beyond your map

Villa Dirickz, designed by architect Marcel Leborgne, a pioneer of Belgian Modernism, is located in Sint-Genesius-Rode, near Brussels. Originally built in 1929 for Mr. Dirickz, director of an iron and steel factory, the villa underwent a two-year renovation by developer Alexander Cambron in 2007. The extensive renovation added four bathrooms, an indoor pool, and an elevator to the four-story villa. Now on sale, the 10,700 square-foot property sits on a 5-acre lot with 4,300 square feet of terrace.

The Shell-Haus, named after the Shell oil company, was built in the late 1920s for its German subsidiary, Rhenania-Ossag Mineralölwerke AG. Designed by Emil Fahrenkamp, the building, constructed from 1929 to 1932, is renowned for its unique wave-like form and advanced construction using steel and bronze. Despite its affiliation with Neue Sachlichkeit, the design prioritized aesthetics, resulting in unconventional office layouts. Damaged in WWII, the building was later restored by Bewag, serving as its headquarters. Designated as a historic monument, it underwent extensive renovations in the 1990s. In 2000, it was sold to a real estate group, housing GASAG Berlin and later becoming a branch of the Federal Ministry of Defence.

The Neue Nationalgalerie, designed by Mies van der Rohe, stands as a testament to modern architecture's brilliance. Its glazed upper pavilion, showcasing Mies van der Rohe's vision of open spaces, serves as an iconic symbol of modernism. Despite the architect's death soon after its inauguration, the gallery remains a masterpiece. Originally on the edge of West Berlin, it is now a vibrant part of the city center, thanks to German reunification and Potsdamer Platz's redevelopment. The gallery's history intertwines with Germany's political division, and it became a cornerstone of West Berlin's cultural revival. Mies van der Rohe's design, completed in 1968, remains largely unchanged, while the surrounding urban landscape has evolved dramatically.

In the early 1920s, Berlin's industrial landscape was shaped by leading electrical enterprises like AEG, Siemens, and Osram. The AEG Turbine Factory, designed by Peter Behrens in 1908 and completed in 1910, played a pivotal role in elevating German industry internationally. Behrens, a mentor to influential architects, combined art and industrial design, setting new standards for corporate identity and humanizing industrial spaces. Located in Moabit, Northwest Berlin, the factory showcased industrial prosperity and became a landmark of early proto-rationalism. Behrens, influenced by "Kunstwollen," seamlessly integrated art and industry, turning the manufacturing space into a cultural masterpiece. The main space, designed for turbine generator production, featured a rectangular floor plan with exposed steel columns, glass panels, and classical aesthetic influences, creating a unique blend of tradition and modernity.

Built from 1934 to 1936 for the 1936 Summer Olympics, Berlin's Olympic Stadium, designed by architect Werner March, accommodated 100,000 spectators. Its clear geometric shapes were inspired by ancient sports venues. The site includes Maifeld for propaganda events and the Waldbühne, now a concert venue. The Bell Tower provides panoramic views. The stadium hosted the XI. Olympic Games and subsequent major events. During WWII, it served various purposes. Today, the stadium serves as a home base of Herta Berlin football club

The Humboldt Substation in Berlin's Prenzlauer Berg district, built from 1924 to 1926, is an architectural monument designed by Hans Heinrich Müller and Felix Thümen for BEWAG. Operating until 1993, it stands as a significant symbol of Berlin's industrial history. The building, now a business center, played a crucial role in stepping down electricity from 30 kV to 6 kV for distribution to various consumers, including industrial, residential, and transportation sectors.

The "horseshoe estate" in Britz, Berlin's southern district, was designed by Bruno Taut from 1925-33, featuring over 1000 standardized flats with four floor plans. The terraced houses are interconnected with individual tenant gardens. Martin Wagner designed the residential block at Stavenhagener Strasse 4-32. To avoid monotony, variations in block placement, plaza spaces, and vibrant colors were employed, giving each street a distinct character. The "functional" architecture's artistic value lies in details, with alterations often diminishing its charm and effect.

The Funkhaus in Berlin's Treptow-Kopenick district served as the seat of GDR radio from 1956 to 1990. Originally, a broadcast house was established in a former plywood factory in 1951, later expanded with a new building named Block B in 1952. Designed by architect Franz Ehrlich, the complex includes a monumental main building, a tower house, and a unique studio building known for its acoustics. The exterior features red brickwork and vertical pilasters, giving it a clear and monumental character. Despite its size, the Funkhaus lacks representative entrances, emphasizing concentration on work. The acoustically perfect complex remains a landmark and attracts musicians globally.

Tempelhof Airport, once a major aviation hub, closed in 2008 and transformed into a public park and event space in southern Berlin. Architect Ernst Sagebiel designed the colossal airport, known for its check-in hall, departure hall, and extensive hangers. After serving public air traffic, Tempelhof closed in 2008 with the opening of the new BER Airport. The vast open space now serves as Tempelhofer Freiheit, a popular park hosting major events.

The Kant Garage, Berlin's first multi-storey parking facility, designed by Bauhaus architect Richard Paulick in 1929-1930 with input from owner Louis Serlin, is a historic monument still in use. Serlin, inspired by U.S. travels, contributed ideas, and faced with construction challenges, took over as manager. The six-story garage innovatively separated entry and exit lanes and featured a modern facade with large glass tiles. Initially a cultural amenity, it adapted during economic crises, survived Nazi expropriation, and returned to Serlin post-war. Today, the Kant Garage stands as a notable example of Bauhaus architecture and remains in use.

Fritz Hoeger's striking brick church, constructed between 1930 and 1933, exemplifies German brick expressionism and expressionist church architecture. Characterized by steep walls and a tall tower, the red brick building with a green copper roof showcases calculated dramatic lighting. Hoeger strategically positioned the building and tower at the intersection of axes, employing "Bauedelsteine" to create a textured wall. Gold stones and joints soften the facade's monumentality. The entrance features a large pointed portal, stone staircase, and semicircular aisles. The church's interior, with neo-Gothic arches and interplay of light and shadow, contrasts with its compact exterior. Initially named the "German Cathedral Spring" in a National Socialist tribute, it later became the Hohenzollernplatz Church.