Coney Island in 1904; Joan Littlewood and Cedric Price’s designs for the Fun Palace from the 1960s; Denise Scott Brown and Robert Venturi’s analysis of 1970s Las Vegas — these are just a few examples that assert the relevance of utopian ideas in the conception of amusement parks in the last century. What they all have in common is the integration and interplay of diverse forms of art — be it visual arts, film, music, literature, design, or architecture — while throughout concerned with inventiveness, a display of the latest technologies, and reanimations of the past via visions of the future.
The development of an art- and culture-focused concept for the Spreepark, a former amusement park, builds on this legacy, raising the interesting question of what entertainment can be today. The potential for further expansion and reinterpretation of the term “amusement park” or “amusement” via cultural development lies in the establishment of a structure that transfers the link between the nostalgic and the present-day onto a forward-looking culture and topography of amusement. Taking the nostalgic aura of the Spreepark and building upon it with integrations of art, architecture, design, and technology, a simultaneous interweaving takes place between that which has been left behind and the sights, activities, and experience now available. Following the principle of collage, the idea was to superimpose over the preexisting structure a linking system creating fluid transitions between the extant and the new. This new structure creates a unified narrative space accommodating the spatial and the temporal, the dormant and the interactive. Realised in collaboration with Hager Partner, Holzer Kobler Architekturen, Tourismus Plan B and Runze & Casper Werbeagentur.
All collages by Holzer Kobler