Berlin - Design for all

Project Examples
Content

Berlin – Design for all – Introduction........................................................... 4

Unveiled. Berlin and its monuments at the Spandau Citadel

Staab Architekten GmbH............................................................................................... 6

State Opera Unter den Linden.

hg merz architekten museum designers...................................................................... 10

Memorial Site Neue Wache

ProDenkmal GmbH.......................................................................................................... 16

Otto Weidt Museum Workshop for the Blind

Dorothée Hauck................................................................................................................ 20

Indoor Swimming Pool Finckensteinallee

Veauthier Meyer Architekten ....................................................................................... 22

Memorial Site Hohenschönhausen

hg merz architekten museumsgestalter...................................................................... 26

Barrier-free outdoor area at Steinwald-Schule in Berlin-Marienfelde

KuBuS freiraumplanung.................................................................................................. 30

Memorial and Information Site for the victims of “Euthanasia”

murders by the Nazis at the site of the Berlin Planning Centre
Ursula Wilms..................................................................................................................... 32

Nils-Holgersson-Schule in Berlin-Lichtenberg
Numrich Albrecht Klumpp Gesellschaft von Architekten mbH............................ 36

Futurium
RichterMusikowski.......................................................................................................... 40
Outdoor Installations by Futurium Juca architecture+landscape architecture 46

Acknowledgments............................................................................................................ 48

Credits................................................................................................................................ 49

Imprint................................................................................................................................ 50
Berlin – Design for all

A vision of the 21st Century is the inclusive

city, which considers human beings in all
their complexity and sets out to create living
spaces offering all sorts of activities and
experiences for everybody.

Practice examples aim to show a cross-section

of the manifold tasks of design for all

What is design for all?

The core principle held by design for all is a concept for the planning and
design of products (objects, buildings) and surroundings (public footpaths,
streets and squares, parks). This concept aims to help everybody to use our
designed surroundings as extensively as possible and without the need for
individual adjustments or particular assistance.

Why do we need design for all?

Constant changes in society and in the life of each individual mean that people
today are looking for independence, equality and spontaneity in their every day
life. What has been built around us can help or hinder this process.
New laws and standards have been developed to reduce the impact of specific
demographic changes. However, life does not care about standards. We need
intelligent solutions, carefully thought out but at the same time chosen with
courage and resulting in an aesthetic transformation.

4
 Introduction

How is design for all transformed?

Design for all depends on and is identified by the attitude and interests of its
investors and its design specialists.
Regulations and standards, e.g. DIN 18040, which specify what is required for
people with disabilities instead of simply indicating concrete parameters, can
encourage the creation of interesting and practical solutions. That is a topical
and challenging task.

There is room for manoeuvre but how is it used? So much detailed knowledge
is needed to understand the many different requirements and abilities.
Then appropriate and aesthetic design can be realised using its own design
vocabulary. The “barrier-free concept” allows the fundamental principle of
design for all to be applied right from the beginning throughout the entire
planning process. The “barrier-free concept” has become a successful tool
used by the Berlin administration and comes highly recommended, also for
private investment.

Berlin design for all examples

The project examples listed here were chosen to demonstrate how

requirements can be transformed aesthetically and sympathetically for a
wide range of users. The result is not usually affected by whether the object
in question is an existing or a listed building or a new build.
The collection shows that the objectives can be met in many different and
individual design interpretations. Design for all quality has long been tried
and tested and is now taken for granted by everybody. Discussions between
experts and end users are often very detailed and pay off in the long run.
Clearly defined and easy to use pathways, level access to buildings and clear
and visually pleasing signs facilitate moving around and spending time in
public spaces.

Positive experiences are there to be had and shared. Society invites you to
sharpen your senses to this new and all encompassing direction, which still
requires more appreciation, innovation and insight as well as the courage to
tread new paths.

The selection of projects below aims to be an “intermediate stop for

observation”, an invitation to look back as well as forward. It aims to broaden
your line of vision and to inspire you to think critically, to be inspired and to
make improvements where possible.

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Unveiled. Berlin and its monuments at the
Spandau Citadel Staab Architekten GmbH

Brigitte Fischer The new exhibition in the ‘Proviantmagazin’, a former storage area for
provisions presents monuments characterising the city of Berlin from the
18th century until the reunification. The exhibition aims to convey base
lines and breaches in modern German history through original exhibits and
virtual atmospheric images. In order to provide chronological structure,
display structures to house the atmospheric images have been placed in the
exhibition halls. Original exhibits and the context of a digital world can thus
be presented in an appropriate space.

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 Unveiled. Berlin and its monuments at the Spandau Citadel

Barrier-free information

The exhibition “Unveiled. Berlin and its monuments” is a particularly interesting

event for all its visitors – with its exhibits especially suitable for the visually
impaired. Almost all the sculptures can be touched, and atmospheric images of
the historical eras can be registered through sound installations.

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Unveiled. Berlin and its monuments at the Spandau Citadel

A tactile map of the exhibition is available at the start. This includes an

explanation of how to use the audio guides. A short commentary in English
and German in an appropriate font is printed on items of furniture, clearly
contrasting light and dark. Visually impaired visitors are introduced to each
historical era by a tactile model of certain exhibits and an audio guide based
on sensor technology. To aid recognition, the barrier-free version is attached
in exactly the same place on each item of furniture. Each room has tactile
models set out at table height. These items of furniture with media access
and commentaries are centrally positioned in each era room. They serve as
orientation aids as well as information centres. The plan is to integrate these
stations into the entire citadel as part of an overall guiding system. All of the
items of furniture in the media station areas are wheelchair accessible.

The originals are expressive in their direct presence. The monuments are
located on flat or table high bases. Selected tactile exhibits are marked and
described in detail in the audio version of the tour.

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 Unveiled. Berlin and its monuments at the Spandau Citadel

Sound installations

Two eras can be physically experienced through sound installations.

A summer’s day in the Siegesallee (‘Victory Avenue’) in 1907 is presented
visually and acoustically in the “Empire” Room. A reconstructed bench presents
the original situation. Visitors are invited to sit down and listen to the sounds.

The misanthropic ideology of the Nazi period is transformed as a sound

installation in a dark, tower shaped box. An extensive echo conveys the
gigantic dimension of Speer’s planning of the Great Hall as an acoustic
virtual space for all visitors.

The task of creating a barrier-free exhibition led to other new ideas, open-
ing up new spaces and enriching design specialists and visitors alike. To create
experiences using all senses and received by all senses leaves many tracks
and makes it possible to experience art in a new way.

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State Opera Unter den Linden
hg merz architekten

Ingeborg Stude, Ines Augustin, The aim was to design an opera house to meet the needs of all its visitors.
Lutz Schütter
To experience opera without embarrassment, to enter the opera house
comfortably and with certainty, and to be able to locate both cloakroom
and seat without any difficulty. Enjoying the performance to its fullest and
spending time with friends during the interval over a snack or drink should be
something that everyone takes for granted. An initial “Barrier-free Concept“
was created in 2010 as part of the pre-planning process. It was the start of an
exemplary planning process, which included consultation with associations and
national representatives for people with disabilities, the national monuments
office and the coordinating body for “barrier-free building” within the Senate
Administration for urban development and housing. The project is therefore
presented in slightly more detail. The design planning process was followed
by a continuation of the concept in line with a clear planning status. These
thorough consultation processes enabled harmonious solutions to be found
which took into account all the different positions while adhering to strict
monument preservation restrictions.

Urban positioning

The opera house stands out from its surroundings and its main entrance is very
obvious. Its natural stone façade is marked in historic brass letters. In addition,
the main portal with its classicist tympanum stands as an oversized symbol in
the street Unter den Linden.

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 State Opera Unter den Linden

Main entrance and box office foyer

The East entrance has an auto powered door. The plan is to install a service
point in the road which will mark and operate the barrier-free access. A
barrier-free lift, accessible from the road on the East side of the building, will
open up all public levels in the future.

In order to make the interior of the opera entirely barrier-free, a vertical lift
will be installed between foyer and gallery – a complex effort in a monument
protected area. Valuable floor coverings will have to be removed and then
reinstalled.

Box office

Tills with small speaking windows are replaced by open plan payment counters.
Wheelchair accessible cashpoints for purchasing tickets will be available in the
shop area. For visitors with hearing restrictions an induction system has been
integrated in the counter. A tactile map aiding orientation is available in the
box office area and is given out on request.

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State Opera Unter den Linden

Walkways to stalls and circles

The fact is that historic surfaces and materials are fundamentally suited
with regards to light density and colour contrasts to facilitate orientation
by the visually impaired. A restoration of the historic colour differentiation
of the textile wall coverings in the various floor levels is planned. Visual
orientation is significantly improved by the different colour nuances in the
different levels. The floor covering will provide route guidance. It will consist
of a parquet edge frieze (oak, approx. 25 – 30 cm wide) and an inlaid dark
red carpet track along the walkway.

Stairways

The historic stairways present a marked light – dark contrast between

wall and floor covering. Here too this effect is reinforced by the addition of
a dark red carpet along the centre of the walkway. The beginning and end of
each carpet run is marked by contrasting black stripes, which are woven into
the carpet. This structure will also be adopted for the newly designed box
stairways.

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 State Opera Unter den Linden

First aid facilities

The public first aid areas will be completely redesigned and rearranged.
Two barrier-free facilities will be installed on the ground floor and,
centrally placed, on the second level by the walkway around the hall.
They are accessible by lift from all levels. They will be designed to have
level access for wheelchairs, and material and colours will be selected for
maximum visual orientation. There will be gaps in the parquet frieze
by the access points so they can be easily detected.

Lighting

Lighting in public areas with historic furnishings remains unchanged in line

with monument protection targets. This includes historic lamps and the
level of illumination. Luminants are replaced with energy efficient solutions.
Additional recessed spotlights will be installed in the commercial areas such
as cash tills and counter to attract attention to these “islands of light”.

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State Opera Unter den Linden

Guiding and orientation system

The guiding and orientation system is based on the monument protection

targets for historic furnishings. Individual brass symbols using certified
historic lettering as well as pictograms are used in line with ISO 7001.
The guiding and orientation system will not include a second language.
However, global terms such as “lift” will be used wherever possible to
improve understanding by all visitors. The plan is to add tactile
information in Braille underneath handrails on public stairways.

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 State Opera Unter den Linden

Seating in the auditorium

Rows and seats will be marked in line with the guiding and orientation
system using strong contrasts and raised letters and numbers.

Subtitles and surtitles facility

An induction loop will be installed in the double floor in the auditorium

in the stalls and in all circles. This will enable hearing impaired visitors to
follow the live music signal of the performance via personal hearing aids.
For visually impaired or blind visitors technical solutions will be available
for audio description and recorded libretto texts.

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Memorial Site Neue Wache
ProDenkmal GmbH

PL Günter Denk BBR-IV4 The Neue Wache was erected from drafts by Karl Friedrich Schinkel between
Maike Pischke
1816 and 1818. Since 1993 the Neue Wache has served the Federal Republic
of German 1993 as a central memorial site for the victims of war and
tyranny. Following several alterations of the internal space, the barrier-free
development of this monument protected site aims to create access for all
visitors. The challenge was to encroach as little as possible into the substance
of the monument and achieve an aesthetic integration of the new elements,
while creating an extensive network of ramps both inside and outside. The
design process was carried out in consultation with the national monument
office, the coordinating body for barrier-free building and associations of
those affected by disabilities .

External area

For protection reasons there will be no symmetrical arrangement and a ramp

will be built on one side only. The existing barrier-free path around the site
will be extended to include the new ramp. A new lighting concept aims to
ensure that the building and the ramp are illuminated throughout.

The existing temporary ramp will be replaced by a granite ramp more in

keeping with the materials used in the memorial site. Curbs on the side, also
made of granite, will serve as wheel deflectors. In order to create a uniform
border around building and ramp the length is limited by the measurements

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 Memorial Site Neue Wache

of the building. Although the upper ramp edge has been integrated in the
area of the steps and the plateau of the porticus, an 8% longitudinal gradient
cannot be avoided. These were decisions that were not made lightly. Staff
will be on hand to allow their use when this is necessary. A side access to the
ramp made of granite will be installed in the existing floor in line with Berlin
pavement structure. A handrail on one side, contrasting with the wall, will be
fitted to match the anthracite coloured gates of the Neue Wache.

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Memorial Site Neue Wache

Internal area

Two ramps will be retained, symmetrically arranged on both sides of the stairs.
The ramps are designed to blend in with the existing material. Platform area
and staircase will be widened to achieve this. Existing seating blocks will be
moved forward. Also, the stairs underneath the new facility will be retained.

A longitudinal gradient of 8% will apply in order to retain the turning area of

150 x 150 cm at the foot of the ramps. To honour the artistic lay-out of the
room there will be no handrails.

The existing step edges will be distinctly marked distinctly. The lighting will be
upgraded to improve visibility of ramps and steps.

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 Memorial Site Neue Wache

Ramps inside, longitudinal gradient 8%

Step edges marked

Seatblock Seatblock
Platform

Ramp outside, longitudinal gradient 8%

Handrail
Access

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Otto Weidt Museum Workshop for the Blind
Dorothée Hauck

Dorothée Hauck Inclusion of content and external form

The development of glass scripture for the blind started as part of the design
process of the Otto Weidt Museum Workshop for the Blind Otto Weidt. One
of the main objectives is the equal transmission of content to all visitors,
seeing or blind, so that narrative content can be transported naturally as if
merged onto one level. The design of the exhibition was optimised in close
consultation with the blind. One result is that the black writing in German
and English is underlaid with white, and glass balls inserted at the top create
Braille. In addition tactile prism writing indicates audio guide numbers to
enable visitors to hear descriptions of specific objects and rooms, and of the
pictures of the exhibition.

A tactile model in the first room of the exhibition, the orientation room,
conveys the historical use of the rooms at the time when they were used as
a workshop for the blind, and the themes of the different rooms in today’s
museum. The clear arrangement of the glass display units is easily grasped
and aids orientation. The height, depth and gradients of the specially designed
and manufactured display units meet the requirements of all visitors. Visitors
who are sitting down, standing up, or reading using their hands – all are able
to access the information easily.

The visitors move from a neutral and modern exhibition area to historic rooms
where the mood transports them to the atmosphere of the original workshop
for the blind. The series of rooms culminates in a dramatically designed climax
– the “hiding room”. As part of the restoration much emphasis was placed on
the choice of materials and treatment of surfaces.

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 Otto Weidt Museum Workshop for the Blind

The materials of the exhibition items are meticulously researched to

correspond with the rooms and not to counteract them. The floorboards at
the front of the exhibition are stripped and waxed. At the back remains of
varnish have been left on the floorboard resulting in the old floor allowing
for variation in the perception. The exposed historic wall surfaces, the old
floor and the reduced lighting convey a very different spatial feeling which
can also be perceived by the blind visitor. At the front, etched glass has been
used for exhibiting graphics; at the back clear glass makes visible the patches
of colour from the preserved walls behind. A lift and hand rail information at
the entrance make the museum accessible on the first floor. Despite restricted
conditions and monument protection regulations barrier-free washroom
facilities have been installed. Advice on the internet, guided tours, video and
audio guides clarify the barrier-free range of offers. In 2007
Postkarten aus Theresienstadt

the Otto Weidt Museum Workshop for the Blind, a

member of the Foundation for Memorial Sites of
the German Resistance, was presented with
the award “Barrier-free Berlin”. Postcards from Theresienstadt

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Indoor Swimming Pool Finckensteinallee
Veauthier Meyer Architekten GmbH

Veauthier Meyer Architekten No barriers in a monument

Maike Pischke

The monument protected indoor swimming pool in the Finckensteinallee was

opened to the public in 1938 and is located in the grounds of the former
Prussian Cadet Headquarters. Floor length windows, an enormous ceiling
height and an entrance hall lined with columns and oversized sculptures give
a monumental impression and reinforce the swimming pool’s significance as a
training place for the SS protection squadron in the 1930s and 1940s.
After the Second World War the pool was still being used for military
purposes and the US Army moved into the barracks. Once the Allies left, the
pool was opened to the public in 1994 and renovated between 2009 and
2014 in line with energy efficient and barrier-free principles.
Achieving barrier-free status in indoor swimming pools is a planning task
which is work in progress, and carrying out this work in a monument
protected building adds to the challenge.

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 Indoor Swimming Pool Finckensteinallee

Barrier-free throughout

In the Finckensteinallee Swimming Pool vertical and horizontal pathways

have been designed to be clearly visible and tactile throughout.
There are floor indicators, information on the handrails, display boards, signs,
a colour concept and clear structure throughout. All functions are seamlessly
connected. Barrier-free parking bays are situated directly next to the access
ramp to the entrances with automatic doors.

A new ramp has been installed inside the entrance hall. The reception
counter has been lowered in places to allow wheelchair access. Barrier-free
changing cubicles and bathrooms are a matter of course.

There is a mobile hoist by the pool to avoid installing a special set of stairs
for reasons of monument protection.

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Indoor Swimming Pool Finckensteinallee

Visual and tactile stripes on the pavement draw the visitors’ attention to the
entrance on approach. A tactile and optical guiding system takes them to the
steps and the handrail. The handrail contains tactile information about the
layout in Braille. A tactile map is displayed in front of the entrance giving an
overview of the swimming pool layout. The till is always occupied by a member
of staff. It is possible to request special assistance where needed.
The guiding system takes the visitor straight to the changing cubicles. Tactile
and visual information about shower positions are installed on the doors.

Inside the pool a contrasting tactile guiding system inside the floor tiles
around the pool leads the visitor to starting blocks and ladders into the
water. Handrails show location of changing area and showers on exiting the
water. The swimming pool encourages people with disabilities to design their
leisure time actively and independently and to move around easily – thus
offering increased value for all.

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Indoor Swimming Pool Finckensteinallee

25
Memorial Site Hohenschönhausen
hg merz architekten

Maike Pischke The memorial site Berlin-Hohenschönhausen has been situated inside the
buildings of the former Stasi ministry prison since 1994. Initially a special
camp of the Soviet occupation from 1945, then from 1951 onwards the
detention centre of the Ministry for State Security (Stasi), this authentic
historic place constitutes an important testimony of German post war history.
The restoration began in 2011 and ended with the opening of the permanent
exhibition in late 2013.

Concept

The goal was to make the site available to all with a minimum of structural
intervention and without taking away from the authenticity of the place. One
important aspect was the clear allocation of the function rooms for the new
permanent exhibition and the documents section.

26
Memorial Site Hohenschönhausen

27
Memorial Site Hohenschönhausen

Accessibility

The doors in the public areas are easily operated by means of electrical door
activators. All relevant areas of the memorial site can be accessed via lifts
and ramps. Functional areas e.g. cash till, shop, café and seminar rooms are
arranged around the courtyard and housed in garages.
Access to all of these is barrier-free.

Facilities

Sufficient maneouvring room, wheelchair accessible counters and adjustable

chairs in all the rooms offer inclusive usage options.
The new permanent exhibition with accessible information elements can be
experienced by all. Tactile models offer a three dimensional overview of the
entire complex.

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 Memorial Site Hohenschönhausen

Guiding system

Structural intervention was kept to a minimum in the documents section.

One important aspect was to preserve the authentic surfaces and floor
covering. A grey raised walkway with white edges has been laid on top and
guides the visitor through the facility. Not only does this create a clear path
for both blind and visually impaired people, it is also sufficiently wide and
level to be suitable for wheelchairs and walking frames.

Service

There are special guided tours for blind and visually impaired visitors.
Objects, furniture and surfaces may also be touched. Audio guides
for the permanent exhibition provide the international
audience with information in their native language.

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Barrier-free Outdoor Area Steinwald School
in Berlin-Marienfelde KuBuS freiraumplanung

Rabea Seibert The Steinwald School is a Special Needs School housed in a building dating
from the 1970s. The focus of the education is on the mental development
of the children. As part of a major refurbishment (structural engineering by
Numrich Albrecht Klumpp architects) the outdoor area was redesigned by
KuBuS freiraumplanung GbR. The aim was to provide all children, regardless
of their specific challenges , with inclusive conditions in their outdoor area.
The guiding principle “ zero barrier” was optimised and is transferable for
public play areas.

A new canteen was built and the main entrance moved – both measures an
improvement on the previous level of accessibility. Minibuses may now arrive at
the main entrance which is clearly visible from a distance. A ramp, marked as a
zebra crossing, leads directly to the entrance which is in a covered recess.

Zebra stripes guide to entrances and exits

The zebra crossing motif clearly marks all entrances and exits, serves as an
orientation aid throughout the entire school grounds and divides the break
area into clearly identifiable function areas: play area, multi function sports
area, woodland grove, break area, traffic garden and an extensive grass area.
On the whole the base materials used were exlusively sourced for their ease
of access for wheels and feet, such as tarmac, waterbound cover, paving stone
with small chamfering and plastic fall protection. Clear outlines and strong
colour contrasts dominate the appearance of the whole area.

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 Barrier-free Outdoor Area Steinwald School in Berlin-Marienfelde

Integrative playground equipment

When designing the outdoor area special emphasis was placed on barrier-free
and integrative playground equipment. For example a wheelchair merry-
go-round was chosen, a table football game with wheelchair access and a
reclining spinner. A swing with a basket seat swinging in all directions was
erected as well as several regular swings, some with moulded seats and
safety harnesses – all of these contributed towards the educational aim of
providing different swinging options.

Wheelchair friendly playscape

One highlight is the specially designed wheel chair friendly playscape which
reflects with its three towers the division into three of the school building and
offers a great variety of room for independent and supported discoveries and
games. A long ramp connects the different levels of the play towers leading to
a slide with a special larger area for safe access to and from the equipment.
The ramp is equipped with multisensory games to make the journey along it
into an adventure. There are also different play options in the towers.
Apart from the tower with the slide, there is a climbing tower with a viewing
window and an enclosed playhouse with a funnel phone.

Sandy play areas with platforms for relaxation, multisensory games and
reclining nets for quiet moments complete the inspiring range. In the traffic
garden it is possible to learn in real conditions. There are many different
opportunities where children with or without special needs can meet each
other in play and support each other and these promote and challenge the
concept of inclusion.

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Memorial and Information Site for the victims
of „Euthanasia“ murders by the Nazis at the
site of the Berlin Planning Centre Ursula Wilms

Ursula Wilms Inclusion in abstraction – Guiding principles

Two elements – a dark area and a blue glass wall – aim to represent the
historic crimes and those who were murdered. The design of both these
elements is abstract – consisting of only material, colour and shape.
The glass wall (upright and pointing to the sky) symbolises the connection
between us – alive and observing – with those killed by “euthanasia” and
yet continuing to live on through our resolve not to forget and through our
memory. They stand in front of us, between us, among us.

The dark area represents the “sloping position” and the “negative imprint”
which the Nazi practice of “euthanasia” planted in the history of our society
forever. This historic inheritance has given us the special responsibility never
again to tolerate isolation and injustice. Concrete information is given as part
of a homogenous whole design. Knowledge of historic facts and reading real
victims’ biographies aims to add substance to our thoughts and memories.
This takes place along the information element „face to face with a glass wall“
while almost “standing on the ground of history”.

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 Memorial and Information Site for the victims of „Euthanasia“ murders
by the Nazis at the site of the Berlin Planning Centre

Dark area

The area made of dark grey dyed concrete paving blocks descends slightly
towards the centre as if pushed into the terrain. It indicates the position of the
original Tiergartenstraße 4 (T4). The area merges smoothly with the
paveent along the Tiergartenstraße and with the extended forecourt of the
Philharmonie and this makes it easily accessible from both sides. The incline
(of up to 6%) and evenness of the paving has been designed to ensure that the
area is generally safely accessible for everybody including wheelchair users.

The edges along the side walls of the area create an elongated bench on the
side of the Mattern Garden (providing space to linger) as well as an informa-
tion console on the opposite side. Grooved base plates in the covering along
the console providing tactile rather than visual contrast lead from both sides
to the integrated media stations offering information about the location and
its history for all but especially blind and visually impaired visitors. The area
in front of the console is wide enough to allow sufficient free movement for
groups, wheelchair and walking frame users as well as pushchairs or prams.

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Memorial and Information Site for the victims of „Euthanasia“ murders
by the Nazis at the site of the Berlin Planning Centre

Blue glass wall

The blue glass wall in the centre of the dark area deliberately does not point
in the same direction as the former T4-planning centre. It stands transparently
between the visitors facing each other. Due to its height it is visible from all
directions. LED lights, integrated into the floor covering along the glass wall,
identify the wall from dusk until dawn.

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 Memorial and Information Site for the victims of „Euthanasia“ murders
by the Nazis at the site of the Berlin Planning Centre

Information component

The panel with its back-lit glass covering is wheelchair accessible along its
entire length and displays contents of the open air exhibition – photographs
and documents with explanatory comments in German, English and in Easy
Language. Font size and contrasts (lettering in white and light yellow on a
dark grey and grey-black background) facilitate reading. Media stations are
integrated into the panel and in addition have braille lettering. They offer
video clips in sign language and audio recordings setting out the contents of
the exhibition according to the multisensory principle.

The exhibition is complemented by flyers and catalogues in German and in

English and in Easy Language. In addition all commentaries about the history
and further information given at the location can be accessed on a website
([Link]) in German, English, Easy Language and Sign Language.

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Nils-Holgersson-Schule in Berlin-Lichtenberg
Numrich Albrecht Klumpp Gesellschaft von Architekten mbH

Arthur Numrich Thoughts on the designs

The Nils-Holgersson-School will become a school mainly for pupils with

physical and mental disabilities. Both the location of the school and an
appropriate and successful education set out clear demands on the
architecture of the building. The theory is: what works well for pupils
without disabilities and their teachers will work well for pupils with
disabilities and vice versa. From the beginning the following principle was
adopted: the concept should not be fundamentally different from other
school buildings.

The school is situated in a residential area and is surrounded by prefabricated

buildings which are ten to twelve floors high. The site requires good urban
integration as well as the creation of the necessary spaces and functions for
the integration of pupils. These aspects formed the basis for the design in
conjunction with the structural design for the new build.

Integrating these young people into society begins with the architecture of
their schools. At the same time there are some exceptions, e.g. requirements
of large secondary areas for the storage of aid equipment, therapy and nursing
rooms and a therapy bath. Educating children with disabilities requires a large
number of staff, and teachers and nurses must be involved in the planning
process early on. Observing and listening and including the end users in the
planning process is crucial at each stage of the design process. It is important
to be clear on the requirements and needs to ensure that architects understand
what demands their physical structure will need to meet.

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Nils-Holgersson-Schule in Berlin-Lichtenberg

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Nils-Holgersson-Schule in Berlin-Lichtenberg

Experiences from previous projects will be taken into consideration.

One learning result is that the use of technical aids should be analysed and
carefully considered. Making use of these is not the measure of things, neither
for the teachers nor for the architects. A school should not be a laboratory
and should not stand in contrast with real life.

Helping hand or technical equipment?

The helping hand continues to be important. In other words: use technical

equipment only where it is necessary to preserve the tradition of sustained
buildings rather than those beholden to technical advances. However, the
planners are all agreed that a house must be easy to access, explore and
experience.

Those designing and realising the concept of the Nils-Holgersson-School had

learnt a great deal before they started and had committed to the following
conditions:

• Ease of location in the city through the creation of a large forecourt for pick-
up and drop-off services by buses and coaches
• Creation of a clear internal orientation structure e.g. bright work areas and
class rooms supported by a sensitive range of colours
• large and clearly outlined courtyards providing ease of supervision of the
pupils
• low window sills providing a view even from a sitting or lying position
• Level transitions from the inside to the out side thus maximising inclusion
of surrounding nature
• deliberate use of materials that are both functional and easy to maintain,
but also meeting haptic and creative aspects in the context of a learning
environment.
• Transforming the tactile, visual as well as acoustic elements as “design for
all” and not as pretentious special solutions

The last aspect was the most important in the planning because the design
aims to appeal to everybody using the school. Looking back it is clear
that this school was designed and constructed like any other school or
building. Those involved agree that it has become a beautiful and functional
building in an urban context.

38
Nils-Holgersson-Schule in Berlin-Lichtenberg

39
FUTURIUM
RICHTERMUSIKOWSKI

Ellen Müller A place of inclusion

Expert on design for all

The FUTURIUM aspires to awaken an interest in the future and to inspire the
visitor to get involved in creating it. It aims to highlight the significance of
cooperation between science, economy, politics and society. Comprehensive
participation is taken for granted and this shapes the concepts of the
exhibitions and events in the FUTURIUM. Ideas that are visionary, achievable,
innovative and desirable are highlighted, tried out and discussed in these
approximately 3,000 square metres.
These objectives are initially reflected in the architecture and interior design
and aim to encourage all visitors to get fully involved in this forum for
exhibitions, experimenting and events, situated in the government quarter.
The premises incorporating building and outdoor area are situated centrally,
right by the bend in the river Spree, near the Berlin Main Railway Station.
Within this urban area the object has an individual sculptural shape. Recessed
building lines create large forecourts to the North and the South (see also HDZ
external space creation). Undercuts to the north and south side clearly mark
the two main entrances into the building. Most notably the southern forecourt
widens out towards the roads and opens up the view of the entrance area
making is easily visible from all around.

40
 FUTURIUM

Internal area

The orthogonal design is easy and clear. The vertical elements (stairways,
lifts) start at the same spot on each floor. The horizontal floors are wide
and sometimes double up to provide space for resting or communicating.

Foyer

The foyer is a central place of access for the exhibition areas via the main
staircase and the panoramic lift. From here the cafeteria, shop and events area
are easily accessible. The large foyer offers a spacious area for movement.

The revolving doors of the main entrances “North” and “South” stand out
particularly well visually and haptically from the glass façade of the ground
floor making it easy to find the doors leading to the outside terrace. The
revolving doors have two barrier-free rotating doors with clearly marked
tactile opening and closing switches, inside and outside.

A clean-off zone integrated into the floor provides a practical function as

well as providing a visual and tactile prelude to the entrance area.

41
FUTURIUM

There are a centrally located cloakroom, an information point and cash desk
as well as clearly visible access paths to the exhibition areas. The cloakroom
has been designed for individual use and consists of several large lockers.
Some of these are wheelchair accessible. Immediately next to the cloakroom is
a barrier-free information counter with a till which is easily located by sense
impaired visitors through a visual tactile guiding strip in the floor covering.
This is reinforced by the coordinated colour concept of floor, walls and
furnishings.
An induction loop integrated in the counter has been installed for visitors with
auditive restrictions. The size of the events area in the foyer can be varied by
mobile screens creating smaller areas as required. Each area has a hardwired
induction loop allowing visitors with hearing aids to select their seats freely.

42
 FUTURIUM

The centrally located and free standing visitor staircase is the focal point
of the foyer. It connects the exhibition levels with the foyer and is clearly a
sculptural and defining element. The stairways offer even more views through
the use of glass panels at the front of each step. The glass panels are partially
marked with dots thus achieving both transparency and a surface effect.
The wooden rail is haptically pleasant and concave for ease of use. It stands
out optically from the rest of the stairway design.

The panoramic lift right next to the stairs offers plenty of space and
extraordinary views. The panoramic lift is not just a standard lift, it has
a viewing platform for everyone, another step towards a barrier future.
Experiencing the lift is an essential part of the tour for visitors.

43
FUTURIUM

Skywalk

The butterfly roof of the building – bordered by a parapet wall – serves to

provide solar energy by the use of photovoltaics and solar heat panels.
The skywalk, a walkway around the perimeter, allows visitors to enjoy
panoramic views of the urban area in all directions. Due to the constructional
framework it has not been possible to make all of the walkway barrier-free.
A clearly signed barrier-free “main route” (start, direction, end) to the
Southern roof terrace with an attractive viewing area of the government
district has been designed and signposted for all visitors in line with
design for all.

44
 FUTURIUM

Ma
rg a
ret
e-St
effi
n-S
tra
ße
Alexanderstraße

Kap
pel
le-U
fer

45
Outdoor Areas
JUCA architektur+landschaftsarchitektur

JUCA Inclusion with interaction

architektur+landschaftsarchitektur

The outdoor area provides the FUTURIUM with a public platform and space
for interaction. Areas for lingering or activities, covered areas and exhibitions
of representative large objectives invite the visitor to view and reflect on the
building and its contents.

Pathways and accessible areas

A “field of energy”, covered with dots, which are evenly placed and largely
on the level, can be perceived both visually and through touch. The spots are
“charged” in different ways and aim to guide the visitor. Carefully placed
clusters of different inlays, cylinder shaped seating and rounded benches
inconspicuously arrange the space into areas for resting and activity.
Protected seating areas in the shade of large trees alternate with open and
flexible areas for larger groups or more compact viewing zones for a shorter
stay and a clearly signed pathway to the buildings.

Access to the building is created by lighter “tracks” which become slightly

darker towards the clusters of the seating areas. A visual-tactile guiding line
in the square, integrated in the spot pattern of the surface, leads from the
public road by the Kapelle-Ufer directly to the Main Entrance South. The
steps of the outside staircase are also included in the overall design concept:
light coloured spots made from 2 component cold plastic have been applied as
strips to the step edges. To contrast with the light concrete steps, the handrail
is made of anthracite coloured powder coated steel.

46
Outdoor Areas

47
Acknowledgements

Thank you to all partners who supported us so generously by supplying

appropriate texts, pictures, floor plans and expertise.

Dorothée Hauck, Ursula Wilms, Andreas Veauthier of av-a Veauthier

Architekten, Ines Augustin, Lutz Schütter and Stefan Motz of hg merz
architekten museumsgestalter, Carmen Mann and Andrea Theissen of the Arts
Office Spandau, Brigitte Fischer of Staab Architekten, Christoph Richter and
Jan Musikowski of RICHTERMUSIKWOSKI, Ellen Müller as expert on design
for all, Carolin Fickinger and Judith Brücker of JUCA, Rabea Seibert of KuBuS
freiraumplanung, Derk Scharnweber of ProDenkmal and Günter Denk from the
Federal Office for Building and Regional Planning, Arthur Numrich of
Numrich Albrecht Klumpp.

Special thanks to the National Office for Monument Protection, Dr. Anna-
Maria Odenthal, Wolfgang Bittner and Gregor Hitzfeld for selecting projects
and photos.

48
 Credits

Citadel Spandau
Jens Achtermann

State Opera Unter den Linden

Wolfgang Bittner, HG Merz

Neue Wache
Wolfgang Bittner, ProDenkmal

Museum Workshop for the Blind Otto Weidt

Thomas Bruns

Indoor Swimming Pool Finckensteinalle

Veauthier Meyer Architekten GmbH

Memorial Site Hohenschönhausen

Bernd Hiepe Photography

Steinwald-School
Nina Straßgütl Photography

Memorial and Information Site for the Victims of Nazi

„Euthanasia“ killings at the Site of the Planning Centre
Maike Pischke, Foundation Memorial for the Murdered Jews of Europe,
Marko Priske

Nils-Holgersson-School
Nina Straßgütl Photography

FUTURIUM
RICHTERMUSIKOWSKI, Ingeborg Stude
Outdoor Area FUTURIUM
JUCA architecture+landscape architecture, Ingeborg Stude

49
Imprint

Editor
Senatsverwaltung für Stadtentwicklung und Wohnen Berlin
Württembergische Straße 6
10707 Berlin
[Link]

Concept and professional editing

Senatsverwaltung für Stadtentwicklung und Wohnen Berlin
Abteilung II Städtebau und Projekte
Koordinierungsstelle Barrierefreies Bauen
Württembergische Straße 6
10707 Berlin

Ingeborg Stude: [Link]@[Link]

Maike Pischke: [Link]@[Link]

Text and Image Editing

Maike Pischke

Design and Layout

1ART: info@[Link] und Technische Universität Berlin: info@[Link]
Burkhard Lüdtke, Robert Niemann, Annette Müller

Print
bud
brandenburgische universitätsdruckerei
und verlagsgesellschaft potsdam mbh

Internet Version
[Link]

ISBN 978-3-88961-108-6
Berlin, May 2018

50
The inclusive city is a vision of the 21st century. It considers the human being
in all his and her differences and creates living spaces based on more than
just the ideal measurements and conditions. Project Examples aim to
represent a cross section of the great variety of challenges for design for all
and demonstrate the many different design options. Regardless of whether a
building is old or new. Experience shows that researching historic traces can
be very a great help in inspiring new ideas.