REFLECTIONS ON ICE​
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Background
This project was made in my 1:st year of my master studies at HDK.
The result of a Table lamp made out of recycled plastic,was shown at Stockholm Furniture fair 2020.
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Concept
I 've been fascinated, but also terrified by the transformation and movement of ice. Layer upon layer of history and science captured in landscapes of frozen water; records of the climate and the environment through time - once melted it can never be replaced. A fragile environment that I find to be an endless source of inspiration.
The shrinking cover from ice and snow reflecting less and less of the heat from the sun; contributing to rising temperatures and sea levels, making the future uncertain and forcing us to reconsider our lives and habitats - complex challenges calling for creativity, but also optimism.
Sometimes art and design can engage people’s imagination in an immediate way, speaking even louder than volumes of scientific data. These lamps were, with this in mind, created from recycled plastic - in an attempt to convey the beauty of our vulnerable icescapes, as opposed to their devastation, to inspire viewers to help protect and preserve them.
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Design Process
The lamp was made through the process of melting recycled plastic and creating marbled patterns that takes inspiration from our melting icescapes.
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STAGING AN ATMOSPHERE​
Tangible Materials, Intangible situations and Quasi Things
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Background
This was my Thesis Project from my Master studies of Fine Arts Design in Design at HDK. Graduation year 2021
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Abstract
The thesis explores philosophical and architectural aspects of Atmospheres and their affective impact on our perception of space. The research examines the relation between atmospheres and design practice and aims to open up for new perspectives and discourses around the designers role in staging an atmosphere. I’ve been dealing with questions such as how atmospheres are present in and through spatial design, and if it’s possible for designers to construct an atmosphere? If we should attribute atmospheres to the subjects who experience them, or to the materials, objects and environments from which they proceed? or is it a phenomenon that comes out of the meeting between subject and object?
Theories that the spatial atmosphere is affected by both tangible and intangible materials, personal emotions and perceptual schemas as well as body-felt experiences, leads to questions on what role the Interior architect has? With the intention of creating spaces with a certain mood or emotional experience, is it reasonable to only concern physical materials?
To examine these questions from two perspectives, the thesis was divided into two parts, where the first part situates the concept of atmosphere theoretically and outlines the highly interdisciplinary world that it currently moves in. The philosophical and architectural aspects of atmosphere, it’s significant role on our perception of space and theories on the making of
atmosphere are examined and discussed.
The second part explores the topic through an artistic project where a spatial multi-sensory experience was created with a predetermined emotional concept. The spatial installation explores the relation between objective and subjective information and confronts design choices with individual experiences in an attempt to provide alternative views on how interior architecture can be designed and function in the future, with a more profound connection to our emotions and sensorial bodies.
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Keywords: Atmosphere, Sensorial architecture, spatial perception, staging atmosphere, Quasi-things
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Parts of the design process
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SPACE OF NEGOTIATION
Background
In the course "Design as exploratory practice" we got introduced to Bruno Latour and his theory ANT (Actor network theory). We got a brief from Gothenburg City museum to explore an oblect with Latour in mind and his understanding of relations.
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Concept
Reading about Latour and the actor network theory, I find it interesting to try this theory when exploring a space. A way to understand how functions, expressions and meanings between objects, designers and users are negotiated and constructed, and also study the relations between actors within a network. My aim was to design a transformative museum interior that could be shaped and reshaped in different ways, and explore the various ways in which it might be used; briefly, to study the changing relations and associations between objects, users and space as a consequence of their interaction. I also wanted to explore how we can shift the social meaning and experience of an object by changing the context. To explore materiality according to Latour, where he argues that objects and artifacts can affect people’s actions in the social, just as much as other people.
