Pankehallen

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Pankehallen, view from the southwest
Pankehallen, view from the Panke bank

The Pankehallen are a partially preserved factory building complex in the Berlin district of Gesundbrunnen , which belonged to the Wedding district before the administrative reform in 2001 . The first buildings were erected on the Pank Island , the area between the once two-armed course of the Panke. The restored halls, which are now used as a sculptor's workshop, are extensions that were built in 1897 on the filled-in western Pankearm.

history

First uses of the "Mühleninsel"

In 1708 a fulling mill was built on the terrain between the two arms of the Panke. A hundred years later there was a soon-to-be-dilapidated half-timbered house with a grinder . The homeless then settled in the vacant building. A tanner acquired the property and moved other Gerber along the Panke. After about ten years, the land in 1841 became the property of a Bauconducteurs over, the 1843 received the building permit for a new mill, which he in 1844 various millers to after completion lease left. This mill has been preserved.

Beginning of the development

After the acquisition in 1890 and the officially required connection to the sewer system, the first multi-storey production hall in Germany was built from 1892 to 1896 on the former mill island, now known as the "Pank Island". The architect was the Gropius student and son-in-law Wilhelm Martens , client of the factory owner Carl Arnheim, son of the safe factory founder Simon Joel Arnheim , who used the building as the court art locksmith of the Emperor and King of Prussia . In addition, various sheds, an inspector's house and an apartment building on Badstrasse were part of the first construction phase. The abundant space favored the development of the first German safe factory into the largest special factory in Europe for lock boxes and safe construction.

Originally used as an Arnheim safe factory

From 1897 to 1898, under the direction of the architect Th. Siems, a further production wing was built on the now filled-in western Pankearm, namely the 180-meter-long, single-storey shed roof hall with a continuous gallery . The sawtooth-like roof construction over each "group of three windows" made of vertical narrow windows gives the hall its distinctive appearance. Its base is 3,600 m² and it has a clearance height of nine meters at the lowest point and twelve meters at the highest point. Germany's oldest factory for cash register and safe construction, the Arnheimsche Tresorfabrik, founded in 1833, relocated to this location and began operations in the same year. To the existing building complex were still a two-storey hall and a 1898-1900 Comptoir building . With the most modern machine tools and an increasing division of labor, the production of all conceivable security containers from cash boxes to vault systems ran at full speed.

War use of the abandoned halls

Of the inflation turmoil detected, the Safe Factory 1922/1923 moved into recently unincorporated to Berlin Mariendorf order. As a result of a company merger with the safe-deposit box competitor Ade, the property on Badstrasse got into a complex ownership situation and was not restituted to the Arnhem family until 1931 . The companies that had been doing business there in the meantime had made structural changes to almost all of the buildings. They did not have to leave the site, as the returning, shrunken company only required part of the former production area. However, the repossession did not last long. In 1938, as the main creditor, Dresdner Bank applied for a foreclosure auction of the site. It was acquired by the cable factory Fresisen & Co. The security system manufacturer Ade, which continued to operate under the name Ade-Arnheim, slipped into tenant status.

During the entire Second World War , the halls were used as production facilities for the war economy, with Fresisen & Co. producing rubber cables for the Navy and Ade-Arnheim military equipment components for the Wehrmacht . Forced laborers were housed on the ground floor of the residential building. The collection of buildings was partially destroyed by aerial bombs, which led Ade-Arnheim to move to Berlin-Reinickendorf , while the cable factory stayed there until 1956.

Re-use of the intact halls

Before the hall complex fell into the ownership of the State of Berlin, Kabelwerk Reinshagen GmbH was entered in the land register as the successor to Frischisen & Co. Construction work again changed the design of the terrain. Finally, from 1966/1967, the property officially became a commercial park . This meant that it could be used by trades such as laboratory equipment manufacture, body construction, plumbing and plastics processing until 1980.

In the meantime, the Berlin Senate had made plans to create a green corridor and a backwater basin to protect against the panache, for which extensive demolition work would have had to be carried out. With this scenario in mind, by the end of the 1970s all businesses had gradually moved out, so that the old factory halls lay idle.

Sporadic uses of the crumbling halls

At first there was vacancy. From 1980 to 1982 the Professional Association of Visual Artists Berlin (BBK Berlin) made initial suggestions for their own use of the halls, especially after Senator for Economic Affairs Wolfgang Lüder (FDP) had the originally planned building in Torfstrasse (in Weddinger Sprengelkiez ) demolished.

A group of people who were looking for premises for a cultural center in culturally underserved Wedding in 1981 found the ailing halls just right. In March 1982 the district office granted the right of use to the Kulturinitiative Pankehallen e. V. In addition to the "Weddinger Kulturwochen" organized in June 1982, there were continuous offers: a municipal cinema called "Lichtblick", exhibitions, readings, music events, theater performances, a café, a history workshop , a "women's initiative" and other contact points for small groups, mostly discussion groups. The artist Bernhard C. Striebel had his first exhibition in 1983 in the Pankehallen. Another, Michael Baerens, two of his first in 1982 and 1983. Also Horst Hoheisel introduced in the early period of his work from the Pankehallen. In addition to her acting training, Eva Mannschott built her own theater company in the Pankehallen. The most famous musical guests in the halls were Harald Grosskopf ( Wallenstein , Klaus Schulze ) and the Hamburg punk group Slime , who recorded the album Live (Pankehallen January 21, 1984) here , which the Ox fanzine claims is “one of the few punk rock live records with a right to exist ”. The Pankehallen housed the Berlin Atonal Festival for the only time in December 1983. There are also live recordings of it. The highlight in terms of film was the 14th International Forum for Young Cinema from February 18 to 28, 1984 as part of the 34th Berlin International Film Festival .

The successful “Stattreisen” brand emerged from the history workshop. The area also offered space for various sports and motorcycle groups. Finally, a traveling circus used a hall as winter quarters.

Demolition threat and rescue

In 1982, still vague, but acute in the Easter days of 1983, efforts to clear the panke-side building triggered an alarm among those in favor of preservation and called out Senator Volker , the then district mayor Erika Heß ( SPD ), who fought vehemently against Wedding's banausen image Hassemer ( CDU ), who moved from the urban development department to the cultural department during this time, and Hilla Seelig from the BBK Berlin as the spokesman for a rescue initiative. Serious talks have now begun between the BBK Berlin and the Senate for Culture. It was expressed that hardly any structural changes would have been necessary for the new purpose and therefore, in the best case scenario, they would have moved in on September 1, 1983. At that time the inclusion of the Marienbad ( Luisenbad ) opposite the Panke was planned. One could imagine a studio house with an exhibition area there.

In the summer of 1983 the BBV specified its financial requirements. In addition to short-term start-up costs of 400,000  marks and around 200,000 marks for annual operating costs, equipment costs for modern machines should come to around 1.6 million marks. The authorities assessed the calculation as "excessively expensive" (press spokesman Peter Laubenthal), the "cheaper" alternative cultural practitioners, at least those who had not yet left, could stay. Nevertheless, in 1984 the tussle about the future of the halls was not over: Under the pretext of an allegedly necessary Panke backwater basin, the Weddingen City Councilor Jürgen Lüdtke had - as already announced - the older halls directly on the Panke bank cleared completely. Thus, with the former machine hall, the most important and architecturally daring building disappeared from the scene. The resulting pit was filled up. The district administration had lost control of the self-governing and thriving cultural center, which is why they did everything possible to put an end to it. The mistrust from the late 1960s that the project could become politicized and become a source of new revolutionary processes was too deep.

There was a threat of further demolition, namely that of the shedhalls. An intervention by the architects Langeheinecke & Claussen (who later moved into their office in the former mill) led to the state curator Helmut Engel placing the rest of the ensemble under a preservation order. At the beginning of 1984 two cultural-political topics culminated, namely the precarious situation of the 250 to 300 sculptors working in Berlin and the restrictions of the state curator's competence, who in future should be dependent on the consent of the finance senator. The latter point of controversy was settled with a special program for the renovation of commercial buildings, the refurbishment of commercial courtyards and the fundamental appreciation of historical architecture, which was to start in 1985. Thanks to this change in strategy, both problem areas could be linked to everyone's satisfaction. The negotiations between the Senate for Culture and the BBK continued and were brought to a conclusion in 1984, which meant the end of general cultural use by the citizens.

The negotiated license agreement was signed in 1985 between the Kulturwerk des BBK Berlin GmbH and the Senator for Cultural Affairs, Hassemer. The initially envisaged mixed use, which would have meant a conflict between sculptors and theater actors, could be turned away by the first director of the sculptor's workshop, Gustav Reinhardt , in favor of his facility. The architects who got involved at an early stage, Langeheinecke & Claussen, and the sculptor Ernst von Hopffgarten, in his functions as head of the sculpture and object art department and board member of the BBK, were involved in the planning process. Remodeling and restoration cost three million marks. Senator Hassemer succeeded in getting this sum and securing two thirds of the running maintenance costs, at least over 200,000 marks, out of the Berlin state budget. The German class lottery contributed 600,000 marks to the basic equipment. Since there was still a shortfall in terms of the planned machine and tool pool, they were satisfied with this makeshift equipment for the time being. A sponsorship campaign was started and it was discussed whether to ask for prize money for art objects created in the workshops. Although the fundraising campaign did not produce the expected deficit, a second donation from lottery funds made it possible to buy additional equipment and install a crane runway, so that the completion of the entire system could be announced in the spring of 1986. The first artist to use the technical experimentation and spatial expansion possibilities not offered by her own studio at the end of March 1986 was the sculptor Silvia Kluge, who was working on a steel sculpture. Shortly afterwards, the rainwater retention basin, a redesign of the bank and a pedestrian bridge that connects the Gesundbrunnen area with the terrain of the former safe factory were realized outside.

Today used as a sculptor's workshop

The Pankehallen can be accessed both via a footpath to the left of the Arnhemschen residential building from Badstrasse and via the Walter-Nicklisch-Promenade with subsequent bridges as well as via the cobblestone driveway leading into Osloer Strasse . The official address is Osloer Straße 102. On 3600 square meters, the artists have areas for working with stone, metal, plaster, clay, concrete, ceramics, wood and plastic. The maximum hall height of twelve meters allows a wide variety of large projects. 20 to 25 artists can work simultaneously in the five-part complex. Over a length of 160 meters, the individual halls are connected by a wide gallery, which can also be used for work. The individual workshop areas are each looked after by a workshop manager who advises on material procurement, treatment and processing.

It was initially assumed that there would be around 100 artists a year, in fact around 300. The prerequisite is renting in a hall segment, whereby low tariffs were provided. On the other hand, ten years after it went into operation, the exclusivity of the facility and the associated prices that could not be paid for artists without a grant were criticized. Nevertheless, the workplaces are enjoying great popularity. In addition to university graduates and local sculptors, international artists such as Bernhard Heiliger , Joachim Schmettau and George Rickey were among the users . The workshops owed a steel sculpture workshop with Sir Anthony Caro in the early autumn of 1987 to the sponsorship of the tobacco multinational Philip Morris . In addition, Philip Morris GmbH awarded six-month scholarships for which not only German artists could apply.

The "Galerie In Fonte", which moved into the Luisenbad (on the site of the former healing spring) half a year after the sculptors' workshops opened , in order to primarily produce sculptures, and here again primarily "from the source ( Latin fonte ) “Offering in a different sense, namely to the production site, does not exist anymore.

  • Sculpture workshop

  • Factory hall with separate work areas, 2015

  • Factory hall with gallery, 2015

  • Plaster and molding workshop, pillars, approx. 2015

Web links

Commons : Pankehallen  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b c d e f g Christine von Oertzen: Boulevard Badstrasse . Big city history in the north of Berlin. Ed .: District Office Wedding of Berlin. Edition Hentrich, Berlin 1993, ISBN 978-3-89468-081-7 , The property at Badstrasse 40-41. From the mill island to the industrial site, p. 200-216 .
  2. ↑ District Office Wedding of Berlin (ed.): Right and left of the Panke. 100 years of reunification of Wedding in Berlin . With over 120 illustrations, edited and designed: Karl Ernst Rimbach. Verlag Heimat und Werk, Berlin-Grunewald September 1961, From the field to the district. Local history hike through a century. Factories, hospitals, churches, schools, S. 42 .
  3. ^ A b c Karl Arnheim safe factory, factory shooter. In: stadtentwicklung.berlin.de. Senate Department for Culture and Europe, accessed on February 12, 2017 .
  4. ↑ a b c d e f g h i j k l m n Andrea Lefèvre: The Arnhemsche Tresorfabrik . In: Helmut Engel, Stefi Jersch-Wenzel, Wilhelm Treue (eds.): Wedding (=  Geschistorlandschaft Berlin. Places and events ). tape 3 . Nicolai, Berlin 1990, ISBN 3-87584-296-0 , pp. 283-299 .
  5. ↑ a b c d e f g Oskar Dahlke: Berlin sculptor workshop: The company begins . In: Interest Group Berlin Art Dealers e. V. (Ed.): Berliner Kunstblatt . Information magazine about art in Berlin. 51, July - September 1986. Interest group of Berlin art dealers. V., July 1986, ISSN  0170-1665 , p. 12-15 .
  6. ↑ BBK Berlins [sic]. 30 years of BBK. Program for the 80s . Workshops. In: BBK Federal Committee Berlin (Ed.): Culture Politics . Quarterly magazine for cultural policy and cultural work. Bulletin of the Federal Association of Visual Artists. No. 3/1980 , July 1980, reports from the regional associations, p. 29 ff . (The Pankehallen are not mentioned explicitly, but are meant).
  7. ↑ a b BBK Berlins [sic] . Sculpture workshop. In: BBK Federal Committee Berlin (Ed.): Culture Politics . Quarterly magazine for cultural policy and cultural work. Bulletin of the Federal Association of Visual Artists. No. 1/1982 , January 1982, reports from the regional associations, p. 36 ff (the Pankehallen are again not mentioned explicitly, but are meant).
  8. ↑ The Berlin Sculpture Workshops . In: Kulturwerk des Berufsverband Bildender Künstler (Ed.): Sector. Artists' Services Berlin . Die Gestalten Verlag, Berlin 1996, ISBN 3-931126-07-2 , p. 97-101 .
  9. ↑ a b c d Bernhard Müller (Ed.): Wedding. Paths to the history and everyday life of a Berlin workers' district (=  Berlin Tour . Band 3 ). 1st edition. Stattbuch Verlag, Berlin 1990, ISBN 3-922778-24-0 , From “Kurbad” to “Sachsendamm”: 200 years of Weddinger culture: Gesundbrunnen, p. 71 f .
  10. ↑ Bernhard C. Striebel. Works. (No longer available online.) In: busche-kunst.com. Dr. Ernst A. Busche, archived from the original on April 4, 2017 ; accessed on February 12, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / busche-kunst.com
  11. ↑ Michael Baerens, Exhibitions and Performances. (PDF) In: michaelbaerens.com. P. 1 , accessed February 12, 2017 .
  12. ↑ Thomas Wulffen: Horst Hoheisel, Brigitte Hohenhaus. Pankehallen, Berlin . In: Kunstforum international . The current magazine for all areas of the visual arts. tape 69 , no. 1/84 . Cologne February 1984, exhibitions, p. 199 .
  13. ↑ Mila. Eva Mannschott. In: sat1.de. Retrieved February 12, 2017 .
  14. ^ Joachim Hiller: Slime. Live Pankehallen 01/21/1984. In: ox-fanzine.de. February 2008, accessed February 12, 2017 .
  15. ↑ a b Markus Schneider: Atonal Festival: This wonderful power plant. In: berliner-zeitung.de. July 21, 2013, accessed February 12, 2017 .
  16. ^ Berlin Atonal Festival. In: discogs.com. Accessed February 12, 2017 .
  17. ↑ Lothar Heinke : 30 years of “Stattreisen”. On a discovery tour in your own city. The first organized city guides in Berlin are celebrating: For 30 years the Berlin explanations of “Stattreisen” have been leading through the streets. Above all, they want one thing: to bring the residents closer to their city. In: tagesspiegel.de. March 15, 2013, accessed February 12, 2017 .
  18. ↑ Ernst Busche: The Berlin district of Wedding has space for artists. 40 cheap studios in exchange for an embassy . In: Wolf Uecker (Ed.): Art . The art magazine. Gruner + Jahr, July 1986, ISSN  0173-2781 , Journal. Initiatives, p. 10 .
  19. ↑ Manfred Pixa: BBK Berlins [sic]. A chance for the sculpture workshop . In: BBK Federal Committee Berlin (Ed.): Culture Politics . Quarterly magazine for cultural policy and cultural work. Bulletin of the Federal Association of Visual Artists. No. 4/1982 , October 1982, reports from the regional associations, p. 26th f .
  20. ↑ a b Angelika Stepken: Establishment of the Berlin sculptor workshop uncertain. Who uses the former vault factory cheapest? In: Wolf Uecker (Ed.): Art . The art magazine. Gruner + Jahr, August 1983, ISSN  0173-2781 , Journal. Panorama, S. 12 .
  21. ↑ Hannes Schwenger: What counts is performance . In: Kulturwerk des Berufsverband Bildender Künstler (Ed.): Sector. Artists' Services Berlin . Die Gestalten Verlag, Berlin 1996, ISBN 3-931126-07-2 , II, p. 17 .
  22. ↑ a b Jochen Heyermann: Old Safe factory is sculpture workshop . In: Interest Group Berlin Art Dealers e. V. (Ed.): 47th Kunstblatt . Information magazine about art in Berlin. 47, July - September. Interest group of Berlin art dealers V., Berlin 1985, p. 59 f .
  23. ↑ An artist group has settled in Wedding. Studio apartments in the former city library - there is usually not enough space for the sculptors . In: Der Tagesspiegel . Berlin March 11, 1984, Berlin part.
  24. ↑ Angelika Stepken: Berlin: Problems with the preservation of old buildings. The Senator of Finance as the highest monument protector . In: Wolf Uecker (Ed.): Art . The art magazine. Gruner + Jahr, February 1984, ISSN  0173-2781 , Journal. Cultural Policy, p. 10 .
  25. ↑ District Office Wedding of Berlin, Dept. Building and Housing (Ed.): 25 years of urban renewal for people in Wedding. Pictures & opinions, memories & developments. Present and future of a Berlin borough . FAB Verlag, Berlin 1988, ISBN 3-9801875-7-8 , renewing without destroying - the second urban renewal program. Small-scale, cautious urban renewal: example of commercial courtyards, p. 98 .
  26. ↑ Gustav Reinhardt, Thomas Spring: What does the sculpture workshop have to do with sculpture? In: Kulturwerk des Berufsverband Bildender Künstler (Ed.): Sector. Artists' Services Berlin . Die Gestalten Verlag, Berlin 1996, ISBN 3-931126-07-2 , p. 112–117 , here p. 113 .
  27. ^ Ernst von Hopffgarten - Artistic workshops Trebel. Vita. In: ernstvonhopffgarten.de. Retrieved February 12, 2017 .
  28. ^ Gustav Reinhardt: BBK-Berlin. The sculpting workshops of the BBK Berlin are nearing completion . In: BBK Federal Committee Berlin (Ed.): Culture Politics . Quarterly magazine for cultural policy and cultural work. Bulletin of the Federal Association of Visual Artists. No. 1/1986 , March 1986, from the BBK associations, p. 18 ff .
  29. ^ A b Peter Hans Göpfert: Berlin: sculpture workshop in a former factory. Ten young sculptors can learn from Caro . In: Art . The art magazine. Gruner + Jahr , October 1987, ISSN  0173-2781 , Journal. Artist, S. 18 .
  30. ^ A b Brochure Kulturwerk of the Professional Association of Visual Artists Berlin GmbH. Ateliers / office for art in public spaces / sculpture workshop / printing workshop / media workshop .
  31. ↑ District Office Wedding of Berlin, Dept. Building and Housing (Ed.): 4 tours through Berlin-Wedding. 25 years of urban renewal for people in Wedding . FAB Verlag, Berlin 1988, route 3, duration about 1 hour, p. 13 .
  32. ↑ a b c d sculpture workshop. In: bbk-kulturwerk.de. Kulturwerk des BBK Berlin GmbH, accessed on February 12, 2017 .
  33. ↑ a b Gustav Reinhardt: Status report of the sculpture workshop . In: Kulturwerk des Berufsverband Bildender Künstler Berlins GmbH (Hrsg.): Bülleteng . Information service of the Professional Association of Visual Artists Berlin e. V. No. 0 , October 1989, sculpture workshop, p. 14 ( zero number ).
  34. ^ Stefan Warter (photographer; text author unnamed): Ein Tag Deutschland. Berlin. Sculptor. In: eintagdeutschland.de. May 7, 2010. Retrieved February 12, 2017 .
  35. ↑ Ulrich Clewing, Harald Fricke: Thankful blank space in the center. Against castration: Art that is produced in the Tacheles appears involuntarily funny in standardized studios. (No longer available online.) In: kunsthaus-tacheles.de. January 8, 1994, archived from the original on August 26, 2017 ; accessed on February 12, 2017 (taken from the taz ). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.kunsthaus-tacheles.de
  36. ^ Sculptor workshop . In: Bundesverband Bildender Künstler e. V. Bonn (Hrsg.): Culture Politics . Quarterly magazine for art and culture. Bulletin of the Federal Association of Visual Artists. 16th year, no. 2 , June 1987, calls for tenders, p. 64 .
  37. ↑ Elfie Kreis: Marble, Stone and Iron ... Elfie Kreis looked around Berlin's sculptor galleries . In: Interest Group Berlin Art Dealers e. V. (Ed.): Berliner Kunstblatt . Information magazine about art in Berlin. No. 54 , April-June. Interest group of Berlin art dealers V., April 1987, ISSN  0170-1665 , Zeitströmungen , p. 44-47 .

Coordinates: 52 ° 33 '17.2 "  N , 13 ° 22' 44.8"  E