Talks by Heidi Saarinen
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Talk - overview: Choreographing space - interventions in the urban realm
Work in progress: Spatia... more Talk - overview: Choreographing space - interventions in the urban realm
Work in progress: Spatial choreographies / Heidi Saarinen
Talk to postgraduate students on practice, methodologies, ideas and concepts University of Herts 2013
This talk focussed on my research and work in progress in 2013 – unusual urban space, hidden, neglected spaces and the body – dance, movement, occupying, or ‘borrowing’ derelict space for brief performances. “By staging ad-hoc performances and movement works, the space became a place of narrative and memory. The place connected with the body and the guest or ‘intruder’ [the performer]..” H Saarinen (2013)
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Performances by Heidi Saarinen
‘Underground’ group exhibition at Summerhall Gallery, Edinburgh (2016) Performance/video installa... more ‘Underground’ group exhibition at Summerhall Gallery, Edinburgh (2016) Performance/video installations in collaboration with Su Grierson and Diane Maclean
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Papers by Heidi Saarinen
Performative Space and the Construction of Place
Heidi Saarinen
For the purpose of this researc... more Performative Space and the Construction of Place
Heidi Saarinen
For the purpose of this research project, I have undertaken a series of practice-based approaches to examine how concepts of place may be created using film and performance. Through filmed excerpts of dance and movement work, and through the interaction with space, sites and landscapes, I have set out to determine differences, meaning and responses to place. As part of the process I have used the body as research tool, movement as interaction and film to record, document and analyze the process.
Artists and practitioners in the 1970s New York dance and performance scene, such as dancers Yvonne Rainer, Tricia Brown and artist Gordon Matta-Clark have particularly inspired me. Ideas by these practitioners, based on fundamental interests derived from simple everyday routines and movements, developed into collaborations influenced by the socio-economic situation in the city at the time, becoming an important phase in performance. I have examined and linked some of the initial research to other artists, dancers and choreographers, such as Pina Bausch and then to my own practice as a spatial dance artist, with emphasis on dance and the use of space on a phenomenological level. Furthermore, I have explored place from the angle of a range of writers and philosophers such as Martin Heidegger, often connected to architecture and place. I have also researched Juhani Pallasmaa’s interest in sensory space, as well as Jane Jacobs’s explorations of the notion of place in the city. Thus, this thesis will investigate and analyse space and how, through interaction with space, through physical being or phenomenological approaches, space may transform into place. The thesis contends that it is interesting to see that phenomenology is a well-established discipline and has impacted on architecture. It is also interesting to discover that architects are aware of notions of sensory spatial engagement. My role is to rethink this from a dance and performance platform.
keywords:
space, place, architecture, dance, choreography, performance, body, derelict, landscape, urban, experimental, solo, everyday, spatial_choreographies, architectural_heritage, community, Judson_Dance_Theatre, New York, Tricia_Brown, Yvonne_Rainer, sister_suitcase
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Books by Heidi Saarinen
From industrial estates to breathtaking rural locations, what started its journey as a mode for ... more From industrial estates to breathtaking rural locations, what started its journey as a mode for transporting goods, can today be a home, a hostel, a studio or a public space. Due to the obvious modular form and flexibility of the shipping container, it inevitably steers the design development somewhat. Once the traditional shipping container has been collected, transported, shipped, stripped and delivered – the range of architectural design options is endless. Existing and additional pre-fabrication of components makes the construction process faster, more efficient and perhaps also predictable to a certain degree. The key is in the creative process; the imagination, the conceptual strength of the design and the route the architects take to transform this hard surfaced steel beast into an ergonomic, human scale space. Challenges in the reuse and remodeling of these existing structures, can be difficult and diverse, the treatment of the steel, for example, can be a costly, difficult, time consuming job, although the positives outweigh some of this. For example, the shipping container is generally tough, secure and weather proof. It is modular, transportable, easily disguised and connected to existing structures.
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University faculty buildings and educational institutions are so much more than simply teaching a... more University faculty buildings and educational institutions are so much more than simply teaching and learning spaces. They have become life institutes, idea banks, research leaders, businesses, corporations and even mini cities in some cases. The time students spend on campus sites is meticulously planned for best use of space and learning experiences. Facilities for students and staff are carefully coordinated, timetabled and spaces allocated for a wide range of teaching methodologies, support, tools, technology and equipment. Adequate and flexible space, lighting, environmental conditions and student wellbeing must also be considered – depending on the region and site-specific weather conditions. Innovation and top facilities will help in securing the best students and teachers, guarantee learning experiences and setting standards. There is competition for student places, both nationally and internationally and fierce quest for the best continue to shape the way we design our learning spaces. But how does the latest learning technologies and building design affect the way these contemporary ‘learning machines’ function as institutions and places for learning and student life? A diverse range of people access university today and the education system have dramatically changed over the past decades. The student experience is top of the agenda with well-designed accommodation, social and recreational environments also expected and the benchmark is set high.
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Today’s positive office interior strives for individualism, openness and spatial inclusivity. Wor... more Today’s positive office interior strives for individualism, openness and spatial inclusivity. Workplace environments have changed along with the evolution of business and industry – demand and supply. Today we see open plan, company and product specific, cleverly designed and communicated office and workspaces. Arriving at an innovative, fun, bright, smart and well-organised office as an employee, director, client, supplier, cleaner, caterer or courier should be a welcoming, exciting and memorable experience.
Design can make or break the workplace environment, reputation and productivity. Wellbeing and consequent effort of the people occupying the office space goes naturally hand in hand. Including practical scenarios on a holistic level will lead to an enjoyable, interesting and productive space. Juxtapositions between informal and formal office environments, adventurous spatial topography and spaces within spaces; hubs, pods, pockets, boxes and even sleeping or power napping areas are becoming more and more common..
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Museums attract visitors for a number of reasons. They may be destinations for outings, tourist a... more Museums attract visitors for a number of reasons. They may be destinations for outings, tourist attractions or for specific themes, exhibitions or events.
As cultural and social magnets, museums have an important impact on the local community, culture and economy. Historical, visual art, multimedia, object based art, folklore of fragile maps or textiles narrate that in-between, ephemeral moment that is the journey through the museum.
Museums are designed to house a vast array of content. The conditions within which works of art are to be kept are carefully composed. Depending on the stance of the museum; contemporary, historical, educational.. there will be constraints and rules about the layout, lighting and in-between all this, most importantly, the visitor experience. The journey through the space starting from the approach, all the way through the paths, levels, curated exhibits and plinths of artworks through to the exit and beyond. What stays in the memory of the visitor? It is this notion; the journey, I am considering in this article.
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Urban spaces and squares have become the connectors of people, services and other everyday essent... more Urban spaces and squares have become the connectors of people, services and other everyday essentials. Much is invested into surrounding location, design and amenities. Emphasis is placed on the experience and the different ways that these urban connectors have become social and cultural components in the public realm. Shopping malls and squares get updated, redesigned or rebuilt all together and new contenders spring up competing with the latest needs and services. With location important for access and adding to the existing landscape, new infrastructure will enable the continued connections not just to the squares and malls, but also between the existing city heritage through the new intersections.
Cities need public spaces and services that fulfill the demanding requirements of its residents and visitors. Essential is also the in-between activity that takes place in the city, the mall and the square. The walk between the school and the river, the journey to meet friends and the place to sit and wait in the mall whilst admiring the landscape beyond are all key factors. With less time and more demanding lifestyles, the architecture and design of new urban projects incorporate exciting and innovative details, providing us with stimulating retail and social experiences.
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Architecture in the community acts as a bridge between the local population and their everyday ac... more Architecture in the community acts as a bridge between the local population and their everyday activities, routes through the community, creative and learning spaces, cultural and social activities. Buildings for the community will have many roles to play, as functional and appealing architectural designs; fitting into the site and surroundings, inevitably becoming landmarks and social connectors. They may help transform the way people interact and use shared space, building better communities, offering support for local people, addressing news and events, heritage and history; a familiar place for all; a beacon, the community gateway.
How much say do the community have in the shaping of space? How does a new, shared space influence the group, the community as one? How does an injection of new space, construction, complex urban planning, activity and event affect the individual community lives, intimately, comfortably and educationally? How do we create good, sustainable and welcoming community gateways?
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Art Gallery and Museum buildings have a significant role to play within the immediate site and lo... more Art Gallery and Museum buildings have a significant role to play within the immediate site and location. As an addition to a community, the cultural building not only offer exciting new architectural design and creative, social and economic input to the existing community, attracting visitors from near and far, but also forms a close relationship to the individual visitor. Every glimpse, touch and movement through a space records and connects on a sensory level.
The buildings and spaces we move through, affect the way we see things, the way we feel and sense the world around us, directly or indirectly. Visiting buildings where art is on show, where we go to enjoy and experience art exhibitions or performances, immediately allow for sensory experiences, connecting us to the space at that very moment; creating a special place.
As visitors, we become part of the building components, through our very presence, as we interact and move through, responding to the site, programme, theme, materiality and sensory qualities of the building.
In this article, the featured Art Gallery and Theatre buildings will be studied and considered from the point of view of the body; the visitor, inhabitant or passer-by. Ideas of the experiential side of being in, interacting with and addressing buildings from within and from a distance will be the main focus.
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Conference Presentations by Heidi Saarinen
ABSTRACT
In this paper I will examine the intersection between body, space, place and the everyd... more ABSTRACT
In this paper I will examine the intersection between body, space, place and the everyday. Whilst investigating the body in spaces that may otherwise be taken for granted; not seen or simply forgotten or neglected, I aim to transform this view through a series of ‘serious and playful events’ in the everyday. I have undertaken a practice-based approach to examine how concepts of place and new perceptions may be created whilst interacting in everyday environments through a range performances and interactions. Filmed excerpts and the interaction with mundane everyday space, sites and urban landscapes, have become key in determining differences, meaning and responses to the common and everyday space and objects. As part of the process I have used the body as research tool and object, movement as interaction and experimental methodologies to perform, document and analyze the process. This paper will investigate and analyse space and how physical being or everyday space, body and objects may become morphed into a new narrative.
Keywords: Body, space, place, everyday, neglected space, architecture, performance.
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Talks by Heidi Saarinen
Work in progress: Spatial choreographies / Heidi Saarinen
Talk to postgraduate students on practice, methodologies, ideas and concepts University of Herts 2013
This talk focussed on my research and work in progress in 2013 – unusual urban space, hidden, neglected spaces and the body – dance, movement, occupying, or ‘borrowing’ derelict space for brief performances. “By staging ad-hoc performances and movement works, the space became a place of narrative and memory. The place connected with the body and the guest or ‘intruder’ [the performer]..” H Saarinen (2013)
Performances by Heidi Saarinen
Papers by Heidi Saarinen
Heidi Saarinen
For the purpose of this research project, I have undertaken a series of practice-based approaches to examine how concepts of place may be created using film and performance. Through filmed excerpts of dance and movement work, and through the interaction with space, sites and landscapes, I have set out to determine differences, meaning and responses to place. As part of the process I have used the body as research tool, movement as interaction and film to record, document and analyze the process.
Artists and practitioners in the 1970s New York dance and performance scene, such as dancers Yvonne Rainer, Tricia Brown and artist Gordon Matta-Clark have particularly inspired me. Ideas by these practitioners, based on fundamental interests derived from simple everyday routines and movements, developed into collaborations influenced by the socio-economic situation in the city at the time, becoming an important phase in performance. I have examined and linked some of the initial research to other artists, dancers and choreographers, such as Pina Bausch and then to my own practice as a spatial dance artist, with emphasis on dance and the use of space on a phenomenological level. Furthermore, I have explored place from the angle of a range of writers and philosophers such as Martin Heidegger, often connected to architecture and place. I have also researched Juhani Pallasmaa’s interest in sensory space, as well as Jane Jacobs’s explorations of the notion of place in the city. Thus, this thesis will investigate and analyse space and how, through interaction with space, through physical being or phenomenological approaches, space may transform into place. The thesis contends that it is interesting to see that phenomenology is a well-established discipline and has impacted on architecture. It is also interesting to discover that architects are aware of notions of sensory spatial engagement. My role is to rethink this from a dance and performance platform.
keywords:
space, place, architecture, dance, choreography, performance, body, derelict, landscape, urban, experimental, solo, everyday, spatial_choreographies, architectural_heritage, community, Judson_Dance_Theatre, New York, Tricia_Brown, Yvonne_Rainer, sister_suitcase
Books by Heidi Saarinen
Design can make or break the workplace environment, reputation and productivity. Wellbeing and consequent effort of the people occupying the office space goes naturally hand in hand. Including practical scenarios on a holistic level will lead to an enjoyable, interesting and productive space. Juxtapositions between informal and formal office environments, adventurous spatial topography and spaces within spaces; hubs, pods, pockets, boxes and even sleeping or power napping areas are becoming more and more common..
As cultural and social magnets, museums have an important impact on the local community, culture and economy. Historical, visual art, multimedia, object based art, folklore of fragile maps or textiles narrate that in-between, ephemeral moment that is the journey through the museum.
Museums are designed to house a vast array of content. The conditions within which works of art are to be kept are carefully composed. Depending on the stance of the museum; contemporary, historical, educational.. there will be constraints and rules about the layout, lighting and in-between all this, most importantly, the visitor experience. The journey through the space starting from the approach, all the way through the paths, levels, curated exhibits and plinths of artworks through to the exit and beyond. What stays in the memory of the visitor? It is this notion; the journey, I am considering in this article.
Cities need public spaces and services that fulfill the demanding requirements of its residents and visitors. Essential is also the in-between activity that takes place in the city, the mall and the square. The walk between the school and the river, the journey to meet friends and the place to sit and wait in the mall whilst admiring the landscape beyond are all key factors. With less time and more demanding lifestyles, the architecture and design of new urban projects incorporate exciting and innovative details, providing us with stimulating retail and social experiences.
How much say do the community have in the shaping of space? How does a new, shared space influence the group, the community as one? How does an injection of new space, construction, complex urban planning, activity and event affect the individual community lives, intimately, comfortably and educationally? How do we create good, sustainable and welcoming community gateways?
The buildings and spaces we move through, affect the way we see things, the way we feel and sense the world around us, directly or indirectly. Visiting buildings where art is on show, where we go to enjoy and experience art exhibitions or performances, immediately allow for sensory experiences, connecting us to the space at that very moment; creating a special place.
As visitors, we become part of the building components, through our very presence, as we interact and move through, responding to the site, programme, theme, materiality and sensory qualities of the building.
In this article, the featured Art Gallery and Theatre buildings will be studied and considered from the point of view of the body; the visitor, inhabitant or passer-by. Ideas of the experiential side of being in, interacting with and addressing buildings from within and from a distance will be the main focus.
Conference Presentations by Heidi Saarinen
In this paper I will examine the intersection between body, space, place and the everyday. Whilst investigating the body in spaces that may otherwise be taken for granted; not seen or simply forgotten or neglected, I aim to transform this view through a series of ‘serious and playful events’ in the everyday. I have undertaken a practice-based approach to examine how concepts of place and new perceptions may be created whilst interacting in everyday environments through a range performances and interactions. Filmed excerpts and the interaction with mundane everyday space, sites and urban landscapes, have become key in determining differences, meaning and responses to the common and everyday space and objects. As part of the process I have used the body as research tool and object, movement as interaction and experimental methodologies to perform, document and analyze the process. This paper will investigate and analyse space and how physical being or everyday space, body and objects may become morphed into a new narrative.
Keywords: Body, space, place, everyday, neglected space, architecture, performance.
Work in progress: Spatial choreographies / Heidi Saarinen
Talk to postgraduate students on practice, methodologies, ideas and concepts University of Herts 2013
This talk focussed on my research and work in progress in 2013 – unusual urban space, hidden, neglected spaces and the body – dance, movement, occupying, or ‘borrowing’ derelict space for brief performances. “By staging ad-hoc performances and movement works, the space became a place of narrative and memory. The place connected with the body and the guest or ‘intruder’ [the performer]..” H Saarinen (2013)
Heidi Saarinen
For the purpose of this research project, I have undertaken a series of practice-based approaches to examine how concepts of place may be created using film and performance. Through filmed excerpts of dance and movement work, and through the interaction with space, sites and landscapes, I have set out to determine differences, meaning and responses to place. As part of the process I have used the body as research tool, movement as interaction and film to record, document and analyze the process.
Artists and practitioners in the 1970s New York dance and performance scene, such as dancers Yvonne Rainer, Tricia Brown and artist Gordon Matta-Clark have particularly inspired me. Ideas by these practitioners, based on fundamental interests derived from simple everyday routines and movements, developed into collaborations influenced by the socio-economic situation in the city at the time, becoming an important phase in performance. I have examined and linked some of the initial research to other artists, dancers and choreographers, such as Pina Bausch and then to my own practice as a spatial dance artist, with emphasis on dance and the use of space on a phenomenological level. Furthermore, I have explored place from the angle of a range of writers and philosophers such as Martin Heidegger, often connected to architecture and place. I have also researched Juhani Pallasmaa’s interest in sensory space, as well as Jane Jacobs’s explorations of the notion of place in the city. Thus, this thesis will investigate and analyse space and how, through interaction with space, through physical being or phenomenological approaches, space may transform into place. The thesis contends that it is interesting to see that phenomenology is a well-established discipline and has impacted on architecture. It is also interesting to discover that architects are aware of notions of sensory spatial engagement. My role is to rethink this from a dance and performance platform.
keywords:
space, place, architecture, dance, choreography, performance, body, derelict, landscape, urban, experimental, solo, everyday, spatial_choreographies, architectural_heritage, community, Judson_Dance_Theatre, New York, Tricia_Brown, Yvonne_Rainer, sister_suitcase
Design can make or break the workplace environment, reputation and productivity. Wellbeing and consequent effort of the people occupying the office space goes naturally hand in hand. Including practical scenarios on a holistic level will lead to an enjoyable, interesting and productive space. Juxtapositions between informal and formal office environments, adventurous spatial topography and spaces within spaces; hubs, pods, pockets, boxes and even sleeping or power napping areas are becoming more and more common..
As cultural and social magnets, museums have an important impact on the local community, culture and economy. Historical, visual art, multimedia, object based art, folklore of fragile maps or textiles narrate that in-between, ephemeral moment that is the journey through the museum.
Museums are designed to house a vast array of content. The conditions within which works of art are to be kept are carefully composed. Depending on the stance of the museum; contemporary, historical, educational.. there will be constraints and rules about the layout, lighting and in-between all this, most importantly, the visitor experience. The journey through the space starting from the approach, all the way through the paths, levels, curated exhibits and plinths of artworks through to the exit and beyond. What stays in the memory of the visitor? It is this notion; the journey, I am considering in this article.
Cities need public spaces and services that fulfill the demanding requirements of its residents and visitors. Essential is also the in-between activity that takes place in the city, the mall and the square. The walk between the school and the river, the journey to meet friends and the place to sit and wait in the mall whilst admiring the landscape beyond are all key factors. With less time and more demanding lifestyles, the architecture and design of new urban projects incorporate exciting and innovative details, providing us with stimulating retail and social experiences.
How much say do the community have in the shaping of space? How does a new, shared space influence the group, the community as one? How does an injection of new space, construction, complex urban planning, activity and event affect the individual community lives, intimately, comfortably and educationally? How do we create good, sustainable and welcoming community gateways?
The buildings and spaces we move through, affect the way we see things, the way we feel and sense the world around us, directly or indirectly. Visiting buildings where art is on show, where we go to enjoy and experience art exhibitions or performances, immediately allow for sensory experiences, connecting us to the space at that very moment; creating a special place.
As visitors, we become part of the building components, through our very presence, as we interact and move through, responding to the site, programme, theme, materiality and sensory qualities of the building.
In this article, the featured Art Gallery and Theatre buildings will be studied and considered from the point of view of the body; the visitor, inhabitant or passer-by. Ideas of the experiential side of being in, interacting with and addressing buildings from within and from a distance will be the main focus.
In this paper I will examine the intersection between body, space, place and the everyday. Whilst investigating the body in spaces that may otherwise be taken for granted; not seen or simply forgotten or neglected, I aim to transform this view through a series of ‘serious and playful events’ in the everyday. I have undertaken a practice-based approach to examine how concepts of place and new perceptions may be created whilst interacting in everyday environments through a range performances and interactions. Filmed excerpts and the interaction with mundane everyday space, sites and urban landscapes, have become key in determining differences, meaning and responses to the common and everyday space and objects. As part of the process I have used the body as research tool and object, movement as interaction and experimental methodologies to perform, document and analyze the process. This paper will investigate and analyse space and how physical being or everyday space, body and objects may become morphed into a new narrative.
Keywords: Body, space, place, everyday, neglected space, architecture, performance.