A project for the Alexanderplatz tube station (Line U2)
in Berlin by Thorsten Goldberg & Andreas M. Kaufmann
Starting considerations
We want to paint grey and so neutralize the billboards,
which all have the same red frame, between the (likewise framed)
signs reading "Alexanderplatz" on the station platform.
In order to change the line of sight on the one hand, and in order
to accentuate the gestural sweep of the station architecture on
the other hand. Situated in the centre of Berlin, Alexanderplatz
is a traffic junction and meeting point that makes it a place of
differing velocities but also one where people wait. This multilayered
function is addressed by the intervention we propose, which simultaneously
underscores the architecture of the curved platform along with its
qualities as a place of experience.
The project
A carousel slide projector is installed at a height
of approximately 2.50 m on 42 of the red-painted pillars executed
as standard T-beams. Each slide projector projects onto the 24-cm-wide
back of the next pillar, on whose front is again a carousel slide
projector beaming onto the one in front of it, and so forth. The
direction of projection on the rows of pillars lining either side
of the platform corresponds with the direction of travel of the
adjacent tube trains. The magazines are filled with slides showing
the international sign-language alphabet. The slides change at intervals
of two to three seconds. Each magazine contains a sentence "written"
in sign language and functioning as part of the whole body of text
of 42 sentences. From most angles, it can be read as an endless
loop. A text written in the Roman alphabet, by contrast, would scarcely
be legible due to the mass of other printed matter -- advertising,
travel information and instructions -- scattered around the station.
With the billboard surfaces painted the same grey as the station
tiles, they now blend into the walls so that the curvature of the
subway station is emphasized. The red billboard frames are now more
empty and schematic, their concordance is more distinct with the
red-painted girders and with the pillars on which the projectors
have been installed.

Certainly, many tube travellers will be briefly irritated by the
constantly changing hand-signs, and then go on their way. All the
same, this disruption of the usual situation may well preoccupy
some passengers, or even prompt them to investigate the immediate
question of what the signs mean. Such passengers might then discover
the A4-size folding leaflets with the sign-language alphabet that
are distributed in the holders on the platform, and then try to
decode the projections. A large quantity of these leaflets will
be printed, so that the holders can be permanently replenished.
But the hand-signs have some meaning even for visitors unwilling
to spend time translating the sentences - the elegant curvature
of the station is brought to their attention, the red pillars can
be seen as bar lines dividing up a piece of music. Travellers who
take the trouble to translate the projected sentences with the aid
of the printed alphabet will possibly come across something they
just saw, or are familiar with from previous visits. The text deals
with observations made during a tour of Alexanderplatz. It describes
fleeting impressions, chance observations, passing thoughts on what
was seen and experienced Ð similar to what we encounter every day
when we walk through a city. This written vision of interwoven thoughts
is analogous with the labyrinthine passages leading to the intersecting
underground and overground train lines at Alexanderplatz station.

Of course, the viewer is at liberty to make the round of the columns and read the correct
sequence of text. Alternatively, they can dodge back and
forth over the platform, decoding at the same time, and like anyone else make their individual
ways over Alexanderplatz. The text is not a paper chase,
in other words, but is kept open despite its specific relation to the site. The projection
becomes a visual interrogation of the station architecture and
its urban location, prompting the visitor to think about the identity of the place. And
because they can change their standpoint at will, they can also
discover that every perception is subjective and site-related. They might begin to think
about their own projections and ultimately about the way they
meet their own reality, and while doing so may experience the act of seeing as a
knowledge-heightening process.

Technical data: 42 carousel-projectors, 42 slide-magazines, 42 timer, grey paint.