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Interwoven Encounters

A Place In-between

Interwoven Encounters

Contents

A huge thank you to Phoebe Whitman, for your guidance and patiently pleping me through the duration of this research.

Interwoven Encounters A place in-between

From the perspective of interiority, how can we change our relationship with the external environment in order to create an intimate interaction with nature?

Ziqi Cao s3776308 Bachelor of Interior Design (Honours) RMIT Research Book

Abstract Glossary of Terms Introduction

4 6 8

The Engagement Curatoria situation

12 14

The Surface Shape of wind Embracing the moment - Light & Shadow A Dialogue Notation To Project Water & Reflection

16 18 22 24 28 30 34

The Fold Periscopes Exposure N2

38 40 44

The Extraction Skin Casting Breakdown Reconstruction Growth The TREE

54 58 62 66 70 74 78

‘ In-Between’ structural frame

The Situation Location Site analysis Structural components No. 1 Structural components No. 2 Prototype Material Responsiveness Multiplicity Guiding Interactivity

82 86 88 96 100 102 106 110 112 114 116

Reflection Moving Forward Bibliography Appendix Reference Images

120 122 124 126

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Abstract Encounter, In-between, Natural, Interiority, Extraction

This project focus on ‚in-between‘ place and strives to find an intimate connection to the outer natural world. In the post-epidemic era, the ways of living have shifted from the outside to the inside, from the exterior to the interior. As a result of concentrating on the sense of self, individuals are losing the opportunity to actively engage in the world around them. This project focuses on neglected natural environment. These marginal places have led to a perceptual division and a distinction between interior/exterior spaces due to lack of attention. I became curious about place in between, what is the potential of ‚in-between‘ to reveal the material and perceptual relationship between man and nature? An ‚in-between‘ place can be interior and exterior, existing through conscious and perceptual experiences. ‚In-between‘ involves encounter and inform the inside and outside, arranging components within a place through perception, or what Deleuze and Guattari demonstrate as “assemblage”. This assemblage is formed by the flow of perception and reacts within the interiority. Extraction serves as a strategy for extracting conditions and qualities, generating new configurations from the original assemblage, including, but not limited to deconstructing, valuing, collaging, modelling, and archiving. Interwoven Encounters facilitates the creative expression of external environment and iteration in response to perceptions of continued proliferation. Reconsider the position of human beings and the connection to more-than-human world.

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Nature

everything that naturally occurs in the world in terms of matter and happenings

Connection

a relationship in which things or human is related to another.

In -between

a complex relationship between internal and external elements that intersect.

Perception

the human brain accepts and reveals the experienced feelings in a meaningful way.

Awareness

involves the senses, a relationship that is highly connected to the surrounding environment

Attentiveness Experience Boundary

Glossary of Terms

observe detailed or the action of paying close attention to things around. attentiveness towards and observation of things, including bodyily engagement a dichotomous division between two things, producing a clear distinction

Surface

a manifestation of interiority displayed on the outward appearance, present in a shifting form and associated to all atmospheric conditions.

Fold

a process of altering subjectivity that is closely linked to perceptual awareness and affects the way people experience and engage with the outside world

Extraction Surrounding Interiority Artefact Materiality Engagement Quality Reimagine Temporal

a strategy for extracting conditions and qualities to produce a new configuration from the original combiperipheral external environment the state of being in between, a relationship in which the internal and external flow into each other man made, something that does not exist naturally the quality or characteristic composed things identity the concept of communicating with something to produce a performance, related to the surrounding enall the circumstances within which a thing is composed, both tangible and intangible reinterpret imaginatively the notion of the transient, non-permanent, limited by the dimension of time

Re-present

Reinterpretation of existing things or conditions, hyphen-linked terminology suggests distinguished from the present

Replication

the notion of being re-presented in response to an original, and becoming an image of its echoed self

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This design study seeks to blur the boundaries between interior and exterior by establishing ‚in-between‘ though more intimate relationship with the natural environment outside. The focus of people‘s lives has shifted from the outdoors to the indoors and from the exterior to the interior in the post-epidemic era. Focusing on oneself as a subject is gradually robbing individuals of the chance to actively engage in the outer world. Therefore, as a result of the rapid urbanisation, nature is being reduced to a functional backdrop for high-rise buildings or facilities and is at risk of disappearance. My research examines how to establish connections, experiences, and sensations between the interior and exterior. Entitled ‚Interwoven Encounters‘, it places focuses on the space between people and their environment to create a more intimate interaction. I have developed a variety of tactics and strategies for my research, including collecting, evaluating, producing, deconstructing, extracting, and re-presenting.

These techniques require scrupulous observation of the surrounding environment‘s quality and changes. These strategies in the interdisciplinary chapters helped me to connect ideas about ‚in-between‘ places. As the project progressed, key strategies for observing and extracting the quality of the natural environment began to emerge. Beginning with an investigation of ‚The engagement,‘ I discovered a close and ambiguous relationship between interiority and the external environment, as well as human subjectivity-related concepts. In chapter two, „The surface,“ I explore new ways of perceiving and engaging with the environment as a consequence of the first experiment. In this research, „The fold,“ a reflective experiment, helped me consider how people and their environment interact. It is achieved by enabling people to feel more intimately connected to their environment while gaining experience. This research centred on the final experiment, „the extraction,“ which brought the site‘s neglected natural conditions back to human attention through the

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extraction process. The developed strategies reintroduce people to nature and the environment, enabling them to develop a specific, focused way of experiencing and interacting with the environment. These findings can then be applied to facilitate human-environment interaction and achieve a deeper level of intimacy with the environment. This study‘s exploratory work is supported by a variety of theories on the concept of ‚in-between‘, and the most influential are Attiwill Suzie‘s discussion of interiority in ‚Between Representation and the Mirror: Tactics for Interiorization‘ and McCarthy, Christine‘s concept of internal and external boundaries in ‚Toward a Definition of Interiority. ‚ These theories helped me develop the concept of a flow between the interior and exterior and prompted me to consider how the interiority of the human subject of experience and perception relate to the exterior environment. As an interior practitioner, this project seeks to investigate and create a more intimate interaction between humans and their environment from an interior perspec-

tive. The aforementioned strategies are employed to challenge the concept of an internal-external boundary. The primary objective of the research is to equip humans with new perspectives on experiencing and perceiving their surroundings by investigating the quality of the environment, thereby altering the way in which they relate to their surroundings by re-presenting the quality of the site to allow for a more intimate encounter, thus becoming able to explore the exterior from the perspective of interiority and creating places in between.

From the perspective of interiority, how can we change our relationship with the external environment in order to create an intimate interaction with nature?

Introduction

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‘THE NEW FOCUS ON PLACE, THEREFORE, ATTENDS TO HOW WE, AS HUMANS, ARE IN-THE-WORLD – HOW WE RELATE TO OUR NATURE ENVIRONMENT AND MAKE IT INTO PLACE.‘1

Tim Cresswell, “Place,” International encyclopedia of human geography 8 (2009): 173.

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The Engagement ‘De Certeau does not read place as an order, but as an ordering system, while spatial practices do not reproduce fragments of a given order, but operate as ordering activities, whether that activity be walking, reading, listening or viewing.’ 1

Nick Kaye, Site-Specific Art: Performance, Place, and Documentation (New York: Routledge, 2000), 4.

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In regard to the notion of engagement, the object that generates the act of engagement in space as the subject becomes the focus in identifying the place, thereby creating a dichotomy between both the subject and object. However, I argue that engagement is not only limited to the subject‘s actions, but it is also associated with the surrounding environment as well as the sight of its materiality. Engagement is influenced by all environmental conditions, which may be both tangible and intangible, such as the projection and refraction of light, wind flow in the air, temperature, and humidity. The intermingling of all such conditions thus produces extensive participation. This chapter examines engagement in order to offer an alternative perspective on the influence of materiality on an object in an interior situation while examining the role that the surroundings play in stimulating participation. Accordingly, this study seeks to find a balance between the environment and human being within anthropocentrism and de-anthropocentrism (de-human-centered thinking) with the goal of obscuring the boundaries between the subject and object.

Although this is not the main purpose of this study, it demonstrates the importance of revealing the close and fuzzy relationship between the subject and object. Furthermore, this study provides a foundation for my future exploration of the connection between the interiority and outside natural environment in order to establish a progressive form of logic in research.

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Curatorial situation

This project examines a series of interior situations in order to gain a more detailed understanding of the engagement role of objects in the environment. Moreover, it attempts to demonstrate ways in influencing the environment‘s narrative in an interior situation. The project begins by selecting a series of interior scenes in which objects play a role similar to that occupied by people in the environment. Photoshop is then used to erase portions of these objects that are identified to influence the narrative of the situation. This erasure is, in effect, a division of a spatial condition. By adopting this layering process, objects as original subjects in the space are shown to be erased from the situation.

Interestingly, the idea of erasure emphasizes on absence through the surroundings; the scene may still be understood by actions surrounding the object. As a result, the environment at this moment becomes the curator of the interior scenario that organizes the narrative in the space. This in itself brings about an apparent internal instability as well as a subtle interrelationship between both the subject and object.

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’attempted to shift the centrality of the viewer as a stable, centred ‘I’ to a composition which produce encounters via surfaces with processes of becoming and transformation as distinct from surface as representation or a reflection of one’s self-expression.‘ 1

1 Suzie Attiwill, “Between Representation and the Mirror: tactics for interiorization,” in Interior Tools, Interior Tactics: Debates in Interiors Theory and Practice, eds. Edward Hollis, Andrew Milligan, and Drew Plunkett, (Oxfordshire: Libri Publishing, 2011), p162-163.

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This chapter seeks to examine the potential significance of the surface in regard to the creation of in-between places. The surface is normally understood as the uppermost or outermost part of something. However, I argue that surfaces are not limited to their existence as ‚shells‘; rather, they can participate in atmospheric conditions in a ‚dynamic and transforming‘1 manner, thus producing a haptic form of interiority and allowing the body‘s interior to engage with the exterior at the point of exchange on the surface2 . The study presents the surface not as a result, but as a means of transferring human centrality to contact the outside environment.

How do hidden forces of nature structure our lives? How can we activate our connection with nature through these intangible qualities? This project enabled me to discover a new way of engaging with the environment through human perception, allowing for the perception of the environment as a process. The surfaces are explored in the next series of explorations, in which the natural qualities that make up the environment that are normally overlooked, such as wind, light and shadow, refraction and reflection, are examined. The corresponding experiments attempt to return focus to the environment by amplifying and activating existing natural qualities that have not been attended to, exploring novel methods of engagement.

The Surface

In order to reveal the intangible qualities and respond to people‘s perceptions and experiences, these experiments commonly employ the use of other devices, such as fabric, projections, water, magnifying glasses and other tangible substances, as midpoints of contact so as to enhance people‘s perceptions of existing intangible conditions. This series of experiments gave me the idea of intervening in the environment to amplify one’s experience; however, the intrusion of devices may imply a risk of detachment from the environment. When exploring ways of connecting humans to their environment, one point that should be considered is the suitability of the means or technology of the connection to the surroundings. For example, the boundary that exists between man-made and natural aspects.

1 Suzie Attiwill, “Between Representation and the Mirror: tactics for interiorization,” 168. 2 McCarthy Christine, “Toward a definition of interiority.” Space and Culture 8, no. 2 (2005): 119, https://doi.org/10.1177/1206331205275020.

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1. Shape of wind

Wind is the poetry of nature. In regard to the relationship between wind and the concept of inbetween, wind as an immaterial quality is a type of in-between. Specifically, its shape is fluid and dependent on the form of the reactant, constructing its own identity according to structure. The wind experiment is inspired by the canopy that was designed by K-studio for the Barbouni Restaurant (Fig.1), which is a series of hanging fabric pieces forming a fluid three-dimensional landscape based on wind’s flutter. The combination of a wooden structure with naturally occurring elements thus creates a multi-sensory architecture that is in harmony with its environment. By hanging the textile on the branches and observing its form within a period of time, the wind is no longer just an intermediate object in itself; instead, it becomes part of the in-between, existing as a link between both man and nature. The shape of the wind, or rather of nature, is now concretized by the textile, while the hidden energy of nature is transferred into the flow of the fabric.

Video link (YouTube): https://youtu.be/ceuPy2ZJYp4

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’mappings discover new worlds within past and present ones; they inaugurate new grounds upon the hidden traces of a living context... what already exists is more than just the physical attributes of terrain (topography, rivers, roads, buildings) but includes also the various hidden forces that underlie the workings of a given place. These include natural processes, such as wind and sun.‘ 1

1 James Corner, “The agency of mapping: speculation, critique and invention,” in Mappings, ed. Denis E. Cosgrove (London: Reaktion, 2002), 90.

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’by changing the lights ... one can expand or contract the interior in an illusionary way.‘ 1

Suzie Attiwill, “Between Representation and the Mirror: tactics for interiorization,” 167.

2. Embracing the moment - Light & Shadow

Video link (YouTube): https://youtu.be/yYkKqS5l4Zw

Video link (YouTube): https://youtu.be/QpjHk8xrAWc

This experiment focuses on the shadows cast by natural light through the gaps that are present between leaves. Accordingly, sunlight filters through the leaves in order to cast patches of light wherever it has been ignored. Moreover, a series of experiments pertaining to to light and shadow attempt to shift the constitutive internal focus temporally rather than spatially. Regardless of being inside or outside, the projection of the light alters the original fixed form of the plinth and allows it to change in the temporal dimension. Nature itself can unnoticeably intervene and transpose them into each other. Natural light, as an immaterial natural condition, is unpredictable and may be converted into visual patches of light when passing through gaps in the leaves, thereby appearing in new forms through the intervention of light. In addition, the shadows produced by light act as a medium that can bring the outside to the inside. When the shadow of a tree is cast on our body, the quality of nature communicates with the interiority of our body through the shadow. Regarding the exploration of the connection between nature

and humans, the moments produced by light and shadow blur the boundaries between the outside and inside; the outside environment can be contracted into the inside in the form of a shadow. Alternatively, we as humans can expand our interiority outwards in the shadow. The project begins by focusing on the effects that light and shadow confer on land. The corresponding video documentation, which is a time-capture archive, records the temporal quality of both natural light and the shadow that is commonly found in life, attempting to expand people‘s attention from themselves outwards to the more-than-human world.

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2.1. A Dialogue A Dialogue is a conceptual experiment that explores the possibilities of human intervention in immaterial qualities. The experiment uses the body as a medium in order to experience the meaning of nature for humans as well as examine the relationship that exists between them. Here, I cast the shadows of my body into the light by stretching and moving my limbs. Accordingly, the body in this moment changes its original form as an intervention of light, which is then broken up and diffused, ultimately creating an intermediate place for human interaction with the environment in the scattered light on the wall. Video link (YouTube): https://youtu.be/bWadqm6rwkA

This experiment inspired me to continue exploring the effects of light and shadow on interiority. Furthermore, the subsequent experiments are built upon this experiment with the goal of testing and creating a mental marker, as well as an atmosphere, that would bring nature in.

Video link (YouTube): https://youtu.be/dHMFOjIOVJg

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2.2 Notation In this experiment, I capture the moment when natural light is cast through gaps between the leaves while notating my experiences and feelings, which serves as a technique for recreating moments through notation. Notation refers to a conversion of reality, though I found to it to have a physical impact on my feelings while I was looking. Beyond being site-specific, the notation of light is shown to evoke my feelings and memories during the past and has more of a connection to the environment in a temporal aspect, allowing me to experience the past in the present. This experiment feeds into my practice around the in-between places, offering new ways of accessing nature. Thus, the link to the external environment may exist in memory and flow through perception.

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’The experience of a place or space is always a curious exchange; as I settle in a space, the space settles in me. I live in a city and the city dwells in me. We are in a constant exchange with our settings; simultaneously we internalize the setting and project our own bodies, or aspects of our body schemes, on the setting. Memory and actuality, perception and dream merge.‘ 1 1 Juhani, Pallasmaa. “Space, place, memory and imagination: The temporal dimension of existential space,” in Spatial Recall, Memory in Architecture and Landscape, ed. Marc Treib, (New York, London: Routledge, 2009), 194.

2.3 To project The experiment ‚To project‘ is considered to further internalize nature in response to the previous experiment. By further iterating the transformed symbols and projecting them into the room, the projection, as a new form of intervention, enables the manipulation and arrangement of natural qualities. Additionally, the shadows superimposed on my body can be seen as nature‘s intervention on humans. In this experiment, the relationship between humans and nature shifts from connection to interdependence. Here, the apparent boundaries between the two are broken down and blurred to represent one, and the process of internalization gradually transforms to open to the outside.

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3. Water & Reflection The experiment on water and reflection was inspired from by Kengo Kuma‘s work Water / Glass. (Fig. 2) In this experiment, I tried to capture reflections that are difficult to observe with the naked eye and are constantly changing. A reflection on the relationship between humans, man-make and nature by amplifying natural conditions. Water/ Glass creates an unprecedented transparency and continuity of space, merging with its surroundings through the transparency and reflectivity of the glass. The residence intertwining with the horizon of the Pacific Ocean through its edges, the ever-changing water in the pool interacts with the waves of the ocean and the sunlight, which spreads into particles ‘dancing on the water’ when it hits the thin stainless steel shutters at the top of the building. A ‘metaphorical equivalence’ is established between the glass and the water.1

1 Roger Pulvers, “Architect Kuma Kengo:’a product of place’,” ASIA-PACIFIC JOURNAL-JAPAN FO-CUS11, no. 26 (2013): 2, https://apjjf.org/-Roger-Pulvers/4141/article.pdf.

Based on the effect of water on the reflection of sunlight as proposed by Kengo Kuma in his work Water / Glass, I recorded the effect of light on the surface of sea at sunset and found that the light was broken up by sea into a myriad of split luminous points that kept changing according to time. I experimented with natural materials - light and water - in combination with a magnifying glass and acrylic to explore the penetration and constant change of light on water. The result of the experiment is beyond normal reflection and refraction, where natural qualities such as light, water, reflection, refraction, intertwine and pose a visual impact on the viewer through artificial devices such as acrylic and magnifying glasses. Natural masses are often intertwined and work together, with the help of artificial devices, human is now no longer a spectator of nature, but a co-operator with it.

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This chapter explores the concepts surrounding the fold as a procedure for making the in-between place. The ideas pertaining to the subject and interiority in the study can be linked to O‘Sullivan‘s interpretation of ‚the fold‘ in Deleuze‘s philosophy. Here, he argues that ‚the fold‘ may be observed as a relationship between change, which is integrated into many different dimensions. Specifically, spatial folding enables shifting of the range of vision, having multiple perspectives being brought together as one. ‚Folding‘ is an alteration of the subject that affects the way people experience and engage with the outside by changing their ability to perceive their surroundings. In this case, folding is a continuation of perceiving the natural quality in one’s surroundings, drawing the viewer to have an encounter with the external environment through the creation of voids between perspectives.1 As an interior practitioner, I aspire to explore the value of folding in spatial practice as well as the possibility of creating in-between places in order to provide a higher level of engagement. Specifically, I wish to address how the manipulation of folding can affect one’s perception as well as the ability to comprehend the environment.

The Fold

The study is organised into two parts: a periscope and a series of multi-exposure photographs, which highlight potentially overlooked qualities in the environment. In the experiment, I attempt to pull in out of range images in order to alter the viewer‘s fixed vision. This is a form of visual manipulation that I hoped would enable the viewer in keeping attention to detail. In doing so, the viewer may feel a stronger connection to the environment while gaining a new experience and interweaving with it.

1 Simon O’Sullivan, “Fold.”, in The Deleuze Dictionary, ed. Adrian Parr, (New York: Columbia University Press, 2014), 107–109.

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Periscopes The experiment Periscopes aims to provide the viewer with a perspective that goes beyond the field of vision, allowing the viewer to more deeply engage with their surroundings by altering and controlling the perceptual experience. This response is inspired by the outdoor installation ‘Multi directional Periscope’ (Fig.3), which was designed by David Rickard and Germano Di Chello (CORD). The installation attempts to challenge the viewer‘s perception, with mirrors reflecting and refracting the surrounding environment while replacing solid landscape and shattering its form. Periscopes is a smaller scale experiment, which provides a deeper level of understanding of the way people perceive their environments. In the experiment, mirrors are mainly used to interfere with people‘s vision. Suzie Attiwill‘s “Between Representation and the Mirror: tactics for interiorization” serves as the guideline for this experiment, in which mirrors act as an ‚interior tactic‘ that can produce ‚relations between people and their environment‘. 1By placing the mirror on the ground and reflecting the leaves above, the viewer‘s attention and realization is directed to the upper space, after which the device creates a novel manner in which to comprehend the environment. Moreover, the reflection of the mirror also draws the viewer‘s body closer to the ground, attracting attention while providing a new perspective towards the environment.

1 Suzie Attiwill, “Between Representation and the Mirror: tactics for interiorization,” 159-169.

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Exposure N2 Exposure N2 is a set of film photographs designed to capture the interval between the inside and outside. Accordingly, a collection of photos is deliberately arranged, exposed, and duplicated multiple times in order to create overlaps and mergers in space. These images of blurred indoor-outdoor boundaries have been known to prompt humans into rethinking their position in the world. The experiment explores the in-between concept by blurring the internal and external boundaries and allowing people to think about their sense of self and how we experience and engage in our surroundings through the folding spaces. According to the unfamiliar presentation of familiar perspectives, it aims to rethink the way humans engage with their environment. The pictures‘ unconventional nature prompts a re-examination of the human being‘s position as a participant in the environment. These images result from multiple exposures to a single roll of film. As a consequence, familiar objects and scenes can be made unfamiliar, and existing spaces can be re-shaped in a new manner. In doing so, the peripheral details and qualities that are normally overlooked are magnified by the re-writing process, exhibiting unique qualities and opportunities for creating in-between places while attracting attention and reflection toward them.

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‘IN SENSORY EXPERIENCE, THERE UNFOLDS BOTH THE BECOMING OF THE SUBJECT AND THE HAPPENING OF THE WORLD. I BECOME INSOFAR AS SOMETHING HAPPENS, AND SOMETHING HAPPENS (FOR ME) ONLY INSOFAR AS I BECOME. THE NOW OF SENSING BELONGS NEITHER TO OBJECTIVITY NOT TO SUBJECTIVITY ALONE, BUT NECESSARILY TO BOTH TOGETHER. IN SENSE, BOTH NECESSARILY TO BOTH TOGETHER. IN SENSE, BOTH SELF AND WOULD UNFOLD SIMULTANEOUSLY FOR THE SENSING SUBJECT; THE SENSING BEING EXPERIENCES HIMSELF AND THE WORLD, HIMSELF IN THE WORLD, HIMSELF WITH THE WORLD.’1

Elizabeth Grosz, Chaos, territory, art: Deleuze and the framing of the earth (New York: Colum-bia University Press, 2008), p8.

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The Extraction

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This chapter serves as a key step in enhancing the further understanding of the environment. Extraction involves collecting objects from the environment and deconstructing them, exploring the materiality of nature through the collection of materials and gathering information about its elements. Extraction is a way of discovering new information and details about the environment, which is inspired by my interest in materials and botanical specimens. Botanical specimens are often referred to as specimens that are made by pressing fresh plant material onto absorbent paper to dry, after which it is bound to table paper, creating a specimen of the plant itself. However, the chapter extraction tries to store and record information about the environment in a new way, elaborating how nature is perceived. This process of extracting existing objects and producing new forms of understanding coincides with Simon O‘Sullivan‘s concept of ‚new‘ when she suggests that:

“The new does not arrive from some ‚other place‘ (transcendence), but is produced from the very matter of the world”1

The emergence of the new is in fact a rediscovery of the old, and the extraction enabled me to reflect on the meaning of what it is to meet as well as on ways in which finding the in-between place is most feasible. Is there a new way of investigating and assessing the environment? Moreover, can this new approach enhance new forms of understanding and experience in regard to nature? The experiments in this chapter generally pertain to the further understanding of the environment and controlling the way the audience experiences it. As my focus is on increasing the viewer‘s awareness of the external surroundings, the experimental approach attempts to examine the objects collected in the environment more detailed. The experiments begin with the study of texture and gradually expand to discuss the relationship between people and their environment. Additionally, the end of the chapter involves some immaterial exploration beyond form, extending the observation of the environment in a time-related direction.

1 Simon O’Sullivan, “The Production of the New and the Care of the Self.” in Deleuze, Guattari and the Production of the New, eds. Simon O’Sullivan and Stephen Zepke (London; New York: Contiuum, 2008), 91.

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‘A process of interiorization as one of design and one of mediation involving design tactics with surfaces, materials, light and movement; a kind of in-between position, neither viewer nor artist, like the Tournier story; a process which constructs ‘a temporary and virtual arrangement according to casual, logical and temporal relations’.’1 photogarphy narrative

Suzie Attiwill, “Between Representation and the Mirror: tactics for interiorization,” 163.

people extraction

sufraces notation collection

materiality

experiences perceptions

qualities man-made

engagement

sense of self

EXTERIOR

boundary two-way process

NATURE

ENCOUNTER

INTERIORITY IN-BETWEEN

contraction and expansion "one based on contraction and the other on expansion" 1 1.

Diana Fuss, The sense of an interior: Four rooms and the writers that shaped them (New York:

Routledge, 2004), 12.

INTERIOR

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Skin While observing the surroundings, I trained myself to pay attention to the overlooked details of life and carried out a series of experiments by observing and collecting images of my surroundings while walking the streets. Doing so helped in exploring the materiality of nature in a more focused manner. The exploration collected leaves from different species of trees and attached them to moist rice paper, which was then dried and brushed with a thin layer of graphite powder and gently tapped in order to remove excess powder. The technique of topography presents a clear, realistic, vivid, and complete image of the leaves in a new way. The findings of this experiment can advance the idea of intervention and demonstrate a detailed study of the environment. Meanwhile, the extraction adds a new narrative to the materiality of the environment; one that invites a detailed, discrete engagement with the environment and inspires a more intimate encounter with it..

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Casting Casting is known to be a continuation of the previous project, offering another manner in which people may closely observe nature. By capturing the materiality of leaves by casting them in plaster, the unique properties of the plaster are designed to capture those distinct patterns. In doing so, one may understand the leaves to be one of the most straightforward qualities produced from nature. By casting, the leaves can be observed in a more detailed approach, demonstrating that leaves are much more complex than what is commonly thought. There is a narrative behind each leaf, which is revealed by its unique textural veins. The leaves are also in a state of temporal flux, changing and withering over time. The casting technique is able to shift the fragility of the leaves, allowing the natural material to reassert its power in a new way..

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Breakdown The experiment deconstructs different species of flowers by breaking apart the whole and arranging them horizontally. Specifically, the flower is no longer seen as an object and a symbolic sign; instead, it explodes and becomes fragments in its natural environment. The goal of disassembly is to achieve a deeper understanding of the object’s components and complex structure. Accordingly, this experiment, which is a process of extraction, helps reveal and understand the complex qualities of plants. Gardenia

Penoy

Roses

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Camellia

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Dahlia

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Construction The experiments in the chapter generally involve a heightened sense of understanding of the environment as well as control over the way the viewer experiences it. The concept of construction is derived from thinking about the boundary between the artificial and natural, using artificial materials as a proxy for the possible effects of human intervention in nature. First, resin is combined with dried leaves in order to create a model that resembles the shape of a man-made brick. Its purpose is to create a new material via combination of nature and artificiality so as to influence the manner in which the viewer experiences the environment. From this step onward, a comparative study is used in order to rethink the boundaries between natural and artificial or man-made materials.

The design explorations that were undertaken have always reflected on the process with the goal of discovering potential new ways for humans to experience nature and curating new encounters by intervening in the quality of the existing external environment. This experiment was initially considered unsuccessful; however, in reflection, I began to question the boundaries between the artificial and natural aspects. When deriving the concepts of artificiality and nature, humans assign subjective definitions to both elements. In fact, the emergence of artificial materials serves as an important distinction of man‘s attempt to establish a connection with the outside environment, such as the use of acrylic which allows for the penetration of natural light, or the use of marble tiles. Artificial materials have never been considered to be part of the earth, though all materials come from it. Therefore, the two should probably not be discussed separately. In the experiment, resin changes the temporal lifespan of the leaves to a duration state, and the transparent quality of the resin allows light to penetrate itself and overlap onto existing materials in order to create a novel and nostalgic combination of textures. ‚Artificiality‘ is considered in the project to be the improvement of nature, allowing for a greater return to the environment in a chaotic landscape.

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A comparative study

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Growth

The extraction process involves concepts regarding botanical drawings, which aims to respond to the quality of the environment in terms of plant ecology. Botanical drawings are an artistic form of language that represents the external form and internal organization of plants. Moreover, it is an effective form of scientific visual documentation and may serve as a visual expression of artistic language using the plant as the subject. In addition, it is also an important means of representing plants and understanding them. In this experiment, the line process of botanical drawings is applied to the growth of the plants in order to guide how nature is temporally viewed. By observing the plant in its current form, the way it continues to grow in the future is re-imagined through both the memory and understanding of the plant. Specifically, the derivation of the rhizome and extension, as well as the assembly of the petals, generation and withering. Here, each step can be viewed in reverse, with the growth cycle of nature being observable in the experiment. In this experiment, as a human placed in the environment, I attempt to understand nature by carrying out a detailed observation, reconstructing the external environment through imagination and memory. In doing so, a complete awareness of the plants and environment in which we live may be gained, which can help in understanding the series of changes that occur in the environment that extend beyond our current vision.

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The TREE

In order to further develop my interest in plant ecology, this experiment focuses on the most common natural element in life: the tree. The goal of this study is to gain a greater understanding of the environment by deeply thinking about the qualities of trees. The idea of trees came from the website More-than-Human Dérive, which sparked my interest. By presenting a collection of data on trees in urban spaces, the website enables people to enhance their perception and understanding of the urban forest in a digital setting and further connect themselves to their environment. Personally, the most critical aspect of this precedent is giving value to the role of trees as a natural link in the external environment as well as the emotional connection that exists between trees and people. Accordingly, a model is used to demonstrate my understanding of trees and their relationship with humans. The most ordinary tree in life is a symbol of nature; its roots are firmly planted at its base and continuously grows, with life and death foreshadowing the cycles of nature. The presence of trees is a collection of nature‘s materiality and immateriality. In this context, trees can act as a medium to convey messages between humans and their environment. In the living spaces, especially, the presence of urban forests showcases the human desire to experience nature. This experiment generated certain ideas about the urban forest and helped drive my subsequent choice of sites.

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‘ In-Between’ structural frame

By exploring this space experimentally, components of the in-between place are revealed. These components embody how boundaries, subjects, surfaces, materials and closeness create an ‚in-between‘ place where establish a high encounter between the natural environment and humans. The in-between places in space blur the boundaries between subject and object, inside and outside, stimulating potential for internalisation, allowing for new perspectives of connecting with nature.

surroundings

perception body

SUBJECT

senses

familiar/unfamiliar

engagement

experience

re-present

change

closeness

BOUNDARY

site-specific

IN-BETWEEN

Encounter

intangible

interactivity

wind

in/exterior distance

off-site

MATERIAL time temporal duration

shadow

light reflection

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The Situation

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Site Gongqing National Forest Park 31.3212° N, 121.5506° E 2000 Jungong Rd, Yangpu District, China, 201208

Existing Walkway

River flows through the park

Entrance

Huangpu River Entrance

Entrance

Extensive greenery cover

The site I chose to respond to was Gongqing National Forest Park, located in Shanghai. Due to its intricate complexity as an existing ‚in-between‘ circumstance as well as its natural features as a park endowed with the forested landscape, the site was selected. As a forest park in an urban setting, it serves as a gateway between humans and the external natural environment. In addition, by studying its website, I discovered that it offered a variety of ‚in-between‘ scenarios. First, its location makes it a transitional region between urban and natural settings, as it is bordered to the west by a densely populated area and to the east by the Huangpu River, the city‘s primary waterway. Second, from the perspective of the park‘s function, the Gongqing National Forest Park features a wide variety of forested landscapes while still satisfying the needs of its visitors, such as public facilities and the walkways. Moreover, the park is equipped with a large number of forested landscapes to ensure biodiversity, but it also encompasses hills, lakes, and meadows, allowing it to serve as a medium among different landscapes. Finally, according to the history of Shanghai, it can be argued that Shanghai was also an ‚in-between‘ city throughout the majority of the 20th century. Since the majority of the territory of Shanghai was exploited as a public concession for several countries, and the Huangpu river also acted as a port for cross-border cargoes exchange facility. Another criterion for choosing this site was its sensitivity as an urban forest park, which emerged as a man-made creation to enhance environmental engagement. As the site was explored, I was made aware of a potential issue: the park features a clear distinction between pedestrian access and grassland, which limits the opportunities for visitors to interact with the environment, though it does facilitate the flow of travellers. The

majority of our time in the park is spent ‘observing’, as opposed to ‘experiencing’. In this section, a temporary installation for Gongqing National Forest Park was designed. The specific location of the installation is on a lawn surrounded by trees and near a lake that extends from a tributary of the Huangpu River. The installation was expected to serve as an ‚in-between‘ space for visitors to have a more intimate interaction with the surrounding environment and offer visitors a fresh perspective on the natural environment. The installation is able to be assembled and disassembled in a manner that is freely responsive to the site. The form and approach of the installation were motivated by my prior research into nature and trees with the intention of preserving the natural environment of the forest park as much as possible while also minimising the impact of the intervention. The Shanghai departments responsible for environmental regulation are among the project‘s collaborators. It is anticipated that the site‘s users will be nearby residents, but there is still the potential to engage more people. The process of responding to the site not only provides the opportunity to learn from the external environment, but also has the potential to generate ideas and further considerations from the initial exploration of design.

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Site Analysis

Developing Suburbs

Huangpu River SITE

Developed Suburbs

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Specific location of the installation

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Structural components No. 1

The leaves and branches of a tree are its most vital parts. This section explores the possibility of transforming natural elements into architectural components by extracting their qualities. In designing the installation, I drew inspiration for its structural form from the leafy and branching portions of the tree, owing to my interest in trees and the external natural environment from previous investigations. This is intended to respond to the natural environment with organic forms that allow the installation to blend with the atmosphere of the site. Through their leaves, trees exhale oxygen, while the shadows they cast, and their sense of enclosure provide humans with a sense of protection. In this experiment, a roof was tentatively constructed by arranging leaves in various ways. The effect of the shadows is compared to an adjacent

blank ‘field.’ As the direction of light shifts, the shadows of the site take on an organic form and a ‚natural‘ dynamic quality. The purpose of extraction is not to create a separation between the installation and the site, but rather to amplify and emphasise the detail and quality of the site in a representational manner that might otherwise be overlooked. In this approach, it is hoped the distinction be blurred between site-specific and non-site installations, with the installation emerging with the intention of revealing an experience and bringing people back to the site through their engagement with the installation.

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’the architecture appears to be constructed out of materials taken from the site, the rearrangement of the displaced materials coincides with the location of the physical extraction, producing the ‘work’ of architecture as simultaneously site and non-site.‘ 1

Jane Rendell, Art and architecture: a place between (London: IB Tauris, 2006), 54.

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Structural components No. 2

The purpose of this experiment is to test the support provided by the branches. The function of the branch is comparable to that of a beam in architecture, whereas its bending flexibility has the potential to provide novel construction techniques.

By taking strain measurements from a variety of perspectives, I have been able to analyse the response of trees to changes in stress. The results indicate that a branch of comparable size and shape can deform horizontally more as the angle of inclination increases; when the branch is fixed in a particular position (i.e. at 30° to the ground), this deformation is minimised. Consequently, it can be proposed that branches possess a unique ‚elastic‘ property - the ability to bend to create a natural flow for the installation, which is not possible with conventional materials such as concrete, while maintaining a certain level of support.

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Prototype The prototype section incorporated the results of the two preceding experiments and continued to iterate on the previous model while testing various possible configurations. During this phase, the possible construction qualities of the branches and leaves are considered, such as wrapping, curvature, and vertical tree growth, and the shadows cast by the light on the model are recorded on video. The transmission of light that simulated the trajectory of the sun‘s rays throughout the day allows researchers to test the variation in shadows that could be brought about by different combinations of forms and the sense of protection provided to people. In subsequent experiments, these models served as prototypes for the installation, and the feasibility of the installation was further evaluated through material substitution. By incorporating the park‘s activities into the installation and creating a more profound interaction with the natural environment, it can be expected that the installation engendered from the form and quality of the natural materials will encourage visitors to become aware of their natural surroundings and develop a deeper understanding.

Video link (YouTube): https://youtu.be/FnrBzF2asC8

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Material & Ways of engagment To facilitate engagement between the installation and visitors, I began to consider the spatial potential of the model and to enlarge its scale. In this section, further consideration was devoted to materials, and the choice of material was designated to satisfy the requirements that it could encompass the nature of the leaves and branches noted earlier but could also be enlarged to be physically accessible. For the support section (the branches), I opted for the original unpolished wood material, whereas the roof, the section that responds to the leafy mass, was made of an ‚artificial‘ polycarbonate board. Its light transmission and variability respond effectively to the organic form of the leaves and permit natural light to penetrate. The consideration of materials is meant to reflect on the viability of the installation and to respond to the concept of blurring the lines between man-made and natural materials, as suggested by the previous exploration.

original unpolished wood material

polycarbonate board

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The following processes of responding to the site are drawn from the structural frame of the in-between place, intended to explore different ways of engaging with the environment, manifesting in the ‚in-between‘ place of: responsiveness; multiplicity; guiding and interactivity.

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The quality of wind

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The quality of light

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The quality of water

Responsiveness

1.1.1 The fabric hanging from the top of the installation manage the movement of the wind, enhancing the experience, and the quality of the live environment is revealed as the wind blows the fabric.

1.2.1 Cut the canopy of the installation with holes to allow direct access to natural light.

1.3.1 Relying on the slope of the site, slope the device close to the lake. The bottom of the device is connected to the water surface, providing a way for people to get in close contact with the water.

As a result of the site‘s geographical location between the park lake and the forest, responsive places emerged to respond to the site‘s dynamic intangible quality. I reckon this experiment has the potential to ramp up people‘s awareness of their external environment by removing them from the centre of their subjectivity and encouraging them to respond positively to the qualities of the environment. The installations in this section are divided into three series concentrating on three natural elements: wind, light, and water, with each series experimenting with three different iterations whilst also connecting to earlier design explorations. Each installation is triggered by the ever-changing dynamics of the natural qualities of the site and the passage of time. This experiment amplifies the intangible quality of the site, with each iteration serving as a response to the surrounding environment. The Installation 1.1 series investigates wind utilising concepts from preceding works. The use of fabric provides the wind with a figurative form. Three iterations of the experiment explored various methods of fabric installation assembly. In the installations, the fabric is blown or bulged, subtly capturing the quality of the wind.

1.1.2 The fabric is closely arranged on both sides of the device to form a cylinder, inviting the wind to enter and interact with the device.

1.2.1a Light is projected onto the ground, with subtle reflective shadows appearing in the original view

1.3.1 Designed from the perspective of water evaporation. The installation is covered with a transparent cover to create an encounter with water through the accumulation of water vapor while protecting the audience from unpredictable bad weather.

The Installation 1.2 series revolves around natural light experiments. By reshaping the roof panels, the presence of natural light and the activation of the ground can be controlled. Installation 1.3 relates to water, experimenting with various methods of attracting attention to water. After initially pulling the apparatus between the water and land boundaries, the direction of the experiment was shifted to ‘present familiar objects in an unfamiliar way’1 , served as a guide for subsequent iterations to reignite public intrigue in water.

1.1.3 Increase the area occupied by the fabric. The translucent fabric covers the installation, leaving an entrance to allow the viewer to enter and inspire an immersive experience.

1.2.2 Another way of cutting the canopy. By controlling the amount of light entering, noticing the difference between light and shadow and the overlap between the two surfaces. Inspired by the cross-shaped glass window on the main wall of the church in Tadao Ando‘s work The Church of Light. (Fig.4)

1.3.3 Create a guardrail surrounded the installation, inspired by the form of water splashing, the installation itself has a certain clarity, and the feeling of swaying is amplified by the establishment of the guardrail.

1 Abigail Suzanne Kosky, “(Re)Presentation.” (Thesis, University of Cincinnati, 2003), 3, https://etd.ohiolink.edu/apexprod/ rws_olink/r/1501/10?clear=10&p10_accession_num=ucin1053447654.

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Multiplicity

2.1.1 Fill the gaps in the installation with black fabric panels to break up the inherent form of the environment, re-establish attention to detail.

2.2.1 Transform the top portion of the installation into a mirrored material that reflects the surrounding environment. This provides the viewer with multiple perspectives of observation. The surrounding environment is folded into the installation

These experiments are a direct result of my previous investigations into folding and periscopes (p38). Experiment 2.2 demonstrates a new folding technique by applying reflective materials in various locations on the installation. Since the mirrors are arranged in a variety of locations, the viewer is able to take in a wide range of perspectives as they move through the installation. This results in an interaction with the environment. The concept of reconfiguring the view provides new perspectives and a sense of disorientation to enhance the surrounding experience. Another concept concerning multiplicity (Experiment 2.1) does not employ reflective materials, but continues the concept of the inherent form of the environment. By inserting black fabric pan-els between the installations, visitors‘ perception of their surroundings is fragmented into micro-scopic pieces in order to draw attention to a specific moment.

2.2.2 Another mirrored intervention into the structure of the installation. The large area applied across the entire installation provides the viewer with a sense of disorientation. 2.1.1a Release attention from the environment as a whole to draw to specific moments.

2.2.3 A countine approch of project 2.1.1 in a reflective way. The mirrors placed in different positions allow the viewer to capture multiple perspectives and change the landscape with the movement of the body.

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Guiding

3.1.1 Wayfinding and navigation by repeating the arrangement of the installation to a unit.

3.2.1 Lowering the height of the installation, the change in height allows a new view of the site

In the guiding series, arrangement and combination are the key techniques. Through repetition, the installation appears on-site as a larger scale and functions as a wayfinding sign. In this section, I envision that the installation will affect the attention and movement of the visitors, thus further immersing them in the site by walking under the guidance within the installation. The transition was a major factor in the composition of these iterations, as the park installation was situated in an open area. This section focuses primarily on directional guidance and navigation. The series of installations intends to generate a stealthy and inventive wayfinding system that attracts viewer attention while minimising disruption to the stability of the forest park.

3.1.2 Pause interval , zoom in on the surroundings with a changing surface.

3.2.2 Changing the angle of the installation. allows for a shift in perspective and focus.

3.1.3 Remove the roof to reduce the environmental impact.

3.2.3 The unit is lowered to change the surface, continues to extend into the original land surface of the site that implies a pathway

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Interactivity The concluding series of installation interventions related to the casting and vision field was mentioned in earlier experiments. This section focuses more on the viewer‘s sense of experience and aims to create more personal encounters with the surrounding environment. 4.1.1 Surface variation of the carving on the installation. Mimic the texture of the surrounding plants

4.2.1 The translucent panels that surround the installation invite human body to become part of the work

The Experiment 4.1 series aims to bring meticulousness to the human interaction with the environment, thereby increasing their awareness of the external environment and elevating its presence in their consciousness. By incorporating sculpted patterns into the installation, the experiments aim to amplify the surroundings through the variety of textures by drawing attention to the ground on which we stand. The purpose of Experiment 4.2 is to invite people to interact with the installation, with the translucent panels blurring and framing the surrounding environment. The experiment is considered a form of extraction in which the concealed elements are amplified and perceived by the surrounding environment through the technique of obscuring. This idea of erasure to emphasise is derived from my initial discussion of the concept of participation (p.12), which involves the idea of finding the intertwining of environment and human by blurring the lines between subject and object.

4.2.2 The translucent panels frame specific moments, as a form of extraction, amplifying the surroundings through masking

4.1.2 Preventing the effects of weather and wind on the moment

4.2.3 Exaggerated changes in perspective, framed at the top to capture the sky

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Through the creation of these interventions, I discovered the potential of ‚in-between‘ to reveal the material and perceptual relationship between man and nature. ‚in-between‘ place enables the dissolution of boundaries, inducing a greater degree of interaction between subject and object, inside and outside, and human and nature; it enables the establishment of a stronger connection with the exterior and a perceptual engagement with interiority. The primary objective of this term‘s design exploration is to re-examine human subjectivity and our relationship to the external environment, as well as how to create a deeper level of engagement. These issues are investigated in various ways throughout the work and implemented in the final intervention.

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During the course of the study, the concept of ‚inbetween‘ was conceptualised as a complex relationship between internal and external elements that intersect. The concept of ‚in-between‘ derives not from the experience of a single party, but from the interdependence of two forces.

Reflection

To allow viewers to make new discoveries about the external natural environment, the technique of extraction is used to re-present the site‘s conditions, particularly those qualities that have been overlooked. This technique equips individuals with the concept of de-anthropocentricity, which empowers them to better comprehend the significance of the external environment to humans by heeding close attention to the minutiae, and to consciously experience and perceive their connection to the environment as governed by interiority, perception, temporality, boundaries, and surfaces. This research employs an interdisciplinary approach to ecology, a clearer and more intuitive method for dismantling the existing divisions between nature and humans, with the intention of blurring the distinction between inside and outside — us in the world, a middle state, and an ‚in-between‘ place. This work advocates attention to the external natural environment and seeks to enhance the understanding of the relationship between the environment and people in order to explore and create a more intimate encounter between the two through the lens of interiority, recognising that the internal and external are in a fluid relationship with each other. A series of explorations of interiority, boundaries, nature, and quality in design research challenge the separation of the internal and external, allowing the exterior to be explored from the perspective of interiority.

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I would like to further explore the concept of ‚in-between‘ in the upcoming semester by utilising the strategies and tactics that I have accumulated and developed additional concepts that may be related to the notion of ‚in-between‘ in the subsequent stage. My recommendation is to work in additional sites and to continue observing the external environment, which we have omitted, by creating an object or series of objects. My intent is to advance my interest in extracting in order to re-present in response to a site or quality, and to continue to explore the concept of ‚in-between‘ through deeper and more detailed observation. As a final thought for my future planning, I would like to close with a quote from Freud Sigmund from his essay.

Moving Forward

‘Every finding of an object is in fact a re-finding of it.‘1

1 Sigmund Freud, “Three essays on the theory of sexuality (1905).” in The standard edition of the complete psychological works of Sigmund Freud, volume VII (1901-1905): A case of hysteria, three essays on sexuality and other works, ed. Sigmund Freud (London: Hogarth Press and the Institute of Psycho-Analysis Publisher, 1953), 222.

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Allen, Stan. ”Diagrams matter.“ ANY: Architecture New York 23 (1998): 1-13. Allen, Stan. “From object to field: field conditions in architecture + urbanism.” In Practice: Architecture, Technique and Representation, edited by Jeffrey Kipnis, 217-244. London; New York: Routledge, 2009. Allen, Stan. “Notations and Diagrams: Mapping the Intangible.” In Practice: Architecture, Technique and Representation, edited by Jeffrey Kipnis, 41-70. London; New York: Routledge, 2009. Attiwill, Suzie. ”Between Representation and the Mirror: tactics for interiorization.” In Interior Tools, Interior Tactics: Debates in Interiors Theory and Practice, edited by Edward Hollis, Andrew Milligan, and Drew Plunkett, 159-169. Oxfordshire: Libri Publishing, 2011. Attiwill, Suzie. ”Practices of Interiorization: An inter-story.“ In Meanings of Designed Spaces, edited by Tiiu Vaikla-Poldma, 175-184. London: Bloomsbury Publishing, 2013. Baek, Jin. ”Between Material Sensuousness and Thingness: the Significance of the Structural Glass in Kengo Kuma’s Water/Glass House from the Perspective of Phenomenology.“ Journal of Asian Architecture and Building Engineering 12, no. 1 (2013): 1-7. https://doi.org/10.3130/jaabe.12.1.

Bibliography

CREATURES. “More-than-Human Dérive – Uroboros Edition.” Workshop in the Feral Creative Practices Track @Uroboros Festival 2021. Accessed June 23, 2022. https:// creatures-eu.org/events/more-than-human-derive-uroboros-edition/#:~:text=More%2Dthan%2DHuman%20D%C3%A9rive%20interweaves,expanded%2C%20multisensory%20ideas%20of%20data. Cresswell, Tim. ”Place.“ International encyclopedia of human geography 8 (2009): 169177. Corner, James. “The agency of mapping: speculation, critique and invention.” In Mappings, edited by Denis E. Cosgrove, 89-101. London: Reaktion, 2002.

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Tilley, Christopher, Sue Hamilton, and Barbara Bender. “Art and the Re-Presentation of the Past.” Journal of the Royal Anthropological Institute 6, no. 1 (March 2000): 35–62. doi: https://doi.org/10.1111/1467-9655.t01-1-00003.

Fuss, Diana. The sense of an interior: Four rooms and the writers that shaped them. New York: Routledge, 2004. Grosz, Elizabeth. Architecture from the outside: Essays on virtual and real space. Cambridge: MIT press, 2001. Grosz, Elizabeth. Chaos, territory, art: Deleuze and the framing of the earth. New York: Columbia University Press, 2008. Jiven, Gunila, and Peter J. Larkham. ”Sense of place, authenticity and character: A commentary.“ Journal of urban design 8, no. 1 (2003): 67-81. doi: https://doi.org/10.1080/135 7480032000064773. Kaye, Nick. Site-Specific Art: Performance, Place, and Documentation. New York: Routledge, 2000.

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Appendix

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Fig.1. K-STUDIO. Barbouni Restaurant. 2011. Costa Navarino, Greece. https:// www.k-studio.gr/project/barbouni/.

Reference Images Fig.2. Kengo Kuma & Associates. Water/Glass. 1995. 1,125.19m 2 . Shizuoka, Japan. https://www.world-architects.com/en/kengo-kuma-and-associates-tokyo/project/ water-glass-1.

Fig.3. David Rickard and Germano Di Chello (CORD). Multi directional Periscope. 2016. Installation. Henry Moore Lawn, Suffolk. https://www.frameweb.com/article/ cord-crafts-a-multidirectional-periscope-for-children-to-view-distant-vistas.

Fig.4. Tadao Ando Architect & Associates. Church of the Light. 1999. Architecture. Ibaraki, Japan. https://www.archdaily.com/101260/ad-classics-church-of-the-lighttadao-ando.