The here-shown short Comic strips form part of a series of works that address the transformation of city centres through intensified tourism. They appropriate elements of the symbolic arsenal of European cities, here Paris, Vienna and Venice, to comment on the reconfiguration of city centres as places of relentless consumerism and entertainment. In placing Michel Foucault on the Eiffel tower, e.g., the rich symbolism of the city of light is exalted even more, entering the realm of surrealism, while commenting on salient everyday issues. Comics have the power to move people, potentially change their minds or alter personal opinions and perspectives. Here, humour is used as a weapon to point to directions for social change and reflection.

The drawings shown here take their inspiration from ancient cave drawings, but access the topic of modern life in the city from the imaginary perspective of the cave painter. Uncertain, multifaceted imagery implies a multiplicity of meanings, which demands to be deciphered in order to make sense. Sense is literally being made, manufactured and inferred from the symbolisation of potential references. Multiple levels of reference can be established at each and every moment, in each context and situation. Thus, the drawings at the same time allude to our idea of the unconscious as an arsenal of signs and symbols which constantly needs to be translated, interpreted and interconnected to the world we live in, in order to author meaningful environments. We ultimately are the authors of our own worlds, if only through the meanings we ascribe to people, things, thoughts and feelings. The vocabulary we use is always uncertain, unfinished, elusive, allowing us at the same time to progress, to change, and to evolve. The here-shown drawings ultimately suggest a hidden language that can rather be drawn than understood, unless we are ready to adapt and enter the cycle of imaginary evolution.

After the model development process, a big event was held in cooperation with ÖVP Wien, where the different solutions were discussed and the audience could vote for their preferred outcome. In the presence of culture minster Gernot Blümel the heads of Madame Architects transformed the model live into the form most desired, resulting in a performative, open ended and participatory medium for urban development virtually open to all. By transforming city models directly and broadening the scope of materials in use, these models can be seen as a tool of multidisciplinary communication accessible to all parties in the urban development process. ARCH.SLAM, therefore, was an experiment to open new alleys for thinking and talking about cities. The development of public urban spaces should be a democratic process. By providing people with means and media to partake in the discussion about the outcomes of urban planning, we have created a platform for interdisciplinary exchange and social integration around a much-contested topic.