A sustainable future could be established by reconsidering our approach to materials. Local, biodegradable options provide a solution. While humans have had a negative impact on the environment since industrialization, do we fully understand how our created environments affect us in return? We often find ourselves distanced from our natural habitat, surrounded by stress-inducing environments.
This diploma explores how biomaterials in architecture influence sensory experiences, developing a healthier living environment. It reviews the profound relationship between materials and human experiences within architectural spaces. By exploring the sensory dimensions of biomaterials, it seeks to transform our built environments into harmonious extensions of nature. Through a synthesis of artistic exploration and scientific inquiry, this research aims to unravel the nuanced connections between materiality, wellbeing, and environmental care.
Through experimentation, I create material samples that evolve into living spaces, awakening our curiosity and sensory engagement. It is a call to reimagine architecture as an agent for ecological awareness, human and environment connection, and holistic well-being.
Introduction
Architecture and health are intertwined, not solely as physical structures but as nurturing spaces that reflect our ethos towards the environment and our well-being. The care we show for our planet mirrors how we care for ourselves.
Connecting with materials and understanding their origins and essence is crucial. Knowing where they come from and their impact on our surroundings is the foundation of our creative responsibility.
The way materials manifest deeply influences us, from our overall well-being to our stress levels. There exists a delicate balance between the order we seek and the curiosity that drives exploration, shaping both our physical spaces and our mental landscapes.
Engaging hands-on with materials is transformative. It submerges us in the entire lifecycle, from collection to creation, awakening our senses and nurturing a resonant connection between the tangible and the intangible.
Theme
My diploma thesis explores how biomaterials in architecture influence our sensory experiences. I investigate how atmospheres can be crafted using both traditional and experimental biomaterials. My background as a trained nurse, combined with ongoing research into sustainable design’s impact on user health, has subconsciously inspired me to uncover various compositions. Described in the paragraphs below are the areas forming the theme of this study.
Sensory experience - focusing on the importance of sensory experience of materials and architecture - including visual aesthetics, tactility, smell and sound - and light. How can biomaterials improve sensory experience and atmosphere in architectural settings?
Sustainability and health in architecture - exploring the connection between the use of biomaterials, sustainable design principles and health-promoting environments. How can biomaterials contribute to creating fresher and healthier architectural spaces?
Local resources and culture – focus on the importance of using local resources and including cultural aspects. How can the use of biomaterials promote a deeper understanding of culture and attachment to the place using local materials combined with new technology.
How can the use of biomaterials contribute to a deeper understanding of culture and attachment to a place by integrating local materials with new technology?
New aesthetic possibilities - investigate the role of beauty in architecture and how it embodies sustainability. How can biomaterials add aesthetical value to architecture and enrich our surroundings?
Universality and diversity – exploring the balance between universal principles and cultural preferences when it comes to experiencing architecture with biomaterials. How can research on environmental psychology contribute to apprehending common aesthetic preferences?
”Architecture is, above all, the design of IMMERSIONS. Part of the ETHICS OF THE PRODUCTION OF SPACE is the responsibility for the ATMOSPHERE.”
(Sloterdijk, P., 2006, p. 58-63)
Method
This study was a non-linear process that incorporated various methods such as literature review, research based on current practices, and workshops with architects, biologists, and artists. In the meantime, I have mapped the accessible local resources in Trondheim that had the potential to be used.
Subsequently, I went hands-on to collect these materials in nature, where I always feel at home. Some of the equipment and materials were purchased online and some were scavenged from storage for broken furniture in NTNU Gløshaugen campus. Later, I applied my learnings to repeated experiments with biomaterials, both in their natural state and in different combinations.
I used the Form Lab at NTNU for my experiments, where I dried, cooked, and blended my ingredients. Initially, I began by repeating the existing recipes that were used by other researchers, afterward, proceeded with my own experiments. Once small-size samples were created, I started testing larger formats, frequently asking myself ”What can this be?” or ”What form can it take?”. As my thoughts evolved, I started imagining how they could create spatial experiences. I let the materials guide me. Through serial observing and testing, noting and classifying, the material samples’ behaviors gave me clues on how to move forward.
Sample quantities naturally increased. Once I possessed sufficient elements, I curated sensory rooms in the Room Lab and photographed various compositions of their relation with the space and each other. They are presented in the following chapters. The interior design compositions inspired me to cook, sew, and create
new samples in the Form Lab and eventually led to a standalone sensory exhibition.
This represents an open-ended process that I have adopted from the beginning. The steps taken were mainly research-driven, springing out of curiosity. In other words, I have always kept one foot in scientific methods and another one in artistic research. Respecting the existing knowledge in the area, I structured the testing methods and followed my instincts on a never-ending journey. Similar to my materials that grow in nature and continue to transform, while being recontextualized in architecture.
The growth of research is also envisioned to continue with the participatory dimension of The Living Room, where users/visitors/ people intervene over time and add a layer of their own thoughts and questions.
BioDeepMap
My interest in biomaterials has been growing in the last few years. We need to learn from each other and share the knowledge. Bioregion Institute is an interdisciplinary research lab in Bergen, working with developing biomaterials, founded by designers driven by a common goal to give value to waste.
Over the past year, I have been involved in their pilot project, BioDeepMap, which aims to integrate skills from crafts, art, and design with scientific expertise to generate knowledge for innovative and sustainable materials. Through a blend of artistic and research-based practices, designers, artists, biologists, and architects collaborate to experiment with traditional natural materials and new biomaterials, employing diverse methods and technologies. Inspired by the BioDeepMap modules, I have continued the exploration of biomaterials in my diploma thesis.
Three different modules gathered artists and designers to collaborate with specialists in archaeology, biology, chemistry, tanning, algae biomaterials, and 3D printing. Through interdisciplinary collaboration, new artistic material expressions were explored.
1: Binder from biological biomass and animal raw materials
2: Shaping biomass through casting, pressing, and 3D printing
Module
Module
Module 3: Naturally tanned leather and algae fibre materials
Photo: Bioregion Institute
Photo: Bioregion Institute
Theory
Throughout the semester, alongside my material exploration, I have engaged with literature to inspire, support, and nurture my commitment to healthier environments. This theoretical exploration include science, philosophy, psychology, activism, and aesthetics, and has been divided into six headlines:
The Value of Nature
Connecting to the Environment Around Us
The Senses
The Relation Between Human and Design
Healthier Environments
Aesthetics and Imperfection
The Value of Nature
This thesis explores the profound relationship between humans and their designed environments, inspired by various theories and perspectives. It transcends technical material exploration to contemplate human connections with our surroundings, echoing Hverven’s ideas in “Naturfilosofi” about the intrinsic value of na ture beyond its utility to humans.
Indigenous societies, as exemplified by Winona Laduke’s perspectives, deeply respect nature and live in harmony with it.1 Historical events, such as the Polynesians’ arrival on Easter Island, illustrate how humans have exploited natural resources, often leading to environmental degradation.2 Our modern mindset about nature has been shaped by 17th-century philosophers like Bacon, Galileo, Kepler, Newton, and Descartes, who reduced nature to mere physical objects valued only for their utility to humans.3
Hverven advocates for a paradigm shift, arguing that nature possesses intrinsic meaning beyond its utility. He posits that life is an ever-evolving, interconnected phenomenon, transcending individuality, and isolation. Each life project is a unique narrative, deserving of reverence and protection amidst the ever-changing landscape of existence.4
I emphasize the importance of respecting nature and recognizing that all living things have intrinsic value, independent of their utility to humans. When using natural resources in my work, I harvest carefully, taking only what I need and ensuring that my actions do not cause harm. I focus on collecting abundant or waste resources, repurposing them to give them new life and meaning.
“There’s an Indigenous economy which reaffirms relationships to place and is based on a reciprocity and a gratitude that you take only what you need and you leave the rest.”
(Laduke, W., 2022, Material Health, p. 20)
Connecting to the Environment Around Us
Modern society’s pursuit of development and industrialization has negatively impacted the environment, often leading to estrangement from the natural world. Arne Johan Vetlesen, in ”The Denial of Nature,” explains how high-tech urban environments mediate our interaction with nature through technical intermediaries, diluting the richness of sensory experience and diminishing our quality of life.5
Andy Fisher, in ”Radical Ecopsychology,” underscores the transformative potential of genuine nature experiences, which create emotional resonance and motivate care and stewardship.6 Bernard Toro advocates for a paradigm shift from the pursuit of success to a culture of care, emphasizing humanity’s interconnectedness with one another and the planet.7 Reimagining our relationship with the environment involves recognizing our intrinsic interconnectedness with the natural world.
8
In my thesis, I explore the importance of direct engagement with materials and processes, contrasting the detached, mechanized approach of modernity. This engagement grows a deeper appreciation and understanding, aligning with theories from ecopsychology and emphasizing the transformative potential of meaningful nature experiences. By participating in the entire process of material sourcing and creation, I experience firsthand the effort and value inherent in natural resources.
The Senses
The historical trajectory of sensory perception has often devalued the senses, as seen in the philosophies of John Locke and René Descartes. They elevated scientific knowledge of p rimary material reality over sensory experiences, reinforcing the perception of nature as separate from human experience.9 This devaluation persists today, with architecture primarily seen as a visual field, neglecting other sensory realms.
Juhani Pallasmaa, in ”The Eyes of the Skin,” critiques this overemphasis on sight in architectural design, arguing for a more multisensory approach to architectural design.10 In the book ”Sensing Earth”, different writers advocates for reconnecting with the senses to address contemporary challenges, with Noel Salazar emphasizing the importance of bodily experience in enriching cognitive and existential understanding.11
Pascal Gielen, inspired by Alexander Gottlieb Baumgarten, posits an ”aesthetic capability” essential for understanding culture, community, and ecosystem. He advocates for an affective understanding of the world through active sensory engagement, particularly in response to the climate crisis.12
Highlighting the sensory experiences, I focus on creating curiosity and promoting well-being through engagement with materials. I aim for people to experience it with all their senses, not just the visual, enriching understanding and enhancing the lived experience of architectural spaces.
The Relation Between Human and Design
Through my thesis, I explore the profound relationship between humans and design, focusing on our capacity to continuously reshape ourselves through interaction with artifacts, as written about in the book ”Are We Human?”.13 This view highlights human plasticity and challenges the conventional separation between humans and nature, suggesting that our self-fashioning through design binds us closer to the natural world.14 Adolf Behne’s assertion that architecture blends function and play underscores the connection between design and human creativity, emphasizing design’s role in addressing practical needs and expressing imagination.15 Additionally, the notion that good design is inherently aesthetic emphasizes its sensory and psychological impact on human experience.16
Our current way of thinking, heavily based on rationality and efficiency, should not overshadow the significance of in tuition, emotion, and creativity. These elements drive innovation and give life meaning. Intuitive and emotional knowledge, grounded in sensory experiences, reconnects us to the Earth and encourages a holistic, imaginative approach to design.
Julia Lohman’s inquiry into how we can be more human in our approach to design reflects a fundamental question about our existence and impact on the world.17
“Firstly, I think most of these questions about how to make the world better and how to solve problems are really ways of rephrasing a more fundamental question: How can we be human? How can we as humans exist in this world and not end the world as we know it?”
(Lohmann, J., 2022, Material Health, p. 108)
Healthier Environments
As both a healthcare practitioner and designer, I am concerned with the effects of the materials we surround ourselves with. Many materials in our built environment are toxic and harmful, affecting both human health and nature. Endocrine-disrupting chemicals, for instance, pose significant health risks, contributing to various diseases and dysfunctions.18 This emphasizes the need to shift to more sustainable and healthy materials.
Dr. Maida Galvez advocates for prescriptions for healthy buildings, underscoring the profound impact of the built environment on human health and well-being. She highlights the importance of environment in making people happy and healthy. 19
This thesis acknowledges the societal trend of increasing disconnection from nature, which correlates with rising physical and mental health issues. There is evidence of the interdependent relationship between the amount of exposure to nature and the size of health benefits.20 Recognizing the therapeutic benefits of na ture exposure, evidenced by the prescription of ”green walks” by health professionals,21 my thesis advocates for incorporating nature into architectural design to enhance both mental and physical well-being.
Given that most people spend most of their time indoors, it is relevant to address exposure to nature in our immediate environment. Thus, driven by its core concern of how to design with nature, not against it, this thesis looks for ways to make nature a truly integral part of architecture.
In the intersection of health, environmental sustainability, and architectural design, I am advocating for the use of natural materials that require minimal processing and finishes, prioritizing the creation of environments that positively impact both mental and physical health.
“I often say food makes people happy, but really, environment makes people happy. It impacts their health and well-being.”
(Galvez, M., 2022, Material Health, p. 126)
Aesthetics and Imperfection
My exploration of aesthetics and imperfection immerses into the multifaceted nature of human preferences and experiences in the built environment. Rachel and Stephen Kaplan highlight four key points that capture common aesthetic preferences: cohesion, readability, complexity, and mystery.22 These preferences reflect basic human needs for understanding and exploration in our surroundings, suggesting that environments satisfying these needs are often perceived as beautiful. While perceptions of beauty can vary based on cultural and personal preferences, the richness of nature is commonly seen as beautiful.
In ”The Stones of Venice,” John Ruskin expressed the concept of imperfection as essential to life and beauty, stating that imperfection is a sign of life and progress.23 The concept of Wabi-Sabi further underline the appreciation of imperfection, impermanence, and humility in aesthetics.24
Amid pressures for overscientification of a rchitecture, Immanuel Kant’s insights from over 250 years ago remain profoundly relevant. In ”Critique of Pure Reason,” Kant argued that space and time are mere ”forms of intuition,” highlighting the significance of i ntuition and a more organic way of thinking.25 His ideas challenge the overemphasis on rationality and measurement in understanding space.
In ”Critique of Judgment,” Kant delves into the nature of aesthetic experience, emphasizing the importance of sensory perception and an embodied approach.26 He explores how beauty, human wellbeing, and the interplay between nature and architecture are intricately connected.
Architects play a multifaceted role as mediators, designers, and researchers. We have the responsibility to create stimulating, healthy environments. My background as a trained nurse informs this holistic approach, recognizing the interconnectedness of physical, mental, spiritual, and social health. Well-designed environments, balanced in complexity and order, I believe can significantly enhance our quality of life.
In summary, this thesis argues for a reimagined relationship with our material world, advocates for sustainable practices, deeper engagement with nature, and a shift towards a culture of care. This approach aligns human design with the natural world, aiming for a more harmonious and sustainable future for both humanity and the environment.
Research
”The Potential of Biomaterials in Architecture: The Creation of Sensuous and Sustainable Environments”
The research begins with a fundamental curiosity: What can I create from the materials around me, and can these creations provide valuable contributions to our lives?
I initiated this exploration by mapping local materials in Trondheim and venturing into nature to search for resources. This search also extended inward, assessing the resources I already possessed. My exploration took me to the sea, the forest, and my own home.
The materials I discovered include seaweed, mussels, wool, and organic household waste such as coffee grounds and eggshells. All these materials were locally sourced and harvested, which projects a sustainable and holistic approach to material usage.
Additionally, I purchased seaweed- and animal-based products, including agar, alginate, spirulina, and gelatin.
To integrate theory with practice, I established my material laboratory, where I combined literature review with hands-on experimentation. This approach allowed me to explore the potential of these biomaterials in creating sensuous and sustainable architectural environments.
About Seaweed
Norway has an extensive coastline, providing a wealth of marine resources, with seaweed being one of the most significant. The Trondheim region, with its fjord, seaweed farms, and advanced technology, holds substantial potential for seaweed cultivation and utilization.
Norway is home to a rich marine algea flora, comprising more than 400 seaweed species.27 These species offer a variety of beneficial properties and can be categorized into three main types: red, brown, and green algae. Common types of seaweed found in Norwegian waters include kelp (Laminaria), dulse (Palmaria palmata), and bladderwrack (Fucus vesiculosus).
Seaweed possesses several remarkable properties. It is highly efficient at sequestering carbon dioxide, making it a valuable ally in combating climate change. Moreover, seaweed cultivation is environmentally sustainable, requiring minimal resources - only seawater and sunlight are needed for its growth. This makes it an excellent candidate for large-scale, sustainable production.
The types I collected was:
Brown algae
Ascophyllum nodosum / Rockweed
Fucus serratus / Serrated wrack
Laminaria digitata / Oarweed
Saccharina latissima (Sugar Kelp / Kombu)
Red algae
Palmaria Plamata / Dulse
About Wool and Leather
One resource I personally had access to is leftover wool and leather from Granberg Garveri, a family-run tannery on the west coast of Norway in Ølen, founded by my grandfather.
Wool and leather come from animals such as sheep that have lived and grazed in our landscapes, forming an integral part of our cultural history. There is a deep connection between humans and these animals: we provide them with shelter and care, and in return, they maintain our landscapes and provide us with nutritious food and wool. Wool is a high-tech natural wonder, offering remarkable properties: it provides warmth, regulates humidity, breathes, and even cleans itself. Humanity would not be what it is today without wool for clothing, textiles, and shelters.
While we have attempted to replace wool with petroleum-based products like acrylic and polyester, these substitutes cannot match the quality of wool and often end up as waste, polluting the environment. These synthetic products are cheap and quick to produce, which is favorable in responding to increasing demands however they create significant problems. The tactile difference between wool and polyester is immediately noticeable; your body instinctively recognizes the benefits of wool. It engages all the senses — warmth, texture, smell, and rich colour. What you touch was once a living being, deserving of our respect and gratitude. We should aim to use and appreciate every part of its body.
My grandfather Karl Johan Granberg tanning leather. Photo: Granberg Garveri
Collecting materials
Experimenting
With the materials in hand, the creative process of making begins.
The Material Library
All the samples carefully prepared throughout the spring are compiled into a comprehensive recipe book titled ”The Material Library.” Each sample is observed and described for its unique characteristics, and evaluated based on specific criteria, which are: thickness, plasticity, translucency, texture, glossiness, shrinkage, weight, and smell.
This detailed catalog serves as a valuable resource for future reference and experimentation. The following are some examples from The Material Library that is included at the end of this document.
No. 5
Ingredients
75 ml water
1,5 ml agar
1,5 ml glycerine
4 ml spirulina dulse flakes
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
The edges have curved. The red dulse flakes has become brown.
No. 17
Ingredients
80 ml water dyed with avocado peel
16 g gelatine
5 g glycerine
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
Shiny on both sides. The parts with foam are translucent, the rest is transparent. The colour dye is even, but foam creates shades.
Ingredients
600 ml water dyed with red beets
130 g gelatine
50 g agar
32 g glycerine
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Less opaque with more gelatine. The dye of the red beets became yellow.
Observations thin soft transparent smooth matte little light weak thick hard opaque rough shiny much heavy strong
Ingredients
Observations
30 g crushed mussels
30 ml alginate
solution 2,5%
1 ml spirulina Solid but brittle. The colour is more blue on the bottom side, more green on the top side.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Controlling the materials, or do they control me?
While developing the materials, I found inspiration in a mutual relationship between myself and them. I watched them live their lives, and embrace their natural shapes and deformations. Whenever I tried to control the drying process too much, the results were weaker or unsuccessful.
There is a growing trend among designers towards a more ”biological era,” where nature serves as both inspiration and a guiding force in design. This approach, emphasized in ”Material Health” 28, advocates for following nature rather than forcing it to fit our needs. We should view nature as a collaborator, not merely a resource for our use. This perspective gives a deeper respect for the environment and encourages more sustainable and harmonious design practices.
Growing Elements - what will it become?
From my findings with the samples, I selected specific materials to continue working with. These choices were guided by their properties and potentials, as well as their availability.
Elements further elaborated:
Bioplastics
Seaweed Elements
Mussel Tiles
Gelatine Tiles
Wool Chair
The Green Clouds
I developed bioplastics using agar or gelatine, enhanced with spirulina to achieve various shades of green. These bioplastics exhibit unique qualities of transparency, flexibility, and lightness.
Recipe No. 5 from The Material Library inspired me to shape these bioplastics into cloud-like forms, experimenting with their plasticity, deformation, and different shades of green.
Seaweed Elements
The oarweed, or kelp, presents significant potential for diverse applications. While wet, it exhibits remarkable strength, flexibility, and plasticity, making it versatile for various uses. Upon drying, it retains its shape and tightens, further enhancing its structural integrity. By adding glycerine, its flexibility can be preserved, giving it a leather-like texture.
Additionally, the colour of oarweed undergoes intriguing changes over time. Initially, when harvested, it appears yellow-brown, but as it dries, it transitions to a dark green hue. When wetted with glycerine before drying, it takes on a light green shade, which gradually evolves into a spectrum of colors including yellow, brown, and red tones over time. These captivating properties of oarweed have inspired me to create several objects for integration into The Living Room, utilizing its unique characteristics to enhance the space aesthetically and functionally.
Wall Wlement
Inspired by designer Julia Lohmann’s Seaweed Pavillion29, I experimented with the elasticity of seaweed and its integration with a wood-based structure. I stretched seaweed within a laser-cut MDF frame, then painted the assembly with organic, pigmented oil paint.
The Hidaka Ohmu seaweed pavilion. Photo: Mikko Raskinen
Seaweed Chandelier
Made by wrapping and hanging seaweed around reused objects from campus.
Hanging in its original form
Seaweed Ghosts
Seaweed
Lamp
Made with self-gluing oarweed
Seaweed Textiles
Made of cut-out pieces of oarweed, sewn and self-glued when wet.
of Mussels
Crushed mussel shells possess a beautiful lavender color, which inspired my experiments with various recipes. By adding spirulina and seaweed, I achieved new colours and shades, enhancing the aesthetic potential of the material.
Mussel shells are primarily composed of calcium carbonate, which provides strong, durable properties. This makes them an excellent candidate for construction elements. Ongoing research is exploring the use of crushed mussel shells in building materials, leading to the development of ”shellcrete”, a promising sustainable alternative in the construction industry.30
Tiles
Photo: Local Works Studio
Gelatine Tiles
Using gelatine bioresin, I created tiles using peels from beets and avocados, along with spirulina, to produce a variety of vibrant colors. I designed a 3D-printed mould to generate patterns, enhancing the interplay of light and shadows.
The resulting gelatine tiles are translucent, with colors that change and reflect differently under various lighting conditions. This demonstrates how spaces can transform based on the angle and quality of light, showcasing the dynamic potential of these bio-based materials in architectural design.
Wool Chair
The Wool Chair is crafted using leftover sheepskin wool from Granberg Garveri. This project involved upcycling a discarded chair found on campus. By weaving the wool into the chair using rope, I transformed it into a warm and comfortable seat, giving the old chair a new character and purpose. This not only highlights the potential of upcycling waste materials but also emphasizes sustainability and resourcefulness in design.
Paint with algae pigments
The vibrant color of spirulina powder inspired me to experiment with it as a natural pigment for paint. Below are examples of two different recipes I used:
Chalk paint:
2 tbsp water
1 tbsp chalk
2 tbsp spirulina or other natural pigment
1/4 tsp gum arabic
Milk paint:
1/2 cup milk
1/4 cup vinegar
2 tbsp baking soda spirulina or other natural pigment
These recipes allowed me to explore the intense green hues of spirulina, resulting in vibrant, natural paints suitable for various artistic applications.
Materials in Space
After creating individual elements, I began envisioning how they could interact to create unique spatial experiences. The project evolved further in the Room Lab, where the room itself became a three-dimensional canvas, with the materials’ lines expanding throughout the space. These materials served as sketches and full-scale models.
The gathered elements were organized into rooms with differet atmospheres.
The Soft Room
This space is characterized by the integration of soft and tactile materials, inviting visitors to experience comfort and lightness.
The Seaweed Room
Inspired by the oceanic environment, this room incorporates elements made from seaweed, evoking a sense of connection to nature in a different, unexpected way.
The Animalic Room
Reflecting the organic world, this room features materials sourced from animals, giving an atmosphere of warmth and familiarity.
The Living Room
The Living Room challenges the conventional notion of a living room. Instead of a static box, it envisions it as a living, breathing entity - a sanctuary that cradles life, infused with the vitality of living materials. I question the typical rectangular room with the sofa facing the TV, and a standard chandelier casting artificial light. The vision is for living rooms to be more than just comfortable spaces, but rather become instruments of reconnection with the environment, sparking conversations about ethical living and environmental stewardship. This initiative seeks to deconstruct preconceived ideas about living spaces and encourage a reassessment of how we spend our time and engage with our surroundings.
While making the materials myself from what I have around me, my relationship with the environment changes. Through a photo essay, The Living Room manifests, not as a fixed exhibition, but as a changing room we interact with. By being in the room myself, sensing, feeling, and imagining what to do there, I express my process of learning and living with the materials.
Living Room signifies a continuous journey of collective growth and rethinking our relationship with space, materials, and the environment. It prompts us to explore new possibilities and consider the broader impact of our choices on our well-being and the planet. Through the interactive exhibition and immersive experiences, The Living Room invites everyone to ponder the threads that bind us to our spaces and the world beyond, reimagining how we inhabit our world and the responsibilities we bear as architects of our shared future.
A living room is a place to rest, meet, talk, eat and drink, read, sometimes sleep, be entertained, be engaged, be bored, be creative, meditate, exercise, play...
Reflection
Throughout the process of this diploma thesis, I have learned a great deal, experiencing a range of emotions from engagement and excitement to frustration. The work has been challenging for both my mind and body. Through discussions with myself, my supervisor, curious visitors, and the materials themselves, the project has gradually taken shape. Embracing an open-ended approach, I did not know what the final result would be, which was both exhilarating and frightening. Stepping outside my comfort zone allowed me to grow alongside the project, both of us evolving together.
This project has been an experiment in which I have been an active participant. The literature I have read throughout the spring has heightened my awareness and influenced my practical work. I wanted a hands-on experience, directly engaging with the materials rather than relying heavily on technological tools. This approach has given me a different feeling and awareness of my direct actions.
The idea of the Living Room emerged from my experiences with the materials and conversations with my supervisor. Together, we began rethinking our relationship with our surroundings. This project is not a final result; I do not claim it is the definitive way to approach design or that it will be aesthetically pleasing to everyone. Rather, it is a spark to encourage thinking differently and stepping away from the standard momentarily. It aims to activate curiosity, which I believe is healthy for us. I wanted to create atmospheres that could awaken emotions by engaging all the senses. The scent of seaweed, for instance, reminded people of the sea, possibly sparking memories. Based on the experiences of those who have entered The Living Room, it seems to be achieving this goal.
It has been crucial to consider that the materials are derived from living things and to respect that life. Humans, animals, plants, and algae are all living organisms with a metabolism that drives us. We are interconnected, our lives woven together on many levels and dimensions, in space and time. The Living Room is a tribute to this interconnectedness, highlighting the essence of life itself.
Conclusion
The Living Room project draws inspiration from various sources, reflecting a multifaceted approach. From an architectural perspective and caring for the quality of our surroundings, I delve into materials that are not widely associated with the building industry, yet.
Throughout the spring, I have experimented with what I can make out of what I can find around me, from the sea, the forest, and small family-run manufacturing for leather tanning. These materials include seaweed, mussels, wool, and home organic waste. Most of them are locally sourced and some are harvested, adressing a holistic approach to sustainable material use.
As I explored the properties of environmentally low-impact materials, I reimagined the very essence of what a living room could be. These spaces shape and influence the way we live, significantly impacting our well-being and quality of life. From a healthcare practitioner´s perspective, I am concerned about the environmental and health impacts, particularly regarding the overproduction of buildings that harm the ecosystem and lack sensory experiences.
The project unfolds as a material laboratory, showcasing the potential of sustainable materials through interactive exhibitions. It also serves as a platform for discourse, inviting visitors to engage in discussions about ethical living, environmental responsibility, and the role of architecture in shaping our world.
Driven by curiosity, The Living Room grows and continues to rethink our relationship with space, surfaces, and the environment. It stands as an experimental playground where visitors and architects can im-
merse themselves in the tactile experience of sharing, caring, touching, and smelling. This interactive activity is a means of negotiating, learning, and acknowledging other ways of living, thus reconstructing our ideas about everydayness, material resources in architecture and the human relationship with nature and other species. Through this collective experience, we not only reconstruct spatial compositions but also reshape our systems of values and deepen our understanding of these relationships during the production and consumption of space.
“Reset the Senses! Slow Down!
Dance Away the Crisis! and last but not least, don’t forget to Feel Again!”
(Dietachmair, P., Gielen, P., Nicolau, G. (2023) Sensing Earth, p. 32)
Winona Laduke, ”The Green Path”, from Material Health: Design Frontiers (London: Lund Humphries, 2022) p. 20
Norber t Lechner, Heating, Cooling, Lighting: Sustainable Design Methods for Architects. Fourth edition (Hoboken, New Jersey: John Wiley & Sons, Inc., 2015) p. 42
Hverven, Naturfilosofi (Oslo: Dreyers forlag, 2018) p.
Andy Fisher, Radical Ecopsychology: Psychology in the Service of Life. Second edition (Suny Press, , 2013)
Philipp Dietachmair, Pascal Gielen, Georgia Nicolau (eds.) Sensing Earth: Cultural Quest Across a Heated Globe (Amsterdam: Valiz, 2023) p. 18
Noel B. Salazar ”Routes and Rootedness” from Sensing Earth, p. 103
Beatriz Colomnia, Mark Wig ely, Are We Human? Notes on an Archaeology of Design. (Zürich: Lars Müller Publishers, 2016) p. 23
Wig ely,
Dr Maida Galvez, ”Precriptions for Healthy Buildings” from Material Health, p. 126
Houlden et al., 2018; Twohig-Bennett & Jones, 2018
Noel B. Salazar ”Routes and Rootedness” from Sensing Earth, p. 97
Rachel Kaplan, Stephen Kaplan. The Experience of Nature. A Psychological Perspective. (Cambridge: Cambridge Univers, 1989)
John Ruskin, The Stones of Venice. Volume the Second. The Sea-stories. (Smith, Elder & Co.: London, 1853).
Leonard Koren, Wabi-Sabi for Artists, Designers, Poets and Philosophers. (Point Reyes, CA, USA: Imperfect Publishing, 2008)
Imanuel Kant, Critique of Pure Reason (Palgrave Macmillan, 1781/1787)
Imanuel Kant, Critique of Judgment (Macmillan and Co., 1790)
UIB, ”Norwegian Seaweeds”
Andrea Lipps, ”Designing with Nature” from Material Health, p. 97-98
Julia Lohmann, ”Hidaka Ohmu”
Local Works Studio, ”Building materials from shells”
Colomina, B and Wigley, M. (2016). Are We Human? Notes on an Archaeology of Design. Zürich, Switzerland: Lars Müller Publishers
Dietachmair, P., Gielen, P. and Nicolau, G. (eds.) (2023). Sensing Earth - Cultural Quest Across a Heated Globe. Amsterdam, Netherlands: Valiz.
Fisher, A., (2013) Radical Ecopsychology: Psychology in the Service of Life. Second edition. Suny Press.
Houlden, V., Weich, S., de Albuquerque, J. P., Jarvis, S., & Rees, K. (2018). The relationship between greenspace and the mental wellbeing of adults: A systematic review. PLoS ONE, 13(9)
Hverven, S. (2018). Naturfilosofi. Oslo: Dreyers forlag
Kant, I. (1781/1787). Critique of Pure Reason. (N. Kemp Smith, Trans.). Palgrave Macmillan. (Original work published in 1781 and revised in 1787).
Kant, I. (1790). Critique of Judgment. (J. H. Bernard, Trans.). Macmillan and Co. (Original work published in 1790).
Kaplan, R. & S. Kaplan (1989). The Experience of Nature. A Psychological Perspective. Cambridge: Cambridge Univers
Koren, L. Wabi-Sabi (2008). Point Reyes, CA, USA: Imperfect Publishing
Lechner, Norbert. (2015). Heating, Cooling, Lighting : Sustainable Design Methods for Architects. Fourth edition. Hoboken, New Jersey: John Wiley & Sons, Inc.
MacKeith, P., Pallasmaa, J (2012). The Eyes of the Skin. Architecture and the Senses. West Sussex: John Wiley&Sons Ltd.
Ruskin, J. (1853). The Stones of Venice. Volume the Second. The Sea-stories. Smith, Elder & Co.: London.
Sloterdijk, P. (2006). Architektur als Immersionskunst. Arch+, 178 (June), 58-63
Twohig-Bennett, C., & Jones, A. (2018). The health benefits of the great outdoors: A systematic review and meta-analysis of greenspace exposure and health outcomes. Environmental Research, 166, 628637.
Vetlesen, A. J., (2008). The Denial of Nature: Environmental Philosophy in the Era of Global Capitalism. Routledge
All photos are taken by me, unless other is written.
Bioregion Institute (2024) Available at: https://www.bioregion.institute/latest/biodeepmap
Granberg Garveri. Available at: https://www.granberggarveri.no/om-oss/historie
Julia Lohmann, ”Hidaka Ohmu”, (2020). Available at: https://www.julialohmann.co.uk/work/gallery/hidaka-ohmu/6
Local Work Studio, ”Shellcrete”. Available at: https://localworksstudio.com/projects/shellcrete-transforming-sea-shells-into-low-carbon-materials/ Photos
The Material Library
NTNU, Spring 2024
Supervisor: Aleksandra Raonić
Granberg Stenslet Diploma Thesis in Architecture
Hanna
About The Material Library
The Material Library is a compilation of material samples and artifacts I have created through the spring.
Based on their properties, I have described and evaluated each material according to the criteria below. The materials are graded based on how they were observed subjectively without the use of any measuring tools. When referring to top or bottom side, the bottom is defined as the side touching the mould when pouring, the top the drying side.
Thickness - thin/thick
Plasticity - soft/hard
Translucency - transparent/opaque
Texture - smooth/rough
Glossiness - matte/shiny
Shrinkage - little/much
Weight - light/heavy
Smell - weak/strong
You may also think of this Material Library as a recipe book that contains selected ingredients to produce bio-based materials.
Ingredients
Agar
Spirulina Wheatgrass
Mussels Moss
Spruce needles
Sawdust rough
Sawdust fine
Coffe grounds
Eggshells Red beet dye
Avocado peel dye
Gelatine
Carragenan
Dulse
Rockweed small
Serrated wrack
Rockweed
Bladders of rockweed
Elaboration of some ingredients
Agar, derived from red algae, is a gelatinous substance available in the form of odorless white powder. Upon addition to cold water, it expands, while in boiling water, it dissolves. Widely employed in the food industry, agar serves as a stabilizer and thickener, offering a vegan-friendly alternative to gelatine.
Gelatine, a protein sourced from collagen present in the connective tissues, skin, and bones of animals, is commonly used as a gelling agent in various industries such as food, pharmaceuticals, photography, and cosmetics. Typically available as a pale yellow-white powder, gelatine readily dissolves in hot water, solidifying into a jelly-like substance upon cooling.
Carrageenan, sourced from carragena algae, a variety of red algae, is a white, odorless powder. Widely utilized in the food industry, it serves as a food thickener and fat substitute. Carrageenan has the unique ability to dissolve and form a jelly-like consistency when mixed with milk.
Alginate, derived from brown algae, consists of polysaccharides. It is applied in the food industry as a thickener, stabilizer, and gelling agent, as well as in pharmaceuticals and cosmetics. For instance, it is employed in wound dressings for its capacity to gel upon contact with calcium ions. Norway stands as a major exporter of alginate. Available in the form of a white powder, it dissolves in cold water after 24 hours.
Spirulina, a type of cyanobacteria or blue-green algae, thrives in freshwater and saltwater environments. Esteemed for its exceptional nutritional content, it has been a dietary staple for centuries. Spirulina is rich in protein, vitamins, minerals, and antioxidants, making it a popular dietary supplement. Typically available as a vibrant green powder, it is easily recognizable.
Glycerine, a transparent, scentless, and thick liquid with a sweet flavor, can be obtained from both plant and animal origins. It is widely used in various industries such as food and cosmetics, due to its unique properties, like the ability to attract and retain moisture.
Equipment
Hot plate
Cooking pot
Scale
Measuring cups
Bowl
Spatula
Stirring sticks
Sieve
Blender
Silicone mat
Silicone moulds
3D-printed moulds
Empty glass jars
Fabric for crushing and filtering
Hammer (to crush shells)
Tape
Scissor
Knife
Post it notes
Clothespins
No. 1
Ingredients Observations
75 ml water
1,5 ml agar
1,5 ml glycerine
0,5 ml spirulina Soft and flexible. The spirulina has not distributed homogeneously which created the texture.
Characteristics
Thickness
Plasticity
Translucency
Texture Glossiness
Shrinkage
Ingredients Observations
75 ml water
1,5 ml agar
Kelp flakes has perseved its green colour. No. 2
1,5 ml gelatine
1 g kelp flakes
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
3
Ingredients
Observations
75 ml water
1,5 ml agar
1,5 ml gelatine
1 g dulse flakes The red colour of the dulse flakes has faded into brown shades.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
4
Ingredients
75 ml water
2 ml agar
1,5 ml glycerine
0,5 ml spirulina small rockweed pieces
Observations
The seaweed pieces give more stiffness and reinforce the shape.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 5
Ingredients
75 ml water
1,5 ml agar
1,5 ml glycerine
4 ml spirulina dulse flakes
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
The edges have curved. The red dulse flakes has become brown.
Ingredients Observations
80 ml water
2,5 g agar
2 ml glycerine
0,25 g spirulina
0,25 g dulse flakes Made by casting in a circular form, has curved a lot after drying.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
80 ml water
4 g agar
2 g gelatine
2 ml glycerine
a pinch of spirulina dulse flakes Made by casting in a circular form, has curved into a strong geometry.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
75 ml water
1,5 ml agar
1,5 ml glycerine
4 ml spirulina Dried uneven and curled a lot. Is soft and flexible like rubber.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
9
Ingredients Observations
500 ml water
20 g agar
3 g spirulina
18 ml glycerine
30 g rockweed
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Curled a lot when drying, is stiff and hard.
No. 10
Ingredients
75 ml water
2 ml agar
1,5 ml glycerine rockweed
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
Shrinked and curled a lot. The agar is coloured yellow by the rockweed.
No. 11
Ingredients Observations
75 ml water
2 ml agar
1,5 ml glycerine serrated wrack
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Shrinked and curled a lot. The agar is coloured yellow by the serrated wrack.
No. 12
Ingredients Observations
75 ml water
2 ml carragenan
1,5 ml glycerine rock weed
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Shrinked less than the agar. The carragenan is coloured yellow by the rock weed.
Ingredients Observations
75 ml water
2 ml carragenan
1,5 ml glycerine
serrated wrack No. 13
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Shrinked less than the agar. The carragenan is coloured yellow by the serrated wrack.
No. 14
Ingredients
Observations
120 ml water
24 g gelatine
6 g glycerine
pinch of spirulina Bottom side matte and top side shiny after drying. When cooking the gelatine, foam appears on the surface. Foam was removed before pouring here.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
120 ml water
24 g gelatine
6 g glycerine
2 ml spirulina Matte and dark green on the bottom side, shiny and light green on the top side. Lot of foam - creates glittering effect. No. 15
Observations
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 16
Ingredients
60 ml water
12 g gelatine
3 g glycerine
1 ml spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
More flexible when thinner. Same colour on both sides. Both sides shiny, bottom more smooth, top more textured. No foam, some air bubbles.
Ingredients
80 ml water dyed with avocado peel
16 g gelatine
5 g glycerine
Shiny on both sides. The parts with foam are translucent, the rest is transparent. The colour dye is even, but foam creates shades. No. 17
Observations
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
120 ml water
24 g gelatine
6 g glycerine
dulse flakes The bottom side matte, the toop side with foam is shiny. The red dulse flakes keeps it colour perserved. No. 18
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 19
Ingredients
120 ml water
24 g gelatine
6 g glycerine
dried rock weed
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
Shrinked and curved a bit. Lot of foam bubbles. Rockweed has kept its green colour.
No. 20
Ingredients Observations
120 ml water
24 g gelatine
6 g glycerine
dried serrated weed
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Shrinked and curved a bit. Lot of foam bubbles. Rockweed has kept its green and brown colours.
21
Ingredients Observations
60 ml water
12 g gelatine
3 g glycerine dried rockweed No foam. Smooth texture on the bottom side, rought on the top side.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
60 ml water
12 g gelatine
3 g glycerine dried serrated weed No foam. Smooth texture on the bottom side, rought on the top side. No. 22
Observations
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 23
Ingredients Observations
water gelatine
glycerine
pinch of spirulina Only foam. Bottom side matte, top side shiny.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
125 ml water
23 g gelatine
5 g blood powder
5 ml glycerol Some foam on the middle and on the sides. Bottom side matte, top side shiny. No. 24
Observations
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 25
Ingredients Observations
75 ml water
1,5 ml agar
1,5 ml glycerine
4 ml spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Sticks to the wooden frame, maintains its shape.
Ingredients
225 ml water
4,5 ml agar
4,5 ml glycerine
12 ml spirulina
dulse flakes
Observations
Made by pouring on silicone mat, kept its shape when drying. Concentration of spirulina dried unevenly, created different shades of green colour.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
500 ml water
20 g agar
10 ml gycerine
10 ml spirulina Was casted in a rectangular steel form, when removed before completely dry, it shrinked and deformed a lot.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
400 ml water
12 g agar
9 ml glycerine
8 ml spirulina Made by pouring on silicone mat, the texture from the mat was transfered to the material. Spirulina dried unevenly, created shades of green. Some air bubbles.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
500 ml water
20 g agar
7 g spirulina
18 ml glycerine Made by pouring on curved steel covered with silicone mat. It shrinked and deformed, creating unexpected shapes.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 30
Ingredients Observations
500 ml water
20 g agar
7 g spirulina
18 ml glycerine
20 g eggshell Made by pouring on curved steel covered with silicone mat. It shrinked and deformed, creating unexpected shapes.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
500 ml water
100 g gelatine
30 ml glycerine
2 ml spirulina Made by pouring on curved steel covered with silicone mat. Distributed unevenly, created layers with different shades of green.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
250 ml water
10 g gelatine
30 ml glycerine
2 ml spirulina Made by the negative form of six silicone moulds put together. This created quite stiff frame.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
100 ml water
12 g gelatin
8 g glycerine
1 ml spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Transparent and flexible. Kept its shape when drying.
34
Ingredients Observations
100 ml water
12 g gelatin
8 g glycerine
1 ml spirulina Made by casting in overlapping plastic tubes cut in half.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
100 ml water
12 g gelatin
8 g glycerine
1 ml spirulina Made by casting in square silicone mould. Shrinked a lot in the middle, creating small walls around. Clear separation of foam on the top.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
36
Ingredients
Observations
80 ml water
3 g agar
5 g eggshell
2 ml glycerine spirulina Made by casting in circular silicone mould. Shrinked and curved into this strong geometry.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
80 ml water
3 g agar
4 g gelatine
8 g eggshell
2 ml glycerine spirulina Made by casting in circular silicone mould. Shrinked and curved into this geometry.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
160 ml water
8 g agar
4 ml gelatine
10 g eggshell spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
Made by casting in square plastic mould. Shrinked and curved into this shape.
39
Ingredients
Observations
160 ml water
8 g agar
4 g gelatine
4 ml glycerine spirulina Made by casting in square plastic mould. Shrinked and curved.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
100 ml alginate solution
2,5% concentration
20 g eggshell
2 g spirulina The eggshell sunk and gathered in the middle. Curled a lot when shrinking.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
225 ml water
10 g eggshell
spirulina
5 ml grycerine
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
The eggshell sunk to the bottom and it crumlbed a bit. Curled a lot when drying.
Ingredients
450 ml water
16 g agar
30 g eggshell
12 ml glycerine spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
Made by casting into a circular plastic form. Eggshells fell to the bottom. Shrinked and curled a lot.
Ingredients Observations
100 ml water
20 g gelaine
10 g eggshell
spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Eggshells fell to the bottom, foam on top, creating three layers.
44
Ingredients Observations
200 ml water
24 g gelatine
18 g glycerine
55 g eggshell
2 ml spirulina
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Curved a bit when shrinking. Is very solid.
45
Ingredients
Observations
water dyed with avocado gelatine
glycerine Matte with a metallic shine on the bottom side, shiny and smooth on the top side. Vibrant orange colour.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
water dyed with red beets
gelatine
glycerine Shiny and smooth on the bottom side, lot of uneven foam on the top side. Strong red colour.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
water
gelatine
glycerine
spirulina Was poured over time, this gave a pattern in the transparent layer.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
480 ml water
96 g gelatine
16 g glycerine
2 ml spirulina No foam. Spirulina does not dissolve evenly, creating a texture inside. Dried quite flat.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
480 ml water
96 g gelatine
16 g glycerine
2 ml wheatgrass powder
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Even colour. Shrinked and curved a lot. Pattern gives shadows.
No. 50
Ingredients
Observations
480 ml water
96 g gelatine
16 g glycerine
2 ml wheatgrass powder Matte on the bottom side, shiny on the top side. Shrinked and curved.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
650 ml water dyed with avocado/red beets
180 g gelatine
32 glycerine
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
The red colours shifts to green depending on the angle and light. This was quite amazing to see. Pattern from the 3D-printed mould stayed sharp and kept its texture.
No. 52
Ingredients Observations
600 ml water dyed with avocado
90 g gelatine
70 g agar
The use of agar made it matte and opaque.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
32 glycerine thin soft transparent smooth matte little light weak thick hard opaque rough shiny much heavy strong
Ingredients
600 ml water dyed with red beets
130 g gelatine
50 g agar
Observations
Less opaque with more gelatine. The dye of the red beets became yellow.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
32 glycerine thin soft transparent smooth matte little light weak thick hard opaque rough shiny much heavy strong
Ingredients Observations
25 g bladders from rockweed
45 ml alginate
solution 2,5 %
calcium chloride spray
The alginate did not bind enough, cracked over time.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
No. 55
Ingredients
Observations
100 ml alginate solution 2,5%
14 g grisetangblærer
10 g eggshell The eggshells fell to the bottom. It is very brittle.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
40 g coffee grounds
80 ml alginate
solution 2,5 %
calcium chloride spray It is brittle, cracked over time.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
10 g coffee grounds
40 g alginate
solution 2,5 %
10 g glycerine
calcium chloride spray
A bit flexible, smells a lot of coffee.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
10 g coffee grounds
40 g alginate
solution 2,5 %
10 g glycerine
5 g eggshell
calcium chloride spray
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Observations
A bit flexible, smells a lot of coffe.
Ingredients
10 g coffe grounds
40 g alginate
solution 2,5 %
10 g glycerine
calcium chloride spray
Observations
More flexible when thinner. Curved a bit when drying.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
30 g crushed mussels
30 ml alginate
solution 2,5%
5 ml dried rockweed Solid but brittle. More rough texture on the top side.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
30 g crushed mussels
30 ml alginate
solution 2,5%
1 ml spirulina Solid but brittle. The colour is more blue on the bottom side, more green on the top side.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
90 g crushed mussels
90 ml alginate
solution 2,5% calcium chloride spray
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Curved a lot when drying. The use of calcuim chloride made it dry in layers.
Ingredients Observations
90 g crushed mussels
90 ml alginate
solution 2,5%
4 ml spirulina
calcium chloride spray
Dried quite flat. More bluegreen on the bottom side, green on the top side.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
64
Ingredients
1 paper towel
5 g dried kelp flakes
30 ml alginate solution 2,5 %
Observations
1 g spirulina Dried very slow, became blue and very hard.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
65
Ingredients Observations
80 ml alginate
solution 2,5%
10 g sawdust fine powder
calcium chloride spray Curved a bit when drying, is very light.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients Observations
7 g brown recycled paper
45 ml alginate
solution 2,5 %
30 ml water
5 g sawdust fine powder
4 g rockweed
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Dried slow and uneven. The rockweed gave colour and texture.
Ingredients Observations
100 ml water
5 g agar
8 g sawdust fine powder
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Dried slow but even, kept its shape. Is compact and light.
Ingredients Observations
80 ml alginate
solution 2,5 % wool
calcium chloride spray Curved when drying, creating texture. The alginate is binding the wool well.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Ingredients
Observations
Small pieces of leather
Water Made by wetting small pieces of leather and moulding them around different shapes and dry in a heating cabinet. They maintained the shape of their mould.
Characteristics
Thickness
Plasticity
Translucency
Texture
Glossiness
Shrinkage
Weight
Smell
Fails and further research
This was solely an experimental study. Many samples were created, however, not all were included in The Material Library. This is due to unexpected failures such as molding and breaking. I shall share that this was largely a learn-by-doing process where each experimentation held light to the next one. That is what inspired me to discover the properties of the materials I chose and develop new techniques to examine them.
Some of the materials I aspire to test further are wool, sawdust, eggshells, alginate and agar.
BioDeepMap Exhibition
One of the elements from The Living Room, the gelatine tiles, will be showcased at the BioDeepMap Exhibition with Bioregion Institute in Bergen on the 23rd of May. This exhibition will feature works from all the participants involved in the project. Collaborating with skilled and experienced artists and designers has been incredibly inspirational for me, as it has exposed me to new perspectives and approaches. The opportunity to learn from each other has been essential for personal and professional growth.
Thanks
I would like to extend my heartfelt gratitude to:
My supervisor, Aleksandra Raonić, for her encouraging and inspiring conversations and guidance.
Bioregion Institute, for opening my eyes to biomaterials and artistic research, and for introducing me to inspirational people.
Granberg Garveri, for providing the wool and leather.
My supportive friends and family.
And last but not least, Nadir, for all your love, help, and support. I couldn’t have done this without you.
