Atmosphere

Between art and nature

Seven definitions: More diverse is hardly another term.

It surrounds us wherever we go, all the time. It exists naturally, yet is also created arti- cially. It is the basis of our life and coexistence: the atmosphere. It is no wonder, then, that we would all like to have the best possible atmosphere. There is a heated debate about how much we in uence the natural atmosphere. However, there is no debating the fact that we can use engineering to create an atmosphere in rooms and buildings that results in a higher quality of life.

The fact that our brand promise is BUILDING ATMOSPHERE shows just how important this issue is to D+H. But what does the word “atmosphere” entail exactly? If you check Wikipedia, you will - nd a selection of no less than seven de- nitions. The - elds of astronomy, engineering, aesthetics and physics each use the term in their own way. This gives us reason enough to shed some light on the various interpretations of “atmosphere.” We have set out to track down some answers and invite you to join us on this exciting journey of discovery.

Economy

Are you still home or at work already?

The working climate is influenced by many factors. But all have a direct influence on the employees.

Hanging on a light-green coat rack is a casual cap with the Batman logo. The room is full of large plants that give it a more relaxed vibe. A gentle, bright light hits the workspaces through large windows. The furnishings in the Office at Jimdo, a start-up company in Hamburg, are more reminiscent of a large living room with modern furniture than a classic open-plan office. In addition to the usual office chairs, there are seat cushions, sofas and bunks. There are even washing machines and a shower. The main priority is for the employees to feel comfortable if not completely at home. Working in a positive atmosphere – awareness of this seems to have grown in recent years, and an increasing number of companies are adjusting their structures accordingly.

Chief Culture Officers - nonsense or a model for the future? The Job description for this position developed in the early 2000s and now there are actually certified professional training programmes. The job profile includes arranging for healthy nutrition, planning coporate events and having a sympathetic ear for the concerns of each and every employee. But especially the organisational structures are very important for employees to feel comfortable in today's workplace.
Is the employee being given the chance to work based on personal initiative? Are there flat hierarchies and efficient decision-making processes? For many, working independently is playing a major role for a good working atmosphere. The hands-on mentality is more apparent in start-up companies than in any other work environment. A lot of responsibility is taken on right away and leadership positions are assumed more quickly than in traditional companies. It is not rare for start-up companies to have people in their mid-20s who have already been leading a team for some time or are independently building up a new branch abroad. A former employee of the cosmetics box shipper Glossybox reported to the business magazine “brand eins” that he worked nearly 80 hours a week of his own accord. Professional and private life was one and the same. “My best friends worked at the company. At 7 pm we would take a break to play table tennis at the office and then go out for pizza. After that we would get back to work, finishing things up and developing new ideas. It was all really exciting.”
Many large companies try to retain their original start-up character. Spotify is regarded as one of the most recent examples of this. The rapid growth of the Swedish music streaming service has also come because of its special leadership model. There are no teams, only "squads". One of these units has between six and 20 employees. It is not subject to a supervisor in the classic sense. Instead, the squad answers to what is called a „product owner.“ The work structure is generally very reminiscent of the familiar IT project methodology known as "Scrum".
Just how hard large corporations are trying to keep their structures as dynamic as possible can be seen even in the architecture of their office buildings. In the documentary film by Carmen Losmann “Work Hard – Play Hard,” a team member of “Behnisch Architekten,”which drafted the corporate Headquarters of Unilever in Germany, reads an excerpt from the request for proposal: "Transparent offices flooded by light are intended to convey the notion of work being fun. This is achieved not through luxury, but by making a revitalising and function-based impression as well as through colour, materials, nature and themed areas.” The building ought to take the feeling of pressure out of the workplace and should never, ever remind one of work.

It does not matter whether a mediumsized company develops nutritional supplements, motorised window drives or auxiliary medical devices – compared to large companies with thousands of employees, these companies are characterised by a readily apparent down-to-earth quality. Often the leadership of medium-sized companies is passed on from generation to generation, such as at D+H. This creates a familial work atmosphere, which reinforces a sense of identity with the company and is characterised by trust and openness. The hierarchies in medium-sized companies may not be quite as flat as in start-ups, but there are fewer bureaucratic processes than in corporations. “This means the decision-making processes are usually shorter,” says Jonas Wrage, who worked at Airbus for two years before moving to D+H as a Technical Assistant Head of Production. “If I tell my boss about an idea over coffee in the cafeteria, I can get approval as early as lunch time.”

Unlike in large companies, in medium-sized companies the focus is on interpersonal relationships. Concerns rely on structural changes or external factors to promote vitality. Start-ups use flat hierarchies and a relaxed Management style to provide an especially motivating atmosphere. According to sociologist and organisational consultant Stefan Kühl, however, if these companies were to grow larger, they would be forced to address structural questions similar to those in larger companies. This means that, in a certain sense, all corporate forms are in the same boat – primarily because they all have to face the same challenge: How do we gain the qualified specialists of tomorrow? Each company has its own approach to dealing with this issue. This shows how necessary it is to have a multifaceted and nuanced view of the work atmosphere. Seeing the workplace as a home away from home is a frightening thought to some. To others, it serves as additional motivation to work. In the end it is surely the individual preferences of each employee that determine whether or not he or she feels at home in a particular work environment.

Media

"It's the moment when you Forget that you exist."

When a film gives you goose bumps:
an interview with director Lars Büchel.

Just like popcorn and films go together, a true blockbuster needs to be accompanied by an atmospheric mood stemming from the perfect mix of moving Images and sound. Using orchestral melodies for love scenes, a fast-paced beat for chase scenes and jazz for jumping bar Scenes represents one suitable way for directors, composers and production companies to create atmospheric moods. These moods are intended to evoke intense laughter, to make audiences jump and cover their faces in fear, or to tug at a few heart strings. But is creating the right atmosphere in a film really that simple? And what role does music play specifically? We talked with Lars Büchel, director and owner of the production company “element e” in Hamburg, to learn what is truly important in the film Business and what creates the perfect goosebumps moment.

WHAT DOES “ATMOSPHERE” MEAN IN THE FILM INDUSTRY SPECIFICALLY?

It describes the fundamental mood of a film. Is it dreary, comical, exciting, et cetera. The list goes on and on. It is a genuine sign of quality when the audience gets a sense of and can feel this “atmosphere.” The question always Comes back to this: When does a film seem too long? When does a film start to drag on? The new Blade Runner film falls short in its aspiration to be a truly stand-out film. Even though it does create a particular atmosphere, it does not manage to grab the audience and keep them engaged. The story always takes precedence. It ought to be told with skill and flair. If it isn’t, then it doesn’t make much difference whether the film has a particular atmosphere or excellent camera work.

WHAT CINEMATIC APPROACHES ARE GENERALLY NEEDED OR ARE EVEN INDISPENSABLE WHEN CREATING ATMOSPHERE?

There’s no magic bullet. A film’s Story and its actors are the deciding factors. The director is like a conductor who influences and moulds how the Story is told. He determines the timing by condensing or stretching time and by adding emphasis to expression. Who Can claim to have that ability? [He laughs.] In reality, music plays an important role in creating the atmosphere. Nothing else reaches our core and our senses with the same immediacy as music. It effectively goes unfiltered right to our hearts. While we listen, we hardly have any chance to reflect on the music. It goes right to the base of our brains at the speed of sound. We reflect on the imagery and the actors’ performances every moment, quickly assessing whether we are willing to suspend our disbelief. Music rarely allows for that sort of reflection. The mood – the atmosphere – of a film is fundamentally created by the music.

IN WHICH FILM GENRE IS IT EASIEST TO CREATE ATMOSPHERIC MOODS AND WHERE IS IT THE MOST DIFFICULT?

“Easy” doesn’t exist in film. [He laughs.] It’s very difficult to shoot a good film. You can’t shoot a thriller, action Thriller or adventure film in Germany. We don’t have the money for it. The Americans, with their immense financial prospects, are able to do it much better. I consider comedy to be the most challenging. Making people laugh is extremely difficult. Especially in Germany, where cinemagoers from Bavaria have a different sense of humour than those from northern or eastern Germany. I casted old ladies in the film “Now or Never”. People said nobody would go to the cinema to see it. They’re too old. Fortunately, that didn’t turn out to be the case. Last year I directed “Schubert in Love”, a film starring East German comedian Olaf Schubert. I thought the film was very funny, but audiences had other thoughts.

WHETHER IT’S STAR WARS OR ROCKY, THE BEST MUSIC IN FILM ALMOST ALWAYS FINDS A PERMANENT PLACE IN OUR LASTING MEMORY. WHAT REALLY SETS AWARD-WINNING SOUNDTRACKS APART?

You almost don’t hear them, they aren’t imposing and, above all, they make the film atmospheric. Music touches us directly. So you have to be all the more careful when using it. There are plenty of films overflowing with music and the films feel obtrusive as a result. Great composers know this, like Desplat, who has composed music for more than 150 film and television productions and has already taken home two Oscars, and they delight us with their abilities.

LOOKING BACK AT YOUR OWN PRODUCTIONS UP TO THE PRESENT DAY: WHICH OF THE ATMOSPHERIC PERFORMANCES YOU CREATED MAKES YOU ESPECIALLY PROUD?

“Proud” is probably the wrong word. I love when a scene really works, but that’s not always the case. [He laughs.] The - lm “Peas at 5:30” has a - nal sequence where the lovers come together. This scene was a success because the performers play it perfectly. In a spot for Mercedes, I wanted to accentuate an erotic aspect. A man and woman are kissing while pressing up on the Hood of the car...and the star hood Ornament makes quite an impression. [He laughs.] Fortunately that also turned out well. For D+H, I think we’ve also shown how buildings breathe. So the video is sensual in a sense, and the product is meaningful. Only those who breathe and get fresh air through “breathing buildings” Can truly live. That is the message of the film BUILDING ATMOSPHERE.

INDIVIDUAL CHARACTERS IN FILM ARE OFTEN GIVEN THEIR OWN MUSIC. COULD YOU USE A FEW FILMS AS EXAMPLES TO EXPLAIN THE APPROACH USED BY THE DIRECTOR AND COMPOSER?“

Once Upon a Time in the West” with music by Ennio Morricone. Every character has a leitmotif. Claudia Cardinale’s theme chimes out like a music box while Henry Fonda’s has darker tones. But the film is defined by Charles Bronson, whose harmonica plays the death rattle. The song is driven by the contents of the film, because Fonda stuck a harmonica in Bronson’s mouth when Bronson was a child holding up his lynched father until he collapsed in exhaustion and his father died. This leads to the famous revenge motif.

HOW MUCH CAN THE CHOICE OF AN ACTOR POSITIVELY OR NEGATIVELY AFFECT THE AUDIENCE’S PERCEPTION OF THE INTENSITY OF THE ATMOSPHERE?

Quite a bit. Proper casting is the most important aspect. Putting Schwarzenegger or Stallone in a romantic Comedy would certainly be a poor fit. Casting Til [Til Schweiger -ed.] in a serious arthouse film wouldn’t work well either. The audience has expectations that wouldn’t be met with this type of casting.

IMAGE PROCESSING. COMPUTER SIMULATION. DUBBING. DOES THE REAL ATMOSPHERE OF A FILM COME SOLELY FROM A STUDIO INSTEAD OF ON SET?

No. The core of a film always comes from the set or the script. All of the effects done in post-production make the film slightly better but they can never effectively cover up a bad story or poor acting.

ATMOSPHERE PLAYS AN IMPORTANT ROLE OUTSIDE OF FILM TOO. IT’S ALSO CREATED WHEN WATCHING A FILM. WHETHER IT’S POPCORN FROM A CONCESSION STAND OR A BAG OF CRISPS ON THE COUCH, HOW DO YOU CREATE THE PERFECT ATMOSPHERE?

That’s right. My preference is without the crisps or popcorn! Wine is a good - t. It doesn’t make much noise while you enjoy it and, when in doubt, it even adds colour to a film.

AS SOMEONE IN THE FILM INDUSTRY, WHAT DEFINES A MOMENT THAT TRULY GIVES YOU GOOSEBUMPS?

It’s the moment when you forget that you exist because you are effectively engrossed in a scene or an entire film. You fully merge with the film. Your own perception and re ection regarding your own existence is simply no longer possible because the film has managed to win you over completely. Avatar was much more than just a - lm. It was an exhilarating event that took me to another world and I was just along for the ride. That’s what you call happiness.

Physics

The shell of life

A magical sunset before a scenic backdrop. Even if you have never personally seen this event in nature, you are familiar with it from countless films, pictures or postcards. This is because such a spectacle of nature awakens many feelings, for example, the longing for a carefree and harmonious life. It creates a particular atmosphere. But what is “atmosphere” anyway?

From an etymological perspective, atmosphere comes from Greek. It is composed of the words atmós for vapour and sphai˜ra for sphere. This term is therefore a really good description of what comprises the Earth’s atmosphere – a shell of gas surrounding the Earth. It is the atmosphere that allows Earth to bear plant life and people to breathe. It serves as a reservoir for carbon dioxide and oxygen and is included in various essential resource cycles. But so much of what impresses us has ist origin in the Earth’s atmosphere as well. Who has never tried to improve their fortune by wishing upon a falling star? After all, the falling star is regarded as a symbol o fluck and hope. And yet this spectacle is merely caused by some dust particles and little rocks from outer space burning up in the mesosphere (see infographic).

Atmosphere created artificially

It is easy to see why the concept of the atmosphere has been borrowed from the physico-meteorological fi eld and applied to all areas with which we have direct contact. The atmosphere is constantly surrounding us and directly influencing our emotional states. In the ’90s, “atmosphere” became a catchword of aesthetics. The German philosopher Gernot Böhme specifically coined the term to bring more sensuality and naturalness into the cultural and architectural domains. The core vocabulary of nearly every description includes attributes such as “unique,” “special,” “individual,” “cosy,” “peaceful” and “natural”. Atmosphere promises to fulfill basic needs for life and experience.

Making good on this promise is one of the most pressing tasks of modern architecture. That is precisely why D+H has made its brand promise “BUILDING ATMOSPHERE” – to bring the much-needed sense of security and comfort back into buildings. Because our ability to feel good depends fi rst and foremost on having enough fresh air and space to breathe. To achieve the desired atmosphere, D+H combines aesthetics with functionality. That includes the effects of intelligent light regulation. This way, we can still enjoy the sunrise in every building – including in front of every curtain and behind every façade.

Psychology

That uncertain something

Personality creats atmosphere

Muhammad Ali had it. So did Marilyn Monroe, Steve Jobs and Princess Diana. They all had a certain radiance that put people under its spell. German-Austrianactor Christoph Walz is a living example, as are world record-holding sprinter Usain Bolt and political figures such as Barack Obama. Even if we occasionally disagree about individual cases, we usually can tell straight away when a person has this particular aura. It is not just celebrities that are charismatic. Bosses, colleagues, and friends can be too. Whenever they walk into a room, they fill it with a special atmosphere, attracting peoples’ glances. They find it easy to persuade us or sell us on their side of anything, and we find them inspirational and fascinating. However, when asked to describe what makes up their certain something, many times we can provide only vague answers.

Healing the sick and performing miracles

Some sociologists describe charisma as extroversion, while others consider it something magical. Indeed, the etymology of the term is from Ancient Greek and means “gift given out of good will“. It was spread through the doctrine of charisms as taught by St. Paul. This describes how people are fundamentally equal, yet differ in their function – according to the doctrine, through the gifts (charisms) bestowed by the spirit of God without having been earned. These include personal traits and skills such as wisdom, power of faith, and the ability to heal the sick and perform miracles. Today‘s definition of charisma has strayed far from the Pauline approach. Since the beginning of the 20th century, it has a more general meaning. Duden defines it as the “special force radiated by a person“. But what are the characteristics that make up this special aura?

The charisma-self-test

Canadian scientists from the University of Toronto have developed a test based on a survey with 966 participants, with which test persons can quickly and easily determine their own charisma Level. The volunteers of the survey were split up into three groups. The first group was tasked with describing, in few words, what makes a person charismatic in their opinion. The second group evaluated how applicable these charisma attributes are in their opinion. The third group used photos to rank the perceived charisma level of those pictured. The test was set up based on this procedure. The test is carried out as follows: Each subject has to rate six Statements subjectively on a scale from one to five, with fi ve being the highest. The Statements are as follows:

“I AM SOMEONE WHO…

… HAS A STRONG PRESENCE IN A ROOM.”

… HAS THE ABILITY TO INFLUENCE OTHERS.”

… KNOWS HOW TO LEAD A GROUP.”

… IS CAPABLE OF MAKING PEOPLE FEEL COMFORTABLE.”

… FREQUENTLY SMILES AT PEOPLE.”

… GETS ALONG WELL WITH OTHERS.”

The average of these values is one’s personal charisma level. If this number is higher than 3.7, one has an above-average level of charisma. The Canadian researchers also state that one should also get an objective assessment from another person. Usually, though, this would not result in any major deviations, because the survey has already taken various viewpoints of charisma into account.

Individual factors such as expressions, body language and presence can be improved with a mixture of self-observation and coaching. However, true charisma comes from within. There is no instruction for having charis

Dr. Annelen Collatz, Graduate Psychologist, Coaching & Training

Sociology

A very special urban atmosphere

What makes up urban atmosphere? Why do we perceive some cities to be particularly atmospheric?

Do you know the German song by Paul Lincke? No? Even if not, you may have heard its refrain: “Das ist die Berliner Luft, Luft, Luft…”. In gruff Berliner dialect, this cheeky hit describes the decadent and free-spirited joie de vivre of the metropolis, which experi enced incredible growth in the early 20th century. At almost the same time as Lincke composed the song, the first scientific investigations into the living conditions of children in Berlin’s back Yards were published. This world of globetrotting elegance and easy virtue on the one hand contrasted with noise, stress and stink on the other, along with the danger of epidemics and infectious disease, defines the duality that makes a big-city atmosphere to this day.

Senses
Utilisation mix
Authenticity
Hymn

Basically, atmosphere can be described as a subjective mood conveyed through the social and external surroundings. In outdoor urban areas, it is predominantly the various sensory impressions that cause us to make judgements. For example, the typical local smells – both positive and negative. Well into the 1980s, the blast furnaces of heavy industry defined the landscape silhouettes of the Ruhr region. The odours emitted by the coking plants and industrial facilities were also clearly perceptible everywhere. This is in stark contrast to the typical smells of port cities such as Marseilles, where fishermen still bring their goods on land from the boat in the early morning and repair their nets during the daytime. In this sense, a city can “smell like” industry and labour and, in some places, evoke an association with social statuses.

However, the absence of smells can itself be considered a special quality, as is the case in the German spa towns renowned for their healthy air. Currently, this topic is gaining an immense amount of Attention from society due to particulate Pollution from diesel emissions. In addition to these urban olfactory “landscapes,” cities have specific sounds and noises. Tramway whizzing by, containers rumbling at the terminals, the noise of the elevated platforms and approach paths, the flapping of the sail masts in the marina or the bells of City Hall sounding. Recently, a sociological approach has come into being that is concerned with social environment as a means of conveying atmosphere. Internalising the basic social conditions shapes a certain “habitus,” which one can also refer to as a type of mental attitude or mode of living.

This determines the way people think and act. Is is specifically the cultural areas of the economy – such as design, architecture, fashion, film, museums, theatre and music – that primarily shape the way the city’s residents behave and thus the image of the city itself. Perhaps the best example is Paris, considered the fashion and artistic metropolis through the ages and a place of elegance, high culture and assured style. Or Los Angeles, home to Hollywood’s film industry and its beautiful, superficial smoke and mirrors. Accordingly, cities have a distinct “production biography,” that determines their character and thus their atmosphere. However, people have learned that these urban typologies are not adequate, because within the major cities, specific social groups and cultures take shape in their own localities. Here, we are referring to community neighbourhoods with a certain feel. We might call them a quarter, enclave or an entertainment or other district, each with its own panache. However, these different areas frequently have universally valid descriptors.

Today, attempts are being made to create urban atmosphere by increasing density and removing the boundaries between different types of utilisation. It is the counter-movement to the urban planning of the 1960s and 70s, which simply assumed that people commuted to theirhomes in their inner-ring and outer-ring suburbs. Today, people are opposing this development by focussing on the benefits of mixing residential, work, shopping and leisure activities. Many are talking about an inner-city renaissance. This is particularly true of inner-city spaces that are being converted from their previous industrial use. These urban development areas are the manifestation of what we now consider to be the ideal city: Buildings that go right out to the sidewalk, with childrens’ playgrounds in quiet courtyards within. Ground floor spaces with high ceilings for cafés and small shops. Banning motor vehicle traffic and providing access to public transportation within walking distance. People working close to wherethey live and, ideally, being able to stop at the bakery, the cleaners, and the child care facility on the way there. Conservation of individual and natural resources defines the spirit of the times.

Jan Gehl, a Copenhagen-based architect and urban planner, has a keen interest in what happens between the buildings in urban spaces. His planning work predominantly focusses on the non-planned and improvised. Emphasis is placed on spontaneous contacts and movement flows. He wants to plan cities for people and considers the “human scale“ aspect to be crucial. His ideal is the historic mediterranean city geared toward a neighbourly atmosphere, as opposed to the brutally functionalist residential and bedroom community of the modern era.

Slowing the pace of life, making places walkable, building them to a human scale and ensuring lots of green space are the pillars of his philosophy. After successfully making Copenhagen an ideal streetscape for pedestrians and bicycles, his office now provides Consulting services to London, New York and other cities. As a result of his efforts, Times Square is again living up to its name as a place where people spend time, sit or stroll. And that is just one example.

Unevitably, there is one advantage that newly built areas cannot offer and that only mature structures have: patina. The visible traces left by residents and history. Patina is materialised time and provides a visible memory of the city. The surfaces that become weathered, discoloured and worn or have even been damaged. If we consider the façades to be a city’s “skin”, patina can be compared to laugh lines, scars or moles. They are evidence of age, maturity, and character as well as fragility. Whether patina is soot on the façades, oxidised copper roofs or graffiti: It gives the city a human face and a human atmosphere.

The lack of patina is also what differentiates truly historic architecture from mere reconstructions, contemporary buildings that mimic old ones. The controversial Berliner Palace is one example. The lack of authenticity and of harmony between appearance and reality then have an effect on the perception of atmosphere. However, it is up to the trained eye of the observer or his or her own willingness to do so to determine whether an authentic experience of historic dimension is possible.

Some urban tourists may hardly be bothered when they visit newly developed port areas and encounter cranes that have been freshly restored and are well-placed, albeit completely devoid of function. These usually serve no purpose other than to attempt to portray the maritime atmosphere of the port’s previous use.

A city’s rhythm comes as the result of the interactions between all these perceptions, impressions and social processes as they recur in time. A type of particularity that makes it very special and thus comparable to other cities. And just as each city has its own rhythm, it also has its own official or (usually) unofficial hymn. At the Ruhrstadion in Bochum, tens of thousands of football fans sing Herbert Grönemeyer’s “Bochum” with all their might:

DU BIST KEINE SCHÖNHEIT I VOR ARBEIT GANZ GRAU I LIEBST DICH OHNE SCHMINKE

BIST NE EHRLICHE HAUT I LEIDER TOTAL VERBAUT I ABER GERADE DAS MACHT DICH AUS

Rarely have lyrics been so fitting in describing the atmosphere of a city. The ritual celebration of shared song not only reinforces the linguistic picture of this very special urban atmosphere, but also conveys it and carries it out into the world. Particularity means authenticity and identity by creating distinction from others. At the annual summer season finale of the Berlin Philharmonic at the Waldbühne outdoor amphitheatre, the audience of 20,000 sings along heartily when the conductor raises the baton for the climactic moment: “Das ist die Berliner Luft, Luft, Luft…”.

Senses

Basically, atmosphere can be described as a subjective mood conveyed through the social and external surroundings. In outdoor urban areas, it is predominantly the various sensory impressions that cause us to make judgements. For example, the typical local smells – both positive and negative. Well into the 1980s, the blast furnaces of heavy industry defined the landscape silhouettes of the Ruhr region. The odours emitted by the coking plants and industrial facilities were also clearly perceptible everywhere. This is in stark contrast to the typical smells of port cities such as Marseilles, where fishermen still bring their goods on land from the boat in the early morning and repair their nets during the daytime. In this sense, a city can “smell like” industry and labour and, in some places, evoke an association with social statuses.

However, the absence of smells can itself be considered a special quality, as is the case in the German spa towns renowned for their healthy air. Currently, this topic is gaining an immense amount of Attention from society due to particulate Pollution from diesel emissions. In addition to these urban olfactory “landscapes,” cities have specific sounds and noises. Tramway whizzing by, containers rumbling at the terminals, the noise of the elevated platforms and approach paths, the flapping of the sail masts in the marina or the bells of City Hall sounding. Recently, a sociological approach has come into being that is concerned with social environment as a means of conveying atmosphere. Internalising the basic social conditions shapes a certain “habitus,” which one can also refer to as a type of mental attitude or mode of living.
This determines the way people think and act. Is is specifically the cultural areas of the economy – such as design, architecture, fashion, film, museums, theatre and music – that primarily shape the way the city’s residents behave and thus the image of the city itself. Perhaps the best example is Paris, considered the fashion and artistic metropolis through the ages and a place of elegance, high culture and assured style. Or Los Angeles, home to Hollywood’s film industry and its beautiful, superficial smoke and mirrors. Accordingly, cities have a distinct “production biography,” that determines their character and thus their atmosphere. However, people have learned that these urban typologies are not adequate, because within the major cities, specific social groups and cultures take shape in their own localities. Here, we are referring to community neighbourhoods with a certain feel. We might call them a quarter, enclave or an entertainment or other district, each with its own panache. However, these different areas frequently have universally valid descriptors.
Utilisation mix

Today, attempts are being made to create urban atmosphere by increasing density and removing the boundaries between different types of utilisation. It is the counter-movement to the urban planning of the 1960s and 70s, which simply assumed that people commuted to theirhomes in their inner-ring and outer-ring suburbs. Today, people are opposing this development by focussing on the benefits of mixing residential, work, shopping and leisure activities. Many are talking about an inner-city renaissance. This is particularly true of inner-city spaces that are being converted from their previous industrial use. These urban development areas are the manifestation of what we now consider to be the ideal city: Buildings that go right out to the sidewalk, with childrens’ playgrounds in quiet courtyards within. Ground floor spaces with high ceilings for cafés and small shops. Banning motor vehicle traffic and providing access to public transportation within walking distance. People working close to wherethey live and, ideally, being able to stop at the bakery, the cleaners, and the child care facility on the way there. Conservation of individual and natural resources defines the spirit of the times.

Jan Gehl, a Copenhagen-based architect and urban planner, has a keen interest in what happens between the buildings in urban spaces. His planning work predominantly focusses on the non-planned and improvised. Emphasis is placed on spontaneous contacts and movement flows. He wants to plan cities for people and considers the “human scale“ aspect to be crucial. His ideal is the historic mediterranean city geared toward a neighbourly atmosphere, as opposed to the brutally functionalist residential and bedroom community of the modern era.
Slowing the pace of life, making places walkable, building them to a human scale and ensuring lots of green space are the pillars of his philosophy. After successfully making Copenhagen an ideal streetscape for pedestrians and bicycles, his office now provides Consulting services to London, New York and other cities. As a result of his efforts, Times Square is again living up to its name as a place where people spend time, sit or stroll. And that is just one example.
Authenticity

Unevitably, there is one advantage that newly built areas cannot offer and that only mature structures have: patina. The visible traces left by residents and history. Patina is materialised time and provides a visible memory of the city. The surfaces that become weathered, discoloured and worn or have even been damaged. If we consider the façades to be a city’s “skin”, patina can be compared to laugh lines, scars or moles. They are evidence of age, maturity, and character as well as fragility. Whether patina is soot on the façades, oxidised copper roofs or graffiti: It gives the city a human face and a human atmosphere.

The lack of patina is also what differentiates truly historic architecture from mere reconstructions, contemporary buildings that mimic old ones. The controversial Berliner Palace is one example. The lack of authenticity and of harmony between appearance and reality then have an effect on the perception of atmosphere. However, it is up to the trained eye of the observer or his or her own willingness to do so to determine whether an authentic experience of historic dimension is possible.
Some urban tourists may hardly be bothered when they visit newly developed port areas and encounter cranes that have been freshly restored and are well-placed, albeit completely devoid of function. These usually serve no purpose other than to attempt to portray the maritime atmosphere of the port’s previous use.
Hymn

A city’s rhythm comes as the result of the interactions between all these perceptions, impressions and social processes as they recur in time. A type of particularity that makes it very special and thus comparable to other cities. And just as each city has its own rhythm, it also has its own official or (usually) unofficial hymn. At the Ruhrstadion in Bochum, tens of thousands of football fans sing Herbert Grönemeyer’s “Bochum” with all their might:

DU BIST KEINE SCHÖNHEIT I VOR ARBEIT GANZ GRAU I LIEBST DICH OHNE SCHMINKE

BIST NE EHRLICHE HAUT I LEIDER TOTAL VERBAUT I ABER GERADE DAS MACHT DICH AUS

I KNOW YOU’RE NO BEAUTY | FOR WORK’S LINED YOUR FACE | YOU DON’T LIKE WEARING MAKE-UP

| YOU’RE AN HONEST PLACE | WHERE THE HUMAN RACE | ISN’T ALWAYS IN COMPETITION

Rarely have lyrics been so fitting in describing the atmosphere of a city. The ritual celebration of shared song not only reinforces the linguistic picture of this very special urban atmosphere, but also conveys it and carries it out into the world. Particularity means authenticity and identity by creating distinction from others. At the annual summer season finale of the Berlin Philharmonic at the Waldbühne outdoor amphitheatre, the audience of 20,000 sings along heartily when the conductor raises the baton for the climactic moment: “Das ist die Berliner Luft, Luft, Luft…”.

Windows & acoustics

Windows & Acoustics

Entry + Promotion

Headquarters

Sales

Purchase

D+H service and sales partners

The expansive D+H service and sales partner network offers property-based planning and consulting, proper installation, careful maintenance and reliable supply with spare parts.

Select your country and enter- if required - your postal code:

CDC-0252-0800-1-ACB

CPS-M1-S

RT 45

SNT 2