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Kolumba museum, Peter Zumthor, Cologne

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:: framing as extraction of the specificity of the site 

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:: framing as extraction of the specificity of the site 

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This research process began with the investigation of the concept of frame or framing as a process to establish territory, to fabricate space in which sensations may emerge, from which a rhythm, a tone, a pattern, colouring, and texture may be extracted. 

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Like architecture, art is not only the movement of territorialization, the movement of joining the body to the chaos of the universe itself according to the body's needs and interests; it is also the converse movement, that of deterritorialization, of cutting through territories, breaking up systems of enclosure and performance, traversing territory in order to retouch chaos, enabling something mad, asystematic, something of the chaotic outside to reassert and restore itself in and through the body, through works and events that impact the body.

Elizabeth Grosz 2008: 18

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::research framework

::research site and context

In order to explore the dynamic relation between interior - architecture - landscape, in-side-out (ly), choosing the site or context of the investigation is something crucial to the process. This research focuses on the reflection on interior in the era of the anthropocene in which human intervention is considered as the dominant influence on the geological, atmospheric and ecological processes, changes, and transformation. Reflecting on the anthropocene as a way of framing time, it requires a sensitivity to look at the rhythm of transformation because many processes of changes associated with anthropocene are below or beyond the human range of perception, but they are also subject to sudden or irreversible change.

The understanding of the rhythm of transformation can generate the understanding of intensity, or energy, or force. 

This thesis examines a volcanic site, White Island/ Whakaari, as the testing ground for the investigation and design experimentation. Through the experience of the volcanic activity in progress, it is interesting how our living body employ the energy or force through efforts, networks, fields and territories. And how they relate to the energy and force of the earth, and produce intensity that directly impacts the nervous system and intensifies sensation. In this way, this thesis addresses how the forces of space, time and materiality cohere to enable production that relate to the forces of the earth with the forces of living bodies. 

The ruins of sulphur factory that consist of the concrete foundation, the walls of the remaining building, the timber, the machinery and the rubber on the wheels of the old factory reflect the act of framing and deframing, cutting, removing and bringing something in a way of territorializing and deterritorializing, interior-making. Those actions are reflected through the shifting from the natural landscape to the architectural floor (flat surface of sulphur factory) and now to the landscape again (ruins of remaining sulphur factory). These shifts are conveying the message that the formal affinities between the manmade properties and the natural theatre attest to the interior-making as an act of framing and deframing in the anthropocene era. 

In this way, dealing with the transience of human occupation in a landscape, the intensification of bodily experience through the act of framing and deframing, this site is an ideal location to reflect the inhabitation of new era, the “new normal”. It also means dealing with two time scales: one of is devastating and uncontrollable and one of the outside the concept of entropy in which human activity can influence.    

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::research question

This thesis asks how interior practices and techniques can be implemented to intensify bodily experience of the landscape.   

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::research title

Framing In-Side-Out explores the theoretical and practical basis of interior architecture in connection to the landscape. It is about speculating the articulation of the meaning of interior and how the decision we make as designers in one design field influence the meanings people have of concepts central to another discipline, for example the actions of interior architects or designers in relation to landscape. This research by design thesis investigating framing and deframing as the means of interior-making to intensify bodily experience of the landscape.

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Framing and deframing become art's modes of territorialization and deterritorialization through sensation; framing becomes the means by which the plane of composition composes, deframing its modes of upheaval and transformation.

Elizabeth Grosz 2008:13

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Every morning the Scenopoetes dentirostris, a bird of the Australian rain forests, cut leaves, makes them fall to the ground, and turns them over so that the paler internal side contrasts with the earth. In this way it constructs a stage for itself like a ready-made; and directly above, on a creeper or branch, while fluffing its feathers beneath its beak to reveal their yellow roots, it sings a complex song made up from its own notes and, at intervals, those of other birds that it imitates; it is a complete artist. This is not a synaesthesia of the flesh but blocs of sensations in the territory - colors, postures, and sounds that sketch out a total work of art. These sonorous blocs are refrains; but there are also refrains of posture and color, and postures and colors are always being introduced into refrains: bowing low, straightening up, dancing in a circle and a line of colors. The whole of the refrain is the being of sensation. Monuments are refrains. In this respect art is continually haunted by the animal

Deleuze and Guattari 1994:184

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there is no environment that can be completely controlled, for there is always new movement that can be released into or out of it.

Anne Boyman in Bernard Cache, Earth Moves

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Ah, not to be cut off, not through the slightest partition shut out from the law of the stars. The inner - what is it? if not intensified sky, hurled through with birds and deep with the winds of homecoming

Rainer Maria Rilke

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::examination of micro-stories