Based on a text by Mark Twain, this book represents a colorful and geometrical image of Berlin but without any trace of life. The warm colour palette adds a special atmosphere and compensates for the deliberate lack of organic forms.
I feel lost in Berlin. It has no resemblance to the city I had supposed it was. There was once a Berlin which I would have known, from descriptions in books—the Berlin of the last century and the beginning of the present one: a dingy city in a marsh, with rough streets, muddy and lantern-lighted, dividing straight rows of ugly houses all alike, compacted into blocks as square and plain and uniform and monotonous and serious as so many dry-goods boxes. But that Berlin has disappeared. It seems to have disappeared totally, and left no sign. The bulk of the Berlin of today has about it no suggestion of a former period. The site it stands on has traditions and a history, but the city itself has no traditions and no history. It is a new city; the newest I have ever seen. Chicago would seem venerable beside it; for there are many old-looking districts in Chicago, but not many in Berlin. The main mass of the city looks as if it had been built last week, the rest of it has a just perceptibly graver tone, and looks as if it might be six or even eight months old.
The next feature that strikes one is the spaciousness, the roominess of the city. There is no other city, in any country, whose streets are so generally wide. Berlin is not merely a city of wide streets, it is the city of wide streets. As a wide-street city it has never had its equal, in any age of the world. "Unter den Linden" is three streets in one; the Potsdamerstrasse is bordered on both sides by sidewalks which are themselves wider than some of the historic thoroughfares of the old European capitals; there seem to be no lanes or alleys; there are no short cuts; here and there, where several important streets empty into a common center, that center's circumference is of a magnitude calculated to bring that word spaciousness into your mind again. The park in the middle of the city is so huge that it calls up that expression once more.
The next feature that strikes one is the straightness of the streets. The short ones haven't so much as a waver in them; the long ones stretch out to prodigious distances and then tilt a little to the right or left, then stretch out on another immense reach as straight as a ray of light. A result of this arrangement is that at night Berlin is an inspiring sight to see. Gas and the electric light are employed with a wasteful liberality, and so, wherever one goes, he has always double ranks of brilliant lights stretching far down into the night on every hand, with here and there a wide and splendid constellation of them spread out over an intervening "platz," and between the interminable double procession of street lamps one has the swarming and darting cab lamps, a lively and pretty addition to the fine spectacle, for they counterfeit the rush and confusion and sparkle of an invasion of fireflies (...)
(...) The streets are very clean. They are kept so—not by prayer and talk and the other New York methods, but by daily and hourly work with scrapers and brooms; and when an asphalted street has been tidily scraped after a rain or a light snowfall, they scatter clean sand over it. This saves some of the horses from falling down. In fact, this is a city government which seems to stop at no expense where the public convenience, comfort, and health are concerned—except in one detail. That is the naming of the streets and the numbering of the houses. Sometimes the name of a street will change in the middle of a block. You will not find it out till you get to the next corner and discover the new name on the wall, and of course you don't know just when the change happened.
The names are plainly marked on the corners—on all the corners—there are no exceptions. But the numbering of the houses—there has never been anything like it since original chaos. It is not possible that it was done by this wise city government. At first one thinks it was done by an idiot; but there is too much variety about it for that; an idiot could not think of so many different ways of making confusion and propagating blasphemy. The numbers run up one side the street and down the other. That is endurable, but the rest isn't. They often use one number for three or four houses—and sometimes they put the number on only one of the houses and let you guess at the others. Sometimes they put a number on a house—4, for instance—then put 4a, 4b, 4c, on the succeeding houses, and one becomes old and decrepit before he finally arrives at 5. A result of this systemless system is that when you are at No. 1 in a street you haven't any idea how far it may be to No. 150; it may be only six or eight blocks, it may be a couple of miles. Frederick Street is long, and is one of the great thoroughfares. The other day a man put up his money behind the assertion that there were more refreshment places in that street than numbers on the houses—and he won. There were 254 numbers and 257 refreshment places. Yet as I have said, it is a long street.
But the worst feature of all this complex business is that in Berlin the numbers do not travel in any one direction; no, they travel along until they get to 50 or 60, perhaps, then suddenly you find yourself up in the hundreds—140, maybe; the next will be 139—then you perceive by that sign that the numbers are now traveling toward you from the opposite direction. They will keep that sort of insanity up as long as you travel that street; every now and then the numbers will turn and run the other way. As a rule, there is an arrow under the number, to show by the direction of its flight which way the numbers are proceeding. There are a good many suicides in Berlin; I have seen six reported in one day. There is always a deal of learned and laborious arguing and ciphering going on as to the cause of this state of things. If they will set to work and number their houses in a rational way perhaps they will find out what was the matter (...)
SOFTWARES
TECHNIQUES
CREDITS
Designed and Created by
JULIA GUÉRIN

Supervisors
ALEXANDER TIBUS
MARIE WOLF
SUNGSHIN YIM

Based on "The Chicago of Europe" by
MARK TWAIN
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