status: completed
program: exhibition design
location: Neues Museum, Bauhaus Museum, Goethe Museum, Schiller Museum, Weimar
architecture: BeL & meyer voggenreiter projekte
team: Anne-Julchen Bernhardt, Jörg Leeser, Adria Daraban, Claudia Hoffmann, Philipp Schneider, Meyer Voggenreiter, Wolfgang Zeh
graphic design exhibition, catalogue, internet: Goldwiege, Weimar
graphic design panorama Bauhaus museum: Are We Designer, Cologne
net floor area: 3.400 m²
client: Klassik Stiftung Weimar
date: April 2009

To occasion the 90th anniversary of the foundation of the Bauhaus, the Foundation of Weimar Classicism is organizing a large Bauhaus exhibition: 4 locations, 3400 m2, 1200 objects, one exhibition, one city: ‘Das Bauhaus kommt aus Weimar’ (The Bauhaus is from Weimar), April 1 - July 5, 2009. The exhibition architecture includes both the interior of the four museums - Bauhaus, Goethe, Schiller and Neues Museum - and connects the 4 exhibition locations to one another.

The inter-museum connection is made via so-called ‘text hedges.’ The text hedges—self-supporting constructions made of two 4 mm thick laser-cut steel sheets—feature quotations from Walter Gropius, which thematically introduce the exhibition. In front of the museums, the text hedges use existing flowerbeds, baroque balustrades and postmodern sandstone walls as substructures, adding a layer of exaggeration to Weimar's closed, harmonious urban space. The motif of the bourgeois quote—welcomed in Weimar—is, through human-sized lettering and radical content, brought to completion.  

The Bauhaus wanted nothing less than a new human: industrial mass production as the means to a glistening future... a future which has existed for more than 40 years now. The exhibition architecture is made of a single universal system, used in each museum. Made of aluminum square tubing and white Resoplan panels, this system is all-encompassing. It is made for the exhibition, the trade fair, the supermarket, the store fittings, the everyday life, the Gesamtkunstwerk, theater, photography, text, festivals, etc. The exhibition experience can then also be comprehensive: sleeping, eating, relaxing, looking, contemplating, watching film, seeing theater, teaching, arriving, leaving, returning…

status: completed
program: conversion and extension of a single-family house
location: Hürth
team: Anne-Julchen Bernhardt, Jörg Leeser, Wiebke Schlüter, Christiane Schmidt
structural engineer: Fritz Münster, Frechen
clients: Sirit and Dirk Breuer
area:136 m² plus 37 m² attic
costs: 230.000 €
completion: May 2012

LBS-Preis Das Goldene Haus 2013
Houses of the Year 2013, Shortlist
Kölner Architekturpreis 2014
Architekturpreis NRW 2015
BDA-Architekturpreis Nike 2016

After the purchase of a small settler’s house from the 1950s, there was not much money left for a young family to build themselves a home. The decision was therefore made to refurbish and extend the existing house rather than rebuild it, saving not only money but also the material and energy conserved in the existing structure. The settler’s house is treated as raw structure into which the new is fitted, tuning up the typology, energy use, and accessibility of the house.

The suburban house—its spatial qualities having blurred, its references to history and context gone dim—is brought back to its origins and transformed into architecture. The three stories of the house are differentiated and formed through three different spatial concepts: A lengthwise directed living space on the ground floor, separate rooms circulating around a central access area on the first floor, and an open space concept in the attic.

The load-bearing walls are retained, while the different spatial concepts are introduced into the structure. The new lengthwise directed rooms on the ground floor connect front yard and garden, through the living space. Spacious double doors in the cross-direction link the new terraces on the sides of the house to both living room and kitchen. The new staircase is relocated on the outside of the house, connecting ground and first floor without disrupting the open character of the living-space. The four rooms of the first floor become individual characters—morning, day, evening and the north/garden room—through single windows, all facing a different direction. The attic bares the possibility of being buildout into an open space bedroom, arranged around a well-positioned bath box.

The small house stays small. It grows in length by 2.20m and in space from 118 to 152 m². The extension rests on the foundations of the former terraces and is built in a light steel construction fitted with wooden walls. The new, insulated rafter-roof connects both parts of the house. The outside walls of the existing structure are insulated and plastered. While the different constructions and materials differentiate the new and the old are inside and out, the overall coloring of the walls keeps this effect subtle.

status: competition
program: housing
location: Baakenhafen, HafenCity, Hamburg
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Alia Mortada, Roman Krükel
client: cooperative board HeimatMole
date: April 2017

In the home of the Heimatmole building community, big life changes do not mean moving out, but small architectural changes. Having a child, caring for elderly parents, separations and group living arraignments can be accommodated by installing a new door or closing a doorway with a wooden stud wall. The house offers maximum adaptability through minimal intervention. This is made possible by an architecture structured around a multitude of neutral spaces. Not simple intermediate spaces, the rooms have precisely determined dimensions, allowing them to accommodate all facets of life; kitchen, workshop, bedroom, dining room, eat-in kitchen, children's room, utility room, music room, library, youth room and office now fit into every room. Through a central diffusion of bathrooms, water (and thus potential kitchens) is available throughout the floor-plan, allowing for a wide variety arrangements. The office, work room or guest flat can become autonomous without expensive conversion.

The building stands directly on the Warf plaza, enhancing the creative potential of the neighborhood with its mixture of living and working. The two-story base of the building features many doors, and a series of double height spaces. The most public of these is the communal ‘Heimatclub,’ while the others are the defining features of the four live/work maisonette apartments at ground level. These apartments are offered privacy by a thin layer of climbing plants. They are use-flexible, but achieve this not in their floorplan, but in their volume. The residents determine the character of their plaza though their individual decisions: is it studio, office, living room or kitchen at ground level? Each of these maisonettes is completed with a terrace on the courtyard side of the buildings.

Above the base, the relationship between the public side and the protected communal side is flipped. While on the Warftplatz the residents form a counterpart to the neighboring house, the courtyard side faces the Elbe river, visible to the whole city. On the upper floors therefore, the façade needs to offer privacy from the city while participating in its image. These contradictory requirements of protection and representation are handled with a green scaffold. This element is both technical and ecological in character, supporting a multitude of climbing and flowering plants, and crowned with an energy-harvesting wind turbine. This façade is no empty image, but full of life. Its balconies create a direct relationship between the courtyard and the building’s residents, offering views of and from the city, while flowering trellises attract birds and insects. 

status: in progress
program: cooperative housing
location: Neunburg vorm Wald
team: Anne-Julchen Bernhardt, Jörg Leeser,
Alina Uhlenbrock, Julia Kaulen, Mariel Kaiser-Crompton,
Christian Kühnle, Laura Fuchs
structural engineer: Dr.-Ing. Arne Künstler, Frankfurt
client: 9BÜRGER eG Wohnungsbaugenossenschaft i.G.
date: July 2019

Arising in relation to the landscape, this new ensemble is composed of three parts: house, shed and yard. It is a cooperative living project for people over 50; people who want to begin the next phase of life in a lively and social environment.  

The house consists of 19 living units, a common room with kitchen, a shared bathroom and a guest room for visitors. Opposite is the shed—a large simple roof—for storage and work. Between these two structures is the communal yard. It is a space of movement and unplanned encounters: neighbors pass by, hang out, or repair their bikes; all the action is here.

The building is accessed via a long arcade, ramped to match the topography. The use of standard German accessibility standards is here formalized into a terraced social space and the structural backbone of the building: the residential units are stepped down along the slope of the ramp. The house is likewise staggered in plan, with the different flat sizes arranged according to their size. Facing south towards the arcade, each flat has a glazed, unheated veranda. It serves as a terrace in summer, enlarges the living space in the transitional periods and creates a threshold space between the communal arcade and private living quarters. 

status: urban design competition
program: housing, working
location: Düsseldorf
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Laura Fuchs, Amelie Bimberg, Leonard Palm, Jonas Läufer
team NL: Kamiel Klaasse, Mark Kanters, Linda Consiglieri
client: Metro Group
date: October 2017

status: urban development workshop
program: multi-use: housing, ateliers, community areas, public open spaces, kindergarten, town hall, commercial
location: Berlin
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Anna Bayer, Hannah Rudolph
team Robertneun: Nils Buschmann, Tom Friedrich, Maria Seidel, Max Mütsch, David Troost, Niklas Klein
team Studio Vulkan: Dominik Bückers, Alizée Bonnel, Valentin Keller, Johanna Joecker
client: City of Berlin
date: February 2020

The ‘Dragoner Areal’ inspires a strategy of preservation and continuation. Its spatial and atmospheric density, richness and diversity lend this strategy its starting point, goal and content. This diversity is a product of a duality: a friction between the site’s 19^th century army barracks and the Wilhelminian urban texture which has grown up around them. In between the rigid geometry of the barracks and the amalgamated interior of the Berlin block, a disorderly, yet lively hinterland of subordinate outbuildings has developed. To create a truly mixed-use urban quarter, the integration of these existing commercial and cultural uses is paired with a clarification of the barracks’ inherent architectural characteristics. By taking up its already in-progress transformation, this monument of the past becomes the living heart of future development.

The frayed sequence of courtyards along the block interior are strengthened, capped or enlarged to form a series of more definite courtyards and living ensembles. Public functions are re-oriented or added—supporting and introducing block life—while the reclaimed order of the barracks’ structure introduces clear entrances, sightlines and throughways. This structure is therefore maintained, with special attention given to the re-fortification of the three traditionally open spaces: the central parade ground and the two practice fields. This is achieved not by reconstructing the missing wings and head buildings, but by replacing them with a diverse cast of more contemporary structures. Residents and users have then direct access two the two practice fields, which—restored to their original proportions—now serve as an urban garden and work yard, and the parade ground—now partially re-appropriated into a central plaza. 

status: completed
program: bike shop
location: Severinstraße 49, Cologne
team: Anne-Julchen Bernhardt, Jörg Leeser, Christian Kühnle
costs: 50.000 €
net floor area: 105 m²
completion: October 2018

Verzinkerpreis 2019, honorable mention: sustainability 

The staub&teer bike shop in Cologne is a sustainable project. The salesroom for gravel bikes and accessories of a Cologne bike factory had a fixed budget of €50,000 for 100 m² of space. For this, the complete drywall construction, the electrical, lighting and sanitary installations, painting work and the sales equipment were to be carried out. The shop - perfectly located in the Roman Cardo street - had no spatial or atmospheric qualities, so only a strong overhaul of the space would make the shop a place of commerce.

The spatial or atmospheric upgrading of the room is achieved by installing a construction system from an alien context - a ready-made. The galvanized EURO formwork construction system serves as a wall, room divider, paneling, door, counter and shelf, and can be deconstructed without leaving any residue. The differently joined modular elements, fixed by means of clamps, form a sequence of rooms: the vestibule, the counter space, the cabinet of curiosities and the bicycle gallery are lined up, one after another.

The construction system was built by the shop operators themselves in 5 days, and fulfills the individual functions through various modifications. Perforated or galvanized steel sheets are set with magnets; flush with the outside as a presentation surface or flush with the inside as shelf backing. As bicycle holders, bent anchor rods were inserted into the anchor nuts inherent in the system. As product holders, stock insert-able hooks were inserted into the perforated panels. The universal formwork, purchased for 30.000 €, required no modification, and can thus be resold after a possible dismantling.

Since opening, the bike shop has become a social meeting place—given its universality and the energy of the operators—serving this role in addition to that of a sales room: https://www.instagram.com/staubundteer/

status: in-progress
program: hotel, retail
location: St. Pauli, Hamburg
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Christiane Schmidt, Alia Mortada, Julia Kaulen, Michel Kleinbrahm, Jonas Läufer, Wolfgang Zeh
team NL: Kamiel Klaasse, Kirsten Hüsig, Laura Riano Lopez, Pieter Bannenberg, Guilia Pastore, Jasna Kajevic
structural engineer: Jürgen Bernhardt, Cologne
client: Bayerische Hausbau GmbH & Co. KG., Bezirksamt Hamburg Mitte
date: August 2016

Following the example of the 1920s Haus Vaterland in Berlin, Plot 1 is an implosion of urban life that welcomes and delights residents of Hamburg and tourists alike. St. Pauli is formed by a variety of actors, a diverse cast of characters all of whom meet on the street. The hotel and 3D building stand on Spielbudenplatz, a colorful hybrid structure which becomes a street unto itself. It has two ground floors - one at ground level and one on the ‘Stadtbalkon’ - both with countless doors. These two floors—like the street they embrace—are dedicated to characters of St. Pauli, offering them new places for encounters, for meeting, and to linger. The balcony is a distinct throughway connected with the street by stairs at both ends: it is a street and a square in the air.

The hotel itself combines three different hotel types: the Grand hotel, the artist hotel, and the hotel tower. The foyer on the ground floor of the hotel forms a passage from Spielbudenplatz to the alley. Small retail / craft shops and a bakery are located here, enlivening this semi-public space. A double staircase leads upstairs to the lobby of the hotel, which connects the ground floor to the stadtbalkon. The façade facing Spielbudenplatz unites the different types into a multifaceted design that is reminiscent of the Esso houses as well as various famous hotels. The rooms are different in the three parts of the hotel. There is a room here for everyone.

Each hotel volume features a different public roof function. Crowning the lowest, western volume is Park Fiction 2.0: an open space for all Hamburgers. A stair leads from the park to the garden restaurant which inhabits the seventh floor of the tower and spills out onto the roof of the central hotel building; it offers a panoramic view over Spielbudenplatz, St. Pauli the roofs of Hamburg. The eastern façade of the tower provides the necessary elevation for a climbing wall, the faceted geometry of which gives the street face of the tower its distinctive form. The climbing wall is accessed from the roof of the adjoining 3D building.

The 3D building is a rectangular Leaning Tower of Pisa; a solitary building enclosed by columns and containing a winding vertical walkway. The tower extends the public space vertically. A freely accessible staircase begins in the alley, rising towards the city balcony to the East and then continues upwards towards the South in front of the hotel. From there you climb through a series of programmable public levels and overlook the alley from bridge to the skate park, before a final turn takes you up to the public climbing gym.

status: completed
program: production plant
location: Slubice, Poland
team: Anne-Julchen Bernhardt, Jörg Leeser, Eveline Jürgens
net floor area: 2069 m²
net volume: 9310 m³
cost: 1.200.000 €
client: FRABA Sp. z o.o, Slubice, Poland
structural engineering and site supervision: ARUP Warzaw

Balthasar Neumann Preis 2007 shortlist

As a non-hierarchical, uniformed, infinite and flexible space FRABA Sp. z o.o. is a metageneric production plant. FRABA produces electronic components for the automation industry in a non-automated manufacturing process. The products are hand assembled in small series. The assembly consists of tables, shelves and trolleys.

On a tight gross budget of 580€/m2 a prototype plant for future expansions around the globe is developed. The design reacts to location specific construction and logistic conditions for each site.

In Poland there is a sufficient supply of timber at considerable low costs compared to the conventional steel structure. With a global steel market overheated by Chinese demand and the affordable labour costs in Poland, a lightweight timber structure becomes reasonable.

The structural system consists of a 52m diameter 60°solid web beam grid. It rests on 19 17cm diameter stressed steel tube columns with a clear span of 9,70m. The shell is made of prefabricated insulated plywood elements, 14% of the roof is covered with triangular skylight domes. The top surface is aluminium coated bituminous roofing membrane. Gross floor area is 2069 m2 with an overall clearance of 4,5m. The building has mechanical and conditioned ventilation, Skylights are specifically designed for perfect daylight assembly conditions and avoid heat gains during the summer.

The circle is an optimized box. In comparison to a rectangular building of the same volume it has less surface, which in addition to saving energy, reduces construction material by up to 13%. The triangular grid minimizes the constructive complexity while offering a maximum of possible layout variations. The dimension of the triangular grid is adapted to the needs of the company; optimized for the client's production process as well as for possible future uses.

status: completed
program: conversion of a 29th floor penthouse into a photographer's office
location: Cologne
team: Anne-Julchen Bernhardt, Jörg Leeser, Conrad Kersting, Christiane Schmidt
structural engineer: Jürgen Bernhardt
client: private
date: September 2014

At 134m high, the Uni-Center in Cologne is one of the largest residential high-rises in Europe. In addition to 1000 apartments, it has several offices and service areas. One of these, the 250 m² penthouse atop the lowest wing of the building (29 stories) had been divided into 5 office units. With the addition of a few structurally strategic elements, dividing walls could be removed, unifying the penthouse space. With the exception of the neutral gray bathroom and technical room, the office is now composed of a fully glazed large room with a single core of exposed concrete. The glass facade was completely replaced by energy-efficient elements and provided with a large sliding system which opens East onto the roof garden. 

The conversion deals with perspective as a symbolic form. An approximately 90 cm high platform takes up most of the space. Under the platform there is space for the large number of cables which dominated the room before the renovation; these are now combined with the existing core and hidden discretely behind the bookcases which run along the edge of the platform. This simple move divides the room into two spaces: a low-lying zone along the facade and a wide, open area above. Below is the library, storage, and tea kitchen, while above are the permanent workspaces, meeting tables and a sitting area. The floor of the platform is covered with a specially designed and manufactured carpet, which—in reference to oriental patterns—contains ornamental elements such as the floor plan of the Uni-Center, the coat of arms of the building owner’s birthplace, and maritime motifs from the Gaudi tile used in the tea kitchen.

In raising the floor 90 cm, a breathtaking panoramic view extends over the balustrade of the roof garden—at a considerable 115 m—to the horizon. The world is at your feet.

status: competition
program: housing
location: Zürich - Unterstrass
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Julia Kaulen, Leander Lentner with Marco Merz, Marion Clauss, Olivia Schmidt
client: Stiftung Einfach Wohnen
date: December 2020

The new Rotbuch-settlement is composed of an unequal double; two house ‚characters‘ that complement the colorful image of the neighborhood.

The larger, angled townhouse is oriented towards the street and forms a generous green corner against the intersection, while the smaller garden-house joins the group of second-row-houses placed in the topography. Together, these characters mediate between the scales of the surroundings, continue the open building structure and seek a self-evident presence in the midst of the beautiful vegetation.

The townhouse is developed as a dense package of rooms with common spaces of various scale and use. Floor communities of different micro apartment sizes (1-, 2-, and 3-rooms), intentionally located next to each other create mixed-age, mixed-living-model communities around South-facing, shared living rooms. The living spaces emerge from within the structure of the building; open spaces supplemented only by the adjoining smart-closet bathrooms.

The garden-house leaves space for the large existing Larch and has a clear, simple structure and layout. Kindergarten and Day-care share the first floor along the garden with morning sun, while above are two maisonette-cluster apartments with a communal terrace.

The heart of the new ensemble is the collective courtyard between the two buildings. High-crowned trees shade the gravel square. Connecting the two access roads, it offers space for communal activities and meetings, becoming the center of gravity for the settlement.

status: competition
program: museum, hostel
location: St. Pauli, Hamburg
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Christiane Schmidt, Alia Mortada, Julia Kaulen, Michel Kleinbrahm, Jonas Läufer, Wolfgang Zeh
team NL: Kamiel Klaasse, Kirsten Hüsig, Laura Riano Lopez, Pieter Bannenberg, Guilia Pastore, Jasna Kajevic
structural engineer: Jürgen Bernhardt, Cologne
client: Bayerische Hausbau GmbH & Co. KG., Bezirksamt Hamburg Mitte
date: August 2016

The small Plot 2 features a compact, interconnected structure of communal cultural uses. Thus, the complex relationships of opening, demarcation, insight and separation give form to this urban building block. On Spielbudenplatz stands the small museum with a massive façade, crowned by a skate park. Its glass pedestal contains a café and a club, which extends into the basement. From here, a staircase connects the clubs concert space with the townhouse-style hostel next door.

The museum façade acts as a sound barrier, protecting the alley behind and the building itself from the noise of Spielbudenplatz. Operable windows are hidden in the trapezoids of the soundproof wall, and skylights are concealed in the volcanoes of the skate park. A bridge spans the alley, connecting the skate park to the adjacent 3D building of Plot 1. Here skaters spend the afternoon in the evening sun, enjoying the view over the Reeperbahn while a service entrance from the hostel supplies drinks.

The club has two function rooms: a day club on the level of Spielbudenplatz with a stage in the shop window and a subterranean club with a basilica-like layout under the alley. You descend into the club via a central staircase - with cloakroom and box office in what would be the organ loft. From the club, a service staircase leads up to the hostel, where visiting performers can lodge. The hostel is a narrow, eight-story townhouse on the alley with three small double rooms and a slightly larger private room on each floor. The rooms face the alley, each with a façade basket for airing clothes and storing travellers' belongings. A two-story restaurant, which also serves as the reception, opens onto the alley. Here, guests can spend their days and evenings before ascending to their rooms.

status: competition
program: National Museum of Art, Architecture and Design at Vestbanen
location: Oslo, Norway
team: Anne-Julchen Bernhardt, Jörg Leeser, Kristina Eickmeier, Wolfgang Zeh
gross floor area: 36.000 m²
client: Statsbygg, Oslo
date: June 2009

Vestbanen is a void waiting to be charged. The modest size of the remaining landmarked station buildings is as absurdly disproportionate to the scale of the site as it is to the importance of the National Museum. To incorporate the large building masses into this delicate context, museum and office functions are assigned to two separate volumes. They share the same urban density but can be developed and realized individually. The museum is a horizontal slab, the office building a diverse vertical volume. Both typologies are derived from the immediate physical and historical context. Both pay tribute to the neighboring urban fabric and the landmarked station buildings.

Assimilating to the scale of the station buildings in height, the museum fosters the dignity of the landmarks without dwarfing them. Its magnitude as a National Museum is developed in the horizontal plane. Its vast footprint stems from the typologies of shipyards as well as train stations. It is modest in height but exuberant in depth. The new museum occupies the entire site, there is no figure ground relationship. There is no museum object but an all-embracing museum volume. The expansive footprint invigorates the existing public exteriors. There is an abundance of public space in the context. Triangular sculpture gardens charge the existing public spaces in front of the museum entrances.

The National Museum will stimulate intense urban density on the site. All public functions are at ground level. The public permeates into the museum through the open ground floor façade. The flatness of the new museum is horizontal monumentality. It is a deep space illuminated by controlled natural light. The friendly gallery maze is an open system to be appropriated by the public in time.

A universal enfilade system provides total flexibility and unlimited but controlled access. The low hierarchy of the spaces fosters incidental use and self-determination. The Lofted Archive is an indestructible container. It serves as a machine to preserve the cultural achievements of a society, which need to be stored and maintained. Serviced by functional cores and illuminated by light shafts, it's a heavy-duty workspace, forklift accessible.

status: workshop
program: densification, housing, mobility hubs, retail, offices, workshops, gardens
location: Hamburg-Bergedorf
team: Anne-Julchen Bernhardt, Jörg Leeser, Alina Uhlenbrock, Mariel Kaiser-Crompton 
client: Gemeinnützige Baugenossenschaft Bergedorf-Bille eG, Behörde für Stadtentwicklung und Wohnen, Amt für Landesplanung und Stadtentwicklung, Bezirksamt Hamburg-Bergedorf
date: June 2019

After years of consolidation on the inner edge of Hamburg's periphery, 16,000 new neighbors are expected in Bergedorf-West. This densified, new charged Bergedorf is investigated through parameters given by the existing urban-suburban structure.

The existing indifferent spaces will be transformed into new urban spaces, each of which will exaggerate its specific qualities and connect to the others via a network of well-defined open spaces. The aim is to be both more differentiated and grander than before.

Four spatial figures reinforce the latent spatial configuration by means of new construction: These juxtapose spatial typologies from the city, suburbs and village. The space is not drowned in newness. Types are read from the existing spaces and inscribed more definitely, volumetrically. Each new word giving a fresh meaning to its context. Life in Bergedorf becomes at once more urban and more scenic.

status: completed
program: coffee roastery
team: Anne-Julchen Bernhardt, Jörg Leeser, Wolfgang Zeh
brand design: nondesign, Jörg Waschat
cost: 150.000,- €
net floor area: 185 m²
completion: July 2010

AIT-Award 2012

The van Dyck roasting plant is located at Körnerstraße 43 in Cologne-Ehrenfeld, a district characterized by its development during the industrial revolution. Its dense, orthogonal street network is lined by Rhenish three-window houses. Workers and petty bourgeois lived here, while in the block interiors, artisanal businesses and companies such as Audi, 4711, Helios, Herbrand and the chocolate factory Kwatta maintained production facilities. Since the Second World War, many immigrant workers moved to neighborhood, and recent development has been characterized by gentrification. While Ehrenfeld's industrial and artisanal importance is steadily declining, the gastronomic offer is steadily growing.

The design concept of the newly founded coffee roastery Van Dyck hearkens back to the industrial founding of the neighborhood without nostalgia. The technical production processes of a coffee roaster become the central design element; the experience of production becomes a gastronomic idea. With the roasting machine as a tabernacle in the visual axis of the room and the packing table serving as connecting element to the shop window, the guests participate intensively in the production of the coffee. The visit becomes a tasting; coffee and food are served at the packing table. The privilege of participating in the roasters' lunch break—behind the scenes of a legendary production plant—determines the perception of van Dyck.

An automotive enthusiast's greatest happiness is a visit to the "hallowed halls," the production facilities of his beloved make. Coffee lovers worldwide can now enjoy daily van Dyck coffee on Körnerstrasse.

status: competition. 2nd prize
program: student housing, kindergarten, cafe
location: Körnerplatz, Hannover
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Michel Kleinbrahm, Gina Rauschtenberger, Leonard Palm
team NL: Kamiel Klaasse, Walter van Dijk, Pieter Bannenberg, Iwan Hameleers, Sarah Möller, Laura Riano Lopez, Alison McNeil, Jasna Kajevic, Pablo Baena Vega
structural engineer: Jürgen Bernhardt, Köln
energy consultant: Energiebüro vom Stein, Jörg vom Stein
client: Gesellschaft für Bauen und Wohnen mbH - GBH
date: July 2016

The building is a ‘solitaire’ in a garden, surrounded by a wall. The wall is urban, programmatic and formal, taking communal uses and returning them to the city. To the inside, the wall encloses the garden for the children, who can play on the green, protected from noise of the city. To the outside, it provides public bicycle parking and car sharing, space for a public café and forms a new square, the ‘Körnerplatz.’ The Christuskirche church square thus receives an add-on across Schloßwenderstraße, capping its southern end. The resulting sequence of squares incorporates all the uses of the city - housing, education, movement, commerce and worship.

The building rising above the wall is a simple compact volume made of brick. With its façade (and the unique spaces it reveals) the building responds to its location in the city. The four common spaces each have specific qualities related to their respective sides: a café opens onto the new square, a shared living room faces the church square, a laundry room and open terraces face the residential neighborhood to the South, and a living/study room face the university library. Each of these spaces make their own distinctive mark on the otherwise regular structure of the brick relief façade.

In the building, storage rooms are not assigned to the individual apartments, as is typical. By pooling the required 4.5 m² per apartment, and adding it to the 1,5-meter-wide hallway space, a new 3-meter-wide communal space is created. The individual apartments thus become a cluster apartments. The hallway—a place of communal living in historic housing typologies—is a multifunctional space. In addition to storing items that do not fit into the apartments (racing bikes, snowboards, surfboards and suitcases), larger communal items can find a place here; kicker, work tables, large televisions, sofas, and oriental carpets turn this space into a living room. The four-to-seven residents of a hallway community can decide collectively about how to use the room, allowing the hallway to reflect the community it serves.

status: contribution to the exhibition “Alternative Histories”
program: model
team: Anne-Julchen Bernhardt, Jörg Leeser,
Mariel Kaiser-Crompton, Alina Uhlenbrock, Laura Fuchs
client: Drawing Matter, The Architecture Foundation,
Marius Grootveld, Jantje Engels
date: March 2019

BeL (*2000), Anne-Julchen Bernhardt (*1971) and Jörg Leeser (*1967): On Walter Pichler's Sketch for the Underground City, 1960-64, Model, 2019, metal, concrete, plaster, paint, foam, wood, pastel calk, wood glue, paper, coal, styrofoam, plastic, play dough, sandpaper and plasticine.

The selected drawing – a light-hearted but somewhat nervous sketch bearing the title “Sketch for the Underground City” – belongs to an early body of work by Walter Pichler.
Working on abstract, hypothetical cities and buildings, Pichler questions the relationship of oppositional systems and investigates into positive and negative space, the designed and the found object, movement in space and movement of space. He is fascinated with infrastructure, spatial networks and the architecture of transition.

Over the course of four years he produced several series of drawings and objects, as the first seem to be mostly investigative and only occasionally presentation drawings, the latter are artifacts of meticulous craftsmanship in metal, concrete and plaster. Resting in time as singular entities, they obtain an almost transcendental aura; their painstakingly precise and slow process of making is inscribed into their abstract yet detailed manifestation. Form, space, light, material and surface are taken into the realm of fetish objects, the Sublime hovers within and around them.

The enigmatic objects are called Compact Building, Underground Building, Mouth of an Underground City, Core of an Underground City, Building over Infrastructure and Underground Building with extendable core. There is no record of an object titled the Underground City, the selected drawing solemnly bears that name.

Our model is neither abstract nor enigmatic but concrete. It is a model not an object. Its simple stereometric volumes are directly taken from Pichler's sketch. As a feasibility study it explores possible levels of detail Pichler's sublime objects would have faced, if they had been taken as representative model in an architectural process. The model is in search of the inherent beauty of the ordinary, it emphatically embraces the everyday, where the Sublime is just around the corner. Still, the Underground City remains the Other Space, pink cavities crouch underneath the surface.

pictures 11–17: Walter Pichler: “Skulpturen, Gebäude, Projekte”,
Residenz Verlag, Salzburg, Wien, 1992

status: competition
program: subsidized housing
location: St. Pauli, Hamburg
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Christiane Schmidt, Alia Mortada, Julia Kaulen, Michel Kleinbrahm, Jonas Läufer, Wolfgang Zeh
team NL: Kamiel Klaasse, Kirsten Hüsig, Laura Riano Lopez, Pieter Bannenberg, Guilia Pastore, Jasna Kajevic
structural engineer: Jürgen Bernhardt, Cologne
client: Bayerische Hausbau GmbH & Co. KG., Bezirksamt Hamburg Mitte
date: August 2016

Plot 4 is composed of two residential buildings facing onto the alleyway with access to the common courtyard. The first of these sits at the corner of the new alleyway and the ‘Kastanienallee’ along the South of the site. It is a two-volume ‘Doppelhaus’ composed of a Milanese-style corner building and residential tower. The second is a retirement community home which faces the alleyway with a series of ornamental balconies.

The two parts of the ‘Doppelhaus’ are offset by one stair landing, creating a split-level semi-detached house joined through an exterior security staircase. In the Milanese corner building, the lift leads directly to the arcade, which provides access to three 3.5-room flats. The flats have an open floor plan, allowing for various forms of cohabitation. The tower features three 1,5-room apartments per level, each have a 5 m² loggia and deep-set windowsill with expansive views over the Hamburg harbor. These two communities come together at the roof garden of the corner house, which is accessible to all residents.

The five-story retirement home forms another unique community: four small flats per story share a common living room and a large balcony overlooking the alley. This creates social networking and exchange not only among the residents, but between the residents and the adjoining public space. The façade is horizontally structured, defined by precast concrete elements and 'tattooed' flower pots for flats and living rooms. The ground floor has a small shop and restaurant as flexible commercial space, further tying the building to the alleyway.

status: urban development workshop
program: conversion, housing, workshops, offices, retail, public spaces
location: Salach
team: Anne-Julchen Bernhardt, Jörg Leeser, Mariel Kaiser-Crompton, Hannah Rudolph
client: Gemeinde Salach, IBA-GmbH StadtRegion Stuttgart
date: December 2019

With the Mühlkanal quarter, Salach is developing a unique piece of the city and a special piece of the landscape. The space between the railway and the river Fils - both the infrastructural elements which have allowed the city to grow - is now itself joining that city. The industrial ensemble and the floodplain thus emerge as charged urban spaces. The 1,000 employees of the Schachenmayr, Mann & Cie company almost 100 years ago will now become approx. 1,000 people (approx. 700 residents, 300 jobs) who live and work in the Mühlkanal quarter.

The conversion and extension of the protected buildings establish an ensemble, both culturally and socially outstanding. The four buildings of industrial culture - each exemplary of the techniques, structure and design of its time - are carefully converted and minimally supplemented. These structures are only suitable for living in a few areas, and thus require a special programmatic mix, developed in relation to each structure. Each of the four buildings receives a loose focus: work/studio space, small-scale production shops, a market/event hall and culture/education. In the existing buildings, people continue to produce and work, but also research, trade, educate themselves, meet and relax. To create an urban fabric, however, more is needed; the generous areas for working are supplemented by diverse typologies for living.

The new buildings are added to the existing ones as new rooms in a spatial sequence; a continuation of the sites industrial logic. The saw tooth halls are connected to the factory building via the workshop, offering expandable residential studios of various sizes on two double floors and a building of cluster apartments. The long row of three wool-sorting buildings to the north is extended by one building. The resulting comb-like structure functions as mobility house for cars and bicycles, and features South-facing terraced apartments, forming the Northern edge of a lively residential street. The Southern edge is then created by three groups of back-to-back row houses. These row houses are arranged according to size, creating small plazas along the street to the north before condensing into residential paths leading southward into the landscape. Flanking these paths, small residential towers frame views toward the river. One step over the new mill canal and you are standing in the wild river landscape along the Fils. New gardens and meadows can be found here, seating steps can be discovered along the bank, and in the thicket of the otherwise inaccessible biotope, one finds the secluded refurbished Hattie-Barreis hut, now a picturesque beer garden.

status: workshop
program: foundation headquarter, canteen, school, workshops, experimental housing
location: Lörrach - Brombach
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Julia Kaulen, Laura Fuchs, Leander Lentner with Marco Merz, Marion Clauss, Kamiel Klaasse, Philipp Stiebler, Susanne Heiss, Yana Kyuchukova
client: Schöpflin Stiftung
date: October 2020 - April 2021

The new Fabric-Areal is an ambiguous answer to the wishes formulated by 1600 narrators for the design of a new piece of Brombach.

Like the task, the result also contains the knowledge of many: It is characterized by the close collaboration of the four architectural firms. Most of the work was done on site and in the model, in dialog with the interdisciplinary advisory board and invited experts.

The urban design is situational and narrative, reacting to the landscape, industrial and village contexts of Brombach. The different sides of the context (residential development in the south, existing foundation site in the west, mobility hub in the north and Vacuform site in the east) are complemented and related to each other, creating a loose structure of seven playfully positioned buildings. These divide the site into a more open, landscaped section and a denser, more urban one.

The building volumes are individual characters that create a dense network of relationships between interior and exterior spaces; wide meadows and narrow alleys, representative openings and intimate niches. The heart of the site is articulated by an agora; an extension of the landscaped open space.

The hybrid buildings in timber construction are developed to remain open for future developments, energetically optimized and are occupied up to the roof area. Multiple-usable spaces, sharing potentials and communal living forms save space and resources, making the Fabric-Areal a sustainable piece of the city.

status: project
program: flexible working spaces
architecture: BeL & Sascha Glasl
team: Anne-Julchen Bernhardt, Jörg Leeser, Sascha Glasl
gross floor area: 221 m²
cost: 30.000,- € + sponsoring
client: Entwicklungs-Gesellschaft Zeche Zollverein Essen
date: September 2007

1893 Henry Ford builds his first car, the Quadricycle in a garage
1939 Bill Hewlett and David Packard found the company "HP" in a garage
1976 Steve Jobs and Steve Wozniak build the "Apple I" in Job's garage
1998 Larry Page and Sergey Brin found the company "Google" in a garage

Great ideas are born in everyday places: in the bathtub, on the train, flying a kite, or in garages. Today, people work everywhere: in cafes, on trains, on the street or at the kitchen table. Throughout history, great ideas have also come from places of aura: the Medici court, Monte Verità, Montmatré and Warhol's Factory. Start Up Garage mixes the mundane with the auratic.

Working as a solo entrepreneur is possible anytime and anywhere, no need to build a new space for it, the world is already there. What the solo entrepreneur lacks are others who are like her, and a space with the same spirit. Start Up Garage is 221 m² and can be used by several sole entrepreneurs with 6-month stipends. Start-up Garage consists of 12 stock-issue carport modules and fosters different uses by connecting and separating different spaces with a variety of garage doors: latticed, insulated with door, closed insulated and non-insulated. Each room is lit by a translucent polycarbonate roof, while the transverse openings of the modules closed with PVC curtains. Sufficient sound insulation and climate protection is ensured despite the high degree of transparency. The traditionally dank space of the garage is filled with a diffuse, heavenly light.

status: competition
program: permaculture farm, farm shop, hotel, lecture rooms, co-working, office, restaurants, workshops, apartments, community housing, gardens
location: Türnich
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Michel Kleinbrahm, Jakob Wolters
team baukuh: Pier Paolo Tamburelli, Andrea Zanderigo, Paula Frasch, Chiara Catapano
team smeets: Jan Peter Stiller
client: city of Kerpen, Count and family of Hoensbroech
date: February 2017

Schloss Türnich is a unique spatial structure made from architectural and landscape elements. Together, they form a system of particular pieces: the castle, the moat, the French garden, the English landscape park, the mill, the forrest, the avenue and the agricultural land. The elements are not necessarily connected to each other and old connections are often interrupted by new elements.

This generous distribution of partially disjointed scenes - a recurring phenomenon throughout the history of the castle - is the main feature of the situation. The changes in the castle complex should therefore do justice to the special nature of the place. The connection between the castle, the village and the surrounding agricultural land should be achieved subtly via indirect connections; maintaining the autonomy of the subspaces and underlining their special atmospheres.

status: competition
program: housing
location: Raderthalgürtel, Cologne
team: Anne-Julchen Bernhardt, Jörg Leeser, Paula Frasch, Matthias Hoffmann, Christiane Schmidt
client: PARETO GmbH
date: September 2014

Even after a century of development, Cologne’s ring road or ‚Gürtel’ contains large reserves for the potential development and expansion of Cologne. To integrate this expansion into the overarching urbanism of the ‘Gürtel,’ a precise urban morphological analysis of all sections of the Cologne Belt was conducted. The resulting catalogue of urban building blocks forms the ground out of which the proposal--‘Der Raderthalgürtel’--grows. The section of the ring in question is one of the youngest on the Cologne Belt. The 1970s construction of the ‘Deutsche Welle’ and ‘Deutschlandfunk’ high-rise buildings produced diffusely urbanized and intensified the area, which was still partly agricultural and partly industrial.

At 220 meters in length, the ‘Große Siedlungshaus’ is the horizontal counterweight to these high-rises, while the compact physical presence of such a large structure compliments and furthers the urban diversity of the greater ring road. Row houses with roof terraces face south onto the Gürtel, reflecting the characteristic 19^th century reform urbanism of neighboring Klettenberg and Sülz. To the North, the Siedlungshaus presents a façade with seven towers and seven gates leading to seven interior courtyards. These courtyards are shielded from street noise by the row houses, but because of their low stature, still receive generous amounts of sunlight. The adjacency of the large ring road with the small housing typologies generates an interplay of private and public space for all ages. Semi-private niches face to the North while a series of Jane Jacobs-esque stoops lead South onto to ring road sidewalk. The uniformly distributed through-ways gently describe interior yards in which ‘en passant’ supervision of children comes naturally.   

status: competition, 1st prize
program: library, archive, theatre, bar, Art’Iz arts academy
location: Izegem, Belgium
team: Anne-Julchen Bernhardt, Jörg Leeser, Christian Kühnle, Mariel Kaiser-Crompton, Tessa Gaunt, Emmet Elliott
structural engineer: Imagine Structure, Frankfurt am Main
energy consultant: Transsolar KlimaEngineering, Stuttgart
acoustic consultant: Karl Goebels, Leverkusen
project partner Belgium: Bureau Bouwtechniek, Antwerp
client: city of Izegem
date: February 2020

The Strobbe printing press is an important part of Izegem's architectural identity. This building is thus seen not merely as a resource for sustainability, but also as an important example of a proud industrial building tradition. The essence of this building is the starting point for the ‘Cultuurfabriek’—the ‘Volkshuizen’ of Izegem. It is a house which belongs to everyone - a symbol of the city’s re-appropriation.

The Cultuurfabriek unites the previously separated institutions of archive, library and academy within the large body of the Strobbe printing house. The result is more than the sum of its parts, for the overlap of institutions creates a unique social entity in its own rite. Through the large, shared event space, restaurant/bar/cafe and small exhibition space, both the peculiarities of the individual institutions and their thematic harmony are experienced together.

The transformation of the Strobbe printing press into a culture hub is achieved with only minor interventions and additions: the building is understood as a large open structure in which existing qualities are discovered and enhanced. The structural beauty of the space is exposed, the size and essence of the rooms made tangible, while a few new large installations organize and upgrade the space. These space-making additions are infrastructural in nature, always accessible, and contain secondary rooms underneath or inside. These additions serve as actors in open space, concentrating and provoking action.

Towards the goal of sustainability, the building is regarded as a complete system in which all individual parts contribute to the success of the whole. The conversion of the existing building saves resources, the grey energy bound in the building is reused, and superimposition of program allows for a minimum of new construction. Preservation goes before demolition, strengthening before replacement.

status: completed
program: organic farm with barn, stables, farmstead and farm shop
location: Seevetal
team: Anne-Julchen Bernhardt, Jörg Leeser, Klaus Overmeyer, Maike Basista, Matthias Hoffmann, Luc Knödler, Philipp Schläger, Christiane Schmidt, Wolfgang Zeh
structural engineer: Jürgen Bernhardt, Cologne
area: 2000 m², 10 ha
clients: Kerstin & Uli Overmeyer, Seevetal
costs: 2.000.000 €
completion: March 2014

Agricultural engineers Ulrich and Kerstin Overmeyer have built a new biodynamic farm with a farm store, residential building, stable and barn on a ten-hectare plot in Emmelndorf. In front of the organic market garden on Emmelndorfer Straße, a large scattered fruit meadow and a wetland biotope have been created. "We want to make primary production tangible and make shopping a direct sensory experience," says Kerstin Overmeyer, explaining the concept. "We want to make sustainable management in harmony with nature tangible. Anyone who comes to us should immediately be immersed in our agriculture," adds her husband Uli Overmeyer.

The courtyard is composed by individual volumes, all with views of the garden landscape. The large volumes are constructed of timber and are themselves composed of smaller volumes with thresholds, intermediate and partial spaces that take up references to the neighboring buildings. The overall structure of Gärtnerhof becomes smaller and larger simultaniously. In the patchwork of facades there are different veneers made of re-used bricks. The spaces all communicate with one another across the yard; all annexable according to the seasonal and momentary needs of the residents and operators.

The Gärtnerhof is a cross between a garden and a farm; a charged island in the landscape. The garden is compaction, in the yard the garden experience is opened up and thus further condensed; it is a space of rural conjestion. The farm is so compact that life and work are immediately perceptible, that the operational processes are optimized. The farm has a closed energy cycle. Animals, houses, equipment, fruit, vegetables and people coexist in a dynamic, cultivated order, to the rhythm of the seasons, in accord with the laws of nature.

status: completed
program: single family house
location: Overath
team: Anne-Julchen Bernhardt, Jörg Leeser, Sascha Glasl, Eveline Jürgens
net floor area: 200 m²
cost: 250.000 €
client: Jan und Beata Ruppert, Dortmund
structural engineer: Jürgen Bernhardt, Cologne
date: May 2004

www.rationator.org

Overath is a small town on the periphery of Cologne's suburbia. Rationator is a detached house for a family with 3 children.
Sited on a stretched building plot along the bank of the Agger River, the house is threatened by floods up to 2,5 m above ground level. Thus the design anticipates possible flooding with a choice of flood resistant materials and construction techniques.
The clients represent the typical family who dream of their own house, but have a limited budget. Rationator acknowledges this predisposition with a choice of communication strategies and profound typological exercises.

status: workshop
program: architectural study and workshop for the conversion of a public bathhouse into a small-business incubator
location: Krefeld
team: Anne-Julchen Bernhardt, Jörg Leeser, Laura Fuchs, Leander Lentner
client: GGK Grundstücksgesellschaft der Stadt Krefeld mbH und Co.
date: May 2021

In the Stadtbad Krefeld, everything is already there. Renewed with light interventions, it reveals itself an open, public incubation center for small businesses.
New spaces emerge through opening, adding or minimal subtractions; alterations all complimented with playful furnishing.
The formerly introverted building is—through a plethora of new entrances—made public.
There are cold, lukewarm and warm rooms; the diversity of climates serves a diversity of uses.
Rooms can be rented on a daily or monthly basis, with select by-the-hour rooms for special engagements.
The spaces are evenly divided into very small, small, middle, large and very large rooms—a fitting size for everyone.
Circulation spaces are shared and multi-functional; they foster run-ins and adjust themselves to the requirements of their users.
The gardens and the pools in block's interior create a magical atmosphere. The block becomes public, but this atmosphere is preserved.

status: urban planning competition, 3rd prize
program: housing, retail, public open spaces
location: Bergedorf-West, Hamburg
team: Anne-Julchen Bernhardt, Jörg Leeser, Katharina Volgger, Alina Uhlenbrock, Tessa Gaunt, Emmet Elliott
client: City of Hamburg
date: January 2021

Bergedorf West gets a new square and an old park. Life in the settlement in the southeast of Hamburg becomes more beautiful, articulated and charged with meaning through the two urban spaces. The two open spaces are formed by an ensemble of volumes, which balance the juxtaposition of their contrasting qualities.

The previous Werner-Neben-Platz is in the wrong place - on the edge of the urban activity. It thus becomes Werner-Neben-Park, its paving is removed and reshaped into a sand-grass-shrub landscape. Now the water can seep away here; one sits in the midst of the beautiful old trees, the children play in their shade. The house in the Werner Neben-Park is the new district center. It is an intensive prelude to the beginning of the green corridor through Bergedorf West, which connects all the social facilities of the district. The Fritz-Manke-Weg passes through here, and the programs are connected via the open space.

The new Werner-Neben-Platz is moved 60m to the South, where it remains car-free, bundling all necessities and movement of daily life. Staking out a square is a fundamental act of founding a city. The spatial sequence of movement through the district begins and ends here in a powerful dramaturgy: Exit from the S-Bahn - view into the urban landscape - then with the bridge over the Friedrich-Frank-Bogen, through the Billehochhaus and onto the square. One arrives here on the first floor, greeted with a broad overview of the plaza. The space is framed by an ensemble of 5(.5) volumes: a loggia/city balcony attached to the to the identity-creating Billehochhaus on the long South side, the Tennisterrassen in the West, Haus Janus in the North, and the Seniorenturm and Haus für Mobile in the East.

status: completed
program: trade-fair stand
location: various
team: Anne-Julchen Bernhardt, Jörg Leeser
net floor area: 60 m²
cost: 73.500 €
date: April 2003 – April 2009

Bauweltpreis 2003, honourable mention

DIN transforms the client's 2-dimensional Corporate Identity into 3-dimensional space.
DIN questions and celebrates German engineering as a "white hole" of sublime emptiness.
Obsessive compliance to the DIN stationary system generates a surreal Wagnerian totality.
Subtle ambiguities of scale and texture reveal inconsistencies of the assumed perfection.
Wall, floor and ceiling consist of a single solid surface material; furniture is made of PU-foam.
Hyperbolic commitment to the presumably perfect order reveals the fragility of certainty.
Overweight managers lower their massive bodies onto the delicate chairs.
The apparent minimalist space is charged with a multitude of possible readings. The real physical space of DIN appears to be an inhabitable computer rendering.

status: competition
program: housing
location: Erfurt
team: Anne-Julchen Bernhardt, Jörg Leeser, Malte Wilms, Alina Uhlenbrock
client: KoWo Erfurt
date: February 2018

In the historic garden city, the residential courtyard is the spatial image used: buildings enclose a common space as a garden. In reference to this spatial image of social togetherness, a differentiated courtyard structure is created in Erfurt: individual buildings stand at the edge of the plot, leaving a common center free. The existing link between the Muskauer Platz neighborhood and the Gera floodplain is not cut off by the courtyard structure, but spatially charged. The openings between form transitions, from the residential area through the garden courtyard and into the Gera floodplain. The threshold spaces reference the gates of the historic garden city: four for foot and bike, one for foot, bike car, and fire brigade. In keeping with the courtyard type, all buildings are accessed from the garden, with additional entrances from the outside to avoid creating a backside.

The communal garden of approx. 3500 m² is used as a meeting point, offering not only a place to relax but also the opportunity to garden and harvest. The loose grove of fruit trees and the flowering meadows create a free, serene atmosphere. A garden house near the raised beds and the lawn creates a spatial anchor point, providing space for garden tools and movable furniture. Here, vegetables are cleaned, honey is extracted and juice is pressed together in autumn. The chosen plants attract insects and animals, thus reinforcing the character of the large, shared garden: consciously different from floodplain and actively cultivated by all 340 residents. 

To fulfill the systematization requirements of a garden city, the design consists of small series-buildings. While the outdoor space is a large form, the buildings are of medium size. In all five houses, the same flat types are grouped together; horizontally and—in the case of the larger ones, vertically—thus creating maximum repetition in the buildings. The garden houses are designed contextually; developed from the site, each with its own garden interpretation. The entire complex forms an encyclopedia of garden types and corresponding dwellings. The black pine house looks out into the forest and forms the main gateway to the courtyard. Bikes and cars are parked under the house, while the apartments above take on the quality of tree houses floating above the garden. To the North, staggered row houses feature extroverted gardens facing onto the floodplain, exemplifying private garden life. The conservatory house celebrates communal spaces with a framed roof terrace and a double facade. This envelope creates a buffer where exotic plants can grow year-round. The courtyard houses have the most radical reference to the garden, with living rooms at ground level, opening onto the introverted courtyard. Finally, the flower house crowns the yard. It is designed as a large cluster house of connectable individual flats, all with views into the park. The communal roof garden makes it a green beacon, while at the ground floor, a kiosk serves the park ice cream and lemonade.

status: competition, 4th prize
program: conversion of a gasometer into a planetarium
location: Solingen
team: Anne-Julchen Bernhardt, Jörg Leeser, Matthias Hoffmann, Wolfgang Zeh
client: Galileum Solingen
date: March 2011

The human has always been moved to explore the cosmos; it is one of the oldest cultural fixations of civilization. As she contemplates the universe, the individual is searching for the deepest grounds of her existence. Here the intellect is developed; by curiously looking into the universe, man became a thinking being. In our conceptions of the heavenly bodies—their mechanics and their mathematics—thought meets the sublime. World-harmonic longings, hypotheses about the God-givenness of Nature, assumptions about physical determinism; man constructs the world, a self in search of knowledge.

The spherical gas container is not a building but a technical unit. It is constructed, not designed. Its austere beauty is based on its monumental construction, unintentionally (and thus more so) impressive.

The new Galileum Solingen is not a building but an instrument for communicating and exploring the universe. The grandeur of the technical cultural asset meets the grandeur of astronomical science. This is an ideal combination. It makes one shiver.

Adding the new to the old creates a symbiotic structure, both preserving the dignity of the existing structure and lending charisma to its new function as an observatory and planetarium. The result consists of two essential components, the sphere and the bar. Brushing eachother in the foyer, the bar provides subtle access to the planetarium—a half-spherical volume supported by spokes, off-center within the sphere of the gas container. The impressive interior volume of the container is opened—at the top by an oculus, and at ground level by the removal of the old steel shell—and becomes the Galileum's entrance way.

The way to the stars goes first through the underworld. Where the access road and the footpath meet, a flight of steps cut into the ground leads into the concrete foundations of the old container. One leaves the landscape, sinking into the post-industrial Hades of the gas-tank foundation. A free-standing steel spiral staircase offers a way out, up towards the light of the occulus. Rising, one is immersed in the moving monumentality of the dome. The path eventually winds around the interior wall of the dome, past the planetarium and to the entrance door of the Galileum, which is cut into the shell. In the foyer, the sphere lightly penetrates the space, offering, through another cut in the shell, access to the planetarium. But an external stair tower offers more height, leading from the foyer to the observation platform. Here, one is with the stars.

status: urban study
program: housing, commerce, industry
location: Basel
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Julia Kaulen, Hannah Rudolph
with Marco Merz, Marion Clauss, Leonard Schaffner, Céline Baumann, Merlin Bauer, Martina Kausch, Martin Josephy, Bárbara Maçães Costa
client: City of Basel
date: January 2020

The site lies in the transition zone between the Volta industrial area and the St. Johann residential district. A juxtaposition of different scales and building forms defines the site, whose identity emerges in the field of tension between impressive large buildings and small, individual urban building blocks. This juxtaposition is fruitful. Although the buildings and open spaces of the industrial plants follow exclusively logistical necessities, they form qualitative urban spaces which, when converted, result in multi-layered living environments. The urban structure of the design takes up the potential of this industrial context, interweaving the needs of a mixed living and working quarter with the expressive spaces of the industrial environment.

From three elementary typologies—the bar, courtyard building, and comb—a series of large conglomerates are born; creatures with a shifting open-closed character. One moment they appear as object-like solitaires, while the next they yield to the open spaces with a touching intimacy. These large entities are formed from groups of smaller individual typologies which vary in height between five and nine stories; optimized for the lighting of all interior and exterior spaces. A multitude of yards, courts and niches are formed by these large volumes, offering acoustic protection from the noise of the surroundings; each dwelling has at least one façade facing a protected area.

The hierarchy of these spaces—their zones of graduated privacy—can be grasped intuitively. Two vistas into the park in the northern part of the development signal accessibility without thresholds, while large yards—formed with the simple bar-type buildings and characterized by a high degree of collectivity—open to the street for commercial, artistic, educational, or communal uses. The courtyard building-type entrance courts provide a somewhat smaller communal space for residents, while the comb-type buildings, with their small pockets of semi-private space, stitch a small-scale residential character into the industrial-scale surroundings. 

status: urban design competition
program: densification of the neighborhood, social program upgrading
location: Hamburg
team BeL: Anne-Julchen Bernhardt, Jörg Leeser, Laura Fuchs, Leander Lentner with
team coido: Sven Ove Cordsen, Marius Jungblut, Hannes Heitmüller and
team Karres Brands: Bart Brands, Volker Lescow, Chiara Catani
client: Bezirk Hamburg-Mitte
date: March 2021

The qualities of life in the ‚Horner Geest‘ are strengthened and further developed - from mono to multi: We identify minimally different settlement clusters in the existing urban fabric and develop them into character-rich neighborhoods. The aim is to be both more diverse and more specific.

The green character remains: different open space potentials are adopted, strengthened, interlocked with the neighborhoods and connected to a coherent space - the Green Loop. It is full of program and establishes a new hierarchy within the district; all 19 clusters lie along it. A bike path connects all public open spaces.

The narrative street links the neighborhood: Manshardtstrasse becomes an experiential space between green and urban where exchange, commerce and trade take place. Three centers form on this diverse artery, in between the neighborhoods present their unique faces to the street.

A lively piece of the city is created: diverse building typologies and open spaces, clear hierarchies and spatial sequences, individual identities and neighborhoods - connected by the Green Loop - continue to write existing spaces and the identity of the place in a contemporary and future-oriented way. The result is a mixed district in which everyone is welcome to live, work, learn and play.

status: competition, 1st prize
program: regional marketing stand
location: various cities, Westphalia
team: Anne-Julchen Bernhardt, Jörg Leeser, Matthias Hoffmann, Christiane Schmidt
structural engineer: Jürgen Bernhardt, Cologne
client: Regionale - Märkte in Südwestfalen
date: April 2012

A proper city has a marketplace, but when civic pride and prosperity allow it, a city affords itself a loggia. The city rises from the mundane to the sublime. It celebrates itself, urbs becomes civitas. A loggia is a universal building, where commerce, politics and culture meet. It embodies urban life.

The twelve historic marketplaces in South Westphalia are getting a common loggia: the Loggiavélo. It is vehicle-like building, driven from town to town by the twelve mayors of the participating municipalities. The mayors are ecological and sustainable motors, consuming not fossil fuels, but renewable raw materials. If a motor is prevented from riding by important appointments, they can be replaced by an equally environmentally friendly representative.

The journey from town to town, powered by the physical strength of the citizens, is an indispensable part of the Loggiavélo. This is where the mayors get closer, where cohesion is tested, where a community is born. A bond is formed between the twelve cities, fortified along the way by picnics in the beautiful South Westphalian landscape.Through sweat and toil, the legend of the muscle-powered community town hall is born.

When the Loggiavélo is not being used for locomotion, it stands in the marketplaces of the participating communities. It stands directly on the pavement, a neutral space for all urban functions. Music can be played here, brochures can be distributed, and people can fortify themselves with a pilsner. This is as much a place for historical speeches as it is for baked waffles; revolutions can start and cooking recipes can be exchanged.

Each of the twelve trolleys is equipped with luggage boxes, giving the Loggiavélo a total storage capacity of 450 liters. There is room for folding chairs, leaflets, electricity, computers, a music system, crockery and a waffle iron. Decorating the "frieze" of the loggia are the coats of arms of the participating municipalities. At night they glow, creating a beacon of civic pride.

The Loggiavélo is a vehicle of lightweight construction, aerodynamics and innovative technology, demonstrating the technological expertise of the South Westphalia region. The welded aluminum lattice tube frame of the Loggiavélo is a weight-optimized space frame; the wall and roof are covered with a printed Dyneema fiber-reinforced foil laminate. The sides are perforated to reduce the area exposed to wind, and all parts are sewn together to be waterproof.

To support the mayoral forces over the breathtaking topography of the Sauerland, the mechanical crank drive is electrically amplified by 250 watt Bosch center motors. High performance batteries can be charged by recuperation. The Loggia receives steering through a "drive by wire" system, operated by the front left driver. This system and electronically controls all wheels individually. Similar to a tank, the Loggiavélo steers by accelerating or decelerating the electric motors on the two sides of the vehicle in opposite directions, and braked with synchronized hydraulic disc brakes.

status: project
program: low cost housing, conversion of a parking garage into housing
location: Briesestraße, Berlin
team: Anne-Julchen Bernhardt, Jörg Leeser, Matthias Hoffmann, Aaron Schirrmann, Christiane Schmidt, Wolfgang Zeh
structural engineer: Jürgen Bernhardt, Cologne
client: Senatsbaudirektion Berlin, Stadt und Land Wohnungsbau-Gesellschaft, Berlin
date: December 2013

The Conversion of the Breisestraße Car Park – A model for Berlin

The conversion of a multi-story car park cautiously densifies the neighborhood with minimal capital, offering room for a community of 91 people. Construction costs of 828 € / m2 NF allow the tenant to pay a monthly rent of only 6.50 € / m2, ensuring equitable housing opportunities. The project is a model for Berlin; the Briesestraße Car Park serves as prototypical scheme, applicable to all d'Humpy system car parks.

All measures to improve the substance of the car park are carried out following the principle of least intervention. The removal of prefabricated ceiling elements enables light to flood in from above into private courtyards, allowing all flats to receive light from two sides. With minimal effort, the car park is thus transformed into a series of courtyard houses, each offering a range of apartment types formed within the ceiling panel grid.

A differentiated open walkway winds itself as a Rue Intérieure through the house with continuous natural light and visual connection to the outside world. Not only does this street provide bike, skateboard and scooter-friendly entry to the interior private courtyard houses, but it enables communal occupation, appropriation and adaptation through a series of common areas: guest rooms, workshops, kiosks, bike rooms, etc. After beginning near the multi-purpose hall on the ground floor, the Rue Intérieure, winds its way up the ramps through the building, culminating in the in the roof terrace, where residents can meet, play, relax and grill.

status: competition
program: housing, workshops, retail
location: Ehrenfeld, Cologne
team: Anne-Julchen Bernhardt, Jörg Leeser, Laura Fuchs, Mariel Kaiser-Crompton, David Leber, Malte Wilms
client: Aurelis Real Estate
date: November 2017

The neighborhood of Ehrenfeld, with its characteristic mixture of small-scale residential/mixed-use development and large-scale industrial areas, is developing to serve future needs. However, in today’s economy, continuing the small-scale development of the area is just as impossible as preserving fragments of the site’s former freight depot. The project thus places a special demand on the architecture for the creation of a site-specific identity: the uniqueness of the place must not be lost in anonymity. The site, with topography rising toward the South, is traversed lengthwise by three axes: a neighborhood access road to the North, a bike-pedestrian through-way, and a green corridor sloping down from the train tracks to the South. Neighborhood alleyways connect these axes cross-wise, allowing for a central residential courtyard, while the zoning plan calls for the integration of commercial uses along the Northern neighborhood street.

These conditions—the interaction of different social spaces, topography, required noise protection, and planned building volumes—call for a mixture of building typologies to compliment the various open spaces and maintain the mixed-scale character of the neighborhood. Buildings A, B and C are therefore not only different from one another, but are further subdivided to finely tune relationships between public, semi-public and private areas.

Along the neighborhood street in the north, the buildings are arranged directly adjacent to the street space, creating a threshold-free connection to the public space. The neighborhood alleys to the east and west are activated by the entrances to the residential units of Buildings A and B, while low-threshold front areas of the ground floor flats create a transition from the public to the private sphere. The topography creates clearly defined transitions to the flat inner courtyard, which sits 1,5m above the ground-floor units to the North and West. Building B solves this challenge with a plinth, —at about the same level as the courtyard—accessible from the North via a staircase and from the South at ground level. Building A, on the other hand, mediates the height distinction through a series of double and split level units, all containing internal stairs. This strategy is picked up by building C, which is entered directly from the pedestrian and bicycle path, and features private gardens arranged another 1,5m up green slope to the South.

The ensemble is bound together by a canon of industrial façade materials and the central courtyard, the social heart of the area. With direct access for all residents, a gradation of secondary public thoroughfares and semi-public inner block areas, it invites communal use. Elevated off the street and lightly shielded from the bike path by trees, the courtyard features a water-bound sand surface, making it an explicitly informal grandchild to the open industrial yards of the past. The yard is protected from the sound of passing trains by the high wall of building C, while the terraces of buildings A and plinth of building B are just high enough to provide the yard with informal seating. The three buildings—with their ample balconies, roof gardens and arcades—work together, forming a protected, lively atmosphere