NICOLAS KOENIG


Field of tension
University of the Arts Berlin, 2019
In Collaboration with Helene Peters and Mariano Manago

Libraries are translations of infinite information into restricted physical bodies. The readers are strangers. Diverse in their perspectives, they move in a space of convergence and exchange.

The space is a force field of definition and emptiness. Various bodies interact in the surrounding urban fabric. Eight architectural archetypes - a memory, a silo, a factory, a lighthouse, a baldachin, a barn, a theatre and a cuppula - are arranged around the existing Amerika Gedenkbibliothek. Each position follows a historical axis of the city. All elements are connected by a light roof.

The storages are fully accessible at all times - infinite information is arrayed.

In between, singular rows of shelves hold the particularly curated information. Every year, a curator reorganizes the relations of the books, not following conventional caterogies. Afterwards, the books move with the readers, who can put them back anywhere they like. An everchanging flow of relations emerges. One can either search something specific or be inspired on the way.

Mark

Scagliola - painted realities
ETH Zurich, 2020
In Collaboration with Paula-Marie Bugla

is questing what materials we commemorate and value most today. It is an illusion of what we know as mass and surface. The proposal intends to question the glorification of pureness in architecture and the preservation of craftsmanship. The Pavilion is a space open to experience.

A space to remind of the past and to stimulate its reinvention. A threedimensional memory is created.

The ancient Italian craft of scagliola is used to creat a variety of ever changing claddings according to light, volume and depiction. Three atmospheres are combined in one image, evoking perceptions of time, progress and power. Movement in form and depiction, sensuality of the presence and spirituality of the past guide the direction.

What was once called the ‚poor mans marble‘ and is made out of very reasonable ingredients, flourishes through its reinvented craftsmanship and creates a space open for exploration and interpretation. The material of the imitation becomes independant and the materiality of the imitated vanishes to become a simple stimulation.

An accessible depiction emerges. As in an internal dance, sometimes the image dictates the space and sometimes the space conquers the image.




 

Mark

kma
University of the Arts Berlin, 2017
In Collaboration with Helene Peters

Karl Marxallee is located on the Stralau peninsula in the heart of Berlin. It is characterized by socialist plattenbau buildings built in the 1950s. These buildings manifest equality as a guarantee for a quality life. At the same time, the equality is the advantage and weakness of the concept. On the one hand, their realization is inexpensive; on the other hand, the ever-changing architecture, for whose design the architect loses in relevance, increasingly standardizes the cityscape.
How should we react to times in which the price determines the market and architecture can be designed autonomously by humans?
The concept of Karl Marxallee 6 begins right at this point. KMA describes a method for design production, which architecture understands as a perpetual play between structure and appropriation. Intermediate and altered, existing and new. The fabrication of the structure of the KMA functions in three steps: twisting, extruding, entangling. Twisting two plates against each other creates a cut, a fragment that forms a space. If these fragments are extruded into the vertical, the structure can be interlocked. The half-finished structure requires the appropriation of the architect and the occupants. It creates a network. Each apartment is located on a segment of its own height. It is organized by a center around which the fragmentary spaces are arranged and looking outwards. The segments are connected by stairs and views. In this way, an infinite number of new, different, versatile apartments can be created, the use of which opens up new possibilities.



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Hyde Park Library
Competition Proposal, 2017
In Collaboration with Helene Peters and Mariano Manago

Parks and literature are a place of fantasy and calmness. Analogically, the library and the park should be in natural symbiosis with each other, while being accessible to all passers-by. The tranquil location requires a place to dwell in. Various ways of movement throughout the park inform the inside of the structure.
Walking down the parkway, the library emerges in the scenery, continuing the rhythm of the tree-line. Visitors are lead into and out of the library through a sequence of layers. The concrete terrace offers a public space with a clear view of the park and the water. A-lined pillars carry a flat steel roof, which frame the library while adding spaces to the transition towards the inside. Behind these elements stand three stationary windows and a translucent PVC skin that is entirely openable. This 4,5m facade encloses a 450sqm room containing the core of the library. A 20m bookshelf arranges the inside and serves as a piece of furniture that doesn’t touch the ceiling. It consists of eleven units that can be slid into the surrounding room by rails. In order to offer diverse situations, there are three modules – a lounger, a bench and tables – along with a cafe, the librarian’s workplace and stationary restrooms. Once all units are closed the room can be used for further events
Fanning out the bookshelf in various ways creates ever changing, exciting rooms that play with the notions of public space and intimacy and incent original and thought-provoking inspiration for everyone.


Mark

Slices I
University of the Arts Berlin
KET, 2017

The Teufelsberg on the outskirts of Berlin has a moving history. Build up as a debris mountain, the Americans build a Flight monitoring station on top  in the 1950s. Today, the Teufelsberg and the abandoned remains of the station is a tourist attraction and a popular natural attraction.  
In order to provide a unique outlook on the terrain without being intrusive, a look-out tower has been planned, which is integrated into nature and, with its light appearance, still attracts attention.
One hundred four-by four meter large steel plates form simultaneously the outer shape of the tower, as well as the staircase inside. By cutting out the slabs, a spiral staircase is created and the tower is reduced to only one element. The height of the steps hereby defines the distance between the individual plates. The slots between the plates offer an constantly changing yet constricted view on the way up and increase the tension of the prospect until reaching the Platform.
While the tower has a massive effect on the observer from certain angles, it loses his massiveness in the distance and disolves into a translucent appearance. Almost hovering, the tower stands over the landscape. This play between lightness and massiveness is to represent the moving history of the area and the Teufelsberg.



Mark