Intervention#7 Report
September 2019
Corpo-real / ArtEZ Master Interior Architecture
ArtEZ University of the Arts
image: reversible destiny foundation
corpo-real
Corpo-real provides a LAB-based community in Zwolle where we investigate the Corpo-real. Here, ‘corpo’ stands for bodies in the broadest sense; not just the physical, but also the psychological, digital, spiritual, virtual. We investigate their relation to the “real”, meaning the reality of the here and now – and beyond. A fundamental principle of Corpo-real is the intertwining of theory and artistic research. Three main strands are developed for this: Unit, Case, Theory. Reflect is the fourth dimension where students are invited to connect all different parts of the programme with their personal goals. Vision Humanity has never changed as much as it has in the last 20 years, in social interactions, the economic systems, our living environment in cities and neighborhoods and in the ongoing globalization. Today’s reality of new unfolding social and political structures, immigration, gender issues, scientific and technological developments challenge us in profound ways. Corpo-real students are encouraged to reflect, discuss and act upon these issues in a respectful and open environment. We understand that many of this is too big to confront with existing methods. Students are encouraged to make good use of other disciplines’ methods and expertise. We exchange experiences with researchers from different disciplines such as anthropology, sociology, theatre, and music. Corpo-real Corpo-real provides students with working spaces for spatial practice-led research, tutorial groups, research seminars and meetings with visiting crits. To ensure diversity in thinking, inspiration, ideas and current issues we invite external critics from across the world and different disciplines. To explore, interrogate, discuss and pioneer new ideas with the students. All four semesters of the two-year full-time education programme start with a three-week introduction, consisting of the following components: Travel, Intervention and Public. During the ‘Travel’ week, we explore the world, looking for new thoughts, developments, insights. During the ‘Intervention’ week, we will be working from the inside out, in a reflective and contemplative manner. Finally, the ‘Public’ week is when students share their research, visions of the future and designs with the world at large. www.corpo-real.artez.nl
corpo-real
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“Change the surrounds, Change the architectural body” BELONGING: THE ARCHITECTURAL BODY Based on the work of Arakawa + Gins
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Throughout their careers as artist-architects Arakawa + Gins did research into what constitutes a human being, what she/he is capable of and how she/he relates to its surrounds. How a person makes ‘world’, what this world is made of and how it can be assembled and organized so that it is manageable and beneficial. To this extend A+G have created a method and sets of rules, ever to be changed and extended, as if practicing science, leaving taste and subjectivity out of the process. The students have been doing daily research, starting with a number of short exercises in the mornings, making extensive notes and drawings to track and map their experiences. The exercises included both exploring the surrounds from different positions and in various bodily states while trying out some of the terms developed by Arakawa + Gins like ‘landing sites, ‘architectural procedures’ and ‘directions for use’. Dancer, choreographer and Feldenkrais teacher Johnny Schoofs gave a workshop. Exploring the body and mind through movement in space, getting to know ones ‘inner architecture’ as well as the space. Finally the students were to produce something tangible, be it a space, a product or a small research project that would reflect their findings and inspirations of the week, individually or in small groups. Both the outcome of their own makings as well as a summary and reflection on what stood out for each student are shown in the following pages, hopefully to be brought along into future making. Joke Post
In this intervention report, the projects of first and second years graduate students are explained and showcased. Susan van den Berg Susan Marcia Chombo Bruno Anyue Deng Paloma Franco Hempenius Marie Hong Soroush Javadi Kaylyn Jedlinski Zehra Kahvecioglu Pei-Jung Lee Elif Liman Sila Öztekin Arda Pehviliani Vana Sulentic Marieke Teunissen Ying-Ting Shen Qiongge Yan Xian Zhang Lisabell Zin
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Architectural Height and Body Anyue Deng Ying-Ting Shen 5
Anyue: In the beginning of the new academic year, this workshop brought me to a journey of peaceful meditation. Although the design of A+G is really vivid and colourful, aiming for an immortal lifestyle, the method of architectural body really slowed down my tempo from my exciting holiday mood. And lead me to calm down and consider topics of space much more deeply. If without body and movement, the meaning of architecture is incomplete. As interior architecture students, we spend a lot of time in our class room and studio. Unfortunately the chance to have a deep communication with our most familiar space seems shallow. We use this space day by day, and our bodily response to it is automatic. However, through this workshop, I think the relationship between me and the studio space has changed, I became aware of much more of its details and little corners. The projects of A+G are very creative and inspiring, making me want to visit it in person. A design which aims to prevent human beings to die. They use architectural and artistic methods to try to create space of God’s power. What an amazing fantasy have they realised in their architecture!
In the second part of my reflection, I would like to introduce my idea inspired by A+G’s philosophy. Me and my colleague Ting decided to create a climbing chairs installation. Following the spirit of challenging people’s behaviour and habits, we tried to reverse a condition that makes people comfortable. For example, most of our classmates chose to sit on a higher level in a room is because of the clearer view. What if you have to climb higher without eyesight? Will you still feel comfortable? From this idea we created something that never appeared in my design practise before. A spatial installation that raisies problems and challenges people. Out of the legacy of Arakawa and Madeline Gins, to stimulate people in a good way, and make space lively, is one of the most influential ideas that I want to bear in mind for my further career as an interior architect.
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Ying-Ting: When we close a sense, another sense will be magnified. For example, in the workshop on the first day, we used the blindfolds to explore pace. Without the visual perception, I began to feel the details in the space that I had ever noticed. The sound coming from the surroundings, the hot and cold air exchange, the different material on the same object. Our body has a new understanding of space. Through our body space is not just a square box, but the direction of air flow or the height of furniture. Without the dependence on vision, our perception of space is more subjective, this also showed our ritual habits of using the space. In the following exercises and discussions, I realised that everyone’s choice reflects their habits. For instance: move through the space as an animal. The animal I choose also reflects how I want to explore the space. I chose a cat because I wanted to move in the higher level. Our body has its own preference, we choose a spot when we go into a room. We sit on a chair, table, standing, or even higher. Is it because of our body’s habit or our personality or environmental influence? Could it be all of them? To bring this concept into our final project, we started to collect the data from all the
classmates. People’s favourite height to sit within a space. In the process of collecting information, I found that some people like to sit on a spot that has unobstructed view position. Some people like to put their feet on the ground. In the final work, we initiated an experiment. Without our visual perception, will we still feel comfortable on a higher place? In the higher position but our feet could still touch the ground; how will people feel? What will their body tell them?
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‘How do we shape our bodies around architecture?’ Marie Hong With all the space around us, we forget how our bodies can easily be manipulated by our surroundings. This inspired my final project by putting close objects in space, thus it posed the question “how can my body fit into this small space?”. Upon having Joke experience this space, I saw that she shrinked herself even if these objects were a couple of centimeters away. It was like her body’s senses were making her form in this space. Joke then proceeded to explore around the space; moving inside to outside, standing to crouching—her body fluidly folding around the space. She uses the space to influence her movement; she mimics its’ form. She uses her bones to move to the side, her joints to fold her arms and legs, and her muscles to extend through the crevices. She uses the space like she is in a dance, searching for openings to mold her body. This is a new perspective to experiencing the space.
‘While blind-folded, our senses of touching, smelling and hearing became triggered. With touching the air we experienced negative space, and let the smelling and hearing guide us.’
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Sense the Void Elif Liman Sıla Öztekin Arda Pehlivanlı 11 Illustration of void space mixing with senses.
Throughout the experience of the architectural body, each person had a different interaction with space. Although the activities are the same, the outcome was different for each individual. This is a mixture of three experiences, hearing, smelling, and touching. In this paragraph, the project will be explained in three different aspects which will merge in the final product. Process In the first day, there were three different activities which are the fundamentals of the final product. At first, the observers drew an empty area from different heights. While experiencing this activity, space was examined in a detailed way. The first impression of the observer was the disconnection within the space and the place within a place. While drawing the place, there was a connection explored between negative and positive space. In the second phase, all of the observers were blind-folded and through movement, experiencing the space. There were different aspects of each individual because the architectural body is not the same for everybody. For one observer, understanding the negative space by touching and routing was the experience. For the other observer, the focus was to explore the space by the sense of smell. The last observer focused on her hearing senses. Every exercise added another perspective to the process and shaped the final project. For example, the Feldenkrais workshop helped to improve the idea how an observer will experience the project with his/ her body.
Model I In model one, the aim was to create an object that will address the hearing and touching senses. The aim was to create an object which will lead people to navigate. In the project, there are two wooden sticks which were connected by ropes. With in each rope different shaped objects. Every time you touch it, creating a different sound and helping you to understand where you are. Model II-III These models speak to the sense of smell. Each time you enter the space, with the movements of the ropes, there is a different and distinctive smell. The smell helps the observer to understand and explore which space they have entered. The sense of smell is closely linked to the memory, probably more so than any of our other senses. Those with full olfactory function may be able to think of smells that evoke particular memories; the scent of an orchard in blossom conjuring up recollections of a childhood picnic, for example. This can often happen spontaneously, with a smell acting as a trigger in recalling a long-forgotten events or experiences. Model IV This model is designed by the observer’s movement. While blind-folded, the observer experiences the negative space, the void, and turns it into a solid space. The aim was to create the void with the movement and the mirror. Also, there were ropes with smells which were again triggering for the users.
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Architectural Body Experience III
‘I feel like I can sense the void, the negative space. It turned the route into three dimension.’ Throughout the experience of the architectural body, each person had a different interaction with space. Although the activities are the same, the outcome was different for each individual. This is a mixture of three experience. Hearing, smelling, and touching. In this paragraph, the project will be explained in three different aspects and will merge in the final product.
The week started with a drawing the space from different heights to examine the space in a detailed way. In my experience, height difference changes the whole experience. What I realised was the material differences, change in colours, and disconnection between the space. Also, I realised lots of layering within the space, the column was created a different box inside of the box(space). The second activity of the architectural body was sharing experiences between the group members. The discussion was about ‘What is a good space for you?’. At the end of the discussion, there was some common sense of good space
and also different definitions of good according to memories, personality, and cultural background. Here is the list of our final discussion; Material(Wood/Concrete Mixture), Open Plan, Awareness, Light, Smell, Cozy, Energy, Height. Sila: For me, there were three turning points. First is the blind-fold experience. During the experience, I felt like I could sense the void, the negative space. In my head, the route I was following turned into something three dimensional. There were a couple of factors which shaped the route such as insecurity. Touching and sensing materials changed the route in a form way. I realised that feeling unsafe makes you walk more consciously. The second turning point was the landing site II. While I was experiencing the object, the touching and smelling sense was triggered. The shaped turned from something rounded to rough. The smell reminded me of deck and coastal. It mixed with my memory and changed my mental mood. So it helped me to form the project in a solid way. The last turning point was the Feldenkrais exercise which helped me to understand the relationship between body and space. It showed me how the shapes and the body can give the space a new meaning. Sila Öztekin
‘By sketching, you look in detail at the object. It feels different, it has a strange structure.’ Procedure Architecture from A + G. Elif: One of the workshops was to observe the space differently. We were blindfolded and we had to walk through the room. As a result, you were expected to experience the space differently than to observe while watching. From my own experience, I noticed that I payed more attention to sounds and smells and structures in the room. The smell can help you to wake up with memories. Also, space felt smaller for me which caused that I unconsciously felt everything in the space was closer to each other than it was in reality. The experience of touching and feeling the structure of the object also changed.
Arda: The first day assignments, exploring the room through senses while blindfolded was uncomfortable and groundbreaking for myself at the same time. You are not sure whether you continiue or not, but the urge to explore more is the trigger. When i was blindfolded i discovered a metal frames, which are placed into each other. They were cold and created labyrinth kind of spaces. I was on my knees crawling into the labyrinth of unknown. Then i hit my head, and i hit my hip, I forced myself to move on. But then i stucked in it. Me being stucked in the cold metal framed labyrinth was the explanation of the uncomfortable obstacled space.
During the workshop where we had to observe an object, I learned to look at the object differently. By sketching, I looked in detail at the object and observed it differently. It felt different, it had a strange structure. These are things you don’t usually pay attention to. I had observed a half-face image myself because I thought it was an interesting object. A half-face image with the focus on nose, mouth, and jaws. To be able to sketch it well it became important to look at the structure of clay, how it feels, the shape, the color, shadow, and light.
‘The relationship between body and space is always changed,they interact each other.’ We have test many exercise with A+G methods. And we try to understand our body’s movements. We walk in many different ways .Each person build a line when he/she walk straight lines. Inspired by this experiment .I try to disorganize the space .Rethinking the relationship between the space and body.So i start make study modle by cardboard. I try to fold paper in different shaps. Each colour represent different function and with different material.They can be set to rotate .Any area can be used as floor .so in the space it is possible that everything can be changed ,it should be new living style in the future.
This whole week with different workshops helped me to observe the space in different ways. In my next projects, I will use this as an aid during the research.
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exercise 2 :space drawing
exercise 1 :blind folding
exercise 3 :body movement
Folding OPT 1
Folding OPT 2
Folding OPT 2
Folding OPT 2
Folding OPT 3
Folding OPT 3
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The 3D Combine with the hand modle
‘The relationship between body and space is always changed,they interact each other.’ We have test many exercise with A+G methods. And we try to understand our body’s movements. We walk in many different ways. Each person build a line when he/she walk straight lines. Inspired by this experiment. I try to disorganize the space. Rethinking the relationship between the space and body. So i start make study modle by cardboard. I try to fold paper in different shaps. Each colour represent different function and with different material. They can be set to rotate. Any area can be used as floor .so in the space it is possible that everything can be changed ,it should be new living style in the future.
Sleep area
Living area
Study area
Recreation area
Details in Empty Rooms Marieke Teunissen While observing the empty room, the details caught my eye. Irregularities in the texture of the wall, forgotten objects, stains, tubes and wires. I observed, analysed and drew those details in oder to understand their qualities.
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Draw the object, see it from all angles.
Draw the space and landing sites.
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A cardboard fill-in-the-blank gamev
Humans are Puzzle Creatures to themselves The Architectural Body Pei-Jung Lee / Levitt If we do not change our usual position, we will not be aware of the connection with space and the surroundings of our body. Through different exercises, we reflected on what the body is. With our eyes folded we blocked the most frequently-used sense “vision”, we then relied on our instinct and touch to rebuild the space insight. Automised human natural behaviour such as use of arm and legs to test the obstacle, makes us lower our body for protection. Mapping the new space by our body responding to a different situation, and how we feel and functions throughout the environment. How we relate to its surrounds and what we can make a world? It is baed on a healthy body. A body is capable of every movement. Without one part of the body, the space experience and awareness would slightly change even it’s remain so. To study the relationship between our architectural body and space in the situation of a limited body, I made a reaction game for people to experience this. A cardboard fill-in-the-blank game with blind-folds is a fun-filled easily accessible project that will entertain people while experiencing. An interaction procedure for people to aware of the development between body and surrounding.
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Coloured Glass Maze Soroush Javadi
23 Awareness is the ability to directly know and perceive, to feel, or to be cognisant of events. More broadly, it is the state of being conscious of something. but how often are we aware of our surrounding? how often do we consciously try to figure out our space? Our minds tend to do things automatically(unconsciously) as we receive so many information during day and by doing so mind keeps its functions to issues which it thinks more important but this leads us to lose our sense of space and fall to daily routine very fast. During “Belonging Architectural Body� workshop we were introduce with Arakawa and Gins works and we were fascinated by how they tried to bring up the awareness to their users. This has been done by different approach such as the way of movement, placing the functions, giving challenges and ways that we as a user of space can try to bring up our awareness of space.
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Shared Cups Wall Susan van den Berg Shared Cups Wall
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This week looked into the concepts and methods of Arakawa and Madeline Gins (A+G). It is all about to be more aware of space in relationship with our body. They have different procedures that are build-in architecture to improve human lives, to feel more positive emotions, be healthy and to live longer. We experienced space in different ways by placing landing sites (something that draws attention), drawing these and use similar objects. We also walked around blindfolded using other senses like touching, hearing and smelling. We also have tried different directions of use what will give you a different perception of space. First I started with a sketch with different objects pressed into the wall and floor. In this way you have to think about which cup, t-shirt or object you will place in which shape and also make different walking routes. I tried to make this in cardboard in 1:1 scale and started wondering about the backside of this pressed wall. That will also connect with the people on the other side. This reminds me of the talks about quality of space. For me I prefer to have good contact with my neighbours. We always had a low fence in the garden and it had to be replaced last year. Now we have a higher fence and we consciously chose to place a piece of mesh beween them to keep the contact if we sit outside. Besides making people aware of using space in connection with their own body and mind, I also want to make them aware of that together with other people.
Sketch objects pressed into the wall and floor
I wanted to create something for an everyday situation, the use of the same object by neighbours. The procedure that attracted me the most was about giving build-in choices, the tentativeness cradling procedure. I made a wall in which I cut out a lot of similar silhouettes of cups. Neighbours on both sides can use these cups, by using the wall will be more open and transparant like the mesh. But they can also choose not to use them at all. In the workshop about body movement in space, we found that people follow their intuition through finding a comfortable place. With this wall people can make choices together from adjacent spaces to make it comfortable for both.
Sketch connection neighbors
Cup 1:1 scale
September 2019
THE ORIGINAL SHAPE FROM NATURAL TREE
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EXAMPLE FOR HOW TO HOLD THE KNIEF
‘The shape of tree branch-The knief holder .’
Xian Zhang / Luna The Knife-holder Do this work. One of the member picked some leaves and tree branch outside and I also picked the knife to be my object.That is why I want to do a link between these two items.I want to create a link to connect those, so I made a knife holder in my final work. I got an original tree branch in the first picture and this is what I want to show, the natural shape in our life. The second picture is how I made the original tree branch to be a complete holder. Sometimes the natural tree branch also needed a little bit to be revised to be reasonable and convenient to use in our daily life. I tried to not change too much and tried to keep the original shape. This is what I wanted to express in this work.
‘As designers it is important to under- stand how our consumers should be ex- periencing spaces in which we design by experiencing it ourselves.’
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Belonging: The Architectural Body Kaylyn Jedlinski Paloma Franco Lisabell Zint 29
About the week of intervention of ‘Belonging: The architectural body’ where we were encouraged to look at space and how to use space with our bodies. Kaylyn: This kind of workshop challenged me a lot as it was a new experience and not something I would normally do when designing space. After doing the series of workshops I felt enlightened and inspired, it gave me new ideas of ways to experience space. As designers it is important to understand how our consumers should be experiencing spaces in which we design by experiencing it ourselves. The workshop that stood out to me the most was Architectural Body 1 where in smaller groups we needed to look at the environment of a space with selected objects placed into it. Where we could use the existing objects to climb on, to move around or maybe to even sit under and to observe the space and document the space through drawing as precisely as possible. This allowed us to see what elements have the strongest impact on us and to understand the space better. I also found the Feldenkrais workshop helpful as we were able to experience space through body movement, this allows for one to again understand the scale and limitations of a space much better than to just look at it from certain points. I would like to use some of these pointers of analysis in future projects.
Paloma: During week the body and the space became one. It made me reflect on how our bodies experience space in many different levels and layers. The perception of space dramatically changed when I altered my body either on a physical/sensorial level or on an emotional/mental level or both at the same time. Testing the boundaries and inspecting inch by inch of my body and the space simultaneously, completely reconnected me with the idea of the body being itself a space and the space being a body. Lisabell: The workshop contained some very diverse exercises that kind of guided me into a new method of seeing space by “simply” being forced using my full body potential (senses, movement, mind). During the working process of the week I became more aware of my surroundings and the architectural elements within a space or the plain space itself by placing myself at different hight, by changing my intentions and the focus on entering a room or by walking through space in search for comfort, open space or company. A major finding was that a space can also be changed and perceived differently just by other human bodies moving through space - depending on the amount and positioning it will become more or less alive. In this context the human body becomes architectural and an indispensable part for any kind of space.
Section and floor plan of the entering space.
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Color and reflectiveness in combination.
‘Balance, scale and automatic movements were the main elements’. Entering a room. Creating an in-between space that slows your pace and makes your body connect and be aware/conscious of the space is part of a ritual of entering or leaving a room. By forcing your body into different positions with the variation of heights and in a very narrow space you are only able to experience this space on your own making it a personal experience between you and space, asking you even more aware of the fact that you are transitioning from one space to another. Balance, scale and automatic movements were the main elements that triggered us to work towards a design that created a different ritual of entering the room. Being there an infinite amount of options we decided to create three different variations in the interior of this same space, focusing on three different elements such as color, translucency and reflectiveness in order to play with the perception of space.
With the reflectiveness we wanted to play with the idea of giving the illusion of a bigger space, duplicating the different colours and volumes in the ceiling and also being able to take a look at your own body movements. The translucent elements allows o bring light within the space, it also gives the opportunity for both spaces to interact together simultaneously. The variation of bright colours can become distracting elements a neutral and homogeneous color might allow for the mind to focus on what’s happening to the body. Zoning of the space There are 2 zones of the space: “the niches” zone where the toilet and sink are located, and which reconnects the being with the primal search for shelter our ancestors found in caves, and the open zone where the shower is. This kind of contrast provides security inside of the transparent surrounding.
Zoning of the space There are 2 zones of the space: “the niches� zone where the toilet and sink are located, and which recconects the being with the primal search for shelter our anccensters found in caves, and the open zone where the shower is. This kind of contrast provides security inside of the transparent surrounding.
DIRECTIONS FOR USE - get yourself tangled inside of the curtain shower for a few minutes and try to stay aware of the tactile stimulus - try to find at least 5 different ways of entering the space through the curtains - wash your hands inside the niches with your eyes closed, focusing on what you come into contact with - think of at least 3 lying positions on the floor of the shower
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_ VISUALISATIONS OF THE TRANSPARENT BATHROOM
‘Transparent bathroom: inversion of the primal human search for shelter’ Following Arakawa and Gins ideas about the architectural body, I was particularly interested in their ideas about producing sited awareness within a body inhabiting certain environment. How to make a body aware of it’s surroundings? On our first day, as part of the exercise Architectural Body II, we were blindfolded and left to investigate our surroundings using our other 4 senses. While searching blindfolded I found a certain amount of fear in my body, because I cannot rely on my eyesight. The moment I started tapping on the wall, I felt more secure. I sensed boundaries, and that made me feel more comfortable. Later I drew a connection between the experience and a book I am currently reading. Among the first chapters of the book the author writes about the primitive humans and their search for protection and shelter. Furthermore during the exercise Landing Sites I, while observing 2 identical object placed in 2 different surroundings, I quickly realised how much I am drawn to one of the objects simply because of it’s position. With these ideas and exercises in mind, I started to develop my own narrative. In todays culture we consider bathroom as the intimate segment of the household. That is the place we mostly inhabit while naked and bare. My idea was to make the protective shell that is bathroom transparent, see through. How will the human being behave in a surrounding like that, how will it react to that kind of exposure while in that intimate state. Will it help the human reconnect more intimately with its body, make him/her more aware and confident concerning their appearance? Or will it have an opposite effect - while the human being is trying to escape the eyesight, it will explore the space more thoroughly and therefore become more aware of its surrounding.
‘The sense of feeling and hearing becomes more activated then the sense of looking at the object.’
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Activate Sense
September September 2019
Zehra KahvecioÄ&#x;lu
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During the first week of the last year of the Corpo-real Master’s programme, we participated in a workshop curated by Joke Post. She introduced us to some exercises and procedures related to architecture and the body. One of the exercises that really caught my attention is to interact with the space while we are blindfolded. It is amazing to lock one sense, to make the other senses react stronger. I felt more aware of my bodily movements within the space. The distance between different spots in the space became bigger, it took longer to move from space to the other. The movements became more careful, slow, soft and gentle. When I touched something cold or wet, I immediately withdrew my hands. Another exercise was to hold an object for a while and analyse it completely; touch it, smell it, draw it. I hold a scissor in my hand in a way that the scissor is not usable. The scissor is made for one specific purpose; cutting. My hand is for a lot of purposes. So there is one reason that the function of this scissor can be used. When I hold the scissor like this, it becomes an accessory, like a ring. Or it becomes a weapon, as the extended version of my hand, to protect myself with, or to hurt someone with. The scissor will get more layers because my hand is involved; it has been added to the object.
It surprised me to touch things and recognise them while the objects are not even that special. I decided to apply this technique; to touch something and feel surprised by the noise that it makes. The senses of feeling and hearing becomes more activated than the sense of looking at the object. The noiseless, soft cotton pads are applied on a crispy surface which is invisible. This contrast shows me that you can awake different senses in a very minimal way, by adding another sensing layer to an object.
‘When a door is not a door.... but still a door.’
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Forget the rigid and Flow. Susan Marcia Chombo Bruno 37
September 2019
Colophon
Intervention#7 Report 2019
Tutor of Intervention#7 2019: Joke Post
Editing Kai de Leeuw, Ingrid van Zanten
Joke Post studied at the Minerva Art Academy in Groningen and at the Architecture Academy in Amsterdam. She has worked with Arakawa and (Lifespan Extending Villa) and the Biotopological Scale-Juggling Escalator at Dover Street Market in New York City. Currently Joke is President of the Architectural Body Research. Foundation, she is working with Professor’s Group LLC on preserving Bioscleave House, and she works freelance as an architectural designer.
Design Office for Design / Loek Kemming Production Grafisch Bedrijf Wink, Doetinchem
ArtEZ University of the Arts
Rhijnvis Feithlaan 50 8021 AM Zwolle The Netherlands T. 038 4270500
corporeal@artez.nl www.corpo-real.artez.nl
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