Point zero, the first public experiment. Six caravans were placed together as one big mobile unit and parked on a public parking lot during the course of one week. During this period, Philips lived at this site. As a sort of calendar, a time-marker, the thirteen-meter-long construction was moved up one parking space each day of the week. With this project, Philips responded to a Belgian law regarding wild camping. This law states that camping in a public car park is allowed for a maximum of twenty-four hours, after which the parked vehicle must be moved at least one meter. The stretched architectural form, the interior of a caravan, symbolically coincides with the figurative stretching of the interpretation of a law. This first public space intervention, which emerged as a reflection on a sculpture’s autonomy and functionality, was the blueprint for the development of sculptures, installations and scenographies in the following years. For Philips, still a student at the time, the interaction between private and public spheres proved to be key in positioning his artistic practice. His love for monumental interventions outside of the studio had been present for some time. But here the sculpture, in the form of a nomadic residential module planted in the urban landscape, created a new kind of space for the very first time: A heterotopy where Philips explores the boundaries between the personal mental space we call ‘home’ and the landscape surrounding it. The near sabotage and clash with architectural coordinates and their driving forces will become a recurring tactic in the future.