© realgrün Landschaftsarchitekten
klaus-d. neumann / wolf d. auch
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Our work as landscape architects focuses on the planning and design of the environment. The focus is on interventions in urban, mostly public space. Interventions that range in scale from large-scale planning to the design of individual objects. In addition to the fulfilment of functional requirements, the development of a concise design is important to us. Conciseness can only develop on the basis of a well thought-out concept. Reduction and restraint are, in our opinion, usually the most target-oriented implementations in public, urban space, robust structures, versatile in their use - "the simple that is so difficult to make".
We see ourselves as landscape architects, not garden architects - the garden is an expression of the individual handling of nature, the landscape is an expression of the collective handling of nature. Therefore, as landscape architects, we deal with a political issue: a social understanding that prefers concepts such as time, dynamics, change, potential, i.e. basic building blocks of future-oriented models of thought, will inevitably arrive at a different understanding of garden and landscape than a social understanding that revolves around concepts such as preservation, maintenance, safeguarding, exclusion and exclusion.
We are committed to an analytical, systematic design methodology; landscape architecture is the result of an intellectual process, not a recipe-like application of an individualistic canon of materials and forms. A process that starts from the analysis of the task and the site and, based on this, leads to an appropriate design solution via a clear concept.
Our works react to the site, the space, clearly take a position on the context. Formal continuity in the sense of recognizable label architecture is not our goal, but content continuity, which leads to clear forms.
Quotation Adorno: Form is sedimented content.
Design does not end for us with the performance phase 5 of the HOAI. Particularly in the implementation of the idea in the built form, a maximum of creative discipline is required to implement the design assertion in the concrete materialization.
To even get to the point where the design assertion can be verified in the built reality, it requires a long process of communication. The concept and design idea must be communicated convincingly. Visual communication is undergoing rapid change, and with it the classic presentation of architectural content is also changing: Media like internet, video, 3-D, cad-interactive, virtual space mark the field of tension of reception. In this area, our architectural field of work receives important impulses from outside, for example from graphic design or art. Confirmed by the interdisciplinary project work, beginning with the competition up to the realization of projects, we are convinced that today only in the dialogue between the different design disciplines a good project can be created, which endures in the social context - to the interior house belongs the exterior house, to the functional enclosed space the functional free space, to the positive urban space the negative urban space. To the public space belongs the private space, to the center the periphery, the sprawl, to the author design the industrial, anonymous design.
Based on a dialectical relationship between building and exterior space, the question of contrast, of constancy and change, is interesting for us as landscape architects. The construction of buildings usually aims at permanence and durability. Within the period of use, a desired state is defined, changes and movements are minimized by the choice of construction and materials.
In contrast, the exterior space, which in most cases becomes a "green space" through the presence of plants, is determined by constant change. The factor of time is a determining one from the very beginning. Every plant grows, a design-defined state of this building material can only be reduced to a certain range by radical interventions - also called maintenance. In this unruliness, the withdrawal from final manipulability, probably lies one of the roots of the fascination of green outdoor spaces. The conscious handling of the plant, of its original characteristic - its ability to change - is one of the basic design themes of landscape architecture.
Our work contains "architectural" elements and refuses to accept the common view that nature per se demands organic forms. It is precisely in the interplay of built austerity and the ultimately anarchic behavior of plants that good landscape architecture emerges.