Agency MAB, brainstorming hour glass, general images, various shots.Agency MAB, brainstorming hour glass, hallway, BMW images on the wall, close-up.General images, MAB agency, brainstorming hour glass, various shots.MAB agency, brainstorming hour glass, BMW images on the wall, close-up .MAB agency, design drawings, establishing shot .MAB agency, design drawings, various shots, close-up .MAB agency employees discuss the design drawings, various shots, close-up.MAB agency attaches the completed designs, various shots.MAB agency design drawings, close-up .MAB agency attaches the completed designs, pan.MAB agency studies the design drawings of all employees, long shot .MAB agency studies the design drawings of all employees, various shots.MAB agency studies the design drawings of all employees, close-up drawing .MAB agency studies the design drawings of all employees, various shots .O-Ton Vesna Koselij:I mean, the three ideas that we chose. We like the sandwatch best because we think that`s the best representation of the car, its gratual, it feels to the revealing of its slowly and it can be done really really luxury as so it can stand for the car and it can present it in a nice light.It's too high for people to actually see the car, we have to solve the problem of people being able to claim up there and see the car. There are two ways to doing that we can maybe position it in a location that allows people to walk around it like a sinken square something that we can find around the world or maybe build something around it to allows people to get up. Erdmann:I recommend, I believe that the greatest potential lies in the hour glass. I think that first and foremost that it is highly involving because we are really talking about a countdown. So I imagine there to be a stage where the hour glass stands alone, i.e. where it is more of an architectural monument and where there is no sender on it. And something happens, i.e. the sand runs to the bottom and it takes me quite a while to notice what is going on. I think that is very important, which is why I think the vehicle on the bottom should not be in it. I think that the customer will of course attach importance to the materials and to the overall effect being high-quality and premium and the vehicle in particular being completely undamaged. Not dirty, with glass or whatever being completely spotless, that it simply looks high-quality and that is of course a matter of the materials used. O-Ton: Vicky Liuri: Hmm, well, you should of course also represent the hour glass as realistically as possible, just as people imagine it. And in that point I agree with you that the car on the bottom definitely has to go because that can’t work and …Christoph Erdmann and Vicky Liuri discuss the matter. Erdmann:Well, of course, there are many designs that are presented without detailed checking. But it is generally the rule that the customer of course asks how big it is and what it is made of, what does it look like, what does it feel like. And in general, with the hour glass, we also have to take this route by being relatively up-to-date, at least presenting rough costs to customers because otherwise the ideas could simply not be developed any further.O-Ton: Vicky Liuri:Well, I also think that in order to realise the idea we now have to look for the right, strong partner and simply commission a feasibility study.O-Ton: Christoph Erdmann:I think that wanting to launch this hour glass on the basis of “Never stand

Studio Ratz, working on the computer, various shots. Studio Ratz, screen close-up. Mr Michel’s office, drawing the hour glass, various shots.Studio Ratz, viewing the concept idea together on the computer, various shots . O-Ton: Mathias Michel:The idea is actually an object, an abstract object with which you are perhaps familiar from print media, you can make a photo montage, position an hour glass and behind it the Louvre and in front of it a person. That we are really able to construct such a thing in reality and can transport this “aha effect”, which has become a little worn in the print sector, to reality.Of course, initially this is a very funny event when someone rings up and says could you imagine building an hour glass for me, 12 m in height. And then you say, well why not, show me and then you get a design, very abstract, an hour glass, and the challenge for me that makes up the technical and the design part. How can we materialise this, how can we construct this abstract idea in material so that the idea is still preserved. That’s the actual challenge.Yes, the challenge is actually this car, to place this automobile that is supposed to be authentic in a very abstract, very light looking object, namely this hour glass. Sand, well abstracted sand, should flow in between it and run down in a coordinated fashion. The whole thing should be presented in public, in the outside area. We have a building size of 12 metres. This means that we are actually realising a real, a genuine construction and both the heavy car and the light case, as well as this sand, have to somehow be packaged together and turned into a feasible construction. In principle, we have a body that is twisted, i.e. with surfaces that are twisted in two directions. This can of course also be manufactured in glass and of course the first idea is why not glass? However, in terms of the costs, the time and the assembly risk, as well as the whole construction work that accompanies this, this is an extremely demanding topic. With such projects, it goes without saying that we rarely have time to develop something over a year right from the outset, but we often only have a few months to do this. And then, due to our experience with Plexiglas, we rapidly opted for this material. Because we know that, in terms of its appearance and later look, it provides at least the same visual result and possibily an even better one. In terms of statics, the project in terms of the hour glass, i.e. this transcendent case, is completely new. There is currently no self-supporting shell construction of Plexiglas. And accordingly, the development was of course time-consuming. In principle, the first idea naturally went in this direction. We have a kind of steel construction in this hour glass. And we construct the whole thing like a façade that has posts and beams and then we insert panes. Then we briefly visualised this and ascertained that that doesn’t actually serve the idea at all and can’t transport it. And then we rapidly had the idea – let’s build it as a shell, like a dome and connect the individually twisted panels to each other so that this results in surrounding forces and radial forces. Just like the dome of a church. And that was actually the inspiring idea that led us to say – that’s how we’ll do it and that’s how we’ll inspire our customers. You develop incredible passion when working on such a project. Simply due to the fact that you have the opportunity to really create somethin

Model discussion, lounge, various shots. Model discussion, lounge, hour glass, close-up. Model discussion, lounge, various shots, fairly close-up.

State Material Testing Institute Darmstadt external board. State Material Testing Institute Darmstadt Affixing the Plexiglas pane in the strength test, various shots, close-up. State Material Testing Institute Darmstadt Affixing the Plexiglas pane in the strength test, medium shot . State Material Testing Institute Darmstadt Affixing the Plexiglas pane in the strength test, various shots, close-up. State Material Testing Institute Darmstadt Final check in affixing the Plexiglas pane, various shots, close-up . State Material Testing Institute Darmstadt Starting the test sequences on the computer, various shots . State Material Testing Institute Darmstadt Checking the cycles of the elasticity test . State Material Testing Institute Darmstadt Overstretching of the Plexiglas, close-up. State Material Testing Institute Darmstadt Overstretching of the Plexiglas, various shots, more close-ups. State Material Testing Institute Darmstadt Breakage of the Plexiglas, various close-up shots .O-Ton: Dr. Ing. Jörg Beyer:For Plexiglas, there is currently no measuring standard, which means in particular that when Plexiglas is used as a load-bearing structure, the resistance and the strength of the Plexiglas is vital. And we must test this in various experiments.The tests are unusual because there are no standard tests – they are object-related. This means you have to think up a suitable testing concept and the result of the tests is of course still open. That’s why we perform them. If we already knew in advance what would happen, we wouldn’t have to perform the tests.If you take normal materials – standard materials such as wood, concrete or steel – it’s not normally necessary to test these materials for strength. They have been largely tested and researched. If, however, you use a new material, such as the Plexiglas here, then we have to arrange experimental testing of the strength. Plexiglas has a relatively high temperature coefficient of expansion. This means that at high temperatures the material stretches more than currently other materials, such as steel. And this may result in Plexiglas being affected by temperature stress that could ultimately lead to the failure of the Plexiglas. Here we see that the Plexiglas, at a load that is three-times the later actually occurring load, has broken – in the lower part where it was drilled. As a load-bearing element in a structure, Plexiglas has not yet been studied. There is no standard for this material and the strength of Plexiglas, particularly of drilled Plexiglas, is largely dependent on the quality of drilling. In this case, it is very good, which means we have also reached a rather high load level.As a load-bearing element in a structure, there is currently no standard for the material Plexiglas. The material has not yet been researched to this extent. That is why we must determine the strength, particularly the strength in this drilling area here.State Material Testing Institute Darmstadt Breakage of Plexiglas, various close-up shots.

Warehouse: various shots of the transport of Plexiglas. Warehouse: suction of the Plexiglas pane. Warehouse: probing the Plexiglas panes with a special machine, various shots, more close-ups. Warehouse: feeling the Plexiglas panes with a special machine, staff on computer, various shots. Warehouse: removing the Plexiglas pane. Warehouse: Plexiglas pane for removing the film and cleaning Affixing, various shots. Warehouse: Plexiglas pane for removing the film and cleaning Pulling off the film, various shots. Warehouse: Plexiglas pane for removing the film and cleaning Blowing dirt off the pane, close-up shots. Employee: We pulled off the film, resulting in a static charge. This attracts the dust and this is now removed again by high pressure.Warehouse: Plexiglas pane for removing the film and cleaning Blowing dirt off the pane, various shots. Warehouse: placing the pane in the heating appliance, various shotsWarehouse: Plexiglas pane in the heating appliance Switch: close-upWarehouse: Plexiglas pane in the heating appliance Removal of the pane from the heating appliance, various shotsWarehouse: putting down and covering up the Plexiglas pane Various shotsWarehouse: further transport of the bent Plexiglas panes to storage, various shotsWarehouse: further transport of the bent Plexiglas panes to storage, close-up shots.

Test set-up: establishing shot of hour glass – site from outsideTest set-up: putting down the Plexiglas panes Various shotsTest set-up: bringing up the Plexiglas panes Long shotsO-Ton: Sven Baumert:This isn’t really routine, but more of a highlight. Because we don’t do this very often. And such … we’re doing this for the first time. And we’re all interested to see how it will work out.Test set-up: assembly of the Plexiglas pane with riserTest set-up: Karl Ratzke watches the assembly Two shotsTest set-up: establishing shot of hour glass – site from outside PanTest set-up: transporting up a Plexiglas pane Various shotsTest set-up: commands of Sven Baumert. Test set-up: transporting up and assembling a Plexiglas pane Various shotsTest set-up: assembly of the Plexiglas pane Various shotsTest set-up: adjustment of the pane with tools Close-up, various shotsTest set-up: assembly of a Plexiglas pane Long shotTest set-up: assembly of a Plexiglas pane Time lapse 1Test set-up: assembly of the Plexiglas panes Dolly shots 1Test set-up: assembly of the Plexiglas panes From the inside out, employees assemble freely suspending Various shotsTest set-up: assembly of the Plexiglas panes HT backlitTest set-up: top Plexiglas part of the dome is finishedTest set-up: assembly of the Plexiglas panesTime lapse 2. O-Ton: Sven Baumert:The final pane is just being inserted. And fixed. I think it still requires a little adjustment, that sometimes takes a moment, but otherwise the second circle is already perfect. And complete!Test set-up: transporting up further Plexiglas panes by pulley, various shotsTest set-up: assembly of the Plexiglas panes Dolly shots 2Test set-up: fine-tuning in the assembly of the Plexiglas panes Employees assemble freely suspending, close-upTest set-up: fine-tuning in the assembly of the Plexiglas panes Emplyoees assemble freely suspending, various shotsTest set-up: assembly of the Plexiglas panes Employees assemble freely suspending, time lapse 3O-Ton: Sven Baumert:In terms of assembly, I think the third sequence is the most work-intensive. Because in principle no one can stand inside, in the top segment, i.e. in the inner segment. You can only work if there if you are freely suspended. You can see that well here – how Olaf is suspended. And then a team is on the riser, which you can also see fairly well. They are attaching the screws. And Olaf inside, in the timer, in the egg timer, in the upper part, can effectively secure it from inside. And screw it down. As it is required at that moment. Yes. Now they still have to attach six parts and then the top one, the top balloon is closed.Test set-up: assembly of the Plexiglas panes Employees assemble from the riser, dolly shots 3Test set-up: transporting up the Plexiglas panes Various shotsTest set-up: pan across the finished top part of the domeTest set-up: Sven Baumert supervises the assembly and gives instructions Various shots. O-Ton: Sven Baumert:I think there’s still a lot of tension there, I can see it. Well, they still have two connections on the left and on the right. It is a bit more time-consuming getting it in, but that’s normal. And ultimately they will manage it, with a bit more time, but everything will be OK.I think everyone is relieved that it fits so well. I also talked to Mr Bender previously. And he is also somewhat relieved right now. He was also very tense the last few days, as we all were. And everything is turning out for the best now. Thank God!Test set-up: Mathias M