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.