New “front lines” everywhere

Building design

Alexander Gutzmer

A look at Germany and Europe these days reveals regions full of fractures. Seemingly long united regions are radically diverging. Supposedly clear civilizational agreements are being thrown overboard with verve. Life models and value systems are drifting apart everywhere. Of course, this is currently most radically evident in the refugee debates and their dregs, the attacks on asylum seekers and their shelters. Here, as […]

A look at Germany and Europe these days reveals regions full of fractures. Seemingly long united regions are radically diverging. Supposedly clear civilizational agreements are being thrown overboard with verve. Life models and value systems are drifting apart everywhere.

Of course, this is currently most radically evident in the refugee debates and their dregs, the attacks on asylum seekers and their accommodation. Here, as in the XYZ-egida demonstrations, we can see how poorly defined the foundations of our coexistence are. For the time being, we can forget about the idea of a civilizational unity that has been realized once and for all in Germany, but even more so in Europe as a whole. As bitter as this realization is. Where we thought there was unity, there are countless front lines – and new ones are constantly being constructed.

Against this backdrop, it seems rather prescient that the curator of the next Architecture Biennale, Alejandro Aravena, will be holding his 2016 discourse event under the title “Reporting from the Front”. Together with Biennale director Paolo Baratta, Aravena has now announced this in Venice. The curator is concerned with the “front lines of the built environment”. It can be assumed that the Chilean will initially look for these in emerging countries such as Chile, Brazil or India. But the events of recent days show that we don’t need to look that far to discover spatial frontlines. I have already referred to the refugee home as a structural statement of struggle (and increasingly contested territory). In a more fundamental sense, however, urban space as a whole is a zone of permanent, not always peaceful conflict. It is not for nothing that the term “no-go areas” is circulating.

With regard to the front lines that (still and repeatedly) divide Germany as a whole, it can be stated: These are, even if we didn’t want to admit it for a long time, more powerful than ever. Sigmar Gabriel is right when he speaks of spatially constituted areas of darkness, of “dark Germany”. However, this does not mean East Germany, and that was not Gabriel’s intention. What is clear is that there are micro-spaces in which any thought of culture, civilization and the aesthetics of life seem out of place. Right-wing extremist regulars’ tables, for example. Parties such as the NPD aim to expand them on a large scale. The regulars’ table thus becomes a spatial principle. And once the common neo-Nazi gets going with his programmes of nationalist cleansing of towns and villages, the end result is likely to be deculturalized banal spaces of collective mindlessness. Dark Germany as a perverse political goal.

This is also the specific tragedy of the refugee haters. The fact that they know exactly what they don’t want (namely all foreigners). But they don’t have a clue as to what should actually characterize the regions they want to “clean up”. Neither economically, politically, aesthetically – or even architecturally. In a globalized world, they would be spaces without identity. Therein lies the absurdity of the Pegidaists: they talk a lot about national identity, but their fear-driven hysteria is an expression of a lack of identity. The lack of one’s own gives birth to hatred of the foreign.

And that also has something to do with East and West Germany. Of course, it is too easy to say that the hatred of refugees is limited to the (no longer quite so) “new” federal states. It’s not, keyword Salzhemmendorf. But it does seem to occur more frequently than average in the east, as the journalist and refugee expert Olaf Sundermeyer recently reported on Maischberger. And I interpret this as the result of an identity crisis that is not originally East German, but is perhaps more pronounced there. Regional self-descriptions are becoming fragile in the wake of postmodern globalization – everywhere. And parts of the East do not have an identity that can counter this erosion process as robustly as, say, Upper Bavaria. (Which is not to say that the Bavarian folk soul is particularly close to me. But it is strong).

Perhaps this was not possible in any other way after the fall of communism. Where should the identity-forming “great stories” in Lyotard’s sense have come from in the face of a culture that was unanimously understood at the time as the result of a political aberration and was accordingly consistently unwound? The turnaround happened the way it did. But we should have the courage not to deny the possibility of more fragile identities in East German regions from the outset for reasons of political correctness.

This is not an original architectural consideration. Nor do I believe that the identity crisis I have described can be solved by architectural or urban planning means. But perhaps it helps to formulate it as a problem. And I could imagine that against this backdrop, for example, the architecture-related winner mentality with which East German flagship buildings such as the Palace of the Republic were flattened would appear in a more problematic light. Because this opened up further “front lines” that were not needed.

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TU Munich Hyperloop test track opened

Building design
Europe's first test track for Hyperloop has opened in Ottobrunn. Photo: © TUM 2023 Hyperloop

Europe's first test track for Hyperloop has opened in Ottobrunn. Photo: © TUM 2023 Hyperloop

A team at the Technical University of Munich has been researching the Hyperloop for ten years. Europe’s first fully certified test track for passenger operations has now been opened in Ottobrunn.

A team at the Technical University of Munich has been researching the Hyperloop for ten years. Europe’s first fully certified test track for passenger operations has now been opened in Ottobrunn.

Traveling at 900 kilometers per hour in a capsule through a vacuum tube. What sounds like a scenario from a science fiction movie is actually being worked on by a team at the Technical University of Munich. The so-called Hyperloop should make exactly that possible. The project began after Elon Musk launched a competition for students on this technology in 2012. Teams from the Technical University of Munich won first place. In the following years, they continued to shine in competitions in Musk’s circle of influence. His aerospace company SpaceX had a 1.6-kilometre-long test track with a diameter of around 1.8 meters on a site in California until 2022. In 2019, for example, the Munich-based company set a speed record of 463 km/h there. The developers have been working on the Hyperloop project for a good 10 years now. The team now comprises a total of 86 employees from 26 nations.

Those responsible see the test track, which has now been opened in Ottobrunn near the Bavarian capital, as a further milestone in development. It is Europe’s first test track to be fully certified for passenger operation. In Nevada, the US company Hyperloop One successfully drove a capsule with people on board through a test tube back in 2020. A year later, however, it abandoned its research into passenger transportation in order to focus on the more practical freight business. What is now happening in Ottobrunn could therefore also be of international significance. It is no coincidence that the project at the University of Munich has been anchored in its own Hyperloop program for some time. This in turn has been part of the “Hightech Agenda Bayern” since 2020 and is co-financed by the Free State of Bavaria.

Minister President Markus Söder and Science Minister Markus Blume (CSU) were therefore also present at the inauguration ceremony. Söder spoke of “super potential” and Blume emphasized that every great idea starts small. He was alluding to the size – or length – of the test tunnel. It is currently only around 24 meters long. No new speed records are initially expected on this route. The Hyperloop needs ten to twenty kilometers to reach a speed of around 900 kilometers per hour. The capsule with five seats in Ottobrunn, on the other hand, only moves through the tube at walking pace. At the current stage, however, the main focus there is on researching the sealing of the concrete tube on a real scale. There is also a focus on the capsule and the safety of passengers in the vacuum of the tube. In-depth research into the control and drive system is also planned. Finally, the researchers are working on a station concept.

The first test drive of the prototype took place on July 10 of this year. And the international team has already set its sights on the next step: They want to build a one-kilometer test track by 2025. Where and when remains to be seen. However, this should also be available to the public for test drives. The science fiction vision of locomotion could therefore actually be realized in the next few years.

Read more about the Hyperloop in Germany here.

Ólafur Elíasson

Building design

Art is making ever more frequent and ever more confident use of architectural means. And few artists illustrate this more than Ólafur Elíasson.

Art is making ever more frequent and ever more confident use of architectural means. And hardly any artist illustrates this more than Ólafur Elíasson, who was born in Iceland in 1967. Time and again, he relates his works directly to architecture. Eliasson has now delivered a piece of radical spatial transformation at the Danish Louisiana Museum of Modern Art. Under the title “Riverbed”, he has completely transformed the entire south wing of a considerable exhibition space and turned it into a covered river landscape filled with earth – through which a river actually meanders.

The work brilliantly reflects Elíasson’s philosophy of constantly exploring the limits of architecture and, above all, questioning its inherent settings. For example, the dividing lines drawn by architecture between indoors and outdoors and between nature and culture. Nature is culturalized in Louisiana. And vice versa, the museum mutates into wilderness. If you want, you can also see this as a commentary on the possible Wild West manners of the contemporary art market. In any case, this is a subtle commentary on the non-neutrality and event character of museum spaces.

Above all, however, the architectural references in the work eliminate the distance between visitor and work, between physicality and visuality. In Louisiana, the visitor walks over the artwork and thus becomes part of it – just as every user becomes part of the architecture around them through their physicality. “I have only created half the story. The visitor completes it,” says Elíasson himself. The innocence of the viewer is therefore at an end. Every supposedly neutral connoisseur becomes part of this strange, eccentric world we call art.

“Architecture and event” – more about Ólafur Elíasson from November 1 in Baumeister 11/2014

Photos: María del Pilar García Ayensa/Studio Ólafur Elíasson