Why build high-rise buildings – and award prizes?

Building design

Peter Cachola Schmal and this year's IHP winner Benjamín Romano in conversation in the winning project "Torre Reforma" (Mexico City). Photo: Moritz Bernoully.

The German Architecture Museum awards the International Highrise Award every two years. This year, Benjamín Romano won with his “Torre Reforma” in Mexico City. However, the prize also attracts criticism, most recently from Stefan Forster in the “Welt” newspaper. We asked museum director Peter Cachola Schmal why he still thinks building vertically is […]

The German Architecture Museum awards the International Highrise Award every two years. This year, Benjamín Romano won with his “Torre Reforma” in Mexico City. However, the prize also attracts criticism, most recently from Stefan Forster in the “Welt” newspaper. We asked museum director Peter Cachola Schmal why he still considers vertical construction to be relevant.

Baumeister: Mr. Cachola Schmal, do you believe that building upwards has a future in urban areas?

Peter Cachola Schmal: The high-rise building is the building form of the future. Only vertical construction will use less space. In all the dynamically growing cities of the world, this growth will only be possible vertically; further expansion is out of the question if we want to keep these metropolises under control. Due to rapid population growth, the largest cities in the world will be in Africa in the future, and the Nigerian city of Lagos could become the frontrunner with up to 100 million inhabitants. Of course, Europe will not grow as dynamically as Africa or East and Southeast Asia, although we will also have to contend with strong population growth here – mainly due to migration. Vertical structures could be a potential solution here. On the other hand, we have not yet found an answer to the phenomenon of vertical cash investments – i.e. high-rise buildings that are primarily used for luxury residential units. This justifiably generates criticism, because uninhabited residential towers like those in London cannot benefit the city. We will have to deal with this issue more, especially in Frankfurt, and find tax or legal answers to it.

The Highrise Award attracts a great deal of media interest, but sometimes also criticism. Why is it still in keeping with the times?

Only a few high-rise buildings over 100 meters are built here in Europe, so some might consider it an irrelevant building form for us. What is exciting, however, is that half of the 36 nominations worldwide this year were designed by European architects. This means that our architects definitely have global relevance. They also plan with European specialist engineers and products. So we benefit from global development. In this respect, the search for the best and most innovative solutions is even in our own interests. And we are drawing attention to developments in the most advanced metropolitan areas that will also reach us a few years later, such as hybrid mixed-use developments.

Some participants in the debate emphasize that high-rise buildings will not solve the problems of affordable housing. Is the price being misunderstood here?

Unfortunately, this urgent question is rarely answered in terms of design, whether in low-rise or high-rise construction, here or elsewhere. In this respect, the high-rise price is the wrong addressee. Affordable housing is very important to us and we are addressing it with another, more targeted competition, the “Housing for All” competition. The winning project will also be built. But even in high-rise construction, sometimes something surprising happens in this area. Last time, we awarded a special prize for social housing to the city of Singapore, which demonstrated in three experimental projects how it is possible to build 1,000 apartments for families in large complexes in a humane and climate-friendly way, which were also impressive in terms of design.

Why do the Germans in particular have such a hard time with the type of high-rise building?

Unfortunately, we Germans are not only struggling with high-rise construction at the moment. A melancholy and a new desire for doom is spreading in this country, even though – or precisely because – we are in the best economic situation we have ever had. We are completely convinced that the future will not be any better for our children. A wave of restoration and clinging is making itself felt, architecture is consequently becoming more conservative, we demand security and no experiments. What’s more, high-rise living in Germany is still mainly associated with the large social housing estates of the 1970s. Nobody wants to go back there. Now, at the other end of the spectrum, there is expensive high-rise living, which generates downright envy. Neither suits us. The digital technological challenge is hardly being recognized, let alone tackled, and instead the venerable “European city” is to be cemented. We have lost a positive view of the future. But this is what all major construction projects stand for – a legacy for the future. Where in Germany are new airport terminals, new major ports, new infrastructure hubs, new satellite cities currently being built, where are we tackling the challenges?

Peter Cachola Schmal, born in Altötting in 1960, has been Director of the German Architecture Museum (DAM) in Frankfurt am Main since April 2006. The “Best Highrises 2018/19” exhibition is currently running here, presenting the winning projects of the Highrise Award.

POTREBBE INTERESSARTI ANCHE

Ireland Glenkeen Garden

Building design

A book for photo lovers about the Glenkeen Garden in Ireland.

Glenkeen Garden is a 100,000 square meter site on Roaring Water Bay in West Cork, Ireland. The property was purchased by Wella co-owner Ulrike Crespo and her husband Michael Satke in 1990. Since then, they have been busy creating an extensive garden with varied garden spaces, organizing structures and numerous works of art. Michael Satke has now published a nine-volume work on the garden with Hirmer Verlag.

In it, five photographers present their very personal view of Glenkeen Garden. However, Ireland Glenkeen Garden is neither a documentation of the garden nor a reference book; indeed, it has to be said that the little technical content, for example in the plant index, has been compiled rather unprofessionally. For all his love of the garden, Satke would have done well to have an expert look over the plant list again.
It is therefore better to stick to the pictures, which show the garden in day and night shots, in the changing seasons and with many details. All the pictures are printed in matt, which limits the brilliance, but fits in well with the graphic concept with lots of white space and lush, large letters. The book is not geared towards mass taste, which cannot be the case anyway at a price of 389 euros. It is aimed at absolute lovers of Glenkeen Garden, people interested in graphics, people who value something special. This begins with the decorative box, the landscape format, thread binding and altar fold and ends with the limited edition of 999 copies. Artificial scarcity is intended to arouse desire. The book received the German Garden Book Award 2015 for the best garden portrait.

Michael Satke (ed.): Ireland Glenkeen Garden. Photographic works by Ulrike Crespo, Oliver Jiszda, W. Michael Satke, Kurt-Michael Westermann, Gerald Zugmann. German | English. 9 volumes in a jewelry box, limited to 999 copies, numbered. 546 pages, 581 photographs mainly in color. Softcover. Decorative box 38 × 30 × 9 cm. Hirmer Verlag Munich 2015, 389 euros

Neolith makes waves

Building design