This interactive application is an experiment integrating a moving video image into a wider static visual context. It is also a prototype for an alternative structure for non-linear cinematic narrative.

As the active video window moves across the screen it leaves a visual trail which is a trace of the time and space of the cinematic path. The user can manoeuvre back and forth through each scene creating and erasing moments in time, laying down a panoramic still that also represents a captured slice of time, then returning to view the scene unfolding and coming alive.

Any quantity of takes that share part or all of a common backdrop, can be easily integrated in a single panorama, in such a way that the non-linear transitions from one scene to another can be made through a pan by the user without having to use cuts or fades. In this way the illusion of spatio-temporal continuity is produced.

This video shows fragments of the city of Los Angeles. The repetition and temporal reordering of sequences creates a stream of images that can only be read through the speed of the travelling camera. When the movement slackens, the images begin to degenerate into repetitive fragments.

The important thing in moving images is the fact that they are moving and not the cause of the motion. This work explores the forms of perception transmitted by technological media.

The video has been screened at various festivals and received honorary mentions at ZKM (2003) and Transmediale (2002)

Interactive installation analysing and reproducing the lineal transformation of navigating in public spaces.

The piece navigates the architectural context of the metro in Prague. A continuum of images representing journeys on the metro, previously recorded from the beginning to the end of the line, bringing us into close contact with architectural details, textures and the travellers in the long tunnels.

An experimental installation with two loudspeakers, sound, modular foam acoustic panels based on the phenomenon that results from the subtraction of inverted sound waves. In a room coated with white sound absorbing acoustic foam, a white noise sound is emitted from the two speakers. All over the room the sound is evenly present except at the centre point right in the middle between the speakers. It is a metaphor for two equal forces cancelling each other out and producing the opposite effect of “silence”. A space transforming sounds into their absence.

The world is increasingly noisier: there are more and more contrasts and it is more difficult for man to relate with nature, with the environment. The human being is capable of perceiving and extracting “silence” from a world in conflict (in this case sound).

Location: St. Gallen (Switzerland) Raiffeisenplatz, St. Gallen

Client: Raiffeisenbank St. Gallen, City St. Gallen

Competition year: 2004

Design Year: 2004 - 2005

Construction years: 2005

Surface area: 4600 m2

Once you enter the area between the Vadianstrasse, Schreinerstrasse, Gartenstrasse and Kornhausstrasse, the redesigned Raiffeisen quarter reveals one of the main objectives of its concept before you have even set foot in it: a blazing red, surprisingly soft floor covering made of granulated rubber boldly attracts the visitor’s attention, embodying the welcoming gesture of breaking up the introverted, heterogeneous character of the district. The perception of the Raiffeisen quarter as a once fissured conglomerate of leftover areas and traffic functionalities has undergone a lasting change, with the new flooring unifying every square and spared spot into a homogeneous whole whose inviting extension goes as far as the pedestrian zone.

A particularly identity-building feature is its function as a haptically pleasant, cosy carpet, which allows the covering to create a convivial atmosphere. In this light, the idea of a publicly accessible ‘lounge’ forms the underlying leitmotif, with the aim of establishing harmony and consistency as well as duly assuring the quality of the quarter as a visitor-friendly place close to downtown. Furnishing elements such as seats, banks and tables emerge from the carpet covering as free forms. The uniform surface of the flooring resembles a cloth that unfolds over the entire furniture and that, despite its resilience, is smooth and charming to every single touch.