Karin Sander's work reveals form present but unseen—exposing, with exquisite subtlety, the sculpture inherent in her extant subjects. Pieces such as highly polished chicken eggs, reflecting wallpieces, and machine-made precision miniature replicas of people, invite us to shift our perspective in the way we see things, both inside and outside the gallery setting. For Sander's solo show at i8, the visitors are asked to document their attendance with their signatures - creating the exhibition at the same time.

Im gelben Mantel steht sie da - mitten im Raum - auf einem Sockel den Blick in den leeren Altarraum gerichtet: Karin Sander, die Künstlerin selbst, in Form eines ihrer Bodyscans. Acht Wochen wird sie mitten in der der Kunst-Station stehen und die ganze Aufmerksamkeit aus der Weite des Raumes auf sich ziehen. Alleine, ganz für sich, und doch immer gemeinsam mit den Besuchern. Ihre Blickrichtung folgt der Architektur nach vorne, zum Altar hin: fragend, interessiert und alles offen haltend steht sie da. Die Kirche Sankt Peter ist kein Ausstellungsraum, sondern heiliger Ort der Gemeinde; mit Messen, Kindergottesdiensten, Taufen, Hochzeiten, Beerdigungen. Die Skulptur, der Bodyscan, nimmt wie die Gemeinde an allen Ereignissen und Zeremonien in der Kirche teil. Sie schaut nach vorne und wird so vom betrachteten Objekt gleichermaßen selbst zum Betrachter. Gewöhnlich zieht ein Kunstwerk unsere Blicke an sich. Karin Sander lenkt diesen Blick weiter. Die Künstlerin schenkt mit ihrem Werk der Kunst-Station nichts anderes als ihre eigene Aufmerksamkeit.
Karin Sander nimmt Maß: Ihre Werke sind eine Spurensuche und visuelle Dokumentation, ein Abtasten, Ausmessen und Darstellen. Mit ihren Reisebildern zeichnet sie den Weg nach und dokumentiert diesen durch die sichtbaren Spuren, die der Transport auf der Leinwand hinterlässt. Bespannte Keilrahmen, die an unterschiedlichen Orten ausgesetzt werden, visualisieren die Zeit und beschreiben die Stelle, an der dieses Bild gewesen ist. Mit ihren Bodyscans tastet sie die Besucher ab und formt sie zu monochromen, verkleinerten Figuren. Sie verwandelt die Menschen im Moment des Museumsbesuches in eine Skulptur. Der Besucher erlebt seine eigene Transformation zum Museumsobjekt. In Sankt Peter nimmt Karin Sander Maß an sich selbst. Die Figur von ihr als Künstlerin, zeigt die Schöpferin als Werk. Die beobachtende Haltung, das unkommentierte Dasein wiederum, suggeriert ein Abtasten, ein Aufnehmen und Beobachten der Umgebung: den Kirchenraum von Sankt Peter Köln.

Mathieu Copeland is the fourth guest curator invited by The David Roberts Art Foundation to be part of the Curators' Series. Following a desire to not fix in form an exhibition to be, Studies for an Exhibition brings together practices that explore the possibilities of immateriality and the temporal nature of an art object. The question of time and accumulation is adamant to an exhibition that considers a recycling of our current reality as the means to generate transitory new forms.

The exhibition features works and new commissions by Elena Bajo, Emma Bjornesparr, Julia Rometti and Victor Costales, Gustav Metzger, Roman Opalka, Karin Sander and Niele Toroni.

Mathieu Copeland has also edited a new publication, the third volume of his series entitled An Exhibition to Hear Read/Une Exposition à être lue. The publication features specially commissioned text based artworks by Robert Barry, Jarrod Fowler, Nicolas Garait, Karl Holmqvist, Bethan Huws, David Medalla, Yann Sérandour, Cally Spooner, and Sue Tompkins, which will be read out throughout the show.

Mathieu Copeland (b. 1977, lives in London) is an independent curator, writer and lecturer. Among other projects, he has co-curated the exhibition VOIDS, A Retrospective at the Centre Pompidou in Paris and at the Kunsthalle in Bern. In 2010, he curated The Continuous Exhibition (echo) at the CNEAI, and Une Exposition (du) Sensible (an exhibition of the sensitive) at the Synagogue de Delme.

Mailed Paintings - Without prior manipulation the primed store-bought canvases were mailed unwrapped to various locations. Their final destination until now is the gallery. Along the way their unprotected surfaces were covered by marks that visually transcribe the distance they traveled. The Mailed Paintings absorb the partina of their postal route. The monochromatic white surfaces act as self-writing diaries that record the journey of the work. The collected patina exaggerates and mirrors the effect of the passage of time on the surface of the painting and emphasis on the environment of the exhibition and the circumstances surrounding it. Thereby the artwork is constantly in the mode of being exhibited.

As our Guest: On Kawara (*1932)
Today Series - Rendered in simple white typography and in the spelling manner of the country where On Kawara finds himself travelling, the artist paints on a dark monochrome background the date that the work was created. The artist is always absent, only his works of art record his existence.
I Am Still Alive – From afar, On Kawara periodically sends these words through telegram to his friends. On his journeys the artist transcribes the instant of a frozen time-frame in his life through aesthetic objects. They may be read as the evidence of his own existence which abstract autobiographical details.

With loans from a German private collection (courtesy Konrad Fischer Galerie) and an Iselandic private collection.

For her solo show at Neuer Berliner Kunstverein, Sander has planned an intervention that takes up an everyday act and translates it to space as sculpture by using a banal and devalued material. Through the ceiling of the exhibition space, which is the floor of the n.b.k. officeshas had 30-centimeter-wide holes drilled in the places where usually the wastepaper baskets are located. The holes replace the wastepaper baskets, and visibly link administrative practice

With this intervention, Karin Sander not only shifts the perception of the institutional body itself, but also the perspective of visitors and n.b.k. employees alike. Karin Sander’s works emerge in the context of the location in question. She takes recourse to things already present in the system and that can turn the system against itself. The relations between inside and outside, between an institution and the city space are made legible and displayed in their ambivalence.

With this intervention, Karin Sander not only shifts the perception of the institutional body itself, but also the perspective of visitors and n.b.k. employees alike. Karin Sander’s works emerge in the context of the location in question. She takes recourse to things already present in the system and that can turn the system against itself. The relations between inside and outside, between an institution and the city space are made legible and displayed in their ambivalence.

(with Trisha Donnelly, Famed, Friederike Feldmann, Andrea Fraser, Peter Friedl, Ull Hohn, Karl Holmqvist, Louise Lawler, Kirsten Pieroth)

Giving a work a title that simultaneously claims its own absence is a much-loved artistic strategy. Untitled is the title which has been used most frequently in contemporary art since the 1970s.
Given the history of non-titles in the 20th century the question arises of how contemporary artists deploy titles that claim not to be titles. The exhibition UNTITLED (OHNE TITEL) addresses this question. The focus is on works that convert the paradoxical qualities of their titles into productive artistic strategies and tie them in to an analytical approach.

The works address the conditions and requirements for the artists' own respective artistic practice within the operating system which is art, the semantic elasticities of extending the title to cover the work and its context and finally also the strategically positioned voids relating to supposedly unambiguous political and cultural facts. In contrast to their historical precursors the works start out primarily from details and apparently marginal aspects, from which they then develop specific approaches to issues.

The artists of the exhibition use the reflexive deployment of their respective artistic media for an examination of social and cultural authorities in a way that is at once playful as well as questioning. The contradiction between designation and non-designation affords them an open space for their reactions, which are characterized by two tendencies. Titles such as Untitled or o.T. or Not yet titled are features of a an approach that rejects overhasty categorization and refers back to the work as such. Like a Möbius strip they move between a "both-and" mode of thought and play the hermeneutic ball back to the observer.
In his work titled What’s my name? Karl Holmqvist demonstrates this tendency by confronting the reader with a direct question which cannot be answered, thus heightening the contradiction between designation and non-designation. All the works in the exhibition alternate between a frankness positioned so as to make a point and an analytical stance towards social conventions in general and/or the art system in particular.
The exhibition also shows several series by Ull Hohn , an artist who died young after having devoted himself to questioning the paradigms of art history and who in the 1990s investigated the structures of "appropriation" and "institutional critique".

Karin Sander, Famed and Friederike Feldmann have each produced new works for the exhibition at NGBK.

Patina- oder Gebrauchsbilder nennt Karin Sander eine Werkgruppe, die seit 1990 entsteht. Dabei kehrt sie in listiger Weise den künstlerischen Prozess um. Indem die Werke im Grunde durch die Sammler entstehen, hinterfragt sie die Art und Weise, wie Kunst üblicherweise produziert, verkauft und aufbewahrt wird: ‹Die Gebrauchsbilder entstehen an dem Ort, an dem sie hängen. Die grundierten Bildträger werden ohne vorherige Manipulation an einen ausgesuchten Ort transportiert und verbleiben dort ungeschützt für einen zu bestimmenden Zeitraum. Sie sammeln die spezifische Patina ihres Ortes und bilden diesen ab.› (Karin Sander)

Im Zentrum des Schaffens der 1957 in Bensberg (D) geborenen Künstlerin stehen die Beziehungen zwischen Kunst, Sammlern und Museen. 1996 realisierte sie im Kunstmuseum St.Gallen ihre erste Einzelausstellung in einem Schweizer Museum.

Der Kontakt zur inzwischen weltweit bekannten Künstlerin ist nie abgebrochen. In einer gemeinsamen Aktion haben Vorstandsmitglieder des Kunstvereins St.Gallen 2004 eine Serie vorfabrizierter Leinwände erworben und diese im eigenen Heim, in Garagen, in Tomatenhäuschen oder Hundehütten platziert. Die Ausstellung bringt diese Bilder erstmals im Museum zusammen und präsentiert sie im Kontext der schweizweit einzigartigen Werkgruppe von Karin Sander im Kunstmuseum St.Gallen.

Kuratoren: Konrad Bitterli, Roland Wäspe

(with Matthew Brannon, Daniel Buren, Wade Guyton, Allan McCollum,
Philippe Parreno, Stephen Prina, Cheyney Thompson and Heimo Zobernig)

In 1951 Robert Rauschenberg made his white paintings which were called by his friend and contemporary John Cage "airports of the lights, shadow and particles" referencing the white surface's sensitivity to its surroundings. Through Cage's observation, the white painting acts much like a screen on to which a shadow, for example, could suddenly alter the perception of the art. Within that frame, the artwork's surface can only seemingly refer to itself and becomes transitory in meaning, letting both the environment and the viewer's perception dictate its reference point.

This exhibition brings together a group of contemporary artists whose practices are aligned with a keen sense of how a work of art both simultaneously contains and references information. The exhibition explores the point where the object and concept converge within a sparse or minimal field. With each artwork's bare aesthetics, meaning shifts depending upon the artist's intentions, the viewer's perception and participation, or the physical space's layout.

The gallery space itself parallels Cage's observation in that the seemingly austere placement diverges into multiple individual conceptual strategies. Attention is drawn to the question of site specificity by Daniel Buren's work and Stephen Prina 'system specific' practices that engage traditional concepts of site specificity together with institutional criticism. The object itself becomes the center of focus in Heimo Zobernig's primed white canvas, while Allan McCollum's multiple pieced 'surrogates' explore ideas of the unique object and that of the division of labor, and Wade Guyton's "Untitled" paintings of large X's printed upon white canvases act as empty ciphers and signifiers upon an already vanquished visual plane. Hovering just below the ceiling, Philippe Parreno's "Speech Bubbles" provide a proverbial empty depository for the individual voice of the viewer. The balloons create an idealistic installation for social dialogue, each object containing an individual voice in a group of shared interests. For these artists, reduction to the bare elements is not bound to the aesthetics of nothingness but rather becomes a vehicle to expand concept infinitely.

Launched to coincide with the museum’s reopening and set in the Labor, the new presentation space of the Department of Education, will be an exhibition series featuring contemporary artists who seek to come to terms with the museum context and with the role of the visitor. Exhibitions will choreograph the participatory interplay – even to the
point of role reversal – between beholder, work, and artist.

To kick off the series, Karin Sander transforms the Labor into a production site where the public itself become the
focus of attention. Produced by means of 3D imaging are full-scale plaster models of museum visitors. By selecting gesture, pose and accessories, visitors can shape these representations of their own figures. Using the body scans, which will be on display in the Labor, Sander not only renders the production process.

On the occasion of the museum's 50th anniversary, the Guggenheim has invited approximately 250 artists, architects, and designers to imagine their dream intervention in Frank Lloyd Wright’s rotunda. A salon-style installation of two-dimensional renderings of their visionary projects will emphasize the rich and diverse range of inspired proposals.

In its series of artist-curated shows, Temporäre Kunsthalle Berlin presents "Zeigen. An Audio Tour through Berlin" by Karin Sander, a project featuring works by more than 400 Berlin-based artists.Inside the Kunsthalle, visitors find only the names of the participating artists, attached to the wall on labels in the customary fashion. The works themselves remain invisible—at first glance, the room appears empty. Evading the usual exhibition format and the expectations associated with it, Karin Sander invited fellow artists to translate their own work into an acoustic piece, thus rendering it “visible”. The very different realizations—performed, sung, spoken, recited—can be accessed individually via an audio guide. For the audience, this opens up a level of perception which leads from the familiar visual approach to artworks towards an auditory, imaginative experience, offering scope for different mental visualizations.

Conceptual artist Karin Sander develops her works in dialog with the social and material background of existing situations, examining the complex relations between artwork, institution, and viewer. With Zeigen. An Audio Tour through Berlin, she has realized an exhibition project that brings together very different artistic positions and practices. Since 2003, Karin Sander has been working on an audio archive for which she invites artists to transpose their work into acoustic form. Individual contributions have already been presented in various exhibitions. At Temporäre Kunsthalle Berlin, she is bringing together a large number of statements for the first time, offering an unusual insight into the city’s current artistic production.

The exhibition will be accompanied by a publication and a limited edition.

Exhibition with Karin Sander and Ignasi Aballi curated by Maria de Corral und Dan Cameron

Provisions for the future
Curator: Isabel Carlos
Exhibition

Past of the coming days
Curator: Tarek Abou El Fetouh
Film & Performance

The architectural space of the exhibition room of the Museum gegenstandsfreier Kunst has been drawn or created by a rendering in its cubature. The work is to show the space of the gallery in its numbers and sign systems as written html-code. The whole form of the exhibition space as a xml-svg code on the walls shows the exact exhibition space, its volume, including doors and windows etc.
If one would take all the numbers and write them into the computer system, it would lead again to the exact drawing of the 3 dimensional space, the rendered image of the space.
The viewer can read the colored numbers or see them as patterns on the wall. He can read a coded language, that refers to the actual space, a drawing in the space which at the same time is a drawing of the space.

Our cities are constantly evolving. Their changing spaces reflect the shifting values of society – and so do their public artworks. Traditionally public art takes the form of weighty sculptures in bronze and stone. The artists in SCAPE 2008: Wandering Lines: Towards a New Culture of Space engage with public space very differently. Using everything from fluorescent lights to a fleet of bicycles, they weave their works into the broader fabric of the city and place them firmly within its dynamic systems.
To wander is to go off the official route and look for a fresh perspective on things. The twenty-five artists in this year’s SCAPE invite you to look for art in unexpected places. What you’ll find are fresh, sharp, witty and hopeful visions of what a city and its public spaces can be.

With: Lara Almarcegui, Monica Bonvicini, Arabella Campbell, Maria Eichhorn, Annika Eriksson, Ceal Floyer, Andrea Fraser, Luca Frei, Mario García Torres, Felix Gonzalez-Torres, Jeppe Hein, Louise Lawler, Maider López, Loreto Martínez Troncoso, Roman Ondák, Sergio Prego, Karin Sander, Tino Sehgal, Sancho Silva and Thomas Struth.

A selection of 120 works from the Deutsche Bank Collection, one of the most important art collections in the world counting over 53.000 art pieces, is being presented in the Gallery for temporary exhibitions at the Gulbenkian Foundation Headquarters in Lisbon from 3 June until 7 September.

Participating artists: Josef Albers, Francis Alÿs, Hans Arp, Pedro Barateiro, Joseph Beuys, Louise Bourgeois, Marcel Broodthaers, James Lee Byars, Hanne Darboven, Max Ernst, Günther Förg, Otto Freundlich, Eva Hesse, Thomas Hirschhorn, Olav Christopher Jenssen, Gerhard Richter, Martin Kippenberger, Maria Lassnig, Zoe Leonard, Markus Lüpertz, Blinky Palermo, João Penalva, Sigmar Polke, Karin Sander, Atsuko Tanaka, André Thomkins, Rosemarie Trockel and Heimo Zobernig.

The exhibition showcases a sample of the extremely complex field of current digital technology including works and installations by Tony Cragg, Marie-Charlotte Hoffmann / Christof Hartmann, Markus Huemer, Mischa Kuball, Yves Netzhammer, Jaume Plensa, Karin Sander, Pietro Sanguineti, as well as the architects Herzog & de Meuron, Foster & Partners and Wentzel & Hahn. Drawing on the Museum’s own collection, in particular those fundamentally digital installations are to be presented in which, alongside the media language (video film, sound, photos, light) sculptural, elements featuring sculpture, even a figure, are on display.

This installation of works from the permanent collection—the second in the Museum’s new gallery for contemporary photographs—surveys the ways in which artists have directed the camera toward photography itself, taking aim at its claims of transparency and objectivity, its ubiquity in modern life, and its inextricable ties to advertising and consumer culture. Artists include William Anastasi, Robert Heinecken, Allen Ruppersberg, Sherrie Levine, Thomas Ruff, Christopher Williams, Roe Ethridge, Liz Deschenes, Karin Sander, James Welling, and Kota Ezawa, among others.

Karin Sander's solo exhibition at D’Amelio Terras Gallery, New York consists of works from the series titled Mailed Paintings. Without prior manipulation the primed store-bought canvases were mailed unwrapped to the gallery from various international locations thus visually transcribing the distance by collecting marks on their unprotected surfaces along the journey.

The Mailed Paintings along with Gebrauchsbilder (pictures for use) are projects that are part of a larger body of work titled The Patina Paintings. In Gebrauchsbilder the paintings start out as blank canvases and autonomously create themselves by absorbing the patina of the environment where they are installed for a period of time, such as a coal cellar or deck of a ship. In a similar way, the Mailed Paintings collect patina from handling and the exposure to the elements along their postal route and are considered done when they arrive at the gallery.

The monochromatic white surfaces act as self-writing diaries that record the journey of the work. This process embraces chance and risk and points to the larger conceptual practice of Karin Sander, who always operates in the extended field of painting by putting an emphasis on the environment of the exhibition and the circumstances surrounding it, like in her well-known polished wall pieces. The collected patina exaggerates and mirrors the effect of the passage of time on the surface of the painting, and her installation in the gallery is reminiscent of both Suprematism and the ready-made.

D'Amelio Terras Gallery
525 W 22nd St
New York, NY 10011
t 212 352 9460
f 212 352 9464
gallery@damelioterras.com

Allan McCollum and Karin Sander, artists featured in the exhibition "What is Painting? Contemporary Art from the Collection", discuss their work.
The conversation will focus on the subject of painting as process, idea and as physical act.
Moderation: Anne Umland

The discussion is held on Monday the 10th of September 2007 at 6.30 p.m,
Museum’s Bartos Theater, 4 West 54th Street, New York

MoMA - The Museum of Modern Art, New York

WHAT IS PAINTING? CONTEMPORARY ART FROM THE COLLECTION
PRESENTS MULTIPLE PERSPECTIVES ON PAINTING SINCE THE SIXTIES

The Joan and Preston Robert Tisch Gallery, sixth floor
Organized by Anne Umland, Department of Painting and Sculpture.
July 7-September 17, 2007

The invited artists of the exhibition Triennale Kleinplastik Fellbach 2007 were asked by the participants Karin Sander and Harry Walter to describe their works in the way, that blind persons would be able to see them. The artists or authors were free to decide, how far they would like to go with their imagination of the world of the blind people. All the texts received were transcribed into the typeface Braille and published in a book, exhibited in the exhibition of the Kleinplastiktriennale, a small scale sculpture triennale. Each single page of this exhibition catalogue can be seen by the seeing audience as little hills or dots, as a sculpture in total, while it can really be read by the blind visitors and transformed into images; images of another second exhibition, which possibly remains invisible for the seeing visitors.

ATB-cardboard, 123 g/qm
ISBN: 3-9807598-5-7, Edition 250, signed and numbered,
available in the exhibition

Group exhibition at the Schirn Kunsthalle Frankfurt. Karin Sander presents "Show – an Audio Tour"
»As one enters the exhibition rooms of the Schirn Art Hall in Frankfurt, one is confronted by a room with empty white walls before which visitors linger, listening intently to their audio guides. On the walls are positioned the usual signs bearing the names of artists and the corresponding audio guide numbers. The wall above and to the right of each sign would afford ample space to hang a picture—yet the pictures in this particular exhibition are to be found not on the exhibition room walls but in the visitors' heads.
For this installation, Karin Sander has asked artists to provide works that are not physically present but are narrated—that are accessible only through their descriptions in the audio guide. And through these verbalisations, the visitors themselves begin to create the pictures in their mind's eye.
Thus in the Schirn one is confronted by a lyrical installation in which people with headphones over their ears elaborate imagined pictures as they stand before bare white walls. And yet, although the pictures are invisible, they are by no means non-existent.«
Harald Welzer

Exhibition in SAFN, contemporary art collection in Reykjavik, Iceland, part of the Reykjavik Art Festival

For the exhibition "Zeigen. An audio tour" at the Gallery in Vienna Karin Sander asked the artists of the Gallery nächst St. Stephan, Rosemarie Schwarzwälder to submit works, which are not physically present, but can be listened to in an audiotour.

Zeigen. Audio tour through the collection Helga de Alvear in Madrid.

Participation on 2nd Beijing International Art Biennale in China.

Istanbul Pedestrian Exhibitions 2: Tunel Karakoy is an independent art initiative that focuses on urban public space in favor of the pedestrian and that will temporally anchor the space with interventions in the public sphere by 17 artists/architects. The exhibition will take place at Tünel-Karaköy and emphasize the unique, often overlooked qualities of this area that has been the site of monumental urban change during the past twenty years.

At this e-mail-project by Karin Sander artis, friends and colleagues were asked to describe an artwork which has any kind of significance and importance to themselves. All the e-mail-descriptions were collected and now shown on a website.

Group exhibition curated by Kasper König, where the artists present a work in chocolate.

Opening of the "Kunstmuseum Stuttgart" with group exhibition.

Exhibition of Karin Sanders Patina Paintings. The paintings in private and public collections have been assembled at Galerie Nordenhake for a period of time. The Patina paintings are only on loan and after the exhibition will be returned to their respective locations.

International group exhibition where all works of art will be made exclusively for the project. This premise will ensure unique works for the exhibition and importantly, an opportunity for dialogue and exchange among international artists.

Group show curated by Charles Desmarais
Contemporary Arts Center, Cincinnati

John M Armleder
Thomas Locher
Jonathan Monk
Maurizio Nannucci
Karin Sander
Lawrence Weiner
Heimo Zobernig

Karin Sander and 49 other contemporary German artists gave a work which was encased in a box of refined steel. All works will be stored in the "Zentraler Bergunsort", a former drift mine at Oberried/Breisgau, nearby Freiburg. This event will take place at July, 21. The boxes will be stored for the next 1500 years and then re-opened.

Group exhibition with Marc Desgrandchamps, Christian Jankowski, Hubert Kiecol, Didier Marcel, Jonathan Meese, Thomas SchŸtte, Rosemarie Trockel, Xavier Veilhan, Franz Erhard Walther a. o.

curated by Nancy Spector
Guggenheim Museum New York

Group exhibition, curated by Sabine Russ
and Gregory Volk
University Art Museum
University at Albany
1400 Washington Avenue
Albany, NY 12222

Exhibition Project

The "Heilsteine" by Karin Sander as a permanent installation symbolize the function of the research of the Institute to infectious diseases. Karin Sander scanned an emerald into a computer and used the compiled data to mill two identical "replicas" out of two aluminium blocks which are ninefold larger than the original. Since the 12th century, and even today in alternative medicine, emeralds are believed to possess special healing powers, particularly in cases of rheumatism and infectious disease. Together with the enlargement of the sculpture and, hence, the enhancement of her visual properties, the artist underlines the goals of the Institute in terms of discovering the causes and the possibilities of alleviation from infectious and rheumatic diseases.

Group exhibition in the James Cohan Gallery, New York, with works by Carl Andre, Richard Artschwager, John Cage, Tom Friedman, Adam Fuss, Hans Haacke, Ernesto Neto, Gerhard Richter, Karin Sander, Robert Smithson, Hiroshi Sugimoto and Erick Swenson.

Internet project

Concept
Within the area of the Porsche premises, the color scheme for the road surface will be inverted, i.e., the paving white, the road markings (arrows, stripes and lines, etc.) asphalt gray. This inversion alone produces a spontaneous special effect, calls for attention and concentration and turns an approach to the square into an experience accompanied by enhanced alertness.
The square and its surrounding roadway will be given a concentric striped pattern. The intervals between the stripes will grow narrower towards the center of the square, galvanizing the way both automobilists and pedestrians perceive things. You feel you are moving faster than you really are. While the pedestrians crossing the square are given the feeling they are walking unusually briskly, the drivers have the impression they are driving too fast and slow down as a result. This new, very subtle street paving throughout the company grounds will give anyone behind the wheel a changed, pleasantly tranquil and exclusive feel for the road.
The original elliptical shape of the square will be changed to a circle, since, on the one hand, this favors the desired dynamic effect and, on the other, allows the setup of an additional lane for left turns, optimizing the flow of traffic. The change to a circular plan for the middle of the square emphasizes its central character and the significance of the site.
The green areas, traffic islands and other components are to be left as are. This means that the concentric stripes starting from the center are transformed from a circular to an amoebic shape on their contact with the outer boundaries already in place.
The experience this aesthetic solution transmits is underlined by the fact that pedestrians and drivers will be given access to the entire area in alternate turns. At the workers’ change in shifts (6:00 - 6:10, 13:00 – 13:10, 13:45 – 14:00, as well as at 22:10 – 22:20), the traffic lights (at still to be determined intervals) will be programmed so that the automobile traffic is repeatedly brought to a standstill for a short time to allow pedestrians to cross the square in all directions.

Light
The curb of the slightly raised, inner roundabout can be encircled with green lights as a sign that the pedestrians pouring out of the factory may cross the square diagonally. The rest of the time the roundabout will be lit in red, indicating that the single pedestrian can, when the traffic lights allow, cross the streets in the usual way. For the driver, the lit-up island is an additional guideline, while at the same time it underlines the Porsche lettering on the factory façade and sets off the center of the square.
The overpass, the bridge of the conveyor belt on which car bodies are transported from shop floor to shop floor, could (in reference to the square’s center) also be brightly lit at night, in order to make productive output on the premises clearly visible as it moves along.

Traffic technology
The technological concept will remain almost untouched. By means of the horizontal stripes that follow in ever shorter intervals, at first thicker then thinner, the speed of incoming traffic will already be checked before reaching the junction. The lane markings will be easy to read from the driver’s seat and are not hindered by the horizontal stripes that allow a left-turn lane, made possible by turning the elliptical island into a circular one.

Realization
The surface material will be of fine-grained mastic asphalt, white and anthracite. The other installations will be retained. The transition from circular to amoebic-like lines must be exactly calculated on a computer and translated into reality.

Results
The result of the simple reversal of the color scheme is that Porsche Place is given a completely different look, a pattern of stripes developed for street traffic via perceptual psychology, while all its former traffic functions are retained. By the inversion of the markings and by the concentric enlargement of the square into the urban environs and into the through roads, both drivers and pedestrians will be given a new perceptual experience. Moving at different speeds, both groups of traffic participants will find that inflowing traffic is slowed and yet optimized by means of the added left-turn lane.
The lines radiating out from the middle of the square’s circle give it a streamlined flow, like water into which a stone has been cast. The islands of the factory’s blocks of buildings and plots of land form the square and deform the circle to an ellipse, or to an amoeba, a pattern that meanders around the streets and fades at the factory borders. At the point between amoeba and ellipse a fold is formed from a tight concentration of diagonally oriented lines that correspond to the future walkways.

The three-dimensional look of the ground-level delineation awakes the illusion that the lines reflect the topographical highs and lows of the terrain, bringing the street together with the vertical ensemble of buildings that are now (or will be) in place.
The concept for the Porscheplatz underlines how crucial are the square’s city-planning functions and makes the most important traffic junction in the northern industrial area of Stuttgart stand out. The pedestrians who cross the square diagonally and radially during the changes in shift enliven the scene, reflecting the rhythm of factory and production.
The aesthetic plan of inverting the color scheme (while taking the functional and process-oriented requirements of running the factory into account) highlights the extent of the complex and makes visible the central elements of Porsche’s corporate identity: form, function, dynamism and speed.