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NEW EUROPEAN BAUHAUS RISING STARS: concepts or ideas submitted by young talents (aged 30 or less)
Project title
Full concept/idea title
Design strategy for a contemporary culture of remembrance facing the reunification of Germany

Memories remain alive through conversation, but before we engage in dialogue, we need to learn to listen to each other.In public space, tension belts are temporarily installed at four places of remembrance of the reunification and the peaceful revolution of '89 throughout Germany. The website and the QR code that can be read on them lead into an open auditory archive. Personal memories or questions about this time can be contributed to the archive via answering machine.

What is the geographical scope of your concept/idea?
Does your concept/idea address mainly urban or rural issues?
It addresses urban-rural linkages
Does your concept/idea refer to a physical transformation of the built environment or other types of transformations?
It refers to other types of transformations ('soft investment')
Has your concept/idea benefited from EU programmes and/or funds?
Has your concept/idea won an EU prize?
How did you hear about the New European Bauhaus Prizes ?
Word of mouth (colleagues, friends …)
On whose behalf are you submitting the application?
As an individual
Please provide a summary of your concept/ idea

Using a participatory design approach, ideas for a contemporary culture of remembrance emerged collectively through a survey, interviews and ideation workshops.

Our memories remain alive through exchange and conversation with each other. But before we engage in dialogue, we need to learn to listen to each other again.

As an intervention in public space, orange tension belts are temporarily attached at four places of remembrance of the reunification of Germany and the peaceful revolution of '89. The website and the QR code that can be read on them lead to an open auditory archive. Personal memories or questions about this time can be contributed to the archive via answering machine. Through the open format, a current reference to history can be established. On the website, this results in a participatory podcast that continues to fill up as the tension belts travel throughout Germany. It is intentionally not made clear in which places the voice recordings were made, so as not to reproduce stereotypes of the individual federal states and so that the audience listens with an open mind.

In a monthly radio show, the content will be discussed in more detail and more time will be given to thrilling perspectives.

Please indicate the main themes of your concept/idea with 5 key words
We need to listen to each other again
Every personal story through historical upheavals needs the same amount of appreciation
Through readymades low project costs with a maximum social impact
For each age group, who can devote themselves to the project in a mutually supportive manner
Re-learning basic communication in public
Please give information about the key objectives of your concept/idea in terms of environmental sustainability (including circularity) and how these would be met.
Please highlight how the concept/idea can be exemplary in this context

My concept is designed to make use of readymades. This means that no extra parts have to be made. Existing truck straps, which are discarded because they can no longer carry the original load, will be printed with the website URL The basic concept requires four of these, which will then travel to different locations to fill the Auditory Archive.

The tension belts will be wrapped around thematically appropriate monuments to attract attention. If one is wantonly stolen, the advertisement for the auditory archive just appears somewhere else and is on the move. Vandalism only spreads the project even further.

Please give information about the key objectives of your concept/idea in terms of aesthetics and quality of experience beyond functionality and how these would be met.
Please highlight how the concept/idea can be exemplary in this context

Tension belts usually have very striking colors that stand out from the materiality of conventional monuments. This creates an irritation in the everyday life of passers-by, making them curious about what is hidden behind the website URL.

The tension belt in its function is an optimal intervention because it adapts to all locations and can be wrapped around almost any memorial.

In a figurative sense, the tension belt has the meaning of holding something together, or even in a negative sense, forcing something together. In the context of the reunification of Germany, both the negative and the positive interpretation of the function of the tension belt, reflects the experiences and experiences of the people. A field of conflict is shown, which does not have the goal to harmonize historical events.

Please give information about the key objectives of your concept/idea in terms of inclusion (equal opportunities, public participation, citizen engagement, co-design, universal design, accessibility, affordability, etc.) and how these would be met.
Please highlight how the concept/idea can be exemplary in this context

Participation has a high value in my work. Monuments are part of the public space, so with my design strategy I decided to involve the public in every step.

At the beginning of my work I start with a survey in the public space. It helps me to get a general picture of the mood and to define the concept of commemorative culture for me. In the further course I plan two ideation workshops, which have the goal to develop creative approaches for a contemporary culture of remembrance. Interviews with experts support me in the analysis of my project.

The resulting concept also lives from participation. Without people telling their stories to the answering machine, the auditory archive would not be filled. People who did not experience this time in Germany can ask questions or make a current reference to current issues.

Feelings are largely excluded from public and scientific discourse in our society. They are considered irrational, a private matter.

Those who work participatively know that feelings such as curiosity and joy, but also fear, frustration, impatience, and resentment are part of the dynamics of the participatory process. So when I take a critical look at my process,then it is almost exclusively about applied methods, strategies and the participants. This makes my process a curatorial practice that results in a kind of "relationship work". So it was important to me to create a space where different perspectives can be formulated with all the emotions that go with them. The carrier of this is the voice itself.

Another necessary step is the development of forms of "critical preservation" that go beyond "historical preservation," that is, beyond preserving only those things that appear important from a historical perspective.

Please explain how these three dimensions would be combined in your concept/idea.
Please highlight how this approach can be exemplary

The project includes the users in the process from the beginning. The users play the main role of the auditory archive and share their personal experiences over a long distance.

The tension belt is an irritation that is only in one place for a short time and then moves on. But through my choice to create an online platform, the time span of remembrance is extended and has the possibility to become present again after an unspecified time.

The adaptation of the tightening strap through printing has very low production costs, which in implementation lead to maximum social impact.

Please highlight the innovative character of the concept/idea as compared to mainstream practices in the field of the concept/idea.

We listen to countless podcasts all day long. But to remember, we have to specifically attend an event or read thick books.
Through the personal narratives and listening to the associated voices, the experiences are closer to us than ever before. We manage to put ourselves in other people's shoes and understand them better. The concept is specifically intended to support the reunification in Germany and to strengthen and support the still ongoing process.

With as little financial input as possible, a maximum social impact is achieved, bringing together people from all over Germany. It reveals the chance to listen to a stranger with whom one would never have talked otherwise. Even in times of Covid-19 and the pandemic, nothing stands in the way of the concept. It uses familiar elements such as the QR code, the answering machine and the consumption of a podcast.

With the monthly radio contribution and the accompanying, more frequent confrontation of the listeners with the German idea of unity, a destigmatization of October 3 is attempted.

Without remembrance, there is no awareness of the society we are. Without memory there is no vision of the future. Nevertheless, we are still at the very beginning of understanding what it means to think of plurality not only as enrichment and carnival of cultures, but also as something that has structural consequences for our society.

Please detail the general plans that you have for the further development, promotion and/or implementation of your concept/idea.

A prototype of the tensioning belt has already been produced. The lettering can be legibly applied to the tension belt using transfer printing. In order to reach the different age groups, there is an Instagram account that teases the places where the intervention is currently located. There should also always be an article in the local newspaper to draw the attention of older people who do not happen to walk by. I could also imagine a cooperation with a radio station that shows important statements and puts them up for discussion. In general, public broadcasting is a good choice for the public concern.

Imagine that your idea/concept is awarded in the New European Bauhaus Prizes 2022. What kind of initiatives would you take throughout the following year (June 2022- June 2023)

I would set out again to raise the question of contemporary memory in a broader subject area. If our society is to develop further, we must understand from our memories how we have become what we are today. Away from the pandemic, major social challenges will come our way due to climate change, which is politically very far behind. 
As a designer, I also see myself responsible for questioning social structures on the one hand, but also for shaping them, in addition to ecological and technical transformation processes. 

By ticking this box, you declare that you are not in in one or more of the exclusion situations foreseen under Article 136 of the Financial Regulation.
By ticking this box, you declare that all the information provided in this form is factually correct, that you assume sole liability in the event of a claim relating to the activities carried out in the framework of the contest, that the proposed concept/idea has not been proposed for the New European Bauhaus Prizes 2022 in any other category or strand and that it has not been subject to any type of investigation, which could lead to a financial correction because of irregularities or fraud.
By submitting your application, you guarantee that you are the author or have the rights to proceed with the application and to authorise the use of the project, concept, idea, and that you have obtained any necessary consents, licenses or assignments from third parties and included copyright notices when necessary.
By submitting your application, you understand that all the applications that meet the eligibility requirements will be shared for the purposes of the selection processes, and notably published on the secured platform and for the purposes of the promotion of these on the New European Bauhaus website and/or other European Commission communication channels. In this sense, the applications would be widely available. Applicants should ensure that they present their ideas, concepts, projects, in such a way that they could be shared without giving rise to intellectual property related concerns. If your submission is selected as one of the finalists, it will additionally be shared for the purpose of the public vote that will take place. The European Union is granted a licence to use and share your application with the general public and the official external experts for the purposes of the selection process, including the voting. The European Union has the right to use the images and visual materials and the description provided in the application for communication purposes related to the contest and beyond. Rights granted comprise the right to store, reproduce, display, publish and communicate or distribute copies in electronic or digital format, including, but not only, through the internet. Unless you have disclosed your name, the European Commission has no obligation to share your name when using or disseminating your contribution to the public. The European Union cannot be held responsible in case any submitted idea, project, concept is found to infringe third parties rights. The European Union shall be neither responsible for the use that third parties may do of the applications or related content.


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