Criticism

Building design
President of the Association of Restorers (VDR) Photo: private

President of the Association of Restorers (VDR) Photo: private

The Association of Conservators speaks out against a confusing game with university titles for journeymen and master craftsmen. President Professor Jan Raue calls for work to be done on strengthening the specific training content, conditions and skills of both craftsmen and academics The proposals recently made by Education Minister Anja Karliczek (CDU) on Deutschlandfunk radio were met with both approval and vehement rejection […].

The Association of Conservators speaks out against a confusing game with university titles for journeymen and master craftsmen. President Professor Jan Raue calls for work to be done to strengthen the specific training content, conditions and skills of both craftspeople and academics

The proposals recently made by Education Minister Anja Karliczek (CDU) on Deutschlandfunk radio were met with both approval and vehement rejection. The declared aim of the Federal Ministry of Education is to clarify the equivalence of university studies and vocational training and to encourage more school leavers to take up vocational training. The minister therefore proposed the creation of a so-called “vocational bachelor’s” and “vocational master’s” based on university degrees.

The Association of Conservators criticized this proposal and spoke out “against a game of confusion with university titles for journeymen and master craftsmen”: “Instead of underlining the ‘equivalence’ of craft and academic degrees, the almost identical job titles suggest a ‘similarity’ of completely different professional skills,” VDR President Prof. Dr. Jan Raue criticized the plans of the Federal Minister of Education. He advocates not working on newly invented job titles, but on strengthening the specific training content, conditions and skills of both the skilled trades and academic players. “We can only support the demand that the terms ‘Master’ and ‘Bachelor’ should be reserved for universities. Applied to the field of conservation and restoration of our cultural heritage, the new regulation would mean that in future it will be even more difficult for consumers to recognize genuine qualifications and not be confused by a multitude of similar-sounding titles.”

Art lovers and institutions wishing to place their treasures in the hands of restorers would already have unnecessary difficulties in recognizing qualified professionals due to the lack of protection for the professional title of restorer in Germany – the new regulation would further exacerbate the existing problem. Securing the continued existence of the traditional craft in Germany is a concern that the Association of Conservators also supports. According to Raue, however, the new designations are more likely to achieve the opposite. Established designations such as ‘master craftsman’ would be devalued and the quality of advanced craft qualifications would increasingly be defined by a desired proximity to academic traditions. “This is highly counterproductive for all sides,” says President Raue.

“It would be better if both professional fields presented their profiles confidently side by side. Young talent is won by clarity and openness, not by juggling titles. Peter-André Alt, President of the German Rectors’ Conference (HRK), takes a similar view: “We think this proposal is misguided. I have already urged the minister to refrain from amending the law accordingly.”

Degree designations must be “transparent and clear” and must not lead to confusion. For example, it must be clear what is meant in career guidance, the wording of job advertisements or when companies are looking for personnel. “The proposed designations “Berufsbachelor” and “Berufsmaster” achieve the opposite: completely different skills are assigned almost identical designations.” Alt said that it was a short-circuit to believe that the equivalence of vocational and higher education could be made clear with similar designations. “If you take this equivalence seriously – and I do – both areas should confidently present their different profiles and they should also be expressed in the designations.”

When asked about the criticism from professional associations that well-known terms such as “Fachwirt” or “Meister” would disappear, Karliczek said that both designations would remain. Only an additional designation would be created. The Bundestag cabinet is currently discussing the proposal to reform further training qualifications. Federal Education Minister Anja Karliczek wants to award academic degrees such as ‘Bachelor’ and ‘Master’ in a slightly modified form to skilled trades professions in future. There are to be three new designations: Journeymen, such as bakers and hairdressers, would be able to call themselves ‘vocational specialists’, master craftsmen ‘vocational bachelors’ and those with additional qualifications ‘vocational masters’. In her own words, the minister wants to highlight “the visibility of the equivalence of vocational and academic training at an international level”. However, what is supposed to provide more transparency leads to considerable and completely unnecessary confusion and therefore triggers massive resistance.

The President of the Federal Association of Liberal Professions (BFB), Wolfgang Ewert, warns against the new regulation: “The terms ‘Berufsbachelor’ and ‘Berufsmaster’ in particular pose a great risk of confusion with the degrees of the Bachelor-Master system. This is particularly irritating for young people looking for a career and for employers”. The universities also reject the introduction of the three levels of further education and the associated mandatory new job titles – precisely because of the great risk of confusion.

POTREBBE INTERESSARTI ANCHE

Change of perspective – from art to architecture

Building design

The exhibition "Metamorphosis" by architect Heike Hanada can be seen at the Architekturgalerie Berlin until June 22.

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition. The white walls are not covered in sketches and drawings, nor is the gallery transformed into a […]

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition.

The white walls are not overlaid with sketches and drawings, nor is the gallery transformed into a landscape of installations or sculptures.

Rather, the space evokes the association of an art exhibition through the abstraction and targeted placement of individual photographs and models, emphasizing the handling of space, emptiness, materiality and object.

The “Metamorphosis” exhibition opened on May 9 – exactly four weeks after the opening of the Bauhaus Museum in Weimar.

One hundred years after the founding of the state Bauhaus school by Walter Gropius, the Bauhaus Museum by architect Heike Hanada has now been opened in Weimar. A place that shows the collected works from the first phase of the school of design and revives the Bauhaus’ love of experimentation and culture of ideas. The museum aims to emphasize the workshop character of the Bauhaus through its rough concrete walls.

In a similar way, Hanada combines the spirit of experimentation, art and architecture in the “Metamorphosis” exhibition. The exhibited works show parts of the Bauhaus Museum’s development process and the connection between the spirit of experimentation, art and architecture.

The architect borrows the term “metamorphosis” from geology, botany, zoology and mythology. There, “metamorphosis” is defined as the transformation or metamorphosis of one object or state into another. Heike Hanada draws on this process of transformation in her exhibition. In this sense, for example, a vacant plinth is transformed into a sculpture and the concrete block in turn becomes a plinth.

The composition of the exhibition objects does not seem to follow any particular order. Instead, the individual objects appear to communicate with each other. As if it were a matter of course, a study work by Hanada hangs directly next to a photograph of the finished Bauhaus Museum in Weimar.

The result is a flowing transition between experiment and completion, work and process, art and architecture, which Hanada depicts in drawings, models, a video installation and photographs by Andrew Alberts.

Healing architecture: “The sick house” exhibition

Building design
A building complex with several houses with flat roofs, large window areas and partly with wooden cladding. Credit: Agatharied District Hospital, © Nickl & Partner, Photo: Stefan Müller-Naumann

What does healing architecture look like? For the exhibition "Das Kranke(n)haus", TUM students analyzed several examples, including the Agatharied district hospital by Nickl und Partner. Credit: © Nickl & Partner, Photo: Stefan Müller-Naumann

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

At first glance, the wall looks almost like any other. However, an elongated, rectangular surface stands out slightly from the white in terms of color and texture. What is special about this surface is that if you run your fingertips over it, it activates odor molecules. The wall begins to smell; the scent is reminiscent of earth or moss, mixed with something else, harder to name. The installation “MAKING SENSE” by Norwegian artist and smell researcher Sissel Tolaas can be smelled in an exhibition about hospital architecture. When designing hospitals, the olfactory backdrop is one of several factors that can influence how the architecture affects the well-being of patients. On the wall in the exhibition, Tolaas’ installation is now intended to make “healing smells” tangible for visitors.

On July 11, the Architecture Museum of the Technical University of Munich opened the exhibition “Das Kranke(n)haus. How architecture helps to heal”. It is about the architecture of hospitals and the effects – both negative and positive – that these buildings can have on people. In short: how appropriately designed architecture can help sick people recover. The exhibition was curated by architectural psychologist Tanja C. Vollmer, Director of the Museum of Architecture Andres Lepik and Lisa Luksch, research assistant at the Chair of Architectural Theory and Curatorial Practice. Federal Minister of Health Karl Lauterbach is the patron of the exhibition.

The background to the exhibition is also a shortcoming that has been recognized in hospital construction in Germany. After clinics in the 20th century were primarily geared towards efficiency and economy, flexibility and rationalization, the approaches of “healing architecture” are now focusing on people again. However, such approaches and “evidence-based design” – i.e. design based on scientific findings – are not yet widely enough recognized and applied in Germany, as the museum writes. The exhibition aims to encourage a rethink of the role architecture plays in the healthcare sector and the possibilities and tasks of hospital construction.

The installation at the beginning of the exhibition is almost like looking through an oversized keyhole into a hospital room. The wall on the left is mirrored; a green fabric panel is suspended in the room and separates a “room”. Through a large, circular cut-out in the fabric, visitors can see the head end of a hospital bed from behind. The few elements are enough to evoke associations with a patient’s room. The exhibition also provides insights into such rooms. And the show will be about something else that the installation may suggest. The cut-out in the fabric directs the visitor’s gaze. As you are standing behind the hospital bed, you are looking in the same direction and therefore have the same view as a patient in the bed. And the hospital bed faces the window front onto the meadow in front of the museum. Visitors take on the perspective of the patients.

The exhibition is divided into three sections. The first, entitled “Experiment”, presents therapy and aftercare facilities. Photos, plans, models and texts in German and English, displayed on large wooden stands, convey the examples. The title of the section refers to the fact that these facilities are less regulated, less technical and less complex than hospitals – and have therefore long been a field of experimentation for healing architecture, according to the museum. The buildings presented include the REHAB in Basel, a clinic for the rehabilitation of people with brain damage and/or paraplegia. The new REHAB building by Herzog & de Meuron opened in 2002. The project presentations are accompanied by large infographics on the side walls, for example on the lifespan of hospitals.

The second and central section of the exhibition is also visually different from the first. While the displays in the first section were curved and irregularly shaped, the supports for the examples in the second section are rectangular. The color scheme here is closely linked to the structure of the content.

Entitled “Evidence”, this section presents evidence-based design, as well as the “healing seven”. These refer to factors in the hospital architecture that can influence the stress experienced by severely and chronically ill patients. In order to reduce such harmful stress, these environmental factors can be taken into account when designing the buildings.

The Healing Seven are based on scientific research by Vollmer and architect Gemma Koppen. Over a period of more than ten years, they investigated the influence that the environment in hospitals has on the stress perception of seriously and chronically ill patients. Last year, Vollmer and Koppen then defined the following “healing seven”:

  • Orientation
  • Olfactory environment
  • Soundscape
  • Privacy and retreat
  • Power points
  • View and foresight
  • Human scale

In preparation for the exhibition, TUM Master’s students analyzed national and international hospital projects with regard to these seven factors. The 13 projects presented in the exhibition are each assigned to one of the healing seven. The color concept of the displays – each of the factors is assigned a color – picks up on this visually.

Among the projects presented in the second part of the exhibition is the Agatharied Hospital in Hausham, Bavaria, designed by Nickl and Partner and completed in 1998. International examples include the Friendship Hospital Satkhira in southwest Bangladesh by Kashef Chowdhury/URBANA (2018) and the Bürgerspital Solothurn in Switzerland by Silvia Gmür Reto Gmür Architekten (2021). In this section, visitors will also come across visitors standing unusually close to the wall – to smell the aforementioned olfactory installation by Sissel Tolaas.

The end of the exhibition is designed to be open, in the literal sense: in a so-called forum, visitors can exchange ideas with each other and with experts during their visit to the exhibition or in event formats. Literature on the topic is on display, and visitors can browse through it or discuss it at a large round table. Another olfactory installation by Sissel Tolaas in the form of several translucent fabric panels hangs at the end of this room; video clips are shown on screens behind them. In this forum, the status quo, solutions and a human-centered future of hospital planning and construction are to be discussed and shaped together, as the museum writes.

The exhibition at the TUM Architecture Museum in the Pinakothek der Moderne runs until January 21, 2024. The Pinakothek is open daily from 10 a.m. to 6 p.m. except Mondays, and until 8 p.m. on Thursdays.

“The sick house. How architecture helps to heal.”

Architecture Museum of the TUM in the Pinakothek der Moderne, Munich
July 12, 2023 to January 21, 2024
Curators and curators: Tanja C. Vollmer, Andres Lepik, Lisa Luksch
Curatorial and scientific collaboration: Zeynep Ece Sahin, Friedrich Mönninger
Exhibition architecture: IMS Studio and Friederike Daumiller
Graphic design: strobo B M
The exhibition is accompanied by a catalog.

Let’s stay on topic: the winning design in the competition for a new hospital in Liezen also uses the keyword “healing architecture”. More about the design by Franz&Sue with Maurer&Partner here: Liezen lead hospital