Pathogens do not follow spatial or temporal boundaries, and neither should architecture’s response to disease outbreaks. ›Notes on Fortnightism‹ (2020) features the Responsive Care Center, easy set-up medical quarantine tents that pop-up around the world where needed. Easily stored and shipped, Responsive Care Centers are designed to mitigate disease spread, preventing epidemics from becoming pandemics that, as we know by now, can bring human activity to a grinding stop.

The permanent installation on a roof between the industrial site Klingenberg and the nature reservoir Rummelsburger-Bucht serves as an elevated sundeck, allowing for unblocked views across the closed balustrade into the contrasting landscape. The galvanized steel-structure blends into the materials of modern roofsscapes with galvanized ventilators and lighting conductors. Integrated flowerpots with plants found on local wastelands puts one on the same level with the flora, like sitting in a dystopian park. 

Sited between the nature reserve of the Rummelsburger-Bucht and the still operating, industrial monument Klingenberg, the project examines the spatial potential of ultra-light moving elements in the context of open floor plans. In various applications, light, stretched fabrics and curtains were used to make space pockets in different scales, generating areas for different functions. 

The Antarctic Treaty of 1961 allows to visit the continent for research purposes only, which is why until today it has remained vastly untouched by civilization. Research, i.e. exploration of unknown territories is always a question of how well one is able to adapt to the conditions on the ground and advance further. Creating shelter from an absolute minimum of materials makes use of pragmatic technology while simultaneously appealing to one of the most primary instincts of man: satisfying his innate urge of discovery and settling on unspoiled land.

The project references the flat, horizontal tents of the Berbers, in which one moves bent over and sits on the floor. The hyperbolic geometry creates a series of spaces that, through the translucency of the surfaces, combine with the simple beauty of the environment and whose repetitive arrangement captures the adaptive patterns and ornaments that are omnipresent in the Arab world.

A pyramidal structure was constructed as part of the lecture series “vernacular 1:1” at the University of Arts, Berlin. In stark contrast to modern high-tech architecture, traditional or vernacular constructions stand for a site-specific and resource-conserving use of local materials. From these centuries-old techniques, contemporary approaches can be deduced and combined with modern methods to create new material systems. 

Regarding a possible future of increasing material efficiencies as a result of material shortages this spatial installation is a tessellated thicket. By reducing the material of each structural member to an absolute minimum, space is only defined by the increasing and decreasing density of material.  „Thicket“ also begs a comparison between our artificially contrived one and those found in nature as in: to be lost in a thicket, a kind of labyrinth.

Situated in the sandy dunes of the northern shore of Long Island, this private house  is a negotiation between aspects of landscape, view and enclosure. Two dug-in, and stepped linear building volumes are intersecting in a common, inhabitable stairwell which serves as a mediator between the upper, more public part and the lower, more private area. The volumes are rotated towards north east, for am light and the lower volume towards north-west for pm light.

Inspired by the history of the pavilion in the 20th century and from its own earlier prototypes, such as the “Loom Hyperbolic” installation for the Marrakech Biennale 2012 by Barkow Leibinger, a light glass and steel construction was designed for the garden of the villa. The main element of the building, which offers space for seven study rooms and a small kitchen, is a double-curved roof made of steel beams that seems to float above the rooms. The shape of the roof follows a regular geometry that produces four hyperbolic paraboloids from two-dimensionally offset and twisted straight lines.

This large hangar like building is part of a revitalization program for a disused airport in Long Island, New York which deals with the question of what kind of industrial production uses the still intact infrastructures such as runways and production halls in an appropriate, modern and sustainable way. Long Island is well known for tourism as a get-away from New York City. 

A prototype for a large span dome structure constructed of bend plywood. 

The Industrial City is a strategy for the integration of architecture and infrastructure. This project explores the potential of existing infrastructures in a changing post-industrial landscape (Port of Hamburg) through the implementation of a new form of large-scale industrial production. The thesis for this project is that the remains of heavy industry in the form of large-scale infrastructures in post-industrial landscapes (ports, canals, rails, etc.), as found in many Western metropolis, have the potential to move away from the progressive paradigm shift to adapt the heavy industry towards high-tech industry.

The Light-Installation is mimicking natural organizations of hierarchy and structure. By turning principles of energy harvesting inside out, the luminaire is artificial and technoid but is evoking feelings of beauty and vulnerability at the same time.

The Space-Frame series are furniture designs developed between 2008 and 2011, which are based on space-consuming structural elements (space-frame). The aim was to test architectural principles of scale, structure and production on a real object. Digital and manual techniques have been researched and developed in a series of prototypes. The resulting furniture was produced in small series with a network of workshops and distributed.

The Gallery Space was transformed by exploiting the very basic medias of architectural representation. A series of wallpapers with two dimensional patterns were firstly translated into a three-dimensional perspectival drawings to finally being realized as a physical ceiling piece.

The juxtaposition of these elements created an illusion which seamed to extend the gallery in all directions.