Berlin - Design for all
Project Examples
Content
Berlin – Design for all – Introduction...... 4
Unveiled. Berlin and its monuments at the Spandau Citadel Staab Architekten GmbH...... 6
State Opera Unter den Linden. hg merz architekten museum designers...... 10
Memorial Site Neue Wache ProDenkmal GmbH...... 16
Otto Weidt Museum Workshop for the Blind Dorothée Hauck...... 20
Indoor Swimming Pool Finckensteinallee Veauthier Meyer Architekten ...... 22
Memorial Site Hohenschönhausen hg merz architekten museumsgestalter...... 26
Barrier-free outdoor area at Steinwald-Schule in Berlin-Marienfelde KuBuS freiraumplanung...... 30
Memorial and Information Site for the victims of “Euthanasia” murders by the Nazis at the site of the Berlin Planning Centre Ursula Wilms...... 32
Nils-Holgersson-Schule in Berlin-Lichtenberg Numrich Albrecht Klumpp Gesellschaft von Architekten mbH...... 36
Futurium RichterMusikowski...... 40 Outdoor Installations by Futurium Juca architecture+landscape architecture 46
Acknowledgments...... 48
Credits...... 49
Imprint...... 50 Berlin – Design for all
A vision of the 21st Century is the inclusive city, which considers human beings in all their complexity and sets out to create living spaces offering all sorts of activities and experiences for everybody.
Practice examples aim to show a cross-section of the manifold tasks of design for all
What is design for all?
The core principle held by design for all is a concept for the planning and design of products (objects, buildings) and surroundings (public footpaths, streets and squares, parks). This concept aims to help everybody to use our designed surroundings as extensively as possible and without the need for individual adjustments or particular assistance.
Why do we need design for all?
Constant changes in society and in the life of each individual mean that people today are looking for independence, equality and spontaneity in their every day life. What has been built around us can help or hinder this process. New laws and standards have been developed to reduce the impact of specific demographic changes. However, life does not care about standards. We need intelligent solutions, carefully thought out but at the same time chosen with courage and resulting in an aesthetic transformation.
4 Introduction
How is design for all transformed?
Design for all depends on and is identified by the attitude and interests of its investors and its design specialists. Regulations and standards, e.g. DIN 18040, which specify what is required for people with disabilities instead of simply indicating concrete parameters, can encourage the creation of interesting and practical solutions. That is a topical and challenging task.
There is room for manoeuvre but how is it used? So much detailed knowledge is needed to understand the many different requirements and abilities. Then appropriate and aesthetic design can be realised using its own design vocabulary. The “barrier-free concept” allows the fundamental principle of design for all to be applied right from the beginning throughout the entire planning process. The “barrier-free concept” has become a successful tool used by the Berlin administration and comes highly recommended, also for private investment.
Berlin design for all examples
The project examples listed here were chosen to demonstrate how requirements can be transformed aesthetically and sympathetically for a wide range of users. The result is not usually affected by whether the object in question is an existing or a listed building or a new build. The collection shows that the objectives can be met in many different and individual design interpretations. Design for all quality has long been tried and tested and is now taken for granted by everybody. Discussions between experts and end users are often very detailed and pay off in the long run. Clearly defined and easy to use pathways, level access to buildings and clear and visually pleasing signs facilitate moving around and spending time in public spaces.
Positive experiences are there to be had and shared. Society invites you to sharpen your senses to this new and all encompassing direction, which still requires more appreciation, innovation and insight as well as the courage to tread new paths.
The selection of projects below aims to be an “intermediate stop for observation”, an invitation to look back as well as forward. It aims to broaden your line of vision and to inspire you to think critically, to be inspired and to make improvements where possible.
5 Unveiled. Berlin and its monuments at the
Staab Architekten GmbH Span dau Citadel
Brigitte Fischer The new exhibition in the ‘Proviantmagazin’, a former storage area for provisions presents monuments characterising the city of Berlin from the 18th century until the reunification. The exhibition aims to convey base lines and breaches in modern German history through original exhibits and virtual atmospheric images. In order to provide chronological structure, display structures to house the atmospheric images have been placed in the exhibition halls. Original exhibits and the context of a digital world can thus be presented in an appropriate space.
6 Unveiled. Berlin and its monuments at the Spandau Citadel
Barrier-free information
The exhibition “Unveiled. Berlin and its monuments” is a particularly interesting event for all its visitors – with its exhibits especially suitable for the visually impaired. Almost all the sculptures can be touched, and atmospheric images of the historical eras can be registered through sound installations.
7 Unveiled. Berlin and its monuments at the Spandau Citadel
A tactile map of the exhibition is available at the start. This includes an explanation of how to use the audio guides. A short commentary in English and German in an appropriate font is printed on items of furniture, clearly contrasting light and dark. Visually impaired visitors are introduced to each historical era by a tactile model of certain exhibits and an audio guide based on sensor technology. To aid recognition, the barrier-free version is attached in exactly the same place on each item of furniture. Each room has tactile models set out at table height. These items of furniture with media access and commentaries are centrally positioned in each era room. They serve as orientation aids as well as information centres. The plan is to integrate these stations into the entire citadel as part of an overall guiding system. All of the items of furniture in the media station areas are wheelchair accessible.
The originals are expressive in their direct presence. The monuments are located on flat or table high bases. Selected tactile exhibits are marked and described in detail in the audio version of the tour.
8 Unveiled. Berlin and its monuments at the Spandau Citadel
Sound installations
Two eras can be physically experienced through sound installations. A summer’s day in the Siegesallee (‘Victory Avenue’) in 1907 is presented visually and acoustically in the “Empire” Room. A reconstructed bench presents the original situation. Visitors are invited to sit down and listen to the sounds.
The misanthropic ideology of the Nazi period is transformed as a sound installation in a dark, tower shaped box. An extensive echo conveys the gigantic dimension of Speer’s planning of the Great Hall as an acoustic virtual space for all visitors.
The task of creating a barrier-free exhibition led to other new ideas, open- ing up new spaces and enriching design specialists and visitors alike. To create experiences using all senses and received by all senses leaves many tracks and makes it possible to experience art in a new way.
9 State Opera Unter den Linden hg merz architekten
Ingeborg Stude, Ines Augustin, The aim was to design an opera house to meet the needs of all its visitors. Lutz Schütter To experience opera without embarrassment, to enter the opera house comfortably and with certainty, and to be able to locate both cloakroom and seat without any difficulty. Enjoying the performance to its fullest and spending time with friends during the interval over a snack or drink should be something that everyone takes for granted. An initial “Barrier-free Concept“ was created in 2010 as part of the pre-planning process. It was the start of an exemplary planning process, which included consultation with associations and national representatives for people with disabilities, the national monuments office and the coordinating body for “barrier-free building” within the Senate Administration for urban development and housing. The project is therefore presented in slightly more detail. The design planning process was followed by a continuation of the concept in line with a clear planning status. These thorough consultation processes enabled harmonious solutions to be found which took into account all the different positions while adhering to strict monument preservation restrictions.
Urban positioning
The opera house stands out from its surroundings and its main entrance is very obvious. Its natural stone façade is marked in historic brass letters. In addition, the main portal with its classicist tympanum stands as an oversized symbol in the street Unter den Linden.
10 State Opera Unter den Linden
Main entrance and box office foyer
The East entrance has an auto powered door. The plan is to install a service point in the road which will mark and operate the barrier-free access. A barrier-free lift, accessible from the road on the East side of the building, will open up all public levels in the future.
In order to make the interior of the opera entirely barrier-free, a vertical lift will be installed between foyer and gallery – a complex effort in a monument protected area. Valuable floor coverings will have to be removed and then reinstalled.
Box office
Tills with small speaking windows are replaced by open plan payment counters. Wheelchair accessible cashpoints for purchasing tickets will be available in the shop area. For visitors with hearing restrictions an induction system has been integrated in the counter. A tactile map aiding orientation is available in the box office area and is given out on request.
11 State Opera Unter den Linden
Walkways to stalls and circles
The fact is that historic surfaces and materials are fundamentally suited with regards to light density and colour contrasts to facilitate orientation by the visually impaired. A restoration of the historic colour differentiation of the textile wall coverings in the various floor levels is planned. Visual orientation is significantly improved by the different colour nuances in the different levels. The floor covering will provide route guidance. It will consist of a parquet edge frieze (oak, approx. 25 – 30 cm wide) and an inlaid dark red carpet track along the walkway.
Stairways
The historic stairways present a marked light – dark contrast between wall and floor covering. Here too this effect is reinforced by the addition of a dark red carpet along the centre of the walkway. The beginning and end of each carpet run is marked by contrasting black stripes, which are woven into the carpet. This structure will also be adopted for the newly designed box stairways.
12 State Opera Unter den Linden
First aid facilities
The public first aid areas will be completely redesigned and rearranged. Two barrier-free facilities will be installed on the ground floor and, centrally placed, on the second level by the walkway around the hall. They are accessible by lift from all levels. They will be designed to have level access for wheelchairs, and material and colours will be selected for maximum visual orientation. There will be gaps in the parquet frieze by the access points so they can be easily detected.
Lighting
Lighting in public areas with historic furnishings remains unchanged in line with monument protection targets. This includes historic lamps and the level of illumination. Luminants are replaced with energy efficient solutions. Additional recessed spotlights will be installed in the commercial areas such as cash tills and counter to attract attention to these “islands of light”.
13 State Opera Unter den Linden
Guiding and orientation system
The guiding and orientation system is based on the monument protection targets for historic furnishings. Individual brass symbols using certified historic lettering as well as pictograms are used in line with ISO 7001. The guiding and orientation system will not include a second language. However, global terms such as “lift” will be used wherever possible to improve understanding by all visitors. The plan is to add tactile information in Braille underneath handrails on public stairways.
14 State Opera Unter den Linden
Seating in the auditorium
Rows and seats will be marked in line with the guiding and orientation system using strong contrasts and raised letters and numbers.
Subtitles and surtitles facility
An induction loop will be installed in the double floor in the auditorium in the stalls and in all circles. This will enable hearing impaired visitors to follow the live music signal of the performance via personal hearing aids. For visually impaired or blind visitors technical solutions will be available for audio description and recorded libretto texts.
15 Memorial Site Neue Wache
ProDenkmal GmbH
PL Günter Denk BBR-IV4 The Neue Wache was erected from drafts by Karl Friedrich Schinkel between Maike Pischke 1816 and 1818. Since 1993 the Neue Wache has served the Federal Republic of German 1993 as a central memorial site for the victims of war and tyranny. Following several alterations of the internal space, the barrier-free development of this monument protected site aims to create access for all visitors. The challenge was to encroach as little as possible into the substance of the monument and achieve an aesthetic integration of the new elements, while creating an extensive network of ramps both inside and outside. The design process was carried out in consultation with the national monument office, the coordinating body for barrier-free building and associations of those affected by disabilities .
External area
For protection reasons there will be no symmetrical arrangement and a ramp will be built on one side only. The existing barrier-free path around the site will be extended to include the new ramp. A new lighting concept aims to ensure that the building and the ramp are illuminated throughout.
The existing temporary ramp will be replaced by a granite ramp more in keeping with the materials used in the memorial site. Curbs on the side, also made of granite, will serve as wheel deflectors. In order to create a uniform border around building and ramp the length is limited by the measurements
16 Memorial Site Neue Wache
of the building. Although the upper ramp edge has been integrated in the area of the steps and the plateau of the porticus, an 8% longitudinal gradient cannot be avoided. These were decisions that were not made lightly. Staff will be on hand to allow their use when this is necessary. A side access to the ramp made of granite will be installed in the existing floor in line with Berlin pavement structure. A handrail on one side, contrasting with the wall, will be fitted to match the anthracite coloured gates of the Neue Wache.
17 Memorial Site Neue Wache
Internal area
Two ramps will be retained, symmetrically arranged on both sides of the stairs. The ramps are designed to blend in with the existing material. Platform area and staircase will be widened to achieve this. Existing seating blocks will be moved forward. Also, the stairs underneath the new facility will be retained.
A longitudinal gradient of 8% will apply in order to retain the turning area of 150 x 150 cm at the foot of the ramps. To honour the artistic lay-out of the room there will be no handrails.
The existing step edges will be distinctly marked distinctly. The lighting will be upgraded to improve visibility of ramps and steps.
18 Memorial Site Neue Wache
Ramps inside, longitudinal gradient 8% Step edges marked
Seatblock Seatblock Platform
Ramp outside, longitudinal gradient 8% Handrail Access
19 Otto Weidt Museum Workshop for the Blind
Dorothée Hauck
Dorothée Hauck Inclusion of content and external form
The development of glass scripture for the blind started as part of the design process of the Otto Weidt Museum Workshop for the Blind Otto Weidt. One of the main objectives is the equal transmission of content to all visitors, seeing or blind, so that narrative content can be transported naturally as if merged onto one level. The design of the exhibition was optimised in close consultation with the blind. One result is that the black writing in German and English is underlaid with white, and glass balls inserted at the top create Braille. In addition tactile prism writing indicates audio guide numbers to enable visitors to hear descriptions of specific objects and rooms, and of the pictures of the exhibition.
A tactile model in the first room of the exhibition, the orientation room, conveys the historical use of the rooms at the time when they were used as a workshop for the blind, and the themes of the different rooms in today’s museum. The clear arrangement of the glass display units is easily grasped and aids orientation. The height, depth and gradients of the specially designed and manufactured display units meet the requirements of all visitors. Visitors who are sitting down, standing up, or reading using their hands – all are able to access the information easily.
The visitors move from a neutral and modern exhibition area to historic rooms where the mood transports them to the atmosphere of the original workshop for the blind. The series of rooms culminates in a dramatically designed climax – the “hiding room”. As part of the restoration much emphasis was placed on the choice of materials and treatment of surfaces.
20 Otto Weidt Museum Workshop for the Blind
The materials of the exhibition items are meticulously researched to correspond with the rooms and not to counteract them. The floorboards at the front of the exhibition are stripped and waxed. At the back remains of varnish have been left on the floorboard resulting in the old floor allowing for variation in the perception. The exposed historic wall surfaces, the old floor and the reduced lighting convey a very different spatial feeling which can also be perceived by the blind visitor. At the front, etched glass has been used for exhibiting graphics; at the back clear glass makes visible the patches of colour from the preserved walls behind. A lift and hand rail information at the entrance make the museum accessible on the first floor. Despite restricted conditions and monument protection regulations barrier-free washroom facilities have been installed. Advice on the internet, guided tours, video and audio guides clarify the barrier-free range of offers. In 2007 Postkarten aus Theresienstadt the Otto Weidt Museum Workshop for the Blind, a member of the Foundation for Memorial Sites of the German Resistance, was presented with the award “Barrier-free Berlin”. Postcards from Theresienstadt
21 Indoor Swimming Pool Finckensteinallee
Veauthier Meyer Architekten GmbH
Veauthier Meyer Architekten No barriers in a monument Maike Pischke
The monument protected indoor swimming pool in the Finckensteinallee was opened to the public in 1938 and is located in the grounds of the former Prussian Cadet Headquarters. Floor length windows, an enormous ceiling height and an entrance hall lined with columns and oversized sculptures give a monumental impression and reinforce the swimming pool’s significance as a training place for the SS protection squadron in the 1930s and 1940s. After the Second World War the pool was still being used for military purposes and the US Army moved into the barracks. Once the Allies left, the pool was opened to the public in 1994 and renovated between 2009 and 2014 in line with energy efficient and barrier-free principles. Achieving barrier-free status in indoor swimming pools is a planning task which is work in progress, and carrying out this work in a monument protected building adds to the challenge.
22 Indoor Swimming Pool Finckensteinallee
Barrier-free throughout
In the Finckensteinallee Swimming Pool vertical and horizontal pathways have been designed to be clearly visible and tactile throughout. There are floor indicators, information on the handrails, display boards, signs, a colour concept and clear structure throughout. All functions are seamlessly connected. Barrier-free parking bays are situated directly next to the access ramp to the entrances with automatic doors.
A new ramp has been installed inside the entrance hall. The reception counter has been lowered in places to allow wheelchair access. Barrier-free changing cubicles and bathrooms are a matter of course.
There is a mobile hoist by the pool to avoid installing a special set of stairs for reasons of monument protection.
23 Indoor Swimming Pool Finckensteinallee
Visual and tactile stripes on the pavement draw the visitors’ attention to the entrance on approach. A tactile and optical guiding system takes them to the steps and the handrail. The handrail contains tactile information about the layout in Braille. A tactile map is displayed in front of the entrance giving an overview of the swimming pool layout. The till is always occupied by a member of staff. It is possible to request special assistance where needed. The guiding system takes the visitor straight to the changing cubicles. Tactile and visual information about shower positions are installed on the doors.
Inside the pool a contrasting tactile guiding system inside the floor tiles around the pool leads the visitor to starting blocks and ladders into the water. Handrails show location of changing area and showers on exiting the water. The swimming pool encourages people with disabilities to design their leisure time actively and independently and to move around easily – thus offering increased value for all.
24 Indoor Swimming Pool Finckensteinallee
25 Memorial Site Hohenschönhausen hg merz architekten
Maike Pischke The memorial site Berlin-Hohenschönhausen has been situated inside the buildings of the former Stasi ministry prison since 1994. Initially a special camp of the Soviet occupation from 1945, then from 1951 onwards the detention centre of the Ministry for State Security (Stasi), this authentic historic place constitutes an important testimony of German post war history. The restoration began in 2011 and ended with the opening of the permanent exhibition in late 2013.
Concept
The goal was to make the site available to all with a minimum of structural intervention and without taking away from the authenticity of the place. One important aspect was the clear allocation of the function rooms for the new permanent exhibition and the documents section.
26 Memorial Site Hohenschönhausen
27 Memorial Site Hohenschönhausen
Accessibility
The doors in the public areas are easily operated by means of electrical door activators. All relevant areas of the memorial site can be accessed via lifts and ramps. Functional areas e.g. cash till, shop, café and seminar rooms are arranged around the courtyard and housed in garages. Access to all of these is barrier-free.
Facilities
Sufficient maneouvring room, wheelchair accessible counters and adjustable chairs in all the rooms offer inclusive usage options. The new permanent exhibition with accessible information elements can be experienced by all. Tactile models offer a three dimensional overview of the entire complex.
28 Memorial Site Hohenschönhausen
Guiding system
Structural intervention was kept to a minimum in the documents section. One important aspect was to preserve the authentic surfaces and floor covering. A grey raised walkway with white edges has been laid on top and guides the visitor through the facility. Not only does this create a clear path for both blind and visually impaired people, it is also sufficiently wide and level to be suitable for wheelchairs and walking frames.
Service
There are special guided tours for blind and visually impaired visitors. Objects, furniture and surfaces may also be touched. Audio guides for the permanent exhibition provide the international audience with information in their native language.
29 Barrier-free Outdoor Area Steinwald School in Berlin-Marienfelde KuBuS freiraumplanung
Rabea Seibert The Steinwald School is a Special Needs School housed in a building dating from the 1970s. The focus of the education is on the mental development of the children. As part of a major refurbishment (structural engineering by Numrich Albrecht Klumpp architects) the outdoor area was redesigned by KuBuS freiraumplanung GbR. The aim was to provide all children, regardless of their specific challenges , with inclusive conditions in their outdoor area. The guiding principle “ zero barrier” was optimised and is transferable for public play areas.
A new canteen was built and the main entrance moved – both measures an improvement on the previous level of accessibility. Minibuses may now arrive at the main entrance which is clearly visible from a distance. A ramp, marked as a zebra crossing, leads directly to the entrance which is in a covered recess.
Zebra stripes guide to entrances and exits
The zebra crossing motif clearly marks all entrances and exits, serves as an orientation aid throughout the entire school grounds and divides the break area into clearly identifiable function areas: play area, multi function sports area, woodland grove, break area, traffic garden and an extensive grass area. On the whole the base materials used were exlusively sourced for their ease of access for wheels and feet, such as tarmac, waterbound cover, paving stone with small chamfering and plastic fall protection. Clear outlines and strong colour contrasts dominate the appearance of the whole area.
30 Barrier-free Outdoor Area Steinwald School in Berlin-Marienfelde
Integrative playground equipment
When designing the outdoor area special emphasis was placed on barrier-free and integrative playground equipment. For example a wheelchair merry- go-round was chosen, a table football game with wheelchair access and a reclining spinner. A swing with a basket seat swinging in all directions was erected as well as several regular swings, some with moulded seats and safety harnesses – all of these contributed towards the educational aim of providing different swinging options.
Wheelchair friendly playscape
One highlight is the specially designed wheel chair friendly playscape which reflects with its three towers the division into three of the school building and offers a great variety of room for independent and supported discoveries and games. A long ramp connects the different levels of the play towers leading to a slide with a special larger area for safe access to and from the equipment. The ramp is equipped with multisensory games to make the journey along it into an adventure. There are also different play options in the towers. Apart from the tower with the slide, there is a climbing tower with a viewing window and an enclosed playhouse with a funnel phone.
Sandy play areas with platforms for relaxation, multisensory games and reclining nets for quiet moments complete the inspiring range. In the traffic garden it is possible to learn in real conditions. There are many different opportunities where children with or without special needs can meet each other in play and support each other and these promote and challenge the concept of inclusion.
31 Memorial and Information Site for the victims of „Euthanasia“ murders by the Nazis at the site of the Berlin Planning Centre Ursula Wilms
Ursula Wilms Inclusion in abstraction – Guiding principles
Two elements – a dark area and a blue glass wall – aim to represent the historic crimes and those who were murdered. The design of both these elements is abstract – consisting of only material, colour and shape. The glass wall (upright and pointing to the sky) symbolises the connection between us – alive and observing – with those killed by “euthanasia” and yet continuing to live on through our resolve not to forget and through our memory. They stand in front of us, between us, among us.
The dark area represents the “sloping position” and the “negative imprint” which the Nazi practice of “euthanasia” planted in the history of our society forever. This historic inheritance has given us the special responsibility never again to tolerate isolation and injustice. Concrete information is given as part of a homogenous whole design. Knowledge of historic facts and reading real victims’ biographies aims to add substance to our thoughts and memories. This takes place along the information element „face to face with a glass wall“ while almost “standing on the ground of history”.
32 Memorial and Information Site for the victims of „Euthanasia“ murders by the Nazis at the site of the Berlin Planning Centre
Dark area
The area made of dark grey dyed concrete paving blocks descends slightly towards the centre as if pushed into the terrain. It indicates the position of the original Tiergartenstraße 4 (T4). The area merges smoothly with the paveent along the Tiergartenstraße and with the extended forecourt of the Philharmonie and this makes it easily accessible from both sides. The incline (of up to 6%) and evenness of the paving has been designed to ensure that the area is generally safely accessible for everybody including wheelchair users.
The edges along the side walls of the area create an elongated bench on the side of the Mattern Garden (providing space to linger) as well as an informa- tion console on the opposite side. Grooved base plates in the covering along the console providing tactile rather than visual contrast lead from both sides to the integrated media stations offering information about the location and its history for all but especially blind and visually impaired visitors. The area in front of the console is wide enough to allow sufficient free movement for groups, wheelchair and walking frame users as well as pushchairs or prams.
33 Memorial and Information Site for the victims of „Euthanasia“ murders by the Nazis at the site of the Berlin Planning Centre
Blue glass wall
The blue glass wall in the centre of the dark area deliberately does not point in the same direction as the former T4-planning centre. It stands transparently between the visitors facing each other. Due to its height it is visible from all directions. LED lights, integrated into the floor covering along the glass wall, identify the wall from dusk until dawn.
34 Memorial and Information Site for the victims of „Euthanasia“ murders by the Nazis at the site of the Berlin Planning Centre
Information component
The panel with its back-lit glass covering is wheelchair accessible along its entire length and displays contents of the open air exhibition – photographs and documents with explanatory comments in German, English and in Easy Language. Font size and contrasts (lettering in white and light yellow on a dark grey and grey-black background) facilitate reading. Media stations are integrated into the panel and in addition have braille lettering. They offer video clips in sign language and audio recordings setting out the contents of the exhibition according to the multisensory principle.
The exhibition is complemented by flyers and catalogues in German and in English and in Easy Language. In addition all commentaries about the history and further information given at the location can be accessed on a website (t4-denkmal.de) in German, English, Easy Language and Sign Language.
35 Nils-Holgersson-Schule in Berlin-Lichtenberg
Numrich Albrecht Klumpp Gesellschaft von Architekten mbH
Arthur Numrich Thoughts on the designs
The Nils-Holgersson-School will become a school mainly for pupils with physical and mental disabilities. Both the location of the school and an appropriate and successful education set out clear demands on the architecture of the building. The theory is: what works well for pupils without disabilities and their teachers will work well for pupils with disabilities and vice versa. From the beginning the following principle was adopted: the concept should not be fundamentally different from other school buildings.
The school is situated in a residential area and is surrounded by prefabricated buildings which are ten to twelve floors high. The site requires good urban integration as well as the creation of the necessary spaces and functions for the integration of pupils. These aspects formed the basis for the design in conjunction with the structural design for the new build.
Integrating these young people into society begins with the architecture of their schools. At the same time there are some exceptions, e.g. requirements of large secondary areas for the storage of aid equipment, therapy and nursing rooms and a therapy bath. Educating children with disabilities requires a large number of staff, and teachers and nurses must be involved in the planning process early on. Observing and listening and including the end users in the planning process is crucial at each stage of the design process. It is important to be clear on the requirements and needs to ensure that architects understand what demands their physical structure will need to meet.
36 Nils-Holgersson-Schule in Berlin-Lichtenberg
37 Nils-Holgersson-Schule in Berlin-Lichtenberg
Experiences from previous projects will be taken into consideration. One learning result is that the use of technical aids should be analysed and carefully considered. Making use of these is not the measure of things, neither for the teachers nor for the architects. A school should not be a laboratory and should not stand in contrast with real life.
Helping hand or technical equipment?
The helping hand continues to be important. In other words: use technical equipment only where it is necessary to preserve the tradition of sustained buildings rather than those beholden to technical advances. However, the planners are all agreed that a house must be easy to access, explore and experience.
Those designing and realising the concept of the Nils-Holgersson-School had learnt a great deal before they started and had committed to the following conditions:
• Ease of location in the city through the creation of a large forecourt for pick- up and drop-off services by buses and coaches • Creation of a clear internal orientation structure e.g. bright work areas and class rooms supported by a sensitive range of colours • large and clearly outlined courtyards providing ease of supervision of the pupils • low window sills providing a view even from a sitting or lying position • Level transitions from the inside to the out side thus maximising inclusion of surrounding nature • deliberate use of materials that are both functional and easy to maintain, but also meeting haptic and creative aspects in the context of a learning environment. • Transforming the tactile, visual as well as acoustic elements as “design for all” and not as pretentious special solutions
The last aspect was the most important in the planning because the design aims to appeal to everybody using the school. Looking back it is clear that this school was designed and constructed like any other school or building. Those involved agree that it has become a beautiful and functional building in an urban context.
38 Nils-Holgersson-Schule in Berlin-Lichtenberg
39 FUTURIUM
RICHTERMUSIKOWSKI
Ellen Müller A place of inclusion Expert on design for all
The FUTURIUM aspires to awaken an interest in the future and to inspire the visitor to get involved in creating it. It aims to highlight the significance of cooperation between science, economy, politics and society. Comprehensive participation is taken for granted and this shapes the concepts of the exhibitions and events in the FUTURIUM. Ideas that are visionary, achievable, innovative and desirable are highlighted, tried out and discussed in these approximately 3,000 square metres. These objectives are initially reflected in the architecture and interior design and aim to encourage all visitors to get fully involved in this forum for exhibitions, experimenting and events, situated in the government quarter. The premises incorporating building and outdoor area are situated centrally, right by the bend in the river Spree, near the Berlin Main Railway Station. Within this urban area the object has an individual sculptural shape. Recessed building lines create large forecourts to the North and the South (see also HDZ external space creation). Undercuts to the north and south side clearly mark the two main entrances into the building. Most notably the southern forecourt widens out towards the roads and opens up the view of the entrance area making is easily visible from all around.
40 FUTURIUM
Internal area
The orthogonal design is easy and clear. The vertical elements (stairways, lifts) start at the same spot on each floor. The horizontal floors are wide and sometimes double up to provide space for resting or communicating.
Foyer
The foyer is a central place of access for the exhibition areas via the main staircase and the panoramic lift. From here the cafeteria, shop and events area are easily accessible. The large foyer offers a spacious area for movement.
The revolving doors of the main entrances “North” and “South” stand out particularly well visually and haptically from the glass façade of the ground floor making it easy to find the doors leading to the outside terrace. The revolving doors have two barrier-free rotating doors with clearly marked tactile opening and closing switches, inside and outside.
A clean-off zone integrated into the floor provides a practical function as well as providing a visual and tactile prelude to the entrance area.
41 FUTURIUM
There are a centrally located cloakroom, an information point and cash desk as well as clearly visible access paths to the exhibition areas. The cloakroom has been designed for individual use and consists of several large lockers. Some of these are wheelchair accessible. Immediately next to the cloakroom is a barrier-free information counter with a till which is easily located by sense impaired visitors through a visual tactile guiding strip in the floor covering. This is reinforced by the coordinated colour concept of floor, walls and furnishings. An induction loop integrated in the counter has been installed for visitors with auditive restrictions. The size of the events area in the foyer can be varied by mobile screens creating smaller areas as required. Each area has a hardwired induction loop allowing visitors with hearing aids to select their seats freely.
42 FUTURIUM
The centrally located and free standing visitor staircase is the focal point of the foyer. It connects the exhibition levels with the foyer and is clearly a sculptural and defining element. The stairways offer even more views through the use of glass panels at the front of each step. The glass panels are partially marked with dots thus achieving both transparency and a surface effect. The wooden rail is haptically pleasant and concave for ease of use. It stands out optically from the rest of the stairway design.
The panoramic lift right next to the stairs offers plenty of space and extraordinary views. The panoramic lift is not just a standard lift, it has a viewing platform for everyone, another step towards a barrier future. Experiencing the lift is an essential part of the tour for visitors.
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Skywalk
The butterfly roof of the building – bordered by a parapet wall – serves to provide solar energy by the use of photovoltaics and solar heat panels. The skywalk, a walkway around the perimeter, allows visitors to enjoy panoramic views of the urban area in all directions. Due to the constructional framework it has not been possible to make all of the walkway barrier-free. A clearly signed barrier-free “main route” (start, direction, end) to the Southern roof terrace with an attractive viewing area of the government district has been designed and signposted for all visitors in line with design for all.
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Margarete-Steffin-Straße Alexanderstraße
Kappelle-Ufer
45 Outdoor Areas
JUCA architektur+landschaftsarchitektur
JUCA Inclusion with interaction architektur+landschaftsarchitektur
The outdoor area provides the FUTURIUM with a public platform and space for interaction. Areas for lingering or activities, covered areas and exhibitions of representative large objectives invite the visitor to view and reflect on the building and its contents.
Pathways and accessible areas
A “field of energy”, covered with dots, which are evenly placed and largely on the level, can be perceived both visually and through touch. The spots are “charged” in different ways and aim to guide the visitor. Carefully placed clusters of different inlays, cylinder shaped seating and rounded benches inconspicuously arrange the space into areas for resting and activity. Protected seating areas in the shade of large trees alternate with open and flexible areas for larger groups or more compact viewing zones for a shorter stay and a clearly signed pathway to the buildings.
Access to the building is created by lighter “tracks” which become slightly darker towards the clusters of the seating areas. A visual-tactile guiding line in the square, integrated in the spot pattern of the surface, leads from the public road by the Kapelle-Ufer directly to the Main Entrance South. The steps of the outside staircase are also included in the overall design concept: light coloured spots made from 2 component cold plastic have been applied as strips to the step edges. To contrast with the light concrete steps, the handrail is made of anthracite coloured powder coated steel.
46 Outdoor Areas
47 Acknowledgements
Thank you to all partners who supported us so generously by supplying appropriate texts, pictures, floor plans and expertise.
Dorothée Hauck, Ursula Wilms, Andreas Veauthier of av-a Veauthier Architekten, Ines Augustin, Lutz Schütter and Stefan Motz of hg merz architekten museumsgestalter, Carmen Mann and Andrea Theissen of the Arts Office Spandau, Brigitte Fischer of Staab Architekten, Christoph Richter and Jan Musikowski of RICHTERMUSIKWOSKI, Ellen Müller as expert on design for all, Carolin Fickinger and Judith Brücker of JUCA, Rabea Seibert of KuBuS freiraumplanung, Derk Scharnweber of ProDenkmal and Günter Denk from the Federal Office for Building and Regional Planning, Arthur Numrich of Numrich Albrecht Klumpp.
Special thanks to the National Office for Monument Protection, Dr. Anna- Maria Odenthal, Wolfgang Bittner and Gregor Hitzfeld for selecting projects and photos.
48 Credits
Citadel Spandau Jens Achtermann
State Opera Unter den Linden Wolfgang Bittner, HG Merz
Neue Wache Wolfgang Bittner, ProDenkmal
Museum Workshop for the Blind Otto Weidt Thomas Bruns
Indoor Swimming Pool Finckensteinalle Veauthier Meyer Architekten GmbH
Memorial Site Hohenschönhausen Bernd Hiepe Photography
Steinwald-School Nina Straßgütl Photography
Memorial and Information Site for the Victims of Nazi „Euthanasia“ killings at the Site of the Planning Centre Maike Pischke, Foundation Memorial for the Murdered Jews of Europe, Marko Priske
Nils-Holgersson-School Nina Straßgütl Photography
FUTURIUM RICHTERMUSIKOWSKI, Ingeborg Stude Outdoor Area FUTURIUM JUCA architecture+landscape architecture, Ingeborg Stude
49 Imprint
Editor Senatsverwaltung für Stadtentwicklung und Wohnen Berlin Württembergische Straße 6 10707 Berlin http://stadtentwicklung.berlin.de
Concept and professional editing Senatsverwaltung für Stadtentwicklung und Wohnen Berlin Abteilung II Städtebau und Projekte Koordinierungsstelle Barrierefreies Bauen Württembergische Straße 6 10707 Berlin
Ingeborg Stude: [email protected]
Maike Pischke: [email protected]
Text and Image Editing Maike Pischke
Design and Layout 1ART: [email protected] und Technische Universität Berlin: [email protected] Burkhard Lüdtke, Robert Niemann, Annette Müller
Print bud brandenburgische universitätsdruckerei und verlagsgesellschaft potsdam mbh
Internet Version http://stadtentwicklung.berlin.de/bauen/barrierefreies_bauen/de/handbuch
ISBN 978-3-88961-108-6 Berlin, May 2018
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The inclusive city is a vision of the 21st century. It considers the human being in all his and her differences and creates living spaces based on more than just the ideal measurements and conditions. Project Examples aim to represent a cross section of the great variety of challenges for design for all and demonstrate the many different design options. Regardless of whether a building is old or new. Experience shows that researching historic traces can be very a great help in inspiring new ideas.