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In retrospect the 2000s seem like a succession of crises: greeted with optimism and high expectations the new millennium already in 2001 was deeply shaken by the 9/11 terrorist attacks and seen out by the global financial crisis. Accordingly the „Time“ magazine named it „The Decade from Hell“.

As Germany’s financial center Frankfurt am Main naturally is a seismograph for the repercussions of global shocks and especially in the aftermath of the financial crisis had to cope with a diminishing communal prosperity. At the same time the overall population grew by 30,000 during the decade, a circumstance that necessitated additional living spaces for an overall rejuvenating population. As a result the building sum for housing by the end of the decade was twice as high as that for office buildings and in addition created backlog demand for infrastructural projects like schools and daycare centers. Interestingly, Frankfurt in 2004/05 introduced instruments to secure architectural quality, namely a building consultancy and a centralized application acceptance.

That these instruments proved themselves documents the latest edition of Wilhelm Opatz’s architectural guide „Architekturführer Frankfurt 2000-2009“, recently published by Junius Verlag: the editor chose ten exemplary buildings (plus a selection of „bonus“ buildings) ranging from Esther Hagenlocher’s „House L“ (2000) over Nicholas Grimshaw’s exceptional „Messehalle 3“ (2001) and David Chipperfield’s „The Frankfurt House“ (2002) to Roland Hagmüller’s „The Seven Swans“ (2008). That the documentation of the buildings even for a local can become an insurmountable hurdle proves Christoph Mäckler’s „Portikus“ exhibition hall: instead of photographs by Opatz’s trusted collaborator Georg Dörr the reader is presented with the architect’s sketchbook documenting the genesis of Mäckler’s design and his analysis of historic forms.

Against this background one cannot avoid the impression that, despite the 2000s bad records, for Frankfurt am Main the decade is associated with a spirit of departure that already fills the reader with anticipation for the next volume. A warmly recommended and, as always, highly entertaining read!

#architecture book #architectural guide #architecture #germany #2000s #book #junius verlag

The 1990s in Frankfurt/Main started with a bang: Murphy/Jahn’s Messeturm was completed in October 1990 and at 256 meters outdid the city’s former highest building by some 100 meters. But at the same time it also paved the way for a new generation of high-rises, one that was no longer strictly bound to the postwar example of the curtain wall and instead introduced emblematic, sculptural forms. The building heralded a decade of increased high-rise construction, a result of Frankfurt’s building department’s plannings walking hand in hand with the city’s ascent to a European economic powerhouse. That the 1990s were an exciting decade both in terms of architecture and culture proves the already fifth volume of Wilhelm Opatz’ series, just released by Junius Verlag: „Architekturführer Frankfurt 1990-1999“ in the proven juxtaposition of architecture, history and culture provides a comprehensive portrait of the decade that is much more than „just“ an architectural guide. Ten exemplary buildings including the previously mentioned Messeturm, Gustav Peichl’s extension of the Städelmuseum and Norman Foster’s Commerzbank Tower exemplify the city’s grown self-confidence. The latter was furthered by the head of the building department who envisioned high quality buildings designed by renowned international architects, an intent that very much materialized: Kohn Pedersen Fox, Frank Gehry, Toyo Ito and Hans Kollhoff all completed buildings during the 90s in FFM. But as Opatz’ selection proves German protagonists were well able to keep up with their international peers as e.g. Max Bächer’s timeless Parkfriedhof Heiligenstock buildings or Michael Landes’ congenial side-by-side of old and new at the Union Areal demonstrate.

In between the architecture the reader learns about Rosemarie Trockel’s 1994 „Frankfurter Engel“ from no other than Kasper König or that Arvo Pärt in 1995 recorded „Alina“ at Festeburgkirche for ECM.

These interspersed excursions together with the carefully selected architecture take the reader on a stroll through a decade that saw the city come into its own. A warmly recommended „non-architects‘ architectural guide“.

#architectural guide #junius verlag #architecture #germany #architektur #frankfurt/main #1990s #book #architecture book

Complexity and Contradiction. Capitals and popping colors. Exuberance and crisis. All of that is part of Postmodernism, the intensely criticized, heatedly discussed but still present end (or just late phase?!) of the modern project. In Germany Frankfurt am Main arguably was one of its epicenters. Under the founding directorship of Heinrich Klotz the German Architecture Museum not only had one of Postmodernism’s most outspoken promoters in its rows but in 1984 also staged one of the movement’s most influential exhibitions „Die Revision der Moderne. Postmoderne Architektur 1960-1980“. In the meanwhile fourth volume of his ongoing series of Frankfurt architectural guides (to be published very soon by Junius Verlag) Wilhelm Opatz and his contributors take the reader right into the heart of the decade and offer a surprising, fresh perspective on city and architecture alike. Each year is represented by one building and with each building the shape of the mosaic that is postmodernism becomes clearer: a humble fire station, the glazed headquarters of the Deutsche Bank or the former Landeszentralbank demonstrate that it wasn’t all about formal excess but also liberation from dogmatism. Opatz’s selection is eye opening as it shows how diverse, playful and fascinating the architecture of the 1980s could be. Instead of presenting well-known flagships of the decade lesser-known but no less interesting gems of the period are portrayed, perfectly photographed and divertingly explained. What again makes the guide stand out among its peers is the congenial connection of architectural and general city history: buildings and essays addressing contemporary events alternate, shed light on the sociocultural climate and draw a winded picture of a city already preparing for the breathless 1990s that further cemented FFM’s position as one of the heart chambers of the European financial economy. With this in mind it comes naturally to already look forward to the next volume, the stories and buildings it will uncover and what new perspectives on Frankfurt will emerge.