Learning from the Blind and Visually impaired: A tactile journey in Amager Fælled

Learning from the Blind and Visually impaired: A tactile journey in Amager FĂŚlled

Yatu Tan MA Spatial Design Supervisor: Masashi Kajita The Royal Danish Academy of Fine Arts Schools of Architexture, Design and Conservation Number of chraters: 39860 Master Thesis Spring 2019

Content:

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Abstract

06 Introduction and Motivation Touch-inclusive experience and learning from the blind and visually impaired Haptic journey in Amager Fælled Destinations and journeys with history and natrual narratives in Amager Fælled Working method 14

Problem Specification

14 Framing of the project UN Goal

Context Land of idyll with an eerie past Potential in a protected area Amager Fælled nature feature analysis The current destinations in Amager Fælled.

The pattern of nature The route 16

44 Theory and Approaches Ruins and Nature/ Historical Narratives Learning From the Blind and Visually Impaired Interpretation of the spatial quality through tactility The working hand/ Situated practice 56 60 94 122 140 154 170

Process and Method

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Conclusion

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Bibliography

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Appendix

Hugging Tree Potholes Hopping Meander through Reeds Lape the lake Glade secluded The journey

Abstract Inspired by how the blind and visually impaired perceive nature with tactility, the project is focusing on enriching the tactile experience through unfolding the hidden beauty by five destinations and a journey in Amager Fælled. The five destinations are scattered near one of the main paths in Amager Fælled and they are “Meander through Reeds”, “Lap the Lake”, “Glade Secluded”, “Hugging Tree” and “Potholes Hopping”. Each destination intends to reveal a specific natural quality through the sense of touch defining by the study of blind-folded experiment and participant observation from the blind informant’s experience on site. The intervention for the journey situated along the path connecting each destination. Enhancing the perception of touch in nature will draw the users’ attention from solely visual perception to close-up body encounter, which will intensify the sensual experience for both sighted people and the visual impaired users by engaging their hands, skins and bodies.

The study of learning from the blind informant focuses on tactility which naturally directs me as a designer to employ the situated practice as my design method, executing the experiments regards of spatial quality and materiality on site. The situated practice embraces both the sited material experiment and body engagement. What’s more, to incorporate the insight and the reviews from the blind informant plays an important role through the design phase.

Integrate the haptic perception knowledge, both from the blind and visually impaired and my self-engagement endows the project with the coherence of Inclusive Design’s discipline.

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Introduction and Motivation Touch-inclusive experience and learning from the blind and visually impaired

This project is inspired by the notion of the sighted being able to learn from the blind, stemming from my research in the written assignment (see Appendix A) that discusses touch-inclusive spatial experiences of the blind and visually impaired in Copenhagen Botanical Garden. I studied the way in which the blind experience the Botanical Gardens through the sense of touch. The study into tactile experience in the Botanical Garden of the informant who is blind was constructively inspiring. The informative discussion includes the different haptic experiences of outdoor and indoor, how the potential to change the touch from passively to positively, say the continuous railing attached by different plants was the agency to invite the blind informant to explore the space on their own pace(figure 1), and the potential further studies for the multimodality senses since the perception of human beings is modality.

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(figure 1: photo took in the walking journey with the blind informant Lykke)

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Introduction and Motivation

Haptic journey in Amager Fælled

After investigating touch-inclusivity in the Botanical Gardens, where both outdoor and indoor spatial experience is included, there is a lot of underestimating haptic perception in space apart from vision would be able to value the spatial experience for both sighted and blind individuals. (figure 2) I intend to employ the knowledge, learned from the blind and visually impaired, to design a haptic journey in nature.

Amager Fælled plays a role as a recreation public natural park in Copenhagen, possesses an obvious image of idyll and a hidden series of rich historical stories. It has great potential to implement a haptic inclusive journey to enhance the natural sensation and unveil the historical narratives of the site.

Through the project, I would like to bridge a mix of sensation based on learning how the blind and visually impaired experience the specific site in Amager Fælled. (figure 2: The drawing that the blind informant did in the journey walking in Botanical Garden. “I can hear the tree! I could sense it when we before we walked down the stairs. The trunk has blocked the wind and reflected the sound of the wind.” Lykke said when she could feel the tree)

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Introduction and Motivation

Destinations and journeys with history and natrual narratives in Amager Fælled

A Thomas Dambo’s Six Forgotten Giants give the “explorers” in Copenhagen chances to experience the playfulness of hide-and-seek by finding the secretly hiding wooden sculptures in nature. (figure 3) Inspired by the Six Forgotten Giants, the intervention in Amager Fælled is to create a journey that people will experience with their own bodies and be integrated with their movement. The journey would be about finding these hidden ‘secrets’ instead of telling visitors what they should look at. Therefore the interventions will gently invite visitors to explore nature by tactility.

(figure 3: Oscar Under the Bridge, < https://thomasdambo.com/works/oscar-underthe-bridge/>)

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Introduction and Motivation

Collaboration with a colleague from Graphic Communication Design in KADK in the research phase

Working method The diagram (figure 4)illustrates my framework of the design methodology, which is the relationship between the main focus- haptic experience and how it relates to the other three subjects. These three subjects are me(as a designer), Lykke (the blind informant) and Amager Fælled(the context). The findings from the encounters of every two of the subjects will be reflecting on how I develop my design.

In my thesis program, I was in collaboration with Gabrielle Sanchez from MAA Graphic Communication Design during the research phase. We share the same interest in enhancing the haptic experience while “reading” a space. In order to build a fruitful outcome of our respective thesis projects, we will share the research results and inform each other. We will produce our own design forms independently based on the collective findings and interpretations of from site.

(figure 4)

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Problem Specification My project will explore the notion of haptic experience through designing and placing “destinations” and “journeys” that tell a narrative within Amager Fælled.

I hope that the tactile-inclusion journey can be informative for the inclusive perception design in terms of the urban landscape project. It could potentially inform the commune in being more aware to make their parks more inclusive for the visually impaired.

The way of working with and learning from the blind and visual impaired is an inclusive design approach, which follows the people-centered discipline.

The project is more about learning from the blind people and employ the knowledge to work closely on site instead of detaching myself as a designer from the user and the context. The method of progressing the design encourages me to discover my own way of design which is situatedness and people-centered, empathy, in a way benefits myself in constructing my future path being a responsible designer for the society.

UN Goal

Un Goal 3 – Good Health and Well-being Ensure healthy lives and promote well-being for all at all ages.

UN Goal 10 - Reduced Inequalities Reduce inequality within and among countries

UN Goal 17 – Partnerships for the Goals Strengthen the means of implementation and revitalize the global partnership for sustainable development

Framing of the project Focus: Landscape intervention, with a focus on haptic experience by learning from how the blind and visual impaired perceive the nature spatial quality and executing the situatedness practice on materiality and spatiality.

Goal: to develop a haptic inclusive journey in nature and practice the sited engagement design process.

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UN Goal 16 – Peace, Justice and Strong Institutions Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels.

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Context The site will be unfolded into two layers: one layer is about nature itself and the other is about narratives

Land of idyll with an eerie past Amager Fælled is a highly contested park in southern Copenhagen, carrying with it a rich history that dates back to the 1800s. Stepping onto the ground of Amager Fælled, we barely notice that this land has an eerie past, which it used to be an execution site. The fabulous idyll with the large grazing area was covered by the previous “latrine” of Copenhagen. At the beginning by having a glimpse at the sketchy history of Amager Fælled (figure7), I am amazed by all the “agitation” under this seemingly wild and peaceful shell. (figure 5)(figure 6). The selection of materials and the relation between the activities and the space has been informed by the further thorough study of history. (historical research archive and interview see Appendix B&C)

(figure 5: photo took in Amager Fælled)

Informed by the accumulation and study of the historical archive and interviews with scholars in the design phase, some inspiring historical narratives will be reflected subtly in the intervention. The related historical narratives will be described in the following design process description.

The focus of my interventions is mainly on the unfolding nature feature of Amager Fælled, which will be further described in the following sections.

(figure 6: Children in front of their poor home at Islands Brygge in Copenhagen in 1942.

There was not much waste produced here. Photo from The Royal Library / ref.34, 64-65 /.)

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Forming Flooding area with beach meadow

Land of latrine and idyll

Military

Forming

1784-85

1673-1956

Till now

Previously, Amager Fælled was a typical grassland area to the coasts. Its low location made flooding of the area. The dike road crossed east of Amager is a sign that dikes were needed in this area.

During the land reforming, the municipality was entitled to grazing cattle in the area

1900

Waste disposal site

The first actual landfilling took place after the year 1900, and thus Islands Brygge was created.

Grazing cattle

1884

1842-1899

1903-33 Islands Brygge was originally built in several phases in the period 1903-1933

From 1884, known as the oldest documented waste disposal site in the area south of Amager Boulevard along Artillerivej, about where Statens Seruminstitut is now located.

1901

1950s

The next waste disposal site is known from 1901 at the Fælled eastern border in the area, where Red Mellemvej strikes a crack at H / F Sundbyvester.

From here, filling up took place eastwards and partly southwards, thereby extending Islands Brygge.

1960 Around 1960, a ground tip was established in the north-eastern part of the area, with access from Grønjordsvej

1930s 1901-1971

1964 In 1964, a number of repositories for mold and later excavation soil were established in the western area along the old shooting path.

Gradually, one ended with a narrow fjord into the area, and only in 1970 was the entire area with the current coastline created. Where H / F Sønderbro is now located was filled with garbage, soil and building waste among other things.

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1945

1960

1953-1976

From 1960, both sludge and liquid chemical waste were deposited on the landfill.

1980-2001

The last execution took place

A hangar for the army observation ballons, the current Ballonparken

officially established a dump

late 20th C

1845

1880s

1957

Military

In the latter part of the 20th century , the western part of the community was used as a landfill, the term "lorteøen" is thought to be inspired by this relationship. But the term "lorteøen" probably stems rather from the fact that in time the Copenhagen latrines were emptied on Amager, more specifically on the northern part of the island, around Kløvermarken . The western part of the common part was a part of Sydhavnen in the past, but the much waste gradually raised the surface, so this area also became solid

2000-2015 The area's swampy character means that not all grenades detonated, and in 2000 and 2015 the area was cleared of ammunition.

1981

In the wetland began to fill up in the 1930s with domestic waste, industrial waste, soil and construction waste.

From November 1945, they started to run the refuse collection at the end of Artillerivej

1970

During Christan d. , it was decide to use the area for military use, a number of ramparts and log cabins were built Shooting exercises at Amger Fælled began in 1673, when it was decide that one held a shooting exercise every Saturday.

In 1765, a fixed battery was built, where the police school's barrack lies north of Njalsgade In 1830-1867 shooting ranges were built in the area east of the current H/F Bryggen. At the same time, Artllerivej was established as a dike that continued from the south end of the road along the later coastline till current Vejlands Allé, down to where the Bella Center is now located.

Today, the Fælled is a widely used recreational area, where athletes, sunbathers, school classes and bird watchers can enjoy the green, protected area that is close to the city's vibrant life. In the summer, in some parts of the Fælled ground one can encounter grazing cows. At Artillerivej you find the Zigøjner Square with two parking spaces, from which there is easy access to Fælled

Land of latrine and idyll

2019

Several barracks were erected

1917

Historical Timeline (figure 7)

Historical maps source from <https://download. kortforsyningen.dk/content/ vilk%C3%A5r-og-betingelser> History sources from <https://naturstyrelsen.dk/ naturoplevelser/naturguider/ amager-faelled/historie/> <http:// www.danske-natur.dk/biologi16. htm> <http://lokalhistorier.dk/ Amager_Bladet/20130528_ Henrettelsespladserne/> <http://www.orestad.dk/ orestad-fakta/orestad-bydele/ orestad_faelled_kvarteret/ projektomraadets+historik.aspx>

in 1981, sewage of methane gas from the waste was found in the eastern part of the haveforeningen.

Battle between nature and dewelling

1990

A holistic plan was made. It recommended that the area around the Greenland Lake and the north be covered by nature conservation regulations. At the same time, the municipality was given the opportunity, through the municipal planning, to allow construction on the southern shore of Amager Fælled.

Until 2017, the municipality had plans to build this area

In 1990, the southwestern part was protected along with the south-lying Kalvebod Fælled.

The area, which was the land zone part, is delimited to the north-east by the old coastline.

1992 The preservation committee carried out the preservation on 18 June 1992. The municipality and the government, however, wanted to build on the beach bed and by law the day after the part of the conservation that included the beach bed was abolished. It is therefore only the western area of Amager Fælled that is protected

2017

in September 2017, major citizens' resistance made the municipality abandon their plans.

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Context

Potential in a protected area Amager Fælled, previously used as a military exercise area, is now a protected area (figure 8), with lots of nature and animal experiences for everyone. Amager Fælled is currently 223 ha.

Lakes and meadows and bogs on Amager Fælled are protected by the Naturbeskyttelsesloven § 3 og 16 (see Appendix D).

The intervention will carefully follow the nature conservation act, including the accurate locations of the interventions, constructing a strategy and so on. Further information will be provided after research has been conducted into the Naturbeskyttelsesloven § 3 og 16. The intervention design will be controlled by the given rules but still has a lot of possibilities to be playful.

(figure 8: The protected area in Amager Fælled <https://www.protectedplanet.net/ amager-faelled-protected-by-conservation-order-excl-church-surroundings>)

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Context

Amager FĂŚlled nature feature analysis Unfolding Amager FĂŚlled into two layers: (figure 9) 1. the current destinations in Amager FĂŚlled which has been characterized by Copenhagen Municipality 2.the pattern of nature

(figure 9: the recreation and nature attraction plan) 22

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Context Current Destinations in Amager FĂŚlled

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(figures: <https://naturstyrelsen.dk/ naturoplevelser/naturguider/amager-faelled/>

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Context Current Destinations in Amager FĂŚlled

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(figures: <https://naturstyrelsen.dk/ naturoplevelser/naturguider/amager-faelled/>

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Context Current Destinations in Amager FĂŚlled

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(figures: <https://naturstyrelsen.dk/ naturoplevelser/naturguider/amager-faelled/>

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Context

The current destinations in Amager Fælled.

The pattern of nature

By looking into the status and historical stories of the current destinations in Amager Fælled, I am able to analyze the relationship between the citizens’ activities and the site, it mainly consists of a range of typical outdoor activities, such as model drone flying, football, riding, etc.

Based on the site investigation(figure 10), I started to document the natural pattern of Amager Fælled, which can be shown in the mapping. (figure 11) Each of the natural patterns has its own specific spatial quality. A different attribute of nature has its own spatial quality that can be related to the interaction with visitors, traces of occupation and interference by human being and animals… which require us to get closer and perceive them not only by seeing but also drawing on other senses. And the most direct and most straightforward sense will be the sense of touch. Therefore the five destinations locate in five fields of different natural features and they have been defined by me, as a designer and the blind informant.

The further spatial qualities of the five destinations will be analyzed in the following section in relation to each destination.

These recreation venues are scattered all over Amager Fælled, and they serve as a specific destination for the citizens which suggesting clearly in the map or in the website. However, nature beauty itself has been treated as a “support character” for all these functions. When I walked in the Fælled, the nature vibes, in fact, implying a great amount of hidden charm. The interventions that I intend to implant will be different from the ones above, instead of setting a goal for visitors to go inside, the destinations will be quietly and gently merged into nature, which will be waiting for the sensitive explorer to discover.

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Context

Main path open area where we can clearly see the forward direction after snowing. The bright white color show the depth of the vegetation, inviting visitors to go inside.

sometimes we can hear the urban sound faraway sometimes it also reveal the city building as background

At the entrance from the city driving paths, some group of stones are placed as a sign suggesting no entry for cars.

The parking lot became a lot of ponds after raining and snowing, mirroring the surrounding view and the sky.

Subordinate path The plants on both sides approach closer to the middle path but still can see the direction and have a glimpse of the city and hear the city

Surface of the main path and the sub paths are covered by fined gravel mixed sand with growing grassland or bushes on both sides.

During snowing days, the middle path is covered a layer of ice, which cause the difficulty to walk on and bike, whereas, the grassy side with soft snow and water is easier to walk on.

Secret/free walking ways are often inside the dense forest, which Thick snow cover the dried plants, turning the we cannot easily figure out where it lead us to. There often a bench aggresive cluster of plants into a welcoming soft next to the secret path facing to an suddenly open view after the carpet to step on. narrow walking experience.

They covered with different materials, the bark mulch, flat grass after longterm walking...

When inside the woods the city sound will be turned down.

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In the intersection of the main path and its branches, there are often a road sign to show the direction and the rules, but some of the signs had been damaged by graffit.

A bench will be placed when there is open area for view seeing,

Fence for the cattle.

Branches stark up in the middle of the trees.

(figure 10, setches of the registration on the site) 33

Context

A. Swamp with reeds

B. Meadow

C. Parking lot

D. Common

E. Forest

F. Mosaik of meadow and common

(figure 11, Nature pattern of Amager FĂŚlled) 34

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Context

The route Instead of scrutinizing the whole area, I am going to take the most welcoming entrances which connect public transportation with most of the visitor's flow. (figure 12) The reason why I choose this specific route is that it is the main route in Amager Fælled near the Copenhagen City Center and also it connects the DR Byen Metro Station was surrounded by a lot of big companies and institutions. As my observation, this route plays a practical role for the cyclers commute back and forth to work as a shortcut, and also runners and pedestrian.

Since I am looking into the haptic perception, it would be fit in the body scale when we take the walkable distance. The length of the route is around 1.8 km, 30 minutes walking distance, an ideal way for leisurely walks, where still have a lot of branches link towards north and south for people to explore further.

The paths that connect Artllerivej to the west and the Ørestads blvd mostly plays a role of transition, a short-cut instead of welcoming people to stay longer especially in the winter time.

In the initial investigation (figure 13) in one of the main route, the repetitive perception dominants the enchanting image of Amager Fælled. What is more, when it is in winter, the Fælled will become like a place is “sleeping”, where there is barely lives and stories inside. Few scattered benches are perfunctory

(figure 12, the route)

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Context

(figure 13: the repetitive experience of the site)

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Context

suggesting “sit here”. The Fælled now is lacking tactile-inclusion experience, in another word, if a blind person or a sighted person walk in the space in dark, he/she will not have much of sitespecific memories of this place, there can be no difference to a parking lot. The current journey in Amager Fælled can be more impressive for visitors by enhancing the tactile experience, by optimizing the walking path with the different tactile surface for the walkers to step on which will suggest them towards to the deep inside nature itself. At the same time, we would like to “give voice” to currently understated stories of this land by giving it playful spatial narratives, in order to communicate the valuable charm of Amager Fælled. ( figure 14).

The different scale of the walking paths (figure 15) After walking along the different paths, while bearing the haptic perception in mind, the smallest pathways which not especially determined by the municipality has the most intimate encounter with our bodies. The small tracks merged by the gradually accumulated steps, they suggest the human actives pattern.

These small tracks direct us to deeper inside nature, which we cannot easily figure out where is it leading to. Therefore the five destinations will be located around the small tracks. The destinations will be unassuming for the citizens to discover them unexpectedly, revealing the given natural quality and inviting people to use their body to perceive the place not only depending on visual solely. (figure 14: I take one of the main path, around 1.8 km, which is the connection between the east and west side. It is sandwiched by the entrance at Ørestads Blvd. near DR Byen Metro station and Artillerivej near KFUMs Kollegium. The main path and the subordinate branches will fall into three different catalog, which determined by their different features.)

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Context

Main path (around 4m) Directly connect the destination to the east and west, interupted by the subordinate paths

Subordinate path (1m-3m) The branch paths grow from the main path which have the gravel surface

Secret/free walking way (around 1m) The small paths have the trace of human beings, no visible destination from the GPS.

The threshold between different paths can also fall into different categories.

(figure 15: different scale of the walking paths )

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Theory and Approach Ruins and Nature/ Historical Narratives Amager Fælled’s charm has been largely shown when I start to look into its history. The history stories, for example, it used to play a role as a dumping area and the execution site has added a cultural layer to Amager Fælled. “ Many places that are identified primarily through their anthropogenic features would not be adequately understood without considering their ecological properties, and certain areas with significant anthropogenic elements give rise to specific—and in many ways unique— experiences of flora and fauna. Central among them are ruins, where ambiguous space is occupied spontaneously, where interactions with the nonhuman can be more unexpected, startling, and dangerous than in more regulated areas.” (Pálsson, 2013).

“Landscapes refuse to be disciplined. They make a mockery of the oppositions that we create between time (History) and space (Geography), or between nature (Science) and culture (Social Anthropology)” (Bender; quoted in Massey, 2006: 34). Therefore, the intervention will not be detached to a situated environment but aiming at “growing” together with the natural elements, eventually, intertwine with nature over time. The form of the ruins can possibly be well immerged into nature. (figure 16)The concept about creating ruins, based on the chosen historical narratives, give me the entry to develop the journey in Amager Fælled.

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(figure 16: Continuerà a crescere tranne che in quel punto (1968–2003), Giuseppe Penone, tree (Ailanthus altissima) and bronze. View of the work in 2008 Photo © Archivio Penone )

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Theory and Approach

Learning From the Blind and Visually Impaired By starting the research of a tactile journey with a blind informant in Amager Fælled, I am able to build the database about the site-specific tactility for the interpretation of the destinations and journeys in the Fælled.

My site-writing Walking with the Blind(Appendix A, p15) gives an example of how to gain valuable knowledge from the participant observation journey with the blind in a specific site. In the site-writing, the quotes of the blind informant’s narratives situate in between objective description of the space, while correspondingly the sketches record the materials and the spatial elements which are related to the sense of touch. (figure 17)

(figure 17: Walking with the Blind in my written assignment)

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I intend to collect the materiality and potentially spatial qualities by analyzing the tactile journey of a blind people, therefore within the participant observation in the walk with the blind(Lykke), I have gained a fruitful ideally outcome- a set of clay made by Lykke based on her perception in the site. (figure 18)(figure 19)

(figure 18: Lykke was using the clay to interprete the destinations)

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(figure 19: Lykke's interpretation of five destination) 48

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Theory and Approach

What is more, I have been continuously consulting the blind informants’ insight and reviews through the design process, keeping learning from how she senses the materials(figure 19)

Interpretation of the spatial quality through tactility When Mark Paterson describes The senses of touch, he writes a list related to the sense of touch such as “haptic”, “cutaneous9, “tactile” and so on.

Therefore, touch is a sense not limited to one’s hands but also to one’s skin, as well as to gain the sensation of pressures, temperature, and pain.

Edward Hall pointed out that the human sensory apparatus can fall into two categories: the first of which is distance receptors, relate to the perception, gaining form eyes, ears and nose; and secondly, the immediate receptors, which used to detect objects at close range, that is, the tactile information we receive through skin, membranes, and muscles. The skin acts as the main tactile organ that receives the gain and the loss of the heat, as well as the radiation and conduction of heat. (Hall,1966, p.41-42) So strictly speaking, the skin counts as both the immediate receiver and the distant receiver. He has a more in-depth explanation of the tactile related to the skin in his session Thermal Space, “ Some of the more subtle sensing (and communicating) qualities of the skin are commonly overlooked. These are the qualities which also relate to man’s perception of space” (Hall,1966, p.54).

Therefore, to reveal the natural beauty of Amager Fælled through tactility will become more immediate and intimate, in a way will make the journey more impressive and playful. For the blind people, they will be able to experience the nature and the historical narratives through touching when the for the sighted people they may be able to get the chance to notice the subtle touch perception beyond the view gaining depending on vision.

(figure 19: Lykke was reviewing my design proposal)

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The intervention will be strongly grounded on materiality, looking into the material’s attribute and how it varies to giving different haptic to support perceiving the spatial quality of nature. For this, I have been working on a wide range of material test, in the process, there is a lot of failure trials, but it somehow helped me to find the right way to work with the materials, as

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Theory and Approach

Pallasmaa said “The work of craftsman implies collaboration with his material.

Instead of imposing a preconceived idea or shape, he needs to listen to his material.” That is I cannot force the material to follow my command, I must go with them to the point where others will understand their language. (Pallasmaa, 1988, p.55) Therefore I didn’t predict how the materials changing but I waited to see the experiment outcome then apply them accordingly to the intervention. (figure 20)

The working hand/ Situated practice There’s no surprise that the similarity between an artist or designers and their own work underlines the interaction of the creators’ sense of self and their work. (Pallasmaa, 1988, p.52) As a designer, I enjoy working also as a craftsman, working with my hands. “The fact that being an apprentice at the construction site used to be a mandatory part of architecture at the construction site used to be a mandatory part of architectural education, and that architects often practiced a craft, drawing, painting or sculpture as a hobby or a means of acquiring manual skill and carrying out formal experiments, reinforce the connection between professional architectural practice and the realities of making- between idea and matter, form and its execution.”(Pallasmaa, 1988, p.65) In the design process, I have been working through self-engaging in “touching” the site and closely encountering different materials. I invited one of my colleagues to have the blind-folded walk (figure 21)in the site while I was the observer, later I also did the blindfolded experiment by myself. I also use my own body to testify the scale, surfaces’ perception, spatial quality on site. (figure 22) In relation to the material study and developing the design proposal, I have been coming back and forth to the site, to test the material on site. (figure 23)

(figure 20: picture of working with material test)

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Theory and Approach

(figure 21: picture of Louise's blindfolded walking journey)

(figure 22: I was exploring the motion of climbing the tree)

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(figure 23: I was testing material on the site)

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Process and Method achievable

Potholes Meander Lap the Glade The Hopping through Lake Secluded journey Reeds

Research phase

2.walking with a blind informant: conducted with Lykke Vilstrup Vedsted, blind masseur, Denmark

Design phase

1.blindfolded journey: conducted with Louise Moreau, colleague from Spatial Design, KADK

1.plan,section and detail drawings

Material in-depth experiment

The five destinations will be determined by the self-engagement research, the blindfolded experience and the observation from a walk with the blind informant. The materiality is developed by the sited one-to-one scale tests, trials of the material experiment, and the reviews from the blind informant.

Two of the destinations “Hugging Tree” and “Potholes Hopping” will be more developed than the other three, with in-depth materiality trail process, one to one scale physical material presentation while the other three destinations “Meander through Reeds”, “Lap the Lake” “Glade Secluded” and the journey along the path will be presented mainly visually and smaller scale of reflection on the materials. (figure 24) (figure 25)

uncertain

Hugging Tree

1. material experiment

3.self-engagement experience on site: conducted by myself

2. visualization 3. models

2. 1:1 material experiment 3. material on site test 4. review of Lykke Vedsted

(figure 24: overall design process viewing)

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Process and Method

(figure 25: 1:1000 model and the location of the five destinations and the journey.)

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(figure 26: the crooked tree.)

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Hugging Tree

B. Meadow -Crooked trees

Definition of the spatial qualities Most of the crooked big trees are scattered in the open meadow area, which makes them being outstanding from far. When I accessed one of them, the branches framed an empty space which gave me the sense that I was inside a private room. (figure 26)(figure 27) D. Common -Crooked trees

F. Common -Crooked trees

(figure 27: positions of the crooked trees in Amager FĂŚlled.)

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Process and Method: Hugging Tree

The blindfolded journey and historical research: When Louise was inside the crooked tree, she felt anxious and confused because of the shape of the branches which were created an intricated net were complicated inside. She used her hands to touch one of a branch and she realized that the branch was growing horizontally. “The tree is jumping on me,” she said. (figure 28) I became curious about how can we enrich the playfulness inside a tree while not depriving it of its natural attributes. I started to look into Matta-Clark’s project where he was answering the question of how people can dwell inside a tree. (figure 29)

"The tree is jumping on me! "

(figure 29: Tree Dance, Gordon Matta-Clark, 1971, Vassar College, New York)

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(figure 28: Louise's blindfolded experience inside the tree.) more detail in Apeendix E

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Process and Method: Hugging Tree

Walking with Lykke: While walking with Lykke to this tree, she got excited when she found out the tree branches were growing horizontally. She claimed that she wanted to climb the tree. With the help of her assistant, she reached the surfaces of the branch, positioning her hands and feet managing eventually to stand up on one of them. (figure 30) When she was making the clay, she described the surface of the branch, and she imprinted her fingernails into the clay to imitate the texture. The object started to take the appearance of a hugging gesture. (figure 31& 32) The reason why she only made a part of the tree was that she could only perceive that specific side of it from the memory of her movements. â&#x20AC;&#x153;Hugging Treeâ&#x20AC;? became the inspiring answer for my previous curiosity. Then I started to investigate how much interaction we can have with the tree.

"This is the climbing tree, since I have only saw one side of it, so that's why there is only branches to one side. " "I did not fo around so I don't know what is going on to the other side of the tree. "

(More detail see Appendix F)

"I want to climb the tree! "

(figure 30: picture of moment when Lykke was climbing the tree)

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(figure 31: Lykke's clay interpretation for the hugging tree)

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"So what I am making now, it was sort of like a hand, suddenly there is two branches where I climbed."

"I love the tree. Because I could use my body, the feeling of the roughness of the trees."(using her nails to imprint the bark texture) (More detail see Appendix F)

(figure 32: Lykke's clay interpretation for the hugging tree) 68

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Process and Method: Hugging Tree

Body involvement working process I worked through self-engagement on site using my body (figure 33)to record what matters in this destination(figure 34). I carefully documented what matters to this site in relation to the body scale and tactility, the surfaces related to the visitorsâ&#x20AC;&#x2122; body contact have been edited as more outstanding than the surrounding elements and the drawing will be the starting base for me to develop the design. After I used my own body to interact with the tree, I discovered a wider potential: the middle part of the tree could become a seat; at the bottom of the tree, there are rocks scattered and which when they donâ&#x20AC;&#x2122;t lay down stably with a brunch underneath, it will be wobbling when we stand on top of it.

For the whole tree, I used a 3D scanner to record the surface where can be body had the contact with. When I pieced them together, it somehow presented as a fragment of the tree, like a shell. Therefore the intervention will be a layer attached to the tree which will invite people to use their body to reach different parts of it, having their own interaction: touching, climbing, standing, restingâ&#x20AC;Ś(figure 35) Proposal (figure 36 &37)

(figure 33: Lykke was climbing the tree & self-engagement on site)

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(figure 34: what matters in the hugging tree) 72

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Process and Method: Hugging Tree

(figure 35: The surfaces of the interaction from the tree, top view and elevation) 74

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Process and Method: Hugging Tree

(figure 36: proposal of the hugging tree, plan ) 76

(figure 37: proposal of the hugging tree, elevation ) 77

Process and Method: Hugging Tree

Material study The clay Because the intervention will be close to the body and on the tree, it is inevitable to consider the 1:1 scale considering a study in its material.

Therefore, I have made four plaster copies of the tree surface that had been touched by Lykke when she was climbing on it. These copies became the base for my material studies. (figure 38 & 39)

(figure 38: 1:1 copies of the tree surfaces )

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(figure 38: encounter moment of the surfaces and the body )

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Process and Method: Hugging Tree

I used the clay to imprint the surfaces of the branches, and this material picked up both my fingerprints and the tree bark texture. I started to use more strength to imprint my motion more evidently. The clay for the casting informed my later material choice of the intervention. (figure 39) I used the clay to capture the encounter moment of the body and nature, at the same time the bottom part of the clay has the imprint of the treeâ&#x20AC;&#x2122;s surface.

By firing it, the clay will become a fixed and tough ceramic. By putting all the ceramic pieces together and covering some part of the tree, I imagine the intervention will be like a dress â&#x20AC;&#x153;huggingâ&#x20AC;? the tree, which will guide your fingers, feet, arms,etc., to approach the tree. (figure 40)

(figure 39: I was using clay to pick up the texture on site)

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(figure 40: clay to record the motion of the touching moment)

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Process and Method: Hugging Tree

Material study Follow the stitches When I had to figure out how to connect each ceramic pieces, I was also thinking of how to ensure the joint, which became the guide for the body to find its way. The idea is to create a harmless intervention, therefore the joint that connects it to the tree should not be directly fixed on it.

I started to test different techniques for stitching. By stitching the pieces together, the joint can be perceived continuously. (figure 41) To optimizing the joint, I tried different material and different methods of stitching. (figure 42) I brought the model to the site and tested it, realizing that the metal stitches created a sound.(figure 43)

(figure 41: the stitching joint)

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(figure 42: different stitching method with different materials )

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Process and Method: Hugging Tree

(figure 43: material on site)

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Process and Method: Hugging Tree

Material study Way to the tree I decided to create a pavement to guide people to the hugging tree. I observed the blind tracks in the city (figure 44) and consider to take the erected strips and dots pattern. However the intervention is not just specially designed for blind people and it should be blended into nature, therefore I have decided to give a natural texture to the pavement related to the ground under the tree.

I collected the branches on site and put them side by side horizontally, then use the pattern to make the strip of the tiles. (figure 45) I placed the branches vertically and used them to make the dotted pattern.(figure 46) The strip tiles suggests people to walk through while the dotted ones implied people to be aware of the front and sroundings. (figure 47)

(figure 44: blind track in Copenhagen)

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(figure 45)

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Process and Method: Hugging Tree

(figure 46)

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(figure 47: 1:10 model processing )

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Process and Method: Hugging Tree

Material study Hugging tree model 1:10 (figure 48 & 49)

(figure 48: 1:10 hugging tree model processing )

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(figure 49: 1:10 hugging tree model close up )

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Process and Method: Hugging Tree

Review from Lykke In the design phase, I invited Lykke again to give me advice for my intervention.

She helped me to select the most effective texture of the tiles that I made and suggested me to consider making the stitches more refined. She also mentioned that the ceramic piece should be a platform for her to reach the tree and have her freedom to explore the tree rather than dominantly covering the whole tree. (figure 50 & 51)

(figure 50: Lykke was touching the tree model )

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(figure 51: Lykke was reviewing the material samples )

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(figure 52: the potholes in the parking lot)

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Potholes Hopping Definition of the spatial qualities The two parking lots which situated to the west of Amager FĂŚlled, near the access to the Artillerivej, having a lot of potholes generated gradually by the coming and going vehicles. It creates an interesting and playful vibe. To some extent, all the ups and downs can contribute to the pleasure of walking. (figure 52)(figure 53)

C. Parking lots -Puddles

(figure 53: positions of the potholes in Amager FĂŚlled.)

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Process and Method: Potholes Hopping

The blindfolded journey: As Louise said all the ups and downs made every step become a presence.

Therefore in this destination, I intend to â&#x20AC;&#x153;transferâ&#x20AC;? the potholes hopping experience to the surrounding area of the parking lot while fixing the unevenness in the parking lot. (figure 54)

"Now we're really far from the birds.

I can feel where they are, it is really nice actually, I am sure there are a lot of them but I cannot see. "

(figure 54: Louise was walking in the parking lot, more see Appendix E)

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Process and Method: Potholes Hopping

Walking with Lykke I have introduced my intention of this destination to Lykke and she said it is very interesting to experience while she does not need to avoid stepping inside the potholes, to the contrary, she can experience all the ups and downs.

Narratives with the clay she portraited for the reeds field. (figure 55) The clay she created for this destination shows an obvious trace of how we move inside the parking lot: we made a big U-turn. Therefore, to ensure she can be secured while stepping into the potholes, she needs a continuous system she can follow. (figure 56) In this case, I need to supplement the potholes with support for hands to follow. (figure 57)

"It’s the parking lot I’m trying to make where we came in and walked around and came back. That’s all the bumps we went down into but its more organised here than it felt when we walked there.

It’s hard to make it as disorganised as it felt when we went there."

(figure 56: Lykke's interpretation of the parking lot ground surface, more see Appendix F) "It's so different that I need to go inside all the obstacles here. Ann doesn't need to inform me where are the puddles. " (figure 55: Lykke was walking in the parking lot, more see Appendix F) 100

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"Itâ&#x20AC;&#x2122;s because we came in here and then we made a left and walked back. Yeah! We made a U-turn at a parking lot. Make a legal U-turn as the GPS said once."

(figure 57: Lykke's clay interpretation of the parking lot, more detail see Appendix F) 102

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Process and Method: Potholes Hopping

Body involvement working process I worked through self-engagement on site using my body (figure 58)to record what matters in this destination(figure 59). I carefully documented what matters to this site in relation to the body scale and tactility, the surfaces related to the visitorsâ&#x20AC;&#x2122; body contact have been edited as more outstanding than the surrounding elements and the drawing will be the starting base for me to develop the design.

The material I would like to apply should be easily piped up and form a variation landscape, at the same time, it also requires durability.

(figure 58: Self-engagement on site)

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(figure 59: What matters in the parking lot)

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Process and Method: Potholes Hopping

Material study Brick: Denmark is one of the famous countries for brick fabrication. And bricks can be an ideal way to achieve potholes construction.

In the beginning, I imagine the material could be mudbrick,(trial for the mud brick) however, due to the local climate condition, mudbrick will not be the wearable decision. (figure 60) Then I started to look into the typical brick. And also I also started to research the different roughness of the brick surfaces, because the different part of the potholes should be sensed as different roughness, enhancing the rhythm of walking by informing our body when it is going downwards and upwards. (figure 61 & 62)

adjust the parking lot's ground level, ensuring the drainage direcction towards the surroundings

(figure 60: handmade mudbrick)

design a series of potholes along these small tracks

take the tracks that created by people, as the specific positions for the intervention.

(figure 61: proposal )

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Process and Method: Potholes Hopping

(figure 62: intervetion proposal )

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Process and Method: Potholes Hopping

Material study Reburn Brick The most effective method to dispose of the reclaimed brick is re-burning it, deal with the fact that it can achieve the following advantages: the bricks are effectively cleaned, all bricks will be hardburned, and the mortar can be recycled. (Kristensen, 1993, p.413) (figure 63) Therefore, I started to test how to control the tactile of the bricksâ&#x20AC;&#x2122; surface. I did the first trial of glazing on the brick and reburn them. (figure 64) I chose a certain color for the glazing mostly related to the natural element colors

(figure 63: Note from the book )

(figure 64: working on different glazing )

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Process and Method: Potholes Hopping

Material study Reburn Brick I tried six different methods of glazing, and here is the result: (figure 65 & 66) I found that the glazing can somehow change the roughness of the brick surfaces, then I did a second trial to try to figure out which bricks I should use: (figure 67)

(figure 65: reburn brick first trial- different glazing methods)

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(figure 66: reburn brick first trial )

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Process and Method: Potholes Hopping

Material study Reburn Brick Result analysis Due to the fact that the yellow brick is the most typical brick in Copenhagen, I select the yellow brick and study how to specify and make use of the different roughness of the surface that the glazing made.(figure 68)

(figure 67: reburn brick second trial )

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(figure 68: different roughness using in different part of the intervetion)

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Process and Method: Potholes Hopping

Material study Reburn Brick Result analysis Site-specific color scheming The glazing color is for the sighted people while the tactile perception is contributed by the bricks. The intervention should be blend in and somehow growing inside nature, hence the color needs to be relevant to the natural environment.(figure 69) I took the brick samples to the site and having a situated color scheming work.

The color of the ground it would be nice to have the earth tone with the grassy tone(pic), while the low wall can make a connection to the skyâ&#x20AC;&#x2122;s color, the creamy blue and pink sunset tone. (figure 70)

(figure 69: selected color)

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(figure 70: I situated the glazing bricks to form the color theme for the design )

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Process and Method: Potholes Hopping

Material study Review from the blind Lykke gave me some valuable advice for this destination is the consideration of the weather. When there is water containing in the potholes, the surfaces cannot be too slippery to step on. (figure 71)

(figure 71: Lykke was sensing the bricks)

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(figure 72: the reeds field)

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A. Swamp with reeds -Trimming reeds

Meander through Reeds Definition of the spatial qualities The contrast of the short ones which had been trimmed down and the intact ones showed the traces after the routine maintenance. The trimmed ones become as a welcoming carpet that inviting people to step on it, while the taller ones become a solid volume. I was intrigued by how dynamic nature can be by the participation of human interference. (figure 72)(figure 73)

(figure 73: positions of the reeds in Amager FĂŚlled.)

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Process and Method: Meander through Reeds

The blindfolded journey and historical research With the observation of the blindfolded experiment and looking into the historical stories of Amager FĂŚlled, the reeds field can be a sensorial place for people to walk in. ( figure 74) With the changing status of the reeds, the journey that walking through become unpredictable and mysterious since the shorter ones will grow and the taller ones will be pruned.

One of the historical picture that from the past showing that there was a ropemaker in the forest of Amager FĂŚlled, (figure 75) The primitive technique of making a rope is also dynamic by going through a long distance to ensure the separated thinner threads can be twisted and merged into a thicker and strong one.

"I feel like in gladiator, the first scene of gladiator, like in the fields."

(figure 74: Louise's blindfolded journey, more detail see Appendix E)

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Process and Method: Meander through Reeds

Rope Maker photo and history story Date: 1914 A ropemaker is photographed standing within trees by a lake on Amager Fælled. You can see he is holding the rope and the rope has been laced around the trees.

After Copenhagen’s fortifications were removed in 1875, the city that was held inside bubbling for so long exploded, in size and development. Jacob Hølm was one of the two key entrepreneurs who kick-started the development of Amager during and just before the Industrial Revolution. He built some of Copenhagen’s first steel ships. He moved his rope factory in Christianshavn to Amager during the time. He built the entire factory to place the old factory as well as housing for his workers. Areas of Amager were built before the fortification was turned down. The streets were filled with their factories of glue, canvas, candle and the famous kettle brand, Madam Blå.

The rope factory that housed his workers was what we know today as Amager Centre. The glue factory is what we know today as Amager Banken.

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(figure 75: Source: “Amager Fælled.” Kbhbilleder.dk, kbhbilleder.dk/kbhmuseum/58533.

Story Source: Knudsen, Pernille Ulla. "History of Amager Fælled." interview. 15 Feb. 2019.)

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Process and Method: Meander through Reeds

Walking with Lykke: She used her hands to touch the downy reeds, defining the reeds are dry while making the clay piece to represent the destination. She mentioned that the reason why her clay interpretation has a very clear boundary and ordered pattern is that she needs to have a boundary to secure herself to explore the space and if there is no boundary she will create her own boundary in her mind. (figure76 & 77) After gathering and concluding the above aspect, If the intervention needs to have an element that for hands to follow, in this destination will be the rope that somehow invites visitors to grab on and follow, the rope will go inside the reeds clinging on the structure which inspired by the rope maker device. The destination creates a journey of meandering through the reeds by “holding” our hands with a continuous rope, while we are able to sense the “carpet” of the crispy off branches and going inside the taller ones. With the interference of the routine pruning, the exposed rope will somehow be covered by the growing reeds. ( figure 78) "I don’t know how to make the reed part, the first part we went to. Its good, I’m making reeds now because the clay is cracking and getting a bit dry because it was just lying there for a while. It suits because it was also dry! "

(figure 78: collage proposal in the reeds)

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(figure 76: Lykke's clay interpretation of the reeds. more detail see Appendix F)

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" I need the boundaries to be able to cope. I think I said it last time, im more of an indoor person than an outdoor person. I need my boundaries. If there arenâ&#x20AC;&#x2122;t any, I make them myself. "

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(figure 77: Lykke's clay interpretation of the reeds. more detail see Appendix F)

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Process and Method: Meander through Reeds

Body involvement working process I use the clay to pick up the texture of the surfaces and the cast samples can be informative for the pathway surface design. The intervention for the path which guiding towards this destination needs to be different from the existing surface to make the presence of the steps and make the feet be aware.(figure 79) I worked through self-engagement on site using my body (figure 58)to record what matters in this destination(figure 81). I carefully documented what matters to this site in relation to the body scale and tactility, the surfaces related to the visitorsâ&#x20AC;&#x2122; body contact have been edited as more outstanding than the surrounding elements and the drawing will be the starting base for me to develop the design. (figure 80)

(figure 79: using clay to pick up the texture of the ground as a on-site material registration)

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(figure 80: self-engagement experience)

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(figure 81: the elements that matters on site)

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Process and Method: Meander through Reeds

Study of making the rope: I intended to collect the dry branches on the site and use the primitive method to rub the rope, which will give different tactility of the surface (figure 82 & 83).

The final visualization still needs to be finished by the exam.

stalk fiber is being exposed cracking sound from the dry branches

(figure 82)

(figure 83)

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(figure 85: the lake front)

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Lap the Lake Definition of the spatial qualities (figure 84) The first time that I walked towards to the lake (figure 85) , I was amazed by the small track that covered with the bark mulch (figure 86) which make the sensation that I walked on become so much different than walking on some other surfaces. The sensation of stepping on this track is more quiet and woodsy, especially after it soaks in the rains. I also make a 1:1 plaster casting of the surface(cast picture) Walk along this track, it leads the visitor to the tranquil lakefront (figure 87).

G. Lakes -Encounter the water

(figure 86: bark mulch surfce)

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(figure 87: plaster copy sample)

(figure 84: positions of the lakes in Amager FĂŚlled.)

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Process and Method: Lap the Lake

Lap the Lake The blindfolded journey The presence of the lake is evident visually, but due to there is not much movement of the water, Louise couldn’t figure out the presence of the lake when she was being blindfolded. The faraway traffic sound misdirected her to considering the lake as the street.(figure 88) The question “How to make the lake present?” emerged and further development will be achieved after the walk with the blind informant.

"Is it a street? Oh, wait, ducks in the street? "

(figure 88: Louise was trying to figuring out what was in front of her. more detail see appendix E)

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Process and Method: Lap the Lake

Lap the Lake Walking with Lykke When Lykke encountered the lake, she was able to perceive the reflection of the sun because of the mirror effect. Certain blindness is able to detect some amount of light. (Brummelen, 2014) And when she portrayed the clay of the lake, she especially depicted some ducks even with the month open implying the sound source. Narratives with the clay she portraited for the lake (figure 89 & 90) I summarize the elements contribute to the presence of the lake: the movement of the water, which can be triggered by the animals, rain, wind and the reflection of the water. (figure 91)

Because that’s what I can sense, I don’t know what’s out there, I know what’s around me.

(figure 91: A vision of the destination presents by collage)

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(figure 89: Lykke's interpretation fot the lake, more detail see Appendix F)

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" A lot of duckies, and one of them is only the head because then I can make an open mouth because its making some noises!

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(figure 90: Lykke's interpretation fot the lake, more detail see Appendix F)

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Process and Method: Lap the Lake

Body involvement working process I worked through self-engagement on site using my body to record what matters in this destination(figure 92). I carefully documented what matters to this site in relation to the body scale and tactility, the surfaces related to the visitorsâ&#x20AC;&#x2122; body contact have been edited as more outstanding than the surrounding elements and the drawing will be the starting base for me to develop the design.

There are a lot of stones scattered around the lake. I would like to employ them as agencies placing along the path to the lake while containing the fragment of the reflection effect. Here I propose a method that is changing the shape of the stones with a router. Abstract a cylinder volume from the stone, and turn it into a container which able to hold the rainwater meanwhile create the small reflected surface on the stone. Furthermore, use the movement while people walking on the gravel near the lake to create the colliding sound, and the gravels which placing near the lake are able to be kicked into the water and trigger the movement of the water. (figure 93) The further detailed will be developed by the exam.

(figure 93: stone's abstraction)

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(figure 92: What elements matter by the lake)

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(figure 94: the big tree inside teh forest)

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Glade Secluded Definition of the spatial qualities (figure 95) By entering the path suddenly excluded yourself from the main road, the path directing inside the forest is very narrow, soft. I couldnâ&#x20AC;&#x2122;t foresee what I was going to reach, confusing by a group of intricated branches. Walking for a while, a glade appeared with a respectively bigger tree standing in the middle. ďź&#x2C6;figure 94) The enclosed covering of the trees created a moment of secluding when I entered the glade, weakening the sound from the road, the cycles, the traffic, the city, a moment that I was isolated as a recluse.

E. Forest -Enclosure of the trees

F. Mosaic of meadow and common -Enclosure of the trees

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(figure 95: The location of the glade in the forest)

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Process and Method: Glade Secluded

The blindfolded journey and historical research: The sound of the cracking branches created a distinctive sensation for this destination, as Louise imagined she could tell she was off the main road and couldn’t hear so much sound. She could also sense the softness of the ground from the moss bedding. (figure 96) (figure 97: plaster cast piece of the flooring.)

While reading the history story which was happening in Amager Fælled, the photo that called “The Recluse” draws my attention, because of the unknown man inside had been hiding from the outside world, living only with his chicken and rats. The moment captured in the photo that happened he was being frightened and ran back to his shelter can somehow relate the moment when we walked in the forest and being safe in the shelter of nature. (figure 98)

“The floor is sticky now. Ah, you have branches here? So we’re what in the woods? There’s not much sun now. I can hear water somewhere, but I think its in your bag.”

(figure 97: ground surface registration)

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(figure 96: Louise was walking inside the forest, more detail see Appendix E)

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Process and Method: Glade Secluded

The Recluse Date: 1912 Location: (unknown) A recluse escapes from the photographer towards his cabin. In the background are the shooting range barracks, today is known as Ballonparken.

An unknown man built his cottage on the swampy grounds of Amager Fælled to the west of Islands Brygge. He lived as a recluse and did not want to be recognized by anyone. He wanted to be alone with his chickens and rats. The fellow man was an abomination to him, whom he thought was worse than the plague. To his horror, when he discovered a photographer was taking this picture of him, he immediately fled the scene into the safety of his cabin. No one in the area knew who he was nor where he came from. He remains as one of Copenhagen’s unsolved “riddles”.

(figure 98: The Recluse, Source: “Amager Fælled.” Kbhbilleder.dk, kbhbilleder. dk/kbh-museum/82929.)

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Process and Method: Glade Secluded

Walking with Lykke While walking with Lykke into this destination(figure 99), she said the energy of the contrast between the middle big tree and the surrounding smaller trees made her aware of the presence of the big tree. And she was using her hand to touch the big tree. Therefore, in this destination, I intend to create an experience for the visitor to retrieve the tranquility inside the glade. (figure 100 &101)

"The big tree had a presence because it was amongst the small trees.

Maybe it was because it was surrounded by all the small trees then the energy from this one tree was that much more intense."

â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s like a presence for me. Compared to the other surroundings.â&#x20AC;?

(figure 100: Lykke's clay interpretation for the glade in the forest. More detail see Appendix F)

(figure 99: Lykke was entering the track to the glade. more detail see Appendix F) 162

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"All these differences make you realise the presence of this object and notice it even more.

Because when there’s lots of big trees, they’re just big trees but when there’s just one you notice it even more.”

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(figure 101: Lykke's clay interpretation for the glade in the forest. More detail see Appendix F)

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Process and Method: Glade Secluded

Body involvement working process I worked through self-engagement on site using my body to record what matters in this destination(figure 102). I carefully documented what matters to this site in relation to the body scale and tactility, the surfaces related to the visitorsâ&#x20AC;&#x2122; body contact have been edited as more outstanding than the surrounding elements and the drawing will be the starting base for me to develop the design.

The intervention in this glade will be a plain area inviting people to sit or lie down on the moss, lean on the tree by introducing some scattered cut-off tree barks surrounding the big tree. The path that leads to the glade will be the inserted pavement on the floor to make the different tactile. A vision of the destination the collage Further detail drawing will be presented in the final exam.

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The journey The journey will be a pavement which situated by the side of the middle wider path, with a continuously distinguished tactile to follow. Further detail will be given by the exam.

Conclusion In the previous stage of written assignment last semester, I discovered a constructive way to study space, learning from the blind and the visually impaired, and I feel grateful to push it further in the phases of the thesis. I regard the thesis project as the starting point for seeking my future career development direction, changing my insight from emphasizing “designing for whom” to “learning from whom”. Put myself to a status that I need to be informed rather than I impose a subjective proposal, making the decision gradually by learning from the participant observation, experiment, and errors.

The progress of the design is never being predictable and that’s why it keeps the project always refreshing and joyful for me.

I have learned a great amount of knowledge from learning from the blind and visual impaired that I cannot gain only by myself. I got a lot of valuable critique and reviews from the communication when I have been updating her my design process. This way of working ensures me as a designer bear the other in mind and keep the cognition of empathy, which reinforce the argument for the design by comprehensively and inclusively consideration.

I am glad that I can retrieve the sense of a craftsman while working with my hands instead of sitting in front of the computer but self-engaging in the site from time to time and exploring the materiality. I reflect my personal experience in the design, I expect that my personal insight and emotions on the venue can be expressed through my design. My perspective of my thesis project is also self-expression of mine. I am willing to share my understanding of the site and how I work with and learning from the blind with the examiners and audience. I expect that I can have effective communication with the tutor and the examiners. I hope that my design would convey my attitude as a designer and advance me in my future career planning so that I can build up my own confidence and pleasure with my design method.

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Henri Lefebvre, 1991. From Absolute Space to Abstract Space. The Production of Space. Basil Blackwell, Ltd, pp.229-291.

Morton A. Heller& Soledad Ballesteros, 2008. Introduction: Approaches to Touch and Blindness. Touch and Blindness: Psychology and Neuroscience.

Lawrence Erlbaum Associates, Inc., pp.1-24 Morton A. Heller, 2008. Picture Perception and Spatial Cognition in Visually Impaired People . Touch and Blindness: Psychology and Neuroscience.

Lawrence Erlbaum Associates, Inc., pp.49-72

Janowitz, A. 1990. England’s Ruins: Poetic Purpose and National Landscape.

Oxford: Blackwell.

Susanna Millar, 2008. Processing Spatial Information From Touch and Movement: Implications From and for Neuroscience. Touch and Blindness: Psychology and Neuroscience . Lawrence Erlbaum Associates, Inc., pp.25-48.

Jorgensen, A. and M. Tylecote,2007. Ambivalent Landscapes-Wilderness in the Urban Interstices. Landscape Research 32, pp.443-462

Waage, E. 2010. Landscape as Conversation . K. A. Lund and K. Benediktsson (eds). Farnham: Ashgate. pp. 45–58

Juhani Pallasmaa,2005. The Eyes Of The Skin: Architecture and the Senses.

Wiley-Academy, a division of John Wiley & Sons Ltd, pp.9-71

P. Kristensen, 1993. Recycling of Clay Bricks. Demolition and Reuse of Concrete and Masonry: Guidelines for Demolition and Reuse of Concrete and Masonry. Taylor & Francis Transferred to Digital Printing 2005, pp. 411-414

Juhani Pallasmaa,2009. The Thinking Hand: Existential and Embodied Wisdom in Architecture . John Wiley & Sons Ltd, pp.46-122

Websites and Reports:

Mark Paterson, 2016. Seeing with the Hands: Blindness, Vision, and Touch after Descartes. Edinburgh University Press Ltd, pp.5-39

Gísli Pálsson, Situating nature: Ruins of modernity as náttúruperlur , (2013). [online] Available at:<https://journals.sagepub.com/doi/ pdf/10.1177/1468797613490374> [Accessed 2 February 2019].

Mark Paterson,2007. Chapter 1: The Primacy of Touch, The Senses of Touch Haptics, Affects and Technologies. Berg, pp.1-14 Mark Paterson,2007. Chapter 3: Seeing with the Hands, Touching with the Eyes, The Senses of Touch Haptics, Affects and Technologies. Berg, pp.37-58

Ariel Van Brummelen, How Blind People Detect Light: Light trigger a quick neural reaction even in blind people , (2014). [online] Available at:< https://www.scientificamerican.com/article/how-blind-people-detectlight/?redirect=1> [Accessed 2 May 2019].

Massey, Dorren, 2006. Landscape as a provocation: reflections on moving mountains. Journal of Material Culture, 11(1-2) pp.33-48

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Appendix A: Yatu Tan’s written assignment B: Research of Amager Fælled History C: Interview with Pernille Ulla Knudsen, historian and postdocs at Centre for Privacy Studies in Copenhagen University D: Naturbeskyttelsesloven § 3 og 16 E: Blindfolded walk in Amager Fælled F: Walking with Lykke in Amager Fælled

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