Marienplatz Munich: Sleeping place instead of armrest

Building design
View into a tube-like corridor whose walls are clad with orange panels; it bends to the right. The corridors of the subway station at Marienplatz in Munich glow a striking orange. The S-Bahn station, where several activists unscrewed the armrests from the benches, is located above. Photo: Nebojsa Pesic via Unsplash

The corridors of the subway station at Marienplatz in Munich glow a striking orange. The S-Bahn station, where several activists unscrewed the armrests from the benches, is located above. Photo: Nebojsa Pesic via Unsplash

At the Marienplatz S-Bahn station in Munich, which Deutsche Bahn is currently modernizing, new benches for waiting passengers have been in place for some time. The benches – or more precisely the armrests on them – have now been targeted by a group of activists. They want to draw attention to defensive architecture and the way homelessness is dealt with by removing the armrests.

On Tuesday, January 17, 2023, a group of activists unscrewed armrests from several waiting benches at Marienplatz S-Bahn station in Munich. This turned the benches, which were divided into individual seats, into longer seats that are also suitable for lying down. With this action, the activists want to draw attention to the way homelessness is dealt with. The Süddeutsche Zeitung, Merkur and Abendzeitung newspapers all reported on the action.

In their reports, the media outlets quote from a presumably anonymous statement from the group. The activists’ motto: “We will not be repressed”. They did not associate themselves with a party or organization; they had come together spontaneously. Sleeping places were created on 23 benches at the Marienplatz S-Bahn station in Munich. Individual armrests were left screwed on for people who needed them.

The activists removed the armrests “to draw attention to the displacement of homeless people”, AZ and Merkur quote from the statement. They had decided to take action themselves instead of waiting for the parties to solve the problems.

As can be seen from the reporting, the activists probably perceived the armrests on Marienplatz as examples of “defensive architecture”. Defensive or hostile architecture, hostile design, anti-homeless architecture – this refers to structural measures that are intended to prevent certain actions in public spaces or public buildings, for example, or to keep out groups of people that the installers perceive as “undesirable”. Elements such as paving stones under bridges, spikes on surfaces or armrests on benches are intended to prevent homeless people from staying there for longer. The term defensive architecture came in third place in the 2022 Unword of the Year competition: the jury criticized “the misleading euphemistic term for an inhumane construction method that deliberately seeks to ban marginalized groups from public spaces.”

Deutsche Bahn is currently modernizing five underground S-Bahn stations in Munich. Marienplatz is also one of them. In addition to new cladding on the pillars, walls and ceiling, the measures there also included new furniture. In February 2020, the Abendzeitung newspaper reported on criticism of the new benches: homeless people could not sleep on the benches and the separate seating areas could be too narrow for some people. It is not clear from the report who voiced the criticism. However, Deutsche Bahn has rejected the accusations.

When asked by G+L, a Deutsche Bahn spokeswoman explained that the S-Bahn stations were being modernized to ensure a pleasant stay for everyone. The aim is to offer travelers and station visitors attractive stations – “defensive architecture or exclusionary structures do not fit in with this claim.” Deutsche Bahn states that its waiting benches should be comfortable to sit on. Armrests make it possible to sit at a “comfortable distance” from strangers and are standard for waiting furniture, even in comparable places such as airports. They help people with limited mobility to stand up or sit down.

Finally, the spokesperson points out that helping the homeless is an important concern for Deutsche Bahn: “The Deutsche Bahn Foundation, which it finances, works together with its long-standing partner, the station mission, to help people in difficult situations and helps people without a fixed abode.” According to the SZ, a Deutsche Bahn spokesperson also said that charges would be filed for damage to property. The armrests on the benches at Marienplatz in Munich are to be reinstalled.

In their statement, the activists are said to have referred to a brochure from street furniture manufacturer Metdra. In it, the manufacturer writes: “The optional armrests make it easy to stand up and at the same time prevent misuse for lying down.” Metdra states on its own website that it supplies platform furniture for Deutsche Bahn. In an undated Metdra brochure on “Furniture for public transport and Deutsche Bahn AG”, statements similar to the above quote – that armrests prevent “unwanted use as a place to lie down” – can be found in the description of two bench models for Deutsche Bahn, among others. It was not possible to find out whether the benches from which the activists at Marienplatz unscrewed the armrests were also made by Metdra. G+L has not yet received a response to an inquiry to the manufacturer.

One day after the action, the city council faction of the parties Die Linke and Die Partei submitted a request to Munich’s Lord Mayor Dieter Reiter. The request was initiated by city councillor Marie Burneleit, who sits on the city council for Die Partei. Under the subject line “Ban defensive architecture – no misanthropic architecture in Munich”, the parliamentary group is calling on the city administration to list defensive architecture that has been implemented or is planned. They are also asking for suggestions on how this could be removed or made more people-friendly and banned in the city in future. Examples of defensive architecture in Munich include round benches at train stations that are divided by armrests.

According to the activists, the action at Marienplatz in Munich is intended to point beyond the benches there: “Our action is not just about the individual benches. We need to rethink how we as a society want to deal with homelessness. We don’t think that the people who are to be displaced by this architecture are the problem. It’s the conditions they have to live in that are wrong,” the media reports quote from the group’s statement.

What else is going on in Munich? The offices of MLA+ and Lohrengel Landschaft won the urban and landscape planning competition for a new district in the fall of 2022. Read more about what is planned for Munich’s Dreilingsweg here.

POTREBBE INTERESSARTI ANCHE
Wartburg Castle has been a UNESCO World Heritage Site since 1999. Photo: A.Savin - Own work, FAL, via: Wikimedia Commons

Wartburg Castle has been a UNESCO World Heritage Site since 1999.
Photo: A.Savin - Own work, FAL, via: Wikimedia Commons

Rising high above the Thuringian countryside, Wartburg Castle is one of the most representative cultural monuments in Central Europe. Since its inscription on the UNESCO World Heritage List, it has been one of the most outstanding testimonies to European history. Architecture, political events and literary tradition intertwine here to create a multi-layered cultural narrative.

The history of Wartburg Castle begins in the 11th century, when it was founded as the residence of the Ludovingian landgraves and from then on shaped the political power in the region. Even in the High Middle Ages, the palace, enthroned on a steep limestone cliff, was considered a masterpiece of late Romanesque architecture, whose design and ornamentation make it one of the most important secular buildings north of the Alps. This architectural heritage is evidence of the feudal character of Central Europe and forms one of the foundations for the later recognition as a World Heritage Site.
Wartburg Castle’s role as a center of courtly culture and memory grows through literary traditions such as the so-called Singers’ War, which was passed down in Middle High German poetry. At the same time, historical figures such as St. Elisabeth of Thuringia, whose life and work are closely linked to the castle, are becoming firmly established in the culture of remembrance. Even if some legends were mythically exaggerated, they still reflect the early symbolic value of the place in the cultural imagination.

The architectural appearance of Wartburg Castle is the result of a long development that underwent a profound transformation, particularly in the 19th century. After centuries of changing use and partial decay, the emerging Romantic period initiated a comprehensive restoration that was based less on a historically accurate reconstruction than on an idealized image of the Middle Ages. Under this premise, the Elisabeth Bower and richly decorated interiors were created, which today form an integral part of the complex.
From an art historical perspective, this combination of original 12th century parts and historicist additions is ambivalent: on the one hand, the preserved Romanesque building elements document the civil architecture of its time; on the other hand, the 19th century additions reflect the monument preservation and historical myths of the time. It was precisely this mixture of archaeological and symbolic authenticity that was taken into account in the UNESCO nomination, with the term “authenticity” not only referring to material originality, but also including the ideas and meanings anchored in the collective consciousness.

Wartburg Castle is more than just a stone relic – it is a place of profound cultural connections. Martin Luther’s stay here during his exile from 1521 to 1522, when he wrote the German translation of the New Testament from Greek in the so-called “Junker Jörg” room, was particularly influential. This achievement in the history of language had far-reaching consequences for theology, education and the German literary language as a whole and had a lasting impact on the cultural significance of the castle.
In the 19th and early 20th centuries, Wartburg Castle also became a symbol of national identity and political integration. Events such as the Wartburg celebrations of the German student movement became part of the collective memory, as did literary and musical adaptations in works by Richard Wagner, which romanticized the image of the medieval castle courtyard. Wartburg Castle also remains a living point of reference in cultural memory as an inspirational place for artistic debate.
In 1999, the site was inscribed on the UNESCO World Heritage List on the basis of two criteria: Firstly, as an “outstanding monument of the era of feudalism in Central Europe” (criterion (iii)) and secondly, as a site “rich in cultural references”, particularly emphasizing its connection to the history of the Reformation and the German unification movement (criterion (vi)). These criteria reflect the exceptional universal value that Wartburg Castle has beyond the borders of Thuringia. The castle not only documents the architecture and living environment of high medieval feudalism, but also exemplifies the profound influence of historical events and cultural upheavals on European civilization. The UNESCO designation therefore not only recognizes the material substance of the complex, but above all its role as a place of remembrance that inspires generations of visitors to reflect and research. The integrative perception of architecture, history and cultural impact makes Wartburg Castle a unique medium for communicating the past and present.
At a time when cultural heritage is increasingly being discussed in a global context, Wartburg Castle highlights the importance of historical sites as mediators of identity, memory and transnational understanding. Its place on the World Heritage List helps to secure this significance in the long term and make it tangible for future generations.

Safety – The Baumeister in April 2025 is here!

Building design

Will this makeshift barrier around the bronze statue actually help at night? Not sure ... Cover photo: Rona Bar & Ofen Avshalom / Connected Archives

“Security” in architecture means more than just barriers and alarm systems – there is much more to it than that. This issue sheds light on how buildings can provide protection – be it against the forces of nature, theft or social conflict. Your planners do not see security as a restriction, but as a design potential. In order to avoid repellent gestures, they often find security-relevant solutions in the building form. […]

“Security” in architecture means more than just barriers and alarm systems – there is much more to it than that. This issue sheds light on how buildings can provide protection – be it against the forces of nature, theft or social conflict. Your planners do not see security as a restriction, but as a design potential. To avoid repellent gestures, they often find security-related solutions in the building design.

Security – a word that is supposed to reassure and yet often has the opposite effect. We all long for it, but we also know that there is no such thing as absolute security. A building can protect against rain and cold, a city can be well planned – but can architecture really guarantee that we feel safe? Or does it only create an illusion? And in the end, isn’t the feeling of safety just as important as the safety itself?

The last year alone has shown us once again how fragile our built and lived environment is. Collapsing bridges, poorly maintained high-rise buildings and natural disasters that destroy entire neighborhoods. At the same time, fear of attacks in public spaces is growing, and in many cities measures are being taken to turn urban squares and buildings into high-security zones. But do we really need to turn our built reality into bastions of concrete and cameras in order to feel safe? Or is there a more intelligent answer to the question of protection?

Architecture cannot guarantee absolute security, but it can create trust. It can shape spaces that convey a sense of security without restricting freedom. Architecture has the unique potential to master precisely this balancing act. From fire and earthquake-proof school buildings to carefully considered designs for public spaces: Security architecture must not rely solely on control and barriers, but must enable trust and freedom. A clever choice of materials, for example, can preserve a feeling of openness without sacrificing protection. Ultimately, it must not be about sealing things off, but about proactive design.

Security must not become an aesthetic of mistrust. Walls, bars, barriers and confined spaces may minimize risks, but they also separate us from each other. All too often, they stifle life. The most popular place, both inside and out, is often where people meet, where light and transparency dominate, where architecture acts as a social bond and thus serves a greater purpose.

This issue is an invitation to rethink security. We show projects that prove that protection does not have to mean control, but trust. That architecture not only erects walls, but also builds bridges – between security and freedom, between control and openness. Because true security is not created by fear, but by clever (re)planning, by courageous design and by a society that does not close itself off, but proactively takes the helm. Enjoy reading!

Yours sincerely,
Tobias Hager

Editor-in-Chief
t.hager@georg-media.de

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In March, our Baumeister issue was all about building on existing buildings and conversion. Read more about it here!