Permeability The double skin of the sculpture (in Liverpool) was needed conceptually, not structurally. In Liverpool the visitor was to be able to choose whether to have one, two, or more layers of steel between herself and the objects/vistas/people viewed. The particular qualities of the steel grid (…) are given by the size of the holes in the grid…This makes the visual transparency of the sculpture very lively and as a result very demanding, or involving for the viewer: always disappearing as the surface curves away, or as you move in relation to it (…) The surprise is that once on the inside, in that cocooned space, my attention is taken far more by what I hear (and feel on the surface of my skin – heat, cold, air movement, moisture) than by what I see, the muffling of sight producing more acute sensitvity in my other senses (…) (excerpt from: „Crossing-requiem for a balcony 2002“ a text by Lewis Biggs, Tate Liverpool and curator of the Liverpool Biennial )