The Dying Graves In Spring

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My jumping-jack cat has shown up. He used to be a part of my childhood and now he’s back again. Wearing 17th century Thirty Years’ War gear (or so I think), he looks rather special. The Thirty Years’ War (1618-1648) was so utterly horrific and dying so much more common than it always has been anyway that it was as fashionable to reflect on one’s own death as it is fashionable to dream of 15 minutes of fame nowadays (even though vanity was also a huge thing in the Baroque period). That memento mori has its place in Lent as Christians prepare for remembering the death of Christ. Curiously my walk took me to a cemetery today. It was sunny and I wanted to see the early flowers of spring. In other words: life. What do we love about these early spring flowers? They are the heralds of spring, of a beginning of a new life. They defy the final frosty days of winter, fight their way through frozen soil and layers of old leaves from last year’s autumn. In a world still dipped in shades of brown and grey they are a colourful delight to our eyes. Oh, how wonderful they looked today, in white, blue, purple and yellow! They were pure poetry. But their lives will be short – just like those of the people who lived during the Thirty Years’ War.

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The old parts of the cemetery date back to the 19th century. I’m a lover of 19th century art so this place has a lot to offer. Unfortunately, decay has been massive. Here it’s the graves which are dying and being buried by Mother Nature herself. What once was splendour is now reduced to rubble. These graves survived a war but not indifference. The spring flowers here are Nature’s oxymoron to Mankind’s crafts.

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I enter the hospital where I was treated for pneumonia a few days ago. I want to visit an old woman who I shared a room with. I find she is back to her home and nobody is able to tell me which one. A few days back, when I was caressing her cheeks and holding her hands she looked at me and smiled: “You are a good person. Hopefully we will meet in Heaven.”

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The Known Unknown: Berlin’s Hansaviertel

Has this ever happened to you? You’ve been to a place countless times but you had no idea how special a place it is? There is quite a fascination to the discovery of already known places. In this case it is the Hansaviertel in Berlin, an area that I had always thought of as being situated somewhere else and that holds famous architecture of some of the most renowned architects of the Bauhaus, Neues Bauen and Modernism, such as Walter Gropius, Oscar Niemeyer, Alvar Aalto, and Max Taut.

Only last year did I begin to explore the architecture of Berlin, which is an exciting place in this regard. Berlin is not exactly a beautiful city in a conventional sense, but its history has led to the most unusual, if not unique, developments. The grandeur of the 19th and early 20th century was followed by a war that left Berlin in rubble. The Cold War that ensued and led to the separation of the town and its people by the Berlin Wall turned Berlin into a battlefield of the architecture of two opposing systems – without actually having any money for it. Reunification, the moving of the government from Bonn to Berlin and the latest boom have added to a seemingly endless frenzy of a city that never ceases to change, a city that is never finished. You leave Berlin for a week to go on a holiday and when you come back, you won’t recognise it.

The Hansaviertel in the heart of West Berlin saw its splendour of exuberant Gründerzeit style houses almost completely destroyed in 1943. Ten years later Berlin decided to build a model future city on its grounds and invited the biggest international star architects to develop a new settlement – in rivalry to the truly gigantic and monumental Stalinallee (later Karl-Marx-Allee), that was being built in East Berlin. Both East and West wanted to show to the world that it is they who provided the best living conditions to their respective citizens. While the Stalinallee provided representative flats in which you can easily get lost, the Hansaviertel was equipped with small flats in primarily functional buildings of small, medium and high-rise format, loosely scattered, each surrounded by specifically designed green space. Two Brutalist churches, an underground station, a shopping area, a cinema (now a theatre), and a library as well as some cafés and restaurants (schools were nearby) completed a mostly independent living unit.

As I leave Bellevue S-Bahn station I’m greeted by two of the five highrisers (“Punkthäuser”) from 1957, when the new settlement was presented as the site of the Interbau exhibition. Are they pretty? No. All of the houses had to be built with as little money as possible and it shows, just like their age. Right behind them is the familiar Akademie der Künste (Academy of Arts), where I saw Macbeth, Brave New World and The Grapes of Wrath in the English language as a teenager. It presents itself in a modernist individual, yet modest style with a naked Henry Moore bronze sunbathing. Smaller houses that remind me of the holiday camps of my childhood pop up here and there. They look as if living here is attractive. All the houses have their balconies directed towards the south and the green space makes the whole place look very comfortable. It’s mostly clean and graffiti is rare. Yes, I understand why the people who moved in in the 1950’s and 60’s have never moved out. Beauty in an aesthetic sense is not a criterion to apply here, but a highly individual character of each single building can’t be denied. It is this specific character that you get when every single building has a different designer.

The most famous of them all is the Oscar Niemeyer Haus, Niemeyer’s only building in all of Germany. It is a crazy one: it stands on filigree feet, which makes you wonder how they can possibly carry such a large building. The lift, that stops only at two floors, is kept in an extra tower outside the house. London residents may know the Balfron Tower (1967) that has a similar concept (but looks less pretty…).

The lofty, green Hansaviertel, that is situated right between the two city centres, feels like a world of its own. But then again every Berlin Kiez does, each an intriguing little universe in itself. I can’t wait to explore the next one.

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Thanks to Ian and Jason for their support.