Both inside and outside, the DNA is experienced as a creative design element that gives this building a very stand-alone character. The lights, colours, sounds and oscillations wind over 150 metres through staircases, entrances, thoroughfares, out to the terrace and the façade. The changes in the DNA deliberately teeter at the threshold of perception.

This artwork is not a »shouting« action, not a sensational performance that is like a punch in the face, but rather a subtle, sensitive intervention in the middle of the everyday space of the building. The aesthetics are borne by fine nuances, almost endlessly slow change processes and by a spatial depth, complexity: the sounds are mostly restrained, delicate sound-colour compositions, softly oscillating, floating, vibrating air.

And it’s not clear where they come from; they fill these high staircases, this apparently empty space in this building, with sensory information. The lights and colours change and transform in time with the sounds. The DNA’s two strands of light make each other oscillate: at one point they resonate in harmony and at another point they »dissonate« in two colours of light that subtly push toward one another – a rubbing together at the observer’s threshold of perception.