Some bits and bobs...

Danke, schön Berlin

I

Unequivocally there is no city on earth quite like it. Soaked in history, ravaged by men, regenerated by locals and intelligentsia alike, there are layers upon layers yet voids are present. Berlin is city that is paradigmatic of our time and yet it is timeless.

It has been continuously destroyed then reborn i.e the Thirty Years War in the 17^th Century, WWI, WW2 and of course, it was literally split in half during the Cold War.  Yet at every stage of its development, Berlin has reflected the zeitgeist of the age.  For instance Karl-Marx Allee (formerly Stalinallee) in East Berlin exemplified Stalinist socialism whilst the alternative contemporary development, the Hansaviertel in West Germany, reflected western ideals of a capitalist democracy.

Pilotis on an apartment building by Oscar Niemeyer, Hansaviertel for the Interbau 1957

David Chipperfield’s Neus Museum, a ‘complimentary restoration’, signifies the delicate state Berlin found itself in after the fall of the Berlin wall in 1989. Chipperfield achieves a bare, stripped down elegance that pays heed to the original Museum before it was part destroyed and yet heralds the best of contemporary modernism. It is truthful. Vitally, it does not shy away from Berlin’s history.

Bullet holes and damaged walls are pointedly left by David Chipperfield in the Neus Museum 

My memory of my last trip to Berlin is a tad cliché. I cycled underneath the new Bundestag with a friend; the aquamarine blue of the glass reflected just so it hit the incoming rays of the glorious sun and I had an overwhelming feeling of being in Utopia. Funnily enough, my friend then echoed my thoughts aloud. Of course it is intrinsically a mistake to try and pin point Utopia. Nevertheless, Berlin is an example of how Utopia as a guideline, rather than an aim, can signal the best in architecture and design – as it does with it’s new government buildings, Foster’s Reichstag dome and some fragments of the International Building Exhibition (IBA: 1979-1987) that are dotted over the city.

Part of an internal courtyard of an IBA Apartment Building (1982-84) on Fraenkelufer, Kreuzberg by Hinrich and Inken Baller - I managed to loose most of my photos but click here for a superb blog, with photos, on the spectacular array of architecture in Berlin.

II

This time I reflected on what people often say about Berlin, particularly those who profess not to like the city.

“It’s not a pretty city.”

In many ways its not and I used to agree with them. I have whole-heartedly changed my mind. Walk away from the capitalism that has plonked itself down in Potsdammer platz and walk towards Alexanderplatz for a authentic east commie feel, or towards the Neus Museum on the canal for a taste of glory, head up to the Hansaviertel where modernist gems are planted across green estates, or storm down the Karl-Marx-Allee which will impose itself on you like only Stalinist architecture could. Take a cycle ride across the Tiergarten or journey out to one of Berlin’s surrounding lakes; don’t miss one of the most beautifully poignant and witty memorials in the world by Micha Ullman in Bebelplatz. Visit the trendy areas of Kreuzberg or Neukölln and get yourself a kebab from the Turkish community or hang out with the hipsters Heinrich’s.  All these are beautiful sites/sights.  I defy anyone to walk past Hans Scharoun’s masterpiece, the Phillarmonie, in the Kulturforum – especially at night – and say Berlin is not a pretty city.

View towards Alexanderplatz

The Philharmonie at Night

Berlin is beautiful. Granted it is not always aesthetically beautiful in the same way as Paris or Barcelona…but if what wise men say is true, that beauty is only skin deep, then Berlin is surely one of the most beautiful cities in the world. Berlin has a soul unlike any other city. It has been through more than most and for that reason alone can offer more than most. All this and it contains some of the world’s best museums, art and music. If you don’t like Berlin or think it beautiful, perhaps you just don’t understand it.

Palau de la Música

Article for PAPER collective (article not available online):

Palau de la Música

Antoni Gaudí i Cornet (1852 – 1926) is famous world over – if you haven’t seen his architecture in the flesh, so to speak, you will have certainly seen pictures with the Casa Milà illuminated at night, read about the ongoing construction of La Sagrada Família; or perhaps your parents have a souvenir illustrating the architect’s use of trencadís. He is the most famous architect and designer for providing us with examples of Modernisme, a movement that is (for the sake of convenience) best described as the Catalonian version of Art Nouveau.  Well, outside of Catalonia at least. Needless to say there are many more exceptional artists, architects and craftsmen that contributed to the wonder that was fin-de-siècle Barcelona. Here I wish to highlight one such talent; Lluís Domènech i Montaner (1850 – 1923) and pay heed to his pièce de résistance– the Palau de la Música Catalana (1905-1908).

Main façade of the Palau de la Música Catalana.

Concealed in a back street this opulent theatre is one of the hidden and most underrated gems of fin-de-siècle ­architecture. The Palau de la Música Catalana focuses on Catalonia’s history, folk lore and traditions yet demonstrates a meticulous understanding of new developments and materials. It is this union that is key to the pseudo-nationalistic and political connotations which are inextricable from the Modernisme movement.

At the turn of the century, continental Europe experienced a zeitgeist of upheaval and change which manifested itself in a broad stream of cultural eclecticism, stimulated by theoreticians who were optimistic in their new architectural outlook. In Barcelona this was combined with regional politics resulting in the Modernisme movement which aimed to articulate Catalonia as an area not only capable of regaining its independence within Spain but one that could compete culturally with the continental artistic hubs such as Paris, Vienna and London.

In his article, In Search of a National Architecture, published in 1878, Domènech reviews historicism from a modern viewpoint; “if to believe that all generations have left us something worth learning, studying and applying is to fall into that sin- well, we declare ourselves guilty of eclecticism.”[i] The idea was - in this modern time of great change - to make use of whatever methods were still valid from which ever age they came (sounds familiar?).

The facade of the Palau is beautiful and astonishing to stumble upon. Due to the location within a small back street the likelihood is that the viewer will see one of the façade’s corners first. If approaching the theatre through the old streets and not from the main road, the Via Laietana, then one is presented by a fantastic Rodinesque sculpture by Miquel Blay. 

Allegory of folk song by Miquel Blay.

The allegory of folk song juts over the street creating a porch. As one continues along the street and vision is centred on the middle of the façade (see first photo) an array of busts are presented; Palestrina, Bach, Beethoven and Wagner - celebrating the European alongside the local. The building is crowned by arcades and mosaics that glitter and shine paying homage to the Arabesque heritage of Catalonia. A revival of crafts was also part of the Modernista movement. The use of Catalan craft and tradition and their use in this building subsequently contribute to the theatre as a total work of art. Indeed, to my mind at least, this building typifies the notion of Gesamtkuntswerk. Furthermore, it was Domènech’s principal goal to integrate architecture and ornamentation thus linking form and function as he had in the Castell dels Tres Dragons (1888) which structurally anticipates Hendrik Petrus Berlage’s Amsterdam Stock Exchange.

The Palau is often referred to as the beginning of rationalist building in Barcelona on account of its technological conception as a steel-framed glass box. The acoustic expertise of the total design as well as integration of audience and performance makes it a very practical, as well as aesthetically mesmerising, building. From inside the external solid walls seem to have dissipated and glass bridges the interior exterior divide creating a “curtain wall” concept. The integration of performers and audience is brought about by the low height of the stage in ratio to the main floor.

The Palau de la Música Catalana is home to the Orfeo Catala. In this building national pride is imbedded in its modernity, its cultural references and by it being home to one of the most important arts in Catalan culture. Inside the main concert hall the Proscenium expresses, in luxurious detail, the Orfeo Catala’s history and link to modernity. Towards the left there is a bust of Anselm Clave, the man who instigated the Catalonian choir revival. On the other side a cavalcade rises above columns, framing a bust of Beethoven. As Wagner’s Valkyries ride silently towards Clave, a symbiosis between modernity - via modern music - and Catalan culture is formed. At the time, if one wanted to see what Catalonia was capable of, one visited the Palau de la Musica.[ii]

The main concert hall and proscenium. Taken from a postcard owned by the author.

The fin de siècle was a time when Wagnerism swept the continent. The universality of music provided the bourgeoisie in Barcelona with an aid to expressing a national identity and culture that could be recognized by other European nations.[iii] This was Domènech’s constant aim whilst Gaudi may be better described as an isolated mystic. It was Domènech who really put Barcelona on the map back then – yet it is Gaudi we have on our mantle pieces. The Palau seems to personify Lord Byron’s affirmation that “the perfection of architecture is frozen music.”[iv] To believe this sentiment one only has to look at and feel the fluidity of the building in its sculptures and use of glass as the light effects shimmer like notes delicately played. Walking into the main concert hall and seeing the ceiling’s cacophony of colour as it bursts outwards is simply breathtaking.

The Palau de la Música Catalana is illustrative of Barcelona’s new eclecticism whereby tradition could be used as a passport towards gaining a modern identity. Absolutely every part of the building is united by ornamentation, by craft, by Catalonia’s heritage yet it embodies modernity it in its structure and by the continual references to modern culture. Modernisme was in essence a uniting communal, national cause, finding a dynamic expression in architecture. Today’s world often begets an architecture that is hollow, relying purely on icon status; that the Palau reflects the meaning of the Modernisme movement, as well as being an aesthetic whole, truly makes it a Gesamtkuntswerk worthy for all time. Furthermore, it represents that there is a lot more to Catalonia’s architecture than the guy who gave us a nice postcard to send home to mum and dad.

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[i] Domènech i Montaner, Lluís. 2007. “In Search of a National Architecture.” (Originally La Renaixensa, VIII, 1, 1878: 149-160) in In Lluís Domènech i Montaner by Lourdes Figueras, 216-223. (Barcelona: Santa & Cole)

[ii] Hughes, Robert. 1992. Barcelona. (London: The Harvill Press)

[iii] Mackay, David. 1989. Modern Architecture in Barcelona (1854-1939). (Oxford: BSP Professional Books)

[iv]  Mackay, David. 1989. Modern Architecture in Barcelona (1854-1939). (Oxford: BSP Professional Books)

Preparation: General Information

This blog is mostly for myself … importantly though it is also for anybody thinking about embarking upon a Landscape Architecture conversion course…  

I began writing this blog for lots of reasons; to help give my own mind some space to process my thoughts, beliefs and wants over the next three years and beyond and because I was incredibly confused and worried about what I was doing with my life when I decided to drop out of a Masters at Kingston and become a Landscape Architect instead. This blog is mostly for myself and any friends, family or readers that may in interested in what I have to say. Importantly though it is also for anybody thinking about embarking upon a Landscape Architecture conversion course.

This part of the blog will aim to give as much information as possible regarding the process of becoming a Landscape Architect through a conversion course. Below, I have summed up a few key elements. Check back for updates as I actually undertake the course and blog about my experiences.

If there is anything else anyone would like to know, please leave a comment or email me and I will answer as best I can. 

For why I want to be a Landscape Architect please see my earlier post (I want to be a Landscape Architect...).

THE COURSES

Starting September 2012 I will begin a two year course – MALAD Masters of Landscape Architecture and Design at Leeds Metropolitan University. It is a specially designed two year course for students needing to first complete a conversion course before being able to start a Masters in Landscape Architecture.

There are a few other universities that offer a conversion course followed by the masters. See iwanttobealandscapearchitect.com for more details.

It is important to really look in detail at the courses offered; different universities offer slightly different teaching approaches. There will be different emphases on art and aesthetics, rural planning, urban planning, research methodologies and media used - all depending on the institution.  So if you are from a more scientific background rather than an artistic one, a course that relies heavily on its relationship with its sister departments in science or agriculture may suit you more.

For me however, the decision had to be made in terms of not only “what course is right for me?” but also “where can I live and be happy for at least 2 years?”

THE FEES AND MONEY

I am very lucky. Having saved up to do my first masters I already had some money behind me. Then I was fortunate enough to find a full time job and my (ever giving ever loving) parents have let me live << rent free >> at home for the past year. Even so, I will be applying for a Career Development Loan in order to fund my studies so I can complete them full time. This may not be an option for everyone. You can take out the CDL and do part of your course part time (I believe you don’t have to start paying the loan back for 3 years). Depending on where you go, where you are from or who you work for, other funding opportunities may be available to you. Explore different institution’s webpages and the iwanttobealandscapearchitect website for more information.

Bare in mind that as well as course fee’s you will have to budget for:

•   Rent

•   Living allowances

•   Bills

•   Study Trips

•   Materials, possibly a camera, computer and software

•   And any other costs you may have 

THE PREP

I have had roughly just under a year to “prepare” for the beginning of my conversion course. Working full time however and life as it is, means that things often get in the way…

In January I did a 10 week Mature Portfolio Preparation Course at an art school. I had actually already applied to Leeds Met by this point. My portfolio included some previous A Level art work, art and photography that I had dabbled in whilst at university and some more work that I had created - with the gusto of someone who has discovered a new passion - shortly before submitting my application. The course was great; it allowed me to get “back in touch” with my creative side, receive constructive criticism and encouragement from tutors, and also, vitally, to see that other people where also in the same position as me (life changing career “oh god what am I doing?”/not confident about artistic skills). I would not suggest that an art course is a necessity, nor do you need to go a particularly expensive/intensive course It is however a good idea to do as much sketching and drawing as possible.

I have also dabbled a bit in AutoCAD and Google Sketch Up. I will not lie this has been incredibly frustrating and apparently in most universities you don’t get taught how to use these. Thus, I would highly recommend you practice at these as much as possible; I have an overwhelming feeling that these programs will not be my strong point…

Also ask whatever university or college you are applying to about preliminary courses. I start a Drawing Course and a CAD induction day the week before term starts.

EXCURSIONS AND SITE VISITS

Landscape Architecture is of course all about the great out doors. I would encourage you to embrace this and visit as many places of interest as you can. This doesn’t have to be Stonehenge or a Martha Schwartz piece de resistance. If you live in a city or town, there are plenty of panoramas for you to see and what you sketch doesn’t always have to be pretty or positive.

For me, most things interlink and overlap and that is what makes life interesting. The interdisciplinary nature of a subject like Landscape Architecture is what makes it so engaging and important to modern life. Go to as many different exhibitions as you can, walk a lot, sketch what you like, what you don’t like, take photos, visit country houses if you can, visit parks and town centres when you can. Anything else you can think of. It will all add to your work.

READING

There are so many books. So many. Read anything and everything. Email course directors for an in depth bibliography once you are accepted on to a course. See here for some basic bibliographies. University course pages may also have good bibliographies, so look around.

Personally, I would recommend Geoffery and Susan Gellicoe’s The Landscape of Man – great for an overview of Landscape Architecture history. Theory in Landscape Architecture: A Reader edited by Simon Swaffield is an excellent book also. For something more up to date and political I cannot recommend highly enough the polemical Ground Control by Anna Minton, which brilliantly charts the rise the privitisation of public space in Britain.

Also don’t forget to subscribe to the Landscape Institute for regular updates of contemporary dialogue and what’s what in regards to the profession. The magazine subscription is a bargain for £25 a year (non student).

“DISCLAIMER”

This is not meant to be patronising in any way – of course, I haven’t even started the course yet – rather it is intended as a ‘To Do’ list. And to give you ideas. When I was in need of information I simply wish that I had looked at some of the student blogs/it had all been there in short form like a checklist. For instance I completely mis-budgeted in terms of materials, (as I had no idea how much or what I’d have to buy), actually spending double what I had put aside (chickpeas and pasta for a month then).