Architect: Stefan Behnisch

Area: 38250 m²

Year: 2017

City: Stuttgart, Germany

Put picture of architect and project

History

Site surrounding and context (scale and weather)

Concept and orientation

Materials (lighting)

Program and circulation

The re-planning of the Dorotheen Quartier not only creates new areas for public use, it also offers a
unique opportunity to reassess the relationship with the Karlsplatz arcade. This thoroughfare has, until
now, always been perceived as the less important “back” of the site, situated behind the Breuninger
Department Store, and leading towards Sporerstraße and Karlstraße. With this project, which includes
three mixed-use buildings with offices, small-scale retail and urban living, the highly valuable central city
core is now infused with a new identity and vitality – complete with a broad range of user activities.
Thus, the new area augments Stuttgart’s existing, thriving network of lively pedestrian areas.

Here the state of Baden-Württemberg committed itself to install a memorial, in memory of the
building’s the former use as a Gestapo headquarter from 1937 to 1945. The preservation of this
building, which was almost completely destroyed during World War II and subsequently rebuilt in a
different appearance, has led to a complete restructuring of the original design. Now the buildings
restrain themselves towards their surroundings in terms of height and size. At the same time they
respond expressively in their architectural appearance to the urban characteristics of Stuttgart.
The name of the complex is reminiscent of the former Dorotheenplatz

The Stuttgart architect Stefan Behnisch has designed the design that connects Sporerstraße with
the square in front of the market hall.

The design broadens and divides the existing Sporerstraße into two squares – the Dorotheen Platz and
the Sporer Platz – and connects both to the lively town square in front of the Market Hall. A generous
gateway and properly framed views assist in creating the opportunity for constant circulation between
the existing sites and the new development. A new visual link between Markthalle and Karlspassage aids
in connecting the disparate elements of the square, thereby increasing the attractiveness of the
Dorotheen Quartier.

The scale, form and configuration of the three new buildings aim to integrate themselves seamlessly
into the city’s existing and historic urban fabric and character. In this regard, the rooflines of such
historic structures as the Markthalle, and the geometries and axes of the public plazas such as Karlsplatz
have played an important role in informing the design of the Dorotheen Quartier ensemble.
In the city of Stuttgart, the unique topography of the ‘city basin’ has, in essence, established a ‘fifth
facade’ for each building: the roof. The ’roofscape’ here has particular significance in a place where,
from any vantage point, the roofs across the landscape always serve as icons identifying landmarks and
destinations in the city.

Some of the windows of the luxury lofts face Karlsplatz, where fish market, Christmas market and similar
events take place.

The windows of the apartments are automatically closed on event days between 8 pm and 10 pm –
whether the tenants like it or not. "It's completely bizarre,"

Houses B and C (right) of the Dorotheen-Quartier. House A is located behind the Hotel Silber (far left).

By the way, customers can park in house A, the access to the multi-storey car park with 350 spaces is
located in Holzstraße.

The objective of the entire reorganization was to create an urban space in the city center with no ‘rear
sides’ and in this manner to create a public realm that is instead flanked by a variety of equally
attractive, high-quality frontages. New elements supplement the existing urban structure.

The new incarnation consists of shops, cafes and restaurants, offices and apartments with around 350
underground parking spaces.

The scale, form and design of the three new buildings fit seamlessly into the existing, urban structure of
the city. To do so, the geometries, axes and references to the surrounding squares played an important
role.

In Stuttgart, every building has a "fifth façade", due to the unique topography of the city: the roof. The
roofscape has a special significance in a place where iconic roofs can be clearly seen from every
viewpoint.

For Dorotheen Quartier, shading and sun exposure studies informed the roof architectural design
process, contributing to roof form, glazing ratio and material selection.

The vertical glazing of the office attic is fritted, allowing an optimal amount of daylight for the office
areas, and reflecting sunshine as diffuse light, thus improving the illumination of the inner courtyards
and alleyways.

Special care was taken for indoor and outdoor daylight access to avoid the conventional problem of dark
inner-city spaces.

The selected comfort concept employs thermally activated components, such as exposed concrete
ceilings, and thermal storage capacity of interior surfaces. The exposed thermal mass in combination
with activated slabs and low temperature operation reduces the heating and cooling requirements.

In the office areas, most spaces are naturally ventilated.

New line of sight between markthalle and Karlspassage is created with the aim of gaining an urban
space without backsides.
Picture 1: From Sporerstraße in the direction of the collegiate church. The outdoor area of the
»Zanzibar« at the Breuninger department store, which is surrounded by wooden palisades, looks small-
minded and lacks any generosity — a pity!

Picture 2: View of the staggered, glass roof landscape of the Dorotheen Quartier, in front of it the »Hotel
Silber«, which was used as a Gestapo headquarters between 1937 and 1945, in the foreground the
former orphanage of the city of Behnisch Architekten, Stuttgart

Picture 3: The three differently designed new buildings: In the foreground are the loggias of a total of 19
attic apartments, the middle block is divided into a two-storey, glass shop zone, above which there are
exclusively offices.

Picture 4: The new Eduard-Breuninger-Straße in the direction of Karlsplatz takes up the historic city plan
on Behnisch Architekten, Stuttgart

Picture 5: The immediate neighbourhood: collegiate church and historic market hall (1914) Behnisch
Architekten

Picture 6: High-quality new urban space: the entrance to the luxury quarter – in the middle the
pretentious façade of Louis Vuitton, on the right the department store Breuninger Behnisch Architekten,
Stuttgar

Picture 7: The arcade zone of the Stuttgart market hall finds a cautious reference in the middle block of
the new buildings with the colonnades Behnisch Architekten, Stuttgart

Picture 8: View into Münzstraße: The vis-à-vis the market hall is the curtained, beige limestone façade
with the striking, diagonally cut window embrasures Behnisch Architekten, Stuttgart

Picture 9: Detail of the limestone façade with the plastic-inclined window embrasures inspired by
Stuttgart's post-war expressionism Behnisch Architekten, Stuttgart

Now the department store on the neighboring property could "build according to its ideas" – the
demolition of all existing buildings seemed to have already been decided. But it was precisely against
this that there was resistance: in particular, the Hotel Silber in Dorotheenstraße, which was used as a
Gestapo headquarters between 1937 and 1945 and was to be demolished in the original planning, was
hotly debated in the same year. It was not the state, as the owner of the building, that had brought
about a change of mood, but rather a privately organized citizens' initiative. Instead of integrating it as a
memorial site, the city and the state finally decided to preserve the Neo-Renaissance building, which
was partially destroyed in 1944. However, this raised the crucial question of whether Behnisch
Architekten's design would allow these adjustments at all – or whether a radical restart was now
necessary? The architects had to find the answer with the investor – only now was the actual Dorotheen
Quartier born. And this difficult birth has done the new quarter quite well. Not only because the Hotel
Silber could be preserved as a memorial, but especially because the rethinking of the design and the
associated reduction of the floor area to 38,250 m2 led to a noticeable approach to the grain of the city,
its existing spaces and dimensions. This is convincingly documented in the structure of the cubature to
three houses, with which the architects resume the historic city plan.

upgraded the Breuninger façade to Karlsplatz, which had previously been rather repellent and perceived
as a backside, supplementing it on the ground floor with new extensions that open up to the urban
space with curved roofs. This brings the previously rather defiant Breuninger old building much closer to
the new buildings, inside and outside are being rethought, the Visavis can be experienced.

If one approaches the asymmetrically shaped new buildings, one first becomes aware of the obliquely
cut ribs of the curtained, beige limestone facades, which alternate with the strongly folded aluminum
facades and paint a sculpturally modeled picture of the entire quarter. Their free play against the strict
vertical continues with the anthracite-colored window profiles. Behind the facades is an approximately
4.5 m high ground floor with large-format glass surfaces

On the upper floors there are classically organized office floors with cubicle offices, in which the state
ministries have rented on an area of around 25,000 m2, and – concentrated on one building – the 19
exclusive rental apartments, which together have about 3,000 m2 (!). But where are they? Looking up
steeply, the angular glass roof landscape appears as an almost surreal body. The large-scale printed glass
surfaces, which mix with the grey and blue tones of the sky, bring a completely new aesthetic to the city,
cause irritation, look like crystalline bodies rendered on the computer. In some places, these steeply
inclined roof surfaces even have almost the same height as the lower full storeys. The scale, which
should be noticeable above the specification of the approximately 20 m high eaves edge, is thus clearly
questioned, the proportions between house and roof shift, especially there seem rather foreign.

For Stefan Behnisch, however, the roof as the fifth façade is crucial

Then the presence of the roofs suddenly reverses. From above, they show their true greatness,
physicality and dominance. The architects have developed the roof shapes and

Folds of the three solitaires deliberately designed in such a way that as many views as possible of the
neighbouring market hall, the collegiate church, the Old Castle and the town hall are preserved.

The language that Behnisch Architekten chose for their new buildings differs decidedly from the factual,
sober canon of forms of Weißenhof modernism – they found the spirit of the place above all in
Stuttgart's »post-war expressionism« of the 50s and 60s: Rolf Gutbrod's BW-Bank on Kleiner
Schlossplatz and its Hahn high-rise on Friedrichstraße were their driving forces. Of course, the up to 34
m high, sometimes 9-storey houses along the narrow street spaces create a density that noticeably
distinguishes the Dorotheen Quartier from Gutbrod's buildings. The material mixes of sand-lime stone,
aluminium and printed glass also has little in common with the historical references.

Stuttgart means the hill city topography. So, we see the roofs when we approach the city from above so
the roofscapes is amazing. And these 3 buildings have a very important roofscapes because it’s seen
from above and is a matter of scale. (Ground floor of retail picture) this is a floor plan of the ground
floor, of the retail, and we can see how its broken up to create a public realm. Its not the restaurant and
shops that made the public realm but it’s the protection against wind, sun, and rain. They are oriented
accordingly to this. Its not created in linearity but rather by walking from an attraction to the other to
finish the promenade. Its not wider than 20 m because opposite shops become far. Its 14 yards. The roof
line is pretty high. It’s a glass roof. Front facades are more solid with natural stone but in the back its
metal and glass to get more light in and be more reflective.

In the detail of the stone façade, it gives some depth in its form and then also the detail of the metal
façade which is the same as the stone one but formed of metal to be more reflective, open, and
informal.

The Dorotheen Quartier project is located in the Karlstrasse district of Stuttgart, to the east of the city
center. It is surrounded by public spaces and commercial bodies such as the Town Hall Square
(Marketplatz), Karlsplatz, the market hall specializing in agricultural and sideline products Markethalle,
the old German department store Breuninger and the K nigsallee (K nigsallee) commercial street in the
city center, which can be reached within a two-minute walk. The city of Stuttgart has a well-developed
public transport, with multiple lines of metro, bus, light rail, etc. to reach the dorotheen Quartier area,
which is the heart of the city.

Before the renovation, Sporerstra e was lined with Karlsplatz to the northeast and Breuninger to the
southwest. Further west is the Town Hall Square, where traditional events such as markets are often
held, and the entire southwest side is bustling with the presence of squares and department stores.

Looking north, Karlsplatz is famous for its public space in Stuttgart, with statues of historical figures,
greenery and flea markets.

In the original design plan, the Hotel Silber in front of the A building on the east side needed to be
demolished. The Hotel Siebol has a long history and was used as the Headquarters of the Gestapo
between 1937 and 1945. Subsequently, it was destroyed by war and later rebuilt, which is what we
mean today. Mixed with historical and political factors, the debate about its whereabouts is quite fierce.

in order to fully preserve the historical traces and spiritual temperament of stuttgart's urban area, the
hotel sipoll was finally preserved. as with the king's cross renovation project in london mentioned in our
previous article, the preservation of historical buildings does not conflict with the construction of new
modern buildings, and is both a protection of the cultural expression of the city and an enhancement of
commercial value after integration into the commercial environment.

The first is that the building height is basically the same as that of the West Ball Hotel. In fact, in addition
to the WestPol Hotel, there are many historical buildings in the Stuttgart area, including the surrounding
market Markethelle and the downtown church. Architect Stefan Behnisch said: "In New York, no one can
see the roof, but it is not the same in Stuttgart. "Admittedly, Stuttgart's traditional half-height
architecture is very conducive to a bird's-eye view of the city compared to the invisible skyscrapers of
New York. Dorotheen Quartier's innovation of architecture retains consistency with other buildings, and
there is still room for exterior innovation without being obtrusive.

the roof as the fifth façade adopts a glass structure, which ensures good lighting inside the building. the
upper floor of the building has a steeply sloping roof, and it is consistent with the height of the other
floors at the bottom of the building, which gives the building the function of overlooking the cityscape
without compromising practicality

The Dorotheen Quartier building is surrounded by blue glass and earth-colored stone bricks, which
contrast with the old buildings of the surrounding stone brick structure and also bring a harmonious
visual feeling. In the Dorotheen Quartier area, where old and new buildings are so close together, you
can feel the harmony of the past and the present, and the building itself becomes an expression of
diversity.

The color of the glass contrasts with the sky, transparent and fresh, and it is almost surreal to watch.
Architects have been looking for the spirit of the city, incorporating modernism into dorotheen Quartier,
just as the "post-war spirit" of Stuttgart's 50s and 60s was called "modernism" at the time, and the
architecture's understanding of freshness and creativity in different eras is always the imagination of the
surrounding environment.

The laid-back and dining brand's outdoor public spaces on the Pedestrian Street show Dorotheen
Quartier's efforts to fill the gap in the neighborhood's lifestyle businesses.

Behind the facades of the three asymmetric-shaped new buildings in downtown Stuttgart, you’ll find
luxury shops, office space and 19 exclusive rental apartments.

Different plazas are articulated thanks to its different topographic heights: The “Sporerplatz” in front of
the covered market and the much higher plaza “Dorotheenplatz” in front of the Karlspassage arcade.
The use of the same paving slabs connects these areas, not just visually but also spatially.

Imagine that these spaces are united as if underneath a large green canopy: above they are defined by
the clear-cut contours of the roof surfaces that are staggered backwards, reaching ever higher towards
the top. Below they give shape to the streetscape. The ensemble of extensions slips easily into this
urban, organic context and integrates the existing entrances. The choice of materials and also the
striking design provides new architectural accents.

this prime city site presents ample opportunities for shopping and stopping by at leisure, while at the
same time strengthening the cross connections of the urban fabric.

WOW part

The re-planning of the Dorotheen Quartier will not only create new areas for the public realm, but it will
also afford a unique opportunity to reassess the Karlsplatz arcade entry and exit. This thoroughfare has,
until now, always been perceived as the less important "back" of the site, situated behind the
Breuninger Department Store, and leading towards Sporerstraße and Karlsstraße. With this project, this
highly valuable central city core will now be infused with a new identity and vitality – complete with a
broad range of user activities. This will allow the Quartier to augment Stuttgart’s existing and thriving
network of lively pedestrian areas.

It is particularly critical for the project to establish a well-connected ground-level zone that entices both
passersby and visitors from the nearby sites to come through the Quartier in an organic fashion. The
existing local attractions include the Marktplatz, the Breuninger Department Store, and the Markthalle.
A generous gateway and properly-framed views could assist in creating the opportunity for constant
circulation between the existing sites and this new development. A new visual link between Markthalle
and Karlspassage would certainly aid in connecting the disparate elements of the square, thereby
increasing the attractiveness of the Dorotheen Quartier.

Another important task for this project will be to reorganize Sporerstraße, the avenue that lines the back
of the Breuninger Store. The objective of the entire reorganization is to create an urban space in the city
center with no “rear sides”; and, in this manner, create a public realm that is instead flanked by a variety
of equally-attractive, high-quality ’front sides’.

Context

In all respects, heterogeneity, complexity, density and proportion form the key features of the proposed
design. The scale, form, and configuration of the new buildings will aim to integrate themselves into the
city’s existing urban fabric and character. In this regard, the rooflines of such historic structures as the
Markthalle, and the geometries and axes of the public plazas such as Karlsplatz, will have a direct
influence on the design and organization of the project. Despite this, the new structures will also,
however, impart their own contemporary style and language to the Quartier, as a means by which to
enrich its quality and character.

Roofscape

In the city of Stuttgart, the topography of the city’s basin-shaped valley has in essence established a
‘fifth facade’ for each building: the roof. The ’roofscape’ here has particular significance in a place
where, from any vantage point, the roofs across the landscape always serve as icons identifying
landmarks and destinations in the city.

In this development, the roofs of the new structures – with their shimmering, light, and partially-
landscaped terraces and winter gardens devoid of any technical clutter - will be visible from the
overlooks afar across Stuttgart.

The envelopes used for the three buildings differ in terms of materials and construction type and feature
the highest standards of architectural design.

The office facades consist essentially of natural stone and aluminum and glass window elements. The
shop fronts of the luxury retail outlets are uniformly configured with large-scale steel post and beam
facades filled with insulating glass. The most ambitious part of the building is the gigantic roofscape,
consisting of a glazed post and beam construction. The glazed roof is designed to produce the
appearance of a glacier landscape and the glass panels are covered with a variety of white films.
Luxury goods of shops and boutiques shine behind the extensive glazed steel transom-mullion façades
on the ground floor. One layer above: natural stone and aluminum-glass window elements on the office
floors. On top, the residential floors with their alpine-inclined sloping façade rise into the sky.

Preserving and continuing to build

At the side of Karlsplatz stood the former Ministry of Finance – outstanding post-war architecture by the
architects Karl Schwaderer and Claudius Coulin from the OFD Stuttgart. To the east is the former "Hotel
Silber" – the reconstruction of a building in which the National Socialists had settled in and set up
torture cellars. The Ministry of Finance was well maintained, it had beautiful staircases and was a listed
building.

The fact that the Hotel Silber has been preserved and today offers a kind of continuity in the structure of
the city center, as well as a memorial site a non-commercial enrichment unparalleled, is solely due to
private, culturally ambitious initiatives; personalities such as Max Bächer, Karl Ganser, Edzard Reuter,
Jörg Schlaich, Gottfried Kiesow, Roland Ostertag and many others are mentioned.

From the pedestrian's perspective, the public spaces, which are not arranged at right angles, develop a
remarkable charm with convincing visual references. The full storeys above the eaves look retouched
upwards as if towards the sky – it is now a huge volume that piles up in the air. Above all, the outer skin
of the upper floors was a mystery

Private and public

Facades and folds

If the departure from the right angle in the floor plan contours undisputedly causes a pleasant sequence
of rooms, opinions differ on the commercialized ground floors and the sculpturally reliefd facades.
Passers-by look up and discuss, the heterogeneity of the building envelopes – stone, steel, glass – in
their unusual geometry gives reason enough to do so. The Behnisch office did not want uniform grids. So
it remains to be seen what lighting in the dark season can do here.

The valley basin looks to the future without ignoring the past. It takes up the old idea of the former
market and reinterprets it as a living space above all. It brings what belongs together back.

The new squares we have new lively niches created in the urban fabric.

The private retreats are created through the public space.