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| Columbushaus ： ウィキペディア英語版 |
Columbushaus
The Columbushaus (Columbus House) was a nine-storey modernist office and shopping building in Potsdamer Platz in Berlin, designed by Erich Mendelsohn and completed in 1932. It was an icon of progressive architecture which passed relatively unscathed through World War II but was gutted by fire in the June 1953 uprising in East Germany. The ruin was subsequently razed in 1957 because it stood in the border strip; the site was occupied by activists shortly before the fall of the Berlin wall.
==Architecture==
The Columbushaus has been described as a "little skyscraper".〔Wolf von Eckardt, ''Eric Mendelsohn'', Masters of World Architecture, New York: Braziller, 1960, (p. 22 ).〕〔Henry-Russell Hitchcock, ''Architecture: Nineteenth and Twentieth Centuries'', Pelican History of Art, 1958, 4th ed. rev. 1987, repr. New Haven, Connecticut: Yale University, 1992, ISBN 978-0-300-05320-3, (p. 510 ): "a really paradigmatic commercial building—almost a small skyscraper".〕 It was a horizontally detailed steel-frame building, the alternating bands of windows and spandrels on the upper floors prefigured by a conceptual sketch of Ludwig Mies van der Rohe.〔George Nelson, ("Architects of Europe Today 7—Van Der Rohe, Germany" ), ''Pencil Points'' 1935.〕 (Mendelsohn later claimed that he had to include masonry courses to allow for neon signs, and would otherwise have used only metal and glass.〔James Howard Kunstler, ''The City in Mind: Meditations on the Urban Condition'', New York: Free Press, 2001, ISBN 978-0-684-84591-3, (p. 118 ).〕) The client required the façade to curve to follow the line of Friedrich-Ebert-Straße and also specified that the floor plans be flexible to allow for future use as a department store; Erich Mendelsohn's solution was to have the window frames of the outer walls bear much of the load on the upper floors in order to greatly limit the number of internal supports and enable configuration of spaces at will by means of partitions. On the lower floors, with their continuous glazing for retail use, the load was shifted to interior supports using cross girders and cantilever girders.〔Thorsten Scheer, "Neues Bauen—The Self-Reflection of Aesthetic Means", ''City of Architecture of the City: Berlin 1900–2000'', exhibition catalogue, Neues Museum, Berlin, 23 June–3 September 2000, ed. Thorsten Scheer, Josef Paul Kleihues and Paul Kahlfeldt, tr. Julia Bernard, Berlin: Nicolai, 2000, ISBN 978-3-87584-018-6, pp. 134–47, (p. 143 ), (p. 144, Plate 166 caption ).〕 It was the most advanced office building in Europe,〔Kathleen James-Chakraborty, "Proportions and Politics: Marketing Mies and Mendelsohn", ''From Manhattan to Mainhattan: Architecture and Style as Transatlantic Dialogue, 1920–1970'', ed. Cordula Grewe, ''Bulletin of the German Historical Institute'' Supplement 2, Washington, DC: 2005, OCLC 601467972, pp. 51–64, p. 54 ((online in pdf ))〕 and the first building in Germany to have ventilation equipment.
Stylistically, it was "perhaps the most pronounced and rigorous example of modern office building design in Berlin."〔Scheer, (p. 142 ).〕 It was conceived as a real piece of urban progressivism, in contrast to the fantasy world epitomised by Haus Vaterland, on the opposite side of the square.Columbus Haus serves as an object of redemption, a spatial synthesis through which the path to pure reason can be rediscovered. It is the ultimate object of negation, conceived in rejection of the degeneration that obsessive consumption has caused to the culture. Its presence attempts to break the conspiracy between architecture and the persistence of the memory of Rome, the dangerous and uncontrollable evocation of ancient gods and mysteries. It is as if architecture had become naked, shedding all deception to purify itself and the city.〔Alan Balfour, ''Berlin: The Politics of Order, 1737-1989'', New York: Rizzoli, 1990, ISBN 978-0-8478-1271-4, (p. 64 )〕 "Dedicated to an idealist version of America", it was intentionally revolutionary,〔''The Architects' Journal'' 195.25 (1992)
(p. 31 ).〕 its height and modernity in sharp contrast to the other buildings in the square, which were predominantly classical in detailing and many of which dated to the ''Gründerzeit'' of the last quarter of the 19th century. It was to have been part of a reconfiguration of Potsdamer Platz and the adjacent Leipziger Platz as modern spaces which was planned by ''Stadtbaurat'' Martin Wagner; as a result of the Depression, the Columbushaus was the only part of the project built.〔〔Kathleen James, ''Erich Mendelsohn and the Architecture of German Modernism'', Cambridge/New York: Cambridge University, 1997, ISBN 978-0-521-57168-5, pp. 130–31.〕 Mendelsohn planned the Columbushaus as part of a wall of skyscrapers around the reformed square; first, in 1928, proposing to combine both squares and in a second conceptual sketch, in 1931, making an octagonal plaza separated from Potsdamer Platz proper.〔James, pp. 134–35, reproducing the 1928 drawing as Fig. 60, p. 136 (mislabelled 1931).〕〔Eckardt, p. 22, referring only to the 1931 concept, Plate 31.〕 Although no other buildings were built to place it in the intended context, the "last masterpiece of Mendelsohn's German period"〔Bruno Zevi, ''Erich Mendelsohn'', 1982, translated ed. New York: Rizzoli, 1985, ISBN 978-0-8478-0555-6, (p. 122 ).〕 was highly influential.〔Robert A. M. Stern, Thomas Mellins, David Fishman, ''New York 1960: Architecture and Urbanism between the Second World War and the Bicentennial'', New York: Monacelli, 1995, ISBN 978-1-885254-02-3, (pp. 53, 333 ).〕
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