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Berlin - Design for All

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Berlin - Design for All 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 Spandau Citadel Staab Architekten GmbH 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
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