Architecture has emerged as the focal point of my artistic expression. I understand it - in a broader sense - as a spatial installation. The deliberately arranged building complex, open to experience, serves the following purposes:

• Inner peace and relaxation

• Critical reflection on reality as experienced

• Interpersonal contacts

To make for a direct experience of space, the subsequent realization of my models is part of my concept. At first sight, every project is an isolated architectural construction. Looking more closely, one recognizes that it is usable neither as a private dwelling nor as a commercial or public building. It is building conceived as a spatial installation.

Independently of institutions and religious sects, I would like to make projects come true and give many people the chance to meditate, reflect and meet others. I call the first two projects which I introduce to the public ‘Awakening’, ‘ New moon’ and ‘Eloquent Hand‘. At the edge the space - installations ‘Cocoon‘, ‘Last Ferry‘, ‘Judged‘ or ‘Peep Show‘ are still mentions, on which  I won't come in more exactly here. 

Project ‘Awakening’ draws a boundary-line between dreams and reality. It drives a wedge between everyday and unusual experiences. Like an incurable virus, it infects me and never leaves me, until I recognize that there is no remedy, only coexistence. It helps me reach the conclusion that the world in which I have moved about with the confidence of a sleepwalker exists only in my mind. The awareness of the limits of the world I experience is the strength which drives me forward.

The new moon changes darkness into light and light into darkness, and it shines into the hidden nooks of things and relations. In the light of the "new moon", I see with bare clear eyes the true face of my other identity, which during the day is concealed behind the details and hectic rush of daily existence. A face which is pursued by projections. Projections which seek to corner me with reproaches. In my other identity, my personal fears take on a new dimension. The reproaches which have gnawed away at my entrails lose their meaning.

I share unexpectedly, with others, who have little, the personal happiness I have striven and worked hard for. The harmony and security in the relation I have longed for reveal true character as fragile. It bursts fast like a soap-bubble if I try to hold it tight. During the day, fragments remain of beautiful dreams in which I have experienced unusual scopes of action. In pictures I try to describe it and I want to give it concrete form as a space - installation some day.

‘Eloquent Hand‘ is my for the time being last project in the series of my models of protocol layers. The single building sections by ‘eloquent Hand‘, whose glass dome like a magical eye appears, concern a central building like a snail-shell. Already in my childhood and youth I experienced the dome of my church for God as the eye, which sees everything. Today I know, it has been my idea of a divine eye. This eye sees respectfully and deep respect commanding on means deeds and thoughts down.

I put under this imaginary eye the criticism. Under this glass dome eye is a lecture room, which invites the observer of my work to a critical dialog with my artistic conception. Of course the opinions of the visitors on my architectural conception part far during the dialog. The judgments hand of distant, disconcerted about individual, homespun till futuristic, modern.

‘Eloquent Hand‘ is an outline from one hand and doesn't lift up any last validity claim. On the contrary for me it is a model, this like many others will disappear in the drawer again, similarly as the fantastic outlines of the baroques graphic artists Giovanni Battista Piranesi (on the left) or the renaissance's draughtsman Leonardo Da Vinci (below) at her time.

My hand ‘speaks‘ a very individual concept, which has to be put in order in no common architectural concept. It is a concept, which has developed by my personal room experience. My room experience is characterized by my life-story. I have gone by the architecture rooms like by my life-story. A brief impression of a room, of my life, which I can let off without repentance and without melancholy, now stays back.