VANISHING POINTS

MAPPING WINGS OF DESIRE:

BERLIN AND THE CITY OF
FORGOTTEN PLACES
Mª JOSÉ MÁRQUEZ-BALLESTEROS
JAVIER BONED PURKISS
ALBERTO E. GARCÍA-MORENO
TRANSLATED BY MARTIN BOYD

1. THE FORGOTTEN PLACES, THE STARTING These forgotten places are intimately related to
POINT FOR A RESEARCH PROJECT certain concepts defined by Ignasi de Solá-Morales
with his notion of terrains vagues:1 city spaces free
Observing and watching are essential activities of the controlling hands of urban planning, in
for an architect. Sometimes the act of seeing can which all futures are possible (Solá Morales, 2002:
become a mechanism that gives rise to a thought 181-193). These are places that possess a kind of
and launches a project. This is why it is so impor- invisible energy that permeates them and inspires
tant to recognize certain qualities of the places a certain admiration and a desire to explore them.
around us, the spaces we inhabit, to allow them to The forgotten places interest us because they
speak to us about what is going on there. speak of the past, but although they constitute
There are many invisible, concealed places in solid anchors of memory, this firmness does not
the ordinary city where spontaneous, unpredicta- result in their physical consolidation in today’s
ble things happen, urban fragments with a rough- cities; on the contrary, they tend to be places of
hewn quality that reveal the city’s history much great fragility, endangered by the progress of the
more directly than the neat, flat surface of the planned city that is ever fearful of indeterminacy
organised, productive city where the urban space and always seeking constructed completeness.
is subject to standardisation and systematisation. The forgotten places also interest us because
In a sense, when we refer to these places, we also they speak of the future. To enter these places is
speak of freedom in a world excessively codified to read the very soul of the city, and to visit spaces
by regulations. that offer themselves as fertile ground for the de-

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velopment of new ways of conceiving a city. The ities of the unplanned world, of those forgotten
marks that time leaves on the urban landscape spaces that are at once sites of memory and of the
create spaces that wait expectantly for a still un- uncertain future, powerful in terms of their pres-
certain future. These empty urban spaces offer ence but weak in relation to the planned city.
the best opportunities to imagine a city whose We thus rescue from our memory a city
construction is approached differently from the which like no other represents the fragmented
norm. Such indeterminacies stimulate lateral city, unpredictable and uncertain, replete with
thinking to give life to other modes of growth, empty spaces charged with history and spontane-
other occupations. The place becomes fragile and ity. That city is Berlin, an extremely unique city of
all official control blurs around its fuzzy edges, of- which probably one of the greatest chroniclers is
ten giving rise an experimental space full of activ- the director Wim Wenders. The use of Wenders’s
ity but which never actually consolidates its place filmography as a documentary source for the Ger-
in the orderly, systematised city. man capital is an obvious choice given that this
These places, charged with symbolism and director, especially in his film Wings of Desire
meaning, do not appear in the regular travel guide (Der himmel über Berlin, Wim Wenders, 1987)
books. They tend to be unrepresented spaces, in- has been able to record the reality and landscapes
visible on current maps of the city, and yet they of Berlin in a way that is particularly revealing
reflect a fundamental quality of the contempo- for the purposes of our research. Moreover, the
rary city. For this reason, we believe that they whole filmography of the German director lays
need to be mapped in order to identify them and bare his interest in documenting fragile places
recognise their value in the city. which he senses are on the verge of disappear-
In an approach reminiscent of Italo Calvino’s ing, and which unquestionably bear a similarity
book Invisible Cities,2 we have proposed a project to the forgotten places that are the object of our
that involves describing the contemporary city research (Cook, 1997).
through abstraction (Calvino, 1998). The imagi- We have also chosen Wenders’s films for this
nary cities presented by Calvino in his novel do project because his contribution to the study of the
not fully resemble any real city; they are like a city as a contemporary phenomenon is extremely
collage of qualities which on their own do not con- valuable. Wenders reveals himself in his films as
stitute an exact reality but which, appropriately a narrator of the city and of the people who in-
mixed together and reconstructed, could describe habit it. He has an interesting way of approaching
almost any city. We therefore suggest that adopt- filmmaking as a connected series of fragments, lo-
ing Calvino’s approach constitutes a methodolog- cations, slices of life, cuttings from stories, but all
ical process that responds perfectly to the com- with a common thread, which is the city itself and
plexity of contemporary urban life: to break up the territory of collective existence.
the qualities of the city and then reconstruct one For Wenders, the cinema is a medium that can
or more maps that can describe that city’s most capture the nature of the city, and this belief is a
authentic living reality. This fragmented and re- consequence of his work in documenting the real
constructed reality offers the possibility of de- environment where urban life unfolds. With his
scribing and mapping the city of forgotten places, work, and in parallel with the narration of each
because these places are in themselves fragments film, Wenders has pursued his aspiration to doc-
of the urban reality which, once recognised and ument the city through the selection of settings
charted, can create a new cartography, a previ- where the film will be shot, as the locations he
ously undrawn map that can reveal certain qual- chooses are rarely pre-designed sets; generally,

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they are real locations which are faithfully doc- urban spaces which somehow escape the control
umented in his films. The result is a portrait of of the authorities that oversee the city. He even
urban life through the presentation of indeter- goes so far as to suggest that such urban indeter-
minate and unconventional spaces in which we minacies are what enable us to understand and
can discern a more authentic urban reality than narrate the complexity of the contemporary city
the one offered in official narratives. Because as (Caldwell and Rea, 1991: 46).
Wenders tells us, the cinema and the city have In view of all of the above, studying Wenders’s
grown up together. Films are historical documents films in terms of their way of describing the city
of our times, capable like no other art form of cap- and its urban landscapes has become a funda-
turing the essence of things, the atmosphere and mental tool for our research.
the currents of their time, fears, desires... The cin-
ema belongs to the city and reflects its essence 2. BERLIN, THE STARTING POINT FOR A FILM
(Wenders, 2005).
Wenders himself acknowledges his interest in In 1986, Wim Wenders came up with the idea to
making his films a kind of compilation of these make a film that would show city life in Berlin.
forgotten spaces, with his almost obsessive choice On returning to Germany after several years in
of real locations that he identifies as endangered the United States, the director felt a need to make
environments, which can be used to show—gen- a film in his home country and in his native lan-
erally very accurately—the life of a city. For the guage.
German director, filming these places means giv- The first point we want to highlight about this
ing them permanence, not only as an image saved film is the creative process behind it, which proved
from oblivion, but as an element that conveys the to be especially important in determining the final
memory of a place. If these places disappeared, product. The film did not begin with a script, but
the city would lose a part of its memory (Bruno, with a particular way of looking at a city. From
2002).3 the outset Berlin was not merely a set of locations
What I find extraordinary about Berlin is that the- chosen as settings for the scenes; rather, the city
se points still exist […], it’s not possible to say exact- itself would be portrayed as an integral member
ly what they are for. They have no function, and of the cast. Moreover, the city of Berlin was the
that is what makes them appealing […], I think that first and most important element of the film’s plot;
it will never be possible to make any city council Berlin was its starting point.
understand that, in terms of urban development, The first thing Wim Wenders did before be-
the most beautiful parts of their city are the pla- ginning the filming process itself was to wander
ces where nobody has ever intervened […]. It’s as if around the city of Berlin, taking down notes of
cities were under obligation to do something with places that caught his interest. Travelling around
these corners. It’s pathetic. They are places doomed the city was an essential part of the director’s work,
to disappear because they are totally anachronis- as in this way he could record in first person the
tic and because the city cannot bear that they have spaces that interested him in order to narrate the
been left out of their urban planning (Wenders, story of Berlin, turning the city into the film’s pro-
2005: 134). tagonist. On these city tours Wenders imagined,
Wenders’s interest, as expressed in these as protagonists for his film, a pair of angels who
words, often focuses on places with no established also inhabit Berlin, from whose privileged visual
function, vacant spaces paradoxically produced perspectives we are shown the city from any van-
by the organisation of the modern city. These are tage point. The angel’s view is able to move from

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Islands and texts by Handke

the most distant aerial positions right down to the times are superimposed in a single place, allowing
tiniest detail of objects in household spaces. the director considerable narrative freedom to re-
Berlin was the real starting point for the film […]; I count the memory of the city.
wanted to make a film in Berlin. In a way the idea Wim Wenders’s project is thus constructed
arose from the complexity of this city and from the through the filming of his own forgotten places,
attempt to find a narrative form that can show va- and of the angels that visit them, as witnesses
rious points of view in a multifaceted way. The an- of the everyday lives of Berlin’s inhabitants and
gels are used as a trick to be able to explain things of the memory of times gone by: in this way, he
about Berlin (Wenders, 2005: 135-136). weaves a story of the city’s memory and of the
Just as the angels make it possible to present people who populate the city at the time the
the city on every spatial scale, they also offer mul- film was made, and a connection is established
tiple temporal scales. The angels represent Time, through these spaces devoid of certainty where
permanence, eternity, in opposition to the ephem- all the city’s voices find their echo.
eral and volatile time of the human world. In this
way, Wenders’s film is a bridge between different 3. PETER HANDKE, THE STARTING POINT
times, and the inclusion of angels opens up a dia- FOR A FILM SHOOT
logue with history through documentary images
of the city’s past, nearly always related to the war Wings of Desire is a film that was based not on a
and the air raids. Through the angel, different finished script, but largely on improvisation in-

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spired by the city itself, places noted down on the We found the version of the film with direc-
director’s travels and the story in which the an- tor’s commentary released by Filmax in 2003,
gels become protagonists of and witnesses to life which immediately became an indispensable
in Berlin. Due to the uncertain beginnings of the source for this project, as the explanations offered
filming process, Wim Wenders decided to collabo- by Wenders reveal details of the filming process,
rate with the Austrian writer Peter Handke, with and also provide some references to help identify
whom he had already worked previously4 (Martin Peter Handke’s texts. Thanks to Wenders’s own
Brady, 2005). words we know that the ten contributions include
The filming process began with a call from four long dialogues, while the other six are poems.
Wenders to Handke to ask him to write the The places chosen by Wenders that Handke put
screenplay. The writer initially declined the offer, to words thus became the main structure of our
but faced with Wenders’s insistence and especial- research.
ly after hearing the vague idea he had come up The texts that Peter Handke contributed to
with for the story, Handke finally agreed to write the film have been identified as four dialogues
a script for only ten scenes. and six poems, of which two were broken up to
There are ten in total, ten poems or dialogues which be recited at different times during the film, and
for Wenders turned into the terra firma. They are which therefore direct the narrative and mark
his islands, his lighthouses that light up the night the rhythm of the story, which we have named
and guide his steps from one place to another. The guiding poems.
creative process of this film is extremely interes- After identifying Handke’s texts in the film
ting, courageous and admirable. A film that is based and their association with a place in the city, we
on the specificity of a city like Berlin and on some had to find these places in the Berlin of twen-
dialogues that put these locations to poetry (Wen- ty-five years later. This process was highly com-
ders, 2005: 142). plex, as over that time Berlin has gone from being
This was the beginning of a unique collabora- a city located in a divided nation to the capital of
tive process between the two men: Wenders sent the reunified Germany, with all the transforma-
Handke the ten locations he had chosen, Handke tions that this unique change of situation entails.
wrote the texts for these locations and the direc- Our field work in the Berlin of 2012 allowed us to
tor, as he received them, incorporated them into revisit the places filmed by Wenders in 1986 and
the filming process that was already under way. to observe the transformations they had under-
This discovery was a decisive point in our re- gone, documenting the two moments in time and
search, because the places chosen by Wenders comparing them by using the architect’s greatest
would in turn become our islands, the lighthouses tool: the drawing.
that would guide our research of Berlin. Who bet- At the same time, with the aim of better un-
ter than Wenders to choose the forgotten places, derstanding Wenders’s manner of superimposing
and who better than Handke to put them to po- the locations with Handke’s dialogues and poems,
etry? Thus, according to our theory we would be we created a time map for the film, a graph onto
able to draw a new map of Berlin with the ten lo- which the two layers were superimposed in a
cations chosen by Wim Wenders in order to offer visual representation of the film’s itinerary.
a new vision of the city through his forgotten plac- The ten locations resulting from the intersec-
es. At this point in the research it became essen- tion of Handke’s texts with the scenes filmed by
tial to identify the exact locations where Handke’s Wenders, and which have therefore served to de-
texts appear. fine the map of Berlin for Wings of Desire, are:

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Timeline of film Wings of Desire. Maps, locations, poems, people
 VANISHING POINTS

Still frames from Wings of Desire. Location of the south circus on Friedrichstrasse, where we can see wall murals projecting onto
the empty space where the scenes were set

1. The Stadtring median wall twenty-five years. To complete the research with
2. The car dealer’s on Kurfürstendamm the narration of a time before the film was made,
3. Berlin State Library we made use of the book Walking in Berlin (Hessel,
4. Friedrichstrasse Circus Spanish edition: Paseos por Berlin, 1997) originally
5. Langenscheidtbrücke published in 1929 with the title Spazieren in Berlín.
6. Potsdamer Platz This work has been essential for understanding
7. Gleisdreieck the city in the past from the perspective of our re-
8. Lohmühlenbrücke search, as Hessel’s text describes the German cap-
9. Hotel Esplanade ital through the act of walking around the city in
10. No Man’s Land first person—leading Walter Benjamin to dub this
author the flâneur of Berlin. Hessel is thus anoth-
er witness who, like Wenders and us, wandered
4. WINGS OF DESIRE, THE STARTING POINT the city in his day in order to investigate it and de-
FOR A NEW MAP scribe it. For the purposes of our research, Hessel
has been a perfect guide to the Berlin of the past,
In the development of our map of Berlin we have as in his wanderings around the city in the 1920s
a document of its situation in 1986 thanks to he describes many of the spaces that Wenders
Wenders’s film, and the field work in Berlin al- chose for his film.
lowed us to document its current condition, bear- Our map therefore does not aim to offer only a
ing witness to what has survived over the last trip around the city, but also a journey into Berlin’s

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past: to 1986, when the film was shot, and also to es of these places and made maps that document
the earlier history of these places thanks to Franz our own experience (Harmon, 2009).
Hessel. We have intersected these geographies of The Berlin map is made up of ten sections, ten
the city to create a map of Berlin that offers us elements that comprise the geography and land-
a blended view from the perspective of the writ- scape of a city. They are ten fragments that in
er, the filmmaker and the architect, on a journey turn reflect ten qualities that can be used to define
from the early 20th century up to the present day the city of Berlin:
(Capel Sáez, 2001). The film Wings of Desire acts as THE MEDIAN WALL. Island 01 Stadtring median
a nexus between past and present and helps us to walls
rediscover the landscape and the activity of the CORNERS. Island 02 Car dealer’s on Kurfürsten-
city by using it as a travel guide. damm
This is our new Warburgian map of Berlin THE TEMPLE OF THE ANGELS. Island 03 Berlin
(Didi-Huberman, 2010), structured around ten is- State Library
lands as we have understood them in the work of THE VOID. Island 04 Friedrichstrasse Circus
Wenders and Handke. Our proposed map of Ber- A BRIDGE. Island 05 Langenscheidtbrücke
lin presents a city that can be accessed by trav- MEMORY. Island 06 Potsdamer Platz
elling through its fragments. The decade of the A CROSSING. Island 07 Gleisdreieck
1980s is illustrated by still frames from Wenders’s HISTORY Island 08 Lohmühlenbrücke
film and guided by Handke’s words. The early A MEMORY. Island 09 Hotel Esplanade
20th century is described in the words of Franz THE WALL Island 10 No Man’s Land
Hessel, accompanied by old pictures and maps The film Wings of Desire offers a parallel view
that show the city’s past and memory. Finally, on of the city, neither complete nor a substitute for
our visit to the Berlin of today, we collected imag- every other, but simply one of many. We cannot

Map of Berlin. Wenders’s Islands

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claim to know Berlin after watching the film, but NOTES

we can assert that the city of empty spaces shown
by Wim Wenders forms part of that other knowl- 1 The term terrain vague was coined in 1995 by Ignasi
edge and that it is a fundamental part of Berlin as de Solá-Morales in an article of that name, in which
well. Mapping the locations of Wenders’s film as he outlined his definition or description of the term.
they were in 1986 has enabled us to discover and The article, subsequently included in the monograph
identify the elements of that Berlin that continue Territorios (Solá-Morales, 2002), focused attention on
to form part of the catalogue of the city’s forgot- the undeveloped spaces that the contemporary city
ten places. We have also found that the less in- had produced in the process of colonisation of its te-
tervention these locations have undergone, the rritory.
more they continue to reflect the values that led 2 Italo Calvino wrote the novel Invisible Cities, an explo-
to their being chosen to form part of Wenders’s ration of the landscapes of imagined cities, in 1972.
Berlin. The spaces that have been transformed The book, as he himself explains, developed out of
with no understanding of their real values have short reflections written at different moments, frag-
been turned into dull images that could be any- ments of ideas that he compiled in folders, fleeting
where in the world, reflecting a cliché of what a visions of an imagined city, invisible to the eyes of a
city is. conventional gaze. This collection of writings on par-
The forgotten places in our cities, far from ticular facets of cities grew until it finally turned into
being dispensable spaces as they tend to be seen a novel.
through the lens of urban development, can be a 3 This idea of filming the city in order to give it per-
foundation and point of support for the architect’s manence and turn it into a device for conveying the
work on the city. Working on the city’s interstitial memory of a place is reinforced in the arguments of
projects, anonymous, silent and small, does much Giuliana Bruno in her book Atlas of Emotion. On her
more for its inhabitability than ambitious archi- travels to the marginalised sections of Berlin, the ru-
tectural and urban development projects like the ral zones of India or the peripheries of some of the
megalomaniacal transformation of Berlin’s Pots- most important cities in the world, she finds that
damer Platz, as Wim Wenders documents so well feelings are closely tied to the context of the person
in his film. The forgotten places are spaces burst- who experiences them and emotions are indissolubly
ing with energy where the city is offered in an linked to the place where they arise.
open and thought-provoking way, and accepting 4 Wim Wenders’s first collaboration with Austrian wri-
this offer and being able to recognise it in these ter Peter Handke was back in 1969, on a short 12-mi-
fragments will provide essential raw material for nute film titled 3 American LPs (Drei Amerikanische
the project. The forgotten places are places where LP’s, 1969), in which both men talk about American
destruction is only apparent, as they comprise music and its influence in Europe. Their next colla-
an intermediate landscape between construction boration was in 1972, with Wenders’s film based on
and reconstruction. Paradoxically, the forgotten Handke’s book of the same name, The Goalie’s Anxie-
places are urban discontinuities where the city ty at the Penalty Kick (Die Angst des Tormanns beim
refuses to be forgotten. It is essential in our work Elfmeter, 1972). In 1975 they collaborated again, this
as architects to keep them alive, to rescue their time on the film The Wrong Move (Falsche Bewegung,
memory, just as we have learned from the work 1975), for which Handke wrote a screenplay based on
of Wim Wenders in his films.  Goethe’s novel Wilhelm Meister’s Apprenticeship (Wil-
helm Meisters Lehrjahre, 1795). In 1986 Wenders deci-
ded to turn to Handke once again, to write the script

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 VANISHING POINTS

for the film Wings of Desire, which would be publi-

shed a few years later under the same title (Wenders
and Handke, 1992).

REFERENCES

Bruno, Giuliana (2002). Atlas of Emotion: Journeys in Art,

Architecture and Film. London: Verso.
Caldwell, D.; Rea, P. W. (1991). Handke’s and Wenders’s
Wings of Desire: Transcending Postmodernism.  The
German Quarterly, 64(1), 46–54.
Calvino, Italo (1998). Las ciudades invisibles. Madrid: Si-
ruela.
Capel Sáez, Horacio (2001). Dibujar el mundo: Borges, la
ciudad y la geografía del siglo XXI. Barcelona: Edicio-
nes del Serbal.
Cook, Roger F., Gemünden, Gerd (1997). The Cinema of
Wim Wenders: Image, Narrative, and the Postmodern
Condition. Detroit: Wayne State University Press.
Didi-Huberman, Georges (2010). Atlas: ¿cómo llevar el mun-
do a cuestas? Madrid: TF Editores/Museo Reina Sofía.
Goethe, Johann Wolfgang (1795). Wilhelm Meisters Lehr-
jahre. Berlin: Johann Friedrich Unger.
Handke, Peter (1972). Die Angst des Tormanns beim Elfme-
ter. Frankfurt: Erzählung.
Harmon, Katherine A. (2009). The Map as Art: Contempo-
rary Artists Explore Cartography. New York: Prince-
ton Architectural Press.
Hessel, Franz (1997). Paseos por Berlín. Madrid: Tecnos.
Martin Brady, Joanne Leal (2005). Wim Wenders and Pe-
ter Handke: Collaboration, Adaptation, Recomposition.
Amsterdam: Rodopo.
Solá-Morales, Ignasi de (2002). Territorios. Barcelona:
Gustavo Gili.
Wenders, Wim (2005). El acto de ver. Textos y Conversa-
ciones. Barcelona: Paidós.
Wenders, Wim; Handke, Peter (1992). Der Himmel über
Berlin. Frankfurt: Ein Filmbuch.

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MAPPING WINGS OF DESIRE: BERLIN AND THE A(T)LAS DEL DESEO. BERLÍN Y LA CIUDAD DE
CITY OF FORGOTTEN PLACES LOS LUGARES OLVIDADOS

Abstract Resumen
The forgotten places are worlds within other worlds, places Los lugares olvidados son mundos dentro de otros mundos,
without set rules, with no order or control. They are places son lugares sin reglas establecidas, sin orden ni control. Luga-
waiting to be dreamed of. They speak to us of the complex res expectantes para ser soñados. Nos hablan de la compleji-
and blurred line between the planned and the unplanned dad y de los límites difusos entre la ciudad planificada y la no
city. Through Wenders’s film Wings of Desire, with special planificada. A través de la película de Wenders El cielo sobre
focus on its script and filming process, we explore certain Berlín, analizando especialmente su guión y proceso de roda-
significant places in the German capital that share many of je, indagamos sobre ciertos lugares significativos de la capital
the qualities of such forgotten places, which were carefully alemana que comparten muchas de las cualidades de estos lu-
chosen by the director in 1987. In doing so, we reveal a cre- gares olvidados y que fueron cuidadosamente seleccionados
ative process involving a series of fragments of scenes asso- por el director en 1987. Descubrimos así un proceso creativo
ciated with places in the city that build an itinerary offering como suma de fragmentos de escenas asociadas con lugares
an original and innovative experience of the city of Berlin. de la ciudad que construyen un itinerario que propicia una
experiencia inédita y novedosa sobre la ciudad de Berlín.
Key words
Wenders; Berlin; Terrains Vagues; Atlas; Poems; Architecture; Palabras clave
City. Wenders; Berlín; terrains vagues; atlas; poemas; arquitectura;
ciudad.
Author
María José Márquez Ballesteros (b. Málaga, 1975) holds a PhD Autor
from Universidad de Málaga, and works as a researcher at Mª José Márquez Ballesteros (Málaga, 1975) es doctora por la
Instituto Hábitat, Turismo y Territorio (UPC-UMA). She has Universidad de Málaga e investigadora del Instituto Hábitat,
organised and taught numerous courses in cinema and ar- Turismo y Territorio (UPC-UMA). Ha organizado e impartido
chitecture. Her research interests focus on the cinema as a diversos cursos sobre cine y arquitectura. Sus líneas de inves-
research tool in architecture and she has presented her work tigación se centran en el cine como herramienta de investiga-
at various international conferences. Contact: mjmarquez@ ción en arquitectura y ha contribuido con comunicaciones en
uma.es diversos congresos universitarios de ámbito internacional.
Contacto: [email protected].
Javier Boned Purkiss (b. Madrid, 1959) holds a doctorate from
Universidad Politécnica de Madrid. He is the principal inves- Javier Boned Purkiss (Madrid, 1959) es doctor por la Universi-
tigator for the Communication, Technology and Architec- dad Politécnica de Madrid e investigador principal del Grupo
ture Research Group (School of Architecture, Universidad de de Investigación “Comunicación, Tecnología y Arquitectura”
Málaga), and he has organised and taught numerous courses (ETS de Arquitectura, Universidad de Málaga). Ha organiza-
in cinema, music and architecture. His research interests fo- do e impartido diversos cursos sobre cine, música y arquitec-
cus on architecture as a multidisciplinary phenomenon, and tura. Sus líneas de investigación se centran en la arquitectura
he has given talks at international conferences and contrib- como hecho multidisciplinar, habiendo realizado comunica-
uted chapters to books and published articles on the relation- ciones en congresos internacionales, así como capítulos de
ships between cinema and architecture and the city as a son- libros y artículos sobre las relaciones cine-arquitectura y la
ic event. Contact: [email protected] ciudad como hecho sonoro. Contacto: [email protected].

Alberto E. García Moreno (b. Granada, 1979), who holds a Alberto E. García Moreno (Granada, 1979) es doctor por la
PhD from Universidad de Málaga, is a researcher at Instituto Universidad de Málaga e investigador del Instituto Hábitat,
Hábitat, Turismo y Territorio (UPC-UMA). He teaches at Turismo y Territorio (UPC-UMA). Imparte docencia en la ETS
Málaga's School of Architecture and has participated in de Arquitectura de Málaga y ha participado en diferentes
various courses on teaching architecture through cinema. cursos sobre la enseñanza de arquitectura a través del cine.
He pursues research into popular cultural production, Su investigación se desarrolla en torno a la producción cultu

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 VANISHING POINTS

especially cinema and its relationship with tourism, a topic ral de masas, especialmente la cinematográfica, y su relación
on which he has published numerous papers in international con el turismo, fruto de la cual ha realizado diversas publica-
publications. Contact: [email protected] ciones de ámbito internacional. Contacto: [email protected].

Article reference Referencia de este artículo

Márquez Ballesteros, Mª José, Boned Purkiss, Javier, García Márquez Ballesteros, Mª José, Boned Purkiss, Javier, García
Moreno, Alberto E. (2016). Mapping Wings of Desire: Berlin Moreno, Alberto E. (2016). A(t)las del deseo. Berlín y la ciudad
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