BrightRoom is a self-contained system of spaces within a space. The installation, accessible through the entrance of the Petrikirche, consisted of ten nearly identical, narrow, and confined rooms arranged in a circular formation, creating a looping pathway. At the center lay an inaccessible room, adjacent to all others. The sterile, white furnishings—plastic folding chairs, potted plants, and doors labeled with signs such as "Please wait" or "Consultation Room"—gave the space a bureaucratic atmosphere.

Each room featured a window facing the central space, with a peephole above it that could be used from the inside. This structure, similar to a one-way mirror, strictly separated the roles of observer and observed, creating asymmetrical visibility. Two groups appeared to be in adjacent rooms, yet were deliberately isolated from each other by the design. Subtle interventions in the space evoked the sensation of an unseen presence—always felt, yet never fully graspable.

One room was illuminated, the other was not. This interplay between observing and being observed created a panoptic dynamic that shifted perception and power.

The peepholes referred less to an observing figure at the center and more to the structure of vision itself. It was not about the observer, but about an external gaze that ordered the scene and the arrangement of the rooms. Visitors experienced a double dependency: their own gaze was overlaid by an external, inaccessible gaze, represented as an unreachable interior within the installation. Thus, vision was simultaneously inside and outside, intimate and alien—revealing the subject’s dependence on the very possibility of being observed.

The installation also defied the expectations of church visitors, who anticipated access to the church’s main nave. Instead, the path ended abruptly, causing confusion and, at times, criticism.

BrightRoom left some visitors with a disconcerting connection between space and perception. Familiar expectations of a sacred place were deliberately undermined, prompting reflection on one’s own perspective. The installation demonstrated how altered spatial conditions can force a new way of seeing.

Ten adjacent waiting rooms, doors, a central room, door peepholes, plastic folding chairs, door signs, and plants.

Closed system of rooms in a room. Ten almost identical, small and narrow rooms, built in a ring, one behind the other, creating a kind of tour. In the middle, there is an inaccessible room. The sterile white rooms were furnished with plastic folding chairs and potted plants and connected by white doors with signs such as "Please wait" or "Consultation room". Each of the rooms had a window built into the central room. Opaque windows, where peepholes were built in, were used to connect the central room to the waiting rooms. The rooms were only lit by an indeterminate light source behind the windows, through which the bodies of performers could be seen at certain times. They moved around the encapsulated room and looked through the spies to observe the outside rooms.

Upon entering the church, visitors first stepped into a sterile white room labeled “Consultation Room.” Behind it lay a narrow, almost identical waiting area with white chairs and a sign reading “Please wait.” Another door led to the next, similarly familiar-looking room. This sequence repeated several times, gradually creating a claustrophobic urge to escape the endless loop. After passing through five or more rooms, visitors eventually found themselves back at the entrance—the promised consultation room remained unreachable.

BrightRoom is a self-contained system of spaces within a space. The installation, accessible through the entrance of the Petrikirche, consisted of ten nearly identical, narrow, and confined rooms arranged in a circular formation, creating a looping pathway. At the center lay an inaccessible room, adjacent to all others. The sterile, white furnishings—plastic folding chairs, potted plants, and doors labeled with signs such as "Please wait" or "Consultation Room"—gave the space a bureaucratic atmosphere.

Each room featured a window facing the central space, with a peephole above it that could be used from the inside. This structure, similar to a one-way mirror, strictly separated the roles of observer and observed, creating asymmetrical visibility. Two groups appeared to be in adjacent rooms, yet were deliberately isolated from each other by the design. Subtle interventions in the space evoked the sensation of an unseen presence—always felt, yet never fully graspable.

One room was illuminated, the other was not. This interplay between observing and being observed created a panoptic dynamic that shifted perception and power.The peepholes referred less to an observing figure at the center and more to the structure of vision itself. It was not about the observer, but about an external gaze that ordered the scene and the arrangement of the rooms. Visitors experienced a double dependency: their own gaze was overlaid by an external, inaccessible gaze, represented as an unreachable interior within the installation. Thus, vision was simultaneously inside and outside, intimate and alien—revealing the subject’s dependence on the very possibility of being observed. The installation also defied the expectations of church visitors, who anticipated access to the church’s main nave. Instead, the path ended abruptly, causing confusion and, at times, criticism.

BrightRoom left some visitors with a disconcerting connection between space and perception. Familiar expectations of a sacred place were deliberately undermined, prompting reflection on one’s own perspective. The installation demonstrated how altered spatial conditions can force a new way of seeing.