Professional Documents
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Spatial Practices: Dutch Artistic Research Event
Spatial Practices: Dutch Artistic Research Event
Spatial Practices: Dutch Artistic Research Event
S P AT I A L P R A C T I C E S 5–8
ANDRE AS MUELLER 9 – 18
S P AT I A L S C E N A R I O S
WIM MARSEILLE 29 – 40
C R E AT I V E C A S T S
ANDRE AS GEROLEMOU 41 – 49
ILSE BEUMER
REASEARCH REPORTS 50 – 54
M A P P I N G P U B L I C S PAC E
COLOFON 56
6
JOURNAL OF ARTISTIC RESE ARCH WINTER 2009
EDI TOR I AL 3 – 4 EDITORIAL 3
to it seem to fan out in all directions. Public space, counter - 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
space, space of the non - place, interior space, self - managed ANDRE AS MUELLER
of creativity, smooth space, and striated space are just some ERIK A JACOBS LORD
of space.
RESEARCH REPORT
to spatial practices. MAHKU zine # 6 issue scans contemporary ventures 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
and explorations in that future field of theory called spatial design ANDRE AS MUELLER
19 – 28 S P AT I A L S C E N A R I O S
WIM MARSEILLE
2 9 – 4 0 C R E AT I V E C A S T S
ANDRE AS GEROLEMOU
41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
ILSE BEUMER
RESEARCH REPORT
50 – 54 M A P P I N G P U B L I C S PAC E
56 C O L O F O N
S PAT I A L P R A C T I C E S 3 – 4 EDITORIAL
9 – 18 E S C A P I N G T H E G R I D
After last year’s discussion on The Politics of Design, the third DARE ERIK A JACOBS LORD
September 12th, the symposium presented talks by two artists, ANDRE AS GEROLEMOU
the potential of spatial research for current cultural practices. ILSE BEUMER
In recent years, the term spatial practice has been used to describe
new forms of interdisciplinary practices responding to the rapid RESEARCH REPORT
important role.
For the project Garden Service, Sustersic, together with architect S P AT I A L P R A C T I C E S
and theoretician Meike Schalk, installed a public art piece along 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3 6
the Royal Mile, the gentrified center of Edinburgh’s tourist industry. ANDRE AS MUELLER
a simple trick: a stairway of five steps, installed to span a wall used ERIK A JACOBS LORD
to separate the land from the street. Besides the material elements 19 – 28 S P AT I A L S C E N A R I O S
of the stairs, benches, a table, and some flower pots, “Garden Service” WIM MARSEILLE
the local inhabitants. The discussions were open to all and turned ANDRE AS GEROLEMOU
the garden into a forum for local initiatives focusing on city planning 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
Staffan Schmidt presented his and Mike Bode’s project Off the Grid,
conducted as an artistic research PhD at the University of Gothenburg. RESEARCH REPORT
ARTISTIC RESEARCH
strategies – that then can be made available for other projects. But at
the same time her projects can be seen as very concrete educational
work, involving local inhabitants in the production of specific
knowledge about their local situation. Staffan Schmidt worked in
the format of a scientific report, applying research methods and
documentation techniques ( e.g. interviews ) from the social sciences.
His project produced a form of artistic knowledge, that is not directly
DA R E # 3 , AC A D EM I E G A L ER I E , M A FI N E A R T
applicable, yet it might change the configuration of imagined spaces
for its participants and viewers.
The idea of research is not a new phenomenon in the field of
architecture. Research on design methods emerged in the 1960s 3 – 4 EDITORIAL
entanglements of their disciplines, and experimented with strategies 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3 7
public space as a field of interventions. A concept that was developed ERIK A JACOBS LORD
of research with the idea of practice, this term might be an umbrella ANDRE AS GEROLEMOU
redefine the role of an art institution and its relation to the city in what
he calls a Post - Public Environment. The project, done in collaboration RESEARCH REPORT
institution did not have its own exhibition space, the relation to its
public had to be rethought, and a concept for temporary exhibitions
in various public spaces was developed. In doing that, exhibition -
making became an interventionist practice and, at the same time
a laboratory for the development and testing of new institutional
models blurring the traditionally static boundaries between institution
and city.
For the exhibition project Models for Tomorrow, a range of publicly
accessible sites in urban space were used. The exhibition venues offered
various spatial concepts with varying opening times, represented
commercial or public interests, located in the center or on the city’s
periphery. The temporary, ‘unstable’ appropriation of found spaces
for programmatic work opened up a field of possibilities to rethink
the established ‘stable’ model of a Kunsthalle.
Lukasz Stanek presented comparative research on Nowa Huta, “the first
socialist city in Poland”, and Spangen, the working class neighborhood
in Rotterdam. He argued that the current situation in both cities must
be understood as post - socialist, since both cities experienced a major
rupture in the late 1980s, related to the end of the Keynesian welfare
state system. With the collapse of socialism in 1989, the housing
production in Nowa Huta went quiet, while the economic basis of
DA R E # 3 , P ER F O R M A N C E , H EL E N G R A S , FA S H I O N
the city, its steel production, was suddenly challenged by a globalized
steel market. Spangen experienced a similar crisis a year earlier when
the almost 80 - year old Dutch housing act was dismantled and housing
corporations were allowed to enter the real estate market. Both events
marked a break with collectivist ideas. Collective consumption, and the
supply of housing as part of the welfare system, turned into individual
consumption and homeownership as part of a housing market.
Despite the drastic changes in the last 20 years, Stanek argued,
these post - socialist cities could not be reduced to sociological fossils
nor tourist attractions. Instead, their transformation into neoliberal
structures must be understood as mediated by the experiences
of the local past. The vision of the socialist city, the memories of
the inhabitants, the persistence of the practices of everyday life
and the material layout of the city still influence and mediate the 3 – 4 EDITORIAL
( Studio for Self - managed Architecture ) pointed out the political 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3 8
dimension of their spatial practice. Devising micro - urban tactics, ANDRE AS MUELLER
of the capitalist city. As an example Petrescu presented a project ERIK A JACOBS LORD
which has a large immigrant population. The community garden WIM MARSEILLE
with the help of many local residents, a vacant plot was transformed 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
into a space for public meetings for the entire neighborhood. ILSE BEUMER
same time political, social and cultural became evident when the garden
turned into a forum for political debate on local conflicts, e.g. between 56 C O L O F O N
DA R E # 3 , M A H K U G R A D UAT I O N C ER EM O N Y
ESCAPING THE GRID 3 – 4 EDITORIAL
S M O O T H A N D S T R I AT E D S P A C E S P AT I A L P R A C T I C E S
ANDRE AS MUELLER
What if our everyday spaces were comprised of more than what can 19 – 28 S P AT I A L S C E N A R I O S
be seen with the naked eye? They would not only appeal to the eyes, WIM MARSEILLE
but to the nose, fingertips, and ears. This type of space would 2 9 – 4 0 C R E AT I V E C A S T S
be difficult to define or even lay down in a plan because it cannot ANDRE AS GEROLEMOU
the define the delicate flavors of a dish, only list them. This space ILSE BEUMER
needs to be touched and lived in, explored with the senses, not only
consumed with a rational eye. It is sometimes an impractical RESEARCH REPORT
space because it is for people who, by nature of being human beings, 50 – 54 M A P P I N G P U B L I C S PAC E
are not practical themselves all the time themselves. This is a space
that, when it feels like it, reaches towards poetry. 56 C O L O F O N
the spatial, aesthetic, physical, and artistic models just as the field
of architecture requisitely crosses into multiple disciplines in order S P AT I A L P R A C T I C E S
to be realized. An architectural project may be well-engineered but 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
aesthetically lacking, like European housing blocks from the 1980’s. ANDRE AS MUELLER
the extension of Terminal 2E at the Charles de Gaulle Airport in Paris ERIK A JACOBS LORD
was good, but the physical construction process was improperly done WIM MARSEILLE
between steel joints. Just as a building cannot be evaluated on just ANDRE AS GEROLEMOU
in and navigate buildings ( the routing of space ), the physical model 50 – 54 M A P P I N G P U B L I C S PAC E
whole in continuous mixture, sharing and struggling side by side. 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
Important to architectural smooth and striated space is the notion ANDRE AS MUELLER
of nomadic line. With this Deleuze and Guattari contrast the line of 9 – 18 E S C A P I N G T H E G R I D 11
so - called primitive nomadic or smooth art – close-range, non - optical, ERIK A JACOBS LORD
haptic and expressive ( D & G 1987: 493 ) with that of striated art, 19 – 28 S P AT I A L S C E N A R I O S
which uses distant vision, clear orientation, and central perspective WIM MARSEILLE
( D & G 1987: 494 ). Deleuze and Guattari write that Egyptian art uses 2 9 – 4 0 C R E AT I V E C A S T S
a horizon - free close - range visualization while the Greeks conquer ANDRE AS GEROLEMOU
depth and perspective with the use of optical space. Later, the authors 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
contrast the abstract ( smooth ) line with the concrete ( striated ) line. ILSE BEUMER
The line is broadened into a plane, planes expand into the third
dimension. Egyptian art ( reliefs as opposed to sculpture ) could be RESEARCH REPORT
achievements of industrialization. The Ville Radieuse plan of 1930 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
( Frampton 1992:180 ) was a Modernist – and perfectly striated – utopia ANDRE AS MUELLER
developments today. Yet despite Corbusier’s mastery of striated space, ERIK A JACOBS LORD
smooth space snuck in the back door, not being the kind of visitor 19 – 28 S P AT I A L S C E N A R I O S
to knock. Corbusier’s paintings made later in life exhibit many signs WIM MARSEILLE
horizon, and close-range vision. A “smooth” Corbusier is wholly present ANDRE AS GEROLEMOU
at the Chapelle Notre Dame in Ronchamp, France ( 1950 - 55 ), where 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
the crab-shaped roof volume sidles up to thick concrete walls to only ILSE BEUMER
float above them. Small windows pierce through the walls, allowing
light to paint an otherworldly sphere. The walls are covered with gunite RESEARCH REPORT
( Kostoff 1985: 732 ) or concrete sprayed onto a surface to create a deep 50 – 54 M A P P I N G P U B L I C S PAC E
texture which catches and plays with light. Corbusier uses all of these
effects which appeal to the senses in what could be called a haptic 56 C O L O F O N
The designer here is not designing the form, but the possibility
of what the form may become. As Deleuze and Guattari state, the act S P AT I A L P R A C T I C E S
or the space of becoming is, after all, inherently smooth ( D & G 1987: 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
486 ). The grid in Oosterhuis’ design has been subsumed into a ANDRE AS MUELLER
sensory input channels. The computer programs written in a rigid ERIK A JACOBS LORD
and output which cause the changing of the skin occupy smooth space WIM MARSEILLE
in this work. 2 9 – 4 0 C R E AT I V E C A S T S
The work of Frank Gehry and Greg Lynn also hovers at the “smooth” ANDRE AS GEROLEMOU
end of the spectrum. Both architects are known for their work with 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
the non - standard forms known as blobs. However when architectural ILSE BEUMER
space is fully striated ( such as Mies van der Rohe’s Seagram building,
New York, 1958 ) or fully smooth ( Gehry’s Experience Music Project, RESEARCH REPORT
Seattle, 2000 ) the result can be less than provocative. A mixture of 50 – 54 M A P P I N G P U B L I C S PAC E
smooth and striated space and the tension or conflict between them
is not only necessary ( they do not exist independently of each other ) 56 C O L O F O N
happens either by declination ( the smallest deviation ) or by vortical 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
flow ( D & G 1987: 489 ). Smooth space, “the space of contact”, ANDRE AS MUELLER
space of deviation. This is where the action is, the crucial moment ERIK A JACOBS LORD
the rest, causing a chain reaction of events to occur, or the genesis WIM MARSEILLE
of new forms. 2 9 – 4 0 C R E AT I V E C A S T S
In Lucretius’ atomist model of the universe, the world began as atoms ANDRE AS GEROLEMOU
falling through the void in what we now call laminar flow. Without 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
the clinamen, the “minimum angle of formation of a vortex”, atoms ILSE BEUMER
would not have been able to collide or interact and the world would
not have been able to form ( Serres 2000: 6 ). The vortex brings RESEARCH REPORT
Physics has told us that first there was atomic chaos and that
order emerges from disorder, but really it is the other way around 56 C O L O F O N
they may be and how fast they are going ( Kaku 1994: 114 ). A picture 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
from the bubble chamber at the CERN laboratory in Switzerland ANDRE AS MUELLER
Here the particles shoot violently yet gracefully from a straight ERIK A JACOBS LORD
Let us consider the impact that working in and around the space ANDRE AS GEROLEMOU
architectonic object even though the object itself may not posses
the qualities of smooth space.
Bernard Tschumi did a series of explicit translations of film form
( cutting, jumping, device and counterpoint ) in his Screenplay Series
( 1978-82 ). Scenes from films inspire sequences and entire programs
of architecture ( Tschumi 1997: 15 ). Beyond this early work, Tschumi
has spent years exploring the connections between motion and program
in his work. Just as progression is a necessity within several Deleuzian
models of smooth and striated space, time becomes a key factor once
architecture becomes filmic and processual.
Along with the fascination of time and film in architecture, Tschumi
experiments with and uses “in-between” space frequently in his
work. According to him, “in-between space is activated by the motion
of bodies in that space” ( Tschumi 1997:21 ), meaning that only
the movement of users in the space – a wholly unpredictable flow –
completes the space. His in - between spaces are often literally formed
between two shells or skins and are, without the attendant users or
program-makers, indeterminate in nature. In my view this connects
again with the notion of clinamen in the sense that a clinamenic
space is where the tide of smooth and striated space shifts.
When applied to human experience, the vortex, the outcome of the
minimal angle, takes on a more sinister quality. When dizziness
or vertigo occurs, “the circumferential fringe of vision swirls in on
the perpectival vanishing point in a vortex of potential experience,
A V O R T E X O F P OT E N T I A L E X P ER I E N C E
“like turbulent water around a drain.” ( Massumi 2004: 325 ). Up and
down are confused, the horizon and ground plane seem to rotate as
in a vortex and in some cases the eyes themselves move in circular
motion.Ω ( While vertigo is not generally desired as a condition, there Ω H T T P : // W W W . N EU R O LO GYC H A N N EL . C O M / V ER T I G O / D I AG N O S I S . S H T M L
are those that pay for the experience at amusement parks). Vertigo, or
vortical experience, has been designed into architecture as a tool for
transformation through the intentional ungrounding of the user. Two
examples show this effect particularly well: the Garden of Exile in 3 – 4 EDITORIAL
uses the vortex as a generative principle of form in his project for an 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
exhibition space, wet GRID ( 1999 - 2000 ). Not only was the structure ANDRE AS MUELLER
placing works of art above, below and around the visitor, imploring ERIK A JACOBS LORD
positions. Vertigo and the vortex become part of the experience of WIM MARSEILLE
machine, which produces vortical, vertigo - inducing forms. The vortex, ILSE BEUMER
Dancing brings us back to where the clinamen was first described, 50 – 54 M A P P I N G P U B L I C S PAC E
also be found in the language, in the gap between turba and turbo.
Turba is a multitude, confusion and tumult, disorder. The Greek
!"#$%, turbé, is also used to describe the mad dancing in Bacchic
festivals ( Serres 2000: 28 ). And there is a difference withto turbo,
which describes the vortical and comparatively ordered movement
of a spinning top, stable even while it leans and sways,
but which only gives an illusion of rest. This is the movement
of the wind, and of water. Lucretius writes of the streaming - chaos
or laminar flow in the void, and the cloud-chaos, a fluctuation of
oppositions ( Serres 2000: 30 ). There is no true rest in Lucretius’
universe, but only flow and streaming chaos changed by declination,
the minimum angle, the vortex forming to create and destroy.
The world around us is a flowing, dynamic system, whether
we characterize it by the fall of atoms or the spinning of quarks.
Even on the human scale there is a flow to life, a fluidity that
surrounds us in nature, the seasons, in the path of a life. Yet as
much as science tells us about nature or what we can observe
ourselves, the architectonic objects produced by our culture place
a greater value on static, rigid forms. Architecture is now in rehab
after its long-term addiction to the grid. At the height of Modernism,
and later during the reign of the “superstructure”, the grid on
the engineer’s drafting table had thewas in danger of becoming
more important than its inhabitants. By using the notions of
smooth and striated space as tools of analysis and design, the grid
can be mollified. The minimum angle can be set free to spiral away,
dancing towards chaos and back, flowing between layers of smooth
and striated space causing crashing storms or lulling them back
to laminar flow.
CONCLUSION
“Do not multiply models,” write Deleuze and Guattari ( D & G 1987:499 );
but in this case, Messieurs, I will have to disappoint you. To understand
smooth and striated space in terms of the physical environment
I must do both multiplication and division. Architects are the ultimate 3 – 4 EDITORIAL
philosophy, medicine, and astronomy, ( though not expected to master 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
all of them ), and today while the required fields of knowledge ANDRE AS MUELLER
and philosophy, there is not one singular notion of smooth and WIM MARSEILLE
and striated space simultaneously translates, traverses and reverses ANDRE AS GEROLEMOU
cuts through this to reveal a brilliantly variegated yet irrevocably ILSE BEUMER
smooth to striated space and back, is present on scales from the 50 – 54 M A P P I N G P U B L I C S PAC E
SOURCES
D e l euze, Fol ding Archit e c ture, an d Sim on Rodi a’s Wat ts To wer s” , ERIK A JACOBS LORD
2 9 – 4 0 C R E AT I V E C A S T S
Hy per spa c e 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
Serres, Michel
T h e Bir th of Phys i cs
trans. Jack Jawkes
Manchester, Clinamen Press ( 2000 ).
Tschumi, Bernard
Archit e c ture in/of Mot ion
Rotterdam, NAi Publishers ( 1997 ).
S PAT I A L S C E N A R I O S 3 – 4 EDITORIAL
WIM MARSEILLE S P AT I A L P R A C T I C E S
Since research emerged as an influential factor in art and design, ANDRE AS MUELLER
background. In 2002, the magazine de Architect devoted an entire ERIK A JACOBS LORD
developments and assignments. Without such a source and its ANDRE AS GEROLEMOU
Yet, there were neither theories as basis nor concluding reflections 50 – 54 M A P P I N G P U B L I C S PAC E
make it hard to generate a coherent theoretical design discourse. 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
The scattered picture so far generates two questions. First, is there ANDRE AS MUELLER
the relation between theory and practice in interior design? These ERIK A JACOBS LORD
( Boonzaaijer 1985 ) In the various European countries, other artisanal ILSE BEUMER
‘ Indoor Architect’. In Italy, even today, one does not use the term
interior designer; there are only architects or product designers.
As the job of coordination expanded, interior designers started
to distinguish themselves from the practical craftsmen and the
commercial salesmen of interior equipment. Not only did interior
designers highlight their aesthetic and artistic talents, they also
proclaimed a doctrine of conventions for rationalized living and
improved quality of life. The profession of interior design established
associations and foundations promoting those ideals. In the
Netherlands, the association Goed Wonen ( Good Living ) is a 1960s
example of that trend.
Similar to architects, interior designers organized themselves into
professional organizations and devoted much time and energy to
discussing the boundaries of their discipline. The interior designer’s
position between architect and interior decorator was a difficult
balance. In characterizing interior design as spatial profession,
ornamentation and styling were rejected while an emphasis on the
human scale set the profession apart from the architectural domain.
The formulated competencies for the interior design profession had
to be met by educational institutions. The result was a compromise
in skills, knowledge and attitudes aiming at an all - round profession
for interior architecture.
Today, the organization of indoor space has become so complex
that teamwork is needed, whith the interior designer not always
in the leading position. The profession’s artistic and aesthetic
approach is no longer sufficient for dealing with commercial,
logistic, economic and organizational factors. The one - way process
from assignment via design to completion must become less rigid,
including a flexible time factor required by economic factors.
The traditional phases of briefing, debriefing, sketch design,
final design, contracting, and building are now interconnected,
resulting in a process of propositions and adjustments.
What is the impact of the development of the profession of interior
design on today’s need for a theoretical discourse and research
attitudes? In three examples of designers with roots in different 3 – 4 EDITORIAL
as a manager, now designs turn-key offices. ( www.huisvesting.nl ) 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
Ronald Hooft, artist designer, has a background in fine art, now ANDRE AS MUELLER
an office and shows the client step by step which decisions must ANDRE AS GEROLEMOU
but hardly generates new insights in the development of a theoretical ILSE BEUMER
important. “In parts of the sketches we know exactly what it will be;
others are more flexible so they can change over the years. The spatial
quality always should allow change, so you do not have to modify the
construction. In our concept, the way things are attached to another
is important: a floor to a ceiling, or a staircase as a transition area
or resting area. That how what the interior architect is distinguished
from the decorator.” ( Hooft 2008 ) Event architect Herman Verkerk
does not propose a set of options, but creates a well - argued “optimum”
– a cycle of acting and checking – for reflection. “Reality is adaptable;
lines in your drawing have multiple interpretations whereas
the amount of contextual information continues to increase,”
says Verkerk. ( Verkerk, 2008 )
These examples show how multidisciplinarity in the field of interior
design results in new approaches to the field. Both the artist designer
and the event architect fully embrace complexity and design in
a flexible and fluent process of propositions and adjustments.
That fluidity of process seems to reflect our current Internet society.
In The Rise of the Network Society, The Information Age: Economy,
Society and Culture, Emanuel Castells develops the concept of ‘spaces
of flow’. Complexity and fluidity are captured in that 21st century
notion of space. The spatial approaches of designers tend to vary
between fixed identifications of the context to playful embracing
of the fluid complexity. Yet, the developments in the practice of
the profession seem to inevitably progress toward stressing the fluid
and the complex. Such a design attitude could imply a multitude
of fluent perspectives, rearrangements and scenarios. Such shift
in design attitude could be demonstrated by further design practices.
One of the icons of modernism, the butterfly chair by Arne Jacobsen,
illustrates how contradiction, categorization and composition form
the premises of functional design. The chair is divided in its two
functional parts, a seat and a frame. The design process continuously
optimizes the designated functions. The seat and back ought
to be warm and bendy and thus made of plywood, while the frame
has to be strong and thin, and so manufactured from metal.
Even aesthetically, the categorization continues: the parts are divided 3 – 4 EDITORIAL
chrome. The entire chair is a composition; it is literally constructed 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
rearrangement and scenario. For example, for an “ideal home”, WIM MARSEILLE
filled with all possible choices of doors, plates, curtains and chairs. ANDRE AS GEROLEMOU
used by Vitra to which transparent colored sheets are added so ILSE BEUMER
The result is not so much a scenario but as Verkerk calls it “an optimum
to formulate a new coherence of many distinct aspects.” S P AT I A L P R A C T I C E S
Interestingly, in Verkerk’s work, the alternation between analysis 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
and design slowly moves toward a proposal that can be considered ANDRE AS MUELLER
and composition are interrelated. Though pure rearrangement ERIK A JACOBS LORD
from additions in an empty setting, Verkerk works slowly towards WIM MARSEILLE
to exclude the building parts that would spoil the illusion ( Coming 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
creating compositions that form a new critical reality ( Verkerk 2008 ). ERIK A JACOBS LORD
but it sure is distinctive! And I am fond of the drawings that go along WIM MARSEILLE
Hooft accepts that his interiors do not easily reveal his intentions 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
and simply starts a new chapter with replaying the former. ILSE BEUMER
although they are inescapable in reality. The challenge of the application 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
Would such a ‘mapped design process’ more easily generate a ERIK A JACOBS LORD
to assume. The design result is directly based on the interpretation WIM MARSEILLE
the daily practice of interior design does not necessarily feel the ILSE BEUMER
CONCLUSION 56 C O L O F O N
Therefore, theory could play an initiating role by describing 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
cases and distilling values to help design the ultimate form. ANDRE AS MUELLER
Theory was clearly distinct from practice and was celebrated wit 19 – 28 S P AT I A L S C E N A R I O S 26
In The Ref lective Practitioner, Donald Schön argues that the 50 – 54 M A P P I N G P U B L I C S PAC E
derives from the fact that the analysis is not mapped exclusively and
the reflections are not reported. In daily practice there seems to be S P AT I A L P R A C T I C E S
no necessity to do so. There is no lively discourse on new approaches, 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
and forms of representation are merely occasional initiatives from ANDRE AS MUELLER
workshop, could be one tool to help visualize the interpretations WIM MARSEILLE
a variety of viewpoints. Theory would then provide us with positions ANDRE AS GEROLEMOU
and scenarios as a toolkit for analysis and the start of a theoretical 50 – 54 M A P P I N G P U B L I C S PAC E
SOURCES
De Bont, Marcel
unpublish ed int er v ie w
Amersfoort ( 2008 )
www.huisvesting.nl
Boonzaaijer, Karel
personal conversation
Zeist ( 1985 )
Castells, Manuel
T h e Rise of th e Ne t work Soc ie t y, T h e Infor m ation A ge:
E conomy, Soc ie t y and Culture Vol. I
Oxford: Blackwell Publishers ( 2000 ).
Coming Soon Ar nh em; 3 – 4 EDITORIAL
www.comingsoonarnhem.nl
www.landstradevries.nl S P AT I A L P R A C T I C E S
ANDRE AS MUELLER
Hasanzadeh, Lisa 9 – 18 E S C A P I N G T H E G R I D
Amsterdam ( 2008 ) 19 – 28 S P AT I A L S C E N A R I O S 28
2 9 – 4 0 C R E AT I V E C A S T S
unpublish ed int er v ie w 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
www.pratshooft.nl
RESEARCH REPORT
Schön, Donald A.
T h e R ef l ec tive P ra c tition er, How P rofessionals
T hink in A c tion
New York: Basic Books ( 1983 ).
Spanjaard, Kees
unpublish ed int er v ie w
Amsterdam (2007)
Verkerk, Herman
unpublish ed int er v ie w
Amsterdam ( 2008 )
www.eventarchitecture.nl
C R E AT I V E C A S T S 3 – 4 EDITORIAL
ANDRE AS GEROLEMOU S P AT I A L P R A C T I C E S
9 – 18 E S C A P I N G T H E G R I D
What is divination? It is the art or act of foretelling future events ERIK A JACOBS LORD
of divination encompasses its facts as well as the social and ANDRE AS GEROLEMOU
and has a social effect, fortunetelling serves the individual for his
or her personal purposes. RESEARCH REPORT
not all. There is no culture that does not contain one form of
a divining system or another. Many people speak of divination 56 C O L O F O N
THE APPRENTICE
in comparison to the western belief system, it is important 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
for the apprentice to know all the intricacies about his people. ANDRE AS MUELLER
and play an important role in the process of traditional healing ERIK A JACOBS LORD
and their psyches. This knowledge plays an important role for WIM MARSEILLE
on how his people think. Another important aspect in an apprentice’s ANDRE AS GEROLEMOU
These tools are objects that consist of bones, stones, sticks, shells
and other such paraphernalia. The process of collection takes years RESEARCH REPORT
of the items that represent them. Throughout Africa, Sangomas MEANING Symbolic objects used
use certain objects that are standard and represent the same thing W E A LT H H o of tips , a b alone shells , le o p ard b ones or te eth,
throughout different tribes. They also use objects that are unique nu t shells , tur tle shells , c at tle b ones or te eth.
and personal and are found by the individuals themselves. LUCK A b al one shells , le o p ard b ones o r teeth , nut shells ,
Starting off with an object, the Sangoma would need to build se a shellsb ones , hyen a b o nes , c ro c o d ile b o nes ,
ant b e ar b ones .
a relationship with it, and that is done through meditation. LOSSES, Tur tle shells , se a shells , m onkey b ones , se a urc hin
By holding the object in his hands and at the same time recalling D E AT H sp ines , d o g b o nes , hyen a b ones , c ro c o d ile b o nes ,
ant b e ar b ones .
all his knowledge, personal experiences and memory about the SECRETS, Tur tle b o nes or b roken shells , spid er s , m o nkey
aspect the object represents, he in a way embeds the information SACRED b ones , nut shells , duiker b o nes , ant b e ar b o nes .
into the object through touch and thought. After hours, days KNOWLEDGE, Tur tle shells , lion b o nes o r teeth, nut shells .
and even weeks of building a stronger relationship with the object, STRENGTH
he is then ready to move on to the next object. After years of collecting F A M I LY, S e a urc hin spines , c ow teeth , nut shells ,
objects and building up a collection, the young Sangom is now ready LIFE b a b o o n b ones .
through the system, probable answers are generated. Each individual O B S TA C L E S , T ig er ’s Eye G emsto nes
object is a key that helps the Sangoma remember an aspect of ILLNESSES
society; like love, money, masculinity and fear. When these objects I M M O R TA L I T Y, S n ake sk in or b ones .
are thrown down, they fall randomly to the floor. The Sangoma REBIRTH
and he had a rather simple idea; he distinguished between what are 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
be seen as primary objects or concepts that can be broken down into ERIK A JACOBS LORD
of the bigger picture; it is the combination of microstates that give ANDRE AS GEROLEMOU
E X F O R M AT I O N E XC H A N G E RESEARCH REPORT
50 – 54 M A P P I N G P U B L I C S PAC E
is buried within their minds. Their experiences and their prior 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
knowledge about multiple facets of life build up their divining ANDRE AS MUELLER
Sangoma through his divinatory tools. The bones, sticks, shells ERIK A JACOBS LORD
and other objects allow for the Sangoma to extract the already 19 – 28 S P AT I A L S C E N A R I O S
ANDRE AS GEROLEMOU
MICRO - M A C R O S TAT E S 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
not exist. This knowledge however is not conjured out of thin air, 50 – 54 M A P P I N G P U B L I C S PAC E
SECRET USERS
The dead were often treated as though they were still alive ( being
seated on chairs, dressed in clothing, and even fed food ); dead
bodies were presumed to be still living and the source of auditory
hallucinations. Jaynes argues that divination, prayer and oracles
developed when conscious- ness took over and when the “voices 3 – 4 EDITORIAL
be seen to have replaced the loss of the bicameral mind and have been 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
like our modern day religions have. And just like our religions ERIK A JACOBS LORD
man to divine being. We could therefore see that consciousness WIM MARSEILLE
are utterly eradicated from our minds, the latter will still exist in our ANDRE AS GEROLEMOU
You may now ask what consciousness really is. If I were to try 50 – 54 M A P P I N G P U B L I C S PAC E
Like the Memory Card game ( having microstates acting as the cards ),
the nonconscious associates related and similar subjects. But unlike S P AT I A L P R A C T I C E S
the memory card game, it can also associate seemingly unrelated 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
subjects that do not normally occur together. Because in this case, ANDRE AS MUELLER
to the conscious. Due to the nonconscious power of unrelated ERIK A JACOBS LORD
to inform. 2 9 – 4 0 C R E AT I V E C A S T S 34
It would be great if we could easily access what is in our nonconscious ANDRE AS GEROLEMOU
allow us to improve the relationship between the conscious and ILSE BEUMER
50 – 54 M A P P I N G P U B L I C S PAC E
in the present, an unambiguous future can be predicted. Transparency 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
allows for the witness to control the next step. By having this ANDRE AS MUELLER
might change the situation’s known outcome. Transparency provides ERIK A JACOBS LORD
currently at hand. Transparency satisfies when the situation at hand WIM MARSEILLE
sometimes lead to stagnation; leaving the witness wondering “If it ANDRE AS GEROLEMOU
ain’t broke, don’t fix it.” One thing that does challenge transparency, 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
that lures us into a creative state of mind and that unclenches our ILSE BEUMER
brain, is mystery.
By offering suspense, intrigue, curiosity, and a little bit of fear, African RESEARCH REPORT
and yet stay practical. Apart from the superstition, the tradition,
the psychology and the mystery behind it, African divination has 56 C O L O F O N
messy basements, it will seem that we “permeate” the basement 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
and its contents. But because we will look for answers in a structured, ANDRE AS MUELLER
solutions; we will be limited to the micro - states that reflect the ERIK A JACOBS LORD
an elusive nonconscious. 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
ILSE BEUMER
C R E AT I V E C A S T
RESEARCH REPORT
Instinct lies at the most basic programmed level of our nonconscious 50 – 54 M A P P I N G P U B L I C S PAC E
world of the object is intricately linked to, and only to, the Sangoma
as an individual. The personal experiences, the feelings attached S P AT I A L P R A C T I C E S
to them and the intuitive understanding of the item cannot be shared 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
by the many that practice African divination. It all happens in the mind ANDRE AS MUELLER
and soul of the diviner; all that happens in the unseen world of the 9 – 18 E S C A P I N G T H E G R I D
Intuition can be broken up into four categories: visual, auditory, WIM MARSEILLE
percentage of each category, but visual intuition, however, is used ANDRE AS GEROLEMOU
the most. 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
ILSE BEUMER
DIVINE INTUITION
The visual, today, plays a very important role in our decision - making. RESEARCH REPORT
we are able to build up our own personal dictionary of symbolic 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
incoming stimuli, the mounting duties, and bombarding stresses ERIK A JACOBS LORD
Headaches, butterflies in the stomach and backaches are some ways WIM MARSEILLE
the motto “no pain, no gain” and confuse intuitive messages with ANDRE AS GEROLEMOU
effects of stress are signs from the body telling us that we are ILSE BEUMER
overdoing it.
Intuition represents the bridge between our nonconscious and our RESEARCH REPORT
A C C E S S I N G C R E AT I V I T Y
Issues no longer need to be solved traditionally. We borrow ideas 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
from one context and project them onto new circumstances without ANDRE AS MUELLER
There is no doubt that at some point at work or in our daily lives, ERIK A JACOBS LORD
that creativity is not a talent; it does not materialize if or when WIM MARSEILLE
There is however some confusion about creativity. A creative solution ANDRE AS GEROLEMOU
solution, there also needs to be a creative process. During this process ILSE BEUMER
developing something truly creative. But this should not discourage 50 – 54 M A P P I N G P U B L I C S PAC E
SOURCES
David Hammond-Tooke
T h e Bantu- speaking Peopl es of South er n Af r ica
London: Routledge & Kegan Paul, ( 1974 ).
Edward de Bono
How To Have Creative Id eas
London: Vermillion ( 2007 ).
Edward de Bono
L at eral T hinking
London: Penguin ( 1970 ).
Julian Jaynes
T h e O r ig in of Consc iousn ess in th e Breakd ow n
of th e Bicam eral Mind
New York: Houghton Mifflin Company ( 1976 ).
Lauren Thibodeau 3 – 4 EDITORIAL
Natural-Bor n Intuition
Franklin Lakes: Career Press ( 2005 ). S P AT I A L P R A C T I C E S
Lightning Bird 9 – 18 E S C A P I N G T H E G R I D
19 – 28 S P AT I A L S C E N A R I O S
41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
50 – 54 M A P P I N G P U B L I C S PAC E
Tor Nørretranders
T h e User Illusion 56 C O L O F O N
ILSE BEUMER S P AT I A L P R A C T I C E S
9 – 18 E S C A P I N G T H E G R I D
‘Extra North - Holland Transferia for Nineteen Million Kilometer - ERIK A JACOBS LORD
a magazine for public space professionals. The additional transferia WIM MARSEILLE
Ministry of Transport in cooperation with the Dutch highway service ANDRE AS GEROLEMOU
The purpose of this pilot project was to improve accessibility and ILSE BEUMER
and then take public transportation into the city. More wide - scale 50 – 54 M A P P I N G P U B L I C S PAC E
The current transferia offer safe, fast and comfortable transfer points
from cars to public transportation, such as the train, subway, tram,
bus, or boat. Safe implies constant video surveillance of cars and people;
fast means well - organized, little wasted time, and frequent and fast
public transport; comfortable refers to covered walkways between the
parking lot and the boarding area, heated waiting rooms with restrooms,
phones and travel information. Usually, transferia have bicycle racks
and a snack kiosk as well. Greater transferia even boast facilities like
tourist information centers and restaurants. Most of the transferia are
on the edge of cities where highways and public transportation meet.
Therefore, transferia could reduce traffic jams and parking issues in
urban areas.
At transferium Ridderkerk, cars can be parked for free. The public
transportation link here is to the Fast Ferry, to downtown Rotterdam
or Dordrecht. The location is suitable for cars coming via highways
A15 and A16. Moreover, the location offers a beautiful view of the
junction between the Noord, Lek and New Maas rivers. The free
parking and the magnificent view are what should attract visitors,
T R A N S F ER I U M R I D D ER K ER K .
since other facilities are lacking . Instead, transferium Ridderkerk
looks cheap, grey, and static, thus, it does not meet the transferium 3 – 4 EDITORIAL
and facilities goal from the 1993 pilot. A design by Zwarts & Jansma
D E S I G N Z WA R T S & J A N S M A
( 1999 ) , shows how facilities may be fitted into the transferium. S P AT I A L P R A C T I C E S
ANDRE AS MUELLER
9 – 18 E S C A P I N G T H E G R I D
19 – 28 S P AT I A L S C E N A R I O S
WIM MARSEILLE
2 9 – 4 0 C R E AT I V E C A S T S
ANDRE AS GEROLEMOU
41 – 4 9 T R A N S E R I U M , A N O N - P L A C E 42
ILSE BEUMER
The design looks upgraded and comfortable, but still not very dynamic. RESEARCH REPORT
T R A N S F ER I U M
The busy transferium Amsterdam Arena stands in immense A M S T ER DA M A R EN A
50 – 54 M A P P I N G P U B L I C S PAC E
TRANSFERIUM AS NON-PLACE
and travelers of the transferium are lost in a temporary, dynamic flow. 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
9 – 18 E S C A P I N G T H E G R I D
19 – 28 S P AT I A L S C E N A R I O S
Non - places are defined by the use of words and pictures. They form WIM MARSEILLE
the manual for these transit places. Augé states, “The link between 2 9 – 4 0 C R E AT I V E C A S T S
1995: 94 ) The information can be provided in different formats, but ILSE BEUMER
mostly it is in the form of signs along the route. There are, however,
topical examples of information absorbed in the design of the location. RESEARCH REPORT
T ER E S A S A P E Y, H OT EL
The parking garage of the Hotel Puerta de América in Madrid P U ER TA D E A M ÉR I C A ,
50 – 54 M A P P I N G P U B L I C S PAC E
MADRID
( 20 05 ).
56 C O L O F O N
design and text of the symbols shows, as it were, the road to freedom,
drawing a symbolic contrast with the dark underground space.
Another example is the 10 - mile spiral, a concept for Las Vegas by
Aranda/Lasch. With the goal in mind of avoiding traffic jams and
‘ unjamming’ Las Vegas, the architects designed a structure/building
E X T RUD E
DIM N O : N O = 70 A S T RUC T UR A L CURB IS E X T RUDED TO 4.6 M TO S T IFFEN T HE R A MP.
DIM A RRP OIN T, N
REDIM A RRLINE ( NO )
INI T I A L R A DIUS
DIM R A DIUS : R A DIUS = 10
CRE AT E HELI X
FOR N = 0 TO N O S T EP 1
A RRP OIN T = A RR AY ( R A DIUS )*SIN ( N ),
( R A DIUS )*COS ( N ), N / 2 ) INT ERSEC T ION - LOA D T R ANSFER
A RRLINE ( N ) = A RRP OIN T IN T ERSEC T ION P OIN T S BE T W EEN T HESE S T RIP S A RE T R A NSFER
DIM R A N DOM < . 5 T HEN P OIN T S T HROUGH W HICH T HE S T RUC T URE ’ S LOA DS A RE
R A DIUS = R A DIUS + 1 + ( RN D ( ) * 1,5 ) CH A N NELLED TO T HE GROUN DS .
EL SE
R A DIUS = R A DIUS + 1 - ( RN D ( ) * 1.5
EN D IF
NE X T
B E A MS
T HE S T RUC T URE IS OP T IMIZED TO A LLOW V IE W S OU T OT
T HE VA LLE Y : M AT ERI A L IS RE TA INED IN T HE A X I A L LINE OF
S T RES S A N D REMOV ED W HERE T HE CURB IS N OT DOIN G A N Y
S T RUC T UR A L WORK .
where the arrival of the drivers is slowed down by their moving in 3 – 4 EDITORIAL
the spiral. On the spiral lanes, texts from well - known signs along
the Las Vegas roads such as ‘Welcome to Las Vegas’ or ‘Drive Safely’ S P AT I A L P R A C T I C E S
connect the city to the parking garage users. But that is not the only 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
form of information the architects have employed in their design. ANDRE AS MUELLER
To give the spiral a symbolic relationship with Las Vegas, the gambling 9 – 18 E S C A P I N G T H E G R I D
capital of the world, the architects used images of numbers, colors, ERIK A JACOBS LORD
and bank notes on the lanes of the spiral to introduce the ‘slow’ 19 – 28 S P AT I A L S C E N A R I O S
it becomes part of the rhythm of daily life. Marc Augé states, “Words ANDRE AS GEROLEMOU
and images in transit through non - places can take root in the – still 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E 44
diverse – places where people still try to construct part of their daily ILSE BEUMER
56 C O L O F O N
T R A N S F E R I A L O C AT I O N S
While the city plays a prominent role in daily life, transferia and
park&rides seem to be forgotten places. But these places could use
that location between city and highway. The city is like an interior,
where people return through the entrance every time. The entrance
could be a transfer point in the form of a transferium or park&ride,
a link between the city, with its public transportation network,
L EF T : T R A N S F ER I U M H O O R N , N E A R TO T H E C I T Y.
and suburbia, with its roads for private vehicles. The entrance R I G H T : T R A N S F ER I U M B R EU K EL E N .
should fit the interior and it should be an invitation to the world. 3 – 4 EDITORIAL
An entrance between an inner and outer space has two sides, and
can have different views to the inside and outside. The transfer point S P AT I A L P R A C T I C E S
is a neutral point on the map with a temporary use. The abstract 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
character makes it hard to integrate the transferia in their surroundings. ANDRE AS MUELLER
function as a dynamic doorway and to give entering and leaving ERIK A JACOBS LORD
a flowing shape. 19 – 28 S P AT I A L S C E N A R I O S
WIM MARSEILLE
S TAT U S A N D A P P E A R A N C E 2 9 – 4 0 C R E AT I V E C A S T S
ANDRE AS GEROLEMOU
56 C O L O F O N
ANDRE AS MUELLER
9 – 18 E S C A P I N G T H E G R I D
19 – 28 S P AT I A L S C E N A R I O S
WIM MARSEILLE
2 9 – 4 0 C R E AT I V E C A S T S
in its L’Espace Piranésien design ( part of the master plan ILSE BEUMER
L’E S PAC E P I R A N E S I E N , EU R A L I L L E
for Euralille ). OMA’s challenge was to create a Gordian knot ( 19 8 8 -19 91 ).
RESEARCH REPORT
50 – 54 M A P P I N G P U B L I C S PAC E
56 C O L O F O N
M O B I L I T Y A N D S PAC E
buildings. Once in the parking garage, a spiral brings the motorist 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
from deck to deck. When leaving the parking garage on foot one is ANDRE AS MUELLER
building and the landscape are indissolubly linked and the mobility/ ERIK A JACOBS LORD
about this plan, “Pleasure comes from the devices employed to move WIM MARSEILLE
cars and people through the section, from the light, and from the 2 9 – 4 0 C R E AT I V E C A S T S
RESEARCH REPORT
50 – 54 M A P P I N G P U B L I C S PAC E
56 C O L O F O N
–is it the function or the form?” asks Simon Henley ( Henley 2007: 207 ) . 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
levels as well. But the shape is free of restrictions. What is this shape? ERIK A JACOBS LORD
dynamic and be able to take the commuter on a journey through WIM MARSEILLE
shape. If the shape has a guiding and recognizable effect, the shape ANDRE AS GEROLEMOU
Zaha Hadid Architects have based their car park Hoenheim - Nord ILSE BEUMER
Z A H A H A D I D A R C H I T E C T S , PA R K+ R I D E
in Strasbourg on the concept of “patterns of movement”. Hadid H O E N H EI M - N O R T H , STR ASBOURG
( 19 9 8 -20 01 ).
describes this concept as “a field, where the patterns of movements RESEARCH REPORT
50 – 54 M A P P I N G P U B L I C S PAC E
56 C O L O F O N
CONCLUSION
and a moving panoramic view. Instead of forcing the drivers to drastically 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
reduce speed when leaving the highway and entering the transferium, ANDRE AS MUELLER
the design can be dynamic with the help of spirals, slopes, curves and 9 – 18 E S C A P I N G T H E G R I D
certain material to turn the flow of speed up or down. The information ERIK A JACOBS LORD
for the travelers. The fluent motion and expressive information could ANDRE AS GEROLEMOU
50 – 54 M A P P I N G P U B L I C S PAC E
Super m od er nit y
New York: Verso Books.
M A P P I N G P U B L I C S PA C E S P AT I A L P R A C T I C E S
This year, Henk Slager's curatorship of the 7th Shanghai Biennale, ERIK A JACOBS LORD
the Utrecht Graduate School of Visual Art and Design was able to 2 9 – 4 0 C R E AT I V E C A S T S
elucidate its focus on Research - Based Practices further in the context ANDRE AS GEROLEMOU
Ang and Jeanne van Heeswijk– were invited to develop new projects ILSE BEUMER
for the 7th Shanghai Biennale. Both projects stressed the mapping
of the micro-political conditions constituting Shanghai's public space. RESEARCH REPORT
a unique place: a place created and generated both physically and 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
discursively and relying greatly on our ability and willingness ANDRE AS MUELLER
we have become aware of the involvement in a double act in all our WIM MARSEILLE
at the same time, through this description, we affect how reality ANDRE AS GEROLEMOU
part of the problem, part of the mess. Both ourselves and our versions ILSE BEUMER
between ecology and commercialization. Ultimately, visual art should 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
art academies ( including students from MAHKU ’s Spatial Design Faculty ) WIM MARSEILLE
The goal was to map the possibilities and preconditions of public space ANDRE AS GEROLEMOU
ILSE BEUMER
Y O U B E T T E R G O N O W, B E F O R E Y O U T E L L M E T H I N G S 50 – 54 M A P P I N G P U B L I C S PAC E 52
I D O N ’T WA N T TO K N OW.
56 C O L O F O N
Tone of voice, phrasing and timing are decisive elements in the 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
level or by using stopgaps. ‘Empty’ remarks such as bromides, stopgaps ERIK A JACOBS LORD
and fillers ( e.g. it’s like, well you know how it is ) help to keep a 19 – 28 S P AT I A L S C E N A R I O S
utterances that do not communicate meaning but open the channels ANDRE AS GEROLEMOU
( b ) asking the visitor for response; and ( c ) using bromides to keep 50 – 54 M A P P I N G P U B L I C S PAC E 53
the conversation going. This way the visitor is drawn into answering
a question or replying to a remark without questioning who is on 56 C O L O F O N
Via the Sociolinguistic Symposium I came into contact with 5 – 8 DUTCH ARTISTIC RESEARCH EVENT # 3
Conflict. Conflict speech and impoliteness form part of Critical ERIK A JACOBS LORD
and power are transmitted through language. In a one - to - one WIM MARSEILLE
Cooperation, Politeness and Relevance, the power balance crumbles. ANDRE AS GEROLEMOU
The control shifts to the one that broke the rules; he is now in charge, 41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
because he put his interlocutor on the wrong footing. Often this ILSE BEUMER
S P AT I A L P R A C T I C E S
ANDRE AS MUELLER
9 – 18 E S C A P I N G T H E G R I D
19 – 28 S P AT I A L S C E N A R I O S
WIM MARSEILLE
2 9 – 4 0 C R E AT I V E C A S T S
ANDRE AS GEROLEMOU
41 – 4 9 T R A N S E R I U M , A N O N - P L A C E
ILSE BEUMER
RESEARCH REPORT
50 – 54 M A P P I N G P U B L I C S PAC E
55
56 C O L O F O N
M A H K U zin e 6 3 – 4 EDITORIAL
W IN T ER 2009 S P AT I A L P R A C T I C E S
H O S T E D B Y T H E U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N ( MAHKU ) 9 – 18 E S C A P I N G T H E G R I D
19 – 28 S P AT I A L S C E N A R I O S
C O N TA C T WIM MARSEILLE
MAHKUZINE 2 9 – 4 0 C R E AT I V E C A S T S
U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N ANDRE AS GEROLEMOU
50 – 54 M A P P I N G P U B L I C S PAC E
WEBSITE
W W W.M A HKU.N L 56 C O L O F O N 56
EDITORIAL BOARD
ARJEN MULDER
JESSICA GYSEL
FINAL EDITING
A N NE T T E W. BA LK EM A
L ANGUAGE EDITING
JENNIFER NOL AN
T R A N S L AT I O N S
GLOBAL VERNUNF T
DESIGN
EARN
T O G E T H E R W I T H T H E H E L S I N K I S C H O O L O F A R T, M A L M O S C H O O L O F A R T,
GRADCAM ( DUBLIN ), S L A D E S C H O O L O F A R T, L O N D O N A N D V I E N N A
S C H O O L O F A R T.
PA R T I C I PA N T S
K A R I E N V A N A S S E N D E L F T, M A H K U G R A D U AT E , M A F I N E A R T.
I L S E B E U M E R , M A H K U G R A D U AT E D E S I G N , P U B L I C S PA C E D E S I G N .
A N D R E A S G E R O L E M O U, M A H K U G R A D U AT E D E S I G N , E D I T O R I A L D E S I G N .
E R I K A J A C O B S L O R D , M A H K U G R A D U AT E D E S I G N , I N T E R I O R D E S I G N .
W I M M A R S E I L L E , C O U R S E L E A D E R M A I N T E R I O R D E S I G N , M A H K U , U T R E C H T.
A N D R E A S M U E L L E R , R E S E A R C H E R J A N V A N E Y C K A C A D E M Y, M A A S T R I C H T ;
CO - C U R AT O R S Y M P O S I U M S PAT I A L P R A C T I C E S .