Park “Kamp” in Bad Doberan illuminated by WE-EF

Building design

As central elements of the park, the pavilions form warm islands of light. Pendant luminaires are installed under the surrounding canopies, while miniaturized LED spotlights provide narrowly focused grazing light accents. Photo: Frieder Blickle for WE-EF

The spa town of Bad Doberan in the district of Rostock has been given a new place to spend time with the newly designed “Kamp” park. The lighting from WE-EF is crucial for the quality of the stay. An imaginative design implements innovative lighting with intelligent control and provides a successful example of how lighting design, monument protection and technology interlock.

The “Kamp” park is a triangular park with historic buildings. Not far from the Mecklenburg Baltic coast, the park is located in the heart of the town of Bad Doberan. The 19th century pavilions (Red and White Pavilions) are a magnet for tourists and locals alike. With its 200-year-old trees, the park is a popular meeting place.

Whether a festival site or simply a “good place” – the basis for the lighting concept developed by Prof. Dr. Thomas Römhild on behalf of WE-EF in collaboration with the lighting laboratory at Wismar University of Applied Sciences. The green space and the pavilions should be inviting from morning to night. “The Kamp has always been a special place for me,” says planner Prof. Dr. Thomas Römhild, describing his approach: “Based on its history and current significance, it was clear to me that the Kamp should be designed as a festival site. But because not every day is a festival day, the Kamp can also be the ‘parlor’ that invites people to linger into the evening hours.”

Due to the natural structure with the trees, only a few luminaires were installed. Only at the entrances to the park were pole-mounted luminaires used to accustom the eye from the bright street lighting to the lower lighting level in the park. The luminaires at the edge of the Kamp are lantern-shaped cylindrical luminaires fitted with multicolored LED modules and supplemented by a street lighting component. These have a special feature: they are colored LED modules that are based on the color of the evening sky. These “lanterns” are suspended from tension cables along part of the avenue of lime trees that surrounds the park. The numerous seating options were supplemented by concealed bollard lights.

The pavilions as central elements of the park form islands of light. The canopies were fitted with pendant luminaires. In addition, miniaturized LED spotlights were used to better highlight the architectural details. The FLC201 LED spotlights use focused grazing light to accentuate the details of the pavilions. The color temperatures of the pavilions differ. The red pavilion was given warm lighting with 2700 K and the white pavilion neutral lighting with 3000 K.

All photos by Frieder Blickle for WE-EF

The central element is the cylindrical luminaire. Whether as a pole-mounted luminaire, as a rigidly suspended luminaire or as a cable suspension. With this type of luminaire, the lighting ties in with Alexandrinenplatz, which was also equipped by WE-EF in 2019. Two customized solutions for Bad Doberan are a special feature.

One is the implementation of WE-EF’s innovative lighting in collaboration with planners and scientists. The multi-colored LED light adapts to the evening sky. This creates a variation depending on the occasion and a recognition value. And all with the help of DALI and a supplier’s radio getaway. However, it must also be said that the lighting is to be reduced after 10 pm.

The second point concerns the pendant rope luminaires. A conversion of the ZFT470 luminaire with the aid of an inserted foil. Silver on the outside and copper-orange mirrored on the inside. Light falls through a circular opening to the outside and the luminaire is barely noticeable during the day. “During the day, the cylinders are barely visible due to the reflection; at night, light falls through circular openings onto the path and the trees,” says Römhild, describing the effect of the lights.

For WE-EF, the project was a prime example of cooperative product development. “We don’t just act as a supplier, but as a partner who understands the language of the planners and works with them to implement visions,” says the company. The fact that scientific impulses from the university were also incorporated speaks for the culture of innovation behind the scenes.

The project in Bad Doberan offers important impulses, especially for cities that want to position themselves as attractive living spaces: it shows how lighting design contributes to urban identity, increases the quality of stay and creates new possibilities for use – not through “more”, but through intelligent, finely tuned light. Municipal clients benefit from the combination of creative finesse and economically viable solutions. Landscape architects, on the other hand, will find WE-EF to be a partner that combines technical expertise and design standards.

Project participants
Lighting design: Prof. Dr. Thomas Römhild
Client: City of Bad Doberan
Landscape architecture: Rehwaldt Landschaftsarchitekten, Dresden
Electrical installation: EMR, Rostock
Luminaires: WE-EF

Further information can be found here.

POTREBBE INTERESSARTI ANCHE
The Wieskirche in all its glory: exterior view of the rococo jewel in the foothills of the Bavarian Alps, UNESCO World Heritage Site since 1983. Photo: Burkhard Mücke - Own work, CC BY-SA 4.0, via: Wikimedia Commons

The Wieskirche in all its glory: exterior view of the rococo jewel in the foothills of the Bavarian Alps, a UNESCO World Heritage Site since 1983.
Photo: Burkhard Mücke - Own work, CC BY-SA 4.0, via: Wikimedia Commons

The Wieskirche is a unique masterpiece of Bavarian rococo architecture, which impresses with its light-flooded architecture, richly decorated stucco work and deep spiritual atmosphere. Built in 1745 as the result of a miraculous event, it embodies not only architectural excellence, but also a living pilgrimage tradition. Since its inclusion in the UNESCO World Heritage List in 1983, the pilgrimage church “Die Wies” has been representative of the harmonious interplay between art, faith and landscape.

The recognition of the Wieskirche as a UNESCO World Heritage Site is based on its exceptional universal value. This lies above all in the authenticity of the site: The surroundings have remained completely untouched to this day, and the form and design, material and substance as well as the use and function of the church have been preserved unchanged. Equally important is its integrity, because in this sparsely populated, almost deserted area, a religious and architectural project could be realized without external restrictions. As a result, all the elements that give the church its universal value have been preserved and there are no direct negative effects from structural development or neglect.
At the same time, the Wieskirche fulfills two essential UNESCO criteria: according to criterion (i), it is a perfect masterpiece of Rococo art, built in the open air and impressively embodying the artistic flowering of the 18th century. According to criterion (iv), it is an exceptional testimony to cultural and religious traditions that uniquely documents the combination of art, faith and landscape. This makes it clear why this place is of universal importance beyond its regional significance.

The Wieskirche, officially the Pilgrimage Church of the Scourged Savior on the Wies, was recognized as a UNESCO World Heritage Site in 1983 and has since been considered an outstanding example of the beauty and significance of Rococo in Bavaria. This building was constructed between 1745 and 1754 under the direction of the architect and stucco artist Dominikus Zimmermann and stands out not only for its exterior design, but above all for its interior: stucco, ceiling paintings, ornamentation and lighting combine to create a total work of art that is inextricably linked to religious experience. Even the source of the will to build – the so-called miracle of tears at the figure of Christ the Scourged Savior in 1738 – bears witness to the deep spiritual roots that characterize this place to this day.
The Wieskirche was built in a landscape that was barely populated and relatively untouched, which means that the church does not subjugate its surroundings, but corresponds with them. Dominikus Zimmermann not only had walls erected, but also created spaces that create an almost heavenly effect through light and transparency. The architecture is airy and bright, and in combination with the lavish stucco decoration, carvings, gold ornaments and the trompe-l’œil fresco in the dome, an inner world is created that invites the viewer to linger and contemplate. The harmony between art and landscape is an essential feature of the Wieskirche; it was deliberately built in the open countryside so that form and design, material and substance, use and function could unfold undisturbed. The openness of the space and the illumination of the interior through numerous windows allow the artistic elements to achieve their maximum effect, not merely as decorative accessories, but as an integral part of religious space.

The value of the Wieskirche lies not only in what is visible, but also in what it preserves: in the authenticity of its overall appearance, in the integrity of its architectural forms, in its function as a pilgrimage church that continues to be visited. Different artistic disciplines – architecture, stucco, painting, sculpture and carving – enter into dialog here in a rarely seen perfection. The ceiling frescoes by Johann Baptist Zimmermann are particularly noteworthy, as are the stucco garlands created by Dominikus Zimmermann. The opulent interior decoration remains unrivalled in its richness and refinement, as is also emphasized on the UNESCO website. It is equally important that the Wieskirche preserves living religious traditions in its function as a sanctuary: pilgrims, church services, pilgrimages and the awareness of a place that wants to be more than an architectural monument characterize its profile.
The location of the Wieskirche at the foot of the Alps, in the middle of a rather sparsely populated region, enhances the experience: those who visit it not only experience art history, but also nature, silence, spatial expanse and the interplay of light and shadow. This means that a visit at different times of day provides different impressions. In the morning, the sun illuminates the frescoes and stucco work particularly impressively; in the afternoon, the shadows and light change the perception, so that you almost have the feeling that the church changes its face as the day progresses. This effect is part of what makes the Wieskirche so special – not as a fixed point, but as a place of living experience.

From a scientific point of view, the Wieskirche is an object of study on several levels: On the level of architectural history, it shows how rococo and religious function merged, how artists such as Dominikus and Johann Baptist Zimmermann worked, what techniques and materials they used and how these have been preserved over time. At the level of the World Heritage documents, attributes such as integrity and authenticity can be precisely defined: the intact surroundings, the original substance, the historical use and the complete furnishings. The Wieskirche is also a role model in terms of cultural management and monument protection – how to protect a place without taking away its function, how to transform a church into a mere tourist attraction without its religious users. The Wieskirche thus not only stands for baroque religiosity and artistic enjoyment, it remains a living place of pilgrimage that attracts people who want to experience art, faith and history. It symbolizes the flowering of rococo in Bavaria and at the same time the task of preserving cultural heritage so that future generations can understand the depth and beauty of this place.

– Guided tours: In-depth insights into the architecture, art and history of the Wieskirche.

– Church services and pilgrimages: Spiritual events and a lively pilgrimage tradition.

– Music and concerts: Organ concerts and other musical events in a historic atmosphere.

– Further information on opening times, guided tours and current events: www.wieskirche.de.

Tip: Visit the church in the morning sunlight, when the frescoes and stucco work are particularly radiant.

Beautiful views in the creative quarter

Building design

From July 23 to October 2, the space and sound sculpture SICHTUNG II will be on display in Munich’s Kreativquartier. It has the shape of a tower and is accessible.

From July 23 to October 2, 2019, the space and sound sculpture SICHTUNG II will be on display in Munich’s Kreativquartier. The artwork was created by Hildegard Rasthofer and Christian Neumaier. It is a temporary artistic installation that can be walked through inside.

The artists Hildegard Rasthofer and Christian Neumaier used over 70 tons of steel for their sculpture SICHTUNG II. The dimensions of the artwork, which consists of 13 cubes, are variable: in Munich, it towers over 32 meters high with a base area of 2.4 x 2.4 meters – but as soon as the sculpture changes location, its dimensions also change.

It is created anew each time it is erected, depending on the location and situation. Under the name SICHTUNG II, the sculpture takes the form of a tower. Viewers reach the top level, an open platform, via a three-flight staircase.

As SICHTUNG I, the artwork already stood in Reithofen in Upper Bavaria in 2018. Following the exhibition in Munich, SICHTUNG II will be dismantled and reassembled in the mSE Kunsthalle in Unterammergau as SICHTUNG III.

Hildegard Rasthofer is an architect. She designed the modular sculpture together with the metal sculptor and master blacksmith. In their work, the two artists deal with experimental architecture and plastic-sculptural design.

The sculpture can be viewed in Munich’s Kreativquartier. Access is only possible during the opening hours of the site, via Heßstrasse (at number 134).

Further information can be found here.