Speaking on behalf of his colleagues Gabriela Seifert and Ottmar Hörl, Goetz Stoeckmann presets a selection of work by their firm, Formalhaut. He discusses their work in three categories: architecture, sculpture, and conceptual work that attempts to merge their respective fields. Believing their disciplines to be quite different, they keep their work separate with respect to the functional requirements of architecture and the autonomous aspirations of art. Their Cow Project, an installation from 1980 is an attempt to merge an artifact with nature. Their architecture projects attempt to incorporate sculpture into architecture. Stoeckmann discusses a project involving urban balconies as well as an unrealized attic conversion project.

Stoeckmann discusses a gallery space in Kassel to host the Documenta art festival, and another project was for a museum to house large objects. Another museum proposal was based on the movements of the users. Stoeckmann compares a sports hall designed by his partner Gabriela Seifert to another sports hall designed by his other partner Hörl as an example of the differing approaches of an architect and an artist as described by Donald Judd. Hörl’s sculptures include deconstructed machinery and scrap metal installations, a project called Yellow Syndrome using garden gnomes, corrugated glass fiber installations, and newer work involving dropped and thrown cameras.

Stoeckmann presents a selection of work from his firm Formalhaut that attempt to mediate between art and architecture as collaborations. Double Knight Game began as a land art piece based in chess. The steel and corrugated glass fiber silos used for this project led to an architectural scheme called Houses for Singles. Their Full House project in Hamburg is a pavilion using 180 dust bins, while Rendezvous from 1985 refers to space terminology for a docking event. Stoeckmann also discusses other projects including Grande Prix, a multimedia installation for the Frankfurt revenue offices, Welcome in Holland, and Caravan.