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Studio Report Studio 1

December 2017

‘Collapsibles’

Corporeal/ArtEZ Master Interior Architecture


Vision At Corporeal, the Master’s Degree program for Interior Architecture in Arnhem and Zwolle, the constantly changing relationship between man and space is the platform on which the studies are based. Corporeal In the word ‘corporeal’, which is the name of of the Master of Interior Architecture, ‘corpo’ stands for the body and ‘real’ for the reality surrounding us. MerleauPonty, a French philosopher came to the realization that one’s own body (‘le corps propre’) is not just an object, but rather a permanent prerequisite for experiences enabling us to understand our world. The body becomes the site where social reality and spatial truth are found. Visionary designers and interior architects Corporeal foresees its students play important roles in the professional world as innovators, initiators who wether in studios or as independent contractors or through research programs develop their areas of expertise. They take on an inquisitive role and keep asking questions while remaining free spirited. They undergo a constant learning and development process through constant reflection, at the same time imparting their new knowledge on others. Critical designers and interior architects Corporeal is of the opinion that designers and interior architects should be able to notice societal trends and apply these to interior architecture projects. They explore behavior and inter-relational actions in the space where humans live and develop strategies for intervention. Not only do interior architects create living spaces, they also see and understand what is happening in the world around them. They point out the influence of new phenomena. Important recent developments, such as the significance of local news, changes in movement and direction of organizations and the use of new technologies in our daily lives require new responses. Program In two years ArtEZ trains students in the Master program to become interior architects who are capable to tackle complex projects and partnerships. The program is based on three workplace disciplines: Bodily, Social and Reflective.

www.corporeal.artez.nl


Studio Report

Studio 1

December 2017

‘Collapsibles’

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The ArtEZ Academy offers a Master Program for Interior Architecture under the name Corporeal, which name contains and refers to the concepts of body (corps) and the space around us (real). The instruction program is made up of a number of study sessions during which the students research the aforementioned vision through themes of their own choice. An important part of the program are the so-called ‘Studios’ in which the students, under the guidance of the guest-tutor, further develop into concrete designs the themes that they research in an earlier phase of their education. In the first semester of their first year, ten students worked on a design assignment for a traveller’s home with tutor Sebastiaan Veldhuisen. The studio started with a research on materials, their properties and potentials. Students picked materials such as wool, copper or paper while exploring methods in which to shape, combine, and transform the material to the preferred state. Inspiration on the material experiments was given by guest lecturer Eric Klarenbeek. Next a character was developed through a story telling workshop by Annee Grøtte Viken. The characters and the material studies evolved into a home for a person constantly on the move. Home could be interpreted as a shelter, a safe haven or an object creating identity. As long as the designs where transportable by the characters on their travels. The sense of home was initially inspired by childhood memories of each of the students. The designs combined all the dimensions of the experimental phases of the studio to result in a creative variety. The diversity of cultural backgrounds within the group showed in the results. Some students created a place for their character to retreat, like a rolling object allowing the character to meditate. Some students’ interpretation and approach was strongly linked to a specific journey, like the hills of Kyoto or the rainforest of Suriname. Some students created meaningful tools for their characters. For instance a recipe book based on the use of leek. This project explored the possibilities that a vegetable has to recreate home in hotels all over the world. Another project, ‘Beeke’ presented a home as a woolen object through ritual bonding and retention of memories, experiences and places. One student found the solution in leaving similar wooden structures in parks in the places frequently visited that would change according to local culture and use. In the world we live in today people move quickly and travel to different corners of the world faster than ever before. Overall the students managed to design inventive ways of enabling a home for a traveller while adapting to ever changing situations and locations.

Intuitive physicality, research of space focusing on the person and the body, are the main focus of the Studios. The student will complete three Studios during the first academic year. Studio 1 lasts 14 weeks, and is followed by Studios 2 and 3, each of which lasts 7 weeks. In the three Studios in the first year, the students work within the framework of an research assignment formulated by a guest tutor, who additionally invites experts and visiting critics. The focus is on a bold, innovative and original approach to the design challenge. During the finals in the second year, which last 14 and 21 weeks respectively and take place during the second academic year, students will be working on a spatial research based on the theory which was explored and developed during the writing of their Thesis. This requires from the student an independent and autonomous attitude, which has previously been developed during the first three Studios. The Finals are supervised by Eric de Leeuw, one of the education programme’s core tutors, occasionally supplemented by an expert, visiting critics and other core tutors.


‘Noah_Origami art inspired aluminum structure_JoJo’s travelling companion.’


Studio Report

Studio 1

December 2017

When the maple leaves tinted red Xiaomin Deng

5 A closer look. As the aluminum reflects tree shadows, the structure naturally blends into the environment.

The Material_ Aluminum Aluminum is a metal that is widely used in the world but also neglected by people inadvertently from time to time. The quality of aluminum, its invisibility, increases my interest in it as I am someone who has been immersed in Japanese culture since I was teenager. The essence of Japanese aesthetics is “wabi-sabi”. A wabi-sabi space or a wabi-sabi product can bring about, within us, a sense of serene melancholy and a spiritual longing. The beauty of wabi-sabi can be described as “imperfect, impermanent, and imcomplete”. Meanwhile, aluminum shares the same characteristics in its qualities: light, inexpensive, common. There’s a link between my favorite material and my favorite culture, I in a way, exist in the identity of their spirit. The Assignment_ Home Home is a personal definition, but coming back to basics, the stability represented by the concept of home and the instability in the journey are natural enemies. Between old and new, comfortable and uncomfortable, eternal and temporary, traveller has obviously made his choice. The reason why a traveller on the road often looks back from time to time is the reason where home resides within. For me, the reason is my search for a sense of identity. Home is a place where you can feel peace of mind, is a cave where you feel safe without the false pretenses of the world.

The Story_ A Spontaneous Journey JoJo is a 31-year old cartoonist who works and lives in Tokyo, Japan. The story begins on an ordinary night of early autumn. On the way home, JoJo meets a long-time friend, who tells him what he has seen in Kyoto, and also brought a news of temptation: maple leaves dyed the hills of Kyoto this season. Immediately, the protagonist of the story decides: it is time for a road trip. Noah is an aluminum light frame inspired by traditional Japanese art origami and conceived for JoJo, so that it will allow him to take a break during a three-day, two-night excursion to serve as his home on his journey.


Story: When The Maple Leaves Tinted Red.


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JoJo’s quality time. Embraced by the hills and maple trees, Noah provides different perspectives into the woods.


‘You can try to adapt to where you are But wouldn’t it be better If you travel with shapes That adapt to you?’


Studio Report

Studio 1

Dance with me Rosie van Beuningen 9 Dancing shape.

I am waking up From the light With my eyes still closed I see the sunbeams I feel the warmth I open my eyes I see the shadows on the wall Flickering Disappearing and appearing again Sun through the clouds Patterns A ritual A meditation A dance A day anywhere A place in the world Lost But the dance leads me Everywhere

Everywhere I am The shapes transform In response to my feelings My own paper Keeps my Memories and experiences

December 2017


My paper keeps all my memories.


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‘It dances with you - regardless of the rhythm of home that sounds in my body.’ Oiled patterns.

Disappearing in layers.

Dancing shape.


‘It was around this time that I realised that structure could only be created by tension, and that the main way of creating tension in canvas was to use a pull-force.’


Studio Report

Studio 1

December 2017

Canvas cultivations Fenne van den Heuvel 13 Removing structures can create new spaces.

The first thing that became clear to me when I started researching the material I had chosen, was that canvas is inextricably linked to its history and to its production. Stemming from the word ‘canevaz’, canvas was originally made from hemp (cannabis). Through the ages, this sturdy material has taken on many forms and functions, most notably as sails on ships, and as fabric for painting on. The challenge of creating a home or a ‘sense of home’ came mostly from the material’s lack of structure. By creating minimalistic designs using basic shapes as a base, I endeavoured to find a form that would stay up and would be able to shelter a person as well as create a pleasant atmosphere that would remind of a home. I soon discovered that certain edges and directions created more structure than others. For instance, a smooth surface is easily dented while its outside ridges are quite sturdy. By folding or rolling the material, more strength was created. It was around this time that I realised that structure could only be created by tension, and that the main way of creating tension in canvas was to use a pull-force. Examples of this kind of technique can be found in the construction of hammocks and umbrellas. Once I had tested out many different forms of structures, I did a study on the combination of canvas with a second material to improve strength and make the structure water-proof. Tapioca, oats, white flour, synthetic glue, synthetic hairspray, and bees wax were all tested. While most of the ingredients helped to strengthen the canvas and did improve the water resistance for a while, their solubility in the same water caused them to slowly lose

structure and start leaking after a short time. Bees wax, however, does not seem to be soluble in water, and the only way it weakens is when it melts in the heat. At this point I combined the material study with a character I started designing for: a field-researcher who liked to be outside but secretly wasn’t such a happy camper. I researched tents and found that very few tents that are multi-functional and efficient also create a sense of home. My aim then became to insert comfort into a canvas cloth. I experimented by rubbing natural products like orange peels onto the canvas to see whether it retained smells. Though the smell stayed for a short while, a better method was to make the canvas into a container for whatever created the scent of home. I also experimented with light, darkness, warmth, thickness, and form to create a compendium of all the ways of making a canvas feel like a home. As a final way of cataloguing all the information I had acquired in the past months, I decided to take a big step and end where I had started: an empty canvas. By simply suggesting ways in which the canvas could be made into a home, a storage bag, a sleeping bag, and even a fish net, I completed the full circle from canvas to home. While the end result was a minimal design that did not show off all the effort that went into its creation, it was a logical step to take, considering that my research led to an age-old cliché for a conclusion: home is where the heart is.


There are many techniques to connect canvas.

Creating creases can help create strength.


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Tension is the main way of creating shape from canvas.

Tension and the influence of nature.


‘I long for a physical space which possibly brings me to my “conceptual home”.’


Studio Report

Studio 1

December 2017

Rolling in the deep Phuong Duy Dao

17 Salvaged wood collected from construction sites in Arnhem, the Netherlands.

I started to dive deeper into this design studio with the story I wrote during the creative writing workshop, it was about Bi- a little boy and Bed –his best friend which is a bed, they often have appointments at night to travel together into the fantasies when Bi lies on Bed. This mental travel reminds me about my childhood memory which seems to be related to a similar journey. That was when I used to live in the countryside in a small-wooden house where I had a room looking to the green fields, and a beautiful pine forest is beyond the hills; this peaceful world was observed through a tiny window. In my perspective as a little boy, I really enjoyed staying in my own room, and spending hours sitting adjacent to that window.

my wooden room with a tiny window, and moreover, it should be collapsible for the movability.

Now, I have grown up just enough to probably understand why I enjoyed that contemplation so much. That was the moment I was truly myself, faced the imaginations, thoughts and let them travel across me without any judgments or interpretations, the only thing I did was to be a silent observer. Eventually, this activity resulted in the state of being calm, relaxed and led me to the happiness I owned.

The wood material is also important in this design, since the sense of salvaged wood matters a lot for me. It is the fact that at the moment, my little room looks much older with the scar of time on the wooden floor, table, bed or window… Indeed, old wood is such a book of memories, creates the warmth and coziness, these senses bring me back to the childhood time with treasured moments. The wood used for this design is from several sources, houses in renovation, an old church, a bed, unused wooden floor… which I collected in the area of Arnhem city- The Netherlands. The initial idea of this collection is when you renovate your house, the old wooden elements can be kept and reused for this design, so as to build another “conceptual home”.

Lately, I have been living in a big city far away from my hometown, and there is no longer the beautiful view of green fields, hills and pine forest but infrastructures, vehicles and construction sites. This situation motivated me to design a space for a homey feeling- which reminds me of

Regarding the design, the main idea is to develop a physical space that allows one person to be inside for relaxation, contemplation or meditation. The hole on the space exists as a fundamental figure, which plays a role as the “tiny window”, presents the world to the person inside. Also, by his/her movement, the position of the space is adjustable due to the round shape, this results in the changing view when looking through the hole. Since natural landscape is meaningful to me, as a person sitting inside, I could possibly achieve my desired perspective thanks to this function.


‘For me, meditation and contemplation are basically a type of a mental travel.’

Material and shape matter.


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A collapsible design for the movability.

Design progress and models.

The rolling space for contemplation, relaxation and meditation.


‘That leek can be very beautiful, is shown by its texture, depth and color. These properties give the plant character.’


Studio Report

Studio 1

December 2017

Leek Book Mariska Boer

21 A lightshade, made of boiled leek.

At the start of this project I began researching paper as a product. From old paper. I started making my own new paper. While doing this I thought of my childhood at the farm where I made ‘witch soup’. I walk through the garden, where memories of the past came back alive. There was an old, low branched tree. This ‘climbing tree’ was my home. I used the thick branches as furniture and around the tree I had a garden that supplied my food. From the garden I took twigs and leaves and I prepared a soup; ‘Witch soup’. While reminiscing, I got inspiration to make paper from natural products. So, I began to make paper from vegetables, such as: potatoes, mushrooms and leeks. Potato did not work well, mushrooms did, but I found leek very interesting because of the many fibers that this product has.

Kroes is a Dutch model who travels often, who loves the Netherlands and loves healthy food. Her Instagram page confirmed my ideas by pictures of her home town and a picture of leek itself! I can imagine that Doutzen often thinks of the Netherlands and occasionally misses this environment. When she makes a leek dish, her memories of her hometown pop up. Leek is, as we know it, a product that we cook and then eat, but we do not make any products. That’s why I made a leek products cookbook. A compact cookbook that Doutzen can easily take with her during her travels.

Leek is very old, but its origin is unclear. The Roman emperor Nero said that his pretty voice was due to daily intake of leek soup. The healing power of leek was already known to the Egyptians, Where it was used as medication for burns and bites. It has a cleansing effect on the kidneys and it resolves a sore throat.

That leek can be very beautiful, is shown by its texture, depth and color. These properties give the plant character. I researched and made different products by using fresh leek, dried leek and blended leek. With fresh leeks, you can make things right away. I thought of a piece of jewelry, which was made in ten minutes. Another object was a lightshade made of boiled leek. Every time you make a product, it is unique and is quickly done! You can also make a product of boiled and blended leek. You can make a bowl that you can be use for different occasions. When you want to add a different color, red for instance, you can add beet while cooking.

To show the potential of the leek products, I had to find the right person for a project; A person who loves healthy and beautiful products. Doutzen

When you leave your hotel, you throw a splash of water over it and the leek creation disappears again. Super durable!


Front of LEEK BOOK.

Page of the LEEK BOOK, the language is Frisian.


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A special bowl, made of boiled and blended leek.

‘You throw a splash of water over it and the leek creation disappears again.’

The allure of a real jewel, made of fresh leek.


‘Everywhere it has one and the same shape, but depending on the place, it can be made of various materials.’


Studio Report

Studio 1

December 2017

City pot Gosia Gniatkowska

25 Location Paris.

The key words that were the starting point for this project were ‘plant’ and ‘travels’. The characteristic feature distinguishing this ‘material’ was its vitality and growth and therefore I decided to focus on these properties. However, maintaining good conditions for development while being mobile constituted a kind of contradiction. In addition, among such a large selection of plant species I did not want to choose just only one particular type, because after all, traveling is associated with different climate zones and thus, a diverse flora. As an inspiration for the project I used a personal story, which involves traveling with a lavender pot through various places in Europe. The flower did not endured well constant movement and I noticed that the natural environment of the southern climate was the best for its development. I thought that a preferable solution would be to have ‘my own plant’ in every place I visited, but the one that is adapted to the particular region. In a playful way, it could be seen as leaving a trace after myself during each journey and checking how it has changed over the years when I visit the place next time. It is like buying souvenirs from holidays, only in reverse. The next step was to think about a specific place and shape, as well as a more specific function. I wanted this object to become a large “flowerpot - sculpture”, which placed in various locations gives the opportunity to plant in it by many different persons. It is a kind of interaction with

people in which everyone can participate and leave own mark in pot’s appearance. In all places the shape is the same, however the material from which it is made can change, so that it fits into a specific urban situation. The form resembles an overturned pot, whose openwork structure allows the plant to climb, meanwhile the lower part serve as a bench. Shrinking circles are joined with clay pots. As an example of the locations I chose places to which I traveled with a lavender pot, but ultimately it could be used anywhere. As time goes by, it can be seen how this object has been transformed by the given environment. Perhaps people decided to plant flowers in it or to transform it into an art work, but maybe they also left it alone or completely devastated it. The passage of time can be an additional value of this object, as each of her looks shows the individuality of the place in which she was exposed.


‘In a practical way it can serve as a bench and from a visual point of view as a sculpture.’ Exemplary locations have been selected based on the history of a traveling lavender pot.

Location - Poznań.


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Locations – Edinburgh.

Locations – Amsterdam.


‘Her designs are a reaction to her childhood. She never felt heard, but now she does.’


Studio Report

Studio 1

December 2017

Conquer from within Alana Jansen

29 The transformation of the tulips leaves into one side of the physical personal bubble.

My project is about a famous fashion designer Dilem Yildraz. Born in Turkey, she emigrated to the Netherlands at the age of five. Her father could not fit into the Dutch society, so he moved back to Turkey and left his family. Dilem is raised by her strict mother. She never felt heard, she felt invisible. When she felt alone, she went back into her personal bubble. She talked to a picture frame with a photo of her father, who she missed. In fact, she spoke to herself. But she felt heard. She was not invisible anymore. At the age of 15, she bought her first pair of jeans. She felt so good when she was wore them. She became aware of the power of clothes. She knew she wanted to be a fashion designer ever since. Dilem Yildraz is famous for her pronounced designs. Denim is also one of her trademarks. She herself indicates that this way is a reaction to her childhood. It was a kind of cry for attention so that everyone had to see her. Denim is also an important material for her. Denim is a strong material, and it tells the journey of the owner. It listens to the person who is wearing it. It is also a material that lasts a long time, and has a beautiful aging process. She mixed these two characteristics for the design she made. It is the personal bubble of the past, but in a physical form. As she is often on the road, she sometimes needs a moment for herself. She then retreats into her self-made (personal) bubble. Because it is convenient to fold she can

always take it with her. That way she always feels at home, no matter where in the world she is. She no longer feels at these moments invisible. The shape is inspired by the shape of a tulip. Just like the tulip, Dilem is originally from Turkey but is the figurehead for the Netherlands. The personal bubble is not complete without her. They need each other to create the final image.


The child in her imaginary personal bubble with the idea to make it physical.

‘Denim is known for its strength and beautiful aging process.’

The design is based on the shape of a tulip. The owner and the object need each other to give the final image.


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Sketches of the design.

Render - Dilem Yildraz is wearing the design. She is at an airport, waiting for her flight. These kind of moments are perfect to withdraw from the crowds.


‘Beeke is a Unique personal object that expands through life and forms a home by ritual bonding with family, friends and culture.’


Studio Report

Studio 1

December 2017

Beeke Cille van den Brink

33 Woven, felted and knitted wool.

I wanted to create a design that could form and become a home from the very beginning in life. The design idea should give the owner support and assistance through the difficulties in life. It keeps memory, real history and warmth both physical and mental. To empathize with the user of the design I created a character named Len. I will give you a short introduction in the story that I used while designing. The story behind Len Len is a girl born in a family who travels a lot. She is privileged and disadvantaged at the same time by the many places and cultures that she can not only visit, but can live and can call home. She is originally from the Netherlands and both her parents are Dutch. Her father is a successful writer who travels the whole world for inspiration. Her mother supports her husband in his profession and owns a webshop in handmade products she makes. Her work is unique because of the use of traditional local materials. The character makes a trip through Mexico (3 years old), Peru (6), United states of America (9), Alaska (12), South Afrika (15), Australia (18) and back to the Netherlands at the age of twenty-four.

The design Beeke is a living design that is given at birth. At that time, it is only a small piece of adapted wool. At a young age the parents will create bonding with Beeke by creating personal time, so that it becomes a ritual. By accumulated memories it will give support and feeling of home in new situations. To suit these new situations and to take them with you again. It allows friendships in the distant life as a beautiful memory. Beeke can be used according to your own imagination. Thinking of: bag, cap, scarf, pillow, blanket, garments, carpet, tent, wall, cuddle, support and shield. You will add a layer if it is broken. The beauty of layering and expanding with the existing of Beeke, is also the beauty in life.


Mexico.

Peru.


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Alaska.

South Afrika.


‘When the mobile box is open, it can be used multifunctional.’


Studio Report

Studio 1

Mobile box Qi Liu

37 Closed box.

With the on going growth of our population, our revolving planet is connected by technology and smart transportation. With the changes of how we think about time we have come to a new generation of travelers and mobile citizens. This leave an opportunity for me to design a new kind of transportation. The way I see and experience is that we spent a long time on travel to our destination and sometimes it is quite far from home. The questions that triggers me to design this mobile box is; is it possible to stay with the transport near our destination for a temporary time? What is the minimum size of this transportation? How will it function during the day and night? Can it be multifunctional used? What is the material and can it be customized? All the answer lies within this ‘mobile box’; as you can see it ride on wheels, small as it is it fit a person in sleep position, it can function as a desk, tiny office or a shop. This is a mobile house, but it could be transform to a furniture at the same time. When the side board be folded down, it become a seat or a table. Because of the size(1m*2m), it could easily fit in the elevator or corridor of the building. So we could also transport it inside the building. It’s made from lightweight material and can be transported by bicycle or a person. The exterior has a black carbon fiber finish as the interior has a copper surface, as copper is biostatic it prevent bacteria and other forms of life to grow in it, it gives a fresh and clean look, overall i think the contrast of the material and the composition of openings makes it very interesting.

December 2017


Used as a bed.

Side view.


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Used as a shop.


‘The combination of a modern element and a traditional element can lead to something new, unique and meaningful.’


Studio Report

Studio 1

December 2017

PagaaiTent Mandela Jap-A-Joe

41 Front view of the PagaaiTent.

At the start of this studio I was interested in researching two seemingly different materials. I wanted to compare materials and possibly combine them to make something new. I found this to be an interesting metaphor for my own experience between two countries. The concept of home often remains vague to me as I strongly feel that my home is partially in the Netherlands, where I have been living for years now, and partially in Suriname, where I was born and raised. For me both countries have both negative and positive characteristics and the combination of these characteristics have helped shape me into the individual I am today. The two materials I started researching were clay and microfiber. Clay is an organic or naturally occurring material and can be considered to be very traditional. I strongly associate this traditional sense with Suriname. Microfiber however is a rather recently developed type of fabric and can be considered to be very modern. I strongly associate this modern sense with the Netherlands. Clay reaches a hardened state once it dries but microfiber fabric remains flexible and soft. As I started to combine the two materials I found that I was fascinated by how the clay hardened and restrained the shape that the fabric could take. The fabric was ‘longing’ to stay flexible and soft. The combination of something modern and soft with something traditional and hard was a starting point for imagining a character to design for. The character I imagined is a person who is very much trying to find a balance between two opposite sides in her life: Suriname and the Netherlands. She is an anthropologist who was born and raised in a

small village in the rainforest of Suriname. She eventually moved to the Netherlands for further education and decided to stay when she managed to get an amazing job. However, she travels back to Suriname often because it is a fundamental part of her identity. When she goes back to her place of birth she always visits a specific tree close to the village which she and the villagers believe contains the reincarnated spirit of her grandmother who helped raise her. To her this tree is of the utmost importance and going back to this tree is like a pilgrimage. This ‘grandmother tree’ gives her a sense of home. In order to have this sense of home with her in her daily life she decided to have a traditional paddle designed from wood from the tree. The paddle is decorated with a design that pays tribute to her mother and father who have sadly also passed. Her mother is represented by a lady bug and her father is represented by a Surinamese flower called ‘kotomisi’. Whenever she sees a lady bug or this flower she feels that it is a sign that the spirits of her parents are watching over her. In Suriname a paddle is called a ‘pagaai’. This pagaai is the traditional and hard element that is combined with a modern waterproof fabric to form the ‘PagaaiTent’. The fabric for the tent can be completely rolled up and stored in a very basic bag that is made using only a piece of the same type of fabric and rope. The PagaaiTent is a shelter that allows the woman to sleep nearby her grandmother tree. But when she leaves this spot she always still has her home with her in the shape of her pagaai. And she uses this pagaai to navigate the rivers of Suriname as well as the canals of the Netherlands.


Decoration of the pagaai, the mother is represented by a lady bug and the father is represented by a Surinamese ower called ‘kotomisi’.


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‘I tried to design a tool that can be used in both Suriname and the Netherlands.’ Side view of the PagaaiTent.

Clay and microfiber combined.


Colofon

Studio Report ‘Collapsibles’ 2017 Editing Ashley Hoekerd Design Office for Design/ Loek Kemming Studio Hoekerd / Ashley Hoekerd Production Grafisch Bedrijf Wink, Doetinchem

ArtEZ University of the Arts Coporeal Master Interior architecture

Rhijnvis Feithlaan 50 8021 AM Zwolle The Netherlands T. 038 4270500

www.corporeal.artez.nl

Tutor of Studio 1, 2017 Sebastiaan Veldhuisen is educated as an architect in Delft but has been taking different paths in the past twenty years of his working life. A recurring theme throughout his work is the awareness about the environments we create. You could call it sustainability, awareness or transformation. Sebastiaan has worked and still works as a designer, both on building level and on product level, he is a teacher at different institutes and trains both students and professionals. He is consultant in sustainable development projects and has developed a performance based BIM tool for the building industry. He likes to teach from the perspective of the material, the environmental impact and story-telling. His motto in this ‘innovation through tradition’ is taken from Kengo Kuma and implies that innovation does not have to be based solely on new ideas and new materials. The past offers a lot of unfinished stories that could open new perspectives.


Corporeal Studio Report 'Collapsibles' December 2017  

In the first semester of their first year, ten students worked on a design assignment for a traveller’s home with tutor Sebastiaan Veldhuise...

Corporeal Studio Report 'Collapsibles' December 2017  

In the first semester of their first year, ten students worked on a design assignment for a traveller’s home with tutor Sebastiaan Veldhuise...

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