Art. Work. Stein. Memory

Building design
which he had created for the St. Mary's congregation to mark its 60th anniversary. Photo: Simone Kempert
which he had created for the St. Mary's Parish to mark its 60th anniversary. Photo: Simone Kempert

Stone is at the heart of Thomas Lucker’s work. With his Berlin-based studio RAO, he is currently planning the relocation of ancient Egyptian architectural structures and monuments to the Pergamon Museum. In addition, Lucker is active as an artist: for his “Stone Archive,” he carves ephemeral photographic moments into stone.

The artist and his work: Thomas Lucker explains the background of the limestone relief he created for the St. Marien congregation on the occasion of its 60th anniversary. Photo: Simone Kempert

Steins in the Darkroom

Is someone who has learned a craft lost to art? Thomas Lucker refutes this popular assumption every day through his work. He is a trained stonemason and stone sculptor, a college-trained artist, restorer, researcher, and exhibition planner. Defying all labels, he combines art and craft, moving freely between diverse challenges and genres: “It’s like the distinction between so-called ‘high’ and ‘popular’ music—I find that distinction pointless.”

This open-mindedness has afforded him a broad spectrum of experiences and contacts. One of his most recent art projects, for example, is a monumental limestone relief that he created for St. Mary’s Church in Berlin-Zehlendorf. Across twelve panels, he depicts people from two millennia in a relaxed procession, at the end of which stands the Savior.

With this, Lucker refers to the Second Epistle of Peter: “With the Lord, a thousand days are like a year.” He has interpreted this phrase to mean that even two thousand of our years could be but a moment to God. Questions of time and its perception play a central role in Lucker’s work: “The time period depicted, the time period of the artwork’s creation, the viewer’s own time. Subjective and objective time.”

Since 2008, Lucker—who, among other things, studied fine art under Makoto Fujiwara in Hanover—has been creating heads, figures, and reliefs for his “Stone Archive.” To this end, the artist has developed a unique technique: He uses photochemical exposure in a darkroom to create his works from Thüster STEIN, drawing in part on autobiographical elements and using photos from his own family albums. Using a chisel, iron, and rasp, Lucker carves the depictions out of the STEIN.

The sometimes rough marks left by the tools lend the work a sculptural, tactile quality. A glazed tint applied with a brush or sponge creates transparencies, revisions, and overlaps that symbolize layers of memory. By chiseling ephemeral moments into STEIN—a medium meant to last for eternity—Thomas Lucker raises a variety of questions.

For example, to what extent we individually shape and constantly reshape our memory. How shared memories might actually be. Or whether what we now conceive of, in retrospect, as cultural heritage is perhaps the reflection of an imagined past. History, in the truest sense of the word.

Limestone as a Medium: Formed on the Floor of Prehistoric Seas

Due to its material properties and history, limestone is the ideal medium for conveying his intent, explains Lucker: “The layered formation of this STEIN, which grew on the seabed of primeval seas, serves as an analogy for me to the way our brains store memories.”

He has lived and worked in Berlin since 1996, where he founded the studio “Restaurierung am Oberbaum GmbH (RAO)” with Jan Hamann; the firm specializes in historic preservation, museum and archaeological restoration, and restoration planning. Currently, the partners employ a well-coordinated team comprising approximately 25 conservators, sculptors, architects, engineers, art historians, and archaeologists.

Clients include, among others, the State Museums of Berlin. RAO is currently engaged in planning the future display of large-scale ancient Egyptian architectural structures and monuments at the Pergamon Museum; some of these will be moved from the Egyptian Museum in Charlottenburg to Museum Island, where they will become part of the cross-collection tour “Ancient Architectures.”

Lucker refers to this project as “my baby.” In recent years, individual exhibits have already been prepared for the move, including the rose granite sphinx of Queen Hatshepsut: During earlier restorations, smooth and monochromatic additions had been made to the statue. This created a jarring overall impression, which Lucker and his colleagues carefully “soothed.”

Read more in STEIN 8/2021.

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Concealed hardware technology for commercial glass doors

Building design
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BaSys has expanded its “Pivota® DX Glass” hinge, developed for glass doors, into a system suitable for use in buildings. The hinge with a mounting box forms a single unit with the lock, lock case and lever handle. The components are coordinated in design and are flush with the frame mirror. Magnetically held cover plates ensure a screw-free appearance.

The frame part of the hinge disappears into the frame, the sash part into a box that is permanently screwed to the glass door and matches the frame size. It is made of solid aluminum and offers a wide range of surface design options, allowing the design to be adapted to the decorative fitting and the lockable lock case, which is suitable for the property. In combination with the continuous sealing system of the door leaf, the Pivota® DX Glass is recommended for sound-insulating glass elements.

With the Pivota® DX product family, BaSys has developed a complete range of concealed hinges. With load-bearing capacities of 40 to 350 kilograms per pair, it covers the entire door spectrum.

BaSys uses steel, stainless steel and aluminum in a balanced way, depending on the load-bearing capacity requirements, within the framework of hybrid technology. This makes the system universal: on the one hand, wooden doors can be exchanged for glass doors and vice versa, and on the other hand, a uniform architectural approach can be pursued, preferably in larger buildings with doors made of different materials.

BaSys – Bartels Systembeschläge GmbH
Industrial estate Echternhagen 2
32689 Kalletal
www.basys.biz

Garden shows 2019 – an overview

Building design

Everything about the 2019 garden show year

The first garden shows of 2019 opened their doors just in time for the spring-like Easter weekend. In addition to the Federal Garden Show in Heilbronn, this year there were also state garden shows in Baden-Württemberg, Bavaria, Brandenburg, Saxony and Upper Austria.

Heilbronn used the BUGA event (April 17 to October 6, 2019) to renew itself from the inside out on a 40-hectare area in the immediate vicinity of the train station. Situated on an island between the Neckar Canal and the Altneckar, the isolated site had been used as an industrial and commercial location and freight station for over 100 years and had long disappeared from the consciousness of the people of Heilbronn. Following the relocation of a section of the B39 federal highway and the extensive removal of explosives and contaminated sites, the future Neckarbogen district will eventually provide living space for 3,500 people and 1,000 jobs in the coming years. The first three completed building plots were already integrated into the garden show as an “urban exhibition”.

In order to create a sustainable living space worth living in for the people of Heilbronn, the city took a new approach to neighborhood development (read the article by Thomas Armonat in G+L 4/2019). A colourful and diverse mix of usage concepts, buildings and residents, along with reduced car traffic, short distances and a modern energy supply, should make the neighbourhoods flexible for future adaptations to changing living conditions.

Pictures: Federal Garden Show Heilbronn 2019 GmbH

Garden shows 2019: experiencing nature in the middle of the city

The concept of the Berlin landscape architects from sinai played a key role in the quality of life of the Neckarbogen. They created four landscape ribbons from the existing patchwork of landscapes. As a result, visitors pass urban cores at the raft harbor with nine-storey buildings and within 15 minutes find themselves at Karlssee lake, which has been landscaped with reed zones. This also serves as a retention basin and filter for rainwater from the neighborhood.

At the same time, a spectacular landscape structure was created towards the Neckar canal. Since then, a cliff up to twelve meters high has shielded noise from the industrial Neckar Canal. Towards the garden show grounds, the shotcrete surface, which is reminiscent of the rocky edges of the surrounding countryside, conceals a vertical playground with climbing and sliding facilities. Gabions filled with local natural stone also border the sides as a compensatory measure for the habitats of lizards and other animals. With the new riverbank design and a 600-metre-long wooden footbridge in the Neckaruferpark, the landscape architects are not only bringing the river back into people’s consciousness, but also enabling them to experience nature in an impressive way – right in the middle of the city!

You can read a detailed article on the BUGA Heilbronn concept in G+L 7/2019.

The concept for the Brandenburg State Garden Show in Wittstock an der Dosse (April 18 to October 6, 2019) also comes from sinai. The town of 15,000 inhabitants is located in the Prignitz region between the Elbe and Müritz rivers. In the south, the 13.5-hectare garden show grounds form a semicircle around the historic brick ring wall of the well-preserved medieval town. To the west of the city wall, the River Glinze flows through the listed Friedrich Ebert Park dating from 1925 with its old trees. To the east, a newly designed and ecologically improved oxbow of the Dosse – the Dossebogen – borders the park on the Bleichwall, which begins at the foot of the former Bischofsburg. There, between an existing row of lime trees with an accompanying promenade and the city wall as a historical backdrop, the landscape architects staged an open meadow space. The “Bleichgärten”, meanwhile, are based on the former commons and, as citizens’ gardens, invite communal appropriation.

Pictures: State Garden Show Wittstock/Dosse 2019

Frankenberg in Saxony is just ten minutes from Chemnitz. Dresden can be reached in half an hour, Leipzig in three quarters of an hour. The attractive location for commuters is a welcome ray of hope in the structural change for the once industrial community of 16,000 inhabitants. As part of the Saxon State Garden Show in Frankenberg, Berlin-based landscape architects Weidinger Landschaftsarchitekten designed two differently characterized parts of the site: a six-hectare, robust leisure park on the Zschopau floodplain to the west of the town center and the landscaped, almost five-hectare valley along the meandering Mühlbach stream to the east.

The heart of the park on the Zschopau is the so-called Zeit-Werk-Stadt, an experience museum for urban and industrial history. To the north of it, a bridge by Sauerzapfe Architekten known as the “snake” spans the B 169 federal road and the Zschopau for pedestrians and cyclists and now connects higher-level cycle paths. Visitors can reach the valley, which the Mühlbach stream has cut around 15 to 20 meters deep, via the town center. The city has added flood protection and ecological water restoration to the wild and romantic atmosphere there. Thanks to a new pedestrian underpass and newly laid out footpaths and cycle paths, many people will in future pass through the Mühlgraben located above the park, which the landscape architects have restored to its historical course as an open channel.

In Baden-Württemberg, 16 municipalities in the Rems Valley, east of Stuttgart, have joined forces to create an atypical state garden show: from the source of the Rems in Essingen via Schwäbisch Gmünd, Schorndorf and Waiblingen to the mouth of the river Neckar near Remseck. They are all located in the Rems Landscape Park, for which the Planstatt Senner office from Überlingen originally worked together with the municipalities on the topics of tourism, cultural landscape and settlement areas. The focus was on improving the quality of life along the river and closing the gaps in the accompanying cycle path network. The good cooperation between the municipalities subsequently led to the idea of hosting a joint Remstal Garden Show in 2019 (May 10 to October 20, 2019).

In addition to the “16 Stations” architectural project, for which each municipality developed a landmark, Schorndorf and Schwäbisch Gmünd – where a state garden show was held as recently as 2014 – also hosted adventure gardens that were open to the public. In Schorndorf, for example, the Munich-based firm Lohrer.Hochrein gave the castle park and the town park a contemporary look. They presented the castle on an open lawn. Meanwhile, a square with water fountains rising from the ground was created at the intersection of the path axes. In the city park, on the other hand, densely planted edges and entrances carved out of them now define the space traversed by a circular path. Flattened bank areas towards the lake even allow visitors to lie down on the grass by the water.

Instead of a large-scale garden show like the one in Rems Valley, the Bavarian municipality of Wassertrüdingen, located halfway between Nuremberg and Ulm, organized a so-called Small State Garden Show (24 May to 8 September 2019). The Berlin-based Planorama office designed two landscaped parks on 13 hectares: the Wörnitzpark to the south of the town center and the Klingenweiherpark to the north. Both are also connected by a path through the city center. Between the Baudenhardt recreation area in the north of the city and the Oettinger Forst forest in the south, a green belt now also extends the urban area. This has also created ecological retreats and recreational areas for residents in the floodplain landscape of the Wörnitz.

Along the Klingenweiher ponds in the north, the landscape architects also added footbridges, pathways and vantage points to the area, known as the Weihersteig. Another architectural highlight is a golden platform that juts out into the water. The hill of a former landfill site has also been turned into a viewing point. To the south, the Wörnitzpark links the town center to the adjacent floodplain landscape. Seating steps border the Mühlweiher pond not far from the old town wall. A gap in the wall at the Entengraben is now closed by a metal lattice construction as a reminder.

Close to the Czech border, the Upper Austrian municipality of Aigen-Schlägl in the Mühlviertel region hosted a regional garden show (May 17 to October 13, 2019), which was dedicated firstly to the themes of conscious living and secondly to the use of resources. For the garden show, the municipality also cooperated with the Schlägl Premonstratensian Abbey, which has been in existence for 800 years, and the Schlägl Organic School, both of which are located on the 15-hectare site. The concept – a circular path linking the gardens and fields of the organic school, the new garden and leisure area for the town and the monastery along with the brewery and the founder’s garden – was also created by the Berlin office ST raum a.

A good fit for the organic cycle, which on the one hand explains to visitors how organic food gets onto their plates and on the other hand addresses how we want to design gardens and agriculture in the future. One of the biggest lasting attractions for Schlägl residents will be the newly created “Aigen-Schlägler Terraces”. There are not only new picnic and barbecue areas for residents, but also community gardens. In addition, the gardens in the Sacred Grove are intended to bring visitors closer to the themes of Christianity, peace and finding oneself. Narrow side paths branch off from the circular route, allowing visitors to discover small, enchanted or special places.

Do you remember the garden shows three years ago? If not, you can also find a review of the 2016 shows here.