© Laurian Ghinitoiu

“Making Heimat. Germany, Arrival Country” is a response to the fact that over a million refugees arrived in Germany during 2015. The expectations for 2016 are similar. The need for housing is urgent, but just as urgent is the need for new ideas and reliable approaches to integration. The exhibition therefore consists of three parts: the first part surveys physical refugee shelters – the actual solutions that have been built to cope with the acute need. The second part seeks to define the conditions that must be present in an Arrival City in order to turn refugees into immigrants. The third part of the exhibition is the spatial design concept of the German Pavilion, which will make a statement about the contemporary political situation. Something Fantastic will plan and stage the architectural presentation and graphic design. 

© Laurian Ghinitoiu

An overview of the three sections of Making Heimat:

1. Launched on 10 March 2016, the website makingheimat.de documents some 35 refugee housing projects that have been gathered by DAM through a Call for Projects since October 2015. The spectrum ranges from temporary lightweight structures that house 300 people, whose interiors have been designed by an architect, to low-cost long-term housing projects, not only intended to house refugees. An emphasis has been laid on wooden modular structures. Yet the scope of the database also ranges from projects initiated by citizen groups to the efforts of a private benefactor to create an estate-like complex for artists and refugees. 

The projects on makingheimat.de depict the reality of Germany’s current situation. They are grouped according to size, cost and number of occupants per square metre, material and construction. The database is not a best-of collection nor is it an architecture prize—instead, it’s meant to provoke discussion. It aims to help us compare current solutions and provide a foundation for local and regional policymakers. 

© Laurian Ghinitoiu

2.
Eight theses on the Arrival City were developed in close collaboration with Doug Saunders, author of Arrival City: How the Largest Migration in History Is Reshaping Our World. DAM intends the theses to address the following question: what conditions must be met in Arrival Cities, from an urban planning and architectural perspective, for immigrants to integrate successfully into Germany?

Many of the current refugees and migrants will remain in Germany, as a swift resolution of the war and persecution in their homelands seems unlikely. Together with immigrants who have arrived in Germany by other means, they’re effectively turning Germany into a popular country of immigrants. Yet if we hope to avoid the mistakes of the 1960s and 1970s, it’s essential that these new citizens are not treated as guests, who can be “sent home” at any moment. These immigrants must be given the chance to make Germany into their second home. This is what the title of the exhibition is meant to convey: Making Heimat implies that the stay in Germany will be a permanent one.

Immigrants tend to gravitate towards people in similar situations. This results, unplanned, in the formation of many different Arrival Cities. Doug Saunders defines them in the following terms: “The Arrival City is a City within a City”. Saunders has based his observations about Arrival Cities on his time spent in slums and favelas around the world. Such areas are poor and remain poor, but their turnover rate is high. Many people arrive, but don’t stay permanently. Arrival Cities emerge in urban zones—not through the proportionate distribution of asylum seekers, or under the terms stipulated in a “Residenzpflicht” (residence requirement), a subject currently back under discussion. They offer cheap rent, access to work, and ethnic networks that adopt new arrivals and facilitates their social advancement. In Making Heimat, this model is applied to the situation in Germany. One of the examples that will be investigated is the city centre of Offenbach; another is the Dong Xuan Center in Berlin-Lichtenberg – a Vietnamese supermarket in which everything functions a little differently than what Germans are accustomed to.

The current refugee situation and the demands for an Arrival City converge on an important point: the housing crisis in Germany. We’ve been talking about the issue of low-cost housing for many years; now, it’s time to develop concrete solutions. The situation demands it. We need housing for everyone – and that includes (but isn’t limited to) refugees and migrants. 

© Laurian Ghinitoiu

3.
The Berlin-based team Something Fantastic was responsible for the overall presentation in the German Pavilion. Its three partners Elena Schütz, Julian Schubert and Leo Streich are trained architects. They were chosen by DAM because of their intensive engagement with Arrival Cities, both in their teaching capacity at ETH Zürich and in their work around the world. Their extensive architectural studies of Rio de Janeiro, São Paulo, Addis Abeba and Cairo have been published in book form. Something Fantastic work as architects, exhibition designers, researchers, curators and graphic designers. For the German Pavilion, they have created the spatial concept, and will design the exhibition and catalogue. The design refers to the immediacy and pragmatic visual communication in the Arrival City. 

© Laurian Ghinitoiu

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Courtesy of DVVD Engineers Architects Designers

• Architects: DVVD Engineers Architects Designers
• Location: 12th arrondissement, 75012 Paris, France
• Project Directors: Vincent Dominguez and Daniel Vaniche
• Team: Paula Castro, Céline Cerisier, Vincent Dominguez, Toma Dryjski, Bertrand Potel, Louis Ratajczak, Daniel Vaniche
• Area: 62000.0 sqm
• Project Year: 2015
• Photographs: Courtesy of DVVD Engineers Architects Designers

• Contracting Authority: POPB operating company
• General Contractor: Bouygues Bâtiment Île-de-France

Courtesy of DVVD Engineers Architects Designers

The challenge posed to the DVVD agency was huge, primarily involving the skilful management, with no overrun, of 17 months of works, divided into two phases. A rst phase of 7 months, for the renovation of the ice rink and the start of works on the main hall, with a 2-month interruption in works for an interim reopening to host the BNP Paribas Masters tennis tournament and some thirty concerts. The second phase of 10 months, to be executed at a brisk pace, was to involve the reconstruction of the concert hall, the ting-out of reception rooms, dressing rooms, public spaces, sports facilities, press rooms and show production facilities, the reworking of technical premises and the acoustic and thermal treatment of the outer shell of the building. All this was to be done without the slightest adjustment to due dates and costs, there being no possibility of an extension to the works budget of 110 million euros, and the Masters tennis tournament being an annual event. A just-in-time schedule, with an extremely precise sequencing of phases, was devised as a result. 

Courtesy of DVVD Engineers Architects Designers

Section

Courtesy of DVVD Engineers Architects Designers

“The redevelopment scheme was technical, functional and safety- related. What we have attempted to do is to go beyond this scheme by delivering a sensitive architecture which is emblematic of one of the greatest arenas in the world, and even influencing urban development by opening the building out onto the street, providing spaces and walking facilities for local residents.” Daniel Vaniche 

Courtesy of DVVD Engineers Architects Designers

Section

Courtesy of DVVD Engineers Architects Designers

Works supervisors were to operate zone-by-zone; design analyses were completed to an extreme degree of detail, in order to avoid any change in design in the course of works. At the peak period, nearly 1,200 people were working on-site under extreme demands in order to ensure the on-time o cial delivery of the project on 18th October 2015. The venue has also changed its name: the Palais Omnisports de Paris-Bercy has made way for the AccorHotels Arena, following a naming operation which forms part of the economic model for the nancing of schemes with no public subsidy. In this major achievement, praise is due to the disparity between the economy of resources and the resulting quality of spaces and ambiances, unparalleled in modern arenas. 

Courtesy of DVVD Engineers Architects Designers

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© 陈颢 Chen Hao

• Architects: Vector Architects
• Location: Beidaihe, Qinhuangdao, Hebei, China
• Principal Architect: Gong Dong
• Design Team: Dongping Sun , Yi Chi Wang, Jiahe ZhangClient
• Client: Beijing Rocfly Investment (Group) CO., LTD
• Area: 270.0 sqm
• Project Year: 2015
• Photographs: 陈颢 Chen Hao

• Site Architect: Dongping Sun
• Structural & Mep Engineering: Beijing Yanhuang International Architecture & Engineering Co.,Ltd.
• Structural Consultant: Lixin Ji, Zhongyu Liu

© 陈颢 Chen Hao

We imagine the Seashore Chapel as an old boat drifting on the ocean long time ago. The ocean receded through time and left an empty structure behind, which is still lying on the beach.

© 陈颢 Chen Hao

The space is thus divided vertically. The covered outdoor space naturally becomes a resting place for people on the beach. It is also a space connecting religious space to the mundane life. When the tide rises, this space will be submerged by water. At that moment, the imagery of the drifting boat emerges out of the chapel.

Plan

The atmosphere on upper floor is intensely divine and religious. The spatial experience begins on the 30 meters path leading to the chapel. When people gradually approach, the cue emerges indicating the suspending space on the other side through the 600mm wide gap in the middle of the grand staircases. With a glimpse of ocean in distance, they walk up the stairs, go through the gate, and make a turn around the screen wall into the space with unblocking ocean view. The relationship between space and the ocean is closer due to the elevated position. The view is isolated from the beach and people, leaving the outstretched ocean the only view in sight.

© 陈颢 Chen Hao

There are limited openings on the chapel. The only large horizontal ocean-view window is on the east facade. Its 2.7m height helps to avoid the interruption of excessive light to the interior, and also frames the view to the ocean. A few narrow gaps in between the walls also bring in natural lighting. Lighting is carefully controlled with the 10-meter tall interior space misting diffused light. On the east facade, a triangle opening gently illuminates the cross from both bottom and up. There is another light channel on top of the pitched roof allows the natural light streaming into the space which is a 300mm gap between the bended wall on north and the pitched roof. At the noon of spring, summer and fall, when the solar altitude is almost perpendicular, the light projects directly onto the wall on north, generating vivid lighting effect. Although the lights does not stay for long, the texture of the stucco wall is emphasized and celebrated by the light at the moment, and becomes a touchable skin. On the north side, there is a cantilevered space of meditation. The space can merely fit in one person where the walls wrap your body tightly, and one curvy wall extends the sight towards the distant ocean.

Section

Section

The design of this chapel considers natural ventilation comprehensively. In order to maintain the uniform and continuous exterior appearance, all the windows are hidden in the gaps between the main envelope and several pieces of paralleled sliding-out walls.

© 陈颢 Chen Hao

Seashore Chapel serves the resort community on its west side. It is the artificial space that is the closest to the ocean in the community. Apart from religious programs, many public and community events are planned in Seashore Chapel. Together with Seashore Library, they provide spiritual spaces at ocean front, where people can slow down their pace, experience the nature and examine their inner state.

© 陈颢 Chen Hao

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© Youngchae Park

• Architects: 5pA
• Location: Seoul, South Korea
• Architect In Charge: Seowon Oh
• Design Team: Seokhong Go, Younggu Kang, Jiwon Lee, Uihun Kim, Yeonhong Ju, Geonwoo Koo, Haein Park
• Area: 7130.0 sqm
• Project Year: 2014
• Photographs: Youngchae Park

• Structural Engineering: Yigun+Fostec
• Façade Engineering: KBM
• Mechanical Engineering: HANA Consulting Engineers Co.,Ltd.
• Lighting Design: Mavericks
• Concert Hall Design : Jakky

© Youngchae Park

Soorim Arts Center is located at Hongneung, Seoul, once the royal grave site of Empress Myeonseong(1851-1895). We renovated the former head office of the Korean Film Council at Hongneung into what is now Soorim Arts Center, complete with a memorial hall, an art gallery, and a concert hall. Much of the former structure was built underground; it did not have enough natural light and air. Our main goal for the renovation was to expose the space to more natural light and air, and to enlarge the main hall. The main entrance hall of the existing structure was 1.2 meter above the street level; one could only access it through a narrow stairway, which in turn was obstructed by another staircase. 

© Youngchae Park

We thus demolished the extra staircase, adjusted the floor levels, and created a bridge to connect the space to an open area, which we turned into Heesoo Kim Memorial Hall, in honor of the founder of Soorim Arts Center. Formerly, the main floor in the space was a closed area with a lack of ventilation and natural light. In order to make the space more three-dimensional, we opened a section of the floor slab to introduce natural light and fresh air. Also, we installed an additional elevator in the main hall to facilitate access to the rooftop. The spacious film development room with a 5.5 meter-high ceiling was converted into an art gallery. We took advantage of the different floor levels, introduced light by opening up the southern wall with the use of Kalwall and created flexible exhibition walls with the use of two layered moving walls. We increased the parking and art storage area by efficiently reducing the size of the maintenance area. 

© Youngchae Park

Plan

© Youngchae Park

A skylight box was created to introduce light into the garden, and art gallery also functions as a sculptural element in the garden. The office sits on the first floor; the triangular patterned glass and aluminum walls were each designed differently based on their direction and exposure to sun light. The water tank on the rooftop was converted into an observatory and is open to public. 

© Youngchae Park

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© Lindung Soemahardi

• Architects: Parametr Architecture
• Location: Bintaro, Pesanggrahan, South Jakarta City, Special Capital Region of Jakarta, Indonesia
• Design Principal: Ario Andito, Harun Wisaksono, Joffi Febriando
• Project Architect: Supar
• Project Year: 2014
• Photographs: Lindung Soemahardi

• Interior Designer : Yessi Natalia
• General Contractor: Tripilar Artchipta
• Drafter : Adam Riyandi
• Graphic Illustration : Danang Setawijaya , Yuni Annisa
• Text Article : Kanoasa Akbar , Elisa Kristiani

© Lindung Soemahardi

From the architect. Every corner in a house owns its respective functions that makes up a braid of atmosphere, Spouse house, presented in a different way.

© Lindung Soemahardi

Located in a residential area of Bintaro, this house looks different from the other houses in the vicinity that have similar facade. This house was built with an area of 200 square meters, which is interesting in this site is due to have two main streets on the front and back side of the site, it will affect the shape and the program of the function in the home.

© Lindung Soemahardi

The presence of two entrances on the front and back of the site results in a potential cross circulation problem in the house, for that there should be a ‘breakpoint’, in which an architect uses krowakisme philosophy (krowak = hole); such krowakisme is translated with the presence of inner court, void and bridge on the second floor.

Diagram

Inner court is provided to accommodate the living entities such as fresh air, sunlight and wind can freely enter the house; thus, it enhances the quality of life for residents become better and healthier. Meanwhile, a void is to create the atmosphere between space of each floor more ‘fluid’ and the Bridge is to create a sense of space is more enjoyed.

© Lindung Soemahardi

The house is divided into two floors. Taking the middle-aged owner into consideration, the master bedroom and the common room are situated on the first floor, while in the second floor there are two bedrooms for children and supporting room. Each room is adjoining the void and / or inner court, so every room gets lighting and natural atmosphere.

Diagram

The facade of the house is separated into two parts, so that from outside the facade looks like to have two integrating houses. It is also based on the consideration of the facade of the house leading to the west side where being frontally exposed by the sunlight. Therefore, the division of the two masses serves to reduce exposure to direct sunlight on the facade of the house and reduce the impression that the house is too closed. On the left side there is a daughter’s room and on the right side there is a boy’s room. Because they have a couple of kids, a Spouse House name is given that means a couple. Then the pattern of those two facades is made consistent with the character of both. The pattern is made of a three-meter iron plate and in white color to match the surrounding houses. 

© Lindung Soemahardi

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Courtesy of People’s Architecture Office

• Architects: People's Architecture
• Location: Dong Shan Ma Lu, Xinghualing Qu, Taiyuan Shi, Shanxi Sheng, China
• Principals: He Zhe, James Shen, Zang Feng
• Project Team: Zhang Minghui, Amy Song, Zhang Zhen
• Area: 307.3 sqm
• Project Year: 2015
• Photographs: Courtesy of People’s Architecture Office

Courtesy of People’s Architecture Office

Shipping containers stacked and shifted in plan and layered in elevation maximize rooftop views and shaded public areas on the ground at the Container Stack Pavilion. A 7.5 meter cantilevered box is the point of entrance to the building’s upper level roof, while the pavilion itself seems to extend out toward bordering streets, showcasing its interior activities. The ends of each container are capped with full height windows, allowing sightlines throughout the entire building. Inside, a double height central atrium is carved out where the two levels of shipping containers overlap. The Container Stack Pavilion is a temporary structure that can be disassembled and moved to other locations.

Courtesy of People’s Architecture Office

Plan

Courtesy of People’s Architecture Office

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