Esperanto’s failure to become a commonly spoken language is a fact, just as modern architecture has not become part of the mainstream: there are other kinds of lingua franca today. Like Esperanto, architecture intended to constitute a common ground appears instead to be sectarian in the midst of contemporary pluralism. Responding to David Chipperfield’s call for an exhibition of Common Ground at the 13th Venice Biennale of Architecture, Kuehn Malvezzi built two interventions using grey stack-bond brickwork, at the entrance and in the Sala Chini of the Palazzo delle Esposizioni, the central pavilion at the Giardini. The Berlin-based practice created two thresholds, two specific spaces that encourage people to meet and linger, to sit down and watch. Komuna Fundamento embraces the relationship between the architectural object and its physical construction. Including contributions by Candida Höfer and Armin Linke—two artists who approach architecture from opposite directions, while both working in and with space—architecture is considered by Kuehn Malvezzi as part of a curatorial action in space that is neither foreground nor background, but a transformative medium of the in-between. Very much like the installation, the book follows the logic of translation, putting contrasting imagery from various other places into a relationship.