MApping EvErything ContEnt CoordinAtEs 3 6 8 Lines of Flight Workshop itinerary Zurich detour: presentation stAy in touCh Eric Ellingsen

detour: reading practice Nicola Eiffler, Eric Ellingsen and Christina Werner detour: Film screening Eric Ellingsen and Christina Werner Makings: Walks Makings: interventions 89 42 50 52 Makings: postcards from Zurich Workshop itinerary Berlin detour: Conversation to MAkE A Long story short. Olafur Eliasson and Gnther Vogt detour: Areals Workshop ExpEditions into thE rEAL WorLd Matthias Rick and Christof Mayer detour: Fluids Workshop 11 JuLy 2011, 14:0018.00 Nicole Beutler detour: Card Choreography Workshop songs oF LovE And WAr Thomas Plischke and Kattrin Deufert Makings: Critiques with Olafur Eliasson, Gnther Vogt, Matthias Lilienthal, Eric Ellingsen, Christina Werner, Nicola Eiffler and Matthias Rick Map of interventions Map of Works 104 105 90 06 | Merlin Carter nuLL pointEr ExCEption 07 | Julian Charrire and Andreas greiner | doMinions 08 | Julian Charrire | pAnorAMA 522954.95 n 132218.59 E 09 | Berte daan and nelly pilz trACking WAtErs 10 | Anna denkeler | ZiMMEr FrEi 11 | dido schumacher and nina Ehrenbold | pAssAgEs oF Light 12 | Elise Eeraerts | strEtChEd CuBE 13 | Leon Eixenberger | 9:03 14 | Leon Eixenberger Light pAviLion 15 | Leon Eixenberger | ModEL For An innEr pErspECtivE 16 | pontus Falk | dEAr tiErgArtEn 17 | Maresa Fiege gEdAnkEnBArriErE 18 | Marc Frochaux | tiEr hunting 19 | Marc Frochaux | ring BELLs 88 84 86 Works 01 | Julius von Bismarck | xErxEs 02 | Julius von Bismarck and Bruno pilz | BLoWing up Ernst-rEutEr-pLAtZ 03 | Allison Bisshop | thE WEAthEr hAs BEEn BEAutiFuL For you 04 | Allison Bisshop thE thinking oCEAn hAs its pEAks And troughs 05 | rebecca Bornhauser Body CoMpAss

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20 | Jeremias holliger ExpEriMEnts instruCtions 1 7 21 | Markus hoffmann | sEt 1 22 | Markus hoffmann invisiBLE MonuMEnts 23 | Friederike horbrgger trEndsALAt

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40 | Jorge Miano BEr (ABout, ABovE) 41 | Laura McLardy tAking AnothEr LinE For A WALk (AFtEr BruCE MCLEAn) 42 | Friederike horbrgger and Laura McLardy topogrAphiC LinE 43 | Laura McLardy thE sECrEt gArdEn 44 | Bruno pilz dJvu-Audiotrip 45 | david rademacher AnEMoMEtEr 46 | Maike swyter in BEtWEEn thE LinE 47 | Marco teixeira duarte sErEndipity 48 | Fernanda trevellin pErpEtuAL FrEquEnCy 49 | Alvaro urbano thE ExtrAordinAry story oF A MAn Who 50 | quynh vantu and Leon Eixenberger | sitting pLACE in thE ground 51 | raul Walch | BErLin 2020 52 | raul Walch | rAdio skEtChEs trAnsMittEd on 90,8 FM 53 | raul Walch | durAtion oF stonE 54 | Euan Williams | A MAss 55 | Euan Williams quEstion-AnsWEr rhythMs 56 | hendrik Wolking CovEr portrAits 57 | hendrik Wolking | LovE stop

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Lines of Flight

Mapping Everything documents a collaborative, educational experiment between the institut fr raumexperimente, udk Berlin, class of olafur Eliasson and the institut fr Landschaftsarchitektur, Eth Zrich, class of gnther vogt in the summer term of 2011. participants from both classes travelled to Zurich and Berlin for a series of workshops inputs and detours. these visits facilitated a discursive exchange of ideas between participants and collaborators from various areas of cultural production. the first sections of Mapping Everything transcribe and describe these workshops and discussions including selected transcriptions of a conversation with project participants, a mapping workshop led by Matthias rick and Christof Mayer (raumlaborberlin), a dance workshop with choreographer, curator and performer nicole Beutler, and thomas plischke and kattrin deufert (hochschulbergreifendes Zentrum tanz Berlin), and critiques with participants and guests, including Matthias Lilienthal (hebbel am ufer). in Berlin the participants realized works and interventions in and around tiergarten, a large urban park situated in the center of the city. these are documented in the latter half of Mapping Everything.

EvErything MAttErs Everything matters. Art matters. public space matters. urban matters. A river matters the bridge, which matters the banks of the river, which matters the trees and buildings and streets, which re-matters what the people do, because walking matters, how we go, where we go, how fast, what we see or hear (when our feet cant go there), which rematters the river and the public space, and the streets. Matters matter, and everything matters. What is mapping? the noun map becomes a gerund, an action verb, mapping. the thing is a process. Every thing is plural, things. to map: an exchange of information, a designed system of correspondences between one thing and another, a system of location and position. From map to mapping, potential is actualized, a system of actions. Mapping: time is in the present; we might as well say nowing. Mapping is a co-production of spatial relationships, an ecology of perception, movement, and things. one of those process place things is Berlin, for example. the perception of a place changes the place. thought is physical. how we feel about a place, for example, changes our behavior in that place. so how does mapping change the place? What are the relationships between how we move and the environment we move through? And, how do you map processes that are constantly changing, which allows for feeling things out? When i use a traditional map, am i mapping? Can we make feeling maps? Can we make our maps more felt? Everything is thrown-together by these mediations. What is everything? Everything or some things? only the things that matter? What matters? Who chooses? What or who filters everything into some things that matter? What are the forces at play, the systems at work that organize what we perceive, whether it is the perceptions of a river in Berlin which we walk beside on our way to the train, the tracks of which split a part of the city or countryside as it connects us to where we desire to go? perception already filters everything into a state of what we are conscious of, aware of.

Mapping Everything

Apperception, being conscious of what we perceive, is like the difference between listening and hearing. to listen to a song means to focus our concentration on the sounds which are called song rather than the sounds which are not song (noise). how do we understand the relationships which organize the things we are feeling? Everything is in motion. Art is a loop of everything. public space is an ecology of everything: everything economic like the roads and parks and public institutions, everything geological like granite sidewalks and paved streets, everything plant and animal including humans, everything desire and development and dreams. this education experiment will use mapping as an opportunity to engage in the world around us, to be worlding, to act our spatial questions, to understand systems and constraints which co-organize the worlding. the purpose of this collaboration between an art class and a landscape architecture class is to create encounter possibility enhancers, and to use mapping as reality amplification instruments. this collaboration will focus its attention on the ecology of relationships between thinking as perceiving as doing art, because everything matters. take singing as an example of mapping. the words of a song are fixed. the melody is fixed. the voice of the singer plays the words, and the body is literally an instrument, which means the song is instrumentalized. something totally of the moment is co-produced, co-extended. this is a feelback loop: something is internalized the song lyrics and melody, then breath is added, externalized the voice in the environment, then internalized listened to by the ears as the sound is bounced around and absorbed by the things in the space. the space is played by the voice. the body keeps time by tapping its foot. this loop is life is space. it is all at once thinking, doing, and deciding. the body fills the words like feet fill a sock, and then the feet walk. Everything is on a one-to-one scale. A purely phenomenal relationship between thinking and doing and place is amplified into a relationship of phenomenal and physical constraints that is emotionally felt and physically made. sound waves. imagine John Cage sitting at his open window in nyC listening to the song of the street. he is echo-locationing his position in relation to the street. But his perception of hearing has a range; he is not hearing everything, like he cannot hear what the two people on the corner are whispering to each other; he cannot hear the traffic in Los Angeles, or the art students listening to a performance of 433 silence in Berlin. Which simply means having a body, means also having an elastic filter which cannot sense everything. Which means something needs to facilitate between feeling the things as processes we are sensing and the orders of connections which place the things within hearings range. since everything is connected, would mapping help?

Lines of Flight

MApping EvErything Landscape comprises the visible features of an area of land, including the physical elements of landforms, water bodies such as rivers, lakes and the sea, living elements of land cover including indigenous vegetation, human elements including land uses, buildings and structures, and transitory elements such as light and weather conditions. Art is the product or process of deliberately arranging symbolic elements in a way that influences and affects one or more of the senses, emotions, and intellect. it encompasses a diverse range of human activities, creations, and modes of expression, including music, literature, film, photography, sculpture, and paintings. the meaning of art is explored in a branch of philosophy known as aesthetics, and even disciplines such as history and psychoanalysis analyze its relationship with humans and generations. Combining both their physical origins and the cultural overlay of human presence, often created over millennia, landscapes reflect the living synthesis of people and place vital to local and national identity. Landscapes, their character and quality, help define the self-image of a region, its sense of place that differentiates it from other regions. it is the dynamic backdrop to peoples lives. traditionally, the term art was used to refer to any skill or mastery. this conception changed during the romantic period, when art came to be seen as a special faculty of the human mind to be classified with religion and science. generally, art is made with the intention of stimulating thoughts and emotions. the Earth has a vast range of landscapes including the icy landscapes of polar regions, mountainous landscapes, vast arid desert landscapes, islands and coastal landscapes, densely forested or wooded landscapes including past boreal forests and tropical rainforests, and agricultural landscapes of temperate and tropical regions. philosopher richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the realist, whereby aesthetic quality is an absolute value independent of any human view; the objectivist, whereby it is also an absolute value, but is dependent on general human experience, and the relativist position, whereby it is not an absolute value, but depends on, and varies with, the experience of different humans. An object may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose. A cup, which ostensibly can be used as a container, may be considered art if intended solely as an ornament, while a painting may be deemed craft if mass-produced. Landscape may be further reviewed under cultural landscape, landscape ecology, landscape planning, landscape assessment and landscape design.

Mapping Everything

MAPPING EVERYTHING: WORKsHOP sCHEDuLE, PART 1: TuEsDAY, 17 MAY 7 pm

8 pm

Welcome and get-together at vogt Landschaftsarchitekten Ag, introduction by nicola Eiffler (institut fr Landschaftsarchitektur, Eth), Eric Ellingen and Christina Werner (institut fr raumexperimente, udk) pizza and Making of: Film night: Baraka, Films of Charles and ray Eames, Films of Francis Alys

WEDNEsDAY, 18 MAY 10 am Meeting with gnther vogt at Masoala halle, Zoo Zrich: guided tour and discussion 12.30 am 2 pm Lunch break Meeting at Eth Zrich, professur 2 pm gnther vogt, institut fr Landschaftsarchitektur, hiL h 45.2 2 pm 5 pm reading of Manhattan transcripts by Bernard tschumi and watching the making of: rem koolhaas: Lagos wide and close, an interactive journey 5.09 pm 5.32 pm Coffee and discussion 5.32 pm 9.30 pm Lecture: rem koolhaas & Bernard tschumi: A conversation moderated by stephan trby, with an introduction by Marc Anglil and philip ursprung; in auditorium hiL E 3 THuRsDAY, 19 MAY 8 am 12 am

1 pm 1 pm 4 pm

guided tour at vogt Landschaftsarchitekten Zurich, May 2011

4 pm 5 pm

5 pm 7 pm

8 pm 10pm

Final critiques at the institut fr Landschaftsarchitektur, Eth: everyone attends Meet at Flussbad oberer Letten, Lettensteg 10, 8037 Zrich picnic with lots of sandwiches, crisps, water. participants introduce each other, program and cooperation workshop introduction, first experimental mappings Mapping Walks, back to studio (stampfenbachstrae 59 , 8006 Zrich) Mapping Examples: presentations by vogt Landschaftsarchitekten and Eric Ellingsen, syllabus based dinner with both groups

Workshop Itinerary Zurich

FRIDAY, 20 MAY 10 am 1 pm

1 pm 3 pm 3 pm 6 pm

6 pm 7.30 pm 8.30 10.30 pm

Meeting at Walchebrcke/park am Landesmuseum: reading practice (smaller group to big group): Certeau, gatty, and Calvino, etc., syllabus based Movement experiments and picnic practice More Walks and Mapping Experiments in public space near China garden and Casino towards Bellevueplatz studio tour of studio gnther vogt (vogt Landschaftsarchitekten Ag) dinner and drinks and presentations with the studio team

sATuRDAY, 21 MAY 10 am 3 pm

guided gallery tours and gallerist talks

guided tour of the botanical gardens with gnther vogt, Zurich, May 2011

Mapping Everything

six WALks in ZuriCh And BErLin

MAp WALk take a map from another city and use that map to find your way across the city you are in. referring to the map, ask strangers where you are and to help you find where you are going.

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BACkWArds WALk Walk backwards for fifteen minutes through the city.

sWArM WALk With a group of people, ask everyone to put their arms out at full length. Ask everyone to space themselves so that their fingertips are just barely touching the fingertips of the people next to them. trying to maintain this distance, walk through the city, a park or across a plain for ten minutes.

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LiEdoWn LinE WALk With a group of people, lie down in a long line, head to toe, in a public space. starting at the head of the line, ask the last person to stand up and run or walk to the other end of the line and lie down. Ask the new last person to stand up and walk or run to the end of the line. repeat this with each end until everyone has ended at least three times.

strAight WALk starting as a group in public space, each person picks a thing at some distance away. try to walk in a straight line to that thing and back.

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MAPPING EVERYTHING: WORKsHOP sCHEDuLE, PART II THuRsDAY, 7 JuLY 12 am 1.15 pm 1.30 pm 2.30 pm 2.30 pm 3 pm

3 pm 6.30 pm

7 pm 10 pm

Welcome and studio tour by olafur Eliasson Lunch at studio olafur Eliasson re-introduction, presentation of postcard projects, hand out the syllabus experiment kit talk about Mapping Everything by Eric Ellingsen: everything is connected to everything else pizza and informal project discussion

FRIDAY, 8 JuLY 10 am 1 pm 2 pm 7 pm

Explore tiergarten area with Eric Ellingsen and gnther vogt Experiments in mapping the site with raumlaborberlin (Matthias rick and Christof Mayer)

sATuRDAY, 9 JuLY 9 am 2 pm 2 pm 2.30 pm 7 pm

7 pm 10 pm

10 pm morning suNDAY, 10 JuLY

Free to work and explore Meet at room 110 at udk intensive micro-critiques: individual project presentation and discussion with olafur Eliasson and gnther vogt get-together at Ernst-reuter-platz: barbeque and deadline to hand in information for the map urban camping on site

Free to work MONDAY, 11 JuLY 9 am 3 pm 2 pm 2 pm 7 pm

7 pm 10 pm TuEsDAY, 12 JuLY

Free to work Meet at room 110 at udk Mapping movement: exercises with nicole Beutler, thomas plischke and katrin deufert Free to work

Free to work WEDNEsDAY, 13 JuLY 9 am 2 pm Free to finish work Exhibition opening critique / 2 pm 6 pm wandering drift, part i: with olafur Eliasson, gnther vogt, Matthias Lilienthal, Eric Ellingsen, Christina Werner, nicola Eiffler

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THuRsDAY, 14 JuLY 2 pm 6 pm Exhibition opening critique / wandering drift, part ii: with olafur Eliasson, gnther vogt and raumlaborberlin, (Matthias rick and Christof Mayer), Eric Ellingsen, Christina Werner, nicola Eiffler 6.30 pm 10 pm opening udk rundgang 2011 FRIDAY, 15 JuLY suNDAY, 17 JuLY Live-in experience; walks, workshops, improvisations and experiments. daily guided tours at 2 pm. daily video screenings at 6 pm Marathon End and Beginnings: conversation with olafur Eliasson and hans ulrich obrist (sunday, 17 July, 10 pm midnight)

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exhibition opening critique / wandering drift, part i: with olafur Eliasson, gnther vogt, Matthias Lilienthal, Eric Ellingsen, Christina Werner, nicola Eiffler

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exhibition opening critique / wandering drift, part ii: with olafur Eliasson, gnther vogt and raumlaborberlin, (Matthias rick), Eric Ellingsen, Christina Werner, nicola Eiffler

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xerxes Julius von Bismarck 01

Excerpt from a poem by dorothee Elmiger

xerxes steht am hellespont. die Flotte liegt vor Anker. das Meer wandert vor und zurck. das tempo (sein tempo) ist rasend schnell. der Wind heult ber Wasser, Land hinweg. die reiter warten, die tausend sterblichen warten, sie alle. das Wetter bricht unbemerkt ber sie herein, am hellespont. die sogenannte naturgewalt ist entfesselt, am hellespont. die tiere schreien, schreien. xerxes steht am hellespont. katastrophe. hier ist ein Bild zu sehen. hier entsteht ein Bild vor unsern Augen: hier ist die natur. hier wird ein Bild von der natur gemalt. hier steht xerxes am hellespont. hier ist eine Meerenge in der trkei. hier verbindet xerxes seine schiffe mit tauen. hier legt er holzstmme darber. hier befestigt er den Weg ber das Wasser. hier soll das heer ber das Wasser ziehen um den krieg zu fhren. hier greift xerxes ein in die natur. hier wird die natur belehrt. hier handelt der Mensch. hier behandelt der Mensch die natur. hier handelt es sich um die Bearbeitung der natur. hier hren wir: Zitat: natur ist Welt ohne menschlichen Eingriff. hier hren wir von der ersten natur und dann von der zweiten. hierzu stellen sich Fragen. trotzdem: hier hat sich xerxes am Bau einer Brcke versucht, anscheinend gescheitert. xerxes steht am hellespont. das Meer wandert vor und zurck. Zitat: versuchts, ihr sterbliche, macht euren Zustand besser. und nun sehen wir xerxes. und nun greift xerxes zur peitsche. und hier hlt xerxes die peitsche in der hand. und hier hat xerxes nach einer peitsche gerufen oder nach jenen, die den umgang mit der peitsche gewohnt sind. und nun peitscht xerxes das

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Meer aus. und das Meer wandert vor und zurck. und das Meer wandert vor und zurck. und das Meer wandert vor und zurck. ( ) und ich sage: diese natur gibt es nicht. (Aber mein vater lag am Fenster, als ein Blitz einschlug und seither torkelt er durch die stube und spricht in halben stzen nur. das war am 18. september 2011) und ich sage: dies ist ein pass. dies ist ein schweizer pass. dies ist der splgenpass. und ich sage: dies ist mein 3. geburtstag, 1988. die vgel pfeifen. im garten schon die pfel. Wir gehen unter weissen Blten. in den Alpen, den schnen Alpen geht eine Familie aus Anatolien. in den Alpen, den schnen Alpen. geht eine Familie schritt fr schritt der schweiz entgegen. die vgel pfeifen. die grne grenze ist wei. im garten schon die pfel. Am splgenpass der schnee. siehe: die natur. dies ist die natur. Einst war die natur. dort ist die natur. dort liegen die Alpen erhaben. dort ist berall schnee. dort nhert sich die Familie der schweiz. dort liegt der splgenpass. dort geht noch die Familie schritt fr schritt. dort erliegt ein Junge aus Anatolien dann an der weissen grenze. dort gibt er auf im schnee. dort steht er nicht mehr auf. dort pfeifen die vgel weiterhin. dort sprechen wir von einem Zufall. dort sprechen wir von der natur. dort sagen wir: natrlich, naturgem. dort sagen wir: die Alpen sind schn. dort sagen wir: Aber die Alpen sind wirklich schn. dort greifen wir zur peitsche, an diesem pass Berg gletscher. dort schlagen wir zu. dort erheben wir die hand gegen die natur. dort legen wir hand an. dort richtet sich ein hieb gegen die Landschaft. und dort fallen wir schliesslich in eine schlucht. Zitat: dieser Mensch ist so und so, weil die verhltnisse so und so sind. und die verhltnisse sind so und so, weil der Mensch so und so ist. hier sind die verhltnisse so und so. hier ist die schweiz. hier herrschen schweizer verhltnisse. hier wurde die schweiz gegrndet. hier sehen wir die grndung der schweiz, in der natur. hier geht die sonne auf und hier geht sie unter. hier! hier! hier! hier leben die Menschen. hier mhen sich die Menschen. hier scheitern die Menschen, aufs neue. hier sterben sie. hier leben die Menschen. hier mhen sich die Menschen, ich wei. hier scheitern die Menschen, aufs neue. hier sterben sie. und knnte man sagen, es geht immer weiter so. und knnte man sagen, es war schon immer so. und knnte man sagen, man hat das glck oder eben: man hat es nicht. und knnte man sagen, man bekommt, was man verdient. und knnte man sagen, man wird geboren, wo man hingehrt. und wenn man ungefragt ber die grenze reist und wenn man ungefragt ber die Alpen geht und wenn man dann ein Bett zugewiesen bekommt, auf einem entlegenen hgel Berg in einer unterkunft ein Bett ein spind und wenn man dann festgehalten wird in einer Zelle und wenn man dann ausgeschafft wird, bekommt man dann, was man naturgemss verdient.

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BLoWing up Ernst-rEutEr-pLAtZ Julius von Bismarck and Bruno pilz 02

What if you provided all of the crazy jobs with infinite space and material? But isnt there infinite space and more than enough material in order to do all of that? After the preposterous sprinkler system of Ernst-reuter-platz, where not the lawn, but the summery roadway including the convertibles and the naked cyclists was sprinkled and blown up, the victory over reason and the fear of consequences was celebrated in the great fountain. A comment from one of the bystanders: Why isnt the fountain simply designed for that kind of thing? the fountain isnt designed for that kind of thing! it is the societal norms, norms that prevent us time and again from doing what is so obvious. the feeling of really doing it is infinite freedom and happiness. the city belongs to us!

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thE WEAthEr hAs BEEn BEAutiFuL For you Allison Bisshop 03

Weather is a silent component of our experience of landscape. it can modulate our awareness of the features of a space, our comfortableness and relationship with a space. it can influence how long we linger, how we read a place. how we then re-constitute that place in our memory. this project is intended as a gentle transformation of the experience and awareness of landscape. As if the sun were always shining.

thE thinking oCEAn hAs its pEAks And troughs Allison Bisshop 04

the thinking ocean has its peaks and troughs. Later, an even more daring hypothesis was put forward, that is the ocean is a thinking substance. Experiments in ocean drawing. video of an ocean drawing machine, the oceanograph, in operation in the waters off Coogee Bay in sydney, Australia, in March 2011. the oceanograph produces a drawing as it floats, cartographically mapping the motion and topography of the oceanic waters. title taken from solaris by stanisaw Lem.

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doMinions Julian Charrire and Andreas greiner 07

Bacteria as space-time machines

daniel Fernandez pascual

Microbes and bacteria dont understand political man-made borders. they just expand and react freely; they are sovereigns of their surroundings. they deterritorialize the human topographic in order to delimit their own dominion. And they always leave some sort of trace behind them. trace evidence is left behind when different objects come into contact with one another revealing a past narrative, like fingerprints indicate a hand that was once in contact with a surface, or a warm seat in the tube, which reveals that somebody was seating there before us. once the cap of a Boletus Erythropus mushroom is nicked and the cell walls are broken, oxygen alters its colour from brownish-orange to a range of iridescent tones. Walking amongst these psychedelic fungi in a forest could produce fantastic blue-black footsteps, as their colour transfers onto the shoes that tread upon them. Colours and shape distortions that appear on them provide some sort of forensic evidence. A dynamic landscape narrative starts on us as well after watching these traces. Landscape sensitive properties are nonetheless preserved in spite of continuous deformations. this process of tracking back a series of events in space deals with re-enacting and re-mapping. in this sense, it could also be considered a deleuzian reterritorialization process, where Euclidean coordinates turn into a set of dynamic parameters. Microbiological mutations can be perceived as space-time machines as well. After watching them, our brain takes us to a different time and place through a set of topological relations. how humid was an environment that turned bacteria samples into a pale tone? or were they rather affected by loads of dust floating in the air? Who knows? hidden layers of reality become automatically visible for us. the essence of different places is registered and captured during a certain time lapse. Arent these on-going maps almost more real than reality?
16 12 11

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in observing microbes mutations, space is both represented and built anew in a constant negotiation of different agents; as Martina Lw puts it when referring to the relational production of space, which she understands by spacing: the situating of social goods and people and/or the positioning of primarily symbolic markings in order to render ensembles of goods and people recognisable as such constitute space. goods and people are connected to form spaces through processes of perception, memory and fantasy; we want to imagine what has really happened, why there is a round-shaped stain on the floor in front of us Building space can be considered as an architectural act, but not from the most classic perspective as the vitruvian triad, which has monopolised over centuries. the real fundamentals of constructing space have actually never been Firmitas, utilitas and venustas (firmness, utility and beauty). As Miguel paredes states, built space must actually be instable, dysfunctional and ugly, changeable and blurry.
1 dar 2 Cuxhaven 3 hamburger 4 Moormerland 5 hohenstaaten 6 deister 7 Berlin 8 schwarze pumpe 9 kahler Asten 10 dessau 11 hambach 12 dreilnderpunkt 13 Elbsandsteingebirge 14 Flughafen F. M. 15 ochsenkopf 16 porta nigra 17 nrnberg 18 Murrhardt 19 schwarzwald/h 20 neubeuern 21 Wendelstein 22 Zugspitze 23 La Brvine 24 Zug 25 noirmont 26 Lully 27 rohneletscher 28 turtmannthal

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pAnorAMA 5229'54.95" n 1322'18.59" E Julian Charrire 08

Horizons of the language of horizons paysage nexiste pas

gnther vogt

Are there mountains in Berlin? Can you plant mountains? does that mean that they are artificial mountains? the seafarers invented the artificial horizon in order to oppose the formless vastness of the sea with a spatial orientation vital for survival. We are introducing artificial horizons into our city landscapes as projection spaces in order to bestow a feeling of depth onto the space in the direct sense and onto life in the figurative sense. But what and where is the true horizon? does this line that is dependent on location, body size, and light conditions exist at all? distance and proximity, foreground and background does the true horizon only lie in the eye of the beholder? the city-country opposition has dissolved. the horizon in Europes contemporary city landscape is frequently broken, overly present or hidden. the redeemed utopias of modernity urbanized the landscape and in the end seduced the landscape into the city. urbanized landscape and scenic urbanity make the differences, behind which the horizon used to extend, disappear. Models are more than a miniaturized overview of the greater whole. in the world of models something is always missing. sensuality, smells or noises: the things cannot be felt.

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the temporal or spatial dimension, the volume or the depth. the implicit demand to replace the missing parts through imagination is the poetic power that characterizes landscape models. Building a model of a landscape means holding a dialogue with a specific, local appearance of nature. discovering and exposing the substrate of a landscape is much more than the natural sciences are capable of imparting. picking up the scent of what is in the air. the model is thus the preliminary stage of a new reality. our gaze is no longer directed to the horizon in the expectation of new, more distant boundaries. We must decipher the reality lying palpably before us with its posited meanings, reinterpret it in an ongoing feedback between reality and model, the strangely familiar external world and imagination. similar to the technical procedure in film, the montage of images corresponds to our fragmentary life-world. it uncovers the principle of construction, used materials fracture reality, lose the connection to what they originally meant. the parts are no longer important in their particularity, but rather in relation to the construction of the model. What is original image, copy or illusion? the question no longer poses itself. Landscape is a model, a notion and reality at the same time.

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Light pAviLion Leon Eixenberger 14

My proposal for a Light pavilion in the tiergarten consists of a theater spot hanging upright above the ground. its light precisely pictures the geometrical shape of a standing cone. the pavilion that emerges is 25 meter high, its base area measures 15 meters. By day and in sunlight the glow is only very subtle, but intensifies immediately when the sky is covered by clouds. in weak light, the form of the cone becomes mere clear, especially in fog, snow or rain. in absolute darkness, when standing in the cone of light, another visitor only appears at the moment of entering the cone. placed slightly apart from the parks pathways, the cone is to be found rather spontaneously during the day, but at night it draws attention from farther away. the pavilion is an abstract walk-in sculpture made of light. it includes many possible uses. the citys inhabitants and users of the park will define, advance and animate the sculpture with their reactions to what they come across. the light cone could be used as a stage for spontaneous performances or shows, or it could become scenery for romantic moments or even a spiritual place. the work is the continuation of an experiment in Leipzig from 2011. there, the light cone reacted to a unique, existent path, architecture and encounter situation.

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ModEL For An innEr pErspECtivE Leon Eixenberger 15

the size of the painted area relates to my body-surface, as the area of rainforest destroyed since 1985 relates to the surface of the earth. the longish shape resembles the corridors visible on satelite-images, along which deforrestation is pressing ahead. i wear the drawing like jewellery at exhibition openings, but also for undefined occasions. on the one hand, it is a proposal for a very personal exemplification-process, and on the other a communication tool, as individual discussions arise with people asking about the painting on my hand. i think jewellery as media is very intimate, direct, and it can, in the best case, overcome the hermeticism and preoccupation of the exhibition space. the work is part of a series of experiments, that deal with the idea of a change of perspective into the earth and therefore exemplarily transfer changes in the ecological system onto the body. im interested in whether we posess the emotional capacity to fully understand the extent of our impact on the ecosystem and act accordingly at all. Connected is the question, whether it is possible to differentiate between nature and a human sphere, whether we define ourselves as part of or outside of the system.

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Dear Tiergarten

73. Versuchsanstalt fr Wasserbau und Schiffsbau, Ludwig Leo, 1968-75. Reizvolle alte Wasserversuchsinsel mit Ludwig Leos prchtigem bonbonfarbenem Doughnut.

76. Lumpenallee. Zwischen Bahnhof Zoo und Schleusenkrug liegt die wohl belebteste Wegstrecke des Tiergartens und gleichzeitig das Schlafzimmer vieler Tiergartenbewohner.

79. Letzte Wildnis. Letzter richtig verwilderter Teil des Parks. Sumpfig, noch undurchdringlich und gerade deshalb schn.

74. Hausboothafen. Idyllischer Anlegestelle, seit jeher nur von der S-Bahn aus einsehbar. Eine Reihe Briefksten in den Bschen verrt, dass es hier weitergeht- das westlichste Boot ist ein Restaurant.

77. Buddha-Baum. Prchtiger Eichenbaum mit vielen Verehrern.

80. Musikergarten. Wenn nicht gerade die Philharmoniker ben, ist der Musikergarten der ruhigste Ort im/am ganzen Tiergarten.

75. 14 Apostel. Eigentmliche Reihe von Wasserpollern mit dazugehrigem kleinen Wasserfall. Der war selbst James Bond einen Besuch wert, ist irgendwie hsslich und irgendwie schn.

78. Rhododendronwald. Eine der athmosphrischsten Ecken des Tiergartens- wenn man mal ber das rege Leben hinter den Bschen hinwegsieht.

81. Henriette-Herz-Park. Irgendwann nach Mitternacht gehen hier die Lichter aus- und es fngt dann an zu regnen, garantiert!
`Mapping Everything Summerschool - Proffesur Vogt ETH Zrich / Olafur Eliasson UdK Berlin `Dear Tiergarten, 2011, Pontus Falk

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dEAr tiErgArtEn pontus Falk 16

the official map of the tiergarten park is extended by a place previously missing from it that is of emotional importance to the students. As a result, on the one hand the map becomes more objective (as in more complete), at the same time, however, a subjective image of the perception of an individual person. the additions have been retained in the style of the original map, but remain recognizable as later corrections due to a separating pane of glass.

gEdAnkEnBArriErE Maresa Fiege 17

Freedom from barriers means that objects, media and facilities are designed so that they can be used by all people without restriction.

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experiments instructions 1 7 Jeremias Holliger 20

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trendsAl At friederike Horbrgger 23 Blaukraut bleibt Blaukraut und Brautkleid bleibt Brautkleid. pause a moment in a park and watch the diversity of green. trendsalat transforms apparently unimpressive greenplants to a flourishing landscape. Beikraut, unkraut who names? the vernacular, the botanical gardener, or taste?

ingo und ivAr 2011 / endogener trieB friederike Horbrgger 24 Asche zu Asche und Holz zu Holz. Endogener trieb is a work in progress, which i am doing all over the world. Lost, abandoned wooden things, waiting on sidewalks for new human interest, bulky waste or getting mad at their plastic colleagues, are given a way back. What do we know about natural drive? youre welcome to follow this movement.

ArtificiAl Bird swArm / sky pAintings Friederike horbrgger and Fabian knecht 25 Artificial Bird swarm is part of sky paintings, a project that explores the space between cloud base and ground. invisible air currents conquer gravity and thus makes pieces of toilet paper fly. it slowly lands on a grass field after passing the sky 600 m high, above mountains and valleys and circling with birds.

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v o L u M E n Felix kiessling 33

tokyo-BErLin vEktor Felix kiessling 32 this vector cuts from underneath Lidl, Berlin through the interior of the sphere of the earth, piercing through and protruding out on the other side at the Museum of Contemporary Art tokyo.

Minus Felix kiessling 31 30 cm shortening of an island: the northern tip is now sitting on my desk in Berlin.

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MELt Friederike horbrgger and Fabian knecht 34

Melt is a poster object. the artists ripped off the object from a amp post and turned the object inside out in the exhibition space. it contains hundreds of posters glued together over two years. it was taken from one of Berlins hotspots, schnhauser Allee crossing Eberswalder strae. Mould, time, and weather have painted, decomposed and recreated these posters into a beautiful aeruginous object, which hangs on the wall like a classical painting. the artwork unfolds this process of metamporphosis, which is normally unseen, making it visible.

trEidLEr Fabian knecht 35

Fabian knecht used a crane to lift a boat in front of the hermitage in saint petersburg to the elevation of Berlin. the height of the boat was 43 meters, like the average elevation difference between the cities. Fabian knecht moved the boat by hand over five kilometers through the city to get it there.

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inACCEssiBLE natalie koerner and Maresa Fiege 36 the attempt to make an inaccessible place accessible. some boundaries are easier to overcome or to cross than they may seem. the action creates a bridge that will continue to exist in the memory of the participants. the ferrywomen do not speak. Just before the crossing, you will be guided to the point of departure. here you can board the boat after the last passenger has disembarked. the ferrywoman will take you to a tree trunk that connects two bird islands. if someone is waiting there, allow them to board the boat before you climb onto a trunk. its easiest if you hold on to one of the branches. After a while, you will be picked up and returned to the shore. there you will have the opportunity to record your experience on a voice recorder.

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BEr (ABout, ABovE) Jorge Miano 40

the neon sign reads about art. it appears to be broken because when it flashes some letters of the illuminated sentence about us remain off. the title intervention is intended to make a pun of the description of a space supposed to hold art, such as a museum, an exhibition venue or an art academy. the german words art and ourselves seem closely related in this failed description. the piece was produced to be displayed outside of the principal udk building, above the main entrance, but due to security restrictions and bad weather conditions the sign was installed inside.

Around (15 MinutEs) Jorge Miano 39

15 minutes Watch times from passers-by at schlsselgasserstrae at st. peters Church, collected from 10:30 am to 10:45 am (guided by the bell sound of st. peters church clock, Zurich, switzerland).

12 11 1 11

12 1 11

12 1

10

10

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tAking AnothEr LinE For A WALk (AFtEr BruCE MCLEAn) Laura McLardy 41

line 1 (l n) n. 1. Mathematics A geometric figure formed by a point moving along a fixed direction and the reverse direction. 2. a. A thin continuous mark, as that made by a pen, pencil, or brush applied to a surface. b. A similar mark cut or scratched into a surface. c. A crease in the skin, especially on the face; a wrinkle. 3. a. A real or imaginary mark positioned in relation to fixed points of reference. b. A degree or circle of longitude or latitude drawn on a map or globe. c. the equator. used with the. 4. a. A border or boundary: the county line. b. A demarcation: a line of darker water beyond the reef. c. A contour or an outline: the line of the hills against the evening sky. 5. a. A mark used to define a shape or represent a contour. b. Any of the marks that make up the formal design of a picture. 6. a. A cable, rope, string, cord, or wire. b. nautical A rope used aboard a shi c. A fishing line. d. A clothesline. e. A cord or tape used, as by builders or surveyors, for measuring, leveling, or straightening. 7. A pipe or system of pipes for conveying a fluid: gas lines. 8. An electric-power transmission cable. 9. a. A wire or system of wires connecting telephone or

telegraph systems. b. An open or functioning telephone connection: tried to get a free line. 10. a. A passenger or cargo system of public or private transportation, as by ship, aircraft, or bus, usually over a definite route. b. A company owning or managing such a system. 11. a. A railway track or system of tracks. b. A particular section of a railway network: the philadelphia-trenton line. 12. A course of progress or movement; a route: a line of flight. 13. a. A general method, manner, or course of procedure: different lines of thought; took a hard line on defense. b. A manner or course of procedure determined by a specified factor: development along socialist lines. c. An official or prescribed policy: the party line. 14. A general concept or model. often used in the plural: a trilogy along the lines of the oresteia. 15. A condition of agreement; alignment: brought the front wheels into line; a wage agreement in line with current inflation. 16. a. ones trade, occupation, or field of interest: What line of work are you in? b. range of competence: not in my line. 17. Merchandise or services of a similar or related nature: carries a complete line of small tools. 18. A group of persons or things arranged in a row or series: long lines at the box office; a line of stones. 19. a. Ancestry or lineage. b. A series of persons, especially from one family, who

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succeed each other: a line of monarchs; comes from a long line of bankers. c. A strain, as of livestock or plants, developed and maintained by selective breeding. 20. a. A sequence of related things that leads to a certain ending: a line of argument. b. An ordered system of operations that allows a sequential manufacture or assembly of goods at all or various stages of production. c. the personnel of an organization or a business who actually make a product or perform a service. 21. a. A horizontal row of printed or written words or symbols. b. one of the horizontal scans forming a television image. 22. A brief letter; a note: ill drop you a line. 23. a. A unit of verse ending in a visual or typographic break and generally characterized by its length and meter: a line of iambic pentameter. b. the dialogue of a theatrical presentation, such as a play. often used in the plural: spent the weekend learning her lines. 24. informal glib or insincere talk, usually intended to deceive or impress: he kept on handing me a line about how busy he is. 25. lines Chiefly British a. A marriage certificate. b. A usually specified number of lines of prose or verse to be written out by a pupil as punishment. 26. games A horizontal demarcation on a scorecard in bridge dividing the honor score from the trick score. 27. a. A source of information. b. the information itself: got a line on the computer project. 28. a. Music one of the five parallel marks constituting a staff. b. A sustained melodic or harmonic part in a piece: a rock song with a driving bass line. 29. a. A formation in which elements, such as troops, tanks, or ships, are arranged abreast of one another. b. the battle area closest to the enemy; the front. c. the combat troops or warships at the front, arrayed for defense or offense. d. the regular forces of an army or a navy, in contrast to staff and support personnel. e. the class of officers in direct command of warships or of army combat units. f. A bulwark or trench. g. An extended system of such fortifications or defenses: the siegfried line. 30. sports a. A foul line.

b. A real or imaginary mark demarcating a specified section of a playing area or field. c. A real or imaginary mark or point at which a race begins or ends. d. the center and two wings making up a hockey teams offensive unit. e. Football A line of scrimmage. f. Football the linemen considered as a grou 31. informal the odds a bookmaker gives, especially for sports events. 32. the proportion of an insurance risk assumed by a particular underwriter or company. 33. slang A small amount of cocaine arranged in a thin, usually tightly rolled strip for sniffing. 34. Archaic ones lot or position in life.

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topogrAphiC LinE Friederike horbrgger and Laura McLardy 42

Mapping into actual space, the topographic line retraces the fragile yet exact course of a line on paper into a tangible landscape. Lets perceive the open urban space as a mathematic coordinate system and draw an indefinite straight line into actual space the way we do on squared paper. on route, it connects every object as well as the distance between them. inserting the diagram back into concrete three-dimensionality, the line retains its directionality; although at ground level any unevenness or obstacle is mapped, prolonging the actual distance and course of the line, from an aerial perspective the scale is the same as a two-dimensional line on a map.

thE sECrEt gArdEn Laura McLardy 43

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dJvu-Audiotrip Bruno pilz 44

two participants begin facing each other with eyes closed. By means of instructions on two synchronized Mp3 players via headphones, they are instructed to open their eyes. upon doing so, one of them hears uplifting, beautiful music, the other hears very tense, threatening music. By means of the instructions, the participants move not only synchronously, but also symmetrically in the symmetrical, mirrored stairway of the Berlin university of the Arts, so that both have the impression that they are hearing the same thing. once they have reached the upper floor, the two of them move toward each other, at which point the music reaches a culmination and they come to a kind of showdown. After this, the people snitch their halves of the room and having reached the other side, they move down the stairs again synchronously. on the mirror level of the room, in the middle between the stairs, at eye level there is a dichroic* mirror. As a result, the people lose eye contact as soon as they have reached the lower end of the stairs. the reflected room-halves that they see in the mirror overlap with the other on the other side. thus for both there arises the illusion of seeing themselves in the mirror, but with the other body in each case provided that the people are roughly the same size. subsequently, they are instructed to bend their face down onto the lower corner of the mirror so that their face fuses with the lower half of the respective opposing face. After this the instructions leads them to the point at which the respective partner previously started. subsequently the same procedure is repeated with reversed moods. the participants now experience the situation once again from the other perspective. With the dj-vu-Audiotrip, i wanted to show how differently one can experience the same moment, depending on what mood one finds oneself in. Everything that comes from the inside is reinforced from within. the external world is always only a mirror for our internal world. it always depends on what perspective we observe things from on the attitude with which we approach them. the glass is not empty when one looks at it from the right angle. thus, we perceive spaces, people, moments, and not least ourselves and others according to our personal mood. this subjective perception often differs completely from that of other people. the interesting thing about the experiment is seeing how much the people also appear to project

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thE ExtrAordinAry story oF A MAn Who Alvaro urbano 49

genetically modified four-leaf clover bought on the internet and planted somewhere in tiergarten.

sitting pLACE in thE ground quynh vantu and Leon Eixenberger 50

our work is both sculpture and architecture for the urban environment. it is an intervention that produces a contemplative place for a single person. on an untilled parcel in Berlin-tiergarten, an intimate possibility to retreat is formed. recessed into the ground level of the field, the visitor is liberated from the speed and the sounds of the metropolis. the sculpture consists of a 60 cm wide and 5 m long slit into the ground. Accessible from one side, a ramp leads to a sitting place at a depth of one metre. A mirror is placed underfoot, through which you can see the sky.

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BErLin 2020 raul Walch 51

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rAdio skEtChEs trAnsMittEd on 90,8 FM raul Walch 52 it continues at a snails pace and ahead i circle my counterpart, the beginning of my course. the transmitter remains in movement and the receiver at the starting point. in a spiral-shaped course, i move further and further away and the signal becomes weaker and weaker and breaks off. these broadcasts almost work as if through visual contact. sometimes the developments suddenly open a contact again and the signal is there. the radio horizon disappears at a greater distance than the optical horizon. And thus an antenna for the whole hemisphere could be smaller than the earths radius. the transmitter as a pencil and the city as a drawing board. transmitted content results in a form or a sketch. how many degrees, curves or shapes will i find in my radio horizon?

durAtion oF stonE raul Walch 53 A chunk of anthracite coal from the deepest pit of Europe, lifted from about 1500 meters depth and transferred to switzerland. A 300 million-year-old rock brought to the ground level in a day is carried along the path to the highest point in Europe. i want to sink a stone from the top of the himalayas in the Mariana trench.

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A MAss Euan Williams 54

quEstion-AnsWEr rhy thMs Euan Williams 55

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CovEr portrAits hendrik Wolking 56

nickname kleenekesse64 online vorname: petra Bild von kleenekesse64 Alter: 46 Jahre Wohnort: Berlin geschlecht: weiblich kategorie: sie sucht ihn schulabschlu: gre: 1.5 m gewicht: 83 kg pLZ: 13407 Land: deutschland Augen: blaugrau haare: rotbraun lang Familienstand: geschieden kinder: Ja Eigener haushalt: Ja raucher: nein Alkohol: gelegentlich konfession: Bund freikirchlicher pfingstgemeinden Love-Message hier knnen sie bei kleenekesse64 anklopfen! kontakt speichern Auf der karte anzeigen Mehr ber kleenekesse64 nickname kleenekesse64 online Musikrichtung: ich hre alles ! Fotoalbum von kleenekesse64 kleenekesse64 persnliche Fragen nickname kleenekesse64 online gehst du in die kirche? Wenn ja, wie hufig und weshalb? Ja, jeden sonntag um den Wochenstress beim Lobpreis rauszupowern und um aufzutanken :) natrlich sind mir da auch nette gesprche mit den geschwistern wichtig. ich liebe das familire Flair in meiner gemeinde :) Engagierst du dich in der gemeinde? JA! so hufig und so gut ich kann, wo halt not am Mann ist. Was bedeutet dir der christliche glaube in deinem Leben? ALLEs! ohne ihn und meinem Jesus wre ich nicht der Mensch der ich heute bin und mein Leben wre ohne gott sowieso ziemlich sinnfrei! Was ist dir besonders wichtig in einer Beziehung? Meinen glauben muss ich mit ihm gemeinsam leben knnen, gemeinsame gebete sind mir wichtig, gemeinsames gemeindeleben ist mir wichtig, ansonsten natrlich treue, Ehrlichkeit und verlsslichkeit. ich muss bei meinem partner das gefhl haben, einen Fels in der Brandung neben mir zu haben, der sich nicht von der Welt, sondern von Jesus und dem heiligen geist leiten lsst! Worber kannst du lachen? situationskomik, gute Filme, Comedy und kabarett, ber mich selbst. vorsicht, bin etwas schadenfroh :d Was bedeuten dir deine Freunde? ebenfalls alles! (auer, dass natrlich Jesus mein BEstEr Freund ist!) ich habe seit ber 20 Jahren eine beste Freundin, die ich auch fr einen partner nicht aufgeben wrde. Also ein Frauentag sollte schonmal drin sein, genauso wie Er natrlich auch seine kumpeltage haben kann und auch soll. Ein gewisser Freiraum muss da schon vorhanden sein :) Worauf bist du stolz? Auf meinen sohn :) Wie definierst du Erfolg? Wenn was geklappt hat :) ohne Jesus geht eh nichts, also gehrt aller Erfolg sowieso ihM allein :d Was schtzen andere an dir? meine Ehrlichkeit, meinen humor, meine groe klappe und meine verlsslichkeit. Wenn ich was zusage halte ich mich daran. Wovor hast du Angst? spinnen, vorm Fliegen Was fr eine rolle spielt geld in deinem Leben? Macht nicht glcklich aber kann die nerven beruhigen :) Muscheln und steine will keiner als Zahlungsmittel akzeptieren... schade eigentlich :d neigst du zur Eifersucht? nein. Es sei denn, sie ist durch tatsachen begrndet. Bist du ein tierfreund? Ja, aber kein tiernarr. ich muss also keinen Zoo im haus haben ;) Wie stellst du dir deinen traummann bzw. traumfrau vor Zum Wesen: sanftmtig, besonnen, verlsslich, kEin MACho-das macht nur aua!!! :) huslich und vor allem sollte er die gleiche humorwelle haben.

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Zum ueren, so grob umrissen: 1,80m gro, ca. 85-90 kg, Braune haare, Braune Augen. Am wichtigsten am ueren ist aber eine gepflegte Erscheinung, er muss halt auch einen gewissen Wert auf sich selbst legen und er muss das gewisse Etwas haben. Man muss einfach zusammenpassen. nobody is perfect. Was bedeutet fr dich alt werden? Lebenserfahrung gesammelt und durch den herrn etwas mehr Weisheit erlernt zu haben, um dadurch anderen Menschen in diversen Lebenslagen zu helfen. und hoffentlich viEEEELE Enkelkinder :d gibt es etwas wofr du dein Leben riskieren wrdest? Fr mein kind und fr meinen Mann Fhlst du dich Zuhause am wohlsten oder bist du lieber unterwegs? Beides gibt es dinge die dir peinlich sind? das verrate ich nicht ;) hast du einen Lebenstraum? ich schau einfach, wohin gott mich fhrt :) das ist schon aufregend genug :d Lieblingsfilme Ben hur, die Zehn gebote, scarlett, gute komdien und Actionfilme Lieblingsserien king of queens, two and a half Men, still standing, golden girls, Cheers, navi Cis, the Mentalist, Criminal Minds Lieblingsessen nichts Bestimmtes :) kleenekesse64 sucht Beziehung Mal sehen ;) Freizeitpartner so sollte mein partner sein... Zum Wesen: sanftmtig, besonnen, verlsslich, kEin MACho-das macht nur aua!!! :) huslich und vor allem sollte er die gleiche humorwelle haben. Zum ueren, so grob umrissen: 1,80m gro, ca. 85-90 kg, Braune haare, Braune Augen. Am wichtigsten am ueren ist aber eine gepflegte Erscheinung, er muss halt auch einen gewissen Wert auf sich selbst legen und er muss das gewisse Etwas haben. Man muss einfach zusammenpassen. nobody is perfect. pinnwand von kleenekesse64 hatte bereits 311 Besucher hier kannst du dich eintragen. Leider sind keine Eintrge auf der pinnwand vorhanden.

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LovE stop hendrik Wolking 57

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MApping EvErything on the occasion of the education experiment Mapping Everything by the institut fr raumexperimente, udk Berlin, class of professor olafur Eliasson and the institut fr Landschaftsarchitektur, Eth Zrich, class of professor gnther vogt. summer term 2011. Editor: institut fr raumexperimente, udk Berlin / institut fr Landschaftsarchitektur, Eth Zrich project Conception: olafur Eliasson and gnther vogt, nicola Eiffler, Eric Ellingsen, Christina Werner publication Conception: Eric Ellingsen, korbinian kainz, Christina Werner project Management: nicola Eiffler, Eric Ellingsen, Christina Werner Copyediting/proofreading: Lucinda rennison translations: Zentrum fr internationale sprachdienstleistungen gmbh design: Basics09 (korbinian kainz, Arne Fehmel) production Management and printing: Zwlf published by: universitt der knste (verlag), 2012 printed in germany All rights reserved. no part of this publication may be reproduced, translated, stored in a retrieval system or tran smitted in any form or by any means, electronic, mechanical, photocopying or recording or otherwise, without the prior permission of the publisher. 2012 universitt der knste, institut fr raumexperimente, publisher, artist and authors the deutsche nationalbibliothek lists this publication in the deutsche nationalbibliografie; detailed bibliographic data are available on the internet at http://dnb.d-nb.de isBn xxxxxxxxxxxxxxxxxxxx the institut fr raumexperimente is an educational research project by professor olafur Eliasson, affiliated to the College of Fine Arts at the Berlin university of the Arts (udk) and supported by the Einstein Foundation Berlin.

in memory of our dear friend Matthias rick