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I want to know what love is. I want you to show me
This design is based on the idea and the self-image that architecture itself must become a tool and the space a transformative source material in order to do justice to the tasks on the Honsberg. These are unforeseeable contexts that will have different spatial and atmospheric effects and will be of varying duration. For this reason, this design is to be understood formally and in terms of content as a constantly reformulating invitation to participate, take part and become part.
To ensure that this invitation is universal and not limited to one or a few target groups, the entire design is based on the claim “access is love”. Knowing full well that there is no actual accessibility beyond and apart from DIN standards, this is an attempt to create as many access points as possible despite everything and also to counteract the invisible barriers and obstacles that such a place can produce. In addition to the building design, the creation of a variety of different opportunities for low-threshold and uncomplicated contact is crucial. In order to meet this challenge and the requirements of research-based architecture, the present design envisages giving the construction phase a key role and approaching the spatial development iteratively, deliberately slowing it down and opening it up in an activating way. In line with the principle of slow architecture, the construction phase will be followed by alternating phases of appropriation and activation of the newly created spaces and objects, so that a socio-spatial development can take place parallel to the physical construction:
(1) The path connection between the garden and Siemenstrasse is created and the ramp is completed. This will create a new square on the footprint of the future building.
(2) The square is opened up for appropriation. A program is then created to further activate the space through joint construction. This creates the first furniture and a kiosk, which can now be used for neighborly, artistic and gastronomic purposes.
(3) The supports are erected…
(4) … and then re-appropriated.
(5) The roof is put on before the fall and for the first time the feeling, or rather the assumption, of a new interior space arises.
(6) Insulating exterior walls are installed and rooms are created on the upper floor, and the interior of the workshop is continuously appropriated through art.
(7) Finally, the façade in the front part of the building is extended in a collective building action with used building materials.
“Acces is love”
this mountain I must climb
I’ve gotta take a little time
in case I need it when I’m older
a little time to think things over
feels like a world upon my shoulders
keeps me warm as life grows older
this mountain I must climb
I’ve gotta take a little time
in case I need it when I’m older
a little time to think things over
feels like a world upon my shoulders
keeps me warm as life grows older
The design translation of “access is love” is the ramp. The building docks onto it - as a changeable shell that takes a back seat in terms of design and instead focuses on spatial relationships, allowing them to be created and changed in a modular and flexible way. The focus here is on the interior of the building, which is why two thirds of the façade is fully glazed. In order to realize the project cost-effectively and within the time frame, industrial construction methods with prefabricated steel and façade components with independent trades are to be used. To avoid unnecessarily high operating costs, the workshop can be divided into three different climatic zones and only partially heated.
The architecture dispenses with any kind of finishing. Instead, an “art-in-and-around-the-building program” is to be developed from the outset with the resident artists of Ins Blaue e. V., which can and should be perpetuated in the future. So this is not so much a proposal for a “beautiful” building, but rather the question of whether it is possible to question, appropriate and reinterpret the concept of building culture - away from the discipline and the principle of supply and demand, towards an understanding and cultivation of building as a collective and social practice.