Percent for Art

With art in building a particular obligation of the state is seen as a client, from its built cultural claim out a certain proportion - to use the cost of construction of public buildings for art - usually around 1%. This obligation is enshrined in the federal and state governments in appropriate regulations. Some major cities such as Munich ( program Quivid ) or Dresden have accepted this obligation at the local level.

Regardless of this public purpose also some private developers are committed to the construction of art and realize appropriate projects and to their administrative or commercial buildings; mention, for example, the Nord / LB with their Headquarters at Hanover, Allianz AG Man which are related to the Molecule near the Treptowers in Berlin or about mfi Management für Immobilien AG in Essen, with its numerous shopping centers.

The art of building is permanently fixed to the inside or outside of the building or located in the open space on the associated land. Exceptionally, art can be located in the building and the public space around the building in question. In this respect there is a certain intersection of art in public space. As such, these two types of publicly visible art differentiate very precisely, partly, however, the distinctions are blurred, as the viewer an assignment can hardly make. Sometimes the two terms are also used interchangeably.

History of art and architecture

The beginnings of formal art - in-architecture rules go back to an initiative of the Economics Association of Visual Artists. The Association relied on Article 142 of the Weimar Constitution of 11 August 1919: "Art, science and teaching are free. The state offers them shelter and takes part in their care. "Given the poor economic situation of artists after the First World War, the Reich Economics Association had suggested, among other measures, to participate artist at building programs of imperial and state governments. It was the professional association primarily of efforts to ease the financial hardship of the artist. Then, the Prussian Minister of the Interior issued the decree of 28 June 1928 on the visual artists " in the construction and equipping of state or municipal buildings more than in the past, with particular attention to the unemployed and in need visual artist, working and earning opportunities to create " were.

In the Third Reich the claim from the Weimar Republic is revisited and implemented at the state level in a new Decree of 22 May 1934 on the participation of visual artists and artisans in public buildings: This decree was stipulated that " in all buildings of the empire, the states, municipalities, public bodies and the bodies of which kingdom, countries or communities own the majority of shares or the majority of the shares, in principle, a reasonable percentage of the construction costs for the issuing of orders to visual artists and artisans to be expended must. " (quoted in Petsch, 1994:53 ). For the construction of service buildings, this often meant that now popular decorations were to install.

This arrangement was maintained during the 30th meeting of the German Bundestag in 1950 based on a recommendation of the German Association of Cities. " In order to promote the visual arts, the Federal Government is requested in all works contracts (new and conversions) of the Covenant, as far as nature and context of the individual construction project justify, and in principle provide an amount of at least 1 percent of the construction contract sum for works of visual artists. "

Even in the German Democratic Republic was established in 1952 with the " arrangement of the artistic design of office buildings " created by August 22, 1952 a decisive formal relationship between visual art and architecture. The regulation provided, to place orders in the amount of 1 to 2% of the construction cost plan to fine and applied artists. The process for the selection of artists, themes, and implementation modalities differed greatly from those that were customary in the Weimar Republic, the Third Reich and later in the Federal Republic. It was demanded that art should have an appropriate style, which has become known as socialist realism in the story. Since 1959, a share of 0.2 percent initially (later 0.5 percent) assigned to the plan construction costs for art and for housing. Thus, the range of art and architecture has been extended very crucial. From the mid- 1960s, the contracts have been extended to the so- called complex environmental design in the context baubezogener art. Specific to the architectural art in the GDR was that the work is not only related to a tectonically affiliated with the building work of art. In this broad context of a large amount baubezogener art and applied art has been produced in the GDR, which is now no longer perceived in this context. The artists developed design concepts for building complexes, squares, residential areas and the design of enterprises ' working environment design. " Thus the fields of work of artists touched not only with those of the architects, but also increasingly with those of the landscape and form designers.

The scheme for the art in construction in the Federal Republic of more relevance only when the larger volume of construction of the 60's also won, in economic terms. Since then, new generations of artists crowded into this quite lucrative field of work. At the same time they demanded to be involved early in the planning, conduct public discourse, and to commit to social responsibility towards the society. The resulting change in the forms of art found its way into current methods of architectural art.

The succinct in six points "Guidelines for the implementation of construction projects in the federal jurisdiction of the financial construction ( RBBau ), Section K 7 " presently there before the formal framework for the artistic design of most federal buildings. In addition, there are still some specific kinds of buildings of the covenant, are not subject to this regulation; For example, buildings of the Bundesbank or the Department of Defense. After the K 7 services to the artistic refinement of visual artists are up for grabs during construction of the Federation insofar as the purpose and importance of the construction project justify this. Nature and scope of artistic achievements are set already in the preparation of the budget document construction, so that the artistic idea may be involved in the further processing and implemented during construction. To process the Directive establishes that in important measures are usually competitions are carried out.

Against the background of a comprehensive analysis of the architectural art in federal buildings, the federal government has given as a builder in 2006 a new guide for the implementation and is again a fixed share of construction costs depending on class 0.5 to 1.5 % of construction costs ( cost group 300 / 400) formulated.

Timeliness and specificity of the art in construction

Art in architecture stands with their connection to the building and the building plot in a particular area of ​​conflict: The construction-related narrowing impedes the free artistic discussion, it is on the other hand but also a particular challenge. As part of the current architecture and building culture debate, the interest in art and architecture with artists and the public seems to become stronger again. This raises the question of how such a development supported and the art and architecture can be more closely associated with the general art discussion and development. Currently, according to the case studies dominate artistic genres such as sculpture and painting in large formats and in art already long established formal approaches. This finding of a comprehensive study arises from the offer of closer consideration competitor and thus reflects the options given.

Only occasionally can be examples of media work that reveals for time-dependent or procedural work or for those who put their materiality into question how light works or acoustic contributions. However, if such activities are offered by the artists in competitions, they are also relatively frequently recommended by juries for realization.

With art in building a cultural added value is to be created, so we can, should or must be a certain portion of the construction costs in one or more works of art will be invested to promote the culture. At the same time, this measure of financial support for the arts and culture, respectively, the artist used. In a certain way by the state patronage of earlier centuries will continue.

So far, still quite unlit is the art of traffic construction, as it has been known for highways, for example, from France. There is the requirement to include these mostly government buildings in the programmatic funding. There are already examples especially for circular traffic areas.

The practice of art in architecture has been faced in the past, critique: not only the art is tied to a specific place and is in a particular case may be reduced to the task of decorating a new building. The art - in-architecture control also often does not allow for expensive art projects. The city-state of Hamburg has therefore in 1966 its regulation Kunst am Bau amended that certain agent therefor in a central pot to flow, the selection of projects of an art commission (instead of the Ministry of Construction ) is a subordinate and non- local artists can be promoted. Because of the restriction to local artists to saw the art in construction repeatedly exposed to the reproach of provincialism.

Price for art in

Art in construction often remains unnoticed and sometimes does not get the importance, which could send it to yourself. Against this background, it is noteworthy that there is a prize for art in architecture: mfi Award for Art in Construction has been awarded since 2002. The award, awarded by the company mfi Management für Immobilien AG, is endowed with 50,000 euros and is awarded by a jury of five persons. The winners were previously: Bogumir Ecker (2002, aliud, Central Police Technical Services NRW, Dusseldorf ), Lothar Baumgarten (2003, Federal President Berlin), Olafur Eliasson (2004, rewriting, KPMG German Treuhand AG, Munich, Germany), Franz Ackermann (2005, The great trip, metro station Georg- Brauchle- ring, Munich ), Dagmar Schmidt (2006, Grabungsstaedte, Halle / Saale ), Michael Beutler ( 2007 pagodas tower, Lufthansa headquarters, Frankfurt), Timm Ulrichs (2009, Sunken village in connection with the construction of the Allianz Arena in Munich ) and Franka Hörnschemeyer (2011, funnel, Dresden).

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