Sarah Wilson
Illegal's Not so Bad
Illegal's Not so Bad
An example of why having a lot of gall can be a good thing.
It took
two years of negotiations before construction could begin on Manuel Herz’s
apartment building in Cologne. It wasn’t a matter of meeting regulations—quite
the opposite. Herz flatly refused to obey them, and not simply for the purpose
of defiance alone. Herz’s eventual victory in the construction of his ‘illegal’
building achieved liberation for architects everywhere.
The
dual name Herz gave to his building “Legal Illegal” refers to the two divisions
to its form. The first section on the
bottom floor is the ‘legal’ part of the building, confining itself calmly inside
the gap provided by the two buildings that flank it. This volume is clearly
defined and, as if not to distract from its neighbors, is transparent and
orthogonal. As a ‘legal’ volume, it
adheres to all building laws, regulations, norms, and rules, even going so far
as to terrace itself in the back in order to not cover the whole site, as the
development plan dictated.
A few
stair landings up, and the character of the space changes completely. Far from being straightforward, the ambiguous
angles and faceted surfaces create a strangely shaped space that pokes out from
between the neighboring buildings. The exterior has a defiant, fire-engine red
materiality that blatantly calls for attention. Harnessing sunlight through
windows that jab out cheekily, the interior lights up to display bright white
walls that move and bend as a reflection of the paunchy exterior. The illegality of this volume comes in a few
forms. First, the compiled square-meters enclosed within exceeds the maximum
floor space the German urban masterplan allows. Second, each piece of the
faceted surface on the exterior casts a shadow onto the neighboring sites,
which is also prohibited in German planning law. The volume extends over the
municipal building line and, as it that weren’t enough, over the historical
moment (the gate) in front of it as well. This overall disregard for building
codes earned this second level the title ‘illegal’.
As a
realized piece of architecture, this building became not only a symbol of
defiance for architects, but a symbol of spirit for the people. Important to
note is the calculation of Herz’s flouting; it had purpose. It was not a gag
flung willy-nilly into the face of law, but a design whose carefully planned
surfaces and jutting facades spoke volumes of the state of affairs in
construction. The upwards transition from reserved confinement to unbridled freedom
referenced the German building regulations that had become too greatly
controlled and the need to break free from them. “Legal Illegal” expressed Herz’s belief that
such systemized control of public construction was causing more harm than good,
and that a wider margin for creativity, not confinement, was needed. This sort
of expression is a physical dose of the human condition. While we find some
comfort in norm and regularity, there is an intrinsic need for individuality
and, occasionally, an inherent trend towards resisting authority. The victory of “Legal Illegal’s” construction
after a two-year battle was won for both the architecture community and the
populace they served; Germany has likely not seen the last of such creative
cheek.
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