BOUNDARIES OF MATTER - DiVA portalkonstfack.diva-portal.org/smash/get/diva2:639586/... ·...

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BOUNDARIES OF MATTER MASTER THESIS | KONSTFACK 2013 | JESSIKA KÄLLESKOG THE INTANGIBLE AND THE CORPOREAL

Transcript of BOUNDARIES OF MATTER - DiVA portalkonstfack.diva-portal.org/smash/get/diva2:639586/... ·...

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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

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2 Jessika Källeskog | Master Thesis

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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

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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.

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ILLUSTRATION I | ROBERT FUDD BEWUSSTSEIN - CONSIOUSNESS FROM THE 17TH CENTURY

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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

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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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9Boundaries of Matter | The abstract to the tangible

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

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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

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ABSTRACTTACTILITY

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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?

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BOUNDERIES OF MATTER

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BOUNDARIES OF MATTER

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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.

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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.

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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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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.

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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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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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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)

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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.

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“(…) 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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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)

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SPATIAL VISUALISATION |Curvedwallcomposedasanembracing

shieldcreatingaprivatecornerinasemi-publicspace.

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SPATIAL VISUALISATION |Acocoon,makingaroominthetheroom,

graduallyclosingupbyrevolvingcoveringlayers.Protectively.

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SPATIAL VISUALISATION |Ashelterwithasweepingcompositionof

twoover-crossingsurfaces.Creatingaspatialdivisionintheroom.

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SPATIAL VISUALISATION |Whatmakesaspatialdivision?Acollection

ofribbonsstrechedoveracircledbaseasarchescreatingaspace.

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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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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)

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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.

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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.

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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.

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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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51Boundaries of Matter | The abstract to the tangible

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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52 Jessika Källeskog | Master Thesis

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

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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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55Boundaries of Matter | The abstract to the tangible

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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56 Jessika Källeskog | Master Thesis

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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57Boundaries of Matter | The abstract to the tangible

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.

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58 Jessika Källeskog | Master Thesis

A RECURRENT INSPIRATION | Spiral Staircases that I photograph

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59Boundaries of Matter | The abstract to the tangible

Il GUSCIO|AscalemodelofthePavilion|Frontview

Il GUSCIO|AscalemodelofthePavilion|RotetedSideview

Il GUSCIO|AscalemodelofthePavilion|FrontviewRaised

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61Boundaries of Matter | The abstract to the tangible

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.

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SCALEMODELLOFSEATINGPOSITION&STRUCTURE|Focusingontheheadandthekneepartastobuildupmaterialtocreateafeelforsafetyandembracement.Lettingthestructurebreathsimplicity.

SCALEMODELSFORRESTINGCHAIR|Inthebegionningofthepro-cess,departuringfromtheseatingpositionandaddingupmaterial.

SKETCHOFRESTINGCHAIR|Developingdifferentsolutionsforthestructureandtheattachemntoflegs.

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PROTOTYPE MAKING OF STRUCTURE OF THE RESTING CHAIR | Complexbendingtomakethe2sidesbeamirroringofeachother.Asafirstfaseofseeingthefullscaledimensionsbeforemakingadjust-mentsforamorecomputerizedproductionforalaterdevelopment.

PROTOTYPE MAKING OF STRUCTURE OF THE RESTING CHAIR | Makingadjustmentsandtranslatingthemeasurementsbyhand.

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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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67Boundaries of Matter | The abstract to the tangible

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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72 Jessika Källeskog | Master Thesis

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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73Boundaries of Matter | The abstract to the tangible

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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74 Jessika Källeskog | Master Thesis

PR

OJE

CT

S H

ELP

ING

HA

ND

S

GRATITUDES

ToAnnaOdlingeatKonstfackforthededicationandambitiontomeeteachoneofusstudentsinourmindset.Introducingabroadspectraofpossiblewaystofollowadesignprocessandthesupportalongtheway

MattiKlenellforyourcalmbutdistinctmannerinsupportingmeintheprocessoftheprojectpushingmetowardsworkingwiththeconcreteandobjects,witchledtoanevenmoredestinctconvictionofworkingwithspaceforthenearestfuture

ToKatarinaBonnevierforyourfantastichumbleandincredibleenthusiasticpresenceinthecomplexityofweavingandselectingthistext.

ToELMOLeather,LarsOveBäckängerforsponsoringbeutifulsoftleatherfortheprototype

BengtOlofJohanssonatBendingGroupfortheviewpointsofthestructureconstruction

ToJonasMajorsforthegreathancraftskillsanddedicationtoobtaintherightcurvesintheprototypingdevelopmentofthestructure.

ToJohannaNilssonatStockholmsMässanforthehelpinghandintheprocessofcollectingmaterialstomyspatialtrials

ToJohanPaalzowatthesculpturestudioatKonstfackforbeeingfantasticandsupportiveandgivingstrenghttoamorefreeinterpretationofform

TomydadClaesKälleskogforthesupport,helpingmeoutwithar-rangingandmakingthestructurefortheexhibition

ToFridaHellbergforbeeingandyourimmensepatienceandsupporttogetthestructureup,couldntdoneitwithoutyou!

ToSunYingforourhonestconversationsandyourpresenceduringthese years

ToCicciCronelidforyourimmensesupportandyourpatiencewithmetogetthestructureup,couldnthonestlydoneitwithoutyou

GrazietoFerreroRosatiatDromethatsendsoversamplesofleatherinexpressfromItaly

ToPeterDellUvafornicelyconfusingandgivingmenewinputs

ToEFGFurnitureGroupbygivingtextilestomyspatialtrials

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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

VO

CA

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76 Jessika Källeskog | Master Thesis

BIBLIIOGRAPHY

ALBERSJOSEF|INTERACTIONOFCOLOR.NEWHAVEN[CONN:YALEUP,2006.PRINT.REVISEDANDEXPANDEDEDITIONCOPYRIGHT

ALVAROSIZA.BARCELONA.LOFTPUBLICATIONS2002

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BALLRAHLP/NAYLORMAXINE|FORMFOLLOWSIDEA-ANINTRODUCTION TO DESIGN POETICS . LONDON . BLACKDOGPUBLISHINGLIMITED2005

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DICKER GEORG | DESCARTES, AN ANALYTICAL AND HISTORICALINTRODUCTION. NEW YORK . OXFORD UNIVERSITY PRESS 1993

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MEERWEIN, GERHARD, BETTINA RODECK, FRANK H. MAHNKE, LAURA BRUCE,MATTHEWD.GASKINS,PAULCOHEN|COLOR:COMMUNICATIONINARCHITECTURALSPACE.BASEL:BIRKHAUSERVERLAG,2007.PRINT.

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77Boundaries of Matter | The abstract to the tangible

NETOGROPHY

DIZIONARIOETIMOLOGICOONLINEHTTP://WWW.ETIMO.IT/?TERM=CONCENTRARE

DONALDMACKENZIE.1907.EGYPTIANMYTHANDLEGEND,HTTP://WWW.SACRED-TEXTS.COM

GEOFFREY A. FARTHING, WHEN WE DIE OCH EXPLORING THE GREAT BEYOND,THEOSOPHYTRUST2013.HTTP://THEOSOPHYTRUST.ORG/TLODOCS/ARTICLESSYMBOL.PHP?D=EGGTHE-0475.HTM&P=18#

UXL ENCYCLOPEDIA OF SCIENCE | 2002 | COPYRIGHT HTTP://WWW.ENCYCLOPEDIA.COM/TOPIC/ALCHEMY.ASPX#4

MODERNLANGUAGEASSOCIATION(MLA)THEAMERICANHERITAGE®STEDMAN’SMEDICALDICTIONARY.HOUGHTONMIFFLINCOMPANY.05APR.2013.HTTP://DICTIONARY.REFERENCE.COM/BROWSE/PRO-PRIOCEPTION

NEW WORLD ENCYCLOPEDIAHTTP://WWW.NEWWORLDENCYCLOPEDIA.ORG/ENTRY/INTROSPEC-TION

PHYSIOFORCARE|DATEDACCESSED2013.04.05HTTP://PHYSIOFOR-CARE.COM/BLOG/?PAGE_ID=104

WIKIPEDIA HTTP:/WWW.WIKIPEDIA.COM

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79Boundaries of Matter | The abstract to the tangible

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

BACK COVER KALEIDOSCOPIC | PHOTO JESSIKA KÄLLESKOG

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80 Jessika Källeskog | Master Thesis