Mark Mückenheim
Omar Mansour
Sandra Kauls
Mark Mückenheim,
Omar Mansour, Sandra Kauls, Sima Rustom

From the jury protocol: “The Project dedicates itself to the valediction, the entombment, and the remembrance. Central to the imaginative concept is the dialogue between the bereaved and the decedents. Better: the illusion of the dialogue. Thereby, the process of parting and remembrance is understood as a dynamic event and thus implemented visually, as a meta-form on a so-far hostile area, the Wegedreieck between train tracks and two state highways. Even in this congested area, the design is capable of generating a reassuring and under certain circumstances contemplative atmosphere. The visionary design is complexly applied: Before the sepulture in oil takes place, the body, as well as information on the life of the deceased, is scanned and archived. The meaning of the architecture stands aside in a narrower sense: A formerly dead space is now dominated through a lively and interactive installation represented in a field of poles, which is the medium for the perceived dialogue with the deceased. Based on the latest possibilities of information technologies, the concept focuses on communication: Direct response and accidental dialogue with the surroundings are possible, respectively almost inevitable, thus delicately programmed into the design. The deceased can apparently be addressed via SMS or email. People using the pedestrian bridge or one’s own movement within the field of poles results in individually calculated light effects, sounds, and movement of the poles, which abstractly represent the character of the deceased. Cars and trains, which are passing the place, also cause a reaction in the field, which enforces the relation to the site. The high-tech vision uses contemporary media, brings the dead urban space in between and over the most important traffic axes of Stuttgart to live and may fulfill the necessities of certain target groups. The concept will expedite the dialogue between the dichotomy of individuality and public installation it is emotional and stimulating even for the uninvolved.”