TAKING PLACE by Michaël Snitker

TAKING PLACE

Route along 18 Corners, Stedelijk Museum Amsterdam, Willem de Rooij, 1993/2010

GROUP 1A & 1B IN 27 ROUTES Interior Architecture and Furniture Design KABK 2016 Lecture: Photography / Graphic Design Term: Year 1, semester 2, part 4

TAKING PLACE

GROUP 1A & 1B IN 27 ROUTES Interior Architecture and Furniture Design KABK 2016 Lecture: Photography / Graphic Design Term: Year 1, semester 2, part 4

Contents Assignment Introduction

007 011 012 030

Students Group 1A — 11 Routes Group 1B — 16 Routes

036 079 082 145

Colophon

146

Route along 18 Corners, Stedelijk Museum Amsterdam, Willem de Rooij, 1993/2010

Assignment

007

Interior Architecture and Furniture Design KABK Domain: Media & Materials Courses: Photography and Graphic Design Period: Year 1 semester 2, part 4 (April-June 2016) Lecture Photography: Sanne Peper Lecture Graphic Design: Michaël Snitker

TAKING PLACE

Route along 18 Corners (Stedelijk Museum 1993/2010) Route along 18 Corners is a work of Dutch artist Willem de Rooij (b. 1969). Often bearing reference to works by other artists or artifacts from historical and anthropological collections, his works revolve around questions of representation and meaning. Route along 18 Corners belongs to a long tradition in which artists reflect on the conditions of the exhibition space. The work is a brochure setting out a route along 18 corners of galleries and exhibition spaces on the ground floor of the Stedelijk Museum building. De Rooij made the brochure as a sketch while studying at the Rietveld Academie in Amsterdam, and it is specially presented in the Stedelijk for the first time in Taking Place. Now that the museum has been renovated, the meaning of the work has changed. The 1993 brochure featured the reddish herringbone parquet floor of the old Stedelijk, with impromptu fragments of whitewashed walls, baseboards and power outlets. The new oak parquet is lighter, broader and laid in a different pattern; the baseboards are recessed and the power points are concealed. Where De Rooij’s guided tour originally intended to put the museum itself on exhibit by highlighting unobserved details, the work now offers us a glimpse of the history of the building, prior to the renovation. This assignment addresses the following themes (among others): curating, space/place, labeling, mapping, choreography, performance, appropriation and representation.

Assignment 1. Photography: 18 photographs and captions Find and photograph 18 similar unnoticed/overlooked places/spaces within the Academy. These could either be details of objects or fragments of spatial situations; search for features that tell a story about the building and/or its history but also represent your connection to these particular places and your own personal history and background. It is important that you find existing situations; you are not allowed to interfere or manipulate. The images can be abstract, poetic or formal, in colour or black and white, but make sure all 18 pictures have the same theme and — like the ‘corners’ of Willem de Rooij — all combined form a coherent and strong visual statement. These images may tell a story about the history of (parts of) the building, but it’s also possible to use a more conceptual approach by photographing — for example — the same theme at different times of the day or in different conditions. This way you could use time as a defining element. Along with the 18 images you will write 18 small captions. By labeling the spaces you place them in a different context. Next to the technical description, like in an art catalogue, you will add a personal note to appropriate them, to make them your own.

Assignment 2. Graphic Design: mapping, route and brochure Draw a floor plan with the 18 locations you have chosen and design the routing. This routing doesn’t necessarily have to be the most practical: make it an interesting choreography and write an instruction on how to use it. The labeling in the floor plan can be ‘a,b,c’ etc. (like the 18 corners floorplan), but it can also be more in line with your concept. reference: http://timhollander.com/visiting-the-mous-2015 Design a brochure with the photographs, the captions, and the map with the routing and instructions. This could be a booklet or folder. Name your project: ‘Route along 18 … (Royal Academy of Art, The Haque … 2016)’ reference: see attached examples of brochure ‘Route along 18 Corners’

Implementation 1. During the photography class you will make 18 photographs and write appended captions. 2. During the graphic design class you will design the brochure with the 18 photographs including captions and the map with a routing and instruction. Combined book as a group exposition: We will put together a book with the work of both classes combined (1A+1B), printed digitally by Lulu.com. We will construct the book but we need you to deliver the material on May 27 as it has to be ready in time for the final review. The last week can be used to sharpen your presentation for the collective review. See examples: http://issuu.com/michaelsnitker Delivery on May 27: 1. The final 18 photos in highres. (ca. A4 300 dpi) with the captions in a text file 2. Your map(s) and route as a highres. pdf file (or jpg/tiff A4, 1200 dpi) and the instruction as a text file. IMPORTANT: We need all the individual elements, not a pdf of your entire brochure. Delivery on June 3: Your brochure and presentation for the collective review. Bring with you the first lesson April 1: Bring a printout of an image of a space/place that has been a factor in choosing to study interior design, and tell us why this has been important. Also choose a word or sentence that emphasizes this. Important: sketch as much as possible, we will discuss your sketches every lesson. Planning Friday April 1: Friday April 8: Friday April 15: Friday April 22: Friday April 29: Friday May 6: Friday May 13: Friday May 20: Friday May 27: Friday June 3:

First lesson we will introduce the assignment and don’t forget as described above: ‘Bring with you the first lesson April 1’ Discussing the concepts, based on your sketches and notes. Fine-tune the concepts, based on your (photographic and graphic) sketches and notes Elaboration of the sketches and notes into a final concept, discussing the photographs you have shot so far Discussing the elaborate sketches in photography and typography. (No lessons: use this week effectively!) First review final photographs and designed maps and brochure Last detailing and finishing all the pages for the book Collecting the definitive material and uploading to lulu.com Final lesson, individual review

Assignment

008 009

Assignment — Some references (to google)

Willem de Rooij, Bouquet VII, 2010, installation (representation / curating)

Stanley Brouwn, This Way Brown, 1964 (routing)

Joseph Kosuth, One and Three Chairs, 1965 (representation / appropriation)

Pierre Huyghe, Timekeeper, 1999 (mapping)

Martin Creed, Work No. 850, 2008 (performance / choreography / routing)

Tim Hollander, Visiting the MoUS, 2015 (mapping / choreography / narrative)

Nekdo Solakov, High Level Margins, 2010 (labeling / narrative / appropriation)

Assignment â&#x20AC;&#x201D; Some references (to google)

010 011

Tino Sehgal, A Year at the Stedelijk Museum, 2015 (performance / choreography)

http://realtime.waag.org, GPS mental map (mapping / outing)

Bernd and Hilla Becher, Anonyme Skulpturen, 1970 (mapping / curating)

Ed Ruscha, Twentysix Gasoline Stations, 1963 (mapping)

Hans Peter Feldmann, 11 Bilder, 1969 (mapping / curating)

Anne Teresa De Keersmaeker, Work/Travail/Arbeid, Wiels 2015 (performance / choreography / mapping)

Bruce Nauman, Body Pressure, 1974 (performance / narrative)

Gerhard Richter, Atlas, 1962-2013 (mapping)

Introduction [Friday April 1] Willem de Rooij and some/many references

Introduction [Friday April 1] Photography: ordering/curating/labeling Bernd and Hilla Becher

012 013

Introduction [Friday April 1] Photography: ordering/curating/labeling Bernd and Hilla Becher / Lewis Baltz

Introduction [Friday April 1] Photography: ordering/curating/labeling Lewis Baltz

014 015

Introduction [Friday April 1] Photography: ordering/curating/labeling Lewis Baltz / Thomas Struth

Introduction [Friday April 1] Photography: ordering/curating/labeling Thomas Struth / Gerhard Richter / Ed Ruscha

016 017

Introduction [Friday April 1] Photography: ordering/curating/labeling Ed Ruscha / Hans Peter Feldmann

Introduction [Friday April 1] Photography: ordering/curating/labeling Hans Peter Feldmann

018 019

Introduction [Friday April 1] Photography: ordering/curating/labeling Sol Lewitt

Introduction [Friday April 1] Photography: representation/appropiration Platoâ&#x20AC;&#x2122;s Cave / Joseph Kosuth, One and Three Chairs

020 021

Introduction [Friday April 1] Photography: representation/appropiration/labeling/narrative Joseph Kosuth / Hreinn Fridfinnsson / Nedko Solakov

Introduction [Friday April 1] Photography: labeling/narrative Nedko Solakov / Simon Patterson

022 023

Introduction [Friday April 1] Graphic Design: routing/mapping Nedko Solakov / Stanley Brouwn, this way brouwn

Introduction [Friday April 1] 024 025 Graphic Design: routing/mapping On Kawara / Stephen Willats / Marcel Duchamp / Pierre Huyghe

Introduction [Friday April 1] Graphic Design: routing/mapping/instruction Richard Long / Tim Hollander

Introduction [Friday April 1] Graphic Design: routing/mapping/instruction Tim Hollander / Bruce Nauman / Martin Creed

026 027

Introduction [Friday April 1] Graphic Design: instruction/performance/choreography Martin Creed / Anne Teresa De Keersmaekers

Introduction [Friday April 1] 028 029 Graphic Design: instruction/performance/choreography Anne Teresa De Keersmaekers / Simone Forti / Tino Sehgal

Introduction [Friday April 1] Graphic Design: instruction/performance/choreography Tino Sehgal / Pierre Huyghe / Willem de Rooij

Students

Students 1A — 11 Routes Mila Baumann Iris Bossen Sarah Bovelett (DE) Isa van Gemeren Rowan de Graaf Vera Loefs Merel Pals Maja Pop Trajkova Naomi Rossignol (FR) Thy Tran Minh (VN) Xénia Weulersse (FR) 1B — 16 Routes Clementine Boucher (FR) Gina van Dooren Maple He (CN) Agathe de Klerk (FR) Aaron Kopp (AT) Kalina Lambreva (BG) Mindy Li (CN) Agathe Lunel (FR) Marieke Neijmeijer Cristina Palicari (RO) Sasha Pirazhenka (RU) Erik van Schaften Tijs Struijk Luca Tibussek (DE) Stan Weessies Steven van Wijk

033 Photography

Graphic Design

036 040 044 048 052 056 060 064 068 072 076

037 041 045 049 053 059 061 065 069 073 077

038 042 046 050 054 056 062 066 070 074 078

039 043 047 051 055 059 063 067 071 075 079

082 086 090 094

083 087 091 095 098 103 107 111 116 119 123 127 131 135 139 145

084 088 092 096 099 104 108 112

085 089 093 097 101 105 109 113 117 121 125 129 133 137 141 144

102 106 110 114 118 122 126 130 134 138 142

120 124 128 132 136 140 143

1A — 11 Routes Mila Baumann Iris Bossen Sarah Bovelett (DE) Isa van Gemeren Rowan de Graaf Vera Loefs Merel Pals Maja Pop Trajkova Naomi Rossignol (FR) Thy Tran Minh (VN) Xénia Weulersse (FR)

Mila Baumann

My step is slow / the snow’s my breath, I give the ground / a grinding death. My marching / makes an end of me, slain by sun / or drowned in sea.

CV2A

At night they come without being fetched, by day they are lost without being stolen.

CV1B

A box without hinges, key, or lid, yet golden treasure inside is hid.

CV2B

Route along 18 Heating Tubes

Dipping, glinting, gliding by, rainbow-fretted, wrought of breath. I live only while I fly – Earth’s rough kiss my sudden death.

I am fire-fretted / and I flirt with Wind, my limbs are light-freighted / I am lapped in flame. I am storm-stacked / and I strain to fly, I’m a grove leaf-bearing / and a glowing coal.

CV0,5D

CV0C

There was a green house. Inside the green house there was a white house. Inside the white house there was a red house. Inside the red house there were lots of babies.

CV1C

He has no feet, yet travels far, literate, but no scholar he, no mouth, yet he clearly speaks. If you know him, you are wise.

CV2C

What has is taller th up, up it g and yet ne

What is th I saw outs before the White the strike ston and bury t

Voiceless it cries, wingless flutters, toothless bites, mouthless mutters.

CV1,5D

This thing all things devours, birds, beasts, trees, flowers, gnaws iron, bites steel, grinds hard stones to meal, slays king, ruins town, and beats mountain down.

CV0,5E

No-legs la two-legs s four legs g

d in

coal.

036 037

What has roots as nobody sees, is taller than trees, up, up it goes, and yet never grows?

Thirty white horses on a red hill: first they champ, then they stamp, then they stand still.

CV1,5E

What is that wonder I saw outside before the Doors of Day? White they whirl, strike stone, and bury themselves black in the sand.

CV1G

I saw a being in wondrous wise hold its plunder between its horns, a vessel of light, of shining beauty, bringing it home, a spoil of battle. Then a wondrous being came over the roof, known to all children of mortal men, recovered the spoil and then brought back the unwilling exile. Westward it went, hurrying home after the battle.

CV0F

No-legs lay on one-leg, two-legs sat near on three-legs, four legs got some.

CV1F

CV1H

Four dilly-dandies, four stick standies, two crookers, two lookers, and a wig wag.

Silent is my dress when I step across the earth, reside in my house, or ruffle the waters. Sometimes my adornments and this high windy air lift me over the livings of men, the power of the clouds carries me over all people. My white pinions resound very loudly, ring with a melody, sing out clearly, when I sleep not on the soil or settle on grey watersâ&#x20AC;Ś a traveling spirit.

CV2I

Tear one off and scratch my head, what was red is black instead.

CV0J

Large as a mountain, small as a pea, endlessly swimming in a waterless sea.

CV1I

CV1J

Mila Baumann

Route along 18 Heating Tubes

CV2I

CV1I

S E B U T

CV1H CV2A

CV2J

CV1,5E

CV1,5D CV1H CV1G

CV1B

CV1J

CV1F

CV0,5D

CV0,5E CV0F

G N I T A E H

CV1H

CV1G

18 G N O L A

CV2B

C CV1,5-0,5E CV1,5-0,5D

E T U O R

CV2A

CV2-1B

CV2-1J

CV1-0F

CV1J

038 039

CV2A

CV2B

CV2J

CV2A

CV2B

CV2J

CV1,5E CV1,5E

CV2C

CV2I

CV2C

CV2I

CV1C

CV1I

CV1C

CV1I

CV1,5D CV1H CV1G CV1H CV1G

CV1B

CV1J

CV1F

CV1B

CV1J

CV1F

CV1,5D

CV0,5D

CV0,5E CV0,5E

CV0F

CV0,5D

CV0F

CV0C CV0C

CV1H CV1H

CV1G CV1G

CV2-0C CV2-0C

CV1,5-0,5E CV1,5-0,5D

CV1,5-0,5E CV2A

CV2-1B

CV2-1J

CV2A

CV2-1B

CV2-1J

CV1,5-0,5D

CV1-0F

CV1-0I

CV1-0F

CV1-0I

Iris Bossen

Route along 18 Holes

01. KILLED / HIT

13. MARK / DELETE

04. FRAME / MASS

02. INTUITIVE / LOGIC

14. TURN / STAY

05. SPACE / TERRITORY

09. EXPECTATION / DOU

03. MOVEMENT / EMPTYNESS

10. CREATE / DAMAGE

11. REMOVE / BUILD

06. INTRIGUING / UNSEEN

07. INFINITE / BLIND

08. HOLLOW / GRASP

040 041

/ DELETE

04. FRAME / MASS

15. ASSUMPTION / KNOWLEDGE

/ STAY

05. SPACE / TERRITORY

16. FLAWED / ADMIRERS

09. EXPECTATION / DOUBT

17. FOCUS / PERSPECTIVE

10. CREATE / DAMAGE

11. REMOVE / BUILD

18. AGAINST / DEPT

W / GRASP

12. CONTINUOUS / COMPLETE

Iris Bossen

Route along 18 Holes

KILLED / HIT INTUITIVE / LOGIC MOVEMENT / EMPTYNESS FRAME / MASS SPACE / TERRITORY INTRIGUING / UNSEEN INFINITE / BLIND HOLLOW / GRASP EXPECTATION / DOUBT CREATE / DAMAGE REMOVE / BUILD CONTINUOUS / COMPLETE MARK / DELETE TURN / STAY ASSUMPTION / KNOWLEDGE FLAWED / ADMIRERS FOCUS / PERSPECTIVE AGAINST / DEPT

HOLES

Start in the baseme Up the stairs. Go r Go right. Find #5. Right again. Find # over the bridge to left. Go right. Con Go right, down the Find #9 and #10. Tu #11. Get up the sta Continue. Go right. ground floor. Go ri hallway. Continue. #13. Continue. Find Find #15. Continue.

ROOLF DN2

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18.

2ND FLOOR

1ST FLOOR

ROOLF TS1

042 043

ROUTE ALONG 18 HOL R

ROOLFDNUORG 4

1 2

BASEMENT

TNEMESAB

51 BASEMENT

41 3

TNEMESAB

GROUNDFLOOR

ROOLFDNUORG

1, #2 and #3.Start Go left. in the Right. basement Left.at #1, #2 and #3. Go left. Right. Left. eft. Right. Stop. Up theFind stairs. #4. Turn Go right. around. Left. Right. Stop. Find #4. Turn around. . Up the stairs, Go right. 1st floor. Find #5. Go right. Go back. Up the stairs, 1st floor. Go right. inue. Go right. Right Continue. again. Find Find #6. #7. Continue. Walk Go right. Continue. Find #7. Walk er building. over Continue. the bridge Go right. to the Go other building. Continue. Go right. Go Go left. Findleft. #8. Turn Go right. around. Continue. Go left.Go left. Find #8. Turn around. Go left. Ground floor. Go Leave right,the down stairwell. the stairs. Ground floor. Leave the stairwell. nd. Go back into Find the #9 and stairwell. #10. Turn Find around. Go back into the stairwell. Find the 2nd floor. #11. GetGet into up the the hallway. stairs to the 2nd floor. Get into the hallway. t. Find #12. Continue. Take the elevator Go right.toGothe left. Find #12. Take the elevator to the ght. Continueground through floor. the mirror Go right. Right. Continue through the mirror t into the basement. hallway. Go Continue. right. Find Go right into the basement. Go right. Find o right up the #13. stairs. Continue. Go right. Find #14. Left.Go right up the stairs. Go right. Left. ht. Find #16 Find & #17. #15. Continue. Continue. Find Go #18. right. Find #16 & #17. Continue. Find #18.

Sarah Bovelett (DE)

Route along 18 Treads

12/20(1): Treppenraum

12/29(1): From cellar to the attic

14/27(1): Scampered

15/26(1): Great curvature

17/27(1): Interdependency

2/26(1): Schizophrenic double existence

20/27(1): Beyond the visible

21/24(1): Traces of social rank

21/26(1): We saw and we measured

23/27(1): Queen of Architecture

3/20(1): Practically nothing

33/27(2): In pain

3/14(1): Softer transition into the inclination

5/29(1): Palimpses of observation

6/26(1): Analytic depth

044 045 20/27(1): Beyond the visible

21/24(1): Traces of social rank

21/26(1): We saw and we measured

23/27(1): Queen of Architecture

3/20(1): Practically nothing

33/27(2): In pain

3/14(1): Softer transition into the inclination

5/29(1): Palimpses of observation

6/26(1): Analytic depth

7/27(1): Compiled

8/14(1): Enormous irregularity

8/14(1): Created but not publicized

Sarah Bovelett (DE)

23/27

TREADS 3/14

12/29

8/14

20/27

8/14

33/27

3/20

ROUTE ALONG

Route along 18 Treads

12/20 5/29

7/27 17/27

21/27

14/27

046 047

8/14

6/26

3/20

8/14

2/26 21/26 15/26

12/20 21/24 21/27

Walk up the stairs. Find the tread. Walk down the stairs. Continue.

Isa van Gemeren

1,32 1,32 1,32 1,32 1,45 1,45 1,45 1,45 1,46 1,46 1,46 1,46 1,48A1,48A1,48A1,48A 1,48B1,48B1,48B1,48B 1,50 1,50 1,50 1,50 1,53 1,53 1,53 1,53 1,55 1,55 1,55 1,55 1,60 1,60 1,60 1,60 1,61A1,61A1,61A1,61A 1,61B1,61B1,61B1,61B 1,61C1,61C1,61C1,61C 1,62A1,62A1,62A1,62A 1,62B1,62B1,62B1,62B 1,65B1,65B1,65B1,65B 1,84 1,84 1,84 1,84 2,19 2,19 2,19 2,19 1,32 1,32 1,32 1,32 1,45 1,45 1,45 1,45 1,46 1,46 1,46 1,46 1,48A1,48A1,48A1,48A 1,48B1,48B1,48B1,48B 1,50 1,50 1,50 1,50 1,53 1,53 1,53 1,53 1,55 1,55 1,55 1,55 1,60 1,60 1,60 1,60 1,61A1,61A1,61A1,61A 1,61B1,61B1,61B1,61B 1,61C1,61C1,61C1,61C 1,62A1,62A1,62A1,62A 1,62B1,62B1,62B1,62B

Route along 18 Fixations

1,32 M

1,53 M

1,45 M

1,55 M

1,46 M

1,60 M

1,48A M

1,61A M

1,48B M

1,61B M

1,50 M

1,61C M

048 049

M 1,53 1,53 M

1,62A1,62A M M

M 1,55 1,55 M

1,62B1,62B M M

M 1,60 1,60 M

1,65A1,65A M M

M 1,61A1,61A M

1,65B1,65B M M

M 1,61B1,61B M

1,84 1,84 M M

M 1,61C1,61C M

2,19 2,19 M

Isa van Gemeren

1,48 M

9 M

2,19 M

1 M

1,61 M

1 M

1,61 M

4 M

5 M

Route along 18 Fixations

M 1,601,48 M

1,60 M 1,53 1,48M M

1,53 1,60 M M 1,50 M

M M 1,53 1,50 M 1,62

1,84 M

1,55 M

1,61 M

1,62 M

1,61 MM 1,62

1,621,61 M M

1,62 M1,65 M

renand 3079538 mei 2016 Photography and graphic design.indd 2 hy VERSIE graphic 319design.indd Folder Fixation 2 Isa van Gemeren 3079538 19 mei 2016 Photography and graphic design.indd 2

1,65 M

1,62 1,50 MM

1,62 M

1,48 M

1,45 M

1,65 M

1,46 M

1,32 M

050 051

calcu 0 + 1,32 = 1,32 late 1,32 + 0,13 = 1,45 your 1,45 + 0,01 = 1,46 1,46 + 0,02 = 1,48A route 1,48A + (0,02 x 0)= 1,48B to 1,48B + 0,02 = 1,50 find 1,50 + 0,03 = 1,53 your 1,53 + 0,02 1,55 way. 1,55 + 0,05 = 1,60

1,60 + 0,01 = 1,61A 1,61A + (0,01 x 0) = 1,61B 1,61B + (0,01 x 0) = 1,61C 1,61C + 0,01 = 1,62 A 1,62A + (0,01 x 0) = 1,62B 1,62B + 0,03 = 1,65A 1,65A + (0,03 x 0) = 1,65B 1,65B + 0,19 = 1,84 1,84 + 0,35 = 2,19

8 M

5 M

6 M

2 M

ISA VAN GEMEREN PHOTOGRAPHY & GRAPHIC DESIGN IAFD1 03-06-2016

route1,32 1,32 1,32 1,32 1,32 1,32 along1,45 1,45 1,45 1,45 1,45 1,45 18 1,46 1,46 1,46 1,46 1,46 1,46 fixat1,48A1,48A1,48A1,48A1,48A1,48A ions 1,48B1,48B1,48B1,48B1,48B1,48B 1,50 1,50 1,50 1,50 1,50 1,50 1,50 1,53 1,53 1,53 1,53 1,53 1,53 1,53 1,55 1,55 1,55 1,55 1,55 1,55 1,55 1,60 1,60 1,60 1,60 1,60 1,60 1,60 1,61 1,61A1,61A1,61A1,61A1,61A1,61A 1,61 1,61B1,61B1,61B1,61B1,61B1,61B 1,61 1,61C1,61C1,61C1,61C1,61C1,61C 1,62 1,62A1,62A1,62A1,62A1,62A1,62A 1,62 1,62B1,62B1,62B1,62B1,62B1,62B 1,65 1,65B1,65B1,65B1,65B1,65B1,65B 1,84 1,84 1,84 1,84 1,84 1,84 1,84 2,19 2,19 2,19 2,19 2,19 2,19 2,19 1,32 1,32 1,32 1,32 1,32 1,32 1,32 1,45 1,45 1,45 1,45 1,45 1,45 1,45 1,46 1,46 1,46 1,46 1,46 1,46 1,46 1,48A1,48A1,48A1,48A1,48A1,48A1,48A 1,48B1,48B1,48B1,48B1,48B1,48B1,48B 1,50 1,50 1,50 1,50 1,50 1,50 1,50 1,53 1,53 1,53 1,53 1,53 1,53 1,53 1,55 1,55 1,55 1,55 1,55 1,55 1,55 1,60 1,60 1,60 1,60 1,60 1,60 1,60 1,61A1,61A1,61A1,61A1,61A1,61A1,61A 1,61B1,61B1,61B1,61B1,61B1,61B1,61B 1,61C1,61C1,61C1,61C1,61C1,61C1,61C 1,62A1,62A1,62A1,62A1,62A1,62A1,62A 1,62B1,62B1,62B1,62B1,62B1,62B1,62B 1,32 1,32 1,32 1,32 1,32 1,32 1,32 1,45 1,45 1,45 1,45 1,45 1,45 1,45 1,46 1,46 1,46 1,46 1,46 1,46 1,46 1,48A1,48A1,48A1,48A1,48A1,48A1,48A 1,48B1,48B1,48B1,48B1,48B1,48B1,48B 1,50 1,50 1,50 1,50 1,50 1,50 1,50 1,53 1,53 1,53 1,53 1,53 1,53 1,53 1,55 1,55 1,55 1,55 1,55 1,55 1,55 1,60 1,60 1,60 1,60 1,60 1,60 1,60 1,61A1,61A1,61A1,61A1,61A1,61A1,61A 1,61B1,61B1,61B1,61B1,61B1,61B1,61B 1,61C1,61C1,61C1,61C1,61C1,61C1,61C 1,62A1,62A1,62A1,62A1,62A1,62A1,62A 1,62B1,62B1,62B1,62B1,62B1,62B1,62B 1,65B1,65B1,65B1,65B1,65B1,65B1,65B 1,84 1,84 1,84 1,84 1,84 1,84 1,84 2,19 2,19 2,19 2,19 2,19 2,19 2,19 1,32 1,32 1,32 1,32 1,32 1,32 1,32 1,45 1,45 1,45 1,45 1,45 1,45 1,45 1,46 1,46 1,46 1,46 1,46 1,46 1,46 1,48A1,48A1,48A1,48A1,48A1,48A1,48A 1,48B1,48B1,48B1,48B1,48B1,48B1,48B 1,50 1,50 1,50 1,50 1,50 1,50 1,50 1,53 1,53 1,53 1,53 1,53 1,53 1,53 1,55 1,55 1,55 1,55 1,55 1,55 1,55 1,60 1,60 1,60 1,60 1,60 1,60 1,60 1,61A1,61A1,61A1,61A1,61A1,61A1,61A 1,61B1,61B1,61B1,61B1,61B1,61B1,61B 1,61C1,61C1,61C1,61C1,61C1,61C1,61C 1,62A1,62A1,62A1,62A1,62A1,62A1,62A

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Rowan de Graaf

Route along 18 Ideals

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Rowan de Graaf

Route along 18 Ideals

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Vera Loefs

Route along 18 Pipes

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Vera Loefs

Route along 18 Pipes

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Merel Pals

Route along 18 Private Manners

1. The perfect conditions toilet

2. The very noisy door toilet

7. The obstacle toilet

8. The

3. The big window toilet

4. The nice lighted toilet

9. The chilly toilet

10. The

5. The hidden toilet

6. The seating up toilet

11. The dusty toilet

12. Th

060 061

8. The can look over the wall toilet

13. The very small toilet

10. The over paint toilet

15. The always occupied toilet

16. The moldy toilet

12. The dark toilet

17. The clogged toilet

18. The always wet seat toilet

14. The wobbly seat toilet

Merel Pals

Route along 18 Private Manners

In search for the most ideal toilet, beginning from the Inbest search for the ideal toilet, beginning from the to the leastmost conditioned toilet best to the least conditioned toilet

In search for the most ideal toilet, beginning from the best to the least conditioned toilet

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ROUTE ALONG 18 PRIVATE MANNERS

Maja Pop Trajkova

Route along 18 Pairs of screw directions

Route along 18 pairs of screw directions

(a) Dorma is a German company that produces door technology systems.

(b) It was first founded by Rudolf Mankel and his brother-in-law, Wilhelm Dörken, as the Dörken & Mankel KG in Ennepetal, Germany, on July 1, 1908.

(c) Then, in 1936, Wilhelm Dörken left Dörken & Mankel KG and Rudolf Mankel set about running the company as its sole proprietor.

(d) The next year in The Hague, on the site of the Neo Classical „temple“ building of the Hague Academy, a new academy building was completed - designed by J.H. Plantenga, J.W.E. Buijs and J.B. Lürsen

(e) In this period, while Plantenga was principal of the Academy, the school changed into a modern institute in which design has a clear position.

(f) The same year, fire protective glass doors produced by Dorma were installed in the new academy building.

(g) For the completion of this task 17 workers were employed.

(h) The door installation took 7 working days, for which period 737g. of screws were used.

(i) No one knows where the screws came from.

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Maja Pop Trajkova

BC.108

Route along 18 Pairs of screw directions

Cate BD.106

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Studiegids2011-2012_v17.indd 209

BD.109 BA.101

Route: a - d - e - f - i - b - cD - h -g C B A Catering

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a i

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BD.107 BD.103 066 067 Route: a - d - e - f - i - b - c -

01 02 03 04 05 06 07 08 09

Sissone, assemblé Port de bras Sissone Glissade, relevé, pirouette Pirouette Temps levé Assemblé soutenu Pirouette, glissade Grand rond de jambe en l’air

DANCING THREADS 3

Glissade, grand jeté Chassé Piqué, effacé Battement en l’air Assemblé, tour en l’air Piqué sousou Pas marché Jeté, couru Dégagé, rond de jambe

ROUTE ALONG

Route along 18 Dancing Threads

10 11 12 13 14 15 16 17 18

Naomi Rossignol (FR)

13 16

18 6

10 10 17

12 15

14 14

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18 10 11 12 13 14 15 16 17 18

Glissade Chassé Piqué, e Batteme Assembl Piqué so Pas mar Jeté, cou co Dégagé,

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Naomi Rossignol (FR)

Route along 18 Dancing Threads

VIDEO [Y]

VIDEO [B] VIDEO [B/W]

11 3

13 17

4 5

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ENTER

TURN RIGHT TAKE THE BRIDGE TURN RIGHT TAKE THE STARS

GET OUT

Thy Tran Minh (VN)

Route along 18 Inbetweens

16C. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just come out the other side. Or you don’t. - Anonymous

17C. I love you. So much. I just don’t like you anymore. – One Day (2011)

18C. The present moment is the only moment available to us and it is the door to all other moment. – Thich Nhat Hanh

6B. Sadness gives depth. Happiness give height. Sadness gives roots. Happiness gives branches. Happiness is like the tree going into the sky, and sadness is like the roots going down into the womb of the earth. Both are needed. – Osho (Everyday Osho: 365 Daily Meditations for the Here and Now)

7B. There is a fountain of youth: it is your mind, your talents, the creativity you bring to your life and the lives of people you love. When you learn to tap this source, you will truly have defeated age. – Sophia Loren

8B. Madrugada (n.) (mɐ.ðɾu.ˈya.ðɐ) The period between midnight and sunrise; early morning. - Portuguese

1A. For most of my life I ran desperately for the reflection that said I was “different” toward which ever reflection called me “special”. I felt that I existed somewhere between tragically flawed and full of potential. – Kelsey Rae Hartzell (The Trap of Living by Someone Else’s Definitions)

2A. a semicolon

3A. It’s not the face, but the expressions on it.(*)

9B. Mokita (n.) Truth we all know but agree not to talk about. - Kilivila Language

10B. Open your eyes see what you c with them befo they close forever. – Anthony Doer (All The Light Cannot See)

4A. It’s not the voice, but what you say. (*)

5A. It’s not how y look in that b but the thing do with it.(*)

(*)– Stephenie Meyer (The Host (The Host, #1))

072 073

10B. 10B. 10B. Open Open your your eyes eyes andeyes and and Open your see what see see what youwhat can you you can can know all know with with them them before before with them before we all know t e to not not to they close close they close gree to they ut. forever. forever. about. forever. la – Anthony – Anthony Doerr Doerr – Anthony Doerr ivila (All (All The(All Light The The Light WeLight We We age Cannot Cannot See) See) Cannot See)

15B. 15B. 15B. 11B. 11B. 11B. 12B. 12B. 12B. 13B. 13B. 13B. 14B. 14B. 14B. “These voices,” I “These “These voices,” voices,” I I My point My point Myis, point life is, is, life “I life am “Ia am “I lonely a amlonely a lonely 9904.9 9904.9 kilometers 9904.9 kilometers kilometers Honne Honne (本音) Honne (本音) and (本音) and and said is about is about isbalance. about balance. balance. man,” man,” heman,” said he said he said Tatemae Tatemae Tatemae (建前) (建前) 9B.said said 10B. 15B. 11B. 12B.(建前) appreciatively, appreciatively, appreciatively, The and good The The good andgood the and and the again the voices,” again that again that Describe Describe theamthe Mokita Open your eyes “These Ithat My point is,Describe life “I a the lonely “these voices -voices “these “these voices - -what youbad. Thebad. highs The The highs and highs and evening. and evening. evening. “And “And is “And is is contrast contrast contrast between between (n.) see canbad. said is about balance. man,” hebetween said they’re a kind of they’re they’re a kind a kind of of the lows. the the lows. The lows. pina The The pina it pina not it possible not it not possible possible a person’s a person’s a person’s true true Truth we all know with them before appreciatively, The good and the again thattrue bridge back to the bridge bridge back back to the to the and the and and colada. the the colada. colada. that that you that are you you also are are also also feelings feelings feelings and and and but agree not to they close “these voices bad. The highs and evening. “And is human world.” human human world.” world.” – Ellen – Ellen –DeGeneres Ellen DeGeneres DeGeneres a lonely aa lonely a perlonely perperdesires desires desires (honne) (honne) (honne) talk about. forever. they’re kind of the lows. The pina it not possible Aldous Huxley Aldous Aldous Huxley Huxley (Seriously… (Seriously… (Seriously… I’m I’m I’m son? son? But son? I But am But I an am I an am an and the and and behavior the the behavior behavior - Kilivila – Anthony Doerr bridge back to the and the colada. that you are also (The doors of (The (The doors doors of of kidding) kidding) kidding) older older man, older man, and man, and and and opinions and and opinions opinions one one Language (All The Light We human world.” – Ellen DeGeneres a lonely one perperception. Page Page perception. perception. Page I can I live can I can live with live with with displays displays displays in in in Cannot See) - Aldous Huxley (Seriously… I’m son? But I am an 15) 15) 15) mydoors loneliness, my loneliness, my public public (tatemae). public (tatemae). (tatemae). (The of loneliness, kidding) older man, and quietly. quietly. quietly. You You You are are - Japanese - Japanese - IJapanese perception. Pageare can live with young, young, and young, it and and it it 15) my loneliness, must must be must difficult be difficult be difficult quietly. You are to accept to accept to your accept your your young, and it loneliness. loneliness. loneliness. You You You must be difficult must must sometimes must sometimes sometimes to accept your want want to want fight to fight to it.” fight it.” it.” loneliness. You - Natsume - Natsume - Natsume Soseki Soseki Soseki must sometimes (Kokoro) (Kokoro) (Kokoro) want to fight it.” - Natsume Soseki (Kokoro)

5A. 5A. 5A. voice, the the voice, It’s It’s notIt’s how not not you how how you you not voice, say. you you say. look look in that in that body, body, hat say. look in that body, 4A. 3A. but the but thing thenot thing you you but the thing you It’s not the voice, It’s the face, do with dobut with it.(*) it.(*) do with it.(*) the expressibut what you say. ons on it.(*) (*)

5A. It’s not how you look in that body, but the thing you do with it.(*)

tThe (The Host, #1)) Host Host (The (The Host, Host, #1)) #1)) (*)– Stephenie Meyer (The Host (The Host, #1))

1 9

Thy Tran Minh (VN)

Route along 18 Inbetweens

The buzz. The city light. Wheels roaming around. The mess. The noise. Strangers passing by. This is a wild world. We need comford zones. - Anne Icaro

074 075

Royal Academy of Art, The Hague ... 2016

R O U T E A L O N G 1 8 I N B E T W E E N S

buzz. The city light. heels roaming around. The mess. The noise. Strangers passing by. This is a wild world. e need comford zones. - Anne Icaro Thy Tran

XĂŠnia Weulersse (FR)

Route along 18 Lockers

263 Jan

109 Clara

251 Mateusz

Unknown

219 Julie

2612 Charlotte

805 Araf

238 Annet

Unknown

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128 Elise

302 Esther

Unknown

295 Dirk

Unknown

277 Maarten

266 Menthe

304 Hatten

215 Eva.

XĂŠnia Weulersse (FR)

Route along 18 Lockers

When you face the 1st floor lockers, you turn left, right, take the stairs down, cross the mirror bridge. Take the stairs up turn left. You have the lockers straight in front of you.

When you face the 1st floor lockers, you turn left, right, take the stairs down, cross the mirror bridge. You go straight, take the stairs down in the basement. Turn 2 times left. The lockers are on your left.

Basement

078 079

From the ground floor lockers, you get out of the room., you go left, take the stairs up. Go left, turn right, you have the lockers in front of you.

basement

From 2nd floor lockers, you go left. You take the stairs down on your right. At the ground floor you go left and go right in the classrooms.

oss the miront of you.

1B â&#x20AC;&#x201D; 16 Routes Clementine Boucher (FR) Gina van Dooren Maple He (CN) Agathe de Klerk (FR) Aaron Kopp (AT) Kalina Lambreva (BG) Mindy Li (CN) Agathe Lunel (FR) Marieke Neijmeijer Cristina Palicari (RO) Sasha Pirazhenka (RU) Erik van Schaften Tijs Struijk Luca Tibussek (DE) Stan Weessies Steven van Wijk

Clementine Boucher (FR)

RO UTE AL ONG 18 ELU SIVE LI NKS

Route along 18 Elusive Links

MOS COW

MAD RID

BAGH DAD

DEL HI

LON DON

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MOS COW

BRA SILIA

MAD RID

SINGA PORE

BAGH DAD

BANG KOK

LON DON

TALL IN

Route along 18 Elusive Links Clementine Boucher (FR)

You have the choice of two different routines. You can follow the time or follow the lines. Make your own links and create your own world.

This map is an invitation to an enjoyable journey. I based my routine on the everyday shadows cycle I observed in the classroom. Thought those shadows I imagined the whole worldâ&#x20AC;¦

DEL HI MOS COW MAD RID BAGH DAD LON DON BRA SILIA SINGA PORE BANG KOK TALL IN

084 085

puzzelend aan de koffietafel wachtte ik op mijn bezoek

ontwakend uit mijn narcose zag ik degenen aan mijn bed

Ik met alzheimer zoekend naar bekende

na een lange werkdag viel ik op de bank in slaap

knikkebollend in mijn rolstoel wachtte ik op een verzorgster om me te helpen mijn pyjama aan te trekken

terwijl ik struikelde over mijn sloffen dacht ik aan alle mensen die mij weer overeind zouden helpen

wachtend op mijn collegaâ&#x20AC;&#x2122;s voor mijn afscheidsfeestje na 12 jaar trouwe dienst

al piekerend liep ik te dwalen door het bos

na een halfjaar op wereldreis geweest te zijn liep ik de douane uit mijn welkomstcomitĂŠ tegemoet

Gina van Dooren Route along 18 Lonely Armrests

niemand

alleen

met een grote bak zoute popcorn neem ik plaats in een volle bioscoop

al graaiend in de brievenbus zag ik eindelijk die langverwachte kaart

nadat ik een halfuur lang naar een leeg glas heb lopen staren vraagt de ober waar mijn gezelschap is

liggend in mijn tweepersoons bed

zenuwachtig liep ik met mijn veel te zware rugzak door de gangen van mijn nieuwe school

ontwaakt door de vogels op mijn balkon bedacht ik me waar ik vandaag heen zou gaan

bladerend door fotoboeken zocht ik naar mijn trouwfoto

ik trok het kleed uit de picknickmand en spreidde het uit over het veld

086 087 nergens

mijn diploma in mijn hand gedrukt, zocht ik naar de trotse blik van mijn familie

Gina van Dooren

Route along 18 Lonely Armrests

088 089

“Eating “Eating “Eating also also kept kept me me busy busy for for at at least least “Eating also also kept kept me me busy busy for for at at least least twenty twenty twenty minutes!” minutes!” twenty minutes!” minutes!”

Maple He (CN)

ht!” ht!”

Route along 18 Entrances

PD-a PD-a Hipster Hipster

PD-d Adult Adult PD-d

““ You You are are not not straight!” straight!”

“That my life!” “Yujin A A is is going going to to have have her her individual individual “Yujin her “Yujin “Yujin A A is is going going to to have have herisindividual individual show tonight tonight in in Amsterdam. Amsterdam. II really really want show tonight show want show tonight in in Amsterdam. Amsterdam. II really really want want “Your for life her, is inbut a fridge... ” to go go and and show show my my support support for for her, her,to but if show go if to if tobut go and and show my my support support for her, but if am going going alone alone then then II don’ don’ tt want wantII am to go go going II am to am going alone alone then then II don’ don’ tt want want to to go go “Plus, with paint leaking out.” to Amsterdam Amsterdam in in the the evening evening and and to goAmsterdam back in and back to go back to Amsterdam in the the evening evening anda go go back even at at mid-night. mid-night. SO SO do do you you want wanteven to go go at even to even at mid-night. mid-night. SO SO do do you you want want to to go go with me? me? II really really want want to to go... go...”” with with with me? me? II really really want want to to go... go...””

are “I are not not straight!” straight!” “I am am sorry sorry but but you you are are not not straight!” straight!”

PD-d PD-d Adult Adult

PC-a Self-expressionist

“You mistook mistook me me for for Eunice, Eunice, right?” right?” “You “You “You mistook mistook me me for for Eunice, Eunice, right?” right?”

PD-e PD-e Scientist Scientist

PD-b PD-b Worker Worker

ee and like “Let’ and pass pass them them likess stand “Let’ stand in in aa line line and and pass pass them them like like in so that line in the the factories factoriesthe soproduction that the production line in in the the factories factories so so that that nergy!” we nergy!” we can can save save more more energy!” energy!”

wo guys “We have wo thirds thirds of of the the guys “We have got got only only two two thirds thirds of of the the guys guys staying staying to to help!?” help!?”

st “Anyway st six six guys guys in in the the “Anyway we we have have just just six six guys guys in in the the class... class...””

PD-c Cutie

PD-f Architect

PD-e PD-e Scientist Scientist

PC-b Senior

“Don’ “Almost nomainone from the first year was “Don’ to “Don’ tt connect connect my my house house to to the the mainmain“Don’ tt connect connect my my house house to the the mainland!” there for our preview of the graduation land!” land!” land!” show.” “That “That is is just just aa river river to to isolate isolate you. you.””“That “That is is just just aa river river to to isolate isolate you. you.”” “Ah, emh, at least I was not there, but can I “Otherwise island your works now?” you be lonely island “Otherwise you you can’ can’ tt be be an an lonely lonely“Otherwise island “Otherwise you can’ can’ tt see be an an lonely island in in in the the middle middle of of nowhere. nowhere.”” in the the middle middle of of nowhere. nowhere.”” “Emh...We are still working, maybe not that convenient at this moment.”

PD-f Architect

is even my birthday, so do me a is even my birthday, so do me a “You walked from the“Today other end of the “Today whole room to me justflavour to ask guys!” me to open flavour guys!” the window for you!?” “Happy birthday!” “Happy birthday!” “Well, the others around me were all busy.” “Your rare presence is my best gift today. ” presence is my best gift today.” “Your rare “Eating also kept me busy for at least twenty minutes!”

PC -c Designer

“The space will be occupied by our pro“The space will be occupied b ject, please inform your classmates ofplease inform your classm ject, cleaning up their stuff.” cleaning up their stuff.” “...Ok...But who are you?”

“...Ok...But who are you?”

“Try her friend too, something there “Try her “Tryalso!” her friend friend too, too, som som

090 091 PC-d PC-d Envoy Envoy

PB-c Yujin A

PA-a Freshman

PA-a PA-a Freshman Freshman

“If the go sculptures I did this morning“The are sculptures “The sculptures II did did this this morning morning are are “If you you want want to to go go to to“The the heaven, heaven, go to to god, am so and so Iintriguing intriguing and so so nice, nice, BUT BUT now now II am am god, II can can help help you. you.””so intriguing and so nice, BUT now totally stuck stuck and and cannot cannot make make anything anything totally stuck and cannot make anything totally “...No... they so any any more, more, so II am am going going home home before before they they “...No... Thanks... Thanks...”” any more, so I am going home before notice notice that I am gone.” notice that that II am am gone. gone.”” “...Then “...Then good good luck!” luck!” “Then I did not see you.” “Then “Then II did did not not see see you. you.””

“Those are my hairs .

“Those “Those are are my my hairs hairs ..

PB-a PB-a Prisoner Prisoner

PA-b Professional

PB -d Trash Smith

PB-c PB-c Yujin Yujin A A

PB PB -d -d Trash Trash Smith Smith

“I ”” “Only “Only such a genius like you can dig outsuch “Only such aa genius genius like like you you can can dig dig out out “I am am free free in in your your jail. jail. my my chair from the bottom.” my chair chair from from the the bottom. bottom.”” “I “I am am in in jail jail in in your your freedom. freedom.”” “I “I was a genius for trash since I studied “I was was aa genius genius for for trash trash since since II studied studied fine arts.” fine fine arts. arts.””

PB-b Artist

ace on the list for me, so I is no place on the list for me, so I “There fternoon.” am free this afternoon.”

who is in charge of the listthe one who is in charge of the list “I am t the one who has choice!” and you are not the one who has choice!”

PB-e Photographer

And And I bought the wedding dress with And5II bought bought the the weddin weddin euros. euros. euros.

Also, I got those chairs from yourAlso, class!”II got Also, got those those chairs chairs ff

“That “That is how I become artist in kabk. ” is “That is how how II become become ar ar

PA-b PA-b Professional Professional

the “Actually the holes are too big for “Actually the “Actually the holes holes are are to to threads. threads. I always just did it with needles. ” II always threads. always just just did did “I did it with the punch...”

PB-e Photographer PA-c Observer

“Shetoalways sits and there.” “Just stick the sandwich to your face andstick the sandwich “Just your face pretend that you are asleep.” pretend that you are asleep.” “Where?” “Maybe help her to wrap the plastic “Maybe help her to wrap the plastic “OnIthe says that.” around her neck as well, I feel thataround there her neck as well, feelwall, that itthere will be something.” will be something.” “Try her friend too, something there also!” “Try her friend too, something there also!”

“I “I did did it it with with the the punch.. punch..

Follow the tiles Back to the hinges while looking at the ground

a c

PC d

PC c

PD c

b c

PB b

a ac a

PC f

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PD c

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f a e a

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c a

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PB d

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PD PC

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PA f e

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PD a

PD c a

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PD PB

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PA d

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PD c

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Maple He (CN) Route along 18 Entrances

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b c a a

c d

PD e

PC a d

Agathe de Klerk (FR)

Route along 18 Mindfull Cracks

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Agathe de Klerk (FR)

Route along 18 Mindfull Cracks

096 097

Aaron Kopp (AT)

Route along 18 Sinkholes [Waiting Rooms]

sen, Anonymous, Briton Riviere, Claude Monet, John Atkinson Grimshaw, Vincent Van Gogh, Alfred George Stevens, Emanuel Gottlieb Leutze, Carel Fabritius, Johann Baptist Hofner, Richard Willis, Briton Riviere.

18 Path In The Wheat At Pourville

17 Madonna And Child

16 Detroit Industry North Wall

15 Christmas Eve

12 Sympathy

11 Christ Walking On The Sea Of Galilee

10 The Shortening Winters Day Is Near A Close

9 A Pathway In Monets Garden Giverny

6 The Bath

5 Washington Crossing The Delaware River

4 The Goldﬁnch

3 The Shepherdess

Detroit Industry North Wall

15 Christmas Eve

14 Silent Night

13 Midsummer Eve

The Shortening Winters Day Is Near A Close

9 A Pathway In Monets Garden Giverny

8 Silver Moonlight

7 The Starry Night

he Goldﬁnch

3 The Shepherdess

2 Engagement Between The ‚bonhomme Richard‘ And The ‚ Serapis‘ Off Flamborough Head

1 Daniel In The Lions Den

098 099

Claude Monet, Pierre Auguste Renoir, Il Sassoferrato, Joseph Farquharson, Gustave Dore, Diego Rivera, Viggo Joh

Aaron Kopp (AT)

Route along 18 Sinkholes [Waiting Rooms]

era, Viggo Johansen, Anonymous, Briton Riviere, Claude Monet, John Atkinson Grimshaw, Vincent Van Gogh, Alfred George Ste

100 101

red George Stevens, Emanuel Gottlieb Leutze, Carel Fabritius, Johann Baptist Hofner, Richard Willis, Briton Riviere.

Kalina Lambreva (BG)

Route along 18 Auras

102 103

Kalina Lambreva (BG)

Route along 18 Auras

104 105

Mindy Li (CN)

1. Grown

4. Controlled

Route along 18 Paintings

2. Excepted

3. Focused

5. Twisted

6. Scratched

106 107 5. Twisted

6. Scratched

f. Hidden

g. Freedom

h. Heaviness

i. Chaos

d. Careless

e. Apart

b. Accidental

8. Limited

7. Infected

9. Depressed

c. Empty

a. Tough

4. Controlled

Mindy Li (CN)

Route along 18 Paintings

Numbers: What do you feel?

Route Along 18 Paintings Letters: What do you see?

Route Lights

108 109 Numbers: What do you feel?

Route Along 18 Paintings

g 5

Letters: What do you see?

Route Lights

7 9 8 b

4 2

3 a

Agathe Lunel (FR)

Route along 18 Landscapes

PD.202 Vera

PD.202 Blanchard

PD.202 Cassegrain

PD.202 Condorcet

Welcome to my trip. Do not f is going to be useful for this Follow me ! First direction, south. North west. Climb. South...

PD.202 Mouchez

BD.001 Avery

BD.001 Beaumont

...or follow yo BD.001 FeuillĂŠe

BD.001 Moulton

110 111

o not forget your compass, it or this adventure.

BD.103 Monge

BD.103 Anville

BD.103 Felix

PC.105 De La Rue

PC.105 Bouguer

PC.105 Bell

PC.105 Naonobu

PC.105 Mineur

PC.105 Boole

ow your own way !

Agathe Lunel (FR)

Route along 18 Landscapes

Route along 18 landscapes

112 113 Welcome to my trip. Do not forget your compass, it is going to be useful for this adventure. Follow me ! First direction, south. North west. Climb. South...

BD.103 Monge

BD.10 Anvil

BD.10 Felix

PC.105 De La Rue

PC.10 Bougu

PC.105 Bell

PC.105 Naono

PC.105 Mineur

PC.10 Boole

...or follow your own way !

Marieke Neijmeijer

Route along 18 Windows

Route

Along

1. Crisp?

2. Me?

10. Can I?

11. Which way?

3. Start

4. Losing

12. Two Faced

13. Too m

Windows

114 115

Along

Windows

7. Rock

4. Losing Focus

5. Clean cut

6. Dreaming

14. Continue

15. Pull through

13. Too much

16. Wre

Marieke Neijmeijer

7. Rocky Road

Route along 18 Windows

8. Dragged down

9. Still Rising

0.1.14

Tak

16. Wreck

17. Confronting

18. Carefull!

116 117

Get in

Go Forward

Turn

1.1.13

1.5.9

Breath

1.6.8

1.7.7

1.4.3

1.3.16

0.1.14

0.4.12

0.1.15

0.3.10

Take time

Turn Left

Carefull!

Breath

Walk 4 Steps

1.7.7

1.10.4

1.11. 11

1.13.2

1.13. 18

0.13.1

0.10.5

1.8.17

Look Right!

0.11.6

Outside

Start

Cristina Palicari (RO)

Route along 18 unnoticed stories of people you see as uninteresting and to whom you, as well, are uninteresting, thus they will never notice your story.

Saturday night night Saturday Saturday night

The magician blinked three times in row The Themagician magicianblinked blinkedthree threetimes timesin inaaaaa row row The magician blinked three times in row The magician three times in row before makingblinked you disappear. disappear. The magician blinked three times in a row before making you beforemaking makingyou youdisappear. disappear. before making you disappear. before

before making you disappear.

She threw away all the letters signed She threw “Yours, B.”away all the letters signed “Yours, B.”

118 119

Here is where I threw away my sun-burnt skin, in late August last summer.

Here is where I threw away my sun-burnt skin, Here where I threw away my sun-burnt skin, in lateisAugust in late August last summer. last summer.

Cristina Palicari (RO)

Route along 18 unnoticed stories of people you see as uninteresting and to whom you, as well, are uninteresting, thus they will never notice your story.

First Floor

Sunday mornings

tears

melted ice-cream

goodbyes

map to his house my sun-burnt skin

120 121

This is a book in which you will find 18 different stories and 18 pieces of a map. You start with some tears and end with a smile. For the rest of it - feel free to fly. Letâ&#x20AC;&#x2122;s just say you will find pieces of yourself lost somewhere along the way.

Second Floor

denials

Christmas decoration

a smile

a shooting star

childhood friends

Third Floor

arching of the eybrows

tooth fairy

old letters

magic trick math formula

Sasha Pirazhenka (RU)

Route along 18 Qualities

1.Quality 2

2.Quality 3

3.Quality 9

4.Quality 12

5.Quality 4

6.Quality 8

7.Quality 1

8.Quality 10

9.Quality 5

10.Quality 11

11.Quality 6

12.Q

122 123

y 12

13.Quality 16

14.Quality 13

15.Quality 15

y 10

16.Quality 17

17.Quality 14

18.Quality 18

12.Quality 7

12. Yet quality is delivered when you achieve the minimum requirement of a specified performance standard. 13. Quality is observable by number of rejects from customers 14. Check, would you have refuced from this quality? 15. The quality characteristics of a product or service are known as the ‘Determinants of Quality’. These are the attributes customers look for to decide if it is a quality product or service. 16. People have found many ways to define what is quality. All of them are right: - A degree of excellence - Conformance to requirements - Totality of characteristics which act to satisfy a need - Fitness for use - Fitness for purpose - Freedom from defects - Delighting customers service 17. Is there enough quality to be called 'Quality service’? 18. Reliability comes from achieving quality standards. This means the level of quality produces its equivalent reliability.

Sasha Pirazhenka (RU)

Route along 18 Qualities

Ro Al

1 Ro

12. Yet quality is delivered when you achieve t 13. Quality is observable by number of rejects 12. Yet quality is delivered when you achieve the minimum requirement of a specified performance standard. 14. Check, would you have refuced from this q 13. Quality is observable by number of rejects from customers 15. The quality characteristics of a product or s 14. Check, would you have refuced from this quality? These are the attributes customers look for to d 15. The quality characteristics of a product or service are known as the ‘Determinants of Quality’. 16. People have found many ways to define w These are the attributes customers look for to decide if it is a quality product or service. - A degree of excellence 16. People have found many ways to define what is quality. All of them are right: - Conformance to requirements - A degree of excellence - Totality of characteristics which act to satisfy a - Conformance to requirements - Fitness for use - Totality of characteristics which act to satisfy a need - Fitness for purpose - Fitness for use - Freedom from defects - Fitness for purpose - Delighting customers - Freedom from defects 17. Is there enough quality to be called 'Qualit - Delighting customers 18. Reliability comes from achieving quality sta service 17. Is there enough quality to be called 'Quality service’? produces its equivalent reliability. 18. Reliability comes from achieving quality standards. This means the level of quality produces its equivalent reliability.

Qu Al

as "meeting the requirements

stomer at the start of its life.

facture standards achieved. ustomer contact impressions.

Aliaks

1. Can you still read the “Quality”? 2. Customers judge quality through their perceptions. 3. There was still no soap. 4. How high is your perception? 5. In an information technology product or service, quality is sometimes defined as "meeting the requirements of the customer." as "meeting the requirements 6. Have you already felt the quality? 7. Quality is the degree to which a commodity meets the requirements of the customer at the start of its life. 8.life. Still meets the requirements of the customer at the beginning of its life? stomer at the start of its 9. Quality is an experience of the customer. 10. Do any of you more experienced? 11. Product quality perception comes from your design specifications and manufacture standards achieved. 12. Service quality perception comes from your service process design and the customer contact impressions. facture standards achieved. ustomer contact impressions.

KABK

Aliaks

ce standard.

124 125

. 12. Yet quality is delivered when you achieve the minimum requirement of a specified performance standard. 13. Quality is observable by number of rejects from customers 14. Check, would you have refuced from this quality? 15. The quality characteristics of a product or service are known as the ‘Determinants of Quality’. These are the attributes customers look for to decide if it is a quality product or service. 16. People have found many ways to define what is quality. All of them are right: - A degree of excellence - Conformance to requirements - Totality of characteristics which act to satisfy a need - Fitness for use - Fitness for purpose - Freedom from defects - Delighting customers 17. Is there enough quality to be called 'Quality service’? service 18. Reliability comes from achieving quality standards. This means the level of quality produces its equivalent reliability.

lity is sometimes defined as "meeting the requirements

e requirements of the customer at the start of its life. eginning of its life?

specifications and manufacture standards achieved. process design and the customer contact impressions.

Route Along

Qualities

12. Yet quality is delivered when you achieve the minimum requirement of a specified performance standard. 13. Quality is observable by number of rejects from customers 14. Check, would you have refuced from this quality? 15. The quality characteristics of a product or service are known as the ‘Determinants of Quality’. These are the attributes customers look for to decide if it is a quality product or service. 16. People have found many ways to define what is quality. All of them are right: - A degree of excellence - Conformance to requirements - Totality of characteristics which act to satisfy a need - Fitness for use - Fitness for purpose - Freedom from defects - Delighting customers 17. Is there enough quality to be called 'Quality service’? service 18. Reliability comes from achieving quality standards. This means the level of quality produces its equivalent reliability.

Aliaksandra Pirazhenka

18 Aliaksandra Pirazhenka

Route Along

Qualities

ons.

e, quality is sometimes defined as "meeting the requirements

eets the requirements of the customer at the start of its life. the beginning of its life?

esign specifications and manufacture standards achieved. ervice process design and the customer contact impressions.

Aliaksandra Pirazhenka

Erik van Schaften

comfort

tension

collect

Route along 18Â°

rotation

cadmium red

ultimaker

leather

edg

laserjet pro

tea

welding

126 127

edge

teak

conveyance

lasercutter

index

inkjet

circulation

exams

friction

cutter

ium red

ker

eyance

Erik van Schaften

Route along 18Â°

01 IA.FD department. 0,0. comfort 02 metal workshop. 0,0. rotation 03 fashion department. 0,4. leather 04 hallway. 0,5. edge 05 fashion department. 0,5. lasercutter 06 library. 0,8. index 07 gallery. 0,9. tension 08 fine art department. 2,0. cadmium red 09 print workshop. 2,4. laserjet pro

10 wood workshop. 2,5. teak 11 print workshop. 3,0. inkjet 12 gallery. 4,0. circulation 13 libarary. 4,5. collect 14 IA.FD department. 5,4. ultimaker 15 metal workshop. 5,7. welding 16 fine art department. 5,8. conveyance 17 hallway. 5,8. exams 18 wood workshop. 5,8. friction -

128 129

Tijs Struijk KELDER KELDER

Route along 18 Attempts

BEGANE GROND BEGANE GROND

AGRUIMTE OPSLAGRUIMTE WERKSTUKKEN WERKSTUKKEN

EERSTE ETAGE EERSTE ETAGE

THEORIELOKAAL THEORIELOKAAL

LOKAAL

PRAKTIJKLOKAAL PRAKTIJKLOKAAL 2D TECHNIEKEN 2D TECHNIEKEN

LOKAAL

DOCENTENKAMER DOCENTENKAMER

LOKAAL INTERACTIVE/MEDIA/DESIGN LOKAAL INTERACTIVE/MEDIA/DESIGN

KELDER

OPSLAGRUIMTE WERKSTUKKEN

BEGANE GROND

THEORIELOKAAL

EERSTE ETAGE LOKAAL INTERACTIVE/MEDIA/DESIGN LOKAAL INTERACTIVE/MEDIA/DESIGN

LOKAAL KLOK BESTURING KLOK BESTURING

130 131

EERSTE ETAGE

LOKAAL

DIGITALE DOKA

TWEEDE ETAGE

BESPREEKRUIMTE

WERKPLEKKEN BEELDENDE KUNSTCOLLEGEZAAL VT LOKAAL WERKPLEKKEN BEELDENDE KUNST VT

PRAKTIJKLOKAAL 2D TECHNIEKEN DOCENTENKAMER

KAAL INTERACTIVE/MEDIA/DESIGN

KLOK BESTURING

PRAKTIJKLOKAAL 2D TECHNIEKEN

COLLEGEZAAL

???

OPSLAG

WERKRUIMTE INTERFACULTEIT ARTSCIENCE WERKRUIMTE INTERFACULTEIT ARTSCIENCE

WERKPLEKKEN GRAFISCH ONTWERPWERKPLEKKEN GRAFISCH ONTWERP

Tijs Struijk

Na binnenkomst van de school ga je 8 stappen rechtdoor dan sla je links af en loop je vervolgens 15 stappen, sla links af, loop 19 stappen en ga dan de 4 treden op loop 9 stappen schuin naar rechts en ga de trap af naar de kelder sla beneden direct links af en loop 29 stappen richting de opslag plekken, aan je linkerhand bevind zich nu PA.K02, Draai je om en loop weer terug tot de trap. ga de trap op en loop 4 stappen rechtdoor, ga hier links, loop ROUTE ALONG 18 ATTEMPTS 69 stappen tot je bij de trap komt ga hier de 14 treden af en ga 36 stappen rechtdoor, ga rechts en direct links bevind zich BA.013. Draai je om en loop 20 stappen naar rechts, aan je linkerhand bevind zich nu BA.020. Loop nu 6 stappen rechtdoor en ga dan 10 stappen naar rechts, loop hier de trap op, ga hier naar links en loop 25 stappen rechtdoor, aan je rechter hand bevind zich nu BB.102. Keer je om en loop die 25 stappen terug, ga hier rechtsaf en loop 15 stappen, nu sta je rechtvoor BB.105. Keer je om en loop weer 15 stappen terug, ga nu links en ga 5 stappen naar rechts, aan je rechter hand is nu lokaal BB.111 aan je linker is BB.112. Loop 7 stappen rechtdoor en ga naar links, zet 10 stappen en ga door de deur naar rechts, loop naar de volgende deur en ga dan links loop 6 stappen BC.102 bevind zich nu aan je linkerhand. Loop 27 stappen rechtdoor en ga de brug over loop dan 68 stappen rechtdoor en ga links af tot het einde van de gang, ga links en gelijk rechts door de deur loop 15 stappen en ga rechts door de blauwe duer, aan je rechterhand is nu PB.105, keer je om en loop 5 stappen terug, aan je linkerhand is nu PB.111. Loop 6 stappen rechtdoor en ga links af tot het eind van de gang en ga gelijk links en direct weer rechts loop 31 stappen rechtdoor, aan je linkerhand bevind zich nu PB.119. Loop 27 stappen, ga 3 treden op en loop 2 stappen, je staat nu recht voor PB.125. Keer je om ga de 3 treden af en ga naar links, tot het einde, loop de brug over, ga rechtdoor tot het einde van de gang, ga dan rechts, zet 10 stappen en ga dan door de deur, loop 7 stappen en ga dan links af de trap op, ga boven naar rechts en gelijk naar links, zet 10 stappen en ga naar links loop om de lift schacht en loop 9 stappen rechtdoor, rechts is nu BB.212. Keer je om en zet 9 stappen, ga naar rechts, zet 25 stappen, je staat nu rechtsvoor BB.125. Ga naar rechts en ga de trap af, ga dan naar links en zet 15 stappen, ga dan naar rechts en loop 20 stappen, ga rechtsaf de 4 treden af en ga dan aan je linkerhand de trap op aan je linkerhand bevinden zich nu BB.227, BB.229 en BB.231. Ga terug de trap af en de 4 treden op, ga nu links en direct rechts, zet 10 stappen en ga door de deur kruis de kamer en loop de gang uit tot de brug, ga de brug over, loop de gang uit, ga naar links en loop heel de gang uit ga naar links de trap op, ga 6 stappen naar rechts en dan links door de deur, loop nu 14 stappen rechtdoor, aan je rechterhand bevind zich nu PB.301. Keer je om en loop die zelfde 14 stappen terug, ga naar links en zet 3 stappen loop dan de gang uit ga rechtsaf en loop de 4 aluminium treden op en loop de gang uit, ga rechts en zet 18 stappen, aan je rechterhand bevind zich PD.210.

Route along 18 Attempts

KELDER BEGANE GROND EERSTE ETAGE TWEEDE ETAGE

132 133

KELDER

EERSTE ETAGE EERSTE ETAGE

BEGANE GROND BEGANE GROND

TWEEDE ETAGE TWEEDE ETAGE

Luca Tibussek (DE)

Route along 18 Journeys

LUCA IBUSSEK TIBUSSEK UCA BUSSEK TIBUSSEK

HOMELESS HOMELESS HOMELESS HOMELESS HOMELESS HOMELESS

KISS KISS

KISS KISS KISS KISS

MIRACLE MIRACLE MIRACLE MIRACLE MIRACLE MIRACLE

LOST LOST LOSTLOST LOST LOST

DIVING DIVINGDIVING DIVING DIVING DIVING

SOULMATES SOULMATES SOULMATES SOULMATES SOULMATES SOULMATES

RIPPEDOFF OFF RIPPED RIPPED OFF OFF OFF RIPPED RIPPED RIPPED OFF

CLOSING CLOSING CLOSING CLOSING CLOSING CLOSING

WASTING WASTING WASTING WASTING WASTING WASTING

REARRANGE REAR REARRANGE REAR

INCOHERANCE INCOHERANCE INCOHE IN INCOHE IN

OVERCOME OVERCOME OVE OVER

F RIPPED ED RIPPED OFF OFF ED OFF OFF

CLOSING SING CLOSING SING

WASTING STING WASTING STING

134 135

REARRANGE REARRANGE REARRANGE REARRANGE REARRANGE REARRANGE

INCOHERANCE INCOHERANCE INCOHERANCE INCOHERANCE INCOHERANCE INCOHERANCE

OVERCOME OVERCOME OVERCOME OVERCOME OVERCOME OVERCOME

FREE FREE FREE FREE FREE FREE

BORDERS BORDERS BORDERS BORDERS BORDERS BORDERS

SLEEPSLEEP SLEEP SLEEP SLEEPSLEEP

BREAKTHROUGH BREAKTHROUGH BREAKTHROUGH BREAKTHROUGH BREAKTHROUGH BREAKTHROUGH

BEHIND BEHIND BEHIND BEHIND BEHIND BEHIND

DECAYDECAY DECAY DECAY DECAY DECAY

Luca Tibussek (DE)

Route along 18 Journeys

A HOMELESS BOY CAN BE FOUND IN HERE

THE MIRACLE OF FRIENDSHIPS

LOST IN TIME ( you disappear )

MEETING SOULMATES ( kissing lips )

GETTING RIPPED OFF ( more than once )

WASTING PRESCIOUS TIME ( while having good trips )

REARRANGE YOURSELF ( and dance ) FEELING FREE ( remember ) BREAKTHROUGH ( feeling better )

THE MOMENT OF YOUR FIRST KISS

OVERCOME THE DISTANCE

DIVING IN ( that little myth )

DONâ&#x20AC;&#x2122;T SLEEP ( show resistance )

CLOSING DOORS ( third, fourth, fifth )

DECAY ( into the distance )

SWIMMING IN A SEA OF INCOHERANCE BREAKING BORDERS ( fix appearance ) LEAVING STUFF BEHIND ( to achieve total clearance )

DECAY ( into the distance )

DONâ&#x20AC;&#x2122;T SLEEP ( show resistance )

OVERCOME THE DISTANCE

WASTING PRESCIOUS TIME ( while having good trips )

MEETING SOULMATES ( kissing lips )

THE MIRACLE OF FRIENDSHIPS

LEAVING STUFF BEHIND ( to achieve total clearance )

BREAKING BORDERS ( fix appearance )

SWIMMING IN A SEA OF INCOHERANCE

CLOSING DOORS ( third, fourth, fifth )

DIVING IN ( that little myth )

THE MOMENT OF YOUR FIRST KISS

BREAKTHROUGH ( feeling better )

FEELING FREE ( remember )

REARRANGE YOURSELF ( and dance )

GETTING RIPPED OFF ( more than once )

LOST IN TIME ( you disappear )

A HOMELESS BOY CAN BE FOUND IN HERE

136 137

REARRANGE

KISS

BREAKTHROUGH

SOULMATES

FREE

CLOSING

MIRACLE

DIVING

SLEEP

OVERCOME

HOMELESS

RIPPED OFF

LOST

WASTING

DECAY

BEHIND

BORDERS

INCOHERANCE

Stan Weessies A. B. C. D. E. F. G. H. I. J. K. L. M. N. O. P. Q. R.

Hungarian Parliament Building, Budapest Tempelhof Airport, Berlin Reich Aviation Ministry, Berlin Propaganda Ministry, Berlin Zeppelinfeld Stadium, Nuremberg Prora, Rügen The Reich Chancellery, Berlin The Red Army Theatre, Moscow Lomonosov State University, Moscow The House of Press, Bucharest Academy of Sciences, Latvia Trellick Tower, London Tashkent’s Hotel, Uzbekistan City Court Building, Buffalo Hubert H. Humphrey Building, Washington The Pyramid of Tirana, Albania The People’s Palace, Bucharest Ryugyong Hotel, North Korea

Route along 18 Sides of Melancholia

138 139

A. A. A. A. A. A.

Hungarian Hungarian Hungarian Hungarian Hungarian Hungarian

Parliament Parliament Parliament Parliament Parliament Parliament

B. B. B. B. B. B.

Tempelhof Tempelhof Tempelhof Tempelhof Tempelhof Tempelhof

D. D. D. D. D. D.

Propaganda Propaganda Propaganda Propaganda Propaganda Propaganda

E. E. E. E. E. E.

Zeppelinfeld Zeppelinfeld Zeppelinfeld Zeppelinfeld Zeppelinfeld Zeppelinfeld

Stadium, Stadium, Stadium, Stadium, Stadium, Stadium,

G. G. G. G. G. G.

The The The The The The

Reich Reich Reich Reich Reich Reich

Chancellery, Chancellery, Chancellery, Chancellery, Chancellery, Chancellery,

Berlin Berlin Berlin Berlin Berlin Berlin

H. H. H. H. H. H.

The The The The The The

Theatre, Theatre, Theatre, Theatre, Theatre, Theatre,

J. J. J. J. J. J.

The The The The The The

House House House House House House

of of of of of of

Bucharest Bucharest Bucharest Bucharest Bucharest Bucharest

K. K. K. K. K. K.

Academy Academy Academy Academy Academy Academy

M. M. M. M. M. M.

Tashkent´s Tashkent´s Tashkent´s Tashkent´s Tashkent´s Tashkent´s

N. N. N. N. N. N.

City City City City City City

P. P. P. P. P. P.

The The The The The The

Q. Q. Q. Q. Q. Q.

The The The The The The

Ministry, Ministry, Ministry, Ministry, Ministry, Ministry,

Building, Building, Building, Building, Building, Building,

Press, Press, Press, Press, Press, Press,

Pyramid Pyramid Pyramid Pyramid Pyramid Pyramid

Hotel, Hotel, Hotel, Hotel, Hotel, Hotel,

of of of of of of

Berlin Berlin Berlin Berlin Berlin Berlin

Uzbekistan Uzbekistan Uzbekistan Uzbekistan Uzbekistan Uzbekistan

Tirana, Tirana, Tirana, Tirana, Tirana, Tirana,

Albania Albania Albania Albania Albania Albania

Budapest Budapest Budapest Budapest Budapest Budapest

Red Red Red Red Red Red

Airport, Airport, Airport, Airport, Airport, Airport,

Army Army Army Army Army Army

Berlin Berlin Berlin Berlin Berlin Berlin

C. C. C. C. C. C.

Reich Reich Reich Reich Reich Reich

Aviation Aviation Aviation Aviation Aviation Aviation

Nuremberg Nuremberg Nuremberg Nuremberg Nuremberg Nuremberg

F. F. F. F. F. F.

Prora, Prora, Prora, Prora, Prora, Prora,

Moscow Moscow Moscow Moscow Moscow Moscow

I. I. I. I. I. I.

Lomonosov Lomonosov Lomonosov Lomonosov Lomonosov Lomonosov

Sciences, Sciences, Sciences, Sciences, Sciences, Sciences,

Latvia Latvia Latvia Latvia Latvia Latvia

L. L. L. L. L. L.

Trellick Trellick Trellick Trellick Trellick Trellick

Court Court Court Court Court Court

Building, Building, Building, Building, Building, Building,

Buffalo Buffalo Buffalo Buffalo Buffalo Buffalo

O. O. O. O. O. O.

Hubert Hubert Hubert Hubert Hubert Hubert

Bucharest Bucharest Bucharest Bucharest Bucharest Bucharest

R. R. R. R. R. R.

Ryugyong Ryugyong Ryugyong Ryugyong Ryugyong Ryugyong

Palace, Palace, Palace, Palace, Palace, Palace,

Berlin Berlin Berlin Berlin Berlin Berlin

Rügen Rügen Rügen Rügen Rügen Rügen

of of of of of of

People´s People´s People´s People´s People´s People´s

Ministry, Ministry, Ministry, Ministry, Ministry, Ministry,

H. H. H. H. H. H.

State State State State State State

Tower, Tower, Tower, Tower, Tower, Tower,

University, University, University, University, University, University,

London London London London London London

Humphrey Humphrey Humphrey Humphrey Humphrey Humphrey

Hotel, Hotel, Hotel, Hotel, Hotel, Hotel,

Moscow Moscow Moscow Moscow Moscow Moscow

Building, Building, Building, Building, Building, Building,

North North North North North North

Korea Korea Korea Korea Korea Korea

Washington Washington Washington Washington Washington Washington

Stan Weessies

Route along 18 Sides of Melancholia

1939

B 1927

1949

J 1953

1904

1940

1961

1972

1974

140 141

Walk through history Experience the melancholia by walking from old to new and from Stalinism to Brutalism.

B 1927

1933 C

F 1936 2013

1997

1933

A 1904

E 1935

1988

1974

1977

Steven van Wijk

Trump 1.88

Trump 1.88 Obama 1.85

Mohammed 1.80

Mohammed 1.80 Reynolds 1.80

Roosevelt 1.78

Roosevelt Hitler 1.75 1.78

Route along 18 Egos

Obama 1.85

Lagarde 1.83

Reynolds 1.80

Mao 1.80

Hitler 1.75

The Great 1.70

Follow the egoâ&#x20AC;&#x2122;s with the pictures order and Be confronted with their position in our mortuarium. The EGOâ&#x20AC;&#x2122;s: Trump Cleopatra Mohammed Lagarde The Great Stalin Reynolds Rockefeller Bush Mao Mussolini Freeman Obama Roosevelt Kennedy Churchill Hitler Rotschield

142 143

Steven van Wijk

Route along 18 Egos

144 145

Kennedy 1.83

Cleopatra 1.82

Bush Cleopatra 1.82 1.82

Bush 1.82

Rothschild 1.80

Freeman 1.80

Rockefeller Freeman 1.80 1.80

Rockefeller 1.80

Mussolini 1.69

Churchill 1.67

Stalin Churchill 1.63 1.67

Stalin 1.63

Colophon GROUP 1A & 1B IN 27 ROUTES Interior Architecture and Furniture Design KABK 2016 Lecture: Photography Lecture: Graphic Design Term: Year 1, semester 2, part 4 LECTURERS Michaël Snitker (Graphic Design) www.snitker.nl Sanne Peper (Photography) www.sannepeper.nl STUDENTS 1A Mila Baumann Iris Bossen Sarah Bovelett (DE) Isa van Gemeren Rowan de Graaf Vera Loefs Merel Pals Maja Pop Trajkova Naomi Rossignol (FR) Thy Tran Minh (VN) Xénia Weulersse (FR) 1B Clementine Boucher (FR) Gina van Dooren Maple He (CN) Agathe de Klerk (FR) Aaron Kopp (AT) Kalina Lambreva (BG) Mindy Li (CN) Agathe Lunel (FR) Marieke Neijmeijer Cristina Palicari (RO) Sasha Pirazhenka (RU) Erik van Schaften Tijs Struijk Luca Tibussek (DE) Stan Weessies Steven van Wijk http://www.lulu.com/spotlight/vedute http://issuu.com/michaelsnitker April–June 2016

Eat more fruit and vegetables!

Route along 18 Heating Tubes Route along 18 Holes Route along 18 Treads Route along 18 Fixations Route along 18 Ideals Route along 18 Pipes Route along 18 Private Manners Route along 18 Pairs of screw directions Route along 18 Dancing Threads Route along 18 Inbetweens Route along 18 Lockers Route along 18 Elusive Links Route along 18 Lonely Armrests Route along 18 Entrances Route along 18 Mindfull Cracks Route along 18 Sinkholes [Waiting Rooms] Route along 18 Auras Route along 18 Paintings Route along 18 Landscapes Route along 18 Windows Route along 18 unnoticed stories of people you see as uninteresting and to whom you, as well, are uninteresting, thus they will never notice your story.

Route along 18 Qualities Route along 18Â° Route along 18 Attempts Route along 18 Journeys Route along 18 Sides of Melancholia Route along 18 Egos