Building Sustainable Futures: Malzfabrik

From the outside, there are few clues to what lies within the redbrick behemoth that is the former Schultheiss brewery. Today it is Malzfabrik, a cross-cultural and environmental space for community-driven initiatives, and it is a shining example of how we can use extant spaces to build a future that represents our values.


Hamza Beg


Robert Rieger

Its visionary managing director, Frank Sippel, is a tall character with a boyish charm and a keen attention to detail. Once the environmental ambassador for Switzerland, and now a pioneering real-estate developer, Frank has worked on a variety of different projects and his current preoccupation is Malzfabrik. Inspired to invest and innovate even through the 2008 financial crisis, Frank’s dedication to his idea and his ideals has paid off. In the process, Frank has developed and rebuilt so much of the space he purchased in 2007 and when he says ‘It’s never too late to learn,’ he reveals his tireless spirit.

Becoming a property developer wasn’t something that was on Frank’s agenda to begin with, but his attitude and enthusiasm soon led him down this path. ‘The local management of the space was at a dead-end in the process of selling, considering the normal way in which you would practice real estate in 2007,’ he explains. ‘That is when I started a new system for developing real estate, the Real Future Germany and the Real Future Swiss company. At that time, I did not know I would become a developer. As many people say, you change your business every seven years. After seven years there, I became a developer. That’s the beginning of Malzfabrik as you know it now.’

‘You can only create an energy or feeling in a space if you really mean it.’

Frank is truly at his best explaining things, particularly the details and history of the various buildings in the Malzfabrik complex. He points out a 20-year-old office block that they purchased to turn into a co-working space. It sits adjacent to buildings from the 60s, and of course the main factory itself is over 100 years old. The regeneration here is not simply physical. There are labyrinthine studio spaces for young artists doing important intersectional work in the realms of social consciousness. Offered residency programmes (at least one of which is available only to women) produce artworks that explore how marginalised groups inhabit space. This element of Malzfabrik is what sets the project apart. It is pulling from every strata of society to build its outlook. This repurposing of space, from the traditionally powerful to the marginalised, is a deeply important facet of the work that Malzfabrik sponsors.

When questioned on how exactly he ended up at Malzfabrik, Frank made it clear that his work is born from his commitment to himself and those around him. ‘I just said, “What’s my passion, what do I stand for? What is the right thing to do, for the world, for nature and for society?” So the outcome is natural and now we can talk about authenticity. You can only create an energy or feeling in a space if you really mean it. It is not something you can put on a business plan or in a marketing strategy, it is something you have to live. Then it becomes reality.’

Touring Malzfabrik with Frank makes one thing clear: there is no moving forward without an appreciation of what has come before. By the end of the tour, Frank will admit that he not only knows what is behind every door in the huge multi-building complex but that he also knows what used to be behind them: ‘At the beginning I didn’t know what I owned here and then over a few months I learned.’

Malzfabrik reuses while it refurbishes. The water steam tank in the basement of the event space, once nearly thrown out, has found new life as a meeting room, replete with steel fittings from the factory and wooden benches. Having cut open the top and furnished it, Frank dubs it a ’think tank’ and notes with a smile that he had to, ‘Teach people not to throw things away.’ Wall and floor tiles, kept from when the event space played host to Berlin’s infamous KitKatClub, remind residents and visitors alike that spaces can always change purpose without the original impetus being forgotten. Steel factory lampshades that were almost discarded reappeared at Frank’s insistence to be hung in the back room of the event hall. It is here that Frank quietly intones, ‘There is no trash.’

Nothing symbolises the nature of the work that goes on at Malzfabrik quite like the current Invisible Borders exhibition. It explores division in the histories of two cities – Berlin and Beirut – and the effect that partitioning has had on their respective citizens. The multimedia exhibition is situated in an old germinating vessel and the space looks at once unfinished and decayed – a pertinent and powerful backdrop for the work on show. Frank looks over the long expanse where screens, maps and projections tell a story of destruction and regeneration. The principles behind the exhibition fit seamlessly into Frank’s ethical approach as he searches out initiatives that seek to connect our past and our future, that help us to inform our ongoing existence by learning from what has come before.

A little behind the Silo, the large, white block in the complex, sits a set of two-storey offices, within which are the beams. Criss-crossing space and creating geometric shapes, the beams are a characteristic of the building and Frank is well aware of their significance. He notes that ‘These beams have been here since 1918, we kept them, treated them with fireproof paint and built around them to create an entirely new office space.’ He adds, off-handedly, something that could be a motto for the whole project: ‘Reduce what you do to the building to keep the flair.’

Now the beams shelter a selection of hand-picked start-ups that work in a variety of different areas. The key is that these initiatives and businesses share the collective philosophy of Malzfabrik, Frank, and his partners. ‘We really look at them and take time to understand their business,’ he says. ‘Sometimes you have a company like NewYorker – they sell cheap, fast fashion – who were tenants and then moved away. I let them be tenants because I started talking to them and challenged them about how and where their sustainable practices come from. You can accept them by talking to them and trying to change their practices. You can have more impact. Or you say, “If you want to be a tenant, you pay two euros more and we use it to create the next garden.” At Malzfabrik, you bend towards its vision if you don’t align with it already.

Frank sees the value not just in the app-driven world of mobile tech but also in the physical connection with how things are made, their roots, and their growth. With this philosophy, Malzfabrik has vegetables covered. It plays hosts to IP Garten, an app and browser experience in which you can secure, plant and water a real patch of land on a farm. Aimed predominantly at a younger generation, the idea culminates with a weekly box of fresh produce sent to you during harvest time. Meanwhile, Malzfabrik also has a space for GemüseAckerdemie, an organisation that goes into schools and kitas across Germany, Switzerland and Austria to teach kids how to grow vegetables on site.

Then comes Nepos, a company that aims to simplify hardware and software for an older market. The Nepos tablet and operating system is a forward-thinking and progressive cross-generational project that addresses concerns that those aged 65 and over are socially isolated by the unstoppable march of technology.

Frank makes it clear that as long as the project fits into Malzfabrik’s socially conscious philosophy, it can find a space. When questioned on who the tenants might be for the upcoming phase of construction, Frank keeps his cards close to his chest: ‘I don’t know which tenants will be inside, but it really doesn’t matter because it’s more important that they value the space.’ While we are living in a society distant from the means and methods of production, Frank sponsors an alternative, pulling us back into the soil and showing us the importance of projects that re-connect us with how things are made.

‘It's an idea of karma; if you give it from your heart, it comes back in many ways.’

The garden that stretches around the back of the complex boasts a small pond surrounded by a beach-like area. All of the plants in the garden are native to central Europe. Across from the pond is the city-farm greenhouse where basil is grown, fertilised by the fish farm in the building across the hallway. This style of low-resource food production extends to the hives of bees producing their very own Malzhonig. When Frank mentions that ‘There’s even a falcon that sits on top of the factory,’ the image of the project is complete; it is an organic space that invites and accepts all. Even birds of prey are welcome as long as they, like everyone else, are on board with the philosophy.

District, for example, is a space built to express the intersections between curatorial, educational and artistic practices. In its content it seeks to represent a queer, feminist, decolonial and anti-racist agenda. This year, District embarked on ‘Decolonising 68’, a project that questions the predominant perspectives on which history and knowledge are based. Looking at the role of the Afro-Deutsche community in the struggles of the 1968 protest movement, the project seeks to foreground practices of resistance underrepresented by mainstream history.

In the present moment, while mass media details crisis after crisis, Frank does his best to remain somewhat detached. It is not that he is unaware of global crises, it is simply that his response to them is Malzfabrik itself, a space that fosters collective identity and positive change.

During the searing heat of the early 2000s, where news channels were obsessing over the ever-present threat of international terrorism, Frank developed this kind of positive reaction that has lasted since. ‘There was no way to see anything on TV but this threat,’ he says. ‘Of course, it was bad what happened but I saw only a few channels that were showing anything else. BBC and National Geographic were showing the defrosting of the permafrost grounds in Alaska for the first time in 10,000 years, destroying a whole ecosystem, and it really struck me.’ It was then that Frank became the environmental ambassador for Switzerland. ‘I decided I wanted to dedicate my work to the environment, I sold my car, I got rid of everything I didn’t need and only used and lived off of what I needed. Since then, everything else I earn, I give away, I give to my employees or to other projects. It’s an idea of karma; if you give it from your heart, it comes back in many ways.’

Herein lies the foundation of Malzfabrik. Berlin offered a space for a different form of investment, through which Frank would build and sustain an independent ecosystem. It exists as an entity that exemplifies the possibility of conscious real-estate investment and progressive practices in the sponsorship, construction and sustainability of its space. It is an example that others will surely follow. Frank, settled in the former brewery of one of the most famous beers in Germany, is building this city’s future with a keen eye on its past and a deep understanding of its present needs.

For more information on Malzfabrik and to keep up to date with all their happenings, visit their website.

建造可持续的未来: 麦芽工厂



Hamza Beg


Robert Rieger

视觉执行董事法兰克∙史波, Frank Sippel 是名高挑、具有孩子气魅力且极重视细节的特质。曾担任瑞士的环境大使,现为房地产开发提倡者。法兰克已做过各种不同的企划,目前他正为麦芽工厂而忙碌着。 法兰克受到投资与创新的启发,并度过2008年金融海啸,因坚持理念他的理想终于得到收获。过程中,法兰克已开发并重建许多他在2007年所购买的空间,从他“学习永远不嫌晚”的格言中可知他有着孜孜不倦的精神。




法兰克特别地对麦芽工厂复合区内各种建筑物的历史细节做详尽解释。并指出他们买下一间20年老办公大楼,将它变身为共同工作空间。坐落于周围60年代建筑物的附近,主工厂大楼本身已超过100年的历史。这里的再生不仅仅是物理的。如迷宫般的工作室空间让年轻艺术家在社会意识方面做重要的跨领域工作。提供制作艺术品的客座活动 (至少有一项是专为女性设计) 、探讨边缘化族群如何居住于空间。这项元素使麦芽工厂的企划独树一格,它正从社会各阶层中建立观点。这种空间的重复利用,从传统强者到边缘化弱势族群,是麦芽工厂赞助项目里至为重要的工作。

当法兰克被问及怎么开始麦芽工厂的企划时,他明确表示他的工作源自于对自我和周遭人的承诺。“我说,我的热情是甚么,我代表甚么? 我能为世界、自然和社会做正确的事情是甚么?” 结果是自然的,现在我们可以谈论真实性。如果你真的想要,你可以在空间中创造能量或感觉。这不是一般商业计划或营销策略上做的事情,而是你生活不可或缺的东西,然后它成为事实。

与法兰克参观麦芽工厂让人明白一点:如果不了解过去所发生的事,就无法向前。导览结束前 法兰克承认他不仅知道这巨大复合建筑物的每扇门后有甚么以及它的过去。“起先我对自己拥有的根本一无所知,然后我在几个月内去学习了解它。”

在装修麦芽工厂的同时也重复使用。差点淘汰活动空间地下室的水蒸气箱,现被赋予会议室的新生命,饰满工厂内的钢铁和木制椅。切开上头并装饰它,法兰克觉得它如同一个“智库”,并且笑着说他必须“教导人们不要仍东西”。曾主办过柏林恶名昭彰KitKat Club活动空间里的墙砖与地砖也提醒居民与访客,空间使用的用途能被改变,就算没遗忘其原始用途。差点被丢弃的钢铁厂灯罩因法兰克的坚持,再度出现在活动大厅的里屋。法兰克悄悄的说道: “这里呢,没有垃圾。”

没有什么能像当前展览“隐形国界”Inivisible Borders那样地象征麦芽工厂所进行工作本质了。它探讨了两个城市,柏林和贝鲁特被分割的历史,以及对各自公民的影响。多媒体展览位于长满植物的废弃船,看来未完成和腐朽状态的场地,实为贴切、强而有力的展示地点。法兰克望着有屏幕、地图和投影机那块长方形区域里,诉说着毁灭与重生的故事。当法兰克试着找出连结我们过去与未来的主动性,藉由学习过去有助于了解我们的存在,展览背后的原则与他的道德观完美契合。


现在这些柱子为各种精挑细选的初创企业划分不同区域。这些初创公司分担法兰克与成立麦芽工厂伙伴们的集合哲学,他说: “我们仔细检视并花时间了解他们的业务。”"有时候你有如纽约客的公司来承租,他们贩卖便宜的快餐潮流,但不久就搬离了。我让他们承租,因为我开始与他们对话并质疑他们可持续性发展的方式和地点。你可通过沟通试着改变他们的做法来接受他们。你可带来更多影响,或者你能说,“如果想当租客,多付二欧元然后我们用它来建造下一个花园。”在麦芽工厂,若你还没达成愿景,你也必朝着它的方向行。



法兰克清楚的提到,只要与麦芽工厂的社会理念哲学不谋而合的企划,就会有它的立足地。当被问到即将到来建构阶段的新租户时,法兰克不动声色的说: “我不知道谁会成为租户,这其实不重要,能懂得重视这个空间才是更重要的。"当我们在一个远离生产手段与方式的社会过生活,法兰克发起了让大家回归土壤的替代方案,重新连结我们之于事物是如何生产的,并让大家了解企划的重要性。





21世纪初炙人热时,新闻频道执着在频繁出现的国际恐怖主义威胁,法兰克已发展了维持至今的正向反应。 他说:“在电视上除了恐攻威胁,其余什么也看不到”“当然,所发生的事很糟糕,我只在某些频道看到不同的报导,如英国广播公司和国家地理频道正播出阿拉斯加永久冻土层在1万年来首次的融化,其毁灭了整个生态系统,这实在令我震惊。”就在那时法兰克成为了瑞士的环境大使。“我决定想将工作致力于环境,我卖了车、舍弃了所有不需要的物品,只留下所需仅有的去生活。从那时起,我把所赚的捐出、给我的员工或投入于其他企画。这如同因果关系;倘若你发自内心付出,它必以各种不同方式回报”



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