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Two main principles characterized the housing projects presented at the IBA (the inter national Architecture Exhibition held in Berlin in 1987): a rejection oí modernism in archnec ture and In the design of the urban fabrican: the perception of the city as a series of disconnected fragments, a view influenced by Colin Rowe's idea of a 'collage city'm we planning and organization of its fabric. If there is one feature which marks the Luisenptótz project by Hans Kollhoff. a representative of the younger generation of German architects, it is a polemical rejection of both those IB* principles.

This project is located In the heart of a district rich in historical styles - JugendsU apartment houses, a Neo classical SchmW pavilion and the great Baroque Charlottenburg Palace. With its heavy blue brick inspired by Peter Behrens' industrial buildings and the wing-like form on the roof derived from le Corbusier's design for Chandigarh, it is Overfly attached to the ideals of modernist architecture. On the urbanistic level, it is an expression of the search for unity rather than fragmentation. Despite its eclectic assemblage of elements from modernist precedents, the building's tripartite composition of base, main structure and exaggerated celebratory crowi is reminiscent of the compromise techn ques of the 'New Monumentally' movement of the 1950s, formally reinforcing rather than des troying the spatial unity of the street, h Kollhoff's words, the building strives to create

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