The campus of the Technical University of Dortmund is located near the freeway junction Dortmund West, where the Sauerland line A45 crosses the Ruhr expressway B1/A40. The Dortmund-Eichlinghofen exit on the A45 leads to the South Campus, the Dortmund-Dorstfeld exit on the A40 leads to the North Campus. The university is signposted at both exits.
The "Dortmund Universität" S-Bahn station is located directly on the North Campus. From there, the S-Bahn line S1 runs every 15 or 30 minutes to Dortmund main station and in the opposite direction to Düsseldorf main station via Bochum, Essen and Duisburg. In addition, the university can be reached by bus lines 445, 447 and 462. Timetable information can be found on the homepage of the Rhine-Ruhr Transport Association, and DSW21 also offer an interactive route network map.
The H-train is one of the landmarks of the TU Dortmund. Line 1 runs every 10 minutes between Dortmund Eichlinghofen and the Technology Center via Campus South and Dortmund University S, while Line 2 commutes every 5 minutes between Campus North and Campus South. It covers this distance in two minutes.
From Dortmund Airport, the AirportExpress takes a good 20 minutes to Dortmund Central Station and from there the S-Bahn (suburban train) takes you to the university. A wider range of international flight connections is offered by Düsseldorf Airport, about 60 kilometers away, which can be reached directly by S-Bahn from the university station.
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Heike Hanada studied architecture at the HdK Berlin and at TODAI, University of Tokyo. In 1994, she founded her studio (Hanada+) in Tokyo, and in 2007 in Weimar (heike hanada_laboratory of art and architecture). Today she works as an artist and architect in Berlin. In 2007, her work received international recognition after receiving the 1st prize in an open competition for the extension of the Asplund Library in Stockholm. Since 2009, Heike Hanada has been Professor for Design at the FH Potsdam. In 2018, she took over the chair for Building Typologies at the TU Dortmund. On June 6, 2019, she received the Thuringian Architecture Prize for the recently opened Bauhaus Museum in Weimar.
Not an object. Not a monument.*
About the same time that Venturi’s Complexity and Contradiction in Architecture was published, Tony Smith develops his series of monumental sculptures made of black painted plywood. The architect Smith changes his position, he becomes an artist. Agnes Martin definitively withdrew to New Mexico in 1967. She doesn’t paint for the next seven years. At the end of the 1960s, both Smith and Martin develop a radical monumentality through their extreme reduction in media, which stands in great contradiction to the implications of the Nine Points of Monumentality by Giedeon/Sert/Leger from 1944. Both the geometric, hermetically closed volume in space and the endless repetition of parallel lines on a surface manifest an uncompromising search for an absoluteness that is not reflected in the built reality surrounding them.
Architecture and Art are seemingly distancing themselves from one another in a continuous process. The moment of transcendence and sublimity is lost, withdrawing from the public space. Architecture and the monument become a contradiction, or the search for a monumental architecture for the 21st century rises from exactly this dilemma to redefine monumentality anew in the sense of an uncompromising attitude comparable to that of Smith and Martin.
*Tony Smith