In the 14-month planning and realisation stage, a baroque hunting castle in Seesen was redeveloped with a focus on simplicity and clarity at a reasonable price. Also, the permanent exhibition of the museum was conceived and moved.

Central attention at the rebuilding work was the restoration of spatial relations and structures, as well as the creation of a high-quality, modern but timeless showroom, which is able to take on the various exhibits, including specialities such as 'The world's longest piano string. The exhibition has a modern pedagogical approach and offers attractions and information for all age groups. Additionally, the value was placed to increase children's participation through experimental- and multimedia stations. In this way the museum can be accessed by a variety of senses, understanding through seeing, hearing and touching.

"... In the front the Baltic Sea, in the back the Friedrichstraße ..." In the EuroCity Berlin one can come close to this ideal. The design combines an urban block typology with a distinctively shaped bar - " the Wolkenbügel". Its shape is characterized by a large void. This wide passage connects the block via the neighbourhood square with the waterfront and at the same time the waterfront with the city.

The void forms a partially covered urban stage for public uses such as weekly market, game or sport and thus a lively place along the promenade. The block is orientated to a central courtyard, which is connected to the neighbourhood square. The block is divided into ten different houses whose building height of seven floors decreases stepwise to five. All roofs are used as terraces. According to the different housing typologies and sizes, the widths of the houses vary as well. The houses are also distinguished in terms of facade rhythm and materiality.

In accordance with building regulations, one could build at least three more full floors on top of the existing multi-storey car park Briesestraße: There is a vacant lot on top of the car park. In static terms one or two additional stories are feasible. By converting the existing floors and adding floors on top a unique building is created with a special atmosphere and spatial quality for different user groups (live and work).

The concrete areas between the ramps are removed, which allows daylight to reach below street level. The additional units of the 2 ½ storeys are built as a light wooden panel construction. The visibility of the past leads to special appreciation. Thus, the acceptance for a good remix in the neighbourhood is far higher than for demolition and a new beginning.

The design concept 'Green Wave' generates a holistic image and a characteristic coastal skyline for the site of Kirkjusandur in Reykjavik, Iceland. Two design principles characterize the appearance of all buildings: The dynamic shape of the wave as an aesthetic concept and the integration of green spaces as vital elements of functional and atmospheric quality. The new headquarters of Glitnir Bank, a nine-storey building addressing the prominent highway Sæbraut, will be the key figure for the future development.

The elevated entrance plaza is secluded from the public flow on ground level and sheltered from heavy winds coming from the shore. Open working spaces can be organised and subdivided flexibly. Winter gardens on each floor increase internal lighting, provide space for informal communication and create a comfortable atmosphere and climate. A decentralized ventilation system and a heating system based on geothermal energy are implemented, which are economical in maintenance, space-saving and highly energy efficient. The façade consists of tilted glass elements creating a "deep skin" that reflects natural and artificial light in different angles.

House 1 is the first built project of the masterplan 'mirror twins'. On top of a shared commercial ground floor a green link connects the site with the close-by park. The two seperate buildings connected by the common plinth are generating an enormous amount of requested square meters. Rather massive volumes are perforated by a series of programmatic voids that connect to a common circulation space, an inner void. The much needed public space is integrated into the building by creating a second entry level and reinterpreting the circulation space. The engraving appearance
of House 1 refers to the typical salient facades of Tirana. Multiple tilted strips create a rich play of light and shadow.