The thread running through the workshops, talks and activities of this summit was that of the transitions occurring in our respective professions. The design community has certainly felt the pinch of the economic crisis (although the consensus of the attendees was optimistic – most reported their offices were buzzing with new work) and technology has certainly altered some of the rules of the design business game. We designers, however, are a creative and resilient bunch and are able to adapt when required. Change is part of our daily exercise; it challenges and nourishes us.
One of the reasons Berlin was chosen as host city was because it, too, is in a state of metamorphosis. War torn no more, it has risen from the ashes to become a vibrant city wealthy not only in history, but art and culture as well. Construction is so rampant in parts of the city center, it looks as though the artist Christo has slipcovered entire city blocks. I’ve certainly never been drawn to things Germanic, but the following are things my eyes met during my travels in Berlin.
The national buildings in Germany are strong and full of true classical pomp. The Brandenburg Gate (left and center) and the Gendarmenmarkt square (right) are two prime examples of this. When I was at the Bradenburg Gate, there was some type of Iranian human rights protest going on. I couldn’t make out the signs (as I’m not fluent in Iranian) but was interested to see a man wearing a Mel Gibson mask faux-flogging men dressed in prison garb. I couldn’t quite figure out the message therein but the mob was obviously into it.
The Jewish Museum designed by Daniel Libeskind was a disturbing hulk of gray metal – more of a mentally ill battleship than building. I’ve never been a devotee of Libeskind’s work as his designs often seem very affected – more theory than beauty. The strength of this museum for me was the very moving exhibits housed within, chronicling the history of the Jewish people.
A fellow Summit attendee, Brad Clifford, made this haunting video inside the museum: jewish museum path
A natural follow-up to the Jewish Museum was a visit to the Berlin Holocaust Memorial. Designed by Jewish-American architect Peter Eisenman, the series of coffin-like stone steles march silently in time, resulting in a severe urban garden. For me, the most moving aspect of this monument was a human byproduct that resulted from its labyrinthian design. Once inside, parents, children and couples were constantly losing each other. Their voices reverberated, creating an ever-present soundtrack in the corridors, calling out to one another. The forlorn alleyways literally echoed with the cries of the lost. A very powerful statement.
On a lighter note, McAlpine Booth and Ferrier’s Susan Ferrier, friend Melissa Mabe-Sabinosh and I visited the Berlin Design and Antique Market where Susan scored some great finds. I’m sure they’ll be popping up in some of our interiors in the near future. In addition to being an immensely talented designer, Susan is a a shrewd negotiator.
As for the Summit, the formal assembly took place in a space tailor-made for a group of jaded designers – the DZ Bank atrium designed by starchitect (don’t you hate that word) Frank Gehry. This wood, steel and glass leviathan swallowed us up in its dramatic maw and kept our ADD-riddled attentions rapt for an entire day.
The Summit culminated in a grand dinner served in the courtyard of the German Historical Museum. We dined and danced our final evening away to the wee hours of the morning in great style.
As I previously mentioned, I initially arrived in Berlin with no great love or passion for anything remotely attached to the German culture.
I returned home changed.
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