Berlin, Hotel Casa Camper

Building design

Not a house, but a “casa” – and that in Berlin Mitte. The Hotel Casa Camper is an unusually humorous hotel: simple, comfortable and unconventional.

Not a house, but a “casa” – in the middle of Berlin Mitte. Large room numbers shine into the night sky from the windows of the hotel façade; behind the slats of the narrow glass slits, one or two silhouettes of showering hotel guests can be seen. The Hotel Casa Camper is an unusually humorous hotel, simple, comfortable and unconventional. The concept and design by Fernando Amat and Jordi Ti. sometimes gives very clear tips: “Take the stairs, it’s healthier,” reads a sign next to the elevator. The long hotel corridors are painted in bright red, as are the sober but homely rooms. The beds are located in the darkest part of the room – the bathroom area and a washbasin with a surrounding counter are located directly by the window and only separated from the sleeping area by a curtain. A Shaker bar, Bauhaus light switches and homely oak floorboards and wall paneling are standard features in all 51 rooms and suites.

In contrast, the architects and designers have moved the hotel bar to the completely glazed top floor on the eighth floor. Up there, the gray Berlin can be seen large and airy through the floor-to-ceiling panoramic windows – a cityscape with a television tower in the background. The breakfast room, lounge and computer workstations are located in different zones of the flowing space. In the separate Honesty Bar, each guest enters their room number on a list and only pays for their self-mixed drinks on departure. The snack bar buffet provides freshly prepared finger food and drinks almost around the clock, which are included in the room rate. Why is a famous shoe brand from Mallorca building a hotel in Berlin and then running it itself? Miguel Fluxa, who took over the family business Camper from his father, smiles proudly in response to this question. “We’ve been making shoes since 1877 – we’re a family of shoemakers.” After Camper had developed into a globally recognized brand, Fluxa rejected several proposals to open up the brand name to watches, bags or perfume. “There are too many people already doing that. It doesn’t suit us,” he says calmly. However, an interest in architecture and design led the globally expanding company to a hotel concept. Barcelona was the first stop, and in their second hotel in Berlin, the Catalans have also linked a restaurant to the hotel that they run themselves. In Dos Palillos on the first floor, conceived by designers Erwan and Ronan Bouroullec, guests sit at a long counter with a view of a large open kitchen. There, the team of Albert Raurich, who became famous as head chef at El Bulli, prepares Asian dishes in tapas format. A little molecular, unfamiliarly exotic, and then refreshingly Spanish.

Address

Casa Camper Berlin
Weinmeisterstraße 1
www.casacamper.com

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Discovery of Rembrandt’s “Night Watch”

Building design
Amsterdam

Amsterdam

The team of restorers at the Rijksmuseum in Amsterdam made a sensational discovery. With the help of computer technology, a previously hidden sketch was found on the primed canvas of Rembrandt’s “Night Watch”, the most famous painting in the collection: A sketch that provides a precise insight into the history of the work’s creation For two and a half years now, a research team of 30 restorers has been busy […].

The team of restorers at the Rijksmuseum in Amsterdam made a sensational discovery. With the help of computer technology, a previously hidden sketch was found on the primed canvas of Rembrandt’s “Night Watch”, the most famous painting in the collection: A sketch that provides a precise insight into the genesis of the work

For two and a half years now, a research team of 30 restorers has been meticulously examining the world-famous painting using imaging techniques and computer technology. Museum visitors can look over their shoulders as they work in a glass box. “The Night Watch” belongs to the city of Amsterdam and has been part of the Rijksmuseum collection since 1808. Frans Banninck Cocq, the mayor and captain of the Citizen’s Guard of Amsterdam, commissioned the group portrait of officers and marksmen, which was completed in 1662.

“The discovery of the sketch is a breakthrough,” emphasizes Taco Dibbits, Director of the Rijksmuseum in Amsterdam. Researchers have long suspected that Rembrandt began his complex composition with a sketch – directly on the brown primed canvas. Later, he only made minor changes. For example, he painted over the feathers originally intended for the helmet of the militiaman Claes van Cruijsbergen. Scans also revealed that Rembrandt altered the position of Rombout Kemp’s legs. Originally, a larger number of spears were also intended in the upper right part of the work.

Looking at Rembrandt with different eyes

“Each new detail gives us further insight into Rembrandt’s creative process, his original idea, his thought processes and his material and artistic choices,” said Petria Noble, head of painting conservation. She is delighted that the varnish on the painting is still in excellent condition. However, some not-so-pleasing discoveries also came to light during the examinations. For example, a series of waves that developed across the painting after it was moved during an earlier renovation in 2003.

It will now be removed from the frame for three months and straightened. The depiction of the dog is also marked by decay. The research team had attributed its discoloration to the fact that the paint was decomposing. Instead, they have now discovered that the wear and tear in this part of the painting has led to greater exposure of the newly discovered bright sketch. “All these discoveries make us look at Rembrandt’s paintings with different eyes,” added Noble. “We now know what to look for.”

Reading tip: “Operation Night Watch” is the title of an ambitious project. In July 2019, a team of restorers began researching and restoring Rembrandt’s “Night Watch”. The artwork, one of the centerpieces of the Amsterdam Rijksmuseum, is to be secured for the future. Read more here.

Scenes from the Cimetière Saint-Pierre in Marseille

Building design

STEIN presents a photo gallery featuring historic tombs from France’s third-largest cemetery.

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Saint-Pierre has plenty of sculptures like these to offer. Photo: Anne Fischer
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Local limestone is the primary material used for most of the tombstones. Photo: Anne Fischer
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And depending on the section of the cemetery, they can be quite impressive. Photo: Anne Fischer
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A stone picture frame as a grave ornament. Photo: Anne Fischer
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In the background, a touch of modernity—in the form of large urn fields. Photo: Anne Fischer
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Even a hundred years ago, there were already off-the-shelf products—just on a mausoleum scale. Photo: Anne Fischer
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The ravages of time take their toll; the administration cannot preserve all the gravestones. Photo: Anne Fischer
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A mausoleum door clad in natural stone. Photo: Anne Fischer
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The historic gravestones are mostly found on pine-covered hills. Photo: Anne Fischer
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A flagship project, certainly even at the time of its creation. Photo: Anne Fischer

The mausoleums are falling into disrepair, while the urn fields are expanding

The Cimetière Saint-Pierre is one of the newer cemeteries of its kind: it was established in 1855 and officially inaugurated eight years later. Previously, the people of Marseille buried their loved ones in smaller parish, monastery, or hospital cemeteries—or at the central Saint-Charles Cemetery. Located in the city center, the latter quickly ran out of space and was permanently closed in 1876. Saint-Pierre replaced it, covering an area of 63 hectares.

At first glance, this seems overwhelming. But visitors quickly find their bearings by following the greenery: wherever pine trees grow on small slopes, they are sure to find the historic burial sites. Dozens of renowned French entrepreneurs and artists—including painters, sculptors, and singers—are buried here. Among them is the composer Vincent Scotto. He wished for the following epitaph: “All my life I have composed; today I am decaying.” However, it never came to pass—Scotto’s wife deemed this final wish inappropriate.

Saint-Pierre stands as a striking testament to the changing funeral culture in our neighboring country as well. Extraordinary—and above all, an extraordinary number of—mausoleums, sculptures, and funerary monuments commemorate the cemetery’s heyday—even if some of them are now aging and falling into disrepair in a regrettable state. Huge urn burial grounds down the hillside serve as their modern counterpart.

In total, around 150 employees now work at the cemetery, which contains 100,000 graves. Unusual to German eyes are the cars that, while not numerous, do pass through regularly. Saint-Pierre has a road network totaling 15 kilometers. In Marseille, too, the city administration is working to find solutions for the changing face of cemeteries. Among other initiatives, it has launched grave sponsorship programs and is attempting to catalog as many of the graves as possible in an online database. There is an interactive terminal at the cemetery (and also at the 20 others scattered throughout the city). Interested visitors can use it to search for the graves of famous people—or to find that of a relative on the vast grounds.


The editorial team will continue the series “Impressions from the Cemetery” at irregular intervals—and welcomes suggestions and requests via email to redaktion@stein-magazin.de