We design buildings and public spaces, we make art. In 1986 we showed livestock in transparent boxes on a Hess paddock — the cow project; we sculpted a large urban chess move — double knight game — against the backdrop of the Frankfurt skyline. At the moment we are working with the idea of a model universe, a transformation of the tiny gatehouse of the old Raketenstation, now part of the Insel Hombroich Foundation, that can be summed up as follows: “… WEIL WIR WIR SPIELEN…”*.
In 1999 the living room project was launched. As time passes, it generates a built ensemble in medieval Gelnhausen, where an osmotic architecture negates the usual distinctions between interior and exterior, public and private. The project unites art and architecture; the art created here is integral to the location but also autonomous: As Thomas Kling’s poem states, the house is the mouth cave.
In 2007 we embarked on dimdiary, a photographic logbook recording man’s life in the natural and geometrical environment of the Australian continent. We see terra incognita as the rare presence of what may historically be the oldest human civilisation juxtaposed with its most recent manifestation. We choose nocturnal photography to express humility, while evoking the Universe. In the process, we propose a parallel imaging that approximates the subtle beauty of the earthly as it borders on the sublime.
*“Jedes Spiel wird um Gegenwart, jedes ästhetische Spiel wird um eine Anschauung von Gegenwart gespielt. Wir spielen, weil wir — wir spielen, wenn wir — bewegt sein wollen um dieses Bewegseins willen. Dieses Bewegtsein kann körperlich oder emotional oder beides sein.” SEEL, M. (2003) Ästhetik des Erscheinens. Frankfurt am Main: suhrkamp taschenbuch wissenschaft 1641. S. 216. “We play because we — we play when we — want to be moved for the sake of being moved.” SEEL, M. (2005) The Aesthetics of Appearing (Cultural memory in the present). Stanford: Stanford University Press 2004. S. 134.