Counterpreservation

COUNTERPRESERVATION -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- Introduction -- 1. Counterpreservation as a Concept -- 2. Living Projects: Collective Housing, Alternative Culture, and Spaces of Resistance -- 3. Cultural Centers: History, Architecture, and Public Space -- 4. Decrepitude and Memory in the Landscape -- 5. Counterpreservation in Reverse -- 6. Destruction and Disappearance: East German Ruins -- Conclusion: Toward an Architecture of Change -- Index

In Berlin, decrepit structures do not always denote urban blight. Decayed buildings are incorporated into everyday life as residences, exhibition spaces, shops, offices, and as leisure space. As nodes of public dialogue, they serve as platforms for dissenting views about the future and past of Berlin. In this book, Daniela Sandler introduces the concept of counterpreservation as a way to understand this intentional appropriation of decrepitude. The embrace of decay is a sign of Berlin's iconoclastic rebelliousness, but it has also been incorporated into the mainstream economy of tourism and development as part of the city's countercultural cachet. Sandler presents the possibilities and shortcomings of counterpreservation as a dynamic force in Berlin and as a potential concept for other cities. Counterpreservation is part of Berlin's fabric: in the city's famed Hausprojekte (living projects) such as the Køpi, Tuntenhaus, and KA 86; in cultural centers such as the Haus Schwarzenberg, the Schokoladen, and the legendary, now defunct Tacheles; in memorials and museums; and even in commerce and residences. The appropriation of ruins is a way of carving out affordable spaces for housing, work, and cultural activities. It is also a visual statement against gentrification, and a complex representation of history, with the marks of different periods—the nineteenth century, World War II, postwar division, unification—on display for all to see. Counterpreservation exemplifies an everyday urbanism in which citizens shape private and public spaces with their own hands, but it also influences more formal designs, such as the Topography of Terror, the Berlin Wall Memorial, and Daniel Libeskind's unbuilt redevelopment proposal for a site peppered with ruins of Nazi barracks. By featuring these examples, Sandler questions conventional notions of architectural authorship and points toward the value of participatory environments.

City Living is about urban spaces, urban dwellers, and how these spaces and people make, shape, and change one another. More people live in cities than ever before: more than 50% of the earth's people are urban dwellers. As downtown cores gentrify and globalize, they are becoming more diverse than ever, along lines of race, ethnicity, socioeconomic class, sexuality, and age. Meanwhile, we are in the early stages of what seems sure to be a period of intense civil unrest. During such periods, cities generally become the primary sites where tensions and resistance are concentrated, negotiated, and performed. For all of these reasons, understanding cities and contemporary city living is pressing and exciting from almost any disciplinary and political perspective. Quill R Kukla offers the first systematic philosophical investigation of the nature of city life and city dwellers. The book draws on empirical and ethnographic work in geography, anthropology, urban planning, and several other disciplines in order to explore the impact that cities have on their dwellers and that dwellers have on their cities. It begins with a philosophical exploration of spatially embodied agency and of the specific forms of agency and spatiality that are distinctive of urban life. It explores how gentrification is enacted and experienced at the level of embodied agency, arguing that gentrifying spaces are contested territories that shape and are shaped by their dwellers. The book then moves to an exploration of repurposed cities, which are cities materially designed to support one sociopolitical order, but in which that order collapsed, leaving new dwellers to use the space in new ways. Through detailed original ethnography of the repurposed cities of Berlin and Johannesburg, Kukla makes the case that in repurposed cities, we can see vividly how material spaces shape and constrain the agency and experience of dwellers, while dwellers creatively shape the spaces they inhabit in accordance with their needs. The book concludes with a reconsideration of the right to the city, asking what would be involved in creating a city that enabled the agency and flourishing of all its diverse inhabitants.

How sound and its atmospheres transform architecture Acoustic atmospheres can be fleeting, elusive, or short-lived. Sometimes they are constant, but more often they change from one moment to the next, forming distinct impressions each time we visit certain places. Stable or dynamic, acoustic atmospheres have a powerful effect on our spatial experience, sometimes even more so than architecture itself. This book explores the acoustic atmospheres of diverse architectural environments, in terms of scale, program, location, or historic period—providing an overview of how acoustic atmospheres are created, perceived, experienced, and visualized. The contributors explore how sound and its atmospheres transform architecture and space. Their essays demonstrate that sound is a tangible element in the design and staging of atmospheres and that it should become a central part of the spatial explorations of architects, designers, and urban planners. The Sound of Architecture will be of interest to architectural historians, theorists, students, and practicing architects, who will discover how acoustic atmospheres can be created without complex and specialized engineering. It will also be of value to scholars working in the field of history of emotions, as it offers evocative descriptions of acoustic atmospheres from diverse cultures and time periods.

In The City as Subject, Carolyn S. Loeb examines distinctive bodies of public art in Berlin: legal and illegal murals painted in West Berlin in the 1970s and 1980s, post-reunification public sculptures, and images and sites from the street art scene. Her careful analyses show how these developed new architectural and spatial vocabularies that drew on the city's infrastructure and daily urban experience. These works challenged mainstream urban development practices and engaged with citizen activism and with a wider civic discourse about what a city can be. Loeb extends this urban focus to her examination of the extensive outdoor installation of the Berlin Wall Memorial and its mandate to represent the history of the city's division. She studies its surrounding neighborhoods to show that, while the Memorial adopts many of the urban-oriented vocabularies established by the earlier works of public art she examines, it truncates the story of urban division, which stretches beyond the Wall's existence. Loeb suggests that, by embracing more multi-vocal perspectives, the Memorial could encourage the kind of participatory and heterogeneous construction of the city championed by the earlier works of public art.

The phrase "spatial turns" signals the growing importance of space as an analytical as well as representational category for culture. The volume addresses such emerging modes of inquiry by bringing together, for the first time, essays that engage with spatial turns, spatiality, and the theoretical implications of both in the context of German culture, history, and theory. Migrating from fields like geography, urban studies, and architecture, the new centrality of space has transformed social-science fields as diverse as sociology, philosophy, and psychology. In cultural studies, productive analyses of space increasingly cut across the studies of literature, film, popular culture, and the visual arts. Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of space by such figures as Siegfried Kracauer and Walter Benjamin. The volume is organized in four sections: "Mapping Spaces" addresses cartography in all forms and in its intersection with culture; "Spaces of the Urban" takes up one of the key sites of spatial studies, the city; "Spaces of Encounter" considers how Germany has become a contact zone for multiple ethnicities; and "Visualized Spaces" concerns the theorization of space in film and new media studies.

This beautifully illustrated book provides a crucial new look at Aldo Rossi's built work in relationship to his writings, drawings, and product design, and explores his contributions to the architecture in postwar Italy.

This open access book identifies various forms of heritage destruction and analyses their causes. It proposes strategies for avoiding and solving conflicts, based on integrating heritage into the 2030 Agenda for Sustainable Development. It reflects on the identity-building role of heritage, on multidimensional conflicts and the destruction of heritage, and considers conflict-solving strategies and future perspectives. Furthermore, it engages theoretically and practically with the concepts of responsibility, reconciliation and sustainability, relating mainly to four Sustainable Development Goals, i.e. SDGs 4 (education), 11 (e.g. World Heritage), 13 (climate action) and 17 (partnerships for the goals). More than 160 countries have inscribed properties on the UNESCO World Heritage list since the World Heritage Convention came into force. Improvements in the implementation of the Convention, such as the Global Strategy for a Representative, Balanced and Credible World Heritage List, have occurred, but other conflicts have not been solved. The book advocates for a balanced distribution of properties and more effective strategies to represent the global diversity of cultural and natural heritage. Furthermore it highlights the importance of heritage in identity building.