Studio Roosegaarde - Dune - Progressive Realities 01

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Location » XX

Progressive Realities — 01

00.00.0000

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規登 規登 規登

Dune

An Interactive Landscape

by Daan Roosegaarde

Page type Think Image

規登 規登 規登 思考图像

Location » –XX Enschede NL

00.00.0000 22.06.2003

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Think Image

規登 規登 規登 思考图像

Rotterdam — NL

08.07.2006

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Think Image

思考图像

Hong Kong – CN

12.08.2007

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Think Image

思考图像

Morocco — MA

14.09.2002

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Note

Morocco — MA

11.2003

笔记 I am walking through a desert near Mo­ rocco. The horizon, a seemingly static line, reveals itself as something incredibly dynamic upon closer glance: the straight line, infused with the silhouettes of trav­ eling nomads and blurred by the heat of the desert, takes on a fluid form. Around me, there is nothing. I catch myself walk­ ing away from the car just to reestablish my point of reference. Seeing the horizon in relation to the caravan, I get a sense of the human scale again and start to explore what is before me.

我穿行于摩洛哥附近的沙漠。地平线，虽然看似静 止，可有些东西却是那样的生动：平直的地平线渗 透着游牧人游走的剪影，太阳的炙烤让所有的线 条流动起来。我的周围是空空荡荡的。我离开了车 子步行以便在这样的辽阔下寻获一个参照点。沙 漠中，透过商旅队伍去看地平线，我再次获得人类 的尺度并开始探索在我面前的景观。

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Response

Amsterdam — NL

12.12.2007

反应

“Enter Second Nature.” “进入第二自然”

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Think Image

思考图像

Rotterdam — NL

24.05.2007

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Introduction

Rotterdam — NL

21.08.2009

导言

Dune is an interactive landscape that reacts to human behavior.

A hybrid of nature and technology, it consists of a large quantity of fibres that brighten in response to the sound and motion of passing visitors. This ‘techno-landscape’ allows one to investigate the futuristic relationship that nature has with urban space via walking, looking and interacting.

沙丘装置是能够对人类行为作出反应 的交互式景观。它是一个自然与科技 的混合体，它包含大量的纤维，路人 的声音和动作可以使它发光。这个“ 科技景观”让人们可以在行走，观看 和互动的过程中去探讨未来自然和城 市空间之间的关系。

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Note

Rotterdam — NL

02.03.2007

笔记 The objective was for it to learn how to ‘behave,’ to become more sensitive to­ wards the visitor. Thus, Dune is equipped with several ‘moods’ — when nobody is there, it falls asleep, glowing softly in the dark. As you enter, light appears where you walk, accentuating your every move.

When you make a lot of noise, the land­ scape goes crazy and lightning strikes!

目标是让装置学习“言行举止”，让它对到访者更 敏感。因此，沙丘装置装备了几种“情绪”――当 没人的时候，它会进入睡眠，在黑暗中散发着柔和 的光。当你进入时，光会随着你的行走出现，重复 强调着你的每一个行动。当你发出很多噪音时，沙 丘景观会疯狂的运作起来，闪烁着抗议。

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Response

Los Angeles — USA

反应

“Gimme more!

Gimme more!”

“给我更多！”

11.04.2007

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Response

Ljubljana — SL

反应

“我不敢进入这里――在我们的文 化里，我们习惯了认为墙壁里有偷 听的耳朵。”

20.04.2007

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Response

Ljubljana — SL

20.04.2007

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反应

“I don’t dare to enter this — in our culture, we are used to thinking that walls have spying ears.”

Response

Amsterdam — NL

反应

“On both sides, I can distinguish black tubes with white tops. When I make my first move, they light up. The murmur of wind and water sounds resonates in the background. I continue on my way. The light is with me.

I start to understand, and I scream!

A wave of light and sound rolls through space, is reflected and comes back to me…”

12.12.2007

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Page type Response

Location » XX Amsterdam — NL

12.12.2007

規登 規登 規登 反应

“在两边，我可以分辨出黑色的管子 和白色的上盖。我做出第一个动作， 它们亮起来。低吟的风声和水声在背 景中共鸣着。我继续行走。灯光跟随 着我。我开始明白，然后我尖叫起来！ 一股光与声的波浪在空间里席卷，随 之反射向我……”

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Think Image

思考图像

Basel — DE

30.04.2008

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Note

Hong Kong — CN

00.00.0000

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笔记 I am installing a large version of Dune in the City Hall of Hong Kong. Chinese children are playing with the artwork.

They come back each day with more and more friends. Then, something bizarre happens as I watch them play: instead of using the Chinese language to express their enjoyment, the children start com­ municating with each other by mimicking the electronically-generated sounds made

by Dune. I then realize that a new symbi­ otic situation has emerged as a result of this interaction between the natural and artificial.

When it comes to Dune, I have always felt an undeniable affinity with Asia. Because of the number of opportunities we have had to show the piece in the region, it is there that the work has had the most time to develop and ‘mature.’ Dune’s be­ havioral patterns, in a sense, best reflect the sensibility which was revealed in the way visitors from that part of the world approached it. There is a more unques­ tioned acceptance of technology because it is more intensely embedded into every­ day life. In this context, machine and human qualities become merged.

When our piece Flow 5.0 was shown in Slovenia, there were people who ex­ pressed fears that their personal privacy was being threatened. For a majority of the visitors had grown up in a regime in which “walls had spying ears”, the idea of an interactive wall was an uncom­ fortable thought. In contrast, when the work landed in Los Angeles two months later, the people there loved it because they perceived it as an extension of their ego. It became an interface that brought out their most extroverted qualities: here, visitor falls into the role of the

performer with the artwork functioning as a mediator. I, as the artist, become a silent “chaperone,” as the architectural journalist Adele Chong calls me in her essay ‘I Sleep in Taxis’. While I’m not so concerned with microchips and electron­ ics, I am interested in how these systems can be adapted to real life in creating a sensual co-existence between technology and humans. The bottom line is, I have a need to make things which allow my brain to merge with yours, a need to cre­ ate realities which people can relate to in an emotional, spiritual and sensual way.

I believe that technology is a great tool when it comes to the generation of this kind of ‘techno-poetry’. 我正在为香港市政厅安装着大型版本的“沙丘”景 观装置。小孩们和艺术品玩耍着，并且每天都带来 更多的伙伴。有时候我发现了他们玩耍时发生的奇 妙景象。他们开始模仿交互式“沙丘”的声音来交 流，而并非用他们熟知的中文来表达他们的快乐。 在完全接受人造景观后，一种新的混合景象出现 了。 对于沙丘装置，我总感觉与亚洲有种不可否认的密 切关系。因为在那里我们曾经有相当多的机会去展 示沙丘装置，正是在那里它被发展起来并且变得“ 成熟”。沙丘装置的动作模式，某种意义上来说， 是亚洲访问者接近它时被发现的敏感性的最好反 映。在它的身上，人们表现出更多的对科技毫无疑 问的接纳，因为它被频繁的嵌入了日常生活里。在 这样的语境下，机器和人类的两种品质结合起来。 在斯洛文尼亚(Slovenia)时，人们认为我们的交互 式装置“流动”威胁到他们的隐私。对于大多数参 观的人都在一个“隔墙有耳”的体制环境里成长 的，互动墙体这一概念被认为是令人不安的想法。 与之形成对比的是，两个月以后，在洛杉矶，人们 却是非常喜欢这种互动，因为这个艺术品成为他们 表达自我的一种呈现与延展。它成为了一个能释放 人们最外向性格的界面：在这里，来访者换位为表 演者，艺术品成为媒介。而我，作为一个艺术家，则 是一个安静的“陪伴者”――就像一位建筑记者 阿黛尔. 仲（Adele Chong）在她的文章《我睡在 计程车里》里称呼我一样。我并不是对微芯片和电 子很感兴趣，我感兴趣的是这些系统能如何的适 应到现实的生活中。我希望至少能制造出科技和人 类感觉上的共存，做一些东西能让我和你的大脑 融合，让人们可以通过感情，精神和感觉的方式联 系。我相信，科技是一种强大的工具去创造这种技 术的诗意。

Response

反应

Rotterdam — NL

14.07.2007

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Response

Hong Kong — CN

08.11.2007

反应

“Kids mimic its sounds and treat it like a friend!” “孩子们模仿它的声音并且把它当成了朋友！”

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Think Image

思考图像

Hong Kong — CN

22.11.2007

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Note

Rotterdam — NL

12.05.2007

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笔记 In 2007, I am awarded a commission to create a public interactive installation in conjunction with the Rotterdam City of Architecture series of events. With the pedestrian walkway of the Maastun­ nel as the chosen locale, we set out to develop a 50 meter-long Dune. After the official opening, the artwork embarks on a journey where it begins to establish a daily relationship with passers-by. At 2 AM, adults walk by and shout at it while children show up to play with their new friend Dune on Sunday afternoons. After a while, I start getting phone calls from about-to-be married couples, asking for my permission to use Dune as a backdrop for their wedding photos. Well, of course.

“It is public space,” I reply. “I don’t have much say in the matter.” Weeks later, I receive photos which depict a bride and groom embracing each other against Dune. I take two long breaths. My first instinct is to regard the images as pure kitsch.

In another sense, I am struck by the un­ likely poetry of the combination: at what is probably one of the most important event of these people’s lives, Dune stands as a witness, highlighting how their bod­ ies ‘behaved’ on the occasion. What the artwork generates becomes as important as the artwork itself: before Dune was installed, the Maastunnel was a dark place

where people did not feel particularly comfortable. This uneasy vibe persisted even after the incorporation of security cameras and guards later on. So indeed, it is ironic to see wedding couples frequent­ ing the tunnel, filled with their posi­ tive hopes for the future, changing how people normally engage with the space and perceive their day-to-day lives in relation to this revised urban experience.

Most profoundly affected are the guards policing the site who happily relay the changed dynamic of the space whenever I drop by to check on how Dune is holding up against the cold, big, bad world. 在2007年，我受委托去创造一个公共的交互式装 置，作为鹿特丹被倡导为建筑之城的一系列活动之 一。选址是马斯人行隧道，于是我们开始创作一个 50米的交互式“沙丘”景观。艺术品正式启动后， 它开始了与日常环境关联起来的旅程。凌晨两点的 人们对它狂吼着他们的欲望，周日午后小孩们与这 个“沙丘”玩耍。在那之后，我开始收到新婚年轻人 的电话：他们是否可以在那里拍他们的婚礼照。那 当然是可以的，那可是公共空间， 我回答他们，我 对此没有任何意见。几个星期以后，我收到他们的 婚礼照片，新娘新郎倚着沙丘装置相互拥抱。我深 呼吸了两下。我的第一反映是这些照片太矫情。 从另一意义上来说，我被这种结合所产生出的那种 不太可能的诗意冲击着：那是他们人生最重要的时 刻之一，而“沙丘”见证了，点缀了他们此时此地的 举止。艺术品产生的东西和艺术品本身一样重要： 在“沙丘”到来之前，马斯隧道是一个让人感到不 安的黑暗场所。即使摄像监视器和保安也没有消 除这种状况。事实上，非常反讽的，现在可以看到 新婚夫妇们经常出现在隧道里，用他们对未来积极 的希望填充着那里，改变着人们通常与空间交织的 方式并且让人们在感知日常生活时与城市的体验 关联起来。受影响最深刻的是管辖那里的保安人 员，每当我经过时，发现他们现在可以快乐地依靠 这个动态空间来改变原来冷漠，黑暗的世界。

Revisions

Rotterdam — NL

修订本

“Stronger, smarter, moodier…”

‘04 — ‘09

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Revisions

Rotterdam — NL

‘04 — ‘09

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修订本 /4.0 Dune officially makes its debut at an exhibition at Montevideo, Amsterdam in 2006. The first version runs on Windows by way of an old PC laptop. DMX systems are hacked into in order to get the right effect which is achieved using four groups of dimming lights, one microphone and four sound-speakers. Simulated wind and water sounds are integrated to resonate a ‘natural’ setting. Programming becomes the most important part of the installation when it comes to generating the right ‘mood.’

As a basic rule of thumb, Dune’s response to its environment is based on three primary moods: upon detecting passing visitors, the fibers automatically light up; speech and various sounds bring it to a climactic point in which all the lights begin to glimmer excitedly. Thereafter, it falls into a default idle mode when no one is around. At this point, the main emphasis is primarily on the development of Dune’s ‘sound engine’ or its built-in sensitivity to different manner of sounds ie. repetitive mechanical sounds are ignored in favor of more organic, human sounds. /4.1 It is decided that in order for Dune to evolve to a whole other level, it needs to become more diversely receptive to the random aspects of human behavior – in short, it needs to be given a soul. Thus, Dune socalled ‘ghosts’ are written into

the software in order to make its behavior more intuitive, generating a character and will of its own. These entities ‘live’ within the shell of the installation, appearing sporadically as dotted flashes of light and making themselves scarce in the absence of visitors. More ghosts are added over time in conjunction with a mega technical upgrade involving a Windows embedded computer which adresses the system of several electronic microchips especially customized for the running of Dune. The eventual addition of 960 groups of dimming LEDs makes way for the generation of more diverse moods, culminating with a twinkling effect that occurs like a lightning bolt when people scream at the installation. Dune also undergoes a form of puberty – its ‘voice’ deepens with the introduction of more immersive water sounds. It is as if one has entered a submarine. It develops a memory for people and places, remembering sounds and varying interactions, learning to adapt to different environments. Maturity also comes with its share of attitude – and an increasing impatience for monotony. Programmed to give off deviating responses at this point, Dune instinctively expects the same behavior from its human visitors, ignoring those who fail to make the cut by clapping repetitively like trained monkeys. People begin to furrow their brows, overcome with a mild feeling of dejection. One is curiously offended by Dune’s

Revisions

Rotterdam — NL

‘04 — ‘09

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修订本 human-like insolence inasmuch as one is in wonder of its sensitivity to body language. /4.1 Where do we go from here?

Visitors get bored easily but so does Dune. A new hunger for more sophisticated human input arises.

This is accordingly alleviated by the presence of newly added microphones that allow for Dune to be inundated with sound waves.

A vibrating vibe is hence created between man and machine wherein the visitor is subtly enveloped in a combination of natural and artificial sounds (think walking through a cricket-infested forest with the throb of your own beating heart lodged in your ears) which course to-and-fro from the installation. All this while, the ghosts in the shell are striking up an acquaintance: a friendship dance ensues, setting off unique patterns of light which give Dune the impression of being rather eccentric in behavior. Its fibers flicker wildly, running ahead of you when you walk by. Because of Dune’s increasingly sassy behavior, security becomes more of a concern. As a precaution, ‘Plan B Worstcase’ is brought into play to create minimal interaction per module. This is particularly helpful when the data cable connecting modules is damaged due to any form of physical aggression on the part of the visitors.

This particular measure ensures that Dune remains on its feet even when one module goes down.

Refusing to say die even as it is

near death, the ghosts chase you, laugh at you. They are assertive with the people they develop a liking for. Sometimes its approach is unpredictably genderspecific, prompting people to ask: who does Dune like better?

Boys or girls? /4.2 The most recent version of Dune sees an upgrade involving our own microchip embedded system utilizing C code and compact Mastercircuit which supports a wide range of new sensors. At this point, the installation is IP65 (water resistant) and achieves a new kind of independence: each module, measuring 1 x 0.5 metre, is outfitted with its own Studio Roosegaarde electronic circuit, making it more energyefficient than previous versions.

Dune develops the capacity to store calibrated sensor-settings even when the power is down. At this stage, its memory is in the best condition ever, endowing the ghosts with a renewed sense of confidence. They are at liberty to come out for a walk at times, flexing their muscles when no one is around. Hiding has become passé, an activity for wimps.

Revisions

Rotterdam — NL

修订本

Dune in a shipping crate, on its way to Hong Kong

‘04 — ‘09

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Note

Hong Kong — CN

12.11.2007

笔记 This morning I woke up in a taxi with absolutely no idea where I was. After landing in a new city every week for the past few months, I am in a daze. Unaware of my location, I take my Smartphone and open Google Maps to locate my where­ abouts. With the GPS kicking into action, my presence on the planet is confirmed in the form of a brightly colored dot. I get a strange sense of being at home, a physical, human feeling which is strangely verified by an electronic device with ties to the virtual world.

今天早晨我在计程车里醒来时完全不知道自己身 在何处。在过去这几个月里，每个星期我都在不同 的城市穿行，我完全茫然了。我需要智能手机里的 谷歌（google）地图去定位自己的行踪。根据GPS 卫星定位系统计算，我在地球上的存在就是地图 上那个闪烁的彩点。这种回到家的感觉很奇怪，一 个物理上存在的人类感官竟然是被一个虚幻世界 里的电子设备所核实的。

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Report

Rotterdam — NL

29.10.2009

报告

“Dune has landed.

Now open.

Free. 24/7.” “沙丘装置已经落成。现在开放。 免费。七月二十四”

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Report

Rotterdam — NL

29.10.2009

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报告

Dune 4.2, a new artwork by Studio Roosegaarde, has been created by order of a commission from CBK Rotterdam. Composed out of large quantities of microchips, electronics and LEDs, this 60 meter-long interactive landscape is designed to brighten in accordance to human movement, allowing visitors to investigate the futuristic interplay between nature and space by means of walking, playing and interacting.

沙丘装置4.2，一个由当.罗素嘉达工作室研发的新 型艺术品已经因应鹿特丹CBK的委托而被创造出 来了。一个由大量微芯片，电子和发光二极管所组 成的60米长的交互式景观被设计成能根据人类的 活动而发光，让与之接触的人能在行走中，玩耍中 和一般互动中去感受和探究自然与空间之间的交 互。

Digital rendering depicting a permanent installation of Dune in De Esch

位于德易斯驰（De Esch）的永久沙丘装置的数码渲染图

Report

Rotterdam — NL

29.10.2009

报告

Conceptual rendering of a direct tramline to De Esch

德易斯驰（De Esch）电车概念渲染图

Having been presented at international venues ranging from the Tate Modern in London to the City Hall in Hong Kong, an upgraded version of Dune now takes up permanent residence in Rotterdam besides the Maas River in the neighborhood of De Esch.

Dune 4.2 combines the experiences and technologies of the versions before it and it is with pleasure that we invite the people of Rotterdam to experience a ‘walk of light’ through this dynamic ‘techno-landscape.’

曾经出现于包括英国伦敦泰特现代艺术博物馆和 香港市政厅等国际场合的升级版沙丘装置，现在 将永久“居留”在鹿特丹马斯河边德易斯驰街坊 里。沙丘装置4.2结合了之前版本的经验和技术， 我们非常有幸能邀请鹿特丹的居民去体验“光之 旅”这个活动的“科技景观”。

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Page Artisttype Profile

Location — » XX

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規登 艺术家简介 規登 規登 Daan Roosegaarde is an artist working in Rotterdam, the Netherlands. He studied at the Academy of Fine Arts (AKI) in Enschede and received a Master at the Berlage Institute, a Postgraduate Laboratory of Architecture in Rotterdam. Roosegaarde’s work explores the dynamic relation between architecture, people and e-culture. His sculptures create a situation of ‘tactile hightech’ where visitor and (public) space become one. Roosegaarde’s interactive projects are internationally exhibited at V2_, Netherlands Media Art Institute Montevideo, Tate Modern London, YCAM Japan, National Art Center Tokyo and Venice Biennale 2009. Currently, Roosegaarde is

the creative director of Studio Roosegaarde, an independent artistic laboratory in which his interactive artworks are created. 当.罗素嘉达是一位现处荷兰鹿特丹工作的艺术 家。他曾就读位于恩斯赫德（Enschede）的美术 学院（AKI）并在位于鹿特丹的贝尔拉格建筑实验 室（Berlage Institute）获得硕士学位。当.罗素嘉 达的作品探究着建筑，人和电子文化之间的动态 关系。他的雕塑作品创造出“触动式高科技”的情 景，让人与（公共）空间在这样的交互中成为一体。 罗素嘉达的交互式作品曾展览于V2荷兰蒙得维的 亚媒体艺术研究所，伦敦泰特现代艺术博物馆，日 本YCAM，日本国立艺术中心和2009威尼斯双年 展。现在，当.罗素嘉达是罗素嘉达工作室的创意总 监，罗素嘉达工作室是一个独立的艺术研究实验 室，正是在这里，这些交互式的艺术作品被创造出 来。

Roosegaarde discussing his work with J.P. Balkende, the Prime Minister of the Netherlands

罗素嘉达与荷兰首相巴尔克嫩德讨论他的作品

Other Page type Projects

其它项目 規登 規登 規登

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Other Projects

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其它项目 Liquid Space 6.1 is a public interactive work which was temporarily installed on the island of Terschelling in the Netherlands for Atelier Oerol. Situated in the heart of the forest, visitors had the opportunity to rediscover the project in a naturalistic setting, giving way to unique interactions which triggered new energies provoked by the lush landscape of the island and the intervention of technology.

Liquid Space 2.0 is an interactive ‘living cocoon’ which physically adapts to the sounds and motions of the visitors entering it. The work features an intriguing fusion of sculpture, software and mechanisms. Implemented components were designed to play off each other, culminating to function as a cohesive, moving structure touting increasingly adaptive, sensual and dangerous sensibilities.

4D-Pixel is a smart surface which actively reacts in accordance to voices and music. With a built-in quality which enables it to spell out pre-programmed ‘relievo’ letters, this interactive work features a mix of electro-magnetics, software and electronics and comprises hundreds of pixels which respond to the fluctuating dynamics detected in incoming sound frequencies.

Sustainable Dance Floor is an interactive dance floor which

Liquid Space 6.1, 2008 - 2009

Liquid 2.0, 2006

4D-Pixel, 2004 - 2005

Sustainable Dance Floor, 2008

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Other Projects

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其它项目

Flow 5.0, 2007 - 2009

generates electricity via the movement of the party revelers dancing on top of it. By far the most green-conscious project ever to emerge from the portfolio of Studio Roosegaarde, the SDF is the first floor of its kind that resourcefully utilizes mechanisms and embedded technologies to generate energy.

Flow 5.0 is an interactive vertical landscape made out of hundreds of ventilators. Like the other aforementioned works, it responds to sounds and motion.

Reportedly developing an appeal amongst architects and designers, Flow subtly references the visual language of the ‘old’ while extolling the future-forward qualities of ‘new’ – its intricate framework of flattened electrically powered fans is evocative of ornamental patterns from a more traditional time. Walking through the installation the visitor is engulfed in an artificially generated wind, developing a heightened consciousness of both his body and his immediate environment.

Flow 5.0, 2007-2009

Wind 3.0 can be interpreted as a precursor to Flow. Directly addressing the relationship between nature and technology, the installation showcases a merging of electronics and ventilators and presents a harmonious equipoise between high and low tech. Be prepared to be blown away.

Think Image

Hong Kong — CN

思考图像

“Home is where the laptop is.” “手提电脑所在的地方就是家。”

12.05.2008

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Studio Profile

Rotterdam — NL

29.10.2009

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工作室简介 As the world gradually shifts from an analogue to a more digital age, Studio Roosegaarde aspires to create works which explore the dynamic between architecture, people and e-culture.

The ‘home’ of Daan Roosegaarde, SR is defined as an artistic laboratory which develops interactive technologies and designs for the creative industry.

Internationally renowned for interactive art works like Dune and Sustainable Dance Floor, our goal is in generating sensual and futuristic projects which aim to engage with the visitor on a more heightened level. Our projects have been exhibited in prominent venues such as Rotterdam City of Architecture, Netherlands Media Art Institute (NAI), V2_, Tate Modern London, Microwave Hong Kong, YCAM Japan and the National Art Center in Tokyo. 随着世界逐渐从模拟式的年代向数码式的年代转变，罗 素嘉达工作室热衷于创造能够探讨建筑，人和电子文化 之间互动关系的艺术作品。当.罗素嘉达的“家”――罗 素嘉达工作室是一个艺术实验室，它致力研发交互式技 术和为未来创意工业而设计。沙丘装置和可持续的舞蹈 地板这些交互式作品都获得了国际的声誉，我们的目标 是创造出更高水平的能与人交互的未来的感应式的作 品。我们的作品已经展览于国际场合，如V2荷兰蒙得维 的亚媒体艺术研究所，伦敦泰特现代艺术博物馆，日本 YCAM，日本国立艺术中心。

Dune 4.2 / De Esch has been made possible by Studio Roosegaarde, CBK Rotterdam, OBR Rotterdam, Deelgemeente Kralingen-Crooswijk, Stichting Kunst in de Esch, Stichting NRC, Gemeentewerken Rotterdam.

The people behind Studio Roosegaarde are: Daan Roosegaarde (creative director) Peter de Man (partner in interaction) Axis Stuifmeel (partner in assembly) Young Professionals at Studio Roosegaarde: Simon Bond Ruud Bijnen Bart Bouwman João Carneiro Bruce Ferwerda Christiaan Jansen Corniël Joosse Katie Gaudion Marcel Jong Baw Roald Joosen Theo Knoester Mark van Meerkerk Johan Otten Mafalda Rangel Marnix Rijnart Vincent Ruijters Mark Schouten Urvi Sheth Ruben Thier Pepijn Thissen Angelique Tran Photographs: Lotte Stekelenburg and Daan Roosegaarde Concept, graphic design and editing: Paul C. Swagerman, assisted by Gerard Vink Editorial direction and copyediting: Adele Chong Chinese translation: Abingo Wu www.studioroosegaarde.net www.lottestekelenburg.nl www.paulswagerman.nl © 2009 Studio Roosegaarde BV

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