MOVEMENT CREATES SPACE: SOFIA KONDYLIA Choreographer | Performer | Architect

Sofia Kondylia is an award-winning choreographer, performer and architect. Motivated by the simple truth, that ‘movement creates space’, her work, through dance, performance, physical theatre and film, explores intersections between choreography and architecture, and its impact on emotional self transformation. 

Transcript

MOVEMENT CREATES SPACE: Sofia Kondylia

Choreographer | Performer | Architect

S1 EPISODE 10: TRANSCRIPT              May 2, 2021

Sofia

“It's so unnatural walking on squares, so obsessively. So why? What I was thinking is that  the person that walks again and again and again on the square, and why, why so much rigidness? Could be anybody, actually, anybody who has whatever obsession, formalistic obsession, a way of behavior, a way of interacting with other people, a way of interacting with a particular thinking. The piece speaks about how you deal with form. Let's say that, I wake up, I drink my coffee and then I must, must, must stay 10 minutes like that. This is a form. It repeats every day, again and again. But, life isn't like that. Life is so unpredictable.  I'm taking a position about rituals, their side that is giving to the person, and also the side of the ritual that is taking from the person, resilience and change, towards the form. Both. And, I discuss how repetition and being stuck in this form, like formalistically stuck. So, this piece discusses a person's relationship with form. We take the square. It could be anything else.”  

Nina

“I'm Nina Freedman And this is WHEREING. WHERING explores where we are. It is dedicated to those who believe in the inherent right of belonging and all the ways we feel we belong, and connect to ourselves, to each other, and the spaces that hold the stories where all of this comes alive, where each experience of belonging is a work of art created by chance or by design. Dare I ask, is belonging where you are, not what matters most? WHEREING is the spatial story. Welcome.”

Sofia Kondylia is an award-winning choreographer, performer, and architect. Motivated by the simple truth, that 'movement creates space', her work, through dance, performance, physical theater and film, explores intersections between choreography and architecture, and its impact on emotional transformation. Her work has been awarded governmental as well as private funding and international awards. She has traveled across Europe for numerous artistic residencies and performances, workshops, and conference lectures. She has been sharing her dance and choreographic practices, through teaching since 2014. She currently lives and works in Scotland.    

The dances we are about to talk about, can be viewed on Sofia's website, sofiakondylia.com, S O F I A K O N D Y L I A.com. Links to her website, and more detail about Sofia and her work will be on the WHEREING website, as well. 

Hi, Sophia. Welcome. 

Sofia

Thank you very much for inviting me. 

Nina

My pleasure.  You have such an interesting story. Let's start by you telling us where you were born and you are currently in Aberdeen, Scotland.  It makes me curious, how you ended up there.

Sofia

So I was born in Greece, and in particular, my origins are from Athens, and from a very North Island of Greece. It's called Lignos, a very exotic place. My father is from there.  In Athens, I stayed until I was 30. I had all my friends, studied dance, studied architecture. And, then there came a point that I felt the need to expand my views and go abroad. I decided to take a Master's in the Netherlands, in artistic research and performance practices. So, I went to the Netherlands and studied there, although it didn't stay much because, in the middle of my Master's, I traveled to Aberdeen to visit my then dramaturg.

Nina

What is a dramaturg?

Sofia

A dramaturg is the person that works with the choreographer and they're like two different faces of the same sheet of paper.  So they work together, and they talk about the work, the choreographer from within the perspective of movement, and also the dramaturgy, and the dramaturg from within the perspective of making this work more public and more engaging and socially and politically, and historically resonating to the audience. So, actually the dramaturg is the person that embraces your work and unravels its potential, and makes it more universal, let's say. Then, we were working together. So, I came here to visit her, and do some rehearsals and teach some seminars, also, dance and improvisation, and then the pandemic started, and of course, I couldn't travel. And, I finished my Masters here. I had the time and the space to actually interact with the people and city. I decided to stay for a while. I didn't want to go back to Greece at this moment. So, yes, I have received a very, very warm welcome  here. 

Nina

Nice. I actually didn't realize that you've only been in Aberdeen for one year.

Sofia

That's nice. That's nice. 

Nina

The part that I also want to understand about this pathway, is first you say, in Athens, you studied dance and architecture. That's unusual, to do both, at the same time.

Nina

Okay. The story starts when I was very little. I fell in love with dance, in general. So, I continued in an amateur level until the age of 20, 21, where I entered the architecture school, and I was studying architecture. The background of dance in Greece is currently in a much better state than it was then. But, the thing is that, it's very difficult for people to understand dance as a full  occupation, because it's not very supported by the state. So, to become a dancer, it was not for me an option, because of the stereotypes that I had in my mind. So, I set this aside, and I started architecture, because I'm also a math freak and I like drawing so much. And I don't know, I was 18 years old and I thought, why not combine them? I actually had no idea what architecture is. When I was in the second year  of the architecture school, I started realizing what we were doing there, and I got fascinated with the creation of space.  I started realizing how bound the creation of space is with the movement, how movement creates space. And that moment in parallel, I started doing dance more independently in studios and more intensively, I would say, and I started also contemporary dance. There was a moment, a highlight moment, when I was about at the end of the architecture school, that I realized, wait a second, contemporary dance is so much like making space with the body. Just like the way we do it in architecture, we imagine, we build a choreography for the imagined movement, the scenario for the people. I decided that I would study dance, as well. I started realizing that I don't have to be perfect, to become a dancer. But, for my own ethics, I have to offer something to the field. I wrote the thesis in my architecture school about exactly this, how movement creates space, from within the perspective of both arts, dance and architecture. It's like a parallel analysis of the synthetic process, in both arts. There's always an ambivalence, I'm not really determined to become a dancer, choreographer. The stereotypes are still there. And ,there came a point, when I was 28, already done some research on the unique combination, I found a job in architecture, in an office, which was full time. I did show up, the way  I handled interview, it was say like don't take me, take another person.  I tried to make them refuse me. So that was my answer. I was going to become a dancer and choreographer and that was my choice.  I decided to stick to dance, I believe because, my heart was more there, and because dance has the here and now, in the creation of space, which I'm very, very interested in, and also a very, let's say direct result for you to see, feel, reflect on, regarding the space.

Nina

We're going to talk about a few of your works, but before we get into that,  I want to talk about it in a macro way, because  you mentioned two things now, which are interesting. One is the embodied feeling in space. And, the other is this sense of fluidity and the connection with space, rather than the sense of stability and permanence, the fixed versus the fluid. I guess I could say, what you might be talking about…

Sofia

What I'm talking about, is that in architecture, there is this sense of stability and permanence, especially when draw a line. I was experiencing when I was drawing a line that, Oh my God, this will stay forever there.  What if the lines say you draw in architecture, how you make the plan and the section and how you form the building, what if you've missed something in the process? What if you've not thought of something correctly, and how could you, given that change is everywhere. The people that will experience this space will have been changed. I mean, everything changes. So the permanence, and  the gesture of designing and building, and this building being there forever, is something that I feel particular discomfort.  The ambition to design something that would stay, is something that was fascinating me in architecture as a student, but, as a person in life, I don't think much of it. I mean, I don't really want to act like that. 

Nina

The natural process of things. 

Sofia

For example, in architecture school I asked, what is a house? What is a home for me? And, very important to feel comfortable in the house. So, when I observed that the houses I want to  design, were quite different, this added to the discomfort. So, what's this thing about the design form and real life, in my case, for example. On the other hand, dance has a very different kind of a permanence and ephemerality. In general, you would say dance is ephemeral, right? 

Nina

Yes.

Sofia

The moment you act, it's the past. What they may leave in the viewer soul, may be completely permanent, and completely fluid at the same time. So, dance can be super permanent. For example, when I say Pina Bausch…

Nina

I think of her so much when I see your work. 

Sofia

I love her.

Nina

Yeah, me too. 

Sofia

Thank you, with your thinking of her. 

Nina

Immediately, because your work is very much real time.

Sofia

So, there are some pieces of the dance that can really scratch your soul, and leave something permanent.  Also, architecture can be super ephemeral, because when you experience the building, and when you live in it, you also move in it, and you also change it, by your movement. Life is changing the building.

Nina

Yes. You mentioned before when you were asked to design a house or asked, what was your home, this is where you felt different. I'd like to ask you when you reflect on what a home is, or even taking that further to where you belong, what do you think now?

Sofia

Well, for me, home is where you feel yourself, where you feel free.Home is where you're safe, and home is where you’re creative. And, also you feel your origins running into your blood, when you're experiencing it.

Nina

That's such an interesting phrase that you just said, the origins running into your blood.

Sofia

As you experience the place that you call home,  you just experience your origins again and again,  like, if time goes forward and your experience goes backwards.

Nina

You say origins, do you mean  who you are inside, or there's a connecting thread to a place somehow?

Sofia

I mean who you are, but in the sense, as  your personality shaped by the place, by the people that raised you, or your friends, by the way you're get used in interacting with people. I believe  the notion of home can be reproduced in another place than that, that you were born. But in any case, some of these things have to stimulate this sense of home. 

Nina

What I feel really, even without an example is that the past is always living in us and..

Sofia

..breathes with something that you already know, and you're used to, and you feel safe.  Home is familiar also. For example, as an Aberdonian resident now, only for one year, I've experienced this notion, especially when I am by the sea. And it's pretty interesting, because I was born in Athens. Okay. There is sea in Athens. But it's not the main thing, because I live downtown in the center, but summer months, of every year, I was living by the sea with my parents for those three months. So, these repetitions year after year, I learned how to live by the sea. And also in Greece, we have plenty, plenty, plenty of beaches and seaside places. So yes, in particular, in the Aberdeen beach, it's very similar  to the landscape with my origin place, and when I am there, I really feel that I belong. I feel that I belong, without having a very strong bonds and relationships here with the people. 

Nina

It's  fascinating. Isn't it, when this happens.

Sofia

It is. And, also the way of people, the way that Aberdonians and Scottish people, are so different than the people living in the Netherlands, so different. They are more open.  The people in Holland, they are open, but in a very different way. And, their relationship with schedule, is something that me as a Greek, I don't have the same relationship. So, these  two things in the Netherlands, did not help me to feel like home. Here in Aberdeen, the way I interact with people, and they interact with me, the way of humor, and also some particular places here , make me feel familiar. Although,I don't know the place.  I give very much attention  to the way of interaction with people, and if there is rural landscape,  it reminds me so much of home.

Nina

We are talking with Sofia Kondylia, a choreographer, performer, and architect, whose inspirational creative work explores how movement creates space, and its impact on emotional transformation.

It seems to me that a lot of your work, and I think this is a natural process, they build on each other.  I was thinking if we could start with Performing Geometries. Before you were already telling us about this propensity for math, or with architecture, and you're bringing these geometries into your work, particularly the more recent pieces. With the Performing Geometries, can you tell us a little bit about that one? What was the intent? Also, you're doing a lot of research, so it's not just that you're dancing, you're learning from each piece. 

Sofia

The thing  is, that I draw my subjects basically from life, and say, all my pieces are very connected with the psychological phase in which I am. For me, it has to be something that I am really burning to find an answer inside me. So, Performing Geometries emerged in which  I use movement to create space in a way that it's very embodied.  I came to the point I was using abstract geometry in order to express feelings. So, a big question emerged. What are the predicaments to translate geometry into feelings, and geometry into dance? I took three regular shapes, the square, the triangle, and polygon, which I call the never met circle. Imagine it is a polygon with so many sides and angles, that can never be a circle, but the eyes almost see a circle,  but it's this 'almost' I'm interested in. I'm trying to understand, what is their potential, when you're trying to embody these shapes? What does this action actually do to the body of a dancer and the body of the viewer, perhaps? What does it mean to become a geometrical shape through repitition, and because your movement always creates the shape. 

Nina

One of the things that I've noticed, is there's no line in space that you're following, right. It's created and argued with the body. So, we're imagining we're seeing it. We're seeing a volume. 

Sofia

Oh, that's nice to know. 

Nina

Especially with your next work, the Square. 

Sofia

The important thing is that the shape never appears in space like a designed form, but only through the movement of the dancer,  that creates the shape. I do this because I consider creation of space through movement, a very embodied procedure. I wanted to answer, what are the feelings produced in me? What do I take from the square, the triangle, and the never met circle? I started with the square, because I felt intuitively, that it was the shape that would express better my current situation, psychologically speaking.     The angles of the square are perfect right angles. The perfect balance, and the square is a shape that repeats itself four times. So, it may be boring for some people, I don't know, but this equality and balance the shape had, transferred to me perfection, repetition, but also, in this project, Performing Geometries, I had the opportunity to  see geometry from within a more embodied perspective, and also dance from within a more geometrical, mathematical perspective.  What I find interesting is that geometry activates  my mind in a certain way, and my body in another way, like the body will never do the perfect geometry, because it's full of curves, and there's not a single line in the body. What geometry does to my mind is that  I can imagine perfection, but after so much repetition of the shape, I imagine completely different things when I dance it. I mean, I perceive geometry in a very fragmented and very not formal way. What remains after so much repetition, is actually not the form, but the transformation of the form filtered through my dancing body, and through all  the difficult  tasks I'm assigning my body to do, like becoming symmetrical. It's so, so difficult. 

Nina

Also very much a meditative experience, right?

Sofia

It is. The meditative thing, it's also an element of repetition. The last thing I forgot to mention is that, I was pointing at the predetermined failure of those three pieces. So, in the square performance, I have to use another geometry on top of the Euclidean geometry of the square, which was the fractal geometry. What are fractals? They are forms that infinitely  keep iterating themselves, introducing their scale in space. So when you see a form inside this form,  there is another form, and another form, and another form, which is exactly similar in every scale, in whatever scale you see the form, it will be the same. So, finding a square within a square,  like finding a structure within structure, this was something that I find fascinating. So, for the performance, I was not only repeating the square infinitely in the physical space, but  assigned my body  to keep dancing it, on a structure inspired by fractals. Even when the square can become so, so small for a human body to dance, it was becoming un-danceable. When the square was vanishing, actually, in the physical terms, the mind kept reproducing it. So, body, mind I created a contrast, I would say, deliberately, because I wanted  to ask my body, okay, now, what are you going to do? What is the square for you? So, the pre-determined failure thing, about geometry and the body, is something very, very important.

Nina

When you're preparing a dance, is it spontaneous, or are you choreographing it completely beforehand?

Sofia

Both. You have to think beforehand, so similar to architectural design, but the the motivation of a work, I never do that. I assign my body with tasks that keep questioning your body. I improvise a lot.  For example, my first rehearsal on the square, I walk on squares, and I eliminate them, following the structure I have designed, until I cannot dance them. But, everything that makes a dance. It's not the structure. It's all other things that you find through improvising, and through the practice. 

Nina

When I was watching your film, the Square, I want to tell you what I was feeling and thinking. You're starting out on the city streets, which are quite empty, and everything is very directional. It's about  the movement and the pattern of the street.  It shifts to you dancing the square in a parking lot, which is extremely empty. And, behind you is, in my opinion, a fairly bland landscape,  beige buildings, and gray concrete. You start dancing in this square, and the beat is very repetitious, the music that you're using.  I'm watching and I'm watching, that's when I was thinking of Pina Bausch. You're defining, I think, the square in the beginning, obviously you're clearly walking a distance, a right angle, another distance, another right angle, and your arms are also very rigid. When you get to the corners, you use your hands to define the corners, where you came from, where you're going. And, there's this very strict, way of dancing, very straight.  Then, it's almost this fight with the geometry. The movements start to become a little more fluid, right, almost to move out of this psychological constriction, of the space. Then you're stooping, that's when I felt the volume, where it's making you smaller. The space gets smaller and smaller, until you're at a point and,  where do you go now? It's almost like being stuck. So there's this contrast of being stuck and contained, but also through the piece, you begin to act on your own impulse. Right?  Sometimes you're unified with the background, and sometimes you're not.  I was also struck by the fact that you chose not to put a color. If you had been dressed in red, for example, it may have for me, really accentuated that square, but you chose not to. The colors that you were wearing very much blended in with the landscape. In the beginning, it was a little bit uncomfortable for me, which is maybe the point, till I got into the rhythm and then, I relaxed.

Sofia

That's right. This piece is supposed to be uncomfortable, for both for me, and for the viewer. That's because it's so unnatural. It's so unnatural walking on squares, so obsessively. So why? I will use your observation about the costume. I will use it as an entry point. What I was thinking is that the persona of the square, the person that walks again and again and again on the square, and why, why so much rigidness and so much obsessed with this form? Could be anybody, actually, anybody who has whatever obsession, formalistic obsession, a way of behavior, a way of interacting with other people, a way of interacting with a particular thinking. The piece speaks about how you deal with form? Let's say that, I wake up, I drink my coffee and then I must, must, must stay 10 minutes like that. This is a form. It repeats every day, again and again. But, life isn't like that. Life is so unpredictable. I'm taking a position about rituals, their side that is giving to the person, and also the side of the ritual that is taking from the person reaction resilience and change towards the form. I was  experiencing both. That's why the costume, was chosen to be, in accordance with the landscape. I think that geometry is something so absolute that I don't want any detail. The body will have much detail anyway. So, this piece discusses a person's relationship with form. We take the square  to create an analog, the square as something else, whatever form. It could be anything else. And, I discuss how repetition and being stuck in this form, like formalistically stuck. That's why I eliminate the square so much in the performance. 

Nina

It felt so much part of the pandemic when I was thinking about it, and how everybody is so constricted and contained, and the feelings that everyone has been talking about, this desire to break out, and a desire to feel safe, as well. And here you are, obviously you're outside, you're in a parking lot. No one else is there except obviously the person who's filming you. You must have been thinking about this, even if it wasn't the initial impetus.

Sofia

Yes, for sure. The thing is that the pandemic started, and we're all stuck in our boxes. And, as a choreographer, I am stuck. I came to think,  this is what I'm researching on. My research has become my life. The piece is trying to explain there's nothing wrong with the form. There's nothing wrong with the square. You can keep on doing the square as long as you're happy and there's space for it. You can change your way of creating and experiencing the space.

Nina

And, the capacity of the mind to be fluid.  

Sofia

Yes. And you can find freedom in and throughout the structure in the form. Like in the pandemic, we have been imposed a certain way, a certain form of living, and a certain structure of interacting. Since we cannot change this, we have to change. We have to develop, we have to learn how to be free through the form, and in the  form. Because there's nothing wrong with the form. 

Nina

Yeah. And forms keep changing anyway. 

Sofia

Yes. And since this is temporary, and it's necessary, it is possible, to find a way to be.

Nina

Yeah. So, it's a very optimistic piece, really. 

Sofia

In the end, when I arrived at my main question, what do I do? How do I dance the square, when I cannot dance the square? I realized that, no, I will not start dancing, like there's no obstacle for me. It's 30 minutes. I've experienced a very rigid obstacle, which is the dance from the shape. And, now the shape isn't there. Of course it is. So, my improvisation was incorporating parts of the kinetic material I was developing, because of the space. What has changed to the person? When she has space, she decides to go out of the structure, and all the spaces is there. She is transformed and the space is transformed also.

Nina

Right. 

Sofia

There is a great acceptance. 

Nina

I felt that very much when I was watching it. 

“We are talking with Sofia Kondylia, a choreographer, performer, and architect, whose inspirational creative work explores how movement creates space, and its impact on emotional transformation.”

I also want to talk about this beautiful piece that you have called Bodis. Very, different piece than the one we're talking about. Can you explain the framework?

Sofia

Yes. Bodis performance is a site-specific piece created in collaboration with eight more performers. The interesting part, with the constellation of this group, is that it was a mixed group of children and adults, with different ages. The ages started from 13 and the older dancer I had was 53. The performance happens at the school I was teaching, then. It is a public school of art. I had a group of very talented dancers as my students. This school had a particular architecture. It used to be a former hamam. The hamam space has an exhibition space and they had added the classrooms, but the hamam space is still there, very transformed. So, I had these two things, a former hamam, which is now a school, very odd, and very talented students which to whom I wanted to offer an opportunity. And, the Bodis performance actually emerged as a performance where I placed the question, what is the body, when it does not need to be, inspired by the hamam, where the body goes naked, so any professional or social role would disappear.  That was a little bit for the students, how the students understood the role of the teacher, the role of the choreographer, it's very interesting. I was struggling with my role, my strict role as a teacher in a public school.  I was struggling with  the things I had to do, like taking absences.  I had to go into a place where I didn't want to. And there comes the role from weaving the perspective of the kids. So, the piece discusses about emancipation of  a body from its professional and social role. The performance set up a  mixed age group, the space and the time and the architecture all together, in a situation where you wouldn't realize, is this a school? Is this a hamam? Is this kid, really kid? So everything was under discussion in the performance, while dancing. 

Nina

The title is fascinating because the question you're asking is what is the body, when it doesn't need to be? Bodis, B O D I S, the title combined, is 'body is'- it's a fabulous title. What is interesting to me also, is the building itself has the sense of  past and present, right? It has the history of the hamam inside this current school, using all these different ages, and it also captures the whole aging process. I think you're using men and women right? They're not naked in the dance, but..

Sofia

No, of course not.

Nina

But you have the 13 year olds and you had the 53 year old. So in the dance and in the choice of the performers, also, you have the body, the 53 year old was once 13. The 13 year old looks at the 53 year old, and this is the direction. So, this sense of aging, and past and future, really combines with the space, and the meaning, as well of the history there.

Sofia

And the memory.

Nina

The memory. Yes.  Exactly. The anticipation.

Sofia

Yes, they are not naked, the performers. They couldn't be. Everything that happens, happens through dance. So, instead of taking off their clothes, I take off their roles through dancing because when you dance with another body, dance has the here and now, that does not afford to dress up with your role, either a body is falling or not. Either you save it or not. Either you look at the body, or you don't look at it. The very action of trying to be synchronized with another person, demands from the body a certain attention and certain stance towards the other body. So, things like respect to the older, does not count in this performance. The older and the younger, for example, at the synchronized moments,  they were just two bodies. So that's why I wanted to point out that, of course it is a base where nakedness is important, but not in a literal sense, in a metaphorical sense, nakedness of their role, through dance. 

Nina

It's really beautiful, what you're saying. What did the performers tell you afterwards?

Sofia

What I can tell you, is that  it has been so nourishing an experience.  I could observe the kids growing through the work and also the professional dancers, I could observe them changing towards themselves, towards the kids, but for the better. They were becoming more organic, more of a group. I really can't describe it in one sentence, but it was an experience that I'm sure nobody will forget.

Nina

Wow, such a fascinating work.

Sofia

Yes. I wouldn't like to do it again, because I'm so full of it. I really feel if I was going to offer something so generously to the kids, I couldn't offer more than their participation in this piece. I wouldn't like to say how the piece worked for the adults, just that I have received very, engaging feedback and that they really miss our days and our rehearsals and each other. 

Nina

A gift that you gave them.

Sofia

And to myself, also. 

Nina

And to yourself. Yes. 

One of the attractions to speaking with you was when I first started studying architecture, I worked with a choreographer. We were asked to design a visionary city. I was living in England at the time, and I was split inside, between England and New York where I had come from. And as much as I liked England, I miss the energy of New York.  I knew I wanted to do something about energy, and I didn't know how to do that. So, I teamed up with a choreographer and I invented this notation which was based on a dream that I had one night of going to different places in New York, and the route through all of them. It was  the arrival from an airplane landing in Washington Square Park, then going to a butcher store. It was various things, had nothing to do with each other, just moments. But, I didn't tell her what it was. I just gave her this notation. And she invented this dance piece and incorporated me into it, and we danced together, and it was performed in Paris and in London. I was not a dancer at all. And, there I was in front of this big audience. Basically, my role was, I was the dream, moving through everything while she was doing the energy work around me, and incorporated drawings that were projected on this huge wall. We integrated the dance with the wall. It was fascinating. I never did something like that again. But this combination of dance and architecture, I had a particular moment in my own history.  

Thank you Sophia for your time and for your generosity today. I feel like I could talk with you all day long. I'm fascinated  with what you're doing, and the authenticity with the way you're approaching the work, allowing for your own evolution as an artist, as well as giving that agency to everybody that you're collaborating with to see the transformative quality of what happens. So thank you very much, Sophia. 

Sofia

Thank you so much as well. And, for your beautiful words. I'm really honored. And, what I wanted to say, to close out this beautiful discussion today is that for me, my art is a way to explore myself, and to dig into the parts that are not so very easily accessible. So, yes, I use my art actually for life, and I feel very happy when I hear people say to me, I like your work. It made me think of that and feel that. Because, for me, art is change for the better. 

Nina

Completely. 

Sofia

Thank you very much. 

Nina

You're very welcome. It's been my pleasure, Sophia. 

“Dear listeners. Thank you for being here. I invite you to reflect on what you've heard today, and send your thoughts or stories. We would love to hear from you. Stay in touch on Facebook, Instagram, or on our website, thewhereing.com. Subscribe free to WHEREING wherever you get your podcasts, so that you are alerted when the next episode airs. WHEREING is a pro bono initiative of Dreamland Creative Projects, which provides architectural and interior design services for the places where we live, heal, age and inspire. If you wish to have a design consultation, visit dreamlandcreativeprojects.com or email me nina@dreamlandcreativeprojects.com. Until we meet again, goodbye from WHEREING.” 

Credits: Music by Antari Loops