English eat up Germany?

Building design

The pitfalls of language

The politician Jens Spahn sees German city centres being overrun by the English language and a globalized hipster culture. Our author wishes him more serenity.

Jo, it’s funny, the picture above. A subtle linguistic attack on the common Teutonic tourist. Whether an unconscious act of Germano aversion or rather sloppiness in the Adriatic high season – the impression currently haunting Facebook refers to the great theme of longing and loss in globalization: dealing with one’s own, and foreign, language. An emotional subject. Believe me, I know what I’m talking about – I’m currently living in Mexico and am trying, with moderate success, to improve my Spanish. That’s important, because hardly anyone speaks English here. Unlike in Berlin-Mitte.

Which brings us to the topic. The dominance of English in core tourist areas such as the center of Berlin has just been made an issue by CDU politician (and, according to those in the know, upcoming party star) Jens Spahn. He says that too much English is spoken in Berlin’s hipster cafés. And tries, somewhat strenuously, to combine his position as the only CDU hipster with his Anglo-critical core argumentation. Of course, this is aimed more at the CDU core electorate “out in the country”, people in Wanne-Eickel or Salzgitter-Lebenstedt, who may not speak English as well as the Berlin hipsters Spahn doesn’t appreciate (and like himself, as he casually lets slip).

Very important for Spahn: the reversal of the provincialism accusation. It is not the people from Wanne-Eickel who are provincial, but the hipsters themselves. A popular mental maneuver: take your opponent’s main argument and throw it at them yourself. Am I stupid? No, you are stupid. No, you are. No you…

Now, the presence of English in the tourist centers of our cities – as well as in those of other metropolises – cannot be denied. Occasionally I sit with a German friend at the bar of Berlin’s Soho House and order drinks from the German barman – in English. It does feel a bit strange. But to be honest, it’s not that bad. In any case, it doesn’t give me the identity crisis Spahn is talking about. And the drinks are still good.

What is interesting about Spahn’s criticism, however, is his observation that a kind of global tourism culture is spreading in our centers and replacing everything regional. That’s true, these cultural processes do exist. They also have an architectural impact, in Berlin, for example, through the construction of architecturally disastrous hotel bunkers that signal to Easyjet tourists in particular: This is your place. Berlin has little to counter this as a city due to empty coffers. At least investment is now being made, it seems. But the question is at what point the atmosphere of a city center is actually undermined to such an extent that nothing specific to the city remains.

Although – ultimately, I’m not so pessimistic about this. And that’s because I believe in the power of our cities more than Jens Spahn does. It’s not true that “all of Mitte” or the entire city centre of Munich is degenerating into vulgar, globalized party zones. Rather, backpacker tourism and hipsteritis are being added to other cultural elements. And alongside the aforementioned hotel monstrosities, a lot of good architecture is still being created in our cities. In this respect, dear Mr. Spahn: Relax. Oh sorry – don’t despair, I meant.

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Franken-Schotter takes over the BIM planning office Pronag

Building design

a cultural and congress center in Feldkirch in Vorarlberg, Austria

The natural stone dealer already offers BIM services and intends to expand this area with the acquisition.Franken-Schotter took over Pronag on July 1, 2018 as part of an asset deal and transfer of operations. The parties have agreed not to disclose the purchase price. Pronag is regarded as a leading German BIM planning office for natural stone work. The reference list is long and includes, for example, the 3D BIM […]

The natural stone dealer already offers BIM services and intends to expand this area with the acquisition.

Franken-Schotter acquired Pronag on July 1, 2018 as part of an asset deal and transfer of operations. The parties have agreed not to disclose the purchase price. Pronag is regarded as a leading German BIM planning office for natural stone works. The reference list is long and includes, for example, the 3D BIM planning of the Berlin State Library and the redesign of the Rhine promenade in Basel – the latter a collaboration with Franken-Schotter.

Dr. Torsten Zech, Managing Director of Franken-Schotter, comments on the acquisition: “With this takeover, we are addressing the Building Information Modeling megatrend, which will fundamentally and sustainably change the construction industry in the coming years. We are already seeing strong demand, particularly from the English-speaking world. In addition, BIM will provide us with massive support in the digitalization of internal processes and production workflows.”

In a 2017 study , management consultants Roland Berger found that BIM is increasingly becoming the standard for the entire construction industry. And will mark a turning point in the construction industry. Marc Aßmann, master stonemason and Managing Director of Pronag Bauherren, said in an interview in STEIN S02/2018 that BIM should be used as early as possible in the planning process, as the higher the added value. Franken-Schotter is planning to do just that and wants to “be a role model within the industry with our integrated and resource-efficient value chain”. The Pronag brand will be retained and Franken-Schotter will continue to offer external natural stone planning services from its Dresden site.

Trend analysis – The museum 3.0

Building design

to show the artist's working processes or to reveal unrecognizable layers of paint. Photo: Clair Obscur.

Art museums are breaking out of the building walls – into the digital space. Apps and online tours are now part of the permanent repertoire of art education. A survey of German consumers shows how this trend is reflected in the public. Advertorial Article Parallax Article On the website of the Amsterdam Rijksmuseum, almost every exhibit can be viewed zoomed in on in full-screen mode. […]

Art museums are breaking out of the building walls – into the digital space. Apps and online tours are now part of the permanent repertoire of art education. A survey of German consumers shows how this trend is reflected in the public.


3-D
Projection technology makes it possible, for example, to show the artist's work processes or to reveal unrecognizable layers of paint. Photo: Clair Obscur.

On the website of the Amsterdam Rijksmuseum, almost every exhibit can be viewed zoomed in on in full-screen mode. Johannes Vermeer’s Milkmaid from 1660 gazes absorbedly at the high-resolution beam of milk-white bliss. One pupil movement further on, a field with a red background vies for attention: this painting has been “liked” 10,806 times. Next to it, a scissor symbol encourages reproductive complicity: “Get creative”, “Download this work”!

Digital surfaces – apps on tablets and smartphones that wander through the halls in visitors’ hands – have also long been a familiar feature of museum spaces. In fact, this trend is closely linked to the exponential growth in visitor numbers at many art museums. The Staatsgalerie Stuttgart counted 375,694 tickets sold in 2015: an increase of 70 percent compared to the previous year, confirms Director Christiane Lange. New technologies – keyword “augmented reality” – are already on the rise. But can this trend, which focuses on the virtual, be sustained?

A survey conducted by the market research institute Promio on behalf of the media technology company fröbus among 1068 German consumers illustrates the reactions that different digital mediation methods evoke in visitors:

Proximity or distance to the object

The results of the survey show that the digital trend is currently moving back towards the object. Instead of keeping the works seemingly close but at a distance by clicking on a screen at home or integrated into the exhibition, the information conveyed by 3D visualization or projection directly on the object is gaining attention.

This impression is also confirmed by a cross-section of the current start-up scene in museum technology. Light choreography, turntables, 3D prints. The focus is on the work of art in all its facets: Details, reverse sides, as well as reconstructions of the original state are to be made accessible to visitors to the Museum 3.0 (replacing the digital-virtual 2.0). The Berlin start-up Clair Obscur, for example, has developed a new projection technology that can reveal the artist’s working process or hidden layers of paint directly on the painting. “It is important to us,” explains Lene Fischer, co-founder of Clair Obscur, “to create a closeness to the work, to tell the story of an object.”

interactive scape, who specialize in so-called multi-touch tables, choose a different way of communication. These release digital information when they are touched with a specially created haptic object. “Above all, a visit to a museum should be an experience – a tactile experience,” says Marcel Graf from interactive scape, describing their objective. This is particularly relevant in our digital age: “Our mediation concepts focus on a museum you can touch. An experience that you can’t have at home in front of a screen.”