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1Boundaries of Matter | The abstract to the tangible
BOUNDARIES OF MATTER
MASTER THESIS | KONSTFACK 2013 | JESSIKA KÄLLESKOG
THE INTANGIBLE AND THE CORPOREAL
2 Jessika Källeskog | Master Thesis
3Boundaries of Matter | The abstract to the tangible
JESSIKA KÄLLESKOG
MASTER THESIS PROJECT PAPER MASTER EXAMINATION 2013TITLE | “BOUNDARIES OF MATTER”
KONSTFACK | INSTITUTION OF INTERIOR ARCHITECTURE & FURNITURE DESIGNLM ERICSSONS VÄG 14STOCKHOLM | SWEDEN
TUTOR PROJECT | ANNA ODLINGETUTOR PROJECT | MATTI KLENELLTUTOR WRITING | KATARINA BONNEVIER
EXAMINATION 23 APRIL 2013 STOCKHOLM
EXAMINATOR | KLAS RUIN SAR/MSAEXAMINATOR | GABRIELLA GUSTAVSSON SAR/MSA
© 2013 JESSIKA KÄLLESKOG
BOUNDARIES OF MATTERTHE INTANGIBLE AND THE CORPOREAL
4 Jessika Källeskog | Master Thesis
THE PATHS OF EXPERIENCE
The Illustration by R.Fludd 1619 shows the paths of experiences, the chambers of intellect and its connections.
The transformation of the perceptions through the various chambers of the mind.
5Boundaries of Matter | The abstract to the tangible
ILLUSTRATION I | ROBERT FUDD BEWUSSTSEIN - CONSIOUSNESS FROM THE 17TH CENTURY
6 Jessika Källeskog | Master Thesis
7Boundaries of Matter | The abstract to the tangible
BOUNDARIES AND MATTER - The intangible and the corporeal A space dedicated to contemplation in a public realm
With a philosophical approach to the topics I aim to absorb the dynam-ics in the meeting between the intangible and the physical. In the urban contemporary environment that we live in I see a need for a physical context that contrasts the flow of information and inputs that we are exposed to.From this point of view I have created a concept of a space for contem-plation, as a reply for both visual as well as mental boundaries that con-nects both the abstraction of the mind to the corporeal.
The perception of our surroundings is an acknowledgment and a conscious-ness of our senses.
In our everyday life we are constantly surrounded by a flow of impres-sions. To contrast this I have created a space where you can calmly travel inward & outwards without being disturbed by the constant flow of information.
This project departs as a statement towards the intense frequency of information inputs in our contemporary surrounding, the stressful act to manage our mental boundaries for what we let in and what we leave out.
Through this project I wanted to define the abstract spectra of inspira-tions in the design-process of how I relate to form and the surroundings. Mapping it, formulate and gestalt it. Defining the boundaries to what I see as the scenery of the project. Taking the broad turns of the process leading me to collect bits and pieces from various sources and apply these thoughts in a secondary phase to the actually form-giving.
Turning the abstract ideas to a space and an object, interpret in two different manners to a pavilion for contemplation and an idea of seating furniture.
Throughout the process I balance the two poles through reflection from a philosophical angle that I follow up with the sensibility for the tactile sensors in how one perceive a physical object. Leading through histori-cal values and ideas tied towards the spatial dimensions and the vari-ous scales in handling space and object. Using the materiality to create a connection to the body and wrapping up to embrace as a protective shield around the body.
With the gestalt of a boundless space within given dimensions that are not obvious or sharply defined, to instead become an extension of your mind and body. As you become the centre of the space, your thoughts are the boundaries and the spatial dimensions are framing the action.
AB
ST
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“It will be apparent that it is difficult to discern which properties each thing possesses in reality” Democritus, 8thcentury B.C
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ABSTRACT
INDEX
PROJECT PLAN
BOUNDARIES OF PROJECT
PROPRIOCEPTION BOUNDARIES OF MATTER SITUATION CONTEMPLATION FORMS OF CONTEMPLATION RAMIFICATIONSBACKINTIME,THECIRCLE-THEEGG
THE INTERACTION WITH MATTERS DIMENSIONS IN RELATION MEETINGTHEELEMENTS-THESPATIALVOLUMES DYNAMIC CORPOREAL REFERENCES THROUGH SURFACES
EQUILIBRIOCEPTION FROM A SPATIAL BOUNDARY
THE VISIBLE BOUNDARIES SPLIT PERSPECTIVES BRIEFS WHAT IT COMES DOWN TO THESPATIALBOUNDARIES-EXPANDING FLESH & BONES SCULPTURAL CRAFT MEETS CONTEMPORARY MECHANICS THE BOUNDARIES AS EXHIBITED
CONCLUTION GRATITUDESVOCABULARYBIBLIOGRAPHYNETOGRAPHYINDEX OF IMAGES
7
9
10-11
13-15
17-2118
23-29232728
31-4131323239
43-4943
50-715053-555656616567
72-737475767779
CO
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TS
10 Jessika Källeskog | Master Thesis
A MAP OVER THE PROJECT PROCESS
Ramifications; growing and extending as passing through the developing phases.
A departuring point with the senses as the core and by the experience in the meeting with space and objects, linking the abstraction of the mindprocess to the corporeal aspects with the physical matter. Where the relation and the attention differs by the scale and the context.
OBJECT
EXPERIENCE
SPACE
RELATIO
N
CO
RPOREA
L
ABSTRACTTACTILITY
11Boundaries of Matter | The abstract to the tangible
TEXTWEAVING
SPACE
OBJECTITY
OBJECT
WORKSHOPa´1 W
PRESENT EXHIBITION
“ SPATIALUTION”
EVOLUTION OF SPATIAL EXPERIENCE. SPACE THRU SENCES;
COLOR/ OPTICAL ILLUSIONS, “SPATIAL VOLUMIC SHAPING”.
OBJECTIFY OF SENCES, IMPULSITIVITY OF HOW TO RESPOND TO OUR
DIFFRENT SENCES THRU OBJECTS.; VISUAL/ AUDIT/ TOUCH/ SMELL/ TASTE
“OBJECTIFICATION”
CONCEPT
VISIONARY!EXPERIENCE THROUGH
SENCESSPACE/ PLACE
RECOGNITION/ CONTRASTSCONTEMPORARY SITUATIONS
EXCLUSIVITY
REPRODUCE / REFLECT
THROUGH WORDS, PICTURES & VISUAL
PRESENTATION EXPLAIN MY PATH AND
PROJECT OUTCOME.
“THE WHOLE”
GIVE A CLEAR PICTURE OF THE CONCEPT VISU-ALISED BY THE OBJECT AND A SPACIAL REPRE-
SENTATION.
FORMATTING!A DEPTH, AN INVESTIGATION
ABOUT CREATING A EXPERIENCE IN ALL
DIRECTIONS. WHAT IS EXPERIENCE? HOW CAN WE LEAD FEELINGS OF OTHERS? WHAT DOES
EMOTIONS PROVOKE IN A SITUATION?
STORYTELLING / REFERENCESINVESTIGATE CONTEXTS
CONCEPT INVESTIGATES CONTEXTS/ SITUATIONS
WITHIN THE GIVEN FRAMES.PUBLIC INDOOR SPACE
A TIME LIMITED EXPERIENCE
WHAT IS OUR NECESSITIES?WHAT DOES THE SITUATION
NEED TO FULFILL ITS PURPOSE OF FUNCTION?
BO
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TO
BOUNDERIES OF MATTER
PR
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PLA
N
BOUNDARIES OF MATTER
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13Boundaries of Matter | The abstract to the tangible
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Inputs overlap. Voices, people speaking, phones ringing in a continuous flow of inputs.
The appearance of existing in an urban environment; is a composition of screens and layers of impressions. Like fragments compressed into a solid frequency of information, like a dynamic interaction of conscious and unconscious impressions through senses.
I approach space from the inside and out.
Iseethisdynamicmeetingofbodyandmindalsotowardthemeet-
ingofspaceandobjectandhowIapproachtheminmywork.Where
thespacecreatesabroaderextensionofexperiencethroughits
directionsofinputs,asweengageoursensesinanotherway;weare
secludedandencircledbyspaceasa“larger”experience.Withthe
differenceofhowweperceiveobjects;asinthemomentwhenwe
approachthem,wehandletheminadifferentphysicalconnected
mannerasweuseobjectsinanotherway.Weinteractandtouch
themfromamorecorporealmeeting.
ThedynamicmeetingIhaveaimedforishowourspiritualdimension
ofmind,ourexperience,connectstooursurroundingsandthemeet-
ingwithourbody.Thebodyishereandnow,itisamoreinstantreac-
tionwhilstourmindtravelsextensively.Thebodycreatesthephysical
connectionwhilstthemindopensupforpossibleimaginations.In
phenomenologytheambiguityoflifeisseenasthebasisofcreativity.
Itakeonmoreanartisticapproachinmywork,andIgraspforthe
tactilebyapproachingthesensorialstimulus;thesenses.Fromwhich
theexperienceistheessence;includingboththemindandbodyona
deeperlevelisthereforeessential.Theinteractionofmindandbody
inadynamiccollaborationdressesforadeeperexperience.
Dynamictension,movementaslivingforces.
14 Jessika Källeskog | Master Thesis
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Iapproachthesensorialstimulusinmywork,graspingforthetactile,
engagingthemindthroughthebody.
AsourambientcreateourmentalatmosphereIbelievethematter
aroundusneedstostandinsymbioseswithhowweperceiveand
consideroursurroundings,throughoursensorialstimulus.
Withthestartingpointoftransmittingtheideaofspatialboundaries
Iapproachedthesenseofeaseandprotectionwiththethemeof
contemplation.IndefiningthemeaningofthespaceIrelatedback
tomyownescapevenuesandplacesofpeaceofmind.Theemotion
offindingavacuum,toshuttheloudurbannoisesandimpressions
outinthequietnessoftheamplecathedrals.Notasareligiousact
butasanextensionofone´sownmentalspace,especiallyincrowded
surroundingsasifonebecomescompressedandneedtoreassume
onesboundaries.Steppinginsidethemassivewoodenportalsas
adirectcontrasttotheintensecompoteofurbandensitywhere
onereallycanfeelthedisplacementofattention,directedoutward
insteadofinward.That’showIreconnectedtomythoughtsinthe
confusingsurroundingsduringmyyearslivinginItaly.Wherethe
noiseoftheclatteringtramdrownstheshrillsoundofthemotorino
(moped)mixedwiththeimpressionsthroughthedustyandhumidair
aspeoplecrossandpushestheirwayforward.Justasimpressionscan
becomesointense,notjustbynoisebutbyintensity.
Todevelopmyconnectionasadesignertospaceandtheobjectsof
oursurroundings,Iconstantlyzoomintobecomeattentivetodetails
simultaneouslyasIzoomouttogainalargerunderstandingforthe
wholesituation.AsItakeasuspendedpositioninbetweenthe“real”
concreteparametersofmillimetresandtheessencethatIsearch
fromamoreabstractperspective.Allthepassedorconsideredtracks
inthisprocessplayanimportantroleforthewhole,connectingthe
piecestoaweb,withadelicateselectionofthebearingjoints,tosup-
portthecoreofastrongconcept.
ThisprojecthasconnectionsataratherpersonallevelforwhatI
considerastheimportantgradientsinformingauniquecharacterto
spaceandobjects,todefinethefoundationformypersonalinterpre-
tationforform.Thathasleadmetoconsideranddefinemystand-
pointandwhattriggersmeintheappearanceofmyformlanguage.
15Boundaries of Matter | The abstract to the tangible
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AsIapproachedthisprojectwithramificationstoametaphysical
perspective,fromhowweapproachquestionsofexistenceandhow
peoplerelatetoabstractandconcreteobjectsinoursurroundings.
Collectingthegradientsperceivedfromoursensesjustlikehalftone
screenstransmitlayersofcolours.
AsamethodtolongerthethreadstofindnewperspectivesIhave
usedaprocessbasedondeconstruction(JacquesDerrida)asemiotic
analysesoncedevelopedfortext.FromwhichIhavemeetanewter-
minologyformepreviouslyunfamiliarthathaveaconnectiontothe
purposeandthemeaningofthisproject.
WiththeopenpossibilitytoformtheframeworkofthisprojectI
haveextendedtheworkingdomaintowheretheinspirationsledme
andtotheintuitiveunconsciousconnections,manytimesfroman
emotionalempiricalfeeling.WhereIseetracesofrecurrentfields
ofinspirationsandhowtheyconnecttoeachotherandasalinkto
mypreviousexperienceandknowledge.InalaterchapterIpaintout
myinspirationfiledofsurfaces,a“vision”Ihave,duringthisproject,
tracedtotherenaissancearchitecturethatIexperiencedcloselydur-
ingmytwoyearsinFlorence.Thestreetsareorderedbyaperspec-
tivevision,withfaceddirectedsurfacestoenhancethedistances.
ThelargeflatfrontsurfaceofchurchSantoSpirito,cutwithacurved
contourthatmakesthisimmensesurfaceanditspastelyellowcolour
toseemsoftandliving.Ihavebroughtthisvisualmemoriesand
emotionalvaluestointerprettheconceptofsurfacetoapersonal
developmentwithamorecorporealaspect,allthoughwiththeroots
tracedbacktothestreetsofFirenze.
Zooming out, blurring the details.
Ihavecontinuedtounfoldandcultivatedtheideasandnew
encounteredtrackstojointheminwhatIherewillpresent.
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17Boundaries of Matter | The abstract to the tangible
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PROPRIOCEPTION
Mattersconnectingthephysicaltothemetaphysicalthrough
conceptualgrounds
A position, changing, to a pose, from a point to another,
allocated, it´s physical
Proprioceptionistheawarenessofourbodilypositionandstate,the
reactionfromwitchourmindcommunicateswithourbodytomove
andtokeepthepostureinbalance.
Ashumanswehaveanextraordinarydevelopedabilitytoapproach
thespacearoundus.Adualityofaccessingbothexternalexperience
aswellastheinternalsensationswithinourselves.Asweperceive
volume,distance,colorsandalltheattributesthatcanbedistin-
guishedintheexplorationandtheconsciousandtheunconscious
reactionstowardthemattersaroundus,bothfromanintrinsicand
extrinsicexperience.Inthisprocessoursensesareessential.The
sensestranslatestimulusthroughpsychologicalsignalsbetweenbody
andmindtowhatweperceive.
Thevisualsenseisformostofusthegeneralone,butina
synchronizedwayallthesensesplaystheirroleandweavestogether
informationasawhole.Wereadthesignalsfromtheclearest
attributesascolorandmaterials,whichisalsoapplyingsubtle
informationabouttexturethroughthehaptic(seevocabulary)sense
fromstimulusoftactility.Inthisexperiencethememoryhasan
importantparttorecognizepreviouslygainedknowledge,asstored
sensations.Manytimesweexpectthecurved,softlookingdivanto
bejustthat;communicatingthroughthereferencesweknowfrom
experience.
SofromthisdiscussionIapproachthesenseswithinthedesign
process,usingthetactilityasthemediatorbetweenthevisualand
thecorporeal.Connectingthevisualsensetothetouchandthe
auditionsensethatcontributestoalargeextentinthespatial
perception.
18 Jessika Källeskog | Master Thesis
Werecognizetherichnessoursensesapplytoexperiences,inthe
pleasurablemomentsofenjoyingafull-bodiedglassofred,holdinga
lovedone´shandorbyvisioningabeautifullandscape.Butmanyof
thesensorialfunctionswetakeforgrantedalthoughitisthe
communicationbetweenourbodyandthesurrounding.Wemostly
refertoonlythesocalled“mainsenses”thatAristotelesattributed,
butasamatteroffactwerelatetooursurroundingthroughalarge
seriesofothersensorialpathsofperceiving.Duringtheunfoldingof
inspirationsImeetanewterminologyformepreviouslyunfamiliar,
thatIdrawaconnectiontothemeaningofthisproject.Termsthat
speaksaboutourphysiologicalfunctionofhowoursenseswork.
Inspiringmewithbeautifultermsthatincisestheirmeaningtonew
perspectivesofthought.Asatransitionbetweenlayersofmeaning
Ilinktherelationsusingitasametaphoricalmethod.Ideconstruct
ideas,trackingtheirmeaningthroughdifferentanglesandlanguage
translations,especiallytheItalianlanguagethatIknowwellwiththe
Latinoriginthatlayasfoundationformanyappellations.Theintrigue
forlanguagesisnotonlyforthetranslationandtheetymologybutas
thebroadcontentofwhattheypresentsthroughdifferences,
culturalassocial.
BOUNDARIES OF MATTER
We use boundariesinvariouswaysandfromdifferentdefinitions.
Ihaveheretakeontheideaofboundariesasadefinitiontoour
personalsphere.Inwhichweneedtosecludeothersforapersonal
introspectionattimes,especiallyintheintensefrequenciesofinputs
oftheinformationsociety.
Asanimportantboundaryofthiscontextisthesymbolforthe
mindasaabstractmetaphor.Tohavean“open”extensionforyour
thoughts,withnointerruption,asanuttershieldjustasthewalls
protectsforcold,dirtandunwantedforces.
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19Boundaries of Matter | The abstract to the tangible
Givingthemindaspatialexternalboundaryforcontemplationina
gestalt.Topassonfromtheabstractionoftheconcepttodistinction,
makingacontouraroundtheideaandvisualizeitasaphysicalmatter.
Measuredasa3dimensionalvolume,fillingvoidsintomass.
Alinkagebetweenthesurroundingsandthemattersthatcreatesa
spatialgestalt.Thisisofgreatimportanceintheprocessofgiving
formandexpandingmass,andmyreplytothisconsiderationisto
workwithcurvedanddevelopedsurfaces,tomeetupwiththesur-
roundingsandcreateasmoothtransitionfromoneobjecttoanother.
Tomakeasofterimpacttotheexperience,Ihavedefinedthephysical
gestaltbytactilitythatiscommunicatedthroughthematerialandthe
formation.
Thematterisdeliveredindifferentappearances,variousshapesand
densitiesdeterminantforourexperience.Asthedimensionscontra
theweightgivesusanindicationofmaterial,justastemperature
doesonestouchingit,alltheattributesadduptotheoverallfeeling.
Aformcanplayandmisleaddimensions,byblendinginthecontext
asaroundedshapeortakingapronouncedpositionwithitssharp
anglesasasquaredshape.
Definingandintentional.Asforwhenaspacebecomesaplace.P
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20 Jessika Källeskog | Master Thesis
BOUNDARIES IN CONTRAST TO THE MATTER
ABSTRACT BALANCING TOWARD THE TANGIBLE
MIND IN RELATION TO THE EXPERIENCE OF BODY
WITH PARALLELLS LEADING TO;
CONNECTING TO;
ETHERAL CORPOREAL
SPACE IN THE TRANSITION TO AN OBJECT
LINKING FURTHER TO;
COLLECTED TO A GESTALT
& THE DIFFERENCE IN APPEARANCE TOWARD THE
Boundariesofmatter–theintangibleandthecorporeal
Followingtheprocessofthoughtsdevelopingtheseconnectionsand
ramificationsofmeaning.
Where boundaries is in contrast to the matter and the
abstractionofexperienceincontrasttothetangibleasthephysical
andconcrete.Anequilibriumofthevariousfactorsweengageinan
experiencewitchIalsoimplementedwithinthedesignprocess.
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21Boundaries of Matter | The abstract to the tangible
Whilstboundariesdefineideasofthesocialcontext,ofhowwemap
outanddefineourbordersforourpersonalsphereofpresenceinthe
contextofothers.Incontrasttothematter thathereenvisiona
materialisticandbodilyinterpretationinformofaobject,becoming
the corporeal linkage.Thatcontinuesintoaparallellofbody and
mind,wheremindstandsastheetheralpartbyitsdelicacyand
lightnessofinexpressibility.
Passingovertodealwiththedynamicsandthetensioninperciev-
ingthedifferentscalesofhowserelatetospace and object,justas
theexperiencebalancesbetweenobjectivityandsubjectivity.The
intentionaldivisioninthetwogestaltsislinkedtothedifferentscales
andhowourattentiondiffersbetweenthelargescaleimpressionsof
spacetothemorefocusedexperiencebetweentheviewerandthe
object.
Wherethespaceisadimensionandanexperiencethatsurrounds
youandembowersincontrasttotheobjectthatweapproachand
managesandsomehowrules.Itisaboutdifferentscales,andagain
differentdirectionofattention.
Asaformulationofhowtheapproachoftheformgivingprocesscan
differdependinglyifitisaspaceorafurniture.Iseeitaslookingata
spaceIexpandmyperspectiveoutwards,totheoppositethatforthe
objectonenarrowsandfocuses.
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22 Jessika Källeskog | Master Thesis
”Freud, following Gustave Le Bon, described the loss of conscious boundaries that could occur when an individual was caught up in a unified, fast-moving crowd.”
(Sigmund Freud, ‘Le Bon’s Description of the Group Mind’, in Civilization, Soci-ety and Religion (PFL 12) p. 98-109)
23Boundaries of Matter | The abstract to the tangible
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SITUATION
Fast pace, clock ticking fast, immense possibilities running along expectations and visions. Mind, body and soul, where is the balance. Where is the center?
Ireflectuponthesuperficialityofthefastpacedlifestylethatisthe
presentsituationformanyofus.Inthesetimesthemankindisex-
tremelyconnectedtomaterialismandthepersonificationthroughout
theuttersurface.Weseemtohaveanurgeashumanstodistinguish
onefromanother,socaughtupintheattentiontotheexterior.
Thatitfiltersanddistractstheconnectiontotheinnercore,where
thebalancecaneasilybebroken.Asthemodernliferequiresa
continuousbalanceofwhatthemindregistersandprocesses,highly
challengedtokeepapieceofmindtonotbecaughtupinanegative
levelofstress.
CONTEMPLATION
Just as the seasons pass through a phase all the matters and feelings do. This space is dedicated to that phase to let the thoughts get the nourishment to grow.
Withinourbeing,weactandinterfereinunconsciouslevels.Both
withinourselvesbutalsoinconstantinteractionwiththesurround-
ings.Forthisweneedpersonalboundariesandapersonalspace,
althoughweareinthecontextofotherpeople.Asinthesituation
sharedwithothersasasemipublicspace,likeanoffice,wherewe
sometimesneedabreakfromourworkingdesk,nopaper,nomusts.
Checkingout.Howthereasoningextendexperiencetovalues,asthe
philosophicformulationsofDescartes“Cogitoergosum”;“Ithink,
thereforeIam”.Theevolutionhasdistinguishedthemodernhuman
withthewilltoseekforknowledgeand“thecapacityforabstract
thoughtandtheuseofsymbolismtoexpressculturalcreativity(Wiki-
pedia).”Weneedtoprocessthoughtsandcontemplate.
24 Jessika Källeskog | Master Thesis
“(…) and so he formed it as a single visible living thing which was
to include all related creatures(…) By turning it he shaped it into a
sphere (…), giving it the most perfect form of all.!
(Timaeus,c. 410 BC)
(Alexander Roob, Alchemy & Mysticism, Köln. TASCHEN 2011, pg.35)
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25Boundaries of Matter | The abstract to the tangible
Thehistoryrevealsthehumanwillforanunderstandingofthebeing
andthepurposeofonesplacehere,likeapath-seekingfollowing
throughreligiousviewsorphilosophicdiscussions.Atalarger
perspectiveaswellasonapersonallevelataneverydaybasis.
“…why should we not calmly and patiently review our own thoughts, and thoroughly examine and see what these appearances in us really are” (Plato, Theaetetus, 155)(New World Encyclopedia- Web)
Thisspatialboundaryshieldsthementalextensivenessfromexternal
inputstoamomentofcontemplation.Asanairedvacuumsphere
thatcontraststotheintenseenvironmentwithdelicateattention
aroundoneself.Thatforamomentamplifiestheemotionalbounda-
riestoonesvaluesandquestionstowardapersonalintrospection.
“Descartesheldthatallmentalstatesaresubjecttointrospection;
thatitissufficienttohaveamentalstatetobeawareofit;andthat
whenoneintrospects,hecannotbemistakenaboutwhathesees.”
(Newworldencyclopedia–web)
InthiscontextIhavequotedDescartesforhisdefinitionsofdualistic
perspectiveandtherelationfromthetwoentetiesofbodyandmind
thatofcoursecanbeputunderdiscussionwhereveritisonewhole
orseparated.Butfromtheimportanceofpercievingoursurround-
ingfromanintrinsicandextrinsicperspectice,thedoubttriggersthe
processtowardsunderstandingandtheimportanceofdedicatingfull
attentiontothementalbalancetobecomeintunewithoneself.
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27Boundaries of Matter | The abstract to the tangible
FORMS OF CONTEMPLATION
ReflectingoverthemeaningforcontemplationIseeanintense
momentofreasoningandtrackingemotionstoitsessenceforan
understanding.
Concentrating!Ivisualizedasphericalintensity
holdingtheconcentrationwithin,creatingaborder.
Concentration.Theconcentrationofholdingon,keepingthe
attentionthereandthen.Thewordofconcentrationleadsbacktoa
compositionofLatinofcon-+centrareequivalentforwith;con-,and
centrareforcentromeaningcenter.Withcenter!
Collectinginthecenter.
ThecutoutfromanoldItaliandictionarywhereitreferstojoining
togetheraspower–Forzeorasdesire–desideri.Andtoadvance
andimmersefromapositiveideaofdeepeningone´sunderstanding;
toprofoundoneselfprofondarisi.(Dizionarioetimologicoonline)
InthiswayIusethedeconstructionofformsandwordstofinda
symbolicmeaningthatIsimultaneouslyconnecttovisualreferences.
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28 Jessika Källeskog | Master Thesis
RAMIFICATIONS BACK IN TIME TO THE CIRCLE & THE EGG
Circle it in! Place it in the center.
Asthegroundforourmoderntheoryframeworkofchemistryand
medicine,Alchemybringsinphilosophicalperspectivesofmythology,
religionandspiritualitytoscience.
Thatleavesusmanyreferencesandsymbolicalmeaningstothe
existenceoflife.Basedona“world-view;thatanessential
correspondenceexistsbetweenthemicrocosmandthemacrocosm
(thesmallestandlargestpartsoftheuniverse).”(UXLEncyclopediaof
Science|2002)AcorrespondenceIalsoaimforintheproject
betweenthepartsofBoundariesofMatter,connectingthetwoparts
asareflectionofeachotherinabstraction.Returningconstantlyto
thedualismandfindingnewexpressionsforthesamething.
TheHinduismscriptsofPuranatellusthatthecosmicintelligence
“andmatteraretheinnerandouterboundariesoftheuniverse,”the
negativeandpositivepolesofdualnature,theabstractandconcrete
(GeoffreyA.Farthing).
Thealchemydefinestheplanetarysignforsunalsoasthesymbolof
themind,astheSelfinrelationtotheWholeCosmos.Thesimplicity
ofthesymbolincontrasttotheimmenseideaitsymbolizes;givesme
anunderstandingforitspurpose.Simplifyingittothecontours.Ihad
inthebeginningoftheprojectactuallyusedexactlythatsymbolfor
catchingtherelationoftheprojectstwopartsBoundariesofMatter.
Acirclewithadotmarkingoutthecenter.
“The point in the circle, the germ in the egg, is not a particular point in space but exists inherently in every atom” (Geoffrey A. Farthing)
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The origin, life, the materia prima protecting with its shield
A shell, the white, the membrane and the suspended glair
Theegghasthroughtheagesbeenanimportantsymbol,asit
generateslifeandprotectswhatitbeholds.Carryingonthemessage
ofimmortalityasthecarrierofthesoul,inancientEgypttheyspoke
aboutthe“soulegg”ofRaasthe“godofbrightness”symbolizing
thesun(DonaldMackenzie). Meanwhileasthealchemistsreferto
thephilosophicaleggthat“combinedalltheelementsoflife,asthe
containerofthoughtandmatter”(GeoffreyA.Farthing).
Itisfragilewithitswhitesheershell.Weholditwithprecautionand
wemakesureitlayssafe,becauseweknowitwillrole.It´selliptical
formwillnotkeepitinastaticpositiononaplane;itwillrollaround
incirclesfromitsowncenter.
And then the egg cracks open…
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THE INTERACTION WITH MATTERS
Relating, recognizing as it responds to our touch
Mattersweencounterinallkindofformsinoursurrounding.Aswe
buildourhabitsconnectedtoobjects,weconnecttothem,making
thempersonalaswechargethemwithvalue.Thingsgiveusmeaning,
astheymakeoutourmoderntoolsoflife.Thetextureinourclothes,
thewater-glasswedrinkfromandthechairwesitin.
AsadevelopmentfromthesethoughtsIwanttotouchthesenso-
rialexperiencebyaddingafeelingthroughandistinctconsideration
forthematerial.Asthetactilitybecomesanimportantlayerofthe
experience.Layersofvaluefortheconceptualideaisaddinguppand
beginstobecomevisual.Takingformsbothasthespatial“etheral”
gestaltandasafree-standingowninterpretationtowardsthe
“corporeal”ideaofanobject.
DIMENSIONS IN RELATION
I take a few steps towards it, getting closer. The edges seclude my
lateral vision towards the side; it creates a spherical movement
around me.
Ourbodyisthetoolwemeasureoursurroundingswith,
andthesurroundingmaterialinitsorderrelatestousbyitsfunction.
Theshellasthecontemplativespaceismeasuredfromanadult
humanbody,consideredtheaspectoftheexperience.Nottofeel
shutin,butfeelingsafe,feelingembraced.Thespatialdimensionsare
experiencedfromvariousanglesdependingwhereinthespaceyou
areandinwhatposition,ifyouarelaying,sittingorstanding.
Whilsttheobjectsdimensionsarereferencesdirectlytothecorpo-
realmeasurements,astheyrelatetothemovementsandhowour
bodyworks.Aswebendtositdown;aseatingobjectneedstomeet
up,nottodeepbutjusttocatchyouupandnottoforcetheknees
more than needed.
AsIdefinedthedimensionsforbothspaceandobjectIhave
consideredandtriedoutdifferentextensionsofmeasurementsin
relationtothebodilydimensions.
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MEETING THE ELEMENTS/ SPATIAL VOLUMES
Like a veil, expanding its shape, softly embracing the sounds and
excludes all the echoes and outside noises.
AsIhaveunfoldedthisideaaroundacompletivesphere,
holdingontotheabstractionofthemind,makestheformitself
becomesabstract,noteasilydefinable.DuringtheprocessItried
theproposedboundaries,markingoutasquareof3x3metersinan
openspace,dividingbyscotchfloor-marks.Totestthebodymove-
mentswithin,givingroomformoving,nottofeelsqueezednortight,
andcontemporarynottakingtoomuchareafromthesurroundings.
DYNAMIC
Moving power, fast, just transmitting a motion as energy even though
motionless, charged with power & showing force, transmitting an
interaction!
Dynamiccanbeofanambiguouscharacter,notnecessarilytodefine
motionbutasa“living-force”thatcanhavedifferentsemblances.
Pushingthelimitsofspatialintersectionandtomanipulatethe
tendencyweowetoreadourambient.Byremovingshadowsthe
importantdefinitionsofreferencesvarnishesandweexperiencethe
spacefromanewsensation.Thelooseofdefinitionscanchangethe
experiencedramatically.Wearecreaturesofhabits,andweknow
thataroomshouldlookinacertainmanner.
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A transaction, moving to another dimension
Asapartoftheevaluationofhowtocreateanadaptableand
intriguingatmosphereandatthesametimemeetingtheconceptof
atranquilandminddedicatedmoment,Itriedoutcreatingdynamic
transitionsfromoneobvioussurfacetoanother.
Smoothingthesharpdefinitionsofcornersouttogivethespace
differentdimensionsthroughperception.Thevolumebecomesan
undefinedlooseatmospherewhichappliestheextensivenessIaim
for.Ilinkbacktodirectionsinspace,howourvisionfieldreadsour
surrounding.Tocreateavisual“extension”ofperspectiveand
illusionaryremodelaspace,goingbeyonditsvolumeandconstraints.
Theexperienceofspaceisareactionuponcontrasts;howeverit´s
createdbylightandshadowsorbycolordifferences.
Wereadeverythinginourvision-fieldasthreedimensional;figured
outbyperspectivesasarelationtothespatialpropertiesandthe
surroundings.Thevisualperspectivessupplyuswithinvisible“guide
lines”thatputsthesurroundingsinrelationtodistance.Weorderit
up,makingsenseofwhatwestandinfrontof.
Contours,whatarethey?
Whataretheboundariesforaprivatespace?
“Form is the imposition of organization, structure, and
purpose onto matter. Design weds expression and logic,
consolidates imagination and reality, through form.” (Luecking Stephen)
34 Jessika Källeskog | Master Thesis
SPATIAL VISUALISATION |Curvedwallcomposedasanembracing
shieldcreatingaprivatecornerinasemi-publicspace.
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SPATIAL VISUALISATION |Acocoon,makingaroominthetheroom,
graduallyclosingupbyrevolvingcoveringlayers.Protectively.
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36 Jessika Källeskog | Master Thesis
SPATIAL VISUALISATION |Ashelterwithasweepingcompositionof
twoover-crossingsurfaces.Creatingaspatialdivisionintheroom.
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37Boundaries of Matter | The abstract to the tangible
SPATIAL VISUALISATION |Whatmakesaspatialdivision?Acollection
ofribbonsstrechedoveracircledbaseasarchescreatingaspace.
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38 Jessika Källeskog | Master Thesis
A Surface | A sheet, a membrane that is distinguished by tactility, The appearance read by our senses.
SUR-
FACE-
Etymology - From French surface.sur- Used instead of super- or supra- to mean extra, additional or over, above
Etymology - Middle and Old French face < Vulgar Latin x facia, from Latin faci s (“face, shape”)1. (anatomy) face
surfaces from the point of view of topology. But also differential geometry of surfaces, algebraic surface}
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39Boundaries of Matter | The abstract to the tangible
CORPOREAL REFERENCES THROUGH SURFACES
No sharp edges, gradation from one surface to another. Smoothness
and subtle! Define me I am abstract.
Irelatetooursurroundingasatracingofdivisionsanddirections,
readablethroughsurfaces.Theseareidentifiablebytheirappear-
ance;theirattributesandtexture,materiality,color,reflectance.
Todeparturefromthisviewpointofshapes;givesmeafreedomof
expressiontowardslayersandlayersofsolutionsandassimilatingthe
corporealstructureasalivingdimension.
AsIundressvolumestosurfacesImakealightweightconsiderationof
thematerialsIapproach,readytostripthemuptosimplicityfolding
themtoastructureandtopushboundariestofindnewsolutionsand
possibilities.Lendingideasfrommaterialcharacteristicsandprocess
techniquestoapplyandjoinintoanewform.
Surface;Atwodimensionalspace,lessthanagossamer(1) thin.
Aseries;Aonedimensionalideaofsequentialelementsthatbuild,
withinadefiningrelationship,achangingpath.(JaneBurry+Mark
Burry,London2010,Thames&Hudson,MathematicsofArchitecture)
Formsaredefinedbydimensions,it´sgivenappearancesensedby
attributes,suchassqueezed,up-blown,flattenedetc.DefinitionsI
connecttointeraction,byforcesofnatureandhumans,adevelop-
mentintime.Justasrocksalongtheseacoastrevealstracesofthe
naturalsurroundingsintimebywaterandwind.Theobjectsusefor
ourbodilycontact,givesarichervaluebyshowingthismeeting.To
makethepassagethroughthemethodofsurfacegivemeanimprint
ofsoftness.Asaskinshowingthemovementsandthesignoftouch.
(1)Fotnot/gossamer(uncountable)/Afinefilmorstrandasofcobwebs,floatingintheairorcaughtonbushesetc./Asoft,sheerfabric./Anythingdelicate,lightandflimsy.
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“At their least abstract, surfaces are the boundaries of matter, the interface between solid or liquid matter and gaseous elements of space”. (The mathematics o architecture, Jane Burry & Mark Burry Pg 15)
40 Jessika Källeskog | Master Thesis
Consider surfaces not as boundaries of bodies, but as bodies of which one dimensions varnishes.” Carl Freidrich Gauss, Mathematician
PHOTO | LIQUIDART ROBERTO SEVESO
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Likeplasticmaterials(readthatcouldbemodifiedandsculpted)can
changeshapeanddirectionthroughmodificationandmovement,
sculpturedbymanipulationtowardsnewforms.Thematerialityisthe
toolIhaveasamediatorforcreatinganobjecttomeetthebodyasI
arrangethismeeting!
AroleIhavetakentodelivermyinterpretationofthismeetinglike
ahostarrangingthematterswiththematerialasthedynamicbound-
ary.Thesurfacemakesanentranceearlyonintheprocessstageto
symbolizethecorporealboundary.
Surface as a changing veal. Continues lines and developments; a
transition between back and front, as a subtle addition to the spatial
volumes of a room, not to intrude nor create obstacles.
Asaparalleltothesurfaceofwater,thatmoveswithinthemass
changingitsformtofillthevoidsinitssurroundings,loosingupits
shapesplatteringandturningbacktofinditsmostcontainedmass.
Surfacespreading,astheeaseofmovementjustaswatergivesinto
externalforces;thesmokeinitsgaseousstatebehavesinasimilar
manner.Revealingalightnesstransformedbytheairandthemove-
ments in space.
Justashowmaterialshasthepropensityofplasticity,developed
infreeformationsofdimensionsinspacetochangeitsappearance
throughachangingpathbutstillattachedinafreestate.Anattribute
ofelasticity,stretchiness,formedfromitsplasticity.Aforcechang-
ingitscontour!Stretchingtheformtoitwantedshape.Developed
toathreedimensionalexistence.Relatingtomathematicalsurfaces,
ashyperbolicgeometrygivingshapesbuiltupbymanyparallellines
throughasinglepoint,todevelopingsurfacesfromtopology(2);a
branchofgeometricmathematics.Asurfacewithdoublecurvature
gainstrengthinconstructionandgivesnewpossibilitiesofmaterial
reductioninconstruction.(JaneBurry+MarkBurry,Thenewmath-
ematicsofarchitecture,London,Thames&Hudson)Formethejoint
complexityandsimplicitythatgeometrytransferhasalwaysbeenof
abiginspirationandcanbeapplicableinallmeasures,fromtabletop
objectstoafurnitureastoarchitecture.
Fotnot (2)Topology
Abranchofmathematicsstudyingthosepropertiesofageometricfigureorsolidthatarenotchangedbystretching,bendingandsimilarhomeomorphisms.(Wiktionary)
Topology(fromtheGreekτόπος,“place”,andλόγος,“study”)isamajorareaofmathematicsconcernedwiththemostbasicpropertiesofspace,suchasconnectedness.Moreprecisely,topologystudiespropertiesthatarepreservedundercontinuousdeformations,includingstretchingandbending,butnottearingorgluing.Theexactmathematicaldefinitionisgivenbelow.Topologydevelopedasafieldofstudyoutofgeometryandsettheory,throughanalysisofsuchconceptsasspace,dimension,andtransformation.(Wikipedia)
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EQUILIBRIOCEPTION
Balancing, parallel processes breezing alongside, sharing the
attention.
Frequencies and Vibrations! Bouncing on hard surfaces;
sounds determent. Dimensions, matters through our senses.
The visual is just not enough.
Justasequilibrioceptiontellsthefunctionofoursenseforbalance
asacollaborationbetweensensoryorgans,Iseektounderstandhow
oursensesworktogetherintheperceptionofspace.
IusedtheStudentGalleryduringaweektovisualizeandmake
full-scaletrialstounderstandtheeffectsofmanipulatingspatial
volumeswithforms,materialandwhitecolor.
Perceptionistranslatedthroughoutfragilityandthesensibilityof
thesenses,theinterpretationofthemeetingofandwithmatters.
Reflectinguponwhatwerespondtoeventhelessobvious,asthe
auditorysensethatplaysamainroleinunderstandingdimensions,
perceivedbythetransmissionofsoundsaccordingtomaterialand
surfaces.
FROM A SPATIAL BOUNDARY
Bringing lightness and a calm isolation, contrast to what has been
left out behind. A division, silence and purity but yet neither strict nor
barren.
Anemotionalpieceofmind,acalmfocuswherethesensesare
engagedforthereceptorstoenteranotherstateofmindonce
enteringthespaceandbythatalsotheact.Harmonicstateisthe
centerpointoftheexperience.
Just being in the present, just there, just then.
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FULLSCALETRIALS|Amochupofthespatialdimensions.Thecurvedwallisbuiltin,witharadiusof1mtatthe“entrance”leadingyouin.
45Boundaries of Matter | The abstract to the tangible
TheKonstfackStudentGalleryworkedasadomainforanexploration
ofphysicaltrialouts.Thatreferestomyideasofawellbalanced
dimensionforthehumanbodytofeelateaseinthecontextof
contemplation.
Spacesarethree-dimensionalandthephysicalexperienceis
essentialinthisprocess.Ibuiltupwalls,roundedcornersofwith
largeradius,createdanundefinedtransitionfromhorizontalto
vertical,leavingafeelingofextendingthespatialboundariesto
“eternal”.Dressingthefloorofthespacewithawhitesoftcarpet;
absorbedandamplifiedtheperceptionasatransitiontoelsewhere.
TheGalleryiscomposedby2rooms,withtheentrancefromthe
mainwidehall,revealingasmallerroomthroughaglass-front,
leadingtoalargerroomextendingtoca4x5Mt.InwitchIbuiltupa
curvedwallandcutthedimensionstoca3x3Mt.Lettingawidecurve
leadintothespace,makingamoredynamicentrance.Meetingup
withthefollowingwallthatIappliedsoftanglesofaradiusof60cm,
bothhorizontallyandverticallytowardsthefloorinananglewhich
gavethesensationoflosingtheperceptionofdistance.
Giving a contrast to what is behind outside of the room.
Forminganexperienceofaspaceistounderstandwhatthe
symbiosesofmaterial,formandcolordoes.Thestrongimpactof
whatatotalwhite,seamlessroomcanprovoke.Makingafullscale
moch-upmodelwiththewhitetuftedcarpetcoveringthefloor,the
soundisolationpanelsintheceilingtogetherwiththerounded
cornersgavejustthatstrongimpressionofwhitefloatingspace.
Continues.
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FULLSCALETRIALS|Amochupofthespatialdimensions.Thecurvedwallisbuiltin,witharadiusof1mtatthe“entrance”leadingyouin.
FULLSCALETRIALSOFFORMANDMATERIAL|Awhitecarpetisplacedtothedividedsectionof3x3mtthatmeetsthecurvedwall.
47Boundaries of Matter | The abstract to the tangible
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NFULLSCALETRIALS|Withaconvincingresultofthecompositionofroundedcorners,thedinamicsoffloorplanbyusingdifferentradiusesinthecornersgivingatmospherewiththewhitenessandtheisolatingeffectoffloorcarpetandsoundisolatingpanelsintheceiling.
FULLSCALE TRIALS |White,asseamlessaspossible.Curvedmeetingsbetweenfloorandwalls,linkingtheverticalanglesandgivinganundefinabledimensionasittakeawaythereferanceofcorners.
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Large space, cold.
Hard materials that bounces the sounds between the surfaces
bouncing off and revealing distances and people by the echo of
voices.
Large space, open space! People moving, inputs, color, voices
interrupting thoughts without taking it to its destiny.
Refraction; a split leaving an entrance.
No door, just a passageway, white carpet! Sound absorbs as one
enter. Quietness, tranquility.
Like a transition that leads from an open ocean of inputs change
into a contrasting scenery. Gradients and tones down to another
dimension.
A room that pushes the boundaries of spatial dimensions
through the perception of it.
Embracing. A feel of safety, soft. So undefined and floating.
No seams revealed.
A symbolic gesture towards an encouragement to expand
the mental boundaries without any barriers.
50 Jessika Källeskog | Master Thesis
THE VISIBLE BOUNDARIES
The material is what separates. That divides the spatial volumes into
sections, into matter.
Matterthatcommunicatethroughthetactilityandthemateriality,
respondingtothetouchbyitsdensityandsoftness.Attributesof
smoothorcold,unevenorsharpnessthatalltakeastandpointtothe
finalcompositionwithintheexperience,asastateofequilibriumby
composedimpressionsthroughoutoursenses.Justasourstate
duringcontemplation.Weponder,balancingthoughtsandemotions
towardeachother.Afrequencythatmeasuresdoubttoward
convictionasadynamicrelationbetweenthepolescreatingwiththe
tensionneededtotriggeritfurthertowardsnewideas.
Thephysicalimprintandformscreatedbysmallinterventionsand
thatyetleavesagreatexpressiveappearance.FromwhichIsearch
forthesculpturalandalightweightnesswithadynamictension
symbolizingmovementaslivingforces.Collectingtheconceptfroma
philosophicalandmetaphysicalangleandtheambiguityoftranslating
ittoatangiblegestaltisthebindingpointofthisproject.Witchalso
representsthecontrastandthedynamicmeetingingivingformtoan
experience.
SPLIT PERSPECTIVES
The body is here and now and the mind travel extensively
in space and time.
Thefieldofideasthisprojectextendsto;aspaceforcontemplation
willhavetwodifferentoutcomesofmatter.
Onethatrelatestoaspatialextensionandamorementalexperience,
whilstthesecondonehasamorebodilyrelationandasmallerscale
morerelativetooursizeofbodyandisdevelopedasafurniture.
Themindandbodyarelinkedtogetherandwouldnotexistwithout
oneanother,buthandlestheexperiencefromdifferentperspectives.
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Theseentitiesrelatetotheconceptwiththeaimtowardthesame
purposebutfromtwoseparateperspectives,andderivesfromthe
sameplatformofresearchandconclusionsleadingfurthertobe
developedintherelationtoits“scale”and“visionfield”of
experience.
Howourspiritualdimensionofmindexperiencesoursurroundingin
connectionwiththebodybutyethavedifferententrancestohow.
Itisanexperiencegainedbyadynamicinteractionofthemboth,as
twosystemscollaboratingtothewhole.Twodirectionstoprocess
andcreateathreedimensiontoexperiences.Toenrichitasthebody
createsthephysicalconnectionwhilstthemindopensuptopossible
imaginations.
Atthisstageintheprojectmanyparametersarenosingtowarda
directionoffeeling,formandmaterialitytofullfillthefunction.
Aspatialdivision,asafreestandingpavilionforasemi-public
environment,secludingnoiseandotherinformationforawhile,
inwhichtofindtranquility.Withmaterialitythathandlessoftcurved
boundariesandbyreducingthecontactwiththe“outside”.(A)
&
Acorrispondingindividualobject,linkingtotheconceptof
contemplationthatgivesplaceforrest.Alounger,arestingchairthat
givesanenfolded“spatialfeeling”thatsecludesthepersonalspacea
bitwithasweepingformmeetingthebodywithasmoothsurface.(B)
Duringtheprocessofkeepingthetwolateralprojectsrunningunder
thesameconceptIformulatedasecondsmallerseatingobjectthat
couldfitinthepavilion.(C)
FormulatedinBriefsasdefinedframeworksfortheformgiving
process;seetheBriefA.pg53,B.pg54andC.pg55
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BOUNDLESSNESS
spaciousness, airy, limitless, infi-
nite, eternal, endless,
cloudlike
through form of room, light effeccts,
diffuse changes?! rooms dimensions
feels bigger than it is
expansion, drawned out, flexible, conti-noues; an ex-
tention to your body
form continues into a roundness, a shape that sup-
ports the dimensions to
change.
shell, an oasis, tranquility
warmth, sounds are shut out,
your own little space..
imprintable, pliable, tactile
through shape &materials that responds to your touch. soft gradient
light.
yielding {adj.} - tänjbar {adj.} (även: foglig, eftergiven, mjuk, elastisk)
< < IN WHAT WAY > >
< < IN OTHER WORDS > >
tactile, touchable,
responding, “living” delicate
through colors & materials. imprints.nature skinbased tones. tactile ma-terials that feels
soft to your touch.
EXTENSIONAL SAFE / PROTECTED
SOFT/ YIELDNING
CORPOREAL /TO EMBODY
BOARD FOR EMOTIONAL AND SENSORIC VALUES FOR SPATIAL GESTALT
53Boundaries of Matter | The abstract to the tangible
The projects Brief for the spatial gestalt part
MASTER THESIS PROJECT / KONSTFACK 2013
WHAT|Apavilionforcontemplation
WHERE|ForaSemiPublicspace/Publicspace
(Fornowfocusingonindoor)
WHEN|Anytimeonewantstoreducetheflowof
uncontrolledinformationandinputsfromthehecticeverydaylife.
Toreconnecttoonesthoughtsandsensesredirectingtheattention
inwards.
HOW|Ashellinspiredstructuregraspingfortactilitybytheformand
useofmaterials.Flexibility(acertaindegreeofdynamism)equilib-
rium.
Thinstructure;lightness,refinedmeetingsbetweenmaterialsand
edges.
QUALITY | Foldable?!
MATERIAL STRUCTURE |Glasfiberskelletondressedinpaper/weave
material.Lettingthroughsomelightandadaptingtothecurveofthe
structure.Absorbingsound.
FORM LANGUAGE |Characterofembracingandcorporeal,feeling
protected.
WHO|Anyonethatneedsa“silent”moment.
WHY|Givingmyversiontoaspacerespondingtoacontemplative
environment.
Sculptural,Corporealandbodily,creatinga“personal-Sphere”
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54 Jessika Källeskog | Master Thesis
The projects framework Brief for Seating Object
MASTER THESIS PROJECT / KONSTFACK 2013
WHAT|Arestingchair,flexing.Respondingtothebody;adapting
tomeetupwiththeweightoftheperson.Arestingposition,with
leanedbackandraisedknees.Anembracingpartaroundthehead.
WHERE|ForaSemiPublicspace/Home
WHEN|Aimedforrelax&Contemplation,withafeelofembracing.
HOW|Asimpleandsublimeapproachtoform&function,ameeting
withthebodyboththroughmaterials&tactilityaswellas
appearance.Carrying&holdingupthebody.Flexibility(acertain
degreeofdynamism)equilibrium.
Comfortable,softnessbutyetwithanelegantformlanguagethat
breathssubtlety.Thinstructure;lightness,refinedmeetingsbetween
materialsandedges
QUALITY |Longlastingmaterial!
MATERIAL STRUCTURE|Steel/Ironframe/tubular28diam.or
flatribbon30x6mm
MATERIAL SEAT |Form-pressedfeltforselectedareasforstability+
partsoffoam?!+Leather–Incisedareastocorrespondtothebody
asaflexiblesurface
FORM LANGUAGE|Characterofembracingandcorporeal,with
tracesofadivan.
WHO|Aimedforadultpeople.Easytositdown&swingupthelegs
whenlayingdown/raises.Flatpartaroundseatandcurvedsurfaces
embracingheadandthelowerlegs.
WHY|Givingmyversiontoaseatingobjectrespondingtoa
contemplativestate.
Sculptural,Corporealandbodily,creatinga“personal-Sphere”
bygivingaspatialfortothechair.
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The projects framework Brief for Seating Object 2 / SmallMASTER THESIS PROJECT / KONSTFACK 2013
WHAT|Aseatingobjectinconnectiontothepavillion.Responding
tothebody;adaptingtomeetupwiththeweightoftheperson.
Flexible,dynamic.
WHERE|ForaSemiPublicspace/Home
WHEN|Aimedforabodysupportforashorterwhile
HOW|Asimpleandsublimeapproachtoform&function,ameeting
withthebodyboththroughmaterials&tactilityaswellasappear-
ance.Carrying&holdingupthebody.Respondingwithflexibility
(acertaindegreeofdynamism)andequilibriumtothebodyweight.
Comfortable,softnessbutyetwithanelegantformlanguagethat
breathssubtlety.Thinstructure;lightness,refinedmeetingsbetween
materialsandedges
MATERIAL STRUCTURE |Flexiblebutyetdurablematerials.
MATERIAL SEAT |Softpadded.Leather–Incisedareastocorrespond
tothebody_flexible
FORM LANGUAGE |Characterofcorporeal,membrane.Sculptural
WHO|Someonethatwantstositforawhile..
WHY|Givingmyversiontoaseatingobjectreflectingand
interpretatingthespatialgestaltforthepavilion.
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WHAT IT COMES DOWN TO
With considering the contrast between inside and outside.
Giving a poetic substance & connect through the senses. Reaching the
perception through the audit, the touch and the visual impacts.
As an exploratory experience!
Conformingthespacethroughspatialvolumicshaping.Usingform
andmateriality,enhancingandreducingbythesimplicityofthe
contours.
THE SPATIAL BOUNDARIES - EXPANDING
A pavilion inspired by the protectiveness of a shell, covering the
fragile inner. Leading in with sweeping curves, absorbing and filtering
out utter sounds.
Membranesofmaterial,thattogethercreatesstrengthtothe
structure.Assembledandjointtogetheratamidpoint,aleaningaxis,
creatingadynamicexpressiontotheroom.
“Balance of directional forces and of tensional positions in space”
Rowena Reed Kostellow
Afreestandingpaviliongraspingforasensationlinkedtothetactile.
Anotherdimensiondedicatedtoonesthoughtsasasweepingand
corner-lessroomformedasamembraneshield.
Workingwithsurfaces,renderingthemmorecorporealbothinthe
spatialgestaltandalsowiththedynamicsolutionofatructure.
Permittingachangeableandtransformableformthatiseasily
mountedandtransformable,asolutionthatisconstructedwitha
foldingupsolution.Personalizeable,asitfoldsouttovariousextents
andletsthesizedependofthepermittanceofthesurroundingspace.
Anexperienceofsensesandourbasicneeds.Thevisualsensespeak
forrecognition,theauditspeaksforsoftandfriendlysoundsand
wanttokeepawayfromnoise.Thetactilityisbothexperiencedfrom
touchbutalsofromavisualperspectivewereweconnectto
memoriesofwhichformsandtheappearancecanbeassociatedto
softandcomfortable.
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Theroomisanextensionofthemind,corporeal,afeelingofliving
materialcorrespondinggentlytoyourpresenceandmovements
within.
Aboundlessspaceasanextentionofyourthoughts.
Whereyoubecomethecenterofthespaceandyourthoughtsthe
boundarieswhilstthespatialdimensionframesit.
Atransitionfromtheuttersurroundingstothepresentmoment,
takingyouelsewhere,withtheaimtocreateafeelingofanother
dimensionthroughtheperceptionofyoursenses.
Aconstructionofribbonsconnectedatthetopandatthebaseina
curvedformation,foldabletooneunitasit“slips”inwithanincreas-
ingradiustofitintothewidthofoneribbon.Thatinacomposition
of1-4modualscansweeparoundthecenterpointtoatotalsecluded
spaceenteringwithinitsowndimensionslikeanautilusshelland
inspiredbythegoldensection.
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“IlGuscio”IstheItalianwordforshell,used
bothasazoologictermbutalsointheambient
ofconstruction.
58 Jessika Källeskog | Master Thesis
A RECURRENT INSPIRATION | Spiral Staircases that I photograph
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Il GUSCIO|AscalemodelofthePavilion|Frontview
Il GUSCIO|AscalemodelofthePavilion|RotetedSideview
Il GUSCIO|AscalemodelofthePavilion|FrontviewRaised
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FLESH & BONES
“Form is the imposition of organization, structure, and purpose onto
matter. Design weds expression and logic, consolidates imagination
and reality, through form.”
Theobject,interpretatedbyacorporealideaofcreatingameeting
withthebodyoftheuser.Arestingchairthatholdsthebody,lifting
itoffthegroundcreatingacomfortablecradle.Builtupfromastable
frameofmetalpipes,benttoanembracingstructure,likeacontour
tobefilledwithpaddingtomeetupwiththebodyweight.Creatinga
balanceofdirectionanddynamics,chargingtheshapeoftheseating
furnituretospeaktunedwiththeconcept.Givingoutanembracing
andcorporealcharacter,toinviteforrest!Relaxingthemusclesin
arestingposition,tiltingthebodytoamorehorizontaldirectionto
enhancethebloodcirculation.
ConsideringthetactilityIdressedthestructurewithleatherfortified
withpaddingfromform-pressedfelt.Astostabilizethemost
challengedandpressuredpartsasthecenteroftheweightandbody;
theperineum.Theform-pressedfeltisdevelopedtoaconcaveshape
roundingoftheseatingareaasabody-formedshapedressedwith
leather.
Theattributesofleatherasderivingfromalivingmateriameetsup
withthebodywithagreatdensityandstructureinitself.Apleasant
surfacethatconnectswiththecorporealaspectsandflexibilitywith
softnesstowardstheskin.Amaterialwithalongqualitative
perspectiveastheageingrespondstousagebytime.
IchoosetoapplytheElmosoftleatherwithatonednuancegivinga
connectiontothecorporealandthefeelingfortactility.
Thesurfaceissoft,duplicatedbytwolayers,withathintextiletissue
firmingthesoftandnotbearingleathertoaflexiblebutstablecurve.
Tobedefinedwithagraphicalcutpatternthatgivesaflexible
attributetothebackrestandalsoacharactertothedesign.Making
thesurfacerespondwiththemembranecutstotheweightofthe
body.Connectedattheextremestothemetalstructurebycovering
aroundtheradiusofthetubesastomakethesupportframe
disappearandjustrevealitscontour.Thevisiblepartsofthemetal
structurearecoloredtolosethehardnessofthematerialitybyapale
colorblendinginwiththerest.
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TACTILITYINTERPRETATEDINFORM|Asinspirationforhowtoapproachthematerialandthedevelopmentofshapefortheseat.
TACTILITYINTERPRETATEDINFORM|Applyingthemethodofsurfacetoseethedevelopmentofshapes,asthecutsbecomesanimportantpartforbothformaswellasfunction.
63Boundaries of Matter | The abstract to the tangible
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SCALEMODELLOFSEATINGPOSITION&STRUCTURE|Focusingontheheadandthekneepartastobuildupmaterialtocreateafeelforsafetyandembracement.Lettingthestructurebreathsimplicity.
SCALEMODELSFORRESTINGCHAIR|Inthebegionningofthepro-cess,departuringfromtheseatingpositionandaddingupmaterial.
SKETCHOFRESTINGCHAIR|Developingdifferentsolutionsforthestructureandtheattachemntoflegs.
64 Jessika Källeskog | Master Thesis
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PROTOTYPE MAKING OF STRUCTURE OF THE RESTING CHAIR | Complexbendingtomakethe2sidesbeamirroringofeachother.Asafirstfaseofseeingthefullscaledimensionsbeforemakingadjust-mentsforamorecomputerizedproductionforalaterdevelopment.
PROTOTYPE MAKING OF STRUCTURE OF THE RESTING CHAIR | Makingadjustmentsandtranslatingthemeasurementsbyhand.
65Boundaries of Matter | The abstract to the tangible
IDEAS MEETS CONTEMPORARY MECHANICS
& SCULPTURAL CRAFTS
A hissing sound, the smell of fired iron in an ample industrial facil-
ity, tools hanging. The gas tubes lined up with their bright blue color.
Particles of ash moves around as flakes in the air.
Thetranslationofthechairscharacter;fromideatodeveloped
prototypepassedseveralreviewsanddefinitionsthroughdrawnout
sketches,shapestestedoutbyabentwireassmallscale-models
andfinallyrealizedasfull-scale.Thedimensionschangeonesbeing
blownupasafullscaleprototype,andthechallengetobendthe
metaltubesasdoublecurvatureformstoacontinuessequencethat
looksbalancedfromallviews.JonasablacksmithtrainedatSteneby
SchoolofDesignandCraftdevelopedtherathertrickyprototypewith
me.Calculatingthebendinganglesandrightcurveswiththehelpof
differenttechniques,readingthedrawingsfroma3dmodel.Ones
inproperdimensionsIadjustedandreviewedtheactualformtothe
characterwanted.
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SPROTOTYPE MAKING OF STRUCTURE OF THE RESTING CHAIR | Addingandtryingoutthelegtomakeastablebutlesshardandimportantvisualimpact.
66 Jessika Källeskog | Master Thesis
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THE BOUNDARIES AS EXHIBITED
ThisprojectwaspresentedduringtheKonstfackSpringExhibition.
WithanambitiousintentionIaimedtopresenta“corner”ofthe
Pavilionandatthebeginningoftheprojectalsotheseatingfurniture.
SincetheprojectbecametwoparallelrunningprojectsIdecidedto
showthe“corner”ofthepaviliontogetherwithsomescalemodels
thathadleadmeforwardtothefinaldefinition.
ConstructingaPavilionmeansbothaccuratelyconsideredmaterials
andeconomicalfundsandalsoimportantengineeringthatthetime
elapsedidn´tallow.
Thedimensionandthedynamicsoftheformwaspresentedasa
full-scalespatialinstallation.
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PREPARINGTHEEXHIBITION|Alargeepoxysheetismadetolaterbedividedintostripesfortheframeworkoftheshell.
MOUNTINGTHEEXHIBITION|Thespatialdimensionsareshownedinasculpturalinstallation.
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MOUNTINGTHEEXHIBITION|Thespatialdimensionsoftheshellareshownedasasculpturalinstallationinsteadofacornerofthepavil-lionsincemyintentionswerehighlyambitiousandweredefinedatastagetoclosetotheopeningoftheexhibition.
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ATTHEEXHIBITION|Afewofthemodelswaspresentedasatracefromthedevelopmentthroughouttheprocess.
AT THE SPRING EXHIBITION | Askeletonwasmountedtoshowthedinamicsintheformandthedimensions.Asapartoftheshell,notasawhole.
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VISITORSATTHEEXHIBITION|Duringthe10daylongexhibitionatKOnstfack“SpringExhibition2013”
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Apassage
Zooming out, blurring the details. In the moment ideas connect to
a larger perspective the focus and details change; as the creative
process asks for a duality of mind, to focus contemporary as visualis-
ing a broader perspective. Zooming in zooming out; changing focus
constantly.
Boundariesofmatter–theintangibleandthecorporeal
Ihaveinthisprojectmadeaninteriorconnectionofthemeaning
ofthespatiallargerperspectivetothezoominginonthecorporeal
dimensionoffurniture.Commentingonthedifferentscalesandthe
diversityofexperienceofspaceandobjects;reflectingourbodies
andourperceptionthroughoursensorialsensibility.Inwitchtactility
hashadanessentialcontributeofmeaning,withareferencetothe
delicacyinthemeetingbetweenbody,dimensionandmaterials.
ThatIhavebythisprojectpresentedasapersonalclaimeddefini-
tion;thatthesensesplayanessentialroletobefirmlyconsideredin
theprocesswithinform-giving.Rubbingthetriggersofperceptionto
graspforanunconsciousexperienceforthebeholder;creatingapo-
eticsubstanceandavisualandexpresseddialoguetowardstheidea.
Boundariesofmatter–theabstractandthephysical
Unwrappingthemeaningandwhattheconceptrepresentbypressing
anddynamicallyrubbingtheboundariestoextendtoawidespread
angleofwhatitreallystandsfor.Expandingandstretchingthebor-
dersduringtheprocesstointensifybychargingthecorewithvalue
and discard the transparent parts.
InthisprojectmyprocessandtheconditionsofhowIdirectmy
trackshasbecomemyboundary,myframe;thespatialextensionin
whichI`veexploredinforminganddefiningthematter.Animportant
understandingformyfutureengagementsinthewayIapproachmy
profession.
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Ispreadsidewaysandameasilycaughtuponnewtracks,collectinga
paletteoframificationsfromdifferentperspectivesthatallcometo-
getherandconnectsintheend.LikeavisualdialogueIfollowtocre-
ateaplatform,anownpersonalgroundtostandonandcreatefrom.
Shatteringdirectionsofinspirationmodulesuptoanewcomposed
departure-pointfromwhichIinterpretandrecreatemyideaupon.It
islikeIvisualizeideasthruakaleidoscopiclensasIapproachspace
andobjects.Workingfromapaletteofinspirationswithcollected
fragmentsthatintheendcreateapattern;astructurethatcomposes
toreproducetheimageoftheconcept.
Thisprojecthasrevealedmywayofgraspingforinspiration,broaden-
ingtothesidesandshowedthewilltodiganddecomposeideasto
recreateanownstableplatformasareassurancefordoingapersonal
compositionofideas.Thismeansnotjustapplyingashapetoanob-
jectbuttocaptureandindividuatetherealminwhichIcreatewithin.
Givingefforttofindthesensorialexperienceandtheapproachto
tactilityintheverybeginningoftheprocess.Theprojecthasalso
meantaninvestmentoftimetoformulateanddiscoverthepathways,
tobroadentheunderstandingforthemapping;ratherthantheactual
visualtranslation,althoughtheprocessandformattingtheideahas
ledtoalargenumberofinitialstatesoffurniture.Awebofideasto
befurtherdeveloped.
Boundlessness
Thisprojecthasproventogivemanyfacestotheconceptofbounda-
ries,bothinapersonalmeaningandintheapproachtohandlethe
process.DuringthisjourneyImadeapersonalstatementclearer;that
freedomistohavedefinedboundariestorelateto.Withnoframe-
workthepossibilitiesbecomesimmenseandjustconfusesmyfieldof
thoughts.Thatinthiscontextmeanttoputtheambitionssurrealis-
ticlyfarfromthetimeframeandpossibililities.
InthefaceofdepartureIaskedmyselfwhatIwantedtoexploreand
whatIwasaftertolearn.Thisprojecthasinonewaycollectedthis,
inanotherwaythatIexpected.Perhapsonamoresubstantiallevel
ratherthanvisualbutyet;thisprojectwasaboutcontemplation.A
humanscale.
ThankYouforsharingthesethoughtwithme.
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GRATITUDES
ToAnnaOdlingeatKonstfackforthededicationandambitiontomeeteachoneofusstudentsinourmindset.Introducingabroadspectraofpossiblewaystofollowadesignprocessandthesupportalongtheway
MattiKlenellforyourcalmbutdistinctmannerinsupportingmeintheprocessoftheprojectpushingmetowardsworkingwiththeconcreteandobjects,witchledtoanevenmoredestinctconvictionofworkingwithspaceforthenearestfuture
ToKatarinaBonnevierforyourfantastichumbleandincredibleenthusiasticpresenceinthecomplexityofweavingandselectingthistext.
ToELMOLeather,LarsOveBäckängerforsponsoringbeutifulsoftleatherfortheprototype
BengtOlofJohanssonatBendingGroupfortheviewpointsofthestructureconstruction
ToJonasMajorsforthegreathancraftskillsanddedicationtoobtaintherightcurvesintheprototypingdevelopmentofthestructure.
ToJohannaNilssonatStockholmsMässanforthehelpinghandintheprocessofcollectingmaterialstomyspatialtrials
ToJohanPaalzowatthesculpturestudioatKonstfackforbeeingfantasticandsupportiveandgivingstrenghttoamorefreeinterpretationofform
TomydadClaesKälleskogforthesupport,helpingmeoutwithar-rangingandmakingthestructurefortheexhibition
ToFridaHellbergforbeeingandyourimmensepatienceandsupporttogetthestructureup,couldntdoneitwithoutyou!
ToSunYingforourhonestconversationsandyourpresenceduringthese years
ToCicciCronelidforyourimmensesupportandyourpatiencewithmetogetthestructureup,couldnthonestlydoneitwithoutyou
GrazietoFerreroRosatiatDromethatsendsoversamplesofleatherinexpressfromItaly
ToPeterDellUvafornicelyconfusingandgivingmenewinputs
ToEFGFurnitureGroupbygivingtextilestomyspatialtrials
75Boundaries of Matter | The abstract to the tangible
ETHERAL
PERTAINING TO THE HYPOTHETICAL UPPER, PURER AIR, OR TO THE HIGHER REGIONS BEYOND THE EARTH OR BEYOND THE ATMOSPHERE/CONSISTINGOFETHER;HENCE,EXCEEDINGLYLIGHTORAIRY;TENU-OUS;SPIRITLIKE;CHARACTERIZEDBYEXTREMEDELICACY/DELICATE,LIGHTANDAIRY.FROMLATINAETHERIUS(“OFORPER-TAININGTOTHEETHER,THESKY,ORTHEAIRORUPPERAIR;ETHERE-AL”),FROMANCIENTGREEKΑἸΘΈΡΙΟΣ(AITHERIOS,“OFORPERTAIN-INGTOTHEUPPERAIR;ETHEREAL”).SOURCE|WIKTIONARY|DATEDACCESSED2013.06.07HTTP://HTTP://EN.WIKTIONARY.ORG/WIKI/ETHEREAL
EQUILIBRIOCEPTION – SENSE OF BALANCE
“BALANCE IS THE RESULT OF A NUMBER OF BODY SYSTEMS WORK-ING TOGETHER. SPECIFICALLY, IN ORDER TO ACHIEVE BALANCE THE EYES(VISUALSYSTEM),EARS(VESTIBULARSYSTEM)ANDTHEBODY’SSENSEOFWHEREITISINSPACE(PROPRIOCEPTION)IDEALLYNEEDTOBE INTACT.”SOURCE | PRINCETON UNIVERSITY | DATED ACCESSED 2013.03.03 HTTP://WWW.PRINCETON.EDU/~ACHANEY/TMVE/WIKI100K/DOCS/EQUILIBRIOCEPTION.HTML
HAPTIC SENSE – SENSE OF TOUCH
“HAPTICPERCEPTIONISTHEPROCESSOFRECOGNIZINGOBJECTSTHROUGH TOUCH. IT INVOLVES A COMBINATION OF SOMATOSEN-SORYPERCEPTIONOFPATTERNSONTHESKINSURFACE(E.G.,EDGES,CURVATURE,ANDTEXTURE)ANDPROPRIOCEPTIONOFHANDPOSI-TIONANDCONFORMATION.[1]”SOURCE | WIKIPEDIA 2013.03.03 | DATED ACCESSED 2013.03.03
PROPRIOCEPTION - SENSE OF POSITION
“SENSORY FUNCTIONS THAT TRANSDUCE STIMULI RECEIVED BY PROPRIOCEPTIVE RECEPTORS IN JOINTS, TENDONS, MUSCLES, AND THE INNER EAR INTO NEURAL IMPULSES TO BE TRANSMITTED TO THE CENTRAL NERVOUS SYSTEM. PROPRIOCEPTION PROVIDES SENSE OF STATIONARYPOSITIONSANDMOVEMENTSOFONE’SBODYPARTS,AND IS IMPORTANT IN MAINTAINING KINESTHESIA AND POSTURAL BALANCE.”SOURCE | US NATIONAL LIBRARY OF MEDICINE | DATED ACCESSED 2013.03.03HTTP://WWW.NLM.NIH.GOV/CGI/MESH/2011/MB_CGI?MODE=&TERM=PROPRIOCEPTION
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BIBLIIOGRAPHY
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DIZIONARIOETIMOLOGICOONLINEHTTP://WWW.ETIMO.IT/?TERM=CONCENTRARE
DONALDMACKENZIE.1907.EGYPTIANMYTHANDLEGEND,HTTP://WWW.SACRED-TEXTS.COM
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WIKIPEDIA HTTP:/WWW.WIKIPEDIA.COM
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PG.5 ILLUSTRATION|ROBERTFUDDBEWUSSTSEIN -CONSIOUSNESSFROMTHE17THCENTURY SOURCE|[PUBLICDOMAIN], VIA WIKIMEDIA COMMONS
PG. 10 ILLUSTRATION | CORE OF PROJECT
PG. 11 SCHEME | PROCESS MAP
PG.21 ILLUSTRATION | EQUILIBRIUM /DUALISM SOURCE|HTTP://HISTORICAL.HSL.VIRGIN IA.EDUTREASURESIMAGESQP29_D44_1729_FIG_ 32_33_BIG.JPG
PG.26 NAUTILUSSHELL
PG.34-37 SPATIALPROCESSMODELS
PG. 40 LIQUID ART | ROBERTO SEVESO SOURCE | LIQUIDART.COM
PG.44-47 FULLSCALETRIALS|GALLERY
PG.52 ITKBOARD|DEFINITIONOFCONCEPT
PG.57 ILLUSTRATION|NAUTILUSSHELL
PG.57 “ILGUSCIO”PREFASE
PG.58 SPIRALSTAIRCASE|PHOTOJESSIKAKÄLLESKOG
PG.59 “ILGUSCIO”PAVILIONSCALEMODEL
PG.60 ILLUSTRATIONBODYSTRUCTURE|GREY COPYRIGHTABLE IN THE U.S. AS PER BRIDGEMAN ARTLIBRARYV.CORELCORP_HIPGRAY342
PG.62 MODELSOF“TACTILITY”
PG.63 PROCESSOFSEATINGOBJECT
PG.64-65 PROTOTYPEMAKINGOFSEATINGOBJECT
PG.68-69 PREPARINGSPRINGEXHIBITION
PG.70-71 ATSPRINGEXHIBITIONATKONSTFACK
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