The overall is a loose-fitting single piece of clothing made from dark blue fabric. The back features a printed text in big white letters which reads “working on transformation”. Initially it only existed in the sizes M and L, which caused some students to create a size “S”. The overalls are to be worn over your own clothes, covering them completely.

Description

The primary purpose of these specific overalls is to perform or present an idea and engage with an environment through play and experimentation. The reference to work gear and the explicit motto “working on transformation”, allows one to temporarily leave one’s own personal identity and professional position behind and to slip into a role and become active.

There are different possible purposes for the overall. When used in collective sessions, it can indicate the group facilitators or mediators, clarifying their role to the rest of the group. When used in real life situations, for example in public space, the overall can help to clarify that one is in a designed or scripted situation, offering a sense of safety. When people address you, you can point at the overall and use it to clarify that you are performing an experiment or test, also indicating that you could take it off if people want you to temporarily stop the experiment to provide them with explanation and context. This shifting in and out of your role will give you more leeway to navigate and mitigate possible tensions.

In combination with other tools and props, overalls can help actors in an urban transformation process to perform various roles and portray a story as well as communicate information about the spatial, political and other aspects of a given context or environment. For example, when used in public space the overall starts to communicate the idea that a simple movement or gesture – like moving a potted plant or cleaning a wall – is part of a larger effort to transform that environment. People wearing the overall are both representing and enacting a certain change.

However, the overall – or the idea of the uniform – can also become a source of tension. For some people it might seem that you are “depersonalizing” yourself or that you are appropriating work wear. In such a situation one could refer to the notion of “working on transformation” and to the idea of performing an experiment and to shifting roles. Alternatively, one can also pose the question why someone dislikes the overall. The answer can provide valuable insights in the perception of people regarding their own position and that of the person wearing the uniform.

How to Use

Credits

The Overall

Body Statistics is a playful exercise where participants position themselves regarding to specific questions or themes and in relation to each other. These exercises relate to the concept of Sociometry by Jakob L. Moreno (1889-1974). Relating to the latin terms of, 

 meaning measure, Moreno defined sociometry as "the inquiry into the evolution and organization of groups and the position of individuals within them."

The only thing one needs for this is enough space, a couple of humans and someone instructing the group. Based on the questions asked, everyone positions along the respective axis in space. For example: “How old are you? Position yourself between 0 and 100.” Or: “What scale do you like to work on? Position yourself between a global scale and a door handle.” Or create a spatial reference point and exercise orientation. “If the center of the space it the building we are in, where did you grow up” Position yourself in the room, geographically relating to the celestial points (north-south-west-east from there) and to each other.” Focus on details in the way you ask questions: “How many semester did you study already?” or “How many semesters did you study architecture already” The questions vary according to the topic the group is engaged in.

Body Statistics help to analyze the individual position(s) and by that support self-awareness of the participants and their potential role within a group. The format supports a light way of exchange and helps to create an informal atmosphere, leading towards a collective and expanded understanding of the group composition. It may happen that every individual stands out from the group once, even if for completely different reasons. The Individual thus remains visible in the group and their differences become the complementary strength of the collective.

Purpose

We use Body Statistics a lot to lay the foundations for collaboration by getting to know each other better. Similarly, it can serve as an “active break” by moving through space collectively. It can help to form groups or to approach someone regarding a specific topic at the very beginning of a course. By repeatedly positioning oneself in physical proximity to others one mostly ends up next to someone new, growing social bonds beyond purely “professional” relations. The movement activates both body and brain and the simplicity of the task helps to overcome potential initial uncertainties. Body Statistics can  increase the  awareness regarding the size of the space and location one is in and general orientation competences in space.  

Context

[Studio Piraeus Team] Michiel van Iersel, Lukas Fink, Freek Persyn, Charlotte Schaeben

[LUS Lecture] Perspectives on Lanscape and Urban Transformation, Michiel van Iersel, Lukas Fink, Freek Persyn, Charlotte Schaeben

[Place] Design in Dialogue Lab & Fokushalle, ONA

Urban Practice

Tool

Changing a Culture

Collective Learning

Body Statistics

Collectivity

Play

Positioning

School

“Filming architecture” is a podcast featuring Karine Dana in which she presents her approach towards filming space and its transformation. It was recorded during the presentation she gave as a guest of 

An architect by training, Karine Dana works as a journalist and videographer. Because of this dual skill and her architectural perspective, she collaborates regularly with international offices such as 

 in the context of competitions, research projects, and exhibitions.

In this podcast, Dana highlights the importance of three key concepts: presence, the present and fragments. Her talk brings into perspective editing as the space of (a new) making. Her essay is a letter to students and all devotees of the camera, and makes a plea for the inseparability of the emotional, technical and intellectual.

In 2017, Karine Dana launched the video channel subARCHITECTURE 

. Its objective is to make sensible, to document and to communicate the process of transformation of the territory through video. The challenge and the difficulty for our world today seems to be to build a project "between" spaces, people, programs, natures and cities. 

In this search for new experiments, the video tool occupies an important, or even crucial, position: it is a powerful sensor of reality in all its capacity to transform. The act of filming, then, becomes a possibility of going towards what one does not yet see.

In the context of the Newrope chair Dana is currently developing the project 

‘#Capter l’hypersensibilité de l’espace’

, together with Falma Fshazi.

"Filming architecture" is the first in a series of podcasts dealing with soft transformation.

Filming architecture – a podcast

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