Polylemma (English edition)

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Polylemma

Berlin

Raumlabor
Andrea Hofmann
Axel Timm
Benjamin Foerster-Baldenius
Christof Mayer
Florian Stirnemann
Francesco Apuzzo
Frauke Gerstenberg
Jan Liesegang
Markus Bader
Matthias Rick (†)
Including fifty Meta Comments by
Christopher Dell

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Almost everyone
Adélaide Ragot
Adolfo Del Valle Neira
Adrian Pöllinger
Ágnes László
Alaa Tellawi
Albert Tschechne
Alexa Szekeres
Alice Baseian
Alice Hallynck
Aliénor Dauchez
Alina Clavuot
Aline Walther
Alizée Serazin
Amelie Schindler
Ana Mendez
Andine Mosa
Andreas Krauth
Andrew Plucinski
Anika Neubauer
Anna Abelló
Anna Derriks
Anna Foerster-
Baldenius
Anna Francesca Triboli
Anna Hastings
Anna Katharina
Laggner
Anna Kokalanova
Anna Lafite
Anna Lou Gerstenberg
Anna Modin
Anna Pape
Anna Quintana
Anna Wulf
Annabelle Dorn
Annamaria Piccinini
Anne Kiefer
Anne Schmidt
Anne Steffen
Anne-Claire Deville
Anne-Laure Mellier
Antonello Prezioso
Antonia Dika
Antonia Maisch
Antonia Schlaich
Ariel Curtelin
Armin Fuchs
Ashmi Mridul
Ayse Hicsasmaz-Heitele
Benjamin Frick
Berk Asal
Britta Sänger
Bruno Gonçalves
Camille Gregoire
Camille Lemeunier
Camilo Giribas
Carl Fuchs
Carla Kienz
Carmen Rubio Garcia
Carmen Staiano
Caro Nagel
Cécile Oberkampf
Charlotte Foerster-
Baldenius
Chloé Detchart
Chloé Francou
Chloé Mas
Chris Lewis
Christian Dascheck
Christian Dragnea
Christian Göthner
Christian Hennemann
Christian Tonko
Christiane Elle
Christina Liesegang
Christine Bock
Christof Bedall
Christoph Franz
Christoph Panek
Christopher Sejer
Fischlein
Claire Gaudron
Claire Mothais
Cora Hegewald
Corinne Vial
Cristina Antonelli
Cristina Gamboa
Dan Dorocic
Daniel Vetterli
David Lorenzo
Cardenas
David Presley Moritz
Desislava Petkova
Diana Dierking
Diana Levin
Dominique Cisielsky
Dunja Predić
Eduardo da Conceição
Eleanor Rachel Brooke
Elena Krämer
Elena Tonini
Elias Eichhorn
Elisabeth Enke
Elisabeth Haentjes
Elisabeth Weiler
Elke Scheffers
Emilie Le Cam
Esther Bonneau
Esther Häring
Fabian Jaggi
Fabien Bidaut
Fanny Benguigui
Federica Menin
Federica Teti
Felix Wierschbitzki
Florian Bosc Malvergne
Florian Machner
Franz Siebler
Franziska Muehlbauer
Frederik Kunkel
Gary Hurst
Giorgia Floro
Gonzague Lacombe
Gözde Şarlak-Krämer
Gracie Grew
Gregor Siems
Gudrun Barenbrock
Hannah Lu Verse
Hannah Müller
Hannes Pahl
Heike Pauketat
Heinrich Altenmüller
Ida Sandstrom
Ida Slettvold
Ilaria Chiusolo
Ilkin Akpinar
Inari Virkkala
Ingo Roth
Irene Bittner
Irina Jurasic
Iris Scherer
Isabel Knuth
Isabell Schöllhammer
Ivan Gugliandolo
Jan Schlake
Jana Gunstheimer
Jeanette Kunsmann
Jeanne Astrup-
Chauvaux
Jeannette Merker
Jia Gu
Joakim Nyström
Johanna Götz
Johanna Moser
Johannes Henschel
Jonas Haala
Jonas Högner
Jonas Johnke
Jonas Klaassen
Jordan Coquart
Jörg Bodemann
Josephine Ziebarth
Julia Klauer
Julia Rueckeis
Julia Schreiner
Juliane Schupp
Julie Weideli
Julius Walde
Kahina Djahnine
Kai Berthold
Karoline Neumeyer
Kate Milligan
Katerina Videnova
Katharina Rohde
Katharina Spagl
Katherine Ball
Katja Szymczak
Katrin Murbach
Kim-Fabian von
Dall’Armi
Kipras Kazlauskas
Kira Kohnen
Lasse Skafte
Laura Bertelt
Laura Maria Hoepfner
Laura Valverde
Laura Zachmann
Laure Severac
Laureen Hünig
Laurentiu Giogu
Lena Fischer
Leonard Börger
Leonie Steudle
Licia Soldavini
Lilli Unger
Lisa Garner
Lisa Maria Zeller
Lise Koefoed Larsen
Livia Eggler
Lorenz Kuschnig
Louise Nguyen
Luc Knoedler
Luca Marinelli
Luca Timm
Lucas Fink
Lucia Pasquali
Lucie Bellenger
Lucy Begg
Lucyle Wagner
Luíza Pereira
Luka Marinello
Luka Murovec
Lukas Hamilcaro
Lukas Lendzinski
Luna Catteeuw
Maik Ronz
Maike Wittenberg
Maja Wendel
Malin Mohr
Malte Licht
Manfred Eccli
Manon Moyart
Manuel Rauwolf
Marcel Arndt
Maria Garcia Perez
Maria João Vicente
Mariana Marques
da Silva
Marie Dewey
Marie-Katrin Turgetto
Marina Urosevic
Marion Kliesch
Marion Mannhold
Marius Busch
Marius Gantert
Martha Pozo
Martin Kalina
Martin Kaschub
Martina Bloom
Masayoshi Waku
Mascha Fehse
Mathilde Bonnet
Matteo Carli
Matyas Cigler
Max Kessler
May-Britt Franzen
Meike Wittenberg
Mélanie Boussière
Merve Şimşek
Michael Fuchs
Michael Meier
Michelle Hagenauer
Mikuláš Novotný
Miriam Kassens
Monica Lamela
Blazquez
Monika Römer
Monnier Ostermair
Moritz Wermelskirch
Nadine Stecklina
Nancy Naser al Deen
Naoya Yoshikawa
Nathalie Denstorff
Nelli Rehberger
Nick Förster
Nick Green
Nicole Timm
Nikke Brock
Nils-Thore Grundke
Nina Gernes
Nina Peters
Noa Haller
Noa Timm
Noé Herrli
Nora Schmitt
Nuria Keeve
Olga Maria Hungar
Olof Duus
Pastor Leumund
Patricia Bachmayer
Paul Zöll
Paula Hentschel
Paula Strunden
Pedro Cavaco Leitão
Philipp Bertlein
Pola Buske
Rainer Kuch
Rapahaela Sacher
Raquel Gómez Delgado
Rasmus Romme
Brick Maabjerg
Reinder Bakker
Reto Keller
Roman Karrer
Roman Piontkowski
Ronja Norrelgen
Rosario Talevi
Rose Henry
Ruben der Kinderen
Ryan Kelso Lewis
Sabina Barcucci
Sabine Zahn
Salvatorina Rassu
Sam Boche
Samuel Dias Carvalho
Samuel Perea
Sara Gomez
Sarah Bovelett
Sebastian Kunath
Sebastian Latz
Sebastian Strombach
Serena Abbondanza
Servane Ardeois
Severyn Romanskyy
Silvia Szczutowski
Simone Harbert
Sophia Sundqvist
Sophie Branz
Stefan Klopfer
Stefania Tsigkouni
Stefano Ragazzo
Steffen Suhr
Steffi Krämer
Steffi Weller
Stephan Henrich
Susanne Augustin
Susanne Lachmayer
Suzana Cosic
Suzanne Labourie
Sven Heier
Tayma Abuhakmeh
Teresa Huppertz
Theo Göken
Thomas Eder
Thomas Lillevang
Thomas Neher
Thomas Peterman
Thomas Quack
Thomas Rustemeyer
Tibor Bartholomä
Tilli Sträb
Tim Maassen
Timo Luitz
Tobias Gellert
Tobias Michnik
Todosch Schlopsnies
Tom Meiser
Tomma Suki
Hinrichsen
Trude Een Eide
Ulrike Wetzel
Valentina Fysiuk
Verena Ries
Verena Schönhart
Victor-Amé Navarro
Violeta Burckhardt
Razeto
Winnie Westerlund
Xuehan Li
Yü Chen
Yu-Chin Ku
Yunting Zang
Yvonne Harder
Zachi Raz-el
14

Matthias Rick
February 20, 2012
Nacionalinė dailės galerija,
Vilnius, Lithuania
Good evening everyone, it is a great
pleasure for me to be in Vilnius. It is
the first time in my life and today is
also the first time in my life that I have
experienced minus 30 degrees. In Berlin we have minus 16 degrees at the
moment. So, let’s start. Before I forget, I have to introduce our own book:
It is called acting in public and we published it in 2008. This was our first
book and in it we collected our first works and it is also a little bit about
where we are coming from, why we are working and how we are working,
and the things I will show today are mostly not in this book, so it will be a
surprise for you if you have read this book—there will be something new.
At the moment, we are thinking about a new book because we’ve had a lot of
new experiences with our works.
I always talk about we—“we” means eight architects 1 who are based in
Berlin. We are working in a kind of collective way. We are a group called
raumlabor, which means “space laboratory” or “space lab” in English. We
understand our name as a program. We see architecture as a tool. We work
in the fields of architecture, urbanism, and art and we like to experiment
with the topic of architecture. We try to discover the borders. We are interdisciplinary.
We work in different groups, in smaller units depending
on the task, also with different specialists like scientists or sociologists, or
carpenters, or also citizens, as you will see later.
And we like to work in the city because we see the city as the body, as an
organism, not an image. It is something where we also see our responsibility
as architects to re-ask and improve how we would like to live together in
the future. We don’t see our profession as a problem-solving one. We like to
make problems because making problems generates processes and the city
means process. Every city has its own identity, its own conditions. We like
to work with these conditions.
If you have questions, don’t hesitate to raise your hand and ask—I like
discussions; you can interrupt me if you don’t understand something.
1 By now we are nine.
Context
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Fall 1999. A group that sometimes meets in a storefront on Almstadtstraße in Mitte,
Berlin is looking for a name for itself to take part in a competition for which
they cannot agree on a single idea. The three scenarios that raumlaborberlin submits
will remain important motifs for them: the city as a playground, the mountain
and the urban forest as a space to live, the experimental Urban Practice.
Big Bang Berlin 1999
16

Bookwalk 3—Take 1
raumlabor with Herman Verkerk 1
November 18, 2019, 11:05 a.m.
Storage space in Neukölln, Berlin
Benni 2 We are standing in the raumlabor
storage on Rollbergstraße. Frauke 3 I
have not been here in a while.
Axel 4 It’s a bit smelly. Herman What
does it say on that sign? Markus 5 That we’re using a storage space
that costs money, and if we want to keep using it, we have to
call them. Christof 6 Are we still paying? Andrea 7 Who would know?
Francesco? Francesco 8 I recently asked about a possible extension.
It will probably be okay until March. The forklift will stay too.
I was afraid we would have to climb up there and form a human
chain. Florian 9 So our stuff can stay here until March, and then we’ve
got to move out? That is something we’re discussing at raumlabor at
the moment. Where do we put all the stuff our work generates? Herman It
seems fairly manageable to me. Christof We also have other spaces
across town though. Markus Yes, if you think about it, raumlabor has
been around for over twenty years. In the beginning, we stored our
project remains at Stolzenhagen. 10 Not a lot survived. The deal was
that we could store our things for free, but we never used anything so
they either used them for the co-op or they threw them away. Benni It
was kept in an open-sided barn, where anyone could go in and take
something, but that never happened. After a couple of years, they
figured we were never coming back, so they started using the things
for this and that. A few pieces from Extrahaus and from Das System
can still be admired today as the back wall of a cabinet. 11 Jan 12 And
some of it we used ourselves, in our experimental building workshop.
I don’t remember, when was that? Markus What I was trying to say is
that we have had various storage sites. This is the third one. We
threw a lot away ourselves. It’s an ongoing debate: Does it make sense
to save anything? What’s the value of storing these items? What’s
their value? Are these resources? Artifacts? Artworks? Christof That’s
the difference between a storage space and an archive. Storage
is something active. For the things we want to use again, or just
put away for now, like the Küchenmonument. 13 Leftover materials.
An archive is for more long-term storage. Herman Who does the archiving?
Benni What do you mean? All of us, of course! Francesco That’s
where our self-image gets interesting. Are we artists, architects,
craftspeople? Artists archive everything. We generally do the opposite.
We keep as little as possible. Unlike artists, we don’t sell
anything. We don’t have agents. Christof We are also talking about this
because by next year we will have some aircraft parts to store. 14
What will we do with those? Benni That remains to be seen. But one
thing is for sure: everything here is getting more valuable. Rent
for the storage is 250 euros per month. That’s 3,000 a year, and
1 Herman Verkerk motivated us to make this fourth
attempt at a book about our practice with him. Helping
us choose the topics, sort them, and devise the structure.
He talked with us for days and patiently chaperoned
the creation of the Polylemma book for more than three
years. Thank you, thank you, thank you, Herman!
2 Benjamin Foerster-Baldenius, on p. 120 in a bathrobe.
3 Frauke Gerstenberg, on p. 285 with a lion.
4 Axel Timm is smoking on p. 273.
5 Markus Bader, on p. 67 with a bone.
6 Christof Mayer, on p. 328 sporting a grey beard.
7 Andrea Hofmann in stripes on p. 348.
8 Francesco Apuzzo, on p. 448 wearing ear protectors.
9 Florian Stirnemann, on p. 300 behind a red box.
10 At Gut Stolzenhagen (an old manor estate), aka Ponderosa,
Matthias developed the idea of the Oder Art Lab
with Jörg Bodemann in 2002; this is also where Jan did
his first experimental building workshop in 2006
and Axel rebuilt a lot of old houses over the last couple of
years. Starting in 2005, this is where we stored Gasthof
Bergkristall, Extrahaus, the remains of Dolmusch
X-press (all not in this book), and lots more, until we
realized that a storage space two hours from Berlin made
very little sense. But now our storage is back there again.
11 Extrahaus (not in this book) was an installation for the
Mind The Gap exhibition at Aedes Berlin, 2005. Das
System (not in this book) was an exhibition at Kunstverein
Heidelberg and the impetus for the book acting in public,
Heidelberg 2008.
12 Jan Liesegang, on p. 224 with a chair.
13 Das Küchenmonument (Kitchen Monument), 2006–now,
see p. 27.
14 Christof is referring to a sawed up Transall, part of the
project Third Space, Bochum 2018–2021, see p. 449. It is
still in Kultur Ruhr’s storage warehouse in Gelsenkirchen,
Bochum and has to move out soon ...
Bookwalk 3—Take 1 Berlin 2019
17

30,000 over ten years … Markus [Describing shelves] At the very top
there are these perilous towers made up of models piled five high.
On the third shelf: the most valuable items. 15 Kitchen things, truck
things, 16 rubber mats, Matthias’s 17 Balla Balla box 18 for the cargo
bike (the bike itself was stolen), gray boxes which probably hold
the templates for the Küchenmonument, bubbles, remnants of the
Metabolic Kitchen, 19 like the microwaves that are gradually being
distributed throughout Berlin. Frauke Projection screens from Plus
Ultra, 20 entrances from the Esslingen bubble, 21 various Weltausstellung
drawings. 22 Right? Francesco Barrel tools from Nuremberg. 23 The
barrels were later reused in a number of places. Mostly at Prinzessinnengärten
in Berlin, 24 or for our ovens. 25 Templates for chairs, 26
parts from Transmediale. 27 But where’s Bye Bye Utopia? 28 Andrea That’s
now at the Haus der Statistik, 29 after its recent exhibition at the
ZKR. 30 Benni I thought it would be good to begin today’s bookwalk at
our storage space, because it’s a constant topic of discussion for
us. It embodies what we’ve already done, and what we still hope to
do. Storage is simultaneously the past and the future. Markus It’s
all part of the discussion: “What is actually valuable?” If you tie
everything solely to economic value, like when we discussed the
rent, then soon everything appears worthless. But after twenty years
of raumlabor, you do wonder: “What will we leave behind? Are there
particular traces which we want to leave behind? How is everything
connected to these things?” These things are tied to a lot of memories
and moments that we created with a lot of time and effort, and
love. That can’t be represented with a price tag. Frauke Sometimes you
think a project will continue, but later you realize it’s finished.
It turns out it was only interesting for that one place. Herman Is
there any documentation of this storage? Frauke Yes. Last time we
were here we took pictures and made a list. That’s in the raumlabor
Dropbox. Benni Sometimes we surprise each other. [Recording stops. We
start walking.] 31
15 Models from Jan’s and Christoph’s graduate diploma, Die
große Weltausstellung 2012—The World’s Not Fair, see
p. 376 for the Chennai arched roof, of Haus der Kulturen
der Welt (an uncompleted list of projects we did under
the roof: Transmediale, 2010–2020, see p. 250 Pictoplasma,
not in this book, taz.lab, Schools of Tomorrow,
see p. 255 The Metabolic Kitchen) , see p. 192 Allmänna
Badet, see p. 123 and many more.
16 Truck = The Knot, 2010–2021, see p. 25.
17 Matthias Rick sadly died in 2012. He is in the middle on
p. 425.
18 Balla Balla is a project with an inflatable room that can
be transported by cargo bike, complete with electric
fans, library, and bar, first built for a 2008 event with
La Casa Encendida in Madrid; the bubble is still in
storage, see p. 30.
19 Opening performance for The Anthropocene at Haus der
Kulturen der Welt 2013, see p. 192.
20 +ultra: knowledge & gestaltung, an exhibition at Berlin’s
Martin Gropius Bau, 2016 (not in this book).
21 For the Good Space exhibition at Villa Merkel in Esslingen,
2016 (not in this book).
22 For Die große Weltausstellung 2012—The World’s Not
Fair on Tempelhofer Feld, we worked with Erik Göngrich
to create a drawing that assembles all the greatest
architectural works of all the world fairs that have ever
been held, bringing them to Tempelhofer Feld; this is
also where the future Floating University, 2018–now,
appeared for the first time, see p. 296.
23 Drilling template to drill the 500 barrels for Temple of
No Shopping in front of the Neues Museum Nürnberg,
2016, see p. 408.
24 While not quite the mother of all urban gardening
projects, Berlin’s Prinzessinnengärten has elevated
gardening to a multidimensional form of Urban Practice.
25 For example, Saale Onsen, 2017, see p. 120.
26 First produced for The Generator//Sedia Veneziana at
the 2010 Venice Biennale, see p. 230.
27 raumlabor created the exhibition architecture for
Transmediale from 2010 to 2020, see p. 250.
28 The words BYE BYE UTOPIA were made from old doors
for an exhibition of the same name at Kunsthaus Bregenz
in 2010 and have been in storage ever since, see p. 84.
29 We currently also have a storage space at Haus der
Statistik in Berlin, 2015–now, see p. 338.
30 ZKR—Zentrum für Kunst und öffentlichen Raum (The
Centre for Art and Public Space). For the past few years,
the ZKR has been directed by Katja Aßmann, with
whom we created many projects in the Ruhr region
(see p. 328). The words were shown there in 2017 at
the fantastic Gordon Matta-Clark exhibition Zwischen
Räumen. The missing artwork Remote Control, a
5×10-meter portrait of Lakshmi Mittal from 2005,
reemerged at Haus der Statistik in 2021. Erik Goengrich
had used it as winter weather protection for his Studiolo.
So is it a resource or art? Or an art-ificial roof for another
artwork? Or artistic solidarity?
31 Located on Rollbergstraße in Berlin’s Neukölln district,
the storage space we visited for this conversation
was finally emptied on January 7, 2022, and the building
slated for demolition—which is no real loss. But what
does the disappearance of urban storage spaces mean?
We want to store things as part of our circular economy.
But now, we have an out-of-town storage space which is
far away again. And that’s just silly.
Bookwalk 3–Take 1 Berlin 2019
18

Accumulation is primarily a spatial concept. It means concentration. The connection between history
and accumulation points to more than just the spatial aspect of time. Conversely, it also points out
that the question of accumulation is always a question of time. Regarding capital, this means that it
must move through time in order to accumulate. One could have left it at that, with the assertion
that accumulation is a matter of space. Like with Scrooge McDuck, whose money vault becomes ever
fuller. But this is not the case. The appearance of the concept of accumulation in the nineteenth
century coincides with the invention and rise of historical science. It is no coincidence that Marx wrote
the Critique of Political Economy at a time when history itself played a significant role.
19

Future One Murau, Austria 2012
Pose the big question about the future (while actually meaning the present)
in a small Austrian city with a big art exhibition. → Created for the Regionale
in Murau.
86

Every attempt to take images of the city and meld them into the world of the city is a truncation,
just like every attempt to view the city as an image: the image and the city are not identical,
with the former only a narrow aspect of the latter. This has consequences for spatial planning policy,
because the latter is also shaped by the slides with which one discusses the regulation of space.
The city is ruled with the slides through which the city is conceptualized.
87

Markus Bader
June 2012
Murau, Austria
During my visit to Murau, I was looking
for postcard-perfect landscapes.
Such an idyllically situated small town
has something that other places don’t: expansive views showing the town in
relation to the landscape. It was on this quest that I hiked and took in all the
surrounding hills and mountains. Often enough, the view was obscured by
the thing that almost completely surrounds Murau: the forest. Nonetheless
I was able to discover some viewpoints. Coming from St. Lambrecht, there
is a pretty stop on the road. Down in the valley too, on the bank of the Mur,
facing the town center and next to the traditional garment shop, there is
another such viewpoint. From there, the small town’s highlights fall into a
single frame: old houses in a historic composition, with a church above and
a castle a little higher.
But this postcard view does not automatically reveal itself as a self-contained
experience to the tourist. It’s an unspoken agreement between the
postcard sender and the postcard producer that a certain pictorial perfection
has to be achieved on this small rectangle of card. How else can this
distant greeting serve as evidence that the travel destination was chosen
wisely, and that the anticipated beauty and relaxation were actually found
there? Postcards are therefore tools of a constructed travel identity. They
reproduce an idealized image of their subject matter as a matter of course.
Blemishes are hidden or photographically erased, colors are heightened, a
gaze is constructed. The postcard’s view is usually focused on the locality’s
historical aspect. Modern structures rarely make it into the picture; more
often it is historic buildings and monuments. What kind of journey are we
documenting with such postcards? Was I visiting the nineteenth century?
Did I come to experience a past that was better, one that allowed me to shake
off the cumbersome complexity of today? This is exactly what many postcard
images would have you believe.
I myself do the same during a mountain holiday: I buy a postcard of the
beautifully snowy little village that stretches so gently up the slope. On the
back, I write a couple of friendly lines before writing the address, then I flip
the card and draw an X next to our house. I get goosebumps every time the
pen digs into the glossy front, leaving behind its colored lines. The resulting
X is always frustratingly imperfect. The lines are patchy and crooked,
and the postcard’s beautiful integrity is marred. It does not want me there.
It does not want to admit the present.
Future One Murau, Austria 2012
88

By looking at
Archigram’s
work, you should
learn to think as
we think, not to
do as we did. It’s
the thinking
that’s important.
Dennis Crompton
Dennis Crompton (*1935), architect, founded the group
Archigram in 1960—together with Michael Webb,
Warren Chalk, Ron Herron, and Peter Cook. The work of
Archigram has long been one of our main influences. In
2008, when we were allowed to design the exhibition
Megastructure Reloaded created by Markus Richter and
Sabina van der Ley in collaboration with Dennis
Crompton, the idea for the Stick on City, see p. 90, grew
out of many discussions between Dennis and us.
London 2008
89

90

91

92

93

Look for seating that can both facilitate listening and shape the space for a large
digital festival. Find what you’re looking for in South Africa and order a container
of colorful Monobloc chairs. Find yourself still sitting on them ten years
later. → Ordered for re:publica 2012.
re:publica Berlin 2012
226

Purchase contract with the company Chemcraft for 1800 Alpine Chairs;
transport: container, ship, truck.
227

228

Material: disused stadium seat shell, approx. 2.4 m of 8 mm tubular steel,
30 × 4 m of flat steel, 4 screws; tools: bending template, flex, welding machine,
protective clothing, drill press → Developed at the project Third Space,
see p. 449
Third Space Chair Bochum, Germany 2018
229

Sedia Veneziana Venice, Italy 2010 230

Material: planks, 58 screws; tools: crosscut saw, cordless screwdriver, assembly
template → Created at the project The Generator // Sedia Veneziana.
Sedia Veneziana Venice, Italy 2010
231

470

471

Colophon
raumlaborberlin (ed.):
Polylemma
Contributing editors
Andrea Hofmann
Axel Timm
Benjamin
Foerster-Baldenius
Christof Mayer
Florian Stirnemann
Francesco Apuzzo
Frauke Gerstenberg
Jan Liesegang
Markus Bader
Editorial team
Benjamin Foerster-
Baldenius
(Text)
Florian Stirnemann
(Images)
with
Anna Foerster- Baldenius
Hannah Lu Verse
and
Antonia Schlaich
Agnes Laszlo
Chaperone
Herman Verkerk
Cover
Ethel Baraona Pohl,
project Urban School
Ruhr
Projects Photo Series
1–3 Monuments,
4–5, 12–13 La Bulle d’air,
6–7 Küchenmonument,
8 Spacebuster,
470–471 Forms of Turmoil,
474–475, 478–480
Soft Democracies,
476–477 Working on
Common Ground
Translation
Michael Thomas Taylor
Wayne Yung
Joanna Zajac-Heinken
Thomas Spray
Anna Foerster-Baldenius
Copy editing (English)
Anna Foerster-Baldenius
Thomas Spray
Michael Thomas Taylor
Vanessa Guinen-Bank
Copy editing (German)
Sandra Leitte
Hannah Lu Verse
Design
Bonbon, Zurich
Typeface
Ivory AS
by Aurèle Sack;
Lettera Mono LL
by Kobi Benezri
for Lineto
Paper
Arena White Rough
GardaGloss
Lithography
Bild1Druck
Printing and binding
Graspo Cz, a.s.
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ISBN 978-3-86859-738-7
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ISBN 978-3-86859-672-4
(German edition)
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