Search results for "berlin"

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Drawings Matter

Process comes to life in Berlin architectural drawing show
The exhibition Opening Lines: Sketchbooks of Ten Modern Architects features selections from one of the world’s great architecture drawing collections installed in the most important gallery devoted to the subject. The exhibit at Berlin’s unique Tchoban Foundation is spectacular for anyone interested in architectural drawing and its relationship to the larger built and unbuilt culture. The drawings are from Drawing Matter, the personal archive of Englishman Niall Hobhouse (a few works from other collections were donated for the show), which is normally housed in the Somerset countryside of England. In Berlin, it includes 80 drawings and 140 sketchbooks, films, audio interviews, virtual, and analog facsimiles. The collection is still being actively assembled by Hobhouse who with the intellect and trained eye of an art dealer collects drawings that represent key projects from the most important architects. The archive specializes in early drawings, particularly extended notebooks of master designers like Peter and Alison Smithson, James Gowan, Aldo Rossi, the Italian Radicals of the 1960s, and Álvaro Siza. The collection could itself be a stand-alone architecture drawing museum, but for this Tchoban edition Hobhouse and curators Tina DiCarlo and Olivia Horsfall Turner have selected renderings, working drawings, theoretical sketches and doodles from Hans Poelzig, Le Corbusier, Alberto Ponis, Adolfo Natalini of Superstudio, Álvaro Siza, Tony Fretton, Marie-José Van Hee, Peter Märkli, Níall McLaughlin, and Riet Eeckhout. The range and depth of the Drawing Matter collection allows the exhibit to begin with a magnificent swirling and vibrating 1922 Hans Poelzig charcoal sketch for a monument in a university courtyard. This charcoal is a more spirited example of the possibilities of expressionism than any of his earthbound buildings. In fact, many of the drawings in the exhibition help us better understand their resulting built works either because their construction masks their intentions or possibly misses the mark of the drawn idea. Peter Märkli’s 1992 ballpoint sketch for La Congiunta, fleshes out the intentions of his building, which in its extreme concrete soberness can seem like little more than a Swiss box without knowing or seeing the drawing. A confident 1986 Tony Fretton ink sketch for a door jamb in the Lisson Gallery highlights the thought and intention behind his minimal aesthetic which again can easily fall away for the inhabitant of the building. But it is with a vitrine of multiple sketchbooks by Adolfo Natalini, opened to a series of his 1969 ink drawings of the Continuous Monument, where we can truly see the open-ended, discursive potential of drawing. It shows the evolution of ‘monumenta continua’ from its inception as town planning for a scaled ring around Florence to its first public presentation in Grazerzimmer (room of Graz) to a furniture concept and then a hovering structure over the cityscape of Manhattan. Hand drawings were the primary tools of the architecture debate in 1969 when he co-created Continuous Monument and it is impossible to comprehend the power of these images at the time they first appeared without seeing these sketchbooks. The possibilities of sketching, even doodling, as thinking are highlighted by Niall McLaughlin’s colored felt-tip pen drawings of the Alzheimer’s Respite Centre which are framed in the shape of a brain. In McLaughlin’s drawing and handwritten text on view we can see his brain thinking out the possibilities of an architecture for the Alzheimer’s facility. The exhibition returns to contemporary architecture drawing when it is more art than architecture. A nearly three-foot-long 2018 graphite drawing on film Drawing Out Gehry by Riet Eeckhout is draped over rods on the wall as if it were from Gehry technologies and seems more installation than usable working drawing. This final hand drawing is meant to present the notion of the long digitally produced continuous surface as a replacement for the old-fashioned sketchbook. The exhibition is accompanied by a series of online articles online and by monographic publications on the sketch practices of Álvaro Siza, Adolfo Natalini, Tony Fretton, and Niall McLaughlin. The Natalini text explains the power of the architectural drawing:
I approach a project from several sides, each time engaging in a full body contact with the place, the program, and the limits. The weapons I have available in this battle (which is more like Jacob’s wrestling with the angel or a battle of love) are few, and among these drawing is the most important. Drawing allows me to be a lot quicker, and at the same time, it forces me to stay rooted to the page and the project for long periods…Drawings produce other drawings and these, other drawings again, and in this way, gradually the labyrinth appears and project emerges.
Opening Lines: Sketchbooks of Ten Modern Architects Tchoban Foundation. Museum for Architectural Drawing, Berlin June 30–October 7
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Midwest Go Home

Brooklyn landlord to Oberlin grads: we don’t want you here
This may be one of the only buildings in Brooklyn turning hipsters away. A Brooklyn-based construction company with deep roots in a now-trendy neighborhood is planning to erect an office building with manufacturing space. On paper, it's a hipster honeypot, but in practice, the family-owned business wants little to do with the liberal arts grads, especially those from the Midwest, who flood the borough after each graduation cycle. Owners of Adams European Contracting want working-class Brooklynites to sign leases, not just "Oberlin students who have just moved to Brooklyn like an hour ago," according to the project's lawyer. Brooklyn's Marvel Architects is designing the nine-story building, at 79 Bogart Street in East Williamsburg, with commercial and manufacturing space. The owners are seeking a zoning variance for the building so they can add a video game room, wine bar, and showers, amenities to appeal to artists, ad agency employees, and "drone designers"—again, this building is not just for Midwest liberal arts transplants... "We're competing for talent," the lawyer, Ken Fisher, told DNAinfo. "We think that the density will create a community in the building and will give it a sense of destination." His client plans to move their offices to the new building once it's finished.
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Anti-Urbanistic

German architect Wilfried Wang critiques Herzog & de Meuron’s Museum of the 20th Century extension in Berlin
Herzog & de Meuron's winning proposal for the Museum of the 20th Century extension in Berlin has been called into question by German architect Wilfried Wang, the co-founder of Berlin-based Hoidn Wang Partner and (since 2002) the O’Neil Ford Centennial Professor at UT Austin's School of Architecture. Wang believes the Swiss firm’s design is severely lacking in both architectural and urbanist respects. Speaking in The Competition Project (whose editor translated Wang's commentary, which first appeared in the German journal Bauwelt last year), Wang first discusses the project's relationship with its immediate surroundings: Mies van der Rohe's Neue Nationalgalerie (completed in 1968) and the Hans Scharoun’s Berlin Philharmonic concert hall (completed in 1963).
By extending the form of this introverted structure to cover the entire competition site, little or no value is added to the immediate environs. To the contrary, that and the immense surfaces of the facades, right up to the edge of the pedestrian walkways, only serve to diminish the importance of the surrounding buildings. All the trees to the south of the site will disappear, and 90% of the outer walls of the building, regardless of the suggested use of porous brick detailing, are completely closed off.
Next in the firing line was the proposal's program:
The corridors stacked over one another, labeled “Boulevards” by the architects, are connected in the quadrants by smaller corridors and stairs. The metaphor, “Boulevard,” is as misleading as was Le Corbusier’s “rue intérieur.” Boulevards are accessible 24 hours a day as open public spaces. In the evenings these corridors will be closed to the public. Rectangular exhibit areas are placed on three levels—not easily accessible to the visitor as a result of the labyrinth-like circulation plan.
Wang wasn't too pleased with much of the competition's submissions either. Few, he argued, failed to mediate space between the two already existing icons that inhabit the vicinity. New York studios SO-IL, Snøhetta, and REX were in the running for the $218.8 million project, along with British firms Zaha Hadid Architects and David Chipperfield Architects.
The most extreme anti-urbanistic example honored by the jury with a merit award was OMA’s pyramid-like scheme, completely blocking any relationship between Mies and Sharoun by inserting their own icon in between the two.
By contrast, the shortlisted designs that entered the fray during the first open competition, Wang argues, were "more modern, sensitive, and led one to assume that a different solution would be in store." These notions did filter into the competition's final stage, said Wang, with SANAA and Sou Fujimoto's (both from Japan) less disruptive proposed interventions. Note: For his Master’s degree in 1981, Wang researched six cultural centers including London’s South Bank Centre, Paris’s Centre Beaubourg and Berlin’s Kulturforum. In 1992 he published a monograph on the work of Herzog & de Meuron.
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Networked Interiority

The Berlin Biennale explored how architecture defines us today

The 9th Berlin Biennale, The Present in Drag, is “more rooted in a time than a place,” explained curator Lauren Boyle of the New York–based collective DIS. For this citywide art exhibition, the DIS team wanted to expose the contradictions and sheer spectacle of today’s hyper-networked, content-saturated culture. The exhibition breaks from many past Berlin Biennales, as it does not, on the surface, take an immediate political stance. Instead, it acts as a platform for artists to perform the present, in a sense, caricaturing and parodying it in order to tease out the contradictions and confusing realities of contemporary culture. DIS assembled a list of young artists and collectives, including 69, Cécile B. Evans, Simon Denny, Hito Steyerl, and more to show across five venues in Berlin.

Many of the works confront the Internet and the effect that it has on our lives and the way we create our identities. Three of the works explicitly deal with architecture, and how it is being affected by changes in technology and new social cues in an evolving world.

The first and most outwardly architectural is “#3” by architect Shawn Maximo. In collaboration with German kitchen- and bath-fixture manufacturer Dornbracht—famous for its ongoing forward-thinking collaborations with artists since 1996—Maximo created a room based on the idea of a “comfort station” where you can get all the comforts of home, such as going to the bathroom, getting a drink, or taking a nap…but in the Kunste-Werke Institute for Contemporary Art. In the installation, a squat toilet, a kitchen sink, a large-screen monitor with digital videos and illustrations, and light boxes illuminated with images of nature create a place where the most intimate, private ritual collides with a social gathering space—a place for both comfort and information. The title, “#3” suggests a new way of thinking about the bathroom as a place where maybe you can use the toilet while your friend washes dishes and watches a movie. Maximo wanted to tackle some of the taboos and boundaries that we hang on to despite their lack of usefulness today. “The bathroom is a place where there is a lot of potential to make more of an impact in terms of design and aesthetic,” he explained.

Another installation at the Kunste-Werke is “ARCHITECTURE,” a long, thickened wall that incorporates six nooks filled with pillows, by London-based åyr. These cozy spaces are outfitted with outlets for phone charging and are meant to challenge our assumptions of “openness” and “crossing boundaries” common to both the sharing economy and corporate architectural discourse. The work also makes reference to Rem Koolhaas’s Berlin Wall studies and Testo Junkie by Paul B. Preciado, which conflates spaces of protection and incarceration.

Completing the trifecta of architectural, boundary-challenging works is a deconstructed showroom apartment in the Akademie der Kunste by Christopher Kulendran Thomas titled “New Eelam.” In the apartment, a video explains the concept of a new app that would utilize the sharing economy to introduce users to a network of luxury communal housing units. The app—named after the failed neo-Marxist movement in Eelam, Sri Lanka—breaks out of traditional borders, operating outside the traditional power networks of late capitalist, neo-colonial influence. By establishing a collectively owned network of housing inside the existing system, Kulendran Thomas hopes to create a new way of living through the “luxury of communalism rather than private property.”

Combined, the three artworks attempt to make sense of the architectural implications of the political and technological forces that are swirling around us, but are hard to pin down in an architectural context. Contemporary art succeeds where architecture struggles in this exploration, perhaps because art can more adeptly capture these subtle forces not necessarily embedded in actual buildings.

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Berlin Win

Herzog & de Meuron win commission to design Berlin’s Museum of the 20th Century
Swiss firm Herzog and de Meuron, working with German landscape architects Vogt, has seen off competition from 41 other practices to design the Museum of the 20th Century in Berlin. New York studios SO-IL, Snøhetta, and REX were in the running for the $218.8 million project, along with British firms Zaha Hadid Architects and David Chipperfield Architects. Danish firm Lundgaard & Tranberg Arkitekter was announced as runner-up, while German practice Bruno Fioretti Marquez Architekten was awarded third prize. Back in November 2014, Germany’s parliament put aside 200 million euros for the Prussian Cultural Heritage Foundation and a new, much-needed building to show 20th-century art at the Cultural Forum (a collection of cultural institutions located at the edge of West Berlin). In September 2015, a competition was launched for a design strategy that would include the site layout, architecture, and landscaping of the museum. The Swiss firm's winning proposal depicts the museum extensively clad in brick, with a pitched roof spanning its entire length. Inside, the space will be divided into four parts with a sycamore tree being placed in the northeast quarter amid a restaurant area. With this space set among the galleries and art storage, the museum will become a place for art, meeting, and archival storage. Circulatory devices inside aim for crossovers between groups of visitors that wouldn't usually meet. Herzog and de Meuron explained: "The museum is the place where different paths cross, where different mentalities and worlds allow an encounter. It has several entrances, as it is oriented in all directions. It draws attention to the local collection of art." “Internationally significant art collections” will be on display, including the National Gallery’s Marx and Pietzsch collections, parts of the Marzona collection, and works from the Kupferstichkabinett (Museum of Prints and Drawings). The museum will also connect to the Mies van der Rohe-designed Neue Nationalgalerie through an underground tunnel. Speaking in a press release, Culture Minister Monika Grütters spoke of the jury process: “The great interest [in] the project shows that it is an attractive challenge for any renowned agency to build in this neighborhood."
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“House for everyone”

World Architecture Festival program announced! Arena Berlin, 16-18 November 2016
The World Architecture Festival brings together over 2,500 of the world’s leading architects and presents live 411 shortlisted projects by newly discovered architects alongside some of the most respected names in architecture. This year’s theme of WAF is “House for everyone.” This is prompted by a variety of influences, not least the situation of displaced communities, like war refugees and refugees from natural and man-made disasters. There's a growing understanding of how demographics and global urbanization are forcing changes in the way we think about “housing”. Wolf Prix will discuss “What’s changed? How we live now and how we will live tomorrow?” How population movements, demographic shifts and lifestyle trends have informed how we live collectively and as individuals. How this has impacted on the function, design and servicing of dwellings today and how these factors will affect the housing, and life, of tomorrow. View our interactive day by day guide: https://www.worldarchitecturefestival.com/resources/waf-2016-day-day-guide Limited tickets are available now: www.worldarchitecturefestival.com
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Kindermuseum

Olson Kundig Owner/Principal Alan Maskin wins Jewish Museum Berlin Foundation competition
Today it was announced Olson Kundig Owner/Principal Alan Maskin would design the Jewish Museum Berlin Foundation’s new Kindermuseum. Aimed at five- to twelve-year-olds, the Kindermuseum will sit within an old wholesale flower market, which is itself located between the Daniel Libeskind-designed Academy of the Jewish Museum and the museum's administrative offices. According to a recent release, the museum has a €3.44 million budget, with an additional €2.11 million going toward creating the exhibition. Maskin's proposal was chosen from twelve invitees after two rounds of jury selections, the first of which took place in late April. His design will focus on the story of Noah's Ark: “The design by Olson Kundig has the potential to unpack the biblical story in all its relevance, as well as building connections with the present day―rescuing people and animals, the relationship between nature and civilization, and the chance to make new beginnings,” said Peter Schäfer, director of the Jewish Museum, in a press release. The jury added that, in Maskin's proposal, “The scenography is extremely attractive and professional in terms of museum pedagogy. Its use of the Noah’s Ark motif playfully picks up on topical and relevant themes such as diversity, migration, creation, second chances, and new beginnings. The visitor is Noah, and can experience the multiple facets of these topics―on their own or in interaction and role-play.” This is the second win for Olson Kundig in an international competition this year: the firm took first place in Blank Space's  “Fairy Tales 2016" back in April.
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Museum of the 20th Century

Star-studded list of international architects compete for new Berlin museum
A total of 42 firms have been selected in the most recent round of a design competition for the Museum of the 20th Century. The museum will be located in the heart of the Berlin Cultural Forum. New York practices SO-IL, Snøhetta and REX are on the list, along with British firms Zaha Hadid Architects and David Chipperfield Architects. Back in November 2014, Germany’s parliament put aside 200 million euros for the Prussian Cultural Heritage Foundation and a new, much-needed building to show 20th century art at the Cultural Forum. In September 2015, a competition was launched for a design strategy that would include the site layout, architecture, and landscaping of the museum. The new building is set to display "internationally significant art collections" including the National Gallery's Marx and Pietzsch collections, parts of the Marzona collection, and works from the Kupferstichkabinett (Museum of Prints and Drawings). Now whittled down to a pool of 42, of which 13 were invited agencies, the selected firms will submit more detailed proposals mid-September of this year. A jury is due to meet the following month to decide where to go from there. Culture Minister Monika Grütters explained: "The great interest [in] the project shows that it is an attractive challenge for any renowned agency to build in this neighborhood. We expect exciting and bold designs [that] dare the restructuring of the Cultural Forum, without challenging the existing ensemble," which includes the nearby Mies van der Rohe-designed Neue Nationalgalerie. President of the Prussian Cultural Heritage Foundation Hermann Parzinger said: "It must be possible to combine outstanding architectural and urban design with the requirements of a museum in the 21st century. I want a building that sets a new mark at this location, but it brings the necessary openness." The finalists include the following offices:
  • 3XN Architects, Copenhagen, Denmark with Henrik Jorgenson Landskab, Copenhagen, Denmark
  • Aires Mateus e Associados, Lisbon, Portugal with PROAP Lda, Lisbon
  • Beatriz Elena Alés + Zaera, Castelló, Spain
  • Arga16, Berlin, Germany with Anne Wex Berlin, Germany
  • Barkow Leibinger GmbH, Berlin, Germany with Professor Gabriele Kiefer, Berlin, Germany
  • BAROZZI / VEIGA GmbH, Barcelona, Spain with antón & Ghiggi landschaftsarchitektur GmbH, Zurich, Switzerland
  • Behnisch Architekten, Stuttgart, Germany
  • Bruno Fioretti Marquez Architekten, Berlin, Germany with Capatti staubach Landscape Architects, Berlin, Germany
  • David Chipperfield Architects, Berlin, Germany with Wirtz International NV, Schoten
  • CHOE Hackh / CUTE ARCHITECTS, Frankfurt am Main, Germany with Park Design, Kejoo Park, Seoul, South Korea
  • Christ & Gantenbein Architects, Basel, Switzerland with Fontana Landschaftsarchitektur GmbH, Basel
  • Cukrowicz nachbaur ARCHITEKTEN ZT GMBH, Bregenz, Austria with Studio Volcano, Landschaftsarchitektur GmbH, Zurich
  • Pedro Domingos arquitectos unip. Ida + Pedro Matos Gameiro arquitecto Ida Lisbon, Portugal with Baldios arquitectos paisagistas, Ida Lisbon, Portugal
  • Dost architecture Schaffhausen, Switzerland with Boesch landscape architecture Schaffhausen, Switzerland
  • Max Dudler architect, Berlin, Germany with Planorama Landscape Architecture, Berlin
  • Sou Fujimoto Architects, Tokyo, Japan with Latz + Partner, Kranzberg, Germany
  • Gmp International GmbH, Berlin, Germany
  • Grüntuch Ernst planning GmbH, Berlin, Germany with Sinai Society of Landscape Architects mbH, Berlin, Germany
  • Zaha Hadid Limited (Zaha Hadid Architects), London, United Kingdom with GREAT.MAX. Ltd., Edinburgh, United Kingdom
  • HASCHER JEHLE architecture, design and consulting Hascher Jehle GmbH, Berlin, Germany with Weidinger Landschaftsarchitekten, Berlin, Germany
  • Heinle, Wischer und Partner, Freie Architekten Berlin, Germany with Prof. Heinz W. Hallmann Landscape Architect Aachen, Germany
  • Herzog & De Meuron, Basel, Switzerland with Vogt Landscape architects, Zurich / Berlin
  • Florian Hoogen Architect BDA Mönchengladbach, Germany with hermanns landscape architecture / environmental planning Schwalmtal, Germany
  • Lacaton & VASSAL ARCHITECTS, Paris, France with CYRILLE MARLIN, Pau, France
  • Lundgaard & Tranberg Arkitekter A / S, Copenhagen, Denmark with SCHØNHERR A / S, Copenhagen
  • Mangado Y ASOCIADOS SL, Pamplona, Spain with TOWNSHEND LANDSCAPE ARCHITECTS LIMITED, London, United Kingdom
  • Josep Lluis Mateo - MAP Arquitectos, Barcelona, Spain with D'ici là paysages & territoires, Paris, France
  • Office for Metropolitan Architecture (OMA); Rotterdam, Netherlands with Inside Outside, Amsterdam
  • Dominique Perrault Architecture, Paris, France with Agence Louis Benech, Paris, France
  • REX Architecture PC, New York, USA with Marti-Baron + Miething, Paris, France
  • Sauerbruch Hutton Architects, Berlin, Germany with Gustafson Porter, London
  • Schulz and Schulz Architekten GmbH, Leipzig, Petra and Paul Kahlfeldt Architekten, Berlin with POLA Landscape Architects, Berlin, Germany
  • Kazuyo Sejima + Ryue Nishizawa / SANAA, Tokyo, Japan with Bureau Bas Smets, Brussels, Belgium
  • Shenzhen Huahui Design Co., Ltd. Nanshan (Shenzhen), China with Beijing Chuangyi Best Landscape Design Co. Ltd. Beijing, China
  • Snøhetta architects, Oslo, Norway
  • SO - IL Ltd, New York, USA with Stoss Landscape Urbanism, Boston, USA
  • Staab Architekten GmbH, Berlin, Germany with Levin Monsigny, Berlin
  • TOPOTEK 1, Berlin, Germany and Pordenone, Italy with TOPOTEK 1 Berlin, Germany
  • Emilio Tuñón Arquitectos, Madrid, Spain, Tunon & Ruckstuhl GmbH Architects SIA, Rüschlikon, Switzerland with Benavides Laperche, Madrid, Spain
  • UNStudio, Amsterdam, Netherlands, Wenzel + Wenzel Freie Architekten, Berlin, Germany with Ramboll Studio Dreiseitl GmbH, Ueberlingen, Germany
  • ARGE Weyell Zipse architect / architect horns Basel, Switzerland with James Melsom landscape architect BSLA, Basel, Switzerland
  • Riken Yamamoto & Field Shop Co., Ltd., Yokohama, Japan, Holzer Kobler Architects Berlin GmbH, Berlin, Germany, Holzer Kobler Architects GmbH, Zurich,
  • Switzerland with vetschpartner Landschaftsarchitekten AG, Zurich, Switzerland
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40% drop in Airbnb listings

Berlin restricts Airbnb to safeguard affordable housing
Berlin, the capital of Germany, has become one Europe's hottest city destinations of late. This may sound obvious, except when you consider that in the space of eight years, the city saw a increase of 13 million overnight visitors, totaling 30.2 million in 2015. As a result, many local residents sought to cash in on the tourism bandwagon: they list their properties through the popular renting site, Airbnb, as well as other online platforms. During this period, rents in Berlin rose 56 percent (from 2009-2014). While this may be good news for those renting their property, German authorities have been worried that the process is putting the supply of housing—especially affordable housing—in jeopardy. To combat the impending (or as some would argue, ongoing) housing crisis, the Zweckentfremdungsverbot law was introduced in 2014 and lasted for two years. Translating directly to "Misappropriation ban," the law prohibited the short-term let of dwellings to tourists who didn't have a city permit. Breach of the law resulted in a fine of up to $115,200. That two-year period however, as of April 30 2016, has come to an end. Now, a much tougher line has been taken meaning that those who don't live in the city can only rent out rooms via an online service and not the entire apartment. Berlin’s head of urban development, Andreas Geisel, described the move as as “a necessary and sensible instrument against the housing shortage in Berlin….I am absolutely determined to return such misappropriated apartments to the people of Berlin and to newcomers.” City authorities are also calling on the “civic spirit” of residents, requesting that they tip-off officials of any suspected breaches of the law. The policy, so far, has seen Airbnb listings drop dramatically by 40 percent in the last month alone. Not everyone has welcomed the change though. Speaking anonymously in The Guardian, a 48-year-old woman said that the law was bowing the hotel industry while forcing Berliners to foot the bill of its failed housing policy. She also remarked that the request from officials to act as informants was a poor decision. “In Germany, of all places, maybe we should reconsider this kind of thing," she said.
Wimdu, an online renting portal similar to Airbnb meanwhile has filed a lawsuit, claiming that the new law breaches the constitution of Berlin. The owners of 9Flats (also similar) also spoke out. “We face a law in Berlin that would drive us into bankruptcy,” they argued. Whether or not such regulation spreads across the continent, or even across the Atlantic however, remains to be seen. In New York though, city officials may be under pressure to emulate those in Berlin as a report released two weeks ago highlighted a substantial 78 percent increase of rents under Airbnb in New York City's predominantly African American neighbourhoods. According to The Independent, the report outlined how rents (including "private rooms, shared spaces or full units") increased by 35 percent across the city, but that "black neighbourhoods, there was a 60 per cent increase". Of these listings, 42 percent (of the above 60 percent) were for whole apartments, thus breaking state state law that bans full-unit rentals for under 30 days.
In response to the law enforced in Berlin, Airbnb spokesman Julian Trautwein said: "Berliners want clear and simple rules for home sharing, so they can continue to share their own home with guests. We will continue to encourage Berlin policy-makers to listen to their citizens and to follow the example of other big cities such as Paris, London, Amsterdam or Hamburg and create new, clear rules for normal people who are sharing their own homes."
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Snøhetta’s exhibit at Berlin’s Aedes explores natural light and human habitat in Norway
The current focus on research in architectural practice normally means thinking out the design and materials of an upcoming project or a prototype for a hoped-for commission. But when Norwegian and American firm Snøhetta was given the chance to do a research project by the Zumtobel Group they created Living The Nordic Light, and it became an exhibition at Berlin’s Aedes Architecture Forum. Snøhetta joined with artists, writers, and research institutions to investigate 
the relationship between natural light, people, and habitat in the northern region of Norway. By interviewing four centenarians living their entire lives above the Arctic Circle, they explored the irrevocable and inherent relationships of light and darkness, lived time, and individual perceptions of these relationships. It’s not the sort of research that has a direct relationship to building practice but will surely influence the intelligence with which the firm conceptualizes architectural projects and issues. A catalogue which is part of Zumtobel's annual report—a model which we wish was picked up by American companies—is available at Aedes. The exhibition is open at Aedes until October 1, 2015.
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Oberlin breaks ground on LEED Platinum hotel complex by Solomon Cordwell Buenz
Work is currently underway on a new mixed-use development at Ohio's Oberlin College that, once complete later this year, will include one of only a handful of hotels pursuing LEED Platinum certification in the United States. The hotel operator is Olympia Companies, based in Portland, Maine. In addition to 70 guest rooms, the building features a restaurant focused on local food, 10,000 square feet of retail, a conference center, and a basement jazz club. Rounding out the facility's 105,000 square feet will be offices for the college's admissions and development staff. The Peter B. Lewis Gateway Center, developed by Cleveland's Smart Hotels, was planned to be “the cornerstone of Oberlin's Green Arts District,” at the intersection of North Main Street and East College Street. Chicago architects Solomon Cordwell Buenz designed the project, which will draw on Oberlin's existing 13-acre solar photovoltaic farm adjacent to campus. Smart Hotels' Christopher Noble said the design team worked with the New York office of Germany's Transsolar on the development of that solar farm, and the new building will not throw Oberlin off its target of purchasing 100 percent renewable energy for electricity by the end of 2015. Mechanical engineers KJWW helped finesse the building's fully radiant heating and cooling, which employs no forced-air ventilation—although some back-of-house areas will still use some water-source heat pumps, Noble said. “We're relying on nonconventional HVAC systems,” said Noble, who added that heating and cooling needs will be fulfilled fully from geothermal wells on site. The building is expected to be certified LEED Platinum after opening early next year. While the design team hasn't assessed the payback period for the building's sustainable features, Noble said Oberlin made energy efficiency a project priority. “It wasn't a cost issue,” he said. “It was a design issue—we were going to make a statement and do this.” Of the $35 million total project cost, $12 million came from outside donors, including $5 million from the building's namesake, the late philanthropist and chairman of Progressive Insurance Company, Peter B. Lewis.
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Daniel Libeskind designs metallic apartment building for Berlin
Daniel Libeskind has unveiled his plans for a new apartment complex in the emerging Berlin suburb of Chausseestrasse. Set for completion in 2015, the 8-story building called Chausseestrasse 43,  will accommodate retail functions on street level and 73 individual apartments on the upper levels. The striking, metallic facade is said to contain sustainable properties which allow for self-cleaning and  air purification of the building. Libeskind's design consists of asymmetric windows and a double-height penthouse to maximize natural light. The penthouse suite also boasts a floating stairway that leads into an open-plan living area , and an outdoor patio with sweeping views of the Berlin skyline. The building is very much in the spirit of Libeskind's signature style which use sharp, angular forms to create a somewhat dramatic aesthetic. The complex occupies a rectangular parcel of land less than half an acre, and is situated directly opposite the headquarters of Germany’s Federal Intelligence Service. Libeskind, who is usually engaged in institutional projects says, "Even as my studio is often called upon to design skyscrapers these days, I continue to love to build homes, the basic unit of human life."