Architecture's traditional use is creating functional and aesthetically pleasing structures to meet the needs for which it is built. Another aspect is the historical communication of ideas and uses of symbolism to manipulate their presence. One standing example is Germany's Fernsehturm.
Fernsehturm is a television tower in Berlin. Finished in under four years on Oct. 3, 1969, it is 1,207 ft tall and one of Europe's highest towers. Designed by Hermann Henselmann, it fills the skyline with a futuristic-style, sleek rounded-glass body and a jarring, fine tip.
The Cold War era would see tensions between East and West Germany peak. Frustration grew that the grandest of the population escaped from the East for the luxuries of West Germany's democracy. By 1961, the Berlin Wall was built by the East seeking to protect its ideology from West Germany. Great lengths included watchtowers and death trenches to keep outside influences away and the locals within. Border captures and killings occurred.
Airwaves would become a battlefield too. East Germany constantly sought to surpass the West, which was more economically stable and prosperous under a different political system. It was important to keep a grasp on their own population. Having a television tower was dubbed a need not desire, to ensure GDR broadcasting reached as many as possible. Along the way, its creation became distorted. Recognizing its height could be visible from afar, thus a mission grew to make Fernsehturm a representation of propaganda for socialist virtues.
Starkly dwarfing the famed Alexanderplatz and Berlin Cathedral, Fernsehturm is the tallest building in a city that deterred from a skyscraper landscape. The German Democratic Republic, which ordered its construction, believed its rise to competition was an act of building for a powerful future. Having Fernsehturm in the skyline showed that East Germany could thrive and survive. Fernsehturm was something locals could pridefully lookup to and admire, a way to associate themselves with a grand work. This is a common theme in socialist telecommunications groundwork to justify the height.
Henselmann's craftsmanship would not be so subtle. Embedded in its blueprints was a shape to mimic a Soviet sputnik satellite and glow with red, a universal socialist color. Narrowing the grounded stem creates a roof to shelter pedestrians from turbulent weather, offering a sense of comfort. Ironically, Fernsehturm has earned the nickname "Pope's Revenge" because of the crucifix shadow that appears when the sun shines. Initially, the tower was to break ground at Müggelberge Hills. That was abandoned due to interference with Schönefeld Airport's impending construction. Its position at the center of Berlin would best suit their ideals.
A theme in architecture is a tendency of being outdated. Buildings, roads and streets are built with an understanding of the past and present, but the future can only be speculated. Designers struggle to estimate what technical advances may come next. Buildings without structural layouts for central air conditioning inputs are one frequent example. But estimating ideology is a different challenge.
Fernsehturm is a history lesson. Placed centrally, it is visible throughout the city center and outer areas. Walking in any direction, the large presence creates a looming feeling. In just about any photo of Berlin, it is hard to crop the tower out. The political past is something that cannot be rewritten even with the current state of affairs. As generations move forward with no direct ties, Fernsehturm will remain.
A tone would shift for Fernsehturm. In 1979, the building was classified as a heritage site. Similar to the Eiffel Tower and Empire State Building, its essence is used as a display of events and news. When Germany hosted the 2006 World Cup, the landmark was transformed into a silver and magenta ball using foils to celebrate the soccer tournament.
Other modern uses are an observation deck offering night and day 360-degree panoramic views, along with the Panorama Bar and a Sphere Restaurant for revenue. It regularly ranks prime as a tourist attraction, visited by one million people hailing from 86 countries yearly. Looking outwards, the World War II bombing sites are remodeled and the Berlin Wall is gone. All that is visible is a land of opportunity.
As that dark era has disappeared, Fernsehturm stands as a relic to a different time. Similar to the country, it has found new meaning and identity. Something beautiful to enjoy, it is currently thought of as a must-see and tourist delight. Fernsehturm now represents Berlin's prosperous, democratic nature.
