Annemarie and Lucius Burckhardt (1930­–2012, Switzerland; 1925–2003, Switzerland)
Occupying the Lehrcanapé (“professorial sofa”) at the Gesamthochschule Kassel (now Kassel University) in the Department for the Study of Town Planning/Landscape Planning and practising so-called strollology, the Burckhardts inspired students not only to have a bird’s eye view of the city plan, but also to understand it on a 1:1 scale. What does it mean to walk within the cityscape and how does this change our perception of how to plan for the city? Coming from a background in sociology, the Burckhardts believed that the relationship between the planner or the architect, the city and its people could have a profound effect on the way that we plan for the future—not by asking what needs to be built but “who is planning the planning?” Thinking about the relationship between the kiosk, the tram stop, and the zebra crossing, the Burckhardts’ approach to educating students began with a return to the source of our mobility within the city.

Lina Bo Bardi (1914–1992, Italy)
The Italian-born architect, writer, and publisher Lina Bo Bardi spent the most of her professional career in Brazil. Having devoted her practice to the planning and building of public spaces, she is best known for the Museu de Arte de São Paulo, SESC Pompeia, and the Museu de Arte Moderna da Bahia. Bo Bardi approached notions of publicness, participation, locale, collectivity, and the ever-shifting status of documents and ruins in her architectural practice and scenographic work. Her core interests included how to keep the remnants of pasts—material, social, or oral—accessible, acknowledged, and relevant with a present context. How to work within existing structures? What is the relationship between the document, monument, and collective action? And drawing from this, how to account for the ephemeral moment of transformation? How to discern the diversity and dialectics of the public as audience and collaborator non-hierarchically? And finally, how to form affinities while maneuvering independently within fraught political circumstances?

Oscar and Zofia Hansen (1922–2005, Finland; 1924–2013, Poland)
“We have come to Otterlo to ask and try to answer a simple question: What do we have in common, and how are we to fight for it?,” wrote Oskar and Zofia Hansen in “The Open Form in Architecture—The Art of the Great Number.” Critical of the standardization of architectural forms in social housing, urban planning, and even education in Poland’s postwar period, the Hansens are both credited for the above-quoted manifesto, delivered at the 1959 CIAM gathering in the small Dutch town of Otterlo. As opposed to the “closed form” seen in functionalist responses to growing urban communities—whereby citizens became numbers to be housed, educated and employed—“open form” as an attitude rather than a doctrine, recognized the position of “the individual within the collective,” making them “indispensable in the creation of [their] own surroundings.” Only a few registrations of the Hansens’ “didactic tools” or “apparatuses” exist, mostly captured in photographs or the memories of students as strange analogue contraptions—some weblike and boxy, but always complex in structure, transformable, processual, even playful, and relational—set within a network of affinities and differences between the bodies negotiating them.

Ulises Carrión (1941–1989, Mexico)
Living in Mexico, Ulises Carrión began to write from an early age, after which he graduated in English Literature in the United Kingdom before moving to Amsterdam in the 1970s. Perhaps the labyrinthine structure of the city provided him with the conceptual tools for considering communication flows. During this time, Carrión shifted his approach to literature and started asking artist friends to send him a book that they had recently made. These “bookworks” made by artists soon became an extensive archive, and were displayed in Other Books and So, a small space in the center of Amsterdam. Carrión also travelled extensively in Europe and developed a series of performances; a film festival about Lilia Prado; a series of paper works; the radio broadcast “Trios and Boleros”; and a new commission for Dutch state television. In 1984, he travelled to New York and made a window installation at the independent space Franklin Furnace together with his friend Frans Gribelling. Just before his death in 1989, the Stedelijk Museum in Amsterdam acquired a considerable portion of the archive of Other Books and So, and in 2015 the Center for Curatorial Studies at Bard College in upstate New York acquired the rest.

Faculty:
Keiko Higashi, Mona Jas, Gila Kolb, Leanne Turvey, David Smeulders, Konstanze Schütze

Chorus Athens:
Denise Araouzou, Clare Breen, Sarah De Wilde, Tomas Diafas, Stella Dimitrakopoulou, Mika Hayashi Ebbesen, Aimilia Efthimiou, Maria Bianca Fasiolo, Orestes Giannoulis, Demetra Ignatiou, Orestis Karalis, Timothy Laskaratos, Thanos Makris, Vera Mlechevska, Johnny Pavlatos, Dana Papachristou, Georgios Papadopoulos, Nina Salamova, Giorgos Samantas, Mateusz Sapija, Vasiliki Sifostratoudaki, Dimitra Tsiaouskoglou, Athanasios Tsolas, Myrto Vratsanou, Ida Westh-Hansen, Silke Wittig, Georgia Zachari

Chorus Kassel:
Aliaa Abou Khaddour, Susan Abu Baker, Feben Amara, Peter Anhalt, Karl-Albert Apelt, Joey Arand, Katharina Bauer, Maximilian Bauer, Sarah Baum, Andrea Behnke, Pia Beholz, Julia Bernhardt, Gertrude Betz, Laura Beya, Friederike Bill, Kira Bogdashkina, Antje Boijens, Vanessa Braun, Barbara Campaner, Maria Catalina Cañas Acosta, Anastasia Chaguidouline, Karina Chernenko, Doro-Thea Chwalek, Hélène Coineau-Sellnow, Laura Diermann, Irma Dohn, Helena Dornieden, Ronja Electra Ehrenberg, Mona Eing, Dahlia El Broul, Alice Escher, Peter Eurlings, Marén Imela Freyer, Maximilian Gallo, Anne Garthe, Özgür Genc, Katharina Geyer, Annika Glass, Julia Goltermann, Adriana Granato, Luzi Gross, Rosa Violetta Grötsch, Fatma Gul, Sevda Güler, Emin Günaydin, Jasmin Hagedorn, Alina Hanske, Irmhild Hartinger, Anna Helfers, Sylvia Hempelmann, Pascal Heußner, Antonia Heyn, Kerrin Hille, Mira Hirtz, Alfred Hohmann, Max Holicki, Carsten Horn, Ünal Igde, Lucas Itacarambi, Louisa Jacobs, Hanna Jurisch, Sarah Maria Kaiser, Marie-Sophie Kammler, Irini Karamitrou, Lisa Marie Kattendiek, Georgia Kaw, Adela Kim, Sooyun Kim, Anna K. Kleeberg, Roland Knieg, Axel Knüppel, Sarah Koch, Jana Maria Köder, Yul Koh, Thea Josepha Konatsu Drechsler, Tim König, Zvonimir Kontrec, Ira Konyukhova, Georgi Krastev, Gunhild Kühlewind-Lüling Malin Kuht, Steffi Kutsch, Nina Kuttler, Olga Lang, Hannah Lansburgh, Julia Laukert, Gregor Legeland, Jana Leiker, Milena Leiker, Peter Lepp, Vera Leuschner, Lisa Licht, Eva Liedtjens, Ulf Ligniez, Christina Lindner, Frank Lorberg, David Ludwig, Ellen Markgraf, Anna Mattern, Annika Mayer, Hannah Menne, Marah Mhethawi, Susanne Minke, Ann-Kathrin Mogge, Georg Müller, Karin Müller Schmied, Ruth Müller, Lisa Mutke, Dafne Narvaez Berlfein, Liane-Heide Niederhoff, Ulrike Ortwein, Geun Woo Park, Alia Pathan, Natalija Paunic, Jeanette Petrik, Franz Christoph Pfannkuch, Juliane Phieler, Esther Poppe, Tobias Range, Marilena Raufeisen, Janna-Mirl Redmann, Jutta Paula Reeps-Wagner, Nicolas Reibel, Katharina Reinhold, Silke Renner-Schmittdiel, Regula Sophia Rickert, Erik Ritzel, Clara Ronsdorf, Diana Rothaug, Kerstin Rupprecht, Frida Sandstöm, Miriam Schäfer, Volker Schäfer, Sylvia Schmelzer, Gabriel Schmidt, Jens Schmidt, Julian Schneider, Tanja Schomaker, Ann Schomburg, Laura Schreiner, Jasmin Schülke, Marion Siampakou, Benoit Sloet, Philipp Spillmann, Anjelika Spöth, Verena Sprich, Sarah Steiner, Karin A. Thielecke, Marlen Thiermann, Jens Thumser, Jelena Toopeekoff, Lena Trost, Francesca Valentini, Johannes van den Boom, Arda van Tiggelen, Sadaf Vasaei, Christopher Vogel, Achim Vorreiter, Sophie von Waitz, Kaja Weldner, Jacqueline Wendel, Petra Werner, Barbara Wiebking, Anne Wilhelm, Judith Wilking, Claus Wohlgemuth, Al-Maboren Zaki, Vivian Zavataro, Sholpan Zhanuzakova