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MATYÁŠ CIGLER PORTFOLIO

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CURICUUM VITAE 1988 born in Prague, Czech Republic 2012 - 2015 living in Berlin, Germany since 2015 living in Bergen, Norway EDUACTION 2004 3 months course at New Zealand Language School in Queenstown, NZ 2004 – 2008 SPŠG, Prague (High school of graphic desig) in Prague, department of photography 2008 – 2009 AAAD (Academy of Art, Architecture and Design) in Prague, department of Photography led by Hynek Alt and Alexandra Vajd 2009 – 2011 AAAD, Prague at architecture department led by Mathias Rick, Markus Bader and later Benjamin Foester-Baldenius, all based in studio raumlabor-berlin 2012 – 2015 TU-Berlin, Germany, faculty of architecture (Bachelor of Science) since 2015 BAS (Bergen Arkitekthøgskole), Norway WORK EXPERIANCE 2005 – 2008 as a photographer assistant for Jan Šilar, David Kraus 2011 architecture of czech section of Prague Bienalle (with Kateřina Vídenová)

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2011 – 2013 intermittently working for raumlabor-berlin on various projects: Mappa Mundi, Roskilde 2012, Die Große Weltausstellung, Axel Springer competition,... 2015 architectural design of an exhibition “Delta” in Czech Center, Berlin 2015 architectural design of an instalation / performance by Martin Kohout and Lars Holdhus. Part of Insomnia festival in Tromsø SPOKEN LANGUAGES Czech – native language English – fluently German – fluently / DSH 3 certificate Swedish – basic / A2


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CURICUUM VITAE

2 UNREAL PROJECTS

DAMSGÅRDBANEN 8 FREE PORT BERLIN 26 THE GREAT SILENCE 68 WATER LEVEL RESTAURANT 80 BUNKER 90 ZUFRIEDENHEITSARBEITSBÜROWOHNBERG 100 DER RAHMEN / THE FRAME 110 MNOM / National Museum of Mongolia 116 ART MONASTERY 122 REAL INTERVENTIONS VOR / FLOAT 130 NEST 136 HANG 140 PHOTOGRAPHY AND OTHER CAVE 144 S TARASEM / WITH TARAS 150 DIALOGUE ON POVERTY 160 SÁPMI 166 URHO 180

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UNREAL PROJECTS

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AN ALLEGORY OF HABITAT 2016 A proposal to the 120 student competition. Teamwork with Sondre Bakken and Aki Markkanen.

Human dwellings throughout the history are very diverse places shaped by cultures, climates and environments. They only share a few fundamental qualities – the ones that are principal to a human being. We tried to summarize these essential qualities into a sequence of four elementary spaces. These are: An open exposed space, an open collective, a protected collective and a private space. The first space is open and with unclear borders, yet defined by the other volumes. The second space is a sheltered open platform with water in the center. The third situation offers a protected gathering space with a fire in the middle. The last one is separated from the others by a long ramp, enhancing the privacy and solitude of all the secure spaces we find in human dwellings. It is the place where one has control. See, but not to be seen.

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TEAM 2899

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AN ALLEGORY

Human dwellings t shaped by culture few fundamental q being. We tried to sequence of four e exposed space, a private space. The

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Y OF HABITAT

throughout the history are very diverse places es, climates and environments. They only share a qualities – the ones that are principal to a human summarize these essential qualities into a elementary spaces. These are: An open an open collective, a protected collective and a e first space is open and with unclear borders,

yet defined by the other volumes. The second space is a sheltered open platform with water in the center. The third situation offers a protected gathering space with a fire in the middle. The last one is separated from the others by a long ramp, enhancing the privacy and solitude of all the secure spaces we find in human dwellings. It is the place where one has control. See, but not to be seen.

TEAM 2899 13


DAMSGÅRDBANEN 2015 First master semester at BAS. Led by Joakim Skajaa, Christian Victor Palmer, Håvard Austvoll, Eva Kun.

Damsgårdbanen is a proposal to create a cable car connecting lower Laksevåg with the hill above. The aim is to create more gathering public space for Laksevåg and promote the city part within Bergen. Damamsgårdbanen is a part of a housing and wood processing coop project designed together with Thomas Nesheim, which is based in the industrial zone in lower Laksevåg. This cable car is connecting sustainable wood industry with free time activity. It takes advantage of the potential energy of the wood, growing on the mountain. The wood would be gently excavated from the forest and used for different purposes on it´s journey down to the factory.

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1. After cutting a tree, the trunks will be be stored at small huts around the forest to where they dry and serve as a protection for the hut at the same time. 2. The trunks are sent on ropes down to the main Lodge (also upper station of the cable car) where it is cut to boards and stored again. Here the piles of drying boards are used as a furniture for a small cafe and a kinder garden. 3. These piles of boards are later sent down by the cable car and used as a contra-weight for people coming up. 4. When the wood gets to the lower station (the tower) it is stored again as a furniture for a little cafe, where people wait for the cable car. 5. The wood is sent down by the elevator and it’s weight is again used to bring people up. 6. This pile of boards is finally taken by a fork-lift and taken to the factory.


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The project is based on the typical Bergen vertical pedastrian connections. The aim is not to end these paths at the top street, but continue to the forest and create there public gathering spaces, which are so lacking in Laksev책g.

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FREE PORT BERLIN 2015 Bachelor project at TU Berlin. Led by Prof. Dr. Philipp Misselwitz.

Free Port Berlin is an authentic free port, created to offer refugees and other nomads a place, where they can legally work and earn money for their living. It is a place where they can get their human dignity by becoming self-sufficient. This special FTZ (free trade zone) is an area, where people are free to trade, produce and consume without the obligation of declare. It is the only way how to bypass the german law and allow the refugees to work without receiving asylum or so called “tolerated� status. Here, nomads would share their culture, crafts and experience with each other, locals and students from Berlin. Here, they learn German language by experience and get certification of their abilities which helps them later to get a real job. Free Port Berlin is a transition phase, an acclimatization that ease the assimilation of the refugees to the new environment, but also unalienates them by direct connection, communication and culture exchange with the locals. 32


Free Port Berlin

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REFUGEES IN THE THEORY In order to properly understand who are refugees and what are their reasons of emigration from their countries of origin. It is helpful to distinguish three types of refugees derived by the refugees’ attitude towards their displacement. According to Egon F. Kunz there are: A: Majority identified refugees which flee because of a major political and social events. The most common example of this group are colonial refugees. They have fled, because another foreign power took over their country, but they still keep their cultural customs, religions and social structures. These are also those who are the most willing to repatriate. B: Events related refugees left their home areas because of a latent or active discrimination against the group they belong to. They are less connected to their homes due to the stronger feeling of alienation. They are generally in fewer numbers which makes their separation even stronger. C: Self-alienated refugees feel alienated from their society not by an active policy of their society, but by their own personal beliefs or philosophy. They have usually no interest in their home country at all. They are commonly people who left to a richer country only to make better profit. (see [2], p.11) According to the numbers given by Bundesamt für Migration und Flüchtlinge (The Ministry fro Migration and Refugees) is majority of the refugees from the above mentioned groups A and B. Meaning, that a significant part of the refugees is willing to take part at repatriation and go back to their homeland, when it is safe, and rebuilt their state again. The other part are groups reconciled with their future in the new country and want to settle and actively develop their new lives there. Both these groups are vital for the easement of the refugee issue and both need to be focused on. The first group of people is generally important for long term solutions, where refugees, returning to their original homeland, can greatly increase the standard of living in the region, and the better educated they come back, the bigger is their impact. And as pure logic tells us, by increasing living standards at the source of emigration, the numbers of emigrants decreases. It is though a logic applicable rather in countries without an immediate military conflict, or other existential issues.

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The group B on the other hand is expected to stay in the new country and is more dependent on the host, therefore it is the group I would like to focus on with my project. Where is the stay of the targeted group no longer temporary, but terminal, we talk about resettlement. According to the paper written by Val Colic-Peisker and Farida Tilbury, there are two ways of resettlement: active and passive. As they suggest, the active approach to refugee’s resettlement is a vital key to quality of their integration and therefore to the weight of the economical and social load they put on the local society. Passive refugees usually suffered in their original country or a temporary place of asylum both materially and emotionally, they are habitually over forty years old and have a little to live for. The best way to described their attitude to resettlement are quotes from the research study as “For us life will never be back to normal” “We lost too much to ever be compensated for” “We are too old (or too sick) to start all over again”([1], p.72). It is the most vulnerable group of refugees and there are actually ways how to prevent some of their suffering, since part of it happens in the transfer or temporary asylum countries. Active refugees were luckier on they journey to the new home and are those referred to as the “healthy refugees” because they not only take when they come to the now land, but also (after some time) give and this is why I want to take a closer look what defines these positive refugees. From the study of Colic-Peisker and Tilbury is clear one very important information: members of this active group have worked in the country of origin, or temporary asylum. And it is this vital fact that made me to focuse my work on working (producing) of the refugees in Berlin. Here is the precise text from the paper: “Those among achievers and consumers who did stay in their war-torn homelands, or who spent several years in countries of first asylum were usually employed during this time, with adequate accommodation and at least some social support, and were thus able to lead reasonably structured and fulfilling lives.“ ([1], p.67)


Now, the group of active refugees is further divided in to achievers and consumers. As the name already suggests, consumers have goal-oriented approach to resettlement, but tend to be ethnic oriented and live close to their co-nationals. They see the host country rather as a rich place, that can make them richer. They take part on the economical growth of the region, but are not interested in social integration. These are the particular people who create suburb ghettos and stimulate unwanted xenophobia. Achievers, the ideal type, can be described as goal-oriented toward regaining their previous economical or social status from their homeland. They are generally young professionals with a good education and work experience. For these people is their profession not only income and social status, but also their identity. Therefore loosing their profession is loosing themselves, their identity, their everything. On their way of regaining their identity, they are keen to learn foreign languages (language of the country of asylum, in this case german language), new habits and customs. To achieve this, they tend to mix both with the mainstream culture and their co-nationals. A perfect example of attitude of this group towards their resettlement is a quote of a Bosnian surgeon, that participated in the research: “I prepared for my AMA exam [Australian medical exam for overseas trained doctors] intensely for two years and everything was subordinated to that goal, the life of my family was geared towards it... I started learning English from the level zero +, so it was all happening at the same time... The first time I sat for the exam I failed by 0.3 per cent, which means one question [failed] out of 300. The next day I resumed studying... I got my first job at the emergency department of Charles Gairdner [a large teaching hospital in Perth]. At the end of each working day I had to record case histories on a dictaphone for transcription, but I wasn’t confident that it would sound good enough so I used to write it down first ... it used to take me a couple of hours each night... “ ([1], p.68) There is no doubt about the benefits, these people can bring to developed countries like Germany. Unfortunately, their potential is in the most cases unutilized which is a loss for both sides, the refugees and the host country. This is where the project Free Port Berlin should help. To provide refugees with jobs,

german language and social interaction with locals. To make sure they will be more likely part of the active achievers then passive consumers. It is just a small part of a huge chain of problems, the problematic of refugees is made of, but it can make a big difference in the lives of those affected by the war, social, ethnical, religious or other conflicts around the world. REFUGEES IN THE CITY In the year 2014 have 10 375 people applied for asylum in Berlin. This number should be around 20 000 for the year 2015 (see [4]) and there is no expectation of decreasing this amount in the next years. Ever growing numbers of asylum seekers from the countries affected by war conflicts or humanitarian issues is going to be a fact for at least next decades and it is just about time to start to develop strategies of integration of the refugees in to our economical and social systems. It is our duty to make as much as possible for those unfortunate, that had to flee their country and try to make their life as valuable as possible, but also to give them the opportunity to became part of the society and participate on its development. This participation is vital as well for their dignity as for the sustainability of the new system they became part of. The most vital moment for the way how the refugees assimilate within the new society is the very beginning of their stay in the new country. In this case Germany, Berlin. Today it takes around 5,7 months to get either full asylum, or the “tolerated” status as the majority of the refugees. During this period, asylum seekers are not allowed to work in any way, they get only food vouchers that can be exchanged for food and some basic cosmetics like a shampoo. And this state of being takes usually much longer, because they can not find any job long after becoming the official asylum. In some states like Bavaria or Saxony, they are not even allowed to leave the district, they are assigned to. All these factors are making their way to became actual part of the country very difficult and that is why I chose this very part of their journey to focus on. The project Free Port Berlin should help them with their first steps in Berlin, they would meet up with people with similar experience that help them on their way. But not only that, they could work there even before getting their official asylum status.

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They would get paid for their job and get a certificate, that would help them to get a real job outside the borders of this project. They could learn German language, get helped with the paperwork and bureaucracy, build their own business and spread their original culture. All these should be means to let them be proud human beings that can take care of themselves. FREE PORT BERLIN To create such a place, where refugees without an official status could work and trade freely, I need to establish a “Freihafen – kontrolltyp I.” zone. It is a traditional FTZ (free trade zone) where everything transferred from or to that zone has to be controlled and taxed, but whatever is produced or traded within the zone is not under control of the state. That would allow these refugees to trade, produce and sell freely and legally. In practice, it would look like this: Material would be transferred and taxed in to the FTZ, where would the refugees use it to create their products, or services they wish. The customers on the other hand would have to go to the FTZ and pay for their food, products or other services there inside. Just like in the tax free shops at the airports or big harbors in Bremerhaven. For this project I have chosen the Lohmühleninsel in Kreuzberg. At its north side is located a concrete factory, that should be closed soon and has far to privileged place for such a function. This place fits very well to my concept as it has a big port at the bank of Spree and is located in an area densely visited by tourist for its amount of clubs and night bars. It is therefore well connected for the visitors, but allows some separation needed for the FTZ. SITE “The Lohmühleninsel with a length of about 600 m and width of 100 m was created with the Landwehrkanal between 1845 and 1850. Its boundaries are defined to the west by the canal itself and to the east by the overflow trench which branches off the canal from what is today Görlitzer Park and runs parallel to the canal as far as the Spree. In 1803 there were still three blaze mills (Lohmühlen) standing on what was then known as the sheep or floss mill trenches.These mills processed bark from oak and fir trees (blaze) into bark meal which was required for the manufac36

ture of leather. The blaze mills originating from about 1750 and which were not preserved give the island its name.The overflow trenches were the border between the districts Kreuzberg and Treptow and was a part of the border between East and West Berlin during the partition. The Schlesische Tor (formerly Wendisches Tor), the cities’ gateway in the direction of the province Silesia (Schlesien) lies about half a kilometer to the north-east of the island, as does the Berliner customs and excise wall which replaced the city wall in the 18th century. As the city grew beyond this excise wall the collection of taxes was relocated to excise houses built far beyond the gates. The tax-house of the royal water inspectorate responsible for collecting the taxes on meal and slaughtering , which was built on the Lohnmühleninsel in 1859 by Gustav Möller is the only one of these excise houses which has been preserved. The brick building on the street Vor dem Schlesischen Tor No. 3 is under an order of preservation and today houses a restaurant and apartments.The neighbouring petrol station and coffeehouse Zur Pumpe (called Anhalt since Autumn 2004) is also protected as the oldest existing petrol station in Berlin and also as the city’s oldest petrol station which operated its own rest area. The terrace restaurant from 1928 is based on plans by the architects Paul Schröder and Max Pohl and even today radiates the charm of the „golden twenties.“ The short stretch of road „Vor dem Schlesischen Tor“ which lies between the two protected bridges to the island (over the canal the Schlesische Brücke built between in 1894/1896 and over the overflow trench the Obere Freiarchenbrücke from 1893/1896) is a reminder of the no longer existent Schlesische Tor. This road connects Kreuzberg (Schlesische Str.) and Treptow (Puschkinallee). The Obere Freiarchenbrücke gets its name from the small sluice on the bridge which equalises the 20cm difference in height between the overflow trench and the Spree. Arche comes from Latin and roughly translates as „ship-like box“, and meant the same as sluice in old German. The ErnstHeilmann-Steg from 1980 allows pedestrians and bicyclists from Kreuzberg access to the south side of the Lohmühleninsel, as does the historic Treptower Brücke on the Treptow side. There is therefore a total of four bridges on the Lohmühleninsel. Situated to the north of the street „Vor dem Schlesischen Tor“ are industrial land and the upper sluice, one of two sluices belonging to the Landwehrkanal.


The Flatow sport hall adjoins the street to the south. The sport hall with a capacity of 200 spectators was built between 1986 and 1988 according to a design by the architects Stephan and Thomas Dietrich. The building adjoins the Sportpark Lohmühleninsel which possesses a sport field with synthetic lawn and a variety of training opportunities for light athletes as well as a tennis compound. The turkish clubs KSF Umutspor and Türkiyemspor Berlin both use the area to train, and occasionally, to play. Furthermore the Berliner Turnier-Verein 1850 is based here. The complex also serves the requirements of school and company (internal) sports. A small area similar to a park and with public paths complete the southern part of the Lohmühleninsel.” ([6], p.5) Today is the Lohmühleninsel divided in to three main sections of use. It is the south-west peninsula that expands from the Vor dem Schlesischen Tor street to the to confluence of Landwehrkanal and Flutgraben. Its general function is free time and sport. The two pedestrian bridges meet at a children playground bordered from the northe-east by an open football pitch. Between these two facilities and the Flutgraben stretches a long pedestrian pathway organized with various attractions like jumping nets and ping pong tables. There is also a basketball cage and a little skatepark very frequently used by local youngsters. Between the main road and the open football pitch is the above mentioned sport hall Flatowhalle. This connection of the sport facilities to my site is very important for the project, it would allow the nomads to spent free time and play sports close to their work, they could play football with locals and get to know each other more easily. It could be also used for various dancing workshops and events. Second distinguished part of the island is what I call the night life part. It starts with the club Chalet, a three story high brick house former customs which is now under monument care, that is bordered by the Schleusenufer street from the north-west and the concrete plant from the north-east. Along the Vor dem Schlesischen Tor street next to the club is located the new gas station Aral and the above mentioned former gas station Anhalt that is under monument care as well. Next to this station is starting a strip of wooden plateaus, barns and platforms that stretches all the way up to the north-east part of the island where Flutgraben meets the river Spree. It is the restaurant –

bar Freischwimmer and IPSE open air club at the end. These two establishments are made in an advanced DIY style and have rather rural atmosphere. It is this specific “home-made” look that the extensions of the Free Port Berlin project should have. Not only because the participants of the project would also have to build most of their facilities by themselves, but also because they would be also using secondhand material left over at construction sites or other temporary projects that is Berlin full of. This project should also participate on the night life in the area. It would offer a counterweight to the typical Berlin minimal techno scene and offer more of folk music. The third and last part of the island is finally the concrete plant run by Cemex, that is currently in use, but should be moved further from the city center to make space for residential and public use. It is an area of 1,33 hectare and is defined by the Am Flutgraben street from the north-west and the river Spree from the north-east where is also located a 60 meters long harbor used by Cemex to unload ships with sand, gravel and cement needed for the concrete. The harbor is dominated by a huge port crane at least 30 meters high. Next to it is located the eight meters high “spider”, a concrete structure made of seven spider like legs separating the different kinds of sand and gravel from each other. In the middle of the structure is a little crane sitting on the top of the body and managing the material. South of the “spider” is the heart of the concrete plant: the preparation tower, where the cement is mixed with a specific mixture of sand and gravel and directly loaded on concrete mixer trucks. South-east of the tower are other open sand and gravel storages and concrete mixer trucks parking lot. On the north-west side is the only residential house of the island. It is four story high and could offer a place for the hostel, that is planned in the project. The second south-west part of the concrete plant is crammed by various buildings like a car repair shop, testing laboratories, other storages and so on. These would mean the main winter use facilities like wooden workshops, restaurants, office, shop and other.

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USERS AND VISITORS To avoid the creation of a stigmatized refugee ghetto I want to 1: Mix the users and allow different groups to participate. 2: Not allow the refugees to live (sleep) within the borders of the port. The users should be primarily refugees, but the free port would be offering interesting programs for other nomads like travelers, artists or tourists. But also for local schools and other associations. Not only to support the project financially, but to create a diverse community. Any traveler could come and work for his accommodation instead of paying. They could work at the bar, helping refugees with their work, or simply clean. It would be in a way form of modern “work camps” which are very popular among youngsters that don’t have enough money to travel like a classical tourist, but not only that. People start to realize how much better they encounter foreign culture when they also bring something to the culture by themselves, in this case – work. They are not just mere observers anymore, they are real participants and come back from their journey not only with a good feeling of actually doing something during the holidays, but also of a better knowledge about the culture and society. Artist residencies of such a kind exist all over the globe as well. It is a great way of culture exchange and both sides (the artist and the town of residency) profit well from this relationship. Only here wouldn’t be the artist draw from the local (German) sources as much as from the diverse cultures of the refugees. Traditional tourists would be also welcome to the Free Port Berlin. They could easily buy a room in the hostel located in the port and soak the unique atmosphere or eat the diverse food. They would provide some financial income for the project as well. The idea is, that the refugees could practice their traditional crafts like pottery, upholstery, carpeting,.. , but also art like theater and dance. These could be interesting for young students from the city as they could learn practically about the cultures and crafts they normally learn only theoretically. The surrounding area of the Lohmühleninsel is full of offices and their clerks could be one of the main financial contributor. Free Port Berlin would provide breakfast, lunch and dinner from dozens of different cuisines that would never start to be boring. It is also 38

very important part of the integration and education of both locals and refugees. The refugees could easily share their culture and the locals would learn more about their new visitors. It is precisely dining that is the best mean of breaking boundaries. One of the good examples of it is the project from Raumlabor-Berlin called Kitchenmonument. They were successfully connecting people with their inflatable kitchen all over the world already, so it is a tested practice. And finally the last group of visitors would be simply anybody who wishes to spent a night in a bar or a club with folk music and locally brewed alcohol. Free Port Berlin should be part of the famous Berlin nightlife as well as the rest of the Lohmühleninsel. ZONES The sector of the Free Port Berlin would be divided in to three zones derived from the level of privacy and function. They could be closed separately for the public which would allow a better use of specific facilities in different events and situations. Zone A is the one that is most often open to public. During the day and during the night. It offers the basic functions as the office, reception and the shop, but also entertainment and gastronomy just like the open air cinema, bar, concert hall, gallery, restaurants and the harbor. It is also the place with two access points to the object. The main gate next to the office and the ferry. Zone B is where the nomads can build their shops, bars, workshops and restaurants. It is open during the day for public and sometimes also during the night for special events. It is the place where most of the trade and eating takes place. Zone C The third zone would be usually closed to public access. It is where most of the products are produced. It also offers better insulated workshops for winter use. Would be open for public events and open days when the society wants to share the crafts with the public.


STRUCTURE OF ORGANIZATION Such a community, that would emerge in this harbor needs a clear structure of organization. There would be a council in charge, managing the rules and dealing with issues of all kind. The seven members of this council would be elected by the participants of the project. Each member of this council would have a specific function and responsibilities and would answer for some of the facilities. Spokesman is responsible for the Free Port Berlin to the public, he would be also responsible for general administration and bureaucracy. The chief of immigration takes care of the hostel and everything related to it such as the accommodation of the tourists and travelers. He is the one consulting with people interested in joining the project and cares of their well assimilation. That means organizing the language courses and providing immigration consulting with the german city office. The chief of culture is in charge of the library, gallery, cinema, concert hall and the theater. This mean generally the whole culture and art program of the harbor. The chief of gastronomy is responsible for both feeding the members and the city around. He regulates the cuisine, keeps it diverse and eatable, cares of the bars and restaurants, their personnel and hygiene. Also responsible for the hygiene facilities such as toilet, or showers. Craftsman deals with everything that is produced within the FTZ, manages the workshops and their equipments and safety. He promotes to the public various crafts that are brought by the refugees, organizes workshops for schools and public, manages the shop and general trading operations. He would be also responsible for the car repair shop. Captain is obviously responsible for the ship and its activities. The ship is one of the ways how to promote the harbor along the Spree and Landwehrkanal through selling goods at markets, creating temporary bar/club or supporting local events. But he would also answer for the ferry connecting the other bank of Spree with the port. Sheriff is a city representative appointed by the city Berlin. He makes sure, that the community of the Free

Port Berlin is still within the bounds of the German law. It is still a part of Germany and the members of the commune need to be aware of it. It wouldn’t favor anyone if the harbor would become a violent uncontrolled ghetto. CONTEMPORARITY AND TEMPORARITY It is also important to keep in mind, that this concept is not a final solution, but a step between emigration and a complete integration (resettlement). This step doesn’t really exist in Germany so far, or not yet on a sufficient level. Even this proposal of creating a FTZ is obviously not a long term solution, that would be possible to apply in many other situations. It should be looked at rather as a quick response for a current problem and is basically bypassing a stiff law. There is a need to solve the problem by changing and adjusting the refugee policy, but that would be a job for a lawyer, not an architect. SOURCES [1] Colic-Peisker, Val and Tilbury, Farida: “Active” and “Passive” Resettlement, The Influence of Support Services and Refugees’ own Resources on Resettlement Style. Oxford: Blackwell Publishing Ltd, 2003 [2] S. Collins, John: An Analysis of the voluntariness of Refugee Repatriation in Africa. Manitoba: University of Manitoba, 1996 [3] Bleiker, Carla (2013): “For refugees in Germany, it’s a life of waiting.”. URL: http://www.dw.com/en/for-refugees-in-germany-itsa-life-of-waiting/a-17179963 [9.7.2015] [4] Fischelmayer, Michael and Dr. Lederer, Harald: Broschüre Das Bundesamt in Zahlen 2014, Asyl. Berlin: undesamt für Migration und Flüchtlinge, 2015 [5] Springer Gabler: “GABLER WIRTSCHAFTSLEXIKON - Freizohne Kontrolltyp I / II”. URL: http://wirtschaftslexikon.gabler.de/Definition/ freizone.html?referenceKeywordName=Freizone+des+Kontrolltyps+I [9.7.2015] [6] Roskamm, Nikolai and Seelig, Sebastian: Urban Lock, nördliche Lohmühleninsel. Berlin: Institut für Stadt und Regionalplanung Technische Universität Berlin, 2006 [7] Herwarth + Holz, Planung und Architektur: Stadtumbau West Voruntersuchung, Kreuzberg – Spreeufer. Berlin: Senatsverwaltung für Stadtentwicklung, 2005

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ZONES

ZONE A This zone is the one that is most often open to public. During the day and during the night. It offers the basic functions as the office / reception and the shop, but also entertainment and gastronomy like open air cinema, bar, concert hall, gallery, restaurants and the harbor. It is also the place with two access points to the object. The main gate next to the office and the ferry.

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ZONE B The second zone is where the nomads can build their shops, bars, workshops and restaurants. It is open during the day for public and sometimes also during the night for special events. It is the place where most of the trade and eating takes place.

ZONE C The third zone would be usually closed to public access. It is where most of the products are produced. It also offers better insulated workshops for winter use. Would be open for public events and open days when the society wants to share the crafts with the public.

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TIMELINE

TIMELINE

receiving asylum

> 7 months not allowed to work

abroad

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FREE PORT BERLIN


receiving a normal job

in Germany

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PRIORITIES

PRIORITIES

SOCIAL ENTANGLEMENT

LANGUAGE BY EXPERIENCE

CULTURE PERMEATION

CRAFT SHARING

ABILITIES CERTIFICATION

ACTIVE RESETTLEMENT

Some refugees use an active approach to resettlement, pursuing particular goals and having a generally positive attitude to their migration experience. They learn English, look for jobs, study or are in paid employment, or combine these pur- suits. Many have links with their own ethnic community as well as the mainstream English-speaking society, and find ways of dealing with the requirements of acculturation. Many active resettlers left their homes early as “anticipatory” refu- gees and may not have spent

much time in countries of first asylum. Those among achievers and consumers who did stay in their war-torn homelands, or who spent several years in countries of first asylum were usually employed during this time, with adequate accommodation and at least some social support, and were thus able to lead reasonably structured and fulfilling lives. In their general outlook the active resettlers tend to be future-oriented and goal-oriented (see Markovic and Manderson, 2000). They are involved with mainstream

society through work, local community, or social pursuits, and approach their acculturation proactively. Achievers and consumers are empowered and able to actively approach their resettlement beyond the government resettlement assistance through their human capital (language proficiency, qualifications, urban skills), and social capital in the form of extended family, ethnic community, with its well-known social norms and established trust, and other social networks (Portes, 1995; APC, 2003).

“Active” and “Passive” Resettlement: The Infuence of Support Services and Refugees’ own Resources on Resettlement Style, Val Colic-Peisker and Farida Tilbury, Blackwell Publishing Ltd., 2003

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STRUCTURE OF COOPERATION

STRUCTURE OF COOPERATIONS

VISITORS

hipster

locals

mon ey

ey

ne

on

mo

m

tourists

y

ial er

ct ad

vis

or

s

tru

ns

ac

at

at od

ion

m tourists

co

m travelers

co on

ati

n

k

od

io

or

mm

BERLIN

work

m

at

co

co

od

rw

ac

ac

m

fo

m

ion

FREE PORT BERLIN

refugees

cultu and craft

ive re d

rstiy

NOMADS

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STRUCTURE OF ORGANIZATION

STRUCTURE OF ORGANIZATION The council is a group of elected members responsible for specific parts of the Harbour. They make and adjust rules, plan developments and represent the harbor in the city and public. It is important, that there is always at least one of these functions represented by a person from the city Berlin, that also facilitates the communication between the city and the harbor.

COUNCIL

CULTURE

GASTRO

PRODUCTION

CAPTAIN

CITY

- takes care of the hostel - tourists and travelers - is responsible for general immigration - also responsible for language courses and consulting

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- responsible for gastronomie and cusine - restaurants - bars

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- the captain is responsible for the ship and its activities - ferry

the representative from the city Berlin

library gallery cinema concrete hall theatre

responsible for crafts and production in general workshops car repair shop shop

IMMIGRATION

- the spokesman is representing free port berlin to the public - he laso cares of administration and paperwork

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SPOKESMAN


DIAGRAM OF DIAGRAM OFOPORTUNITIES OPORTUNITIES

registration office

focus selection

other crafts

joins the common workshop

builds a personal workshop

services

joining other’s workshop as an apprentice

car repair shop

member of the council

asylum adviser

trade

maintance

cooking

teaching

innkeeper

crafts management

salesman in the FPB shop

ship maintance

FPB maintance

builds a personal restaurant

cooks in the common kitschen

joins other’s restaurant

other language

german language

builds a personal inn

joins other’s inn

works in a common inn

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FLAG

FLAG

+ Nigeria Somalia Ghana Macedonia Iraq Ukraine Morocco Syria Eritrea

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Algeria Afghanistan Russia Pakistan Bosnia and Herzegovina Iran Yemen Guinea

Lybia Albania Sudan Gambia Turkey India Serbia Tunisia


USERS

USERS TRAVELER Around the world traveling nomads, can stay one or more nights in the harbor and work instead of paying for the accomodation.

NOMADS

TOURISTS Tourists can stay in the same hostel, pay for the rent and enjoy the diverse cuisine and bars within the harbor.

REFUGEES The refugees are the majority of the harbor, they can work in the kitchens, workshops and bars, and earn money through their activities. They can use either the common facilities, or build their own in the “village�.

VISITORS

VISITORS HIPSTER This free port is a perfect place for young proffesionals who want to spend a weekend in a bit different place then usual bars and clubs in berlin and meet some of the real people.

VISITOR

TOURISTS The typical tourists can enoy what makes Berlin Berlin - the diverse cultures from all over the world.

LOCALS The locals, who work and live around the harbor can come every lunch time and choose from thousands of different cuisines and dishes.

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THE GREAT SILENCE 2015 5th semester project at TU Berlin. Led by prof. Steffan and Guido Neubeck. Teamwork with Jakob Näscher.

Design a monastery for carthousian order was the task of this 5th semester at TU Berlin. Carthousians are one of the strictest orders and haven’t changed their liturgy and way of life in general for almost 1000 years (which is also the meaning of their symbol - the Earth is turning around but we stay still). They represent the ultimate devotion to God. They live closed in their cells seperated from the world and meet each other only once a week for a common food and walk. FOCUS And this structured solitued spartan life, that hasn’t changed for that long was exactly our insipration for our project. If a carthousian monk would change his monastery into ours, he wouldnt have to change his way of life. It was as well a big challange for us to keep our architectural ego away and focuse on the carthousian monk - nothing else. BASIC STRUCTURE The ground plan it thus self-emitted from a study of classical carthousian monasteries. We added a basic 58

wall-structure made of bricks (as it is the local material) that clearly differs from the wooden construction inside. This clear seperation of spaces helps the monk to realize his transitions. CELL The cell is then garden-oriented modest space with least distraction. Whith a functional wall on the inner side of the building offering the monk opening and closing departments, he currently uses. The only accented place is the very narrow praying room directly connected to the garden through a huge window. We make this distinct focus at the garden, because its an important mean of feeling the time flow as it changes during the year.

wood

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The original situation

We dig a canal to create an island from the peninsula to give the monks privacy they need.

That allows us to place the monastery freely on the top of the island, where it holds a firm ground

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Brudermönchzelle Priestermönchzelle

Kleiner Kreuzgang Priestermönchkreuzgang Großer Kreuzgang

Küche Refektorium Bibliothek Kapitel Saal Priorbüro Lager Brennerei

Kirche

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WATER LEVEL RESTAURANT 2014 4th semester project at TU Berlin. Led by Ute Frank. Teamwork with Pia Brückner and Jakob Näscher. Special prize of the jury at the semester competition.

This project was focuest on detailed technical elaboration of statics, construction design, technical equipment of the building and detailed calculations of the energy dependancy. Given was a site on the edge of Gleisdreieck Park at the center of Berlin. The building should have two functions: Restaurant and a school of gardening and cooking for unemployed. We focused on creating an aquaponics based farm as it is the most efficient way to produce vegetable and fish in the city. The “frame” building is half sink in a water full of fish.It has a roof garden that provides the restaurant and the cooking school with vegetable. Inside, it accomodates lacture rooms, basement for the gardeners, restaurant, kitchen and a caffee. The northen building is an accomodation for the students and a greenhouse for the winter season. 70

A round shaped garden sunk in the pond provides a calm sanctuary for the visitors as well as for the students. The southern edge of the coumpound is perforated with a large staircase allowing the visitors of nearby case to have a look over the pond.


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The aquaponics system uses fish excrements to fertilize the plants on the roof. This water comes with little losses due to vaporisation back to the fish pond. Its a closed water circle and thus very water efficent. The energy needed fot he pumps is generated in transparent solarpanels situated on the greenhouse on the north building. 74


Court yard of the “frame� building

The deep garden

View from the student accomodation 75


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BUNKER 2013/14 3rd semester project at TU Berlin. Led by Ute Frank. Teamwork with Pia Br체ckner and Jakob N채scher. Won the 1st prize as the best semester project.

TASK Design a multifunctional building to accomodate artists with their studios, gallery and a caffee in Berlin. CITY Our main focuse were the working conditions of the artists, so they can concentrate on their work in the busy city of Berlin. Therefore is the front facade reather a concrete shield against the city. Only on the street level is the building transparent to avoid being a blank uninteresting spot on the street. Instead it offers a view at the artists work and in the fuaye of the gallery. Even though the facade is very different then the other in the street, the aprter and lines of the windows are aligned with the sarrounding buldings, trying not to be a total alien in the city. GALLERY The gallery has its first part in the underground level, whitch is closed and alight by a glass ceiling. Second part of the gallery is the outside vertical ramp system celebrating the very typical berlin phenomenon of firewall. These ramps also serve as access 80

for the artists to their studios. On the top of the firewall is a caffee that is possitioned higher, then the front building to have a good view over Berlin. (the building across the road is smaller as well). On the other side is a little tee house hidden behind the corner that gives the artists a little refuge. STUDIOS The artists enter their studios through concrete bridges that connect both firefall and the front house. Their apartment is through materials divided in to an atelier (noncrete) and living (wood). There are three types of studios: Sculptors, that are at the lowest level to have acces to the yard. Painters are in the middle and finalyl photographers that occupy the top flore to have the highest acces to light. Transport of their artwork is enabled thanks a crane posstiond on the roof of the front building. It uses basically the same principle as old port warehouses.


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ZUFRIEDENHEITSARBEITSBÜROWOHNBERG 2013 Semester project at TU Berlin. Led by Ralf Pasel. Teamwork with Jakob Näscher.

The theme was LOW-RISE HIGH-DENSITY WOHNEN+ARBEITEN (living and working) In our project we focused on increasing personal identity of living in bigger clusters of habitable cells as well as connecting the dwelling with a flexible working space adaptable to ever changing needs of the inhabitants. Our “hill” contains wide variaty of flats which each of them has direct access to a narrow street connecting all areas of the building. On the square at the top of the hill are situated restaurants, bars, shops and a tower that allows people to overview the whole area. Underneath the various surface is the office level which is hanging in a spacy hall where all the heavy work takes place. The tower is connecting all floors from the underground levels till the top of the “hill”. 90

As a contra-weight to this object is a long strip of a park ending with a view point, caffe and a small gallery.


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DER RAHMEN / THE FRAME 2010 5th semester project at AAAD and a student competition for dOCUMENTA(13) center. Led by Mathias Rick and Benjamin Foester-baldenius. Teamwork with David Kovařík. DOCUMENTA x CITY Documenta is in german Kassel one of the most important exhibitions of contemporary art. It absorbs and totally changes the city every five years. Even though it stayes in the city only 100 days, it changes the city fundamentally and leaves its footprints on the whole city structure, for example: Documentahalle or Kulturbahnhof. PLACE x CITY The heart of Documenta is Friedrichplatz - a square, that apart the exhibition time doesn’t really function as a public space, but during Documenta it is the symbol of it and hosts important openings and events. BUILDING x PLACE The character of our design is based on these qualities. We are not trying to change the square, “repair” it or force people to use it as a public space. We undestand the square as a colorful composition of spaces and our proposal would be a small square in a big one. It would take part in this colorful spectrum 100

and support the activities of the exhibition. Our square is hollow and offers a bit different perspective of the sarroundings for the visitor. It also offers a social space for open theater, concerts or lectures. Our building is a frame containing all the functions needed for the exhibiton center and puts them in to flexible form, so it can transform according to current situation (concert, opening,...). PLACE After the end of this Documenta, the frame would be removed and the pit stayes as a next footprint next to the frame from Haus-Rucker, the trees from Joseph Beuys or the pickaxe from Clease Oldenburg. This pit has the potential to become a permanent part of the city and give the square an opportunity to be a bit more attractive for citizens.


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sunny day

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concert at night

after

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MNOM / National Museum of Mongolia 2009/10 4th semester project at AAAD. Led by Mathias Rick and Benjamin Foester-baldenius.

THE TASK museum/ info-center about the life of mongolian Nomads located in Ulaanbaatar the building shall have an exhibition about the past, present and future of mongolian traditions, problems and potentials of nomadic life FIRST STEP I have never visited Ulaanbaatar but I tried to get the best possible research about the city. Then I found out that there already exists a museum which is quite successful and at a very nice place just opposite to the mongolian parliament, so I decided to design an extension of this existing museum. EXTENSION My extension was supposed to add exhibition space dedicated to mongolian present and future, workshops, cafe, office, etc. The only space for all of this is on the west side of the building and above the original building, so that was where I designed my esxtension. 106

MUSEUM Then I asked what is museum and what kind of experience should museum provide to its visitor -> It should be the most realistic experience possible. And that is the reality. So the first part of the museum works as a meeting point of native mongolians and visitors. They will meet among horses in a huge hall and then they will together go to see the real mongolia, because the only real way how to experience mongolia is in a horse seddle. WHO WILL GUIDE In suburbs of Ulaanbaatar are hundreds of unemployed people which have just their ger (yurt), few horses and goats. These people could go to the museum and offer their hospitality to foreigners and that would lead the visitors to the best experience possible and the herdes could earn some money

FUTURE The top floor would be dedicated to the future of Mongolia. There would be a big exhibition space, open workshop, cafe, library and lecture room. So it would become a kind of centre of mongolian culture. Foreigners could try to build traditional yurt or try to design their own one from special materials. ROOF On the roof is 4000m2 of real mongolian steppe, the actual home of mongolian nomads. There would be placed typical ger and a herd of goats so the visitor could try to build the ger in real conditions (-40c/+40c) or try to milk goats and to make cheese or fermented milk from it.


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ART MONASTERY 2009 3rd seclusion work at AAAD and my very first architectural design. Led by Mathias Rick and Markus bader.

ART MONASTERY is a housing system for three artists. Here they would be closed for a period of three months in modest conditions offering them good focus on their creative work. These artists would make an exhibition at the end of this period and the building would be open for the public to enjoy the peace of the garden as well as the exhibition. The building has three modes of use: A: OPENING AND SPECIAL EVENTS Rooms and living-room are closed. Gallery, kitchen and the garden are open for the public. B: EXHIBITION Rooms, living-room and the kitchen are closed. Gallery and the garden are open for the public. C: CREATIVE WORK The gallery is used as a workshop by the artists and the whole building is closed to public.

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This parcel is situated in an old forgotten garden in Malá Strana (the oldest part of Prague). The new building is put inside the ruins of the original house. The garden and the ruins won’t be touched and would be left to the forces of nature, just like until today. The facade is made of transparent mirrors to reflect the surrounding vegetation and increase the specific atmosphere. Since it is hidden in the bushes and not seen from the street, it shouldn’t disturbed the historical feeling of Malá Strana.


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REAL INTERVENTIONS

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VOR / FLOAT 2014 Our own initiative. Teamwork with Adam Cigler, Samuel Cigler, Adam Wlazel and LudvĂ­k Wlazel.

I spent every summer in our summer house in the central Czech Republic when I was younger. Last summer we decided with our brothers and friends to build something for the citizens of the village. As we know, the locals love to walk on the surrounding hills and enjoy the views at the beautiful landscapes. So we designed a Float that we hanged among trees by one of the entry-roads to the village to get a new specific point of view at the fields and meadows around the village. As material we collected used wood planks from the village.

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VOR

ÄŒenovice village

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NEST 2014 Project for the STREET FOR ART festival. Teamwork with Samuel Cigler and Adam Wlazel.

With Adam Wlazel and my brother Samuel we created a refuge for local teenagers within the festival Street for Art which takes place every year in problematic outskirts of Prague and focuses on issues of suburban living. Our “nest” was a reaction to the lack of public space that could local teenager use for their socialising and a tree-house is the perfect refuge for such kids. Very important is the drawbridge, that increases the feeling of safe separation from the outside “grown up” world.

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HANG 2011 Project for Prague Quadrienale. Teamwork with Tonda Ĺ ilar.

This small intervention was part of Prague Quadrienale which took place at the bank of the river Vltava. This area is very popular for young people to hang out, especially during summer, but it lacks of benches and when there are some - the view at the river is blocked by moored boats. That led us to create a place, where youngsters (like us) could hang out and cool their beer in a fridge. So we attached a sofa under the stairs leading to the upper street, that the visitors can have a better view at the river and enjoy a swing.

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PHOTOGRAPHY AND OTHER

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CAVE 2012 Short task at TU Berlin, 1st semester. Led by Ralf Pasel. Teamwork with Nicola Cacciapaglia.

This was a minor task where we were supposed to create an inner space with a specific atmosphere. With Nico Caccapaglia we wanted to investigate the very substance of that endless-feeling of caves and reproduce it in a smaller scale.

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S TARASEM / WITH TARAS 2009 Final project of my second semester of photography at AAAD in Prague. Led by Hynek Alt and Alexandra Vajd.

I grew up surrounded by pictures of my grandfather Taras Kuščynskij and even though he died five years befor I was born, he formed my view at photography and woman in general. I used the very same tools and cameras he did back in 70’s and together with Kristýna Voců we went to the cottege where he was working. We created this collection, which helped me to get closer to Taras and to understand him. To understand his endless admiration and veneration of woman.

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DIALOGUE ON POVERTY 2006 Photo-book at Graphic School Prague.

My first photo-book. Ilustration of an old Japanese poem “Dialogue on Poverty” written by Yamanoue Okura in the 6th century.

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DIALOGUE ON POVERTY Yamanoue Okura (around 700 a. C.)

Question by the poor man: On cold nights when the cold rain beats and the wind howls, on cold nights when the cold snow falls and the sleet swirls, my only defence against that cold is to nibble black salt and sip sake dregs. But I finger my beard – scanty and starved – sniffle and cough. and say to myself ‘I’m a good fellow’ – proud words, and empty: I freeze all the same, swathing myself in sheets made of sacking, piling on top my flimsy clothes. The cold still seeps through. But there are some poorer than I am, parents cold and hungry, womenfolk and children choking on tears. On cold nights how do they live?

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Reply by the destitute man: Heaven and earth are broad, so they say. For me they are narrow. Sun and moon are bright, so they say. They don’t shine for me. Is it the same for all men, this sadness? Or is it for me alone? Chance made me man and I, like any other, plough and weed. But from my clothes – thin even when new – tatters hang down waving like seaweed. In my rickety hovel the straw lies on bare earth. By my pillow squat my parents, at my feet my wife and children: all huddled in grief. From the earth no smoke rises, In the cauldron a spider weaves its web. How do you cook rice when there is no rice left? We talk feebly as birds. And then, to make bad worse, to snip the ends of a thread already frayed and short, the village headman comes, shaking his whip in my face, shouting out for his tax, right at my pillow. Is this the way things go? Must it go on and on? Yes. We are on earth.


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SĂ PMI 2009

One Land Rover, four people, one trip to the north. As far as possible.

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URHO 2010 Finnland

Two weeks cross-country trip across Urho Kekkonen National Park in northen Lappland.

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