The new built landscape at the former Oberwiesenfeld, together with the stadiums, aimed to present West Germany as a “green, open and democratic” country during the Games. The park was designed to be always open, without fences or limitations. The Games shoud be “played on the ground”, which led to the conception of a glass roof that connected and covered all of the stadiums.
In 1998, the Olympic Park and the Olympic Village, along with all the structures that composed them, came under the protection of the cultural heritage distinction. This included, of course, the so-called small architecture (kiosks and ticket offices) designed by Jochem Jourdan. The ticket office, unlike other parts of the Olympiapark, did not fit into the process of commercialization that started once the Games came to an end. The lack of a meaningful further use -especially atier professional soccer games were moved to the new-built Allianz Arena- brought the futuristic-brutalist building into a time-freezing state. The protection offered by the cultural heritage distinction ensured that the building would not decay too much; and so, the ticket office has remained halfway between a memory of its original function and a quite real -tho silent- element of the park’s present landscape.
Now, Fair Play encourages five invited artists to analyze such a state and to imagine alternative realities and readings for the former ticket office’s building and surroundings.