scholarly journals Przebudowa Potsdamer Platz jako przykład współczesnego kształtowania przestrzeni publicznej

2020 ◽  
Vol 15 (2) ◽  
pp. 44-53
Author(s):  
Anna Szafranek
Keyword(s):  

Celem artykułu jest zaprezentowanie przestrzeni publicznej, jaką jest Potsdamer Platz, wykreowanej w miejscu o charakterze historycznym i symbolicznym dla Berlina. Przestrzeń ta została zaprojektowana zgodnie z aktualną wiedzą budowlaną i wyobraźnią architektów tak by umożliwić realizację potrzeb współczesnego człowieka. Interesujące może być również odniesienie i porównanie wybranych form zaspokajania potrzeb w przestrzeni publicznej miast w przeszłości do prezentowanego w niniejszym artykule ukształtowania Potsdamer Platz oraz jego bezpośredniego otoczenia. Zaprezentowany rys historyczny dotyczy starożytnej agory i średniowiecznego miasta. Tak nieco rozszerzony temat pozwala na pełniejsze uwypuklenie zmian zachodzących w sposobie kształtowania przestrzeni publicznej. Można się również pokusić o poszukiwanie odpowiedzi na w sposób naturalny nasuwające się pytanie o kierunki zmian w przestrzeni publicznej w przyszłości.

PMLA ◽  
2003 ◽  
Vol 118 (5) ◽  
pp. 1268-1289 ◽  
Author(s):  
Rolf J. Goebel

Reunified Berlin's ubiquitous examples of architectural citation—such as the Reichstag, the plans for the Stadtschloß, the Sony Center at Potsdamer Platz, the new Hotel Adlon, and the FriedrichstadtPassagen—variously inscribe contemporary architectural styles with allusive reinventions of previous forms and cultural discourses, incorporate remnants of older edifices, or use partial reconstructions for new social purposes. In the process, these projects problematize conventional principles of architectural restoration by dramatizing a productive tension between past and present, between authenticity and simulation, between genuine nostalgia and the sometimes cynical manipulation of historical memory. Relying on the synchronicity of (seemingly) nonsynchronous styles, architectural citation goes beyond postmodern pastiche; such citation signifies Berlin's renegotiation of its identity as the new-old capital by recycling half-obliterated and yet irrepressible traces of urban history within the parameters of international capitalism, Europe-directed national politics, and the rampant tourist industry.


2002 ◽  
Vol 24 (4) ◽  
pp. 65-80 ◽  
Author(s):  
James E. Young

Once not so long ago Germany had what it called a "Jewish Problem". Then it had a paralyzing Holocaust memorial problem, a double-edged conundrum: How would a nation of former perpetrators mourn its victims? How would a divided nation reunite itself on the bedrock memory of its crimes? In June 1999, after ten years of tortured debate, the German Bundestag voted to build a national "Memorial for the Murdered Jews of Europe" on a prime, five-acre piece of real estate between the Brandenburger Tor and Potsdamer Platz, a stone's throw from Hitler's bunker. In their vote, the Bundestag also accepted the design——an undulating field of pillars——by American architect, Peter Eisenman, which had been recommended by a five-member Findungskommission, for which I served as spokesman. Like many others, I had been quite satisfied with the insolubility of Germany's memorial dilemma. Better a thousand years of Holocaust memorial competitions in Germany than any single "final solution" to Germany's memorial problem. But then I began to suspect that the neverending debate over Holocaust memory in Germany was itself becoming a substitute for taking any kind of action on behalf of such memory. In this report, I tell the story of Germany's national Holocaust memorial and my own role in it, my evolution from a highly skeptical critic on the outside of the process to one of the arbiters on the inside. I find that as the line between my role as critic and arbiter began to collapse, the issues at the heart of Germany's memorial conundrum came into ever sharper, more painful relief.


Oz ◽  
2001 ◽  
Vol 23 (1) ◽  
Author(s):  
Renzo Piano
Keyword(s):  

2021 ◽  
Vol 8 (2) ◽  
pp. 187-205 ◽  
Author(s):  
Ulrike Zitzlsperger

The fall of the Berlin Wall in 1989 and the reunification of Germany in 1990 profoundly changed the role of Berlin. The move of the capital from Bonn to Berlin was to take nearly a decade. In the process, the complex national agenda of reunification was projected onto a city rich in meaningful landmarks and cultural developments. In the 1990s, carefully orchestrated building and marketing strategies focused on urban revival at select locations, including the new government quarter and Potsdamer Platz. Today, however, 1990s Berlin is remembered for the contemporary countercultures that serve to epitomize the city’s creativity over time. This article explores how Berlin developed post-Wall narratives of new beginnings that affirmed a sense of identity well beyond that of the role of national capital.


Author(s):  
Ron Holloway

BERLINALE 2000 AT FIFTY FOR the first time in the history of the festival, the 50th Berlinale (9-20 February 2000) was opened by the President of the Federal Republic of Germany, Johannes Rau. German Chancellor Gerhard Schroeder joined Berlin Mayor Eberhard Diepgen at the grand inauguration of the new festival location cum headquarters on the Potsdamer Platz. Cultural Minister Michael Naumann presented Jeanne Moreau with an honorary Golden Bear and chatted with her about co-founding a new German-French Film Academy. L'Oréal sponsored the VIP lounge. The party for Danny "Trainspotting" Boyle's screen adaptation of Alex Garland's The Beach (UK-USA), starring Leonardo DiCaprio, was voted the festival's most lavish and exotic. Kenneth Branagh enlivened the press conference for his Love Labour's Lost (UK) with a droll quote: "Shakespeare has been an excellent meal ticket!" MPAA's Marc Spiegel reminisced how the Berlinale became a major international festival event a half-century ago....


Author(s):  
Анастасия Юрьевна Королева

Статья посвящена изучению картины Эрнста Людвига Кирхнера Потсдамская площадь . Автор ставит своей задачей исследование историко-культурного контекста произведения, занимающего столь важное положение в истории немецкого искусства. Это полотно, написанное в год начала Первой мировой войны, обобщает впечатления недавно приехавшего в Берлин художника от сверхинтенсивной жизни германской столицы последних предвоенных лет. В статье подробно рассматривается история возникновения и роль площади в культурном и мифологическом ландшафте города, анализируется социальный статус героев картины, отмечаются автобиографические коннотации и характерные для нее формально-стилевые приемы. В результате автор приходит к выводу об особом значении образа города в лице Потсдамской площади как символа эпохи. In researching of painting of Ernst Ludwig Kirchner Potsdamer Platz the author sets a task to find out all of historical and cultural aspects of this so important picture in German art. It was painted in the year of the beginning of the First World War, after a few year of the artists arriving in Berlin and become the kind of generalization of Kirchners impressions of the extremely intense life of German capital in the latest prewar years. The article gives the attention to the history of the square and its role in the cultural and mythological landscape of the city. Also it analyzes the social status of the main personas, notes the autobiographical aspects and specific formal and stylistic receptions. The results shows, that the image of town in the face of Potsdamer Platz becomes a symbol of the epoch.


2017 ◽  
Vol 2 (1) ◽  
pp. 57
Author(s):  
Laura Camargo ◽  
Gabriela Tenorio

<p>From observing the current dynamics of cities and the development of contemporary architecture, great criticism arises in response to the creation of iconic buildings as formal experiments that do not contribute to the local experience. Motivated by this criticism, this paper aims to analyse and understand the importance and the participation of architecture in the construction of a better public realm. The analytical method seeks to understand, evaluate and manipulate the main attributes of a public space based on the features that make it a platform for public life. The analysis focuses on the public realm in three areas of study- the space resulting of the interaction between the buildings, the interstitial space and the constructed spaces. The projects chosen to analyse consisted on iconic buildings by the architect Renzo Piano, due to his international recognition - a body of work shaped by the contexts in which they operate. The projects are situated in global cities and propose new configurations of public space: Centre Georges Pompidou, Paris; Potsdamer Platz, Berlin; and Saint Giles Court, London. The analysis seeks the features that make architecture successful in the sense that it aggregates people and creates interesting spaces that favour human permanence; the paper evaluates whether the projects of Renzo Piano display these features. Each project has its own particularities. Starting with the dimensions, each project contributes to the public space at a different scale. Nevertheless, the variables analysed were the same for each context, and the effects were considered regarding the proportions and the programmatic possibilities offered by each. After understanding the site and its history, the study of the public life and its local attributes, this paper highlights the strengths and weaknesses of each building and how they contribute to the specific place. The interpretation of the results took into account not only the present, but also the lifetime of each project, raising some potential problems or successes for the future. It is possible to conclude that the three projects contribute positively to the public space, stimulating urban improvements and constitute good-practice examples, each at a different intensity.</p>


Sign in / Sign up

Export Citation Format

Share Document