DESSAU GLASS PAVILION

The fragmentation between city, architecture, and environment is often a comprehensive reflection of uneven regional development under different historical conditions, as well as cultural perception gaps between generations. This fragmentation is particularly evident in Dessau — a city that experienced rapid expansion before World War II, large-scale destruction during the war, rapid post-war recovery, and later industrial decline after German reunification. In recent decades, the influx of immigrants and the outflow of local residents have further intensified this fragmentation. Based on Landscape Urbanism and the “Green Archipelago” city concept proposed by Ingels, this design uses architecture’s role in urban planning and its dialogue with the surrounding environment to bridge the gap between new and old buildings, younger and older populations, and the city and natural landscape. Dessau is famous for the Bauhaus. Six Bauhaus craft–themed complexes integrating production, exhibition, civic activity, and leisure will be distributed along the city’s planned tourism ring route. This project is one of them, focusing on the local traditional glass workshop industry. The project is located in front of the old train station — one of the few preserved historical buildings in Dessau — and also along a primary commuting route for younger residents. The site connects to the city’s main transportation hub through a bridge underpass. The second-floor exhibition space resembles a floating box. The façade is composed of red bricks derived from surrounding historic buildings and frosted glass bricks, organically arranged through parametric methods, creating a visual dialogue between the new and existing architecture. The ground floor contains two transparent glass boxes and the gray transitional space between them. The northern box functions as a restaurant and bar, with a central corridor reinforcing the entrance to the original office building. This will become a gathering space for people of different age groups. The southern box serves as a glass craft demonstration space, showcasing the city’s cultural identity to visitors. The central gray space frames the eastern landscape plaza, allowing pedestrians arriving from the new train station to focus on the natural scenery behind the building after passing through the bridge underpass. This semi-outdoor space also supports community public activities. The main glass craft production and storage areas are located underground to accommodate and conceal large machinery. Visual connections between the three floors are created through skylights and glass floor elements. The floor plan composition extracts Suprematist compositional elements from Malevich, including spatial voids, openings, and display furniture layouts. Unlike typical exhibition spaces, because glass crafts are the primary exhibits, skylights on the second floor introduce natural light and create dynamic lighting effects.