Friedrichstraße 245 · in the centre of the city
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THE CORE
Hotel-grade service in a residence you own.
Hotels are for tourists. The Core is for people who belong. A fixed, discreet Berlin address without the operational hassle — there when you need it, invisible when you don’t.
Berlin kept moving while you were away. Your apartment didn’t. Same view, same quiet, same shelf for the keys. The Core doesn’t welcome you back. It never noticed you were gone.
HADERLUMP
The Berlin fashion house Haderlump translates its visual language into a living space for the first time. Not as translation, but as reduction — to what sits underneath: proportion, tension, material presence and a certain attitude toward restraint.
“Our shows have never been just about the clothes — they exist in dialogue with specific locations. This project was the logical next step: instead of responding to an existing space, we wanted to create one of our own. A space that doesn’t just host the brand, but lives and breathes it.”
Material contrast plays a central role — a dialogue between harder, industrial elements like concrete, steel and glass and softer, natural accents. Tension between cold and warm, rigid and tactile. Here it becomes spatial rather than wearable.
Haderlump Atelier Berlin designs Apartment 50 on the 11th floor of The Core — the first time the house translates its world into a place to live. Not a styling exercise, but an environment built to the same logic.
The space is structured around the story of everyday life — arrival, morning routines, hosting, retreat — and how these moments are guided through design. Circulation is intentional, almost cinematic; every object reduced to what is necessary, yet highly specific in its function.
Timeless, not driven by trends — classic, refined, precise. The reference point was tailoring: clear lines, defined structures, a sharpness that gives orientation. Developed together with interior architect Gareth Hammond.
Imagined less for a fixed person than for a certain mindset — someone comfortable with clarity, who doesn’t need excess to feel a sense of quality.
A Dialog with Johann Ehrhardt, Creative Director of the Brand
Why did you decide to translate your visual language into a living space?
As a Berlin-based brand, architecture has always been a natural point of reference for us—it’s a defining part of the city’s identity and something that continuously informs our
work. Our shows have never been just about the clothes; they exist in dialogue with specific locations, using architecture as a backdrop to build a larger narrative.
In that sense, this project felt like a logical next step. Instead of responding to existing spaces, we wanted to create one of our own—something that embodies the same ideas and atmosphere as our collections. We don’t see it simply as a residence, but as an extension of our universe. A space that doesn’t just host the brand, but lives and breathes it.
How did you approach translating your design language into residences?
We didn’t start from the idea of translation, but from reduction. Instead of asking how our visual language could be applied to a space, we looked at what sits underneath it—proportion, tension, material presence, and a certain attitude toward restraint. The goal wasn’t to recreate something recognizable, but to build an environment that operates with the same logic. It’s less about visual continuity and more about a shared way of thinking.
Who do you imagine living in these apartments?
Not a fixed person, but a certain mindset. Someone who is comfortable with clarity and doesn’t need excess to feel a sense of quality. There’s an awareness in how they move
through space, how they use things, how they choose to live. It’s less about demographics and more about a sensitivity to atmosphere and intention.
How are you approaching a discipline that isn’t originally yours?
With a mix of distance and curiosity. We’re not trying to become architects, but we’re also not treating it as a surface exercise. It’s about understanding the constraints and possibilities of the discipline while maintaining an external perspective. That distance allows us to question certain assumptions, while the collaboration ensures that ideas can actually be realized in a meaningful way.
We’re working closely with an interior architect Gareth Hammond, who brings over six years of experience at leading architecture offices in Berlin and internationally, working across housing, interiors, and spatially driven cultural projects.
What surprised you most about working in architecture? How does it differ from you approaching a collection?
Conceptually, the process felt surprisingly familiar. We approached it in a similar way to developing a collection—starting from an idea, building a narrative, and translating that into a coherent system. That’s simply the framework we know, so it became a natural entry point. Where it differs is in the execution. In architecture, you work within a much more fixed set of conditions—existing structures, technical constraints, and longer timelines. At the same time, those limits are less intuitive for us, because it’s a new discipline. You can’t rely on instinct in the same way yet.
That’s also what makes it interesting. The lack of clear boundaries, combined with real constraints, created a space for exploration that gave us a challenge.
Which Haderlump elements were non-negotiable in the apartment space?
It was important that the space carries a sense of timelessness. Not driven by trends, but grounded in something more enduring—classic, refined, and precise. This is something we always aim for in our work. A strong reference point was our work in tailoring: clear lines, defined structures, and a certain sharpness that gives orientation.
At Haderlump, you play a lot with different materials. Where do you see this in the space? Which tactilities were very important to you?
Material contrast plays a central role. There is a dialogue between harder, more industrial elements— concrete, steel, glass—and softer, more natural accents like cotton or other natural fibers. It’s about balance: tension between cold and warm, rigid and tactile. This interplay is something we’ve always explored, and here it becomes spatial rather than wearable.
For this project, you worked together with Sven Marquardt on creating photographic artworks for the residence. Can you elaborate a bit on your relationship and why this collaboration is important to you?
Working with Sven Marquardt felt like a very organic collaboration from the start. There’s a shared sensibility in how we both approach creativity—rooted in a deep attentiveness to
people, identity, and the subtle narratives that exist beneath the surface. What draws us particularly to Sven’s work is its poetic intensity: his portraits don’t just document individuals, they reveal something more intimate and timeless about presence and character. This collaboration is also part of a broader curatorial intention.
We’re consciously engaging with artists who are closely connected to Berlin, because it’s important that the space doesn’t feel detached or generic, but instead resonates with the city’s unique cultural fabric. Berlin is constantly shifting—raw, diverse, and layered—and Sven’s work embodies that spirit in a very authentic way.
In collections, you often work with stories that inspire your collections. What story inspired this apartment?
The project is less about a specific story and more about human behaviors in general. The space is structured around the story of everyday life—arrival, morning routines, hosting,
retreat—and how these moments can be guided through design. Circulation is intentional, almost cinematic, and objects are reduced to what is necessary but highly specific in their function. In that sense, the apartment doesn’t aim to represent identity, but to influence it. It shapes how you move, how you act and how you see yourself.
Lastly, what do you hope will come from this?
The main takeaway is that our language is not limited to clothing. Working on this project is making it very clear that the principles we use in fashion—structure, narrative, material contrast, and clarity of form—can exist in other scales as well, without losing their identity. Overall, the experience will hopefully expand how we understand our own universe—not by changing it, but by showing that it can exist beyond what we initially defined it as.
Sven Marquardt
“Every picture by Sven Marquardt heralds the start of autumn,” as once aptly observed by Christoph Tannert, artistic director of Berlin’s Künstlerhaus Bethanien. Marquardt’s work combines formal severity and clear imagery with bleak impermanence, impresses through interaction of ease, severity and the dramatic art of monochrome contrasting. The ever-changing metropolis of Berlin has shaped Marquardt’s sensibility for striking characters, his sense for the unusual in humanity and his artistic subject.
Born in East Berlin, Sven Marquardt was a defining part of the emerging Punk, New Wave and arts scene in the Prenzlauer Berg neighbourhood from the mid 1980s. With the fall of the Berlin Wall he halted his work as a photographer and immersed himself in the reunited city’s rising night club scene.
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Sales are handled by Accord Immobilien. Since 2011, the team has specialised in luxury properties in prime locations across Berlin and Potsdam and is recognised for outstanding service. Christian Vohl and his team are available for discreet enquiries and will be happy to share further details.
Developer
EL Projektentwicklung Mehringplatz GmbH
Architecture
klare architektur GmbH
Sales
Accord Immobilien
Completion 2028.
Heart of Berlin.
