From the editors
CULTURE IN A "FOREIGN" SPACE: AN INTRODUCTION
TO GENIUS LOCI KALININGRAD AND KOENIGSBERG
KALININGRAD IN THE YEAR 2020 - A NOT QUITE FICTITIOUS CONVERSATION
DESTINATION - KALININGRAD
FROM KALININGRAD DICTIONARY
MAP OF THE CITY
FORMA URBIS. SYMBOLIC PARALLELS
IN OR OUT
THE RAILWAY STATION AND ENTRANCE TO THE CITY OF KALININGRAD
BINARY STATES OF "K" CITY
Eugeny Umansky, Karpenko-Karpenko
IN THE CENTER
Andrei Monastyrsky, Sabina Haensgen
EMPTY CENTER K.
FOLLOWING SILENT WORDS
FA+ (Ingrid Falk & Gustavo Aguerre)
THE MYTHICAL FOUNDATION OF KALININGRAD
PRETERITION: KNEIPHOF ISLAND
THE BRIDGES AND "THE PREGEL'S ODOR"
John Craig Freeman, Greg Ulmer
IMAGING KALININGRAD: THE SEVEN BRIGES OF KOENIGSBERG
FORGOTTEN KANT AND THE KANT-BRAND IN KOENIGSBERG
KANT'S BRIDES: A READYMADE PHOTOGRAPHIC CHRONOTOPE
THE CATHEDRAL AND KANT FOR EVERYONE, OR IS GOD FEARSOME WITHOUT MORAL
THE CASTLE OF SOVIETS
THE ROYAL CASTLE
A WHITE SEAGULL ABOVE THE CITY: THE SYMBOLS OF THE OLD NEW CITY
WRITING OF DREAMS
LIGHT UP DOM SOVETOV
THE HOUSE OF SOVIETS
THE MOST PROFOUND SECRET OF ONE KOENIGSBERG LAWYER: HOFFMANN
A LEGEND ABOUT FIVE LITTLE ULRICHEN AND FERRYMAN ANDRE
KOENIGSBERG-KALININGRAD. THE TASTE OF MARZIPAN
THE COUNTRY OF PENSIONERS - OR THE GERMANS
CONCRETE ELEMENTS OF KALININGRAD
THE UNDREAMED OF CITY
TOWN PLANNING MATHEMATICS
MOSKOVSKII PROSPECT & THE SHADOWS AROUND ALTSTADT
OUR TOWER Ivan Chechot
THE TOWER-REDAN "KRONPRINZ"
THE KRONPRINZ TOWER. Projects for the National Centre for Contemporary Arts by Students of the Institute for Theory and Design in Architecture (Braunschweig, Germany)
THE AMBER ROOM
BASTIONS IN DIAMONDS AND EMERALDS
THE HOUSE OF MACHINERY: THE RECONSTRACTION AND EXPLOITATION OF THE POPULATION
V.I.P. (Very Interesting Person)
PLACE OF EXECUTION
TRACES OF A VIRTUAL HISTORY IN A VERY REAL CITY
CHRIST THE SAVIOR CATHEDRAL
LIFE AND EGGS (A sketch about trams)
A STROLL THROUGH THE CENTER
IN THE FLOW: FOUNTAIN SEASON
WILD WEST OF RUSSIA
ANIMALS IN KALININGRAD AND A MOSAIC
KOENIGSBERG'S SPIRITUAL HERITAGE IN TONS, ITEMS AND SACKS. From the history of lost and found cultural heritage
WE ALL ARE GOING TO BE THERE
MONUMENT TO 1200 GUARDSMEN IN KALININGRAD
MATTER AND SPIRIT
FRAGMENT OF A SYMPHONY FOR SLOW READING: IVANOV AND HIS SURROUNDINGS
ATTIC OF RECOGNITION
MAN AND WOMAN
THE SMALL SCULPTURE "GIRL"
ON THE STREET
Igor Isaev, Dmitrii Demidenko
THE FIRE HYDRANT
Kalle Brolin, Kristina Muntzing
THE WATERFALL HERACLES' BOLT
V.I.P. (Very Interesting Person)
NATASHA POTERYASHINA. Inteview
TO BE IN THE MOOD FOR PACKING
Dmitrii Bulatov, Pavel Savel'ev
ACEPHALUS: OPTICAL MODELS
LIGHT THE CRYSTALS OF KALININGRAD!
THE BRIDGE THAT THE "RUSSIANS COULDN'T PULL DOWN"
THE ROAD TO BERLIN: FROM EPIC TO BANAL. Interview with Valerii Bugrov
HOAR-STONES AND BOUNDARY SYMBOLS
MUSCOVITES ARE HANGING
BEFORE THE CITY
THE KRONPRINZ TOWER
Projects for the National Centre for Contemporary Arts by Students of the Institute for Theory and Design in Architecture (Braunschweig, Germany)
Martin Tamke & Olaf Kobiella, curators
The main concept of this project is to benefit from its well-situated position next to a major street and to use the enormous interior courtyard of the entire fortification complex. To achieve this, the courtyard will be transformed into a pedestrian arcade leading directly to Kaliningrad's city center. The courtyard connects the surrounding structures by means of a spacious walkway in the middle of the complex. The main concept, the center of transformation, is the heart of the arcade, a space for communication and interchange.
The central idea for the project of the reconstruction of the Kronprinz Tower is the transformation of an old architectural complex from the 19th century into something new without adding further elements that would destroy the symmetry of the classical composition.
A complete ring of buildings surrounds a courtyard that is supposed to work as an integral whole; it unites the institutions taking part in the development of media culture in Kaliningrad (Internet, telephone, education, and art and culture centers). Of special significance in this new ensemble is the project Global Square, which will connect Kaliningrad with other cities places by means of a screen on the wall the interior courtyard. The large size of the screen will create the illusion of simultaneous presence in several locations and an effect of interactivity amongst different institutions.
The most attractive part of the complex is a tower that has been handed over to the NCCA in 2003 for use and reconstruction. In the building itself new trends in contemporary art will be represented via multi-media, Internet, design, and performance. The tower will not only attract the public but will also provoke contact.
This reconstruction plan is based upon the interaction of two different parts of the building: the tower and a "flying insect", unequal twins that differ in weight and appearance. The shape of the "insect" is generated from the tangential movement into the art forum on the one hand, and circular movement within the Kronprinz Tower on the other. This form is also an attempt to use the closed space and atmosphere of the forum as a miniature representation of the art cosmos.
The tower proposed in this project will rise above the former barracks of the Kronprinz and will be visible from everywhere in the city. It offers a unique sort of orientation. A new building placed over the Kronprinz Tower will resemble an insect in its form. The insect will seduce the eye with its smooth, red shining skin that is surrounded by pink latticework. Visitors approaching the old weir system will go through a forest of columns that resemble the legs of an insect. At first glance, it is immediately visible that one of the insect's legs is situated directly in the tower. Entering the tower, the visitor finds all the necessary facilities to embark upon adventures in new media art.
The form of the Kronprinz Tower defines the shape and structure of its extension. According to the rules of subdivision surface technology, in points of high density melting occurs in different parts of a structure; this results in a unique object. In a second step the obtained form is mirrored along an imaginary axis of reflection which is developed from the geometric peculiarities of the old fortification structure. In this manner, a duplicate of the Kronprinz Tower arises in the newly organised interior courtyard of the barrack fortress. This new building will have an absolutely smooth surface and will provide a mirror-like reflection of the historical monument. The two structures are connected together by means of a tube, which will allow free circulation from one space to the other.
The concept for the NCCA plays with the idea of the "slipstream." The solid mass of the Kronprinz is perceived as an object that separates its environment into zones of movement but also into areas of great contemplative stability. It resembles a rock in the dessert; with the passage of time, the wind generates a specific form of sand behind the rock.
This slipstream of movement, built up behind the tower, creates a perfect condition for the presentation and production of art. A simulation of flows and movements that interact with the fortifications of the Kronprinz generates the natural, aerodynamic edge of this space and defines the shape of the building.
This main principle continues within the interior. The layout and interconnection of the different programmatic functions follow the idea of wind drifts. Starting from their origin at the Kronprinz, individual rooms develop in different sizes and length throughout the new volume. A meandering void connects the spaces and creates areas of communication.
Art should come to the spectator, thus the spectator comes to art.
The aim of the NCCA, to interest as many spectators as possible in contemporary Russian art, will be achieved by a new, decentralized exhibition concept. A group of four architectural objects within the urban fabric of Kaliningrad will define the realm of the new institution. Only spaces for artists will be situated within the old Kronprinz Tower. The actual exhibition space will be divided into four parts, into four capsules, belonging like satellites to the central tower. They are all positioned in highly public places: Next to the tower, in the patio of the building (performance); on the wide, empty square in front of the train station (video and media); at the lake in the northern park of the city (installations); and on the small, rather well proportioned square in front of the stock exchange and close to the water (music). The capsules are designed as unique urban signs. Through shape and color, they catch the eye, even when seen from a distance: pedestrians approach to see more.