The Schlossplatz a place that will represent most clearly the actual position of our society. Four elementary positions can be observed: the reconstruction of the historical building before 1945 (i.e. the former castle as a new building) as an architectural correction of history. The second position is an urban tabula rasa, the replacement of the Palast with a new building, namely a “re-boot” of history. The third position is keeping the actual situation which would mean to freeze the history. The fourth and most complex position is to reorganize the existing, to keep the Palast der Republik and the foundations of the castle combined with a new building in the remaining area that enables a reading of history and a future development. We have based our study on this fourth position, knowing that this position doesn’t have a major support in our society today. If there would be an interest in a solution leading into the future with respect for the past, it would need a very strong building with an embracing power. For this reasons we believe in an iconic architecture for this place.
 
Instead of a modernist
transparency we worked for the Grand Egyptian Museum in Cairo with translucency, which enables a special sort of icon. Instead of reducing the building to a rational appearance, that is immediately conceivable, we generate a building by a translucent, second skin that gives only a hint of the inside and generates a ”Blurred Icon”. The different building elements appear partially but the entirety of the building is inconceivable. The translucent building seduces, frightens and draws the visitors inside. An icon that equals the mythic pharaonic history.

The Nam Jun Paik Museum in Kiheung, South Korea extends the actual icon; it creates an “iconic space”. This iconographic outdoor space is created by the raising of the exhibition volumes and the actual building provides the surface of the place. Exceptional is the connection to nature by “softening” the building and adding a media-surface over the building and into the neighbored forest. This “softening” reflects the ambivalent-subversive understanding of technology and nature by Nam Jun Paik. This ”blurring” transforms the building into an ambivalent landscape and communicates the essence of the Museum itself while providing an extraordinary experience with an unfamiliar view on architecture.
 
Berlin is a very “rigid” place towards icons. Sometimes they are considered suitable to the city but often banned as attempts to destroy the (not existing) enclosure of the urban plan. For the Kunsthaus the situation created a special sort of icon - an embedded icon, which keeps itself at the edge between integration into the block and solitary object inside the block.

 
 

Grand Egyptian Museum
Cairo / Egypt        

Nam June Paik Museum
Kiheung / South Korea

Kunsthaus
Berlin / Germany