"It is a so-called model institution because the building itself was not designed by an outside architecture firm, but rather by a team of people with experience in prison life and routines," he explains.
Wow. It blows my mind that we consider this approach novel because it just makes so much sense.
And Markus's own work isn't unworthy of mention. His art is the result of a well-thought process that considers the function and ideal role of prisons, and of course the specific users of the tunnel.
"Family, relatives, lawyers, social workers, parole officers, priests and police all had to use the tunnel to reach the visitors' area located in another building inside the prison compound. Access to the tunnel requires a security funnel, more intense than any pre-flight security."
Read more about Markus's work, and what elements of his process served as proxy for first-hand experience with prison routine:
For those of us sitting in London, DC, or Berlin:
- How might we best incorporate insights from first-hand experience with on-the-ground realities when designing for low-income communities in cities like Kabul, Mumbai, and Nairobi?
- And when we think safety and women for girls, how might we incorporate art into a solution in a way that is both functional and beautiful?