In May 2018 I traveled to East Hampton, New York for a 10-day residency at the Bioscleave House (Life Span Extending Villa) as designed by  Japanese artist Arakawa, American philosopher Madeleine Gins  and the Architectural Body Research Foundation. As bioscleave- pioneer  I am the first person on earth who lived and worked there for 10 continous days.

In November 2018 I presented my embodied cognition developed at Scaffolds, open encounters with Society, Art and Architcture international symposium in Brussels. ‘Beyond Bioscleave. From architectural procedurals to reversed destiny. Movement forms for alternative social-environmental mattering’ is not only a ellaborate description of my experiences, but also a proposal on how to act beyond.

Abstract: Bioscleave house is an experimental environment, a so called procedural tool. A functional tool, whether it be a hammer, a telephone, or a telescope, extends the senses, but procedural architecture examines and reorders the sensorium.  By means of (sometimes literary) unbalancing design procedurals Bioscleave house breaks with daily habit(at)s and proposes a reversed destiny. As Bioscleave-pioneer [2]  listening to, breathing with and moving with the Bioscleave house awakens my percipience of the reciprocal relation between body and environment. Constituted in an active cleaving, a cutting apart from while adhering to,  I become aware of moving sensations before a sense of movement appears.  Similar to the kinesthetic epoché [2] improvisation dancers experience while practicing, this double operation [3] offers me a practical tool to reside within an energetic blank [4]. By means of a purposeful hesitation a kinesthetic gap in the relationship between movement and (self-)perception emerges as imagined  spatiotemporal experience itself.  I can feel space-time stuttering, thickening, and becoming architecture. Through an intensive play with scale, texture and colors the ‘movement forms’ like zig-zagging, rotating, reversing, flattening and superimposing, teach me (what it) means to activate social-environmental meaning. I become aware of ‘the architectural body’ [5].


[1] The Architectural Body Research Foundation (ABRF), as owner and curator of the Bioscleave house,  cannot find records of any other person staying in the Villa for 10 continuous days or longer.  [2] Brandstetter,G. (2013) ‘’listening’’ in Touching and being Touched: Kinestheisa and Empathy in dance and movement. ed. Brandstetter, Egert, Zubarik. De Gruyter, Berlin. P 176 [3] Kawamoto, H. (2003) The Mystery of Nagi’s Ryoanji in Interfaces vol 21.Architecture against death. p87 [4] ‘No meaning without blank’. A+G used the concept Blank to denote what I and others refer to as gap, “that about which we must remain silent,” petites perceptions  “difference,” background, etc. See for example Eugene T. Gendlin. “Arakawa and Gins: The Organism-Person-Environment Process.” Inflexions 6, “Arakawa and Gins” (January 2013). 222-233. [5] The architectural body, a term introduced by A+G to describe, the crucial bodily dimension that gives way to the emergence of (alternative) meaning and values through social-environmental interaction.
Earlier published Image by Léopold Lambert