Berlin Art and Architecture

Introduction

This author was fortunate enough to live in Germany during the days when there was an East and West Germany, and to study abroad in Berlin, Germany, after reunification. The pieces of art and architecture being considered in this essay are both located in Berlin. Much of what is referenced in this paper is taken from the author’s personal notes and private collection of photos. Allusions to the artistic styles are taken from the selected class textbook (Janaro & Altshuler, 2009).

Part I – The Reichstag (Dome)

The Reichstag is a unique structure in the urban landscape of Berlin, blending both the old and the new. It is the home of the German legislative body, the Bundestag, the word Reichstag no longer being used because of its imperial connotations (Simpson, 2006). The main building is in the style of the imperial capital of the Kaisers. However, the part being considered here is the new modern dome on the top,

which is one of the most visited sites in Berlin. And while it certainly can bring to mind the original cupola or dome if one is familiar with the history of the building, it also brings modern style and practical function to the legislative building.

The dome was designed by Sir Norman Foster, and is made up of glass and steel. View this project in his portfolio; he listed four main design considerations the dome addresses (Foster and Partners):

The significance of the structure as a democratic institution or forum.
The commitment to accessibility by the public.
A regard to being sensitive to history.
A commitment to an environmental agenda.

The dome consists of glass mirrors throughout with steel for support. The style brings in various elements that are both representational and abstract, with a seemingly random array of mirrors of differing sizes and curvatures; it also introduces some social commentary and even psychological realism, which will be discussed when considering the possible symbolism of the structure.

What most consider as the dome as is a symbol of German reunification, which is its main representational function. In doing research, a deeper context was not readily apparent. When looking at the stated agenda of the designer, I think a more complex meaning can and should be considered. I think the mirrors could possibly symbolize the reflection that needs or should take place of the past by both the general population and the government (Simpson, 2006). The helix design of the stairway has a resemblance to DNA, the building block of the genetic code. It could be a reminder to not lose sight of humanity, which happened during the National Socialist era of the 1930’s and early 1940’s (Simpson, 2006).

The dome itself is a highly functional structure and meets two of the main aims of the designer in the functions it carries out. One, it is one of the most heavily visited tourist attractions in Berlin, making it accessible to the public. The most important, however, could be seen in the natural lighting the dome, with its mirrors provides to the Bundestag debating chamber directly below the dome. The natural lighting is thus environmentally friendly, substantially reducing the carbon footprint of the building (Corbett).

Part II - The East Side Gallery

The East Side gallery in Berlin is probably the largest open-air art gallery in the world (Wikipedia). It consists of over one hundred separate paintings. The paintings were created on a remaining section of the Berlin Wall, measuring slightly less than one and one-half kilometers in length (Simpson, 2006). The paintings were created following the collapse of the former Soviet Union in 1989. Unfortunately, it has been difficult to maintain the gallery, due to constant exposure to both the environment and graffiti. While the original artists have repainted many of

the paintings, sometimes they are modified from the original and not an entirely true reproduction. Therefore, in this author's opinion, at least a little of the original character has been lost. The art on the wall ranges from the abstract to the representational, but most is representational of the cultural truths and feelings about the politics of the so-called Eastern bloc and should rightly fit in the category of social or even historical commentary.

Being considered here for practical purposes is a painting on the wall by Birgit Kinder in 1990. The painting depicts the East German automobile, the Trabant, using her own car as the subject of the painting. The date on the license plate is November 9, 1989 - the day East Germany (German Democratic Republic or GDR) declared its citizens could visit the Western parts of the country. The Trabant or “Trabi” crashing through the wall captured the reality of what the wall was designed for, to keep the East Germans in; and it also captured the feeling of many, or even most, about wanting to experience the West, and they were about to come crashing through. This author thinks it shows a little naïveté, however, in that many Western businesses wanted to break through to the East for increased market penetration and cheaper labor. The main symbolism, though, lies with the artists desire to be free of the barriers erected by the wall, probably both physical and psychological.

References

Corbett, D. A Smooth Ride With Solar Energy Retrieved July 15, 2012, from http://www.dw.de/dw/article/0,3072,1222427,00.html

Janaro, R. P., & Altshuler, T. C. (2009). The Art of Being Human The Humanities as a Technique for Living (Second Custom Edition for Kaplan University ed.). New York, New York: Longman.

Partners, F. a. Reichstag, New German Parliament, Berlin, Germany,1992-1999. Retrieved July 15, 2012 from

http://www.fosterandpartners.com/Projects/0686/Default.aspx

Simpson, D. (2006). The Archtecture and Politics of Memory - German Handing of Architecture Created During the 1930's and 1940's. History. University of Alabama at Huntsville. Obersalzberg, Germany.

Wikipedia. East Side Gallery Retrieved July 16, 2012, from http://en.wikipedia.org/wiki/East_Side_Gallery