered rubbish that constitutes the majority of the new buildings in this city. It is a cheap, yet sensitive and elaborate building. A building that communicates with the public spaces and adds something to the street. The city slogan these days is “be Berlin” and this building is Berlin.