[installation view: insede the „Großherzögliche Grabkapelle Karlsruhe“,  Schloßpark, Karlsruhe, 2005 // photography published in „Munitionsfabrik“, HfG Karlsruhe, 2005]

site-specific installation
Großherzogliche Grabkapelle Karlsruhe

scaffolding, machine unit
model with metal bars (welded), spot lights

Equipment - Megaforce Veranstaltugstechnik GmbH
Host & Support - Vermögen und Bau Baden-Württemberg 
Amt Karlsruhe, HfG Karlsruhe
Photography - Martin Lorenz, Herbert Boswank and Dina Boswank
Additional Funding - German-French Youth Organisation / Dt.-Frz. Jugendwerk
Thanks to - Mark Liese, Christoph Heckner, Martin Henning, Annabel Lange, Boris Burckhardt, Hr. Bohnacker

The installation is based on a general research interest in churches, that aren‘t in use anymore and therefore remain contested by various idealisms surrounding their reconstruction. The Frauenkirche in Dresden is a well-known example. Every detail is a copy having been finely rebuilt and many questions about the relevance and meaning of the new building were raised. Through a strong media presence of the first attempts to call out for a reconstruction of the church within the European public realm, enormous amounts of money and people gathered up to manifest the reconstruction. It was meant to become a symbol against the senseless destruction of the 2nd world war as well as a symbol for the civic responsibilities of todays city‘s inhabitants.  <Hilf mit!> (Help!) was the headline of the poster campaign.

Truly fascinated by those discussions I started to collect photographs of the huge scaffoldings and put an eye on some old hand-drawn floor plans of the formerly baroque church. It was quite interesting to watch the overall working process at the church - from collecting the old black sand stones and categorizing each of them in metal shelves to re-mounting them, high up a the correct positions. For many months, the site was hidden after big metal walls. These structural walls appeared to the outside / the urban surrounding as vertically erected floor plans of the old church, cryptically labeled with numbers and letters as signifieres for a certain row, height and placement.

All those assembled impressions and materials were leading to the aesthetic concept of turning the perspective itself, its very material components and objects by reducing the reconstructional attempts to putting up a visually enabling installation inside a church. It should utilize the abstraction of the old floor plans as a blueprint. It should also use the metal patterns as a visual illusion through which to reimagine the surrounding building.

In late 2004, during my studies at HfG Karlsruhe, I discovered the old church of the Grand Dukes in Karlsruhe, where I was able to realize this project. 
In the floor plan of this chapel the hexagon is the dominant geometrical form. Through overlaying, overlapping and graphically understanding the hexagons in a certain manner, an illusionistic pattern of cubes can appear. A real, architectural pattern as well as a fantastic, mindful one, as the installation is hanging it 18 m high in the cuppola of the church without touching the ground but made out of a scaffolding.

[I constructed this pattern with scaffoldings, cross-bars and 2 motorized chain blocks. 
It was hanging in the middle of the church, 18 m high from the cupola to the ground.]