Barkow Leibinger has renovated the reception area of the Schaubühne Berlin, the famous theater in Berlin‘s Lehniner Platz.
The theather is located in the Universum theater designed by Erich Mendelsohn in 1928 to be the city’s largest cinema at the time.

Since 1982, it has been the headquarters of the Schaubühne on Lehniner Platz, after Berlin architect Jürgen Sawade converted it into a multifunctional state-of-the-art theater. The company was created in 1970 with a group of actors gathered around the director Peter Stein who acquired international fame throughout that decade, becoming one of the most prestigious theaters in Germany. at the beginning of the 21st century.

The renovation and expansion of the reception area by the american/german practice Barkow Leibinger aims at preserving as much as possible of the original design language and integration of previous remodelation. One of those is Sawade’s idea for a restaurant that was initially planned for the space, which the architects have translated into a central, elongated piece of furniture that incorporates an open box office counter and a bench that follows the curved geometry of the building.
 
 

Descripción del proyecto por Barkow Leibinger

Desde 1981, Schaubühne Berlin se encuentra en Lehniner Platz. El edificio, con su distintiva fachada redondeada, fue erigido como parte del "Complejo WOGA" del arquitecto Erich Mendelsohn en 1928. Después de una animada historia de 90 años que ha visto una variedad de usos y numerosas conversiones, en la primavera de 2018 la recepción El área del edificio ahora incluido se sometió a un rediseño y expansión: siguiendo los planes de Barkow Leibinger, se ha creado una nueva y generosa taquilla en el sitio del antiguo "Universum Lounge". La taquilla que anteriormente ocupaba el vestíbulo se abrió y trajo una barra a la zona de recepción.

El objetivo de la renovación era reunir al unísono las demandas funcionales y técnicas de una taquilla de teatro contemporánea con las características de diseño característico del edificio listado, utilizando intervenciones cuidadosas para preservar tanto como sea posible mientras se lleva adelante el lenguaje formal de la década de 1930 original. diseño.

Diseñado por Erich Mendelsohn para ser el cine más grande de Berlín en el momento, el edificio en forma de herradura fue severamente dañado durante la Segunda Guerra Mundial. Desde 1946, fue reconstruida gradualmente y pasó por varias transformaciones, incluyendo un club de baile y un lugar para el teatro musical. De 1978 a 1981, el arquitecto berlinés Jürgen Sawade convirtió el edificio en un teatro multifuncional de vanguardia y escenario para el conjunto Schaubühne. La boletería cilíndrica del vestíbulo, en uso hasta 2017, separó a los visitantes y al personal de ventas de boletos a través de un panel de vidrio curvado, pero recientemente no pudo satisfacer las necesidades técnicas y demandas espaciales del teatro.

Como parte del rediseño de Barkow Leibinger, se creó una nueva taquilla en las instalaciones del antiguo "Universum Lounge", al oeste de la entrada principal. El plan se basa en un concepto de diseño no realizado por Jürgen Sawade para un restaurante que inicialmente fue planeado para el espacio: un mueble central y alargado, que incorpora un mostrador de taquilla abierto y un banco que sigue la geometría curva del edificio.

Como contrapartida, los bancos bajos se incorporan en los huecos de las ventanas que dan a Kurfürstendamm. Una caja de luz curvada larga sobre el banco central y varios monitores y superficies de visualización incrustadas en la pared posterior y el mostrador proporcionan espacio para incluir contenido en la programación actual junto con la información de venta de boletos. Junto al mostrador se construyó una pequeña oficina administrativa.

El concepto de material reflexivo para la taquilla se centra en superficies homogéneas de superficies sólidas blancas, manteniendo el aspecto distintivo del renovado interior de Jürgen Sawade. El uso de cojines de cuero marrón en todo el asiento crea un contraste audaz. Como en el resto del edificio, la iluminación empotrada de latón crea acentos coloridos. Se conservaron las brillantes baldosas de piedra natural de Solnhofener, características de la época de la construcción del edificio.

La boletería cilíndrica se usa ahora como bar y punto de venta para publicaciones. Un mostrador abierto y redondo resultó de la eliminación del vidrio circundante y la parte posterior semicircular cerrada. Debajo de la superficie de trabajo con curvatura orgánica se encuentra el almacenamiento personalizado para unidades de refrigeración y equipos técnicos. Los radiadores circunferenciales de la firma fueron reemplazados en su forma original. Además del uso continuado aquí de material de superficie sólida blanco junto con chapa lacada en blanco, se agregó una encimera hecha de chapa de latón pulido, que combina con los accesorios existentes del edificio.

Un nuevo acento en el espacio es un elemento de iluminación circular hecho de vidrio acrílico, flotando como una nube cristalina sobre la barra, mientras que proporciona iluminación atmosférica a través de innumerables refracciones entre sus 835 tubos individuales. Debido a su transparencia y simplicidad, así como a su consideración del lenguaje formal existente, la instalación se integra hábilmente en el espacio interior tal como se diseñó previamente. La conversión de la taquilla en una barra ha abierto en general el vestíbulo espacialmente, haciendo que las transiciones entre el interior y el exterior sean más fluidas.

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Architects
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Barkow Leibinger. Lead Architects.- Barkow Leibinger,Frank Barkow, Regine Leibinger.
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Team
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Antje Steckhan (Project Architect), Jens Wessel, Andreas Moling, Reidar Mester (Model, Implementation Lighting Element).
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Collaborators
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Lighting Design.- Licht Kunst Licht AG, Berlin, Germany (Consulting).
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Client
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Schaubühne am Lehniner Platz Gemeinnützige Theaterbetriebs GmbH, Berlin, Germany Berliner Immobilienmanagement (BIM), Berlin, Germany
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Construction
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Construction Bar.- Uwe Küttner Möbelbau und Inneneinrichtung GmbH, Berlin, Germany. Construction Box Office.- Tischlerei Sekura, Königs Wusterhausen mit Voit & Partner GmbH & Co.KG, Nahetal-Waldau, Germany
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Area
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860.0 ft² - 80,00 m²
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Dates
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Spring, 2018.
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Photograph
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Simon Menges.
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Barkow Leibinger’s work is realized over a wide range of scales and building types including building for workplace (industry, office, and master-planning), cultural, housing, event spaces, exhibitions and installations in the public realm internationally. Important milestones are amongst others the Biosphere in Potsdam, Germany, the Customer and Administration Building , the Gate House and the Campus Restaurant in Ditzingen, Germany and the Trutec Building in Seoul. Recently completed buildings include the Tour Total office high-rise in Berlin and an apartment and hotel complex in passive house standard in Freiburg, Germany.

Their work has been shown at the Architecture Biennale Venice 2008 and 2014, at the Marrakech Biennale 2012 and is included in the permanent collections of MoMA, New York, and the Deutsches Architektur Museum, Frankfurt. Barkow Leibinger have won three National AIA Honor Awards for Architecture and the prestigious Marcus Prize for Architecture, Milwaukee, recognizing emerging talent in the field for design excellence and innovation, as well a Global Holcim Innovation Award for sustainability.

Frank Barkow. Born in Kansas City, USA, 1957. Bachelor of Architecture, Montana State University, 1982. Master of Architecture, Harvard University, Graduate School of Design, Cambridge, 1990. Visiting Critic, Cornell University, Ithaca, New York and Rome, 1990. Unit Master, Architectural Association, London, 1995-98. The Arthur Gensler Visiting Professor of Architecture Cornell University, Ithaca, 2003. Cass Gilbert Visiting Professor, University of Minnesota, Minneapolis, 2004. Visiting Professor, State Academy of Art and Design, Stuttgart, Germany, 2005-06. Visiting Professor, Harvard University, Graduate School of Design, USA, 2008, 04, 00. Visiting Professor, University of Wisconsin, Milwaukee, School of Architecture & Urban Planning, USA, 2008. Visiting Professor, EPFL Écoles Polytechnique fédérale de Lausanne, Switzerland, 2010. Barkow Leibinger, Berlin, Germany, Since 1993.

Regine Leibinger. Born in Stuttgart, Germany, 1963. Diploma, Technische Universität Berlin, Germany, 1989. Master of Architecture, Harvard University, Graduate School of Design, USA, 1991. Assistant Professor, Technische Universität Berlin, Germany, 1993–97. Unit Master, Architectural Association, London, England, 1997–98. Guest Professor, Hochschule für Bildende Künste, Hamburg, Germany, 1999–2000. Visiting Professor, Harvard University, Graduate School of Design, USA, 2000, 04. Professor for Building Construction and Design, Technische Universität Berlin, Germany Since 2006. Member of the ’Visiting Committees’, MIT Department of Architecture, Cambridge, USA, Since 2011. Barkow Leibinger Architects, Berlin, Germany, Since 1993.

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Erich Mendelsohn was born in Allenstein (Olsztyn), East Prussia. His birthplace was at the former Oberstrasse 21, now no. 10 Staromiejska street. A plaque embedded on the wall on the side of Barbara street commemorates his place of birth.

He was the fifth of six children; his mother was Emma Esther (née Jaruslawsky), a hatmaker and his father David was a shopkeeper. He attended a humanist Gymnasium in Allenstein and continued with commercial training in Berlin.

In 1906 he took up the study of national economics at the University of Munich. In 1908 he began studying architecture at the Technical University of Berlin; two years later he transferred to the Technical University of Munich, where in 1912 he graduated cum laude. In Munich he was influenced by Theodor Fischer, an architect whose own work fell between neo-classical and Jugendstil, and who had been teaching there since 1907; Mendelsohn also made contact with members of Der Blaue Reiter and Die Brücke, two groups of expressionist artists.

From 1912 to 1914 he worked as an independent architect in Munich. In 1915 he married the cellist Luise Maas. Between 1910 and 1953 they corresponded with each other; these materials provide insight into the lives of an artist and couple who experienced a changing international landscape, including their fleeing from the Third Reich in Germany in 1933. Through his wife, he met the cello-playing astrophysicist Erwin Finlay Freundlich. Freundlich was the brother of Herbert Freundlich, the deputy director of the Kaiser Wilhelm Institut für Physikalische Chemie und Elektrochemie (now the Fritz Haber Institute of the Max Planck Society in the Dahlem district of Berlin). Freundlich wished to build a suitable astronomical observatory to experimentally confirm Einstein's Theory of Relativity.

Through his relationship with Freundlich, Mendelsohn had the opportunity to design and build the Einsteinturm ("Einstein Tower"). This relationship and also the family friendship with the Luckenwalde hat manufacturers Salomon and Gustav Herrmann helped Mendelsohn to an early success. From then until 1918, what is known of Mendelsohn is, above all, a multiplicity of sketches of factories and other large buildings, often in small format or in letters from the front to his wife, Louise Mendelsohn (née Maes) (1895–1980). The 2011 documentary film by Duki Dror titled "Incessant Visions" is about Erich Mendelsohn and his wife, in which Dror animates the memoirs of Louise and the letters.
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