 So we are starting our seminar session with the speakers Aisselmeyer and T.S. from Kustrykublik, I'm sorry for that. And we start with a short lecture with Peter Aisselmeyer, he is an expert and he also is effective for information management consultant company which is based in Switzerland. And he is also teaching in different universities in the UK, Germany and outside of Europe but including in front of our technical university, that's why we don't do. And organization is an important thing in the world because Aisselmeyer know it's not a big secret that it's more about people which will be living in cities, and make policies so Latin America and Africa. And interesting question how to involve community and how to make city smart and that's why Peter Aisselmeyer is doing with it. I just have a question, everyone's only in this seminar and there's two other seminars happening at the same time so I don't know if anybody would actually like to go to the other seminars as well. Otherwise, I mean you're welcome to stay here of course but I think the other ones have also really great speakers so we're going to live stream them but I just wanted to announce that. There's a curation one about documenta and bienniales. I'm not trying to take your audience away, sorry. I thought so, huh? Yeah, yeah, yeah. And then music about archiving in England and South Korean performance art so. Curation one too, sorry. Sorry, I just wanted to be with you. Oh, running friendship has already been so funny. Okay, cool. Okay, so you continue. Well, that's the ultimate threat. It's all marketing companies. Okay, so shall we watch this? Good thinking, Matthias. Okay, I will watch it here. Great, perfect. Now, for the last five years, I've been conducting research on cities. As some of you, especially among my wonderfully young but they call them all students. All students know I have all my life bridged both at the dean and the world of enterprise. And in the world of enterprise, I'm a hard core techie. And I think I'm a bit split with this terrible appendix BTU where I'm supposed to be soft and wonderful. Good, but as I said for the last, in Germany, I'm a member of the National Academy for Science and Engineering. And as part of the Academy's work, I've been conducting research with India and China on smart cities for the last few years. I'll come to that in a moment, but I want to tell you a bit on the background. The discussion, and of course Anastasia has very properly stated and that takes care of my first two slides. That, of course, we live in an age of unbelievable urbanization. And to me, now there's a personal bit there as well, which you might find strange, but I want to explain to you. I'm someone who likes complexity. I don't like simple situations. Complexity means you have work to do. Simple situations mean there's no work for you. So, and I like to have work to do. And I looked for an area that was both complex, brought together many disciplines, and provided me with a 20 year roadmap for my professional life. And I found cities. Now, in the old days, people used to say that organizations, companies are the most complex human organisms that we know, systems that we know. This is no longer true. Cities are the most complex systems that we know. And since we anticipate that about 80% of mankind will live in cities over the next 20 years, which is not a banal statement because that means 2 billion people will have to move into these cities during that period. Because we believe that this could happen, cities are utterly and totally appealing because they happen anyway. There are interesting forms of systems to explore and work with, etc. Now, in my work, in my life work, which of course, like so many things, is not delineated by academic disciplines, luckily. But as a holistic aspect, I've realized that a techie approach to cities is not the approach that works. If you want cities that are worth living in, that are appealing to their inhabitants, that are safe and secure to people, I'll come to a little distinction between Europe and other places in a moment. So I've moved away and persistently in the last five years, whenever my compatriots talked about even greater fine-tuning of sensor-based environments, Internet of Things, etc. I've always persistently insisted that I do a talk at the self-same conference about human aspects of cities, of which there are many, right? Now, one thing that, let me come to that little distinction, working on cities is not... Of course, if you look up documentation, etc., you know that there is an art of creating a Roman city, a Greek city, and these art forms were there at the time, not only in hindsight. Europe has only bothered with all kinds of aspects of the city for the last 150 years. As part of the Industrial Revolution, England was the first country to experience the onslaught of migrant workers from the countryside into the city, into the manufacturing bases. And a lot of the city planning stuff that you see today, like garden cities and all that kind of jazz, was created at that time as a reaction to the abysmal situation in which people found themselves in the cities. One thing that you perhaps don't know is that during the major industrial period in Berlin... Now, majorness of the area in Berlin, ah, can't be none. Let's say 1890, there was a situation in central Berlin where something like 24 workers slept to one room, and a lot of the stuff, like the Gropius city, etc., are reactions to offset that utterly impossible situation, which led to a lot of unpleasant stuff about which we don't read today, but believe me, the police were fiercer than they are today. We had similar situations in the 1930s in New York and Chicago when workers unrest was put down with brute force, army and police. So, the background to my talk is that I'm glad for every participant, and late camels get a special treatment. So, lately I've come to, you know, you end up in situations where people think, how can I make money with this? And people want to make money out of the changes in the cities in all places, in the exploding cities in the southern hemisphere, and they're going to make money in the slowly transforming cities in Europe. And one bit that I've come across, and it's one of my recent projects, we'd be glad to have you here, you can also go upstairs of course, just to give everyone a chance, but we have several chairs here and you're most welcome, and if you're shy I'll take the chairs for the back. Yes, I have the great advantage of having, at least half of those things are not more of my former students here, so they smile at me. Out of habit, out of habit, yeah. Out of habit, so don't say it. Because it's always fun. You were always up like that. I go upstairs. So, recently I came across a project, and I'm pursuing this project, which tries to find ways of making cities safer and more secure for inhabitants, because I'm not talking about engaging policemen, I'm not talking about more video cameras, I'm talking about a variety of things that involve technology, processes and management, but also people. When I was asked to come, I thought, yeah, one of the things that is so important for creating a sense of community and a sense of identity, which is an outcome of that, and which leads to incredibly beneficial behavioral results is identity. If you manage to make a place your own, if you develop ownership, identity is a great way to deal within the city. So, let me explain to you why I came, let me romanticize, why not? A few years ago, I worked in the information factory of Credit Swiss Bank. You must know that my real life is a computer professor. So, I worked in this bank, and I had an administrative assistant, no, an assistant called Kasper. Kasper was a very righteous and ecologically correct and also very nice Swiss person. And so, you know, pet bottles from which you drink water, the abbreviation for the chemical composition is pet. And pet bottles in Germany go into a recycling mechanism. In Switzerland, you flatten them and throw them into a special pet bottle container. So, I used to, so we sat in the bank, big place. 7,000 people worked in the IT alone in one building, right? I was on floor 7, which was sort of not quite prestigious, but we had daylight, sex flows down, no. So, I, do I have one? No, I don't. So, I sat, I had made my, I'm better of a place, you know, huge office, I made sure I had a vase with roses on my desk and I put my own carpet in because of a velvet view and your uniform appearance. So, I had this pet bottle. So, I go, there's a bank of refuse bin behind me, small ones for me, not big ones. So, I go, well, and I throw my pet bottle, Casper gets up, you know, he goes to my pet bottle, he lifts it and puts it in. So, I go, okay, not long from now. And now the pet bottle flies in the general direction of a bin. Casper gets up, lifts his bottle, puts it in the right place. I say, no excuse you have. It's a society where you say things directly. So, okay, next bottle goes, Casper gets up, puts it in, I shout at him. Now, what happens with a fourth bottle? It goes in the right bin, right? Because Casper had taken ownership of the environment as a good Swiss person, he knew what to do and he had made certain that he had educated me as to what I should do and from now on, Grain is Switzerland, hold the pet bottle, go to the pet bottle container, put it in, right? So, this is what he did. Okay. And so, whenever people tell me about behavior that they want to enforce with video cameras or sensor, thousands of sensors or whatever, I tell them they need to organize people, create a sense of community, a sense of ownership, and then we can do something. We can still use the sensors. And so, let me start the microphone. I've talked about urbanization. We've all seen those huge, big places. I'm sure the... I understand that the thing will be somewhere on the internet. It can be, yeah. I also already have a vacation. Yeah. Now, let me go from this generality about the emerging urban centers. And the most important... The most important sentence is at the bottom here. For the most important, this is here, cities are becoming more important than countries. That's the only one you might need to take away from that. Now, let me quickly come to this other concept of the smart city. The smart city thing was driven very largely by technologists. And you can see it in the identification of what they saw. IBM, Cisco, and all those companies are unbelievably interested in this emerging market of the cities where they can earn more and more money because more and more people come into the cities, lots of economic activity, and so they designed this thing as smart cities, a little side line. The Chinese call them intelligent cities because the smart cities have been asserted so much by IBM that they wanted out of other... When you see intelligible smart cities, this is the beginning of them, and people very early on identified six categories, smart economies, smart mobility, smart environment, smart people, smart living, smart governance. And I've sometimes added a little smart in their mind. But generally, this is what they see, and if you note down my email address, which is at the bottom of every slide, of course you can have this presentation, also individually, alright? Just trigger me with an email. So, from these smart city ideas, let me show you... How does that work? You see, so here you have an entirely populated wheel of what a smart city idea is. As of three years from before, right? You have a smart city, then you have those indicators. Let's go to one that I can read particularly well, smart environment. So green buildings, green energy, green earth planning, right? So you have... And people have constructed unbelievable indicator of buildings, systems, sometimes you have 270 indicators to show you how far your city has gone in being a smart city. Let me take another one. If I can get the general gist, you know, smart economy, entrepreneurship, innovation, productivity, local and global, interconnectedness and so on. So this is a whole thing that you can look at later. Just to tell you where I came from. Now, if we're so clever, you know, there are many challenges. If we're so clever, why have we succeeded? And now comes the gist of my thing. The challenge is that the growth in the cities in the world cannot be met by technology alone. For those of you who are European based, let me illustrate this with a few examples. I don't need to do it for you, because you know this very well. I go to Bangalore, which is a fairly western city, but I go there three, four times a year. Now, if you look at... Okay? If this is the city of Bangalore and the circle is its municipal boundaries, the growth happens along the new arrivals, come along the arrival routes in the city. You know, in the city centre, if there is a city centre, which in this case there isn't, also an interesting decision between European and other cities, but the central bits remain fairly static, but the big, big growth happens here. You know, as people come into the city, both within and outside the municipal boundaries. So, with all eaten and coffees a bit away. So, my friend, my friend says, look at this lake at the boundary of the city. This is about 550,000 new arrivals shit every morning. So, it's not about... It's not about 50. It's not about people who have just arrived in a European train station as part of their student hike through Germany. It's 50,000 people who've come and have a sort of temporary thing there for a few days while they try to find their way a bit further into the city or into places where they can stay. So, the problem, or the challenge why we need to be concerned about these cities is people will live there. They're looking for a livable life. The promise of the city for most of them is very big, the mega cities are also a hotbeds of urban unrest, violent clashes, etc. There's a nice word that is there that people have coined for this, it's called herbicide. You know, it's a bit like homicide, suicide. Only it happens, it's the way the city goes, right? You or somebody else. And so, we have these deep divisions and we see particular just now because television brings us all these images ahead of the football World Cup we see that the unrest in Brazil. And of course, in a city it can bring together thousands of people very quickly. So, smart governance is another concept which people thought worked, but technology doesn't kind of help. People will have to be given a say and people all over the world are looking for ways to deal with cities. And my general statement is that it's up to us whether these cities are a triumph or disaster. Now, Mr. Glazer, a book to the left has written a remarkable book, very upbeat, he says, Triumph of the City. The most interesting invention that mankind ever made but we know images as to the right where we know that cities are also great disasters in many ways. So, my major finding I've brought together all the strands of my life and my exploration, my major finding is we must look at the human aspect. Then we must look at spaces in the city. We must look at cohesion among people. We must look at communities and now comes the word. We must look at common heritage or make it common because that's the social glue that keeps the city together. I'm sounding right in front of the camera. Can I ask you a question? Is it possible to stand to the left? Of course. Thank you. I will stand wherever you want. That's great. Thank you. This is, of course, my pretty face. Good. It's just that I was near the button to push it. Now, we need spaces, cohesion communities, common heritage because they create identity, a sense of belonging and feelings of ownership. Let me say quickly also for those of you in heritage in this whole city discussion heritage is a totally underdeveloped concept even if Matthias is making a life out of it but he's like a cockroach. He will always live, you know, beyond all kinds of catastrophes and disasters but I have observed that heritage plays a small, small role here because perhaps not in Europe, I'll say no, never mind, but even less elsewhere, heritage is the last thing that people think of. But it's the last thing that people think of. Now, identity is the foundation of a sense of belonging. People place themselves with identity in harm. A little later you'll find that this placing is not so easy in modern times as I said because earlier, people used to define themselves because of the way of where they lived and of who they were but in the digital age, this is where my strands of my professional life come together, in the digital age, identity is not quite as simple. Among my children, several play Dota. You're too old, you're too old, you know it. The defense of the ancient is the original title. It's a game, a computer game which you play. You play it in teams of eight to ten people. Each game lasts for about short of an hour. You play in changing teams, worldwide anyone can log in and become part of the team but you play as a team. It's not exactly a local football team on the ground, it's just somebody. One of my boys tells me, it's good that Russians are difficult to play with language problems and so on. So you suddenly have new identities and identities that you can't even observe. Identities that you have no access to and I'm sure there are other, it's just one example, there are other things, we belong to social media, we have friends that we would have never had if that wasn't the internet. Identity is suddenly quite difficult and yet identity makes desirable behavioral outcomes. So because I'm always asked by my students, now what the heck does that mean and does this open up a new field for me? I have tried not to answer this easily. One could of course talk about all kinds of things, interesting technological approaches, sociological approaches, etc. But I've tried in the next few slides to say what can we as a group that's interested in heritage do research, work on, who make identity in the urban space a much more concrete thing? And I'm also answering the question never answered during my last World Heritage Management course. Now what other things can we do for our master's thesis? So for example, we have to ask ourselves again what role does the built environment what do heritage elements in a city what role do they play in the formation of identity and commonality in that city? I don't have to answer by the way. But I'm saying it's well worth finding out. And of course my view is always global so I understand different patterns, different things, different everywhere. Then the next month communities and especially the you know, back the last time a mankind experienced this kind of relationship shift was when the hunter-gatherers went to live in villages. So we're talking two, three thousand years ago. Villages make for a certain pattern in villages you have close black lives meaning people are related. You have relationships, you have patterns of behavior which have become traditions. Suddenly three thousand years later we have a situation where people move into cities and in cities you have distant black lives meaning you're not related with anybody much. So where do your relationships and your loyalties and communal assistance and your traditions come from, etc. So cities, villages used to have roles sometimes even to the point where there was a caste system which made your role a transcendent generations. All of a sudden in cities you're terrifically competitive. So now comes another big one in the middle of our moving into cities which is the digital transformation. Meaning that we have network socialization we have global economics I work on a concept called industry for zero only on demand. We have immigration on top of cities that may have drawn previously from the rural area. So all of a sudden we're in a minefield of problems which we don't know and the interesting thing for us as heritage people is to say what effect do all these aspects have on place attachment because we're human and identity continues to be placed attachment. What is that place? That's another opportunity. And lastly the third question and these are independent or they hang together what can we do deliberately to create more identity in a city and luckily Matthias is here in my body and he's going to talk about it because he doesn't know I'm the theoretician and he is the practical person and of course he should admire him because he is in the middle there and does it. If you believe that these are new questions where because of the digital transformation and because of this urban thing you have to look at heritage differently I've listed a whole lot of things here but let me say first of all in my little journey to this point I have suddenly realised one thing that has hit me very hard in heritage studies we have always looked at the individual building at the individual site now in this age where bigger systems emerge that encapsulate things etc we need to look at how they hang together in a much bigger context let me explain to you with a simple example totally outside heritage IKEA has always had green signs now some of them are big, some of them are smaller but basically IKEA furniture sells a pattern for a green site building which means you enter one end big carpark, blue, yellow, Swedish colours you enter one end and they have a complicated way to lead you through the building to achieve maximum exposure to your buying input assist for you to suffer greatly that you have so little money always and you go out and at the end you can eat Kirtmuller and ice cream etc now this works greenfield now IKEA is going to do its first urban IKEA city centre site in Hamburg starting now and of course that is a totally different thing because suddenly you live in a quarter of the city you live within other shops totally different dynamics etc and the meaning of IKEA will change people like me will actually go and eat Kirtmuller first and then eat again or whatever so similarly if we take this example with us in heritage studies we need to look much more at the context first of all the spatial context so where is this thing, what is the quarter what are the people that are around it much more than we used to in order to create more identity we perhaps also need to look at similar sites why because in the nature of digital transformation people who are concerned with the same things form their own community, their own identity and this has led me to a whole new list of urban research topics that a heritage person can't pursue with a view to heritage and identity so of course I know that at Kortbus you've been dealing a lot with world heritage sites that have been recognised but my example is always English national heritage which has so many different sites with so many different implications and there are a few including that of my chosen hometown which wouldn't want to be a world heritage site because they have their own brand in Oxford we don't want to be a world heritage site we are heritage sites and have been for a long time so we don't need a standard tool to be that so all of a sudden I've visited this under tangible and intangible resources all of a sudden you can not only look at a building or a site or an isolated thing you can look at natural systems hydrology, photography, land use patterns spatial organisation, visual relationships vegetation, circulation, transport systems natural constructed water features forms of buildings, bridges, walls, standard structures up to the vocabulary of urban art, sculpture site furnishing and objects so an urban centric view of heritage suddenly opens up the whole new vista of possible topics to explore because they're all equal because of heritage equals identity equals commonality equals communal spirit similarly similarly in the I've listed a few things in the historical urban space which are generally considered intangible resources so you have traditional festivals rituals, music, dance, performance in the city in the city we have a challenge there'll be several of them each a marriage ceremony among different communities in a city is not the same it may be similar or it may be dramatically different and the more these cities become like countries the more diverse they will be then you have the same thing applies to all of these so you have worship, pilgrimage, religious celebrations you have iconic places symbols that might show that you belong together very often that's a very important issue in cities to become proud, to take ownership because you have a new identity you belong to a new place then places of memory events, joy, suffering and commemoration we see this with a D-Day I mean nothing has created a better platform for people who've just fallen out with each other because of the dispute over the Crimea even a better urge of identity and communal spirit than the commemoration of the D-Day landing in Normandy 70 years ago it is inevitable that faced with such an important iconic event people forget about short-term differences and remember long-term attachments I've brought it in the picture I hope it has many more pictures urban farming now becomes something urban crops, practices etc traditional arts and crafts the local cuisine for those of you who are still slim please explore it and tell me about it then even up to the point where local voices in the sense of statements about the city values of the city but also dialects etc becoming more so I've listed new things that you can do intangible resources given that the city is becoming more now what is it that I also want to say transformation I have left out the other word digital transformation you must realise that some people already today only came in during the Syrian presentations but I'm sure others have also said things the world is becoming both smaller and bigger but it is also true that software is eating the world as Mark Andreis and one of the big venture capitalists says now when you look at the big changes that are happening because of the digital transformation you need to see what is cultural identity what is identity in this particular world so I've called this like transformation practices because it goes far beyond the traditional historically orientated view of heritage it goes into a managed heritage system where you look at the things that it can create and make it turn into heritage so what are the major influences that create place identity including the new connections is there a you know for example is do you have a new identity when you belong to a worldwide network of people who run every Sunday morning at 11 o'clock and meet that or if you belong to Rotary then what are one thing that will change dramatically we all have the we've all seen the discussion about urban school in the United States one of the major points that they make at the moment is that they don't have a city center anymore and the city spirals out of control out into an urban small in many Asian cities while during colonization there was something akin to a city center this has now become a relatively small park if it survives at all and there are no centers as we know them from English inspired American inspired town planning of the 1850s and anyway the question is how do these things change in Central Europe in Germany in particular we have a dying out of the lively city centers that we know because of internet commas etc so there is a whole new aspect there which asks us what does this identity thing mean for the city how do we create identity when we don't even know future urban falls interesting to do then what stylistic decisions can we take to create community identity are there opportunities for new cultural context which haven't been there before like you do a flash mob and all of a sudden Valin is the city of the flash mob so people become proud because they can be part of flash mobs and organize themselves etc just an idea I'm sure there will be many more coming up and then which roles and responsibilities for individuals and community agencies are there in shaping urban identity there will be jobs in urban identity so urban identity creation linked to urban heritage elements will be a working field of future let me show you how so in this holistic view heritage in the cityscape we need to find out how we as heritage people manage change generation of cities and for this we need knowledge planning tools non-invasing technologies every heritage student should have a crash course in geographical information systems and 3D representation not only in project management as I said five or ten years ago yeah yeah I'm through then we need tools we need knowledge in participatory collaborative partnering we need tools for civic engagement at the moment we would think web based social media but I'm sure there will be also new ones in the future we need public forums, chat rooms, blogs we need skill development to interact in the community as part of the skills for heritage management we need to know a lot about how we maintain and augment quality of life a sustainable urban environment with regulatory system financial tools, legislation how do we become stewards of heritage in the city how do we document heritage which multimedia do you so there's a whole new world there in that in those three steps that I've used I've told you cities are happening most complex systems heritage is under development underdeveloped there lots of things to be done first step cities open up a whole new area for us to look at next and final step for the moment and we have the terrific challenge of the digital transformation which changes everything but gives us an unbelievably good opportunity to develop the scope of heritage work good, Matthias thank you and then we leave a space for discussions for both speakers and republic they're and you can use this space in a successful example of what we're planning and arts making and sorting space but I'm sure they need the space to work we'll talk about that too but at this very moment I'm still waiting for my adapter which unfortunately I was told that so let me interview Matthias yes please I was curious but there's a competition between the two of us and you're a practical person who does things to create events happenings and things in cities like that so I can also start without slides but since I'm an artist I work very visually so it'll help to see some of the projects you can stage them you can re-elect them and yeah of course we as an artist collective when I say we it is Kunstrepublik which is a collective of four people right now and part of that collective is the space which is three people basically has a reaction to the urban development in Berlin and the fact that we as artists it's becoming increasingly difficult for us to find spaces to work in and affordable places to work in and to exhibit a project so that was the reason why we started looking for a place like this and now we're sort of working on a more stable base but we as a collective are working all over the city of Berlin but also in other cities so we're doing projects in we've done projects in India in the US and of course in Berlin right now we're working a lot in the Ruhr area which is like a forming industrial kind of heart of Germany which is going through a phase of massive transformation I have been going through a phase of massive transformation for the last 40 years I would say but they're getting more desperate now so now they are asking the artists to come up with some ideas and I think there's somebody can you please wait it should be soon in one minute can you how do you what triggers people to ask you to do something for them well for various reasons like in the Ruhr area for example there is a certain cluelessness they don't know how the transformation process shall continue because the kind of steps they've taken have not proved to be very successful it's still a huge rate of unemployment and in a sense there is a lack of fantasy how things could develop in a different way and also there there is of course a huge identity crisis so I think that's a very important point the identity of the Ruhr area an industrial sort of identity these are de-industrialized these are de-industrialized parts of Germany which are not declared Ruhr yeah, that's fine which are not declared to be Ruhr no, Ruhr no, that's Ruhr but that's not Ruhr Ruhr which are not germany for those who don't know it's like the city of Germany that's what they like to say they talk about a metropolitan area but it's something in between you have like 20 bigger cities mid-sized cities and all within like 100 by 60 kilometers and they're all somehow very close to one another and they used to live from the industry and now they don't have that kind of classical way of labor anymore and so now they're looking for something to do else with their time and their resources I'll show you some of these projects and I see you are talking actually I just changed my overall presentation good, yeah yeah, I still need it I will just jump across a few projects I'll do an emphasis on the project things are developing here just give me a second so I can set up the technology much easier to support me I've been yearning to have a Mac I had bought the first Mac many years ago and now after the decades I've been yearning to have a Mac Air latest and now I realize it's not all the way up no, actually I'm going to change I'm going away from the network um, yeah it used to be this kind of nerdy you know, kind of nerdy people have had this kind of culture I know it's been great way for RTC people and in them the technology it's okay I can now start so now cultural projects and I want to give you some examples and as I said I think identity plays a big role in what we are doing creating representation for people that are usually not represented in the city and the starting point for this and for our activity at the Sponsored Republic Collective is this Luton Papelien Center for Project which started in 2006 in the center of Berlin in the former military zone dividing east and west of Berlin and basically the starting point is this very aerial picture which all we did was we tilted this kind of waistband which used to be our own, divided east and west of Berlin we tinted it, read and basically approached different funding organizations said like well actually we've got a space out here which we would like to realize projects in and we didn't have any permissions for that space but we just like basically pretended that we have some kind of cultural ownership for this and basically from that point on we got a lot of funding just by stating that this place basically when we arrived in 2006 looked like this it still in parts looks like that but now since Berlin is developing really quickly and maybe there's a lot of construction going on in many spaces so first thing that we saw were these fences then the first thing that we did was to see I see why are these fences there we found out that basically there's parts they belong to different people and so we had to talk to different people to get the permissions to work there and then we dug into the history a little bit and to find out actually what's kind of the history of the space in general because all the projects that we do and I find this is very important for us are site specific they work with all the parameters that you find on the specific side the history of the space the stakeholders of that space ownership issues political pressure so this is really very very important otherwise we couldn't develop projects we are not like an artist like this just stuff somewhere and then drops it somewhere we work with all these parameters that we find so history is a big point because if you understand the history it's much easier to actually talk to people who have lived there because they also know the history so we really dug deep into the history and we found that the Skutun Park area was right here on the border of the old city of Berlin this is the old city of Berlin and the rural area it's the border zone which is kind of interesting and then basically what we did here we took the medieval wall dividing the city of Berlin in the rural area and mapped it onto where we were working and you see here this is the Skutun Park we were working in the area before this is the area and then we also found this really beautiful picture which is the Leipzig Art Tour and right behind here there's the Skutun Park and the city of Berlin Development Group became bigger and basically the old medieval city just disappeared more or less because the rural area became the city and by the late 19th century this area looked like this and here that's like one of the buildings that used to be where the wasteland is today with the Second World War all this area was destroyed and the area was made a buffer zone between the four different sectors Berlin was divided into four sectors and this became a buffer zone so basically the border which it used to be between the city and the rural area became a border again which we found very interesting a normal land became a normal land and here's a picture from the 60s when the Berlin War was erected so after the Second World War for more than 15 years there was just the buffer zone and then this kind of was reinforced by the Berlin War so this is all the area that we've been working in so I'm just showing you all these pictures because I want you to understand the project that I'll show you later that we realize on that space a bit better so this will look like after the Berlin War came down because of un-verified ownership issues you know it just became dumb stuff nobody took care for this kind of space and it basically here's another picture how it looked like and then it became a parking lot until then there were fences built around it and then it could become a green spot 2006 we came and we just declared the Skubtorn Park we set up a sign saying Welcome to Skubtorn Park we did it in a way that basically also the advertisements presented here in the billboard for advertising so that's how we advertise this spot then we invited various artists so we basically played curators in the very beginning we invited artists to realize projects and we did projects ourselves we did about 40 projects I can't show you all of them I don't want to take all your time today but I'll show you like a few of them which are paradigmatic how we work so for example when we invited they dug into the ground and what they did basically they just took some tools and to just find out what is down there because people in the area didn't realize that this has a very heavy history and they dug platforms into the ground now these platforms I'll come to that later are a reference to other platforms that used to exist to overview the war I'll show you so and also what they did is some research about who actually lived there before and in the old telephone books I know you can see who by name lived in which street so they actually knew that they were digging into the cellar of Mr. Nahtila the meal hangover up here so they were actually digging into his cellar and displayed his knowledge as part of their exhibition and then they had these platforms down there so he was standing in the form of cellars of these people the reference of this construction is these platforms that he used to have to look over the wall had a view from west Germany to east Germany it wasn't so easy to get over the wall so at least you could read your relatives and see them from these platforms and the artists who actually were in Berlin they did a little they did a collection of pictures with these platforms so I have a few of these here and what all they did they took this platform and carried it into the ground so this is like one project which has a historical reference to the space to open people's minds to the history of the space to make them understand better and history is a project called Neue Hansen which happened then and which dealt with the various paths that you find on this wasteland the Stuttum, but there are various paths for example the border control paths that used to be there and they still existed when we arrived there you still have this kind of asphalt of where this used to be and this is what it used to look like I have a number of pictures that I visualise as that and up here this is another area of the Stuttum path so this is a border path and there are other paths also because there are dog owners for example which also created paths on wastelands very important group of people as pioneer users from the wastelands and the artists Gekusch from Metzger, what they did is they basically asked the free border controllers to come with us to walk alongside these former paths every day in order to control the area so what they did they set up their mobile secure and then the border the security guy had to walk it was his job he was paid for it by us we had dog owners for the border control and control paths and then he had to write a diary about this every day nothing happened he just this went on for six weeks oh so for six weeks every day he scanned and he arrived there's a protocol then he walked alongside this kind of path and he wrote a diary which was a very benign project actually but I was really really like this project because it also created awareness for the history of that space now here's another project on the script tour which has a different angle which has a more contemporary angle and how did you manage to make people pay you for this well you know the way that we did it is like we said okay we want to do all these projects on this space and we invite various artists who didn't know which projects they're going to do and we had a list of names that were potentially going to do the projects and those artists that we invited and ourselves we have a portfolio so basically this portfolio convinced them the donors that they show you or someone yeah okay this project is a looks like regular advertising an advertising box totally unfamiliar the reality is it's actually something that can go underneath and then you order a law and you get into a fully equipped two star hotel with everything that you need for it to be a two star hotel reading material, television bathroom, everything and we developed an online booking system for that and advertised that single room hotel on the wasteland and it was booked out immediately because it was very very cheap why was it so cheap because because of the advertising the advertising was financed the hotel only disadvantage no windows but people didn't mind people just didn't mind it was very clear this is an M hotel with our windows it is financed by co-financed by advertising and we kind of like this kind of common on recent developments in urban areas because I was mentioning I was mentioning the pioneers of wastelands dot owners very important when you see dogs even back then you would have dogs as pioneers for rural areas and still today on wastelands in cities, dot owners very normal people will become illegal citizens they will cross fences they will do illegal stuff for so they can walk their dogs and let their dogs out of the leash it is very interesting how dot owners become very sort of because they are usually normal people they wouldn't break the law but then they do and it is really interesting because they are the first people that go onto wastelands and start using them in different ways so she came up with the idea of a monument, a monument for these pioneers and there is a story to that it is a very interesting story I don't know if you know that story it is like the Spanish tutorial which is actually the logo of a brand and all alongside the Spanish highways there was advertising and then there was a law saying all the basic politicians decided you can't see the landscape anymore all this advertising has to be taken down so you can see the Spanish landscape again then there was a general outcry saying no this has become an icon of Spain it has to stay so basically Osborn the company would only be allowed to take down all the topography everything that came with this thing saying like this Osborn stripped down to the silhouette everything else went away and this kind of private icon Osborn became a public icon by public demand which we thought in reference to also the private spaces that we have here in the these are all private blocks being turned public again you know we found an interesting idea so we like the re-enactment of that on the scoop tone this is also a really interesting project I'm just not going to show it to you we are running out of time and then Osborn we need some space for discussion 2008 there was a paradigm shift in the work that we did because until then we were staying under the radar basically there was no big public attention we had our scene seeing the projects that we did but there was no public that actually really knew what we were doing and then there was the Berlin biennial which has become a kind of an event I would say in a bigger scale and then asked whether they could use the scoop tone park as a venue and said okay you can do that and they also asked what we could do a piece there whether we could realize the work there and then what we did is we took the sponsorship of BMW because BMW was the sponsor and basically all the VIPs came by in the BMWs so it was also a weird scene you know this wasteland and people in high heels in suits walking across this really like muddy dirty wasteland and dark shit everywhere very strange but also very funny and we kind of like this contrast of this kind of ritzy art world and sort of our rough approach towards you know what art can also be so this is what we did with this sponsorship and I hope this works this is what we did we took the sponsorship thank you very much BMW we tied the cars to one another so you become the carousel of cars you know pulling each other we set up a pirate radio station we played the song this land is your land by Woody Guthrie onto the radios of these cars so it became a very interesting sound effect and people could actually take a ride you can see people sitting in the back take a ride and travel for the length of that song and then you know people go out so it became a carousel but it also for us became a common of course to the future of that land and the possible you know there's many possible futures for this land and this is like something that we wanted people to kind of think about and then there's another really interesting side story for the Belimba angle I danced so by the Belimba angle they didn't do such a good job I think how they curated their show basically they didn't care about the history of the space and all the users of the space and all that and they dropped their sculptures in the background you can see this white thing but overnight everything we put here by we wrecked a little sketch really interesting really amazing it became a huge collection like we the common people the common people just entered the side set up something probably just by knowing this is the sculpture in the park it's like oh I'm a sculpture too that's okay so they came amazing I mean really up to very complex things and now what happened we researched a little bit and we found you two clips of people doing it and commenting on what they're doing so they're like okay and now putting this here is why they're doing this and so suddenly common people not artists just anybody you know it's not observed there's no security it's not intimidating it's not a white cube I can do it so you know there's not just one video it's like various videos that we found following the bill in mind we were part of a competition an architectural competition for the sculpture park because it was like it was like we heard there's going to be an architecture or city planning competition for the whole area and we said actually you have to make us part of this because we've been working here for three years we know that space and so we kind of forced ourselves into that competition and we had various approaches of neighborhood involvement to the inviting different stakeholders in the city like from investment investing companies to you know guerrilla gardening people and so on and bring them on the same table and find out what actually could be developed here and one thing that we found out actually is that there was a huge lack of representation for the actual users of that waste map and that's what we created by creating a bigger ritual for these users so what we did we basically invited all these groups of owners and BMX kids BMX guys by guerrilla gardening Kitas and Kindergarten which are using this space also other artist groups we invited them to be part of a big ceremony to give them a great presentation this is what was left behind the day later so for all of these each of these groups we developed a flag we wrote composed a hymn a song we created a slogan like simple slogan like this is what we want and we basically did this a ceremony of raising the flag playing a hymn showing this slogan we did the ceremony with all 11 groups that we found and we filmed it in the same way that it is usually filmed if you have big sports events camera crane and tracks and all that kind of madness to make it look shiny and nice so we had really bad weather but it didn't matter because we had 11 groups that were very interested for their representation they all came together and basically we raised the flag playing the hymn there was this platform here and then they would all stand together on that platform and like also at the Olympic opening we also had this in bigger scale so this ritual happened 11 times so people have to change the slogan again so eventually we had this collection of various slogans that were developed by the groups themselves we were just basically the moderators of this process we were just facilitating and helping them in doing it but actually all the slogans came from them and also the graphics and all that so finally we did have the video with the background so it became a kind of piece a film which you can see on YouTube which can be create visibility for their activities which didn't exist before this is also a really nice piece this is offered to say about your own pieces this is a really good piece this is great this is the last piece that we did on Skupturna Park and then I'll show you two more products that we did outside Skupturna Park the last piece is called Lens End last piece and what you can see here is burn cars burn cars in Berlin very familiar thing every day in average a car burns in Berlin and there's a huge discussion about whether there is a political act a statement against gentrification because usually it's SUVs that burn or commercial cars or whether it's just pure vandalism by fresh kids we didn't want to make a statement on that we just wanted to find out what the dynamic is in this so what we did, we placed these cars in the Skupturna Park we got these burn cars from the car dumpsters and then we wrote an opera for this the Lens End Opera we took kind of popular opera songs and and then we wrote a new libretto and the new libretto were quotes by investors, by citizens by real estate agents by activists, artists and city planners so this libretto each song represented one of these six characters and this opera was placed in the cars it allows to use in the cars and you could hear 24-7 over 3 weeks and I'll play it to you unfortunately the sound here is not so good but projects from other places but maybe we can also play it one as a poetry one more one more one more very recent project very simple and quickly explained a final which has a new character, a ball with a really interesting a ball they wanted to invite artists to actually do things in public states which is kind of difficult, it's kind of chaotic in Jakarta and they invited us to do a project at Senen Market Senen Market is a traditional market in the center of Jakarta very old with a huge diversity of products and services from more than 100 years ago but in the 80s and now in the early 21st century there were two development kind of shifts for kind of more contemporary shopping so in the 80s there was like first kind of shopping mall which is still a little bit like the old market like a bazaar but becoming more clean there's more light now they have a really like typical global shopping mall also next to that so you have like three eras I would say the old traditional market with this great variety of products then you have kind of the 80s an idea of cleaning this kind of because these bazaars are very chaotic very chaotic, very loud, very dirty very fascinating so the 80s version was kind of the clean version of that and now the 20th century version is some global brands the stuff that I know from basically the Alexa here I can buy there too it's actually incredibly boring I have to say from my point of view going to Indonesia and seeing all the same brands that I see here it's just like a waste of time so we decided to also create some representation for the old market because this is the plan is the city planning is take down the old market, get some new global shopping malls because investors have interest they push so we wanted to create some representation for that so we walked through this old market and we came across some material which we thought is kind of unique to these old markets packaging for example everything is packaged into small individual packages it's not like you're coming out of a factory or the same package it's all individually packaged, really fascinating it has certain and the fabric they use also has a certain meaning so there's coats for the fabric and and of course cardboard boxes and we wanted to basically bring some elements of that together with typical elements of your post-modern shopping mall or stadium architecture we're thinking of why stadium architecture? I will show you in a second this cube or you see it here in the hockey stadium was something that we got interested in when we saw the space that we wanted to work in on the market because it had a stadium feeling this is the market and it has it's like a stadium more or less it's incredibly crowded there's a lot going on everywhere and actually people that work there really like the place, they really identify with it and also in the city there's a sentiment that actually we like this market quite a lot they like selling markets because it has this great diversity and so we so we took this element which usually you find in these super domes a cube and we built it out of the material that we found for packaging so you see all this material and the cardboard boxes with the certain gentleman's regularity absolutely yeah, we can change that so it has to be in certain order but basically the cube says sentiment, sentiment means Monday so it's the Monday market we want to create an icon an icon or like a logo for a sentiment market for it to become more visible so basically this is what we did within like 10 days we didn't have so much time to do it and the people really liked it because they identified with that space a lot and they really loved that we came from the outside and we said yeah, we also like it we want to create an icon that for the market to become more visible and acknowledge that as a place of I tell us so that is the point that we did last 4 enough a serious approach and then now let me thank you Mathias for doing one for an actual model shopping mall and modern shopping mall there would be quite different that could be quite interesting because it's always about tax deposing tax deposing in the UK showing up the differences exactly the problem with these post-modern malls is of course there is a sameness to them so if you want to create place attachment as a precondition for identity you know why shopping mall why do I go there not because it's the same, I go there because of something else and so let's talk because I might have a project for you so good so we're doing like this now I'm answering Mathias's question he answers mine so if you ask me he answers this is you do those kinds of projects that's it not that I'm a fan actually I'm a fan you're standing too much alright so any questions to Mathias about my earlier talk you used the word identity a lot which is kind of a container that can mean many things can you elaborate a little bit on patchwork multi-layered what do you understand to be identity what identity it's a big container for a lot of things you can identify with a nation state you can identify with a locality you can identify with anything I think what we're talking more about is about local identification place exactly so there I would narrow it down and we are really interested in our projects in the physical identity physically being there on the spot that's a kind of important thing the social interaction between people but at the same time I do acknowledge that there's also other ways of identifying in my attention thank you multi-layered was the right thing to say we actually both used place attachment as a kind of sort of falling in half and then we are an union with everybody else in love with this place my city etc but of course you're right it's multi-layered it's like falling in love what do you fall in love for and that falling in love and the experiences that you have from that love affair then create desirable behavior right you look after the kids you make sure everything is okay and so on so that's what you want to do for a city and in many ways what is this thing what is this dialogue what do I do with this stretch pass that I'm falling in love with that's nice so but you're right it's multi-layered and I think we perhaps need new ways to create this for the cities the challenge is to see which layers are there which ones can we use and probably place identity let's say for Berlin does not need to have a sameness you know why do people love Berlin I have several friends who love Berlin for totally different things some like it because it's a place, I have a friend who likes Berlin because it's a place full of waterways and she goes on a boat and it's the best place in the world to go on a boat I have friends who like this place because because it has affinity groups which are tolerated in an urban spirit it's no great secret that the big cities Cologne and Berlin are places to express sexual preferences and not be noticed particularly and so there are different ways that turn this into my city I have a book which I like a lot and I wish I had written it but I thought they only have it as a user it's called which is my city and the book says the book gives certain categories to different cities and it makes me think and the challenge of the book is it's along the line of a book in the UK which is called which colour is your parachute which is a career finding thing so which colour is your city which is my city and it says certain cities are known for certain things and perhaps identity is tied to those things so it's a multi-faceted thing for example and which is harrowing to be at most 21 years old with 20 years of experience of course but it tells you which cities are best for you in certain stages of your life if you're single and want to do a lot of dating no better place than New York because the place is full of people who are single and want to do dating if you want a job no more New York if you're in the tech field if you're bringing up kids you should hopefully move to Toronto or Vancouver because those are great family places so there's probably subsets of that which you have found here you couldn't agree more there's like I mean also in the project I guess you could see there's like 11 groups that were on wastelands 11 different groups on the perimeter of a wasteland and sometimes people they use the space but then they they change groups also they also want to change groups because you can be a dog owner and someone that wants to have a picnic on the street once they find out but the thing is they realise at that point they have the same interest they didn't know before that's one facet of the identity they have but there might be both street picnic lovers and dog owners but the thing I found interesting about this particular project was that all of a sudden in essence when you have urban wastelands you think what kind of building is going to be here but suddenly the interesting thing was that when you found place attachment in the most unlikely places and you suddenly found that this worthless piece of wasteland had an identity creation bit for all these 11 groups and who would have thought I wouldn't have thought so but when looking for the good standing there were 11 groups more questions because you have to think about 50 minutes maybe 10 minutes I think it's a grossing thing for a few more questions how long before a corporation moves in and tries to redevelop the place what's the future? of that space different futures one half of that land is owned by private owners and they play monopoly which means in the beginning when we started working there there were 11, 12 different owners by the end after 5 years there were only 3 owners so you accumulate the lots they become more valuable and now there are 2 investors and they are investing on the whole lot so it's a big construction site the other side what's more involved in the architectural competition that I mentioned earlier is owned by the Ligmschaftsfall which is like a public it's public land but it's administrated by a company but it's public land so there is a political decision what shall happen with this and they're still doing how to say, well they're still thinking about it let's say that that was a question I want to ask a general question but giving an example of a specific space if you have a contest of a village that has very distinct historical stories and images but then they are sort of sick of this image and they want to show that they are also modern people and they are living in this era so how can you solve this with great difficulty we have a we have a one problem that we have is that heritage as we perceive it changes changes a great deal when it comes in contact with other value systems we have several we have several instances for example a particular instance in China where a remote village has become totally disneyfied so we accept that there is a village life during the day and it all shuts down at 1800 hours when the museum shuts down, right? very difficult so very early on it's well worth of course one thing is we can't escape this modern life and if we try to preserve something we make it unnecessarily static and as soon as people are concerned of course that is impossible you know then you find the show group stays in the village and the other people move out to the next village and engage in modern life so one thing that is always very difficult to gauge is how far do you accept that people observe you are with you interact with you and really if you want to preserve some of that without being too artificially highly restricted it's just that way I guess you have a village as you were saying like in the village doesn't want to identify with you know their traditions anymore but actually the thing is within a community you always have I guess various interests and you know it's kind of complex very complex but I think sometimes value systems come exist are apparently contradict each other and yet they're all right you know you would have you would have of these even within ourselves you know right and I think that's kind of you would never have an entire village say like we don't want this anymore you have like conflicting youngsters that say like come on all these traditions then you have more conservative people you know it's all I just took my last slide forms of civic collaboration I like Matthias's way of expressing these as artistic project they may take such forms because sometimes enactments showcasing playing with each other theatre type stuff is possible but we certainly need new forms of engaging in such communities and bringing such issues to the fore very often they're kept quiet and no one talks about it but we need to as heritage professionals we need to find ways to create civic engagement and to accelerate discussions and to make discussions public and there are different forms there's a more paid bound form and there's a more stomach bound form you know talking about some participation so it's the point of view and then neighborhood should be participating or something like that it's not my comments but I'm thinking I'm really jealous of something because we have Westlands I'm thinking about Mike and I so is it full of between I mean open lands if you have just a piece of land yes so yes it's all about with the context because one of my friends talked about the market of the ideas and how you are going to manipulate the whole things together so for a country like my country like Bangladesh or Tata I want to see because maybe we will discuss about this later but how we can do this because those things is really worse it is working it doesn't I'm taking the word segregation it is very important to me to look at the use of spaces in the modern city we need spaces that are not segregated by race color income providence caste we need spaces where people can meet and in the most banal way you and I can meet in the space in Dhaka or where even in a socially acceptable form genders can meet whatever or different patterns of society so I find in my research that the use of communal space is actually a pacifying and very beneficial influence on cities and nothing is more destructive than concrete in the whole place over nothing so even let me tell you a few ideas I've developed with people who run in Europe even when you have no official spaces outside your buildings you start to create spaces for encounters of people who live in these spaces you create encounter spaces you artificially accelerate dialogue I have a new scheme that there is some high density living also in Germany and we're thinking that these are the owners and managers of these buildings we're thinking of re-creating the concierge idea meaning somebody who looks after the building as a sort of service so you sadly you sadly have somebody who can go and say where can we play football as the kids where can we put our bikes on the safe where can we jog or who else in the building is interested in playing tennis with me we're running out of time unfortunately we don't have maybe you have quickly comments on that question in one minute and for actually I think it has one thing communal spaces are unfortunately I'm thinking because the European cities and the especially the South Asian one we don't think it is really challenge work my friend and say something that is makes some space for you to make people do something on that I would like to thank you thank you