out of body out of body out out of of body body out of body
d e g n d de e ss s iii g gn n p r o c e p pr ro oc ce e ss s ss s b o o k b bo oo ok k
CHEN CHEN CHE13397571 MA - INTERIOR AND SPATIAL DESIGN CHELSEA COLLEGE OF ARTS
Abstract
This project refers to the theory of architectural phenomenon, reflecting upon the modern conception of spatial experience and people’s awareness of the sensation of space, and investigates human being existence in physical space to achieve an understanding beyond the body limitation through the inspiration of the subjective experience. The process illustrates the phenomenology of space, such as space scale, Rhythm, textural effect, etc., to give people a sense of impressive and subtle experience, engaging our sensory perceptions. This final section intends to explore human physiological engagement; namely, experiences a film in a sense of narrative place, to embody mutual penetration, sympathetic between narrative space and people emotional expression. Due to brain activity correlates with various mental states, the brainwave data properties are like reflexion of physiological changes. Thus, the final installation goal is to use brain waves as a controller, connecting user’s emotional state with an EEG headset, the physiological activity is exported by changed decibels of the film and expresses in the spatial experience. As users start to calm and focus their mind, the volume of sounds would get change. The future possibility would be putting forward a new spatial phenomenon, such as therapeutic space, to get people involve in a multi-sensory space, during my procedures, promoting they do not perceive the body pain or disability issues, only calming their mind to levitate through the fantastical narrative space. As Holl (2000) said, “to see, to feel physicality has become the subject of the senses.”
Holl, S., 2000. Parallax. 2 ed. New York: Princeton Architectural Press.
TABLE OF CONTENTS
Abstract 1.
Contemporary Architectural Design Background and Phenomenology of Architecture
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Questions of Relationship between Mind and Body in the Space
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Out of body: Near-Death Experience in Narrative Journey
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Transitional Space
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Narrative Journey in “Tunnel” Space
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Atmosphere of “Tunnel” Space
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Spatial Perception-Corporal Departure
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Experience Sense of Space-Mindscape
1. Contemporary Architectural Design Background and Phenomenology of Architecture 1
Buildings in modern society have been increasing in height and becoming sleeker in their designs. The life-world is translated as function, proportion, structure analysis, and efficiency leading to the living world. The absence of true multi-body experience has led directly to the physical world in which people live better, and so it has become difficult to arouse people’s appreciation of reality and feelings. Facing the problem of modern society, phenomenology of architecture presents new ideas in the modern social environment. Phenomenology is looking for the lost sense of humanity, starting from the direct experience of intuitively seeking things. For an understanding of architectural phenomena, one of the representatives is Zumthor (Figure 1 – Peter Zumthor’s projects), his Atmospheres (2006), which is based on the methods of narrative and the Phenomenology of Architecture, contributed some conditions of atmosphere, magic of real, material, sound of space, levels of intimacy that are pervasive in the experience of architecture. During the process of experience, people are probably able to understand architectural space, texture, atmosphere, etc. People’s physical and mental experience could contribute to the design of architectural space; meanwhile audiences could observe resonance with building space. This project refers to the phenomenology of architecture, understanding human perception of spatial experience, and investigating the intrinsic relationship between people and space. Does there exist a distinction between humans’ mental and physical perceptions of space around them? If so, what is this distinction and how is it defined? Such experiences can act as research methods that appear in the physical and mental domains of individual, possibly even leading to conception of new potential experiences of space.
Zunthor, P., 2006. Atmospheres : Architectural Environments - Surrounding Objects. Basel: Birkhauser.
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Kolumba Diocesan Museum, 2007
Brother Klaus Field Chapel, 2007
Figure 1 – Peter Zumthor’s projects
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Serpentine Pavilion, 2011
Therme Vals, 1996
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2. questions of Relationship between Mind and Body in the Space
Before dealing with the relation between space and people, understanding the notion of being human itself is also significant. In the research from (Koivuniemi & Curley, 2015) they mentioned Descartes’ mind and body dualism in their article: “We should be able to agree on when we talk about Descartes’s view of the mind–body relation. In one important sense Descartes is a dualist: he thinks the mind and the body are really distinct substances, each capable of existing without the other”.
Can the existence of an individual in space only be singular, or is it a duality of separate physical and mental experiences? Is a person’s spatial experience possibly an experience with physicality removed? The sense of existence might be the mind crossing the limited bounds of physical experience. In order to answer these questions this project start to invesigate the phenomena of out-of-body experience.
Koivuniemi, M. & Curley, E., 2015. Descartes on the Mind–Body Union A Different Kind of Dualism. Oxford Studies in Early Modern Philosophy, Volume VII.
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3. This part focuses on out-of-body experiences, with an account of individuals who have encountered near-death states, from (Blackmore, 2005) investigation. It also examines people’s last moments of life and attempts to translate the spiritual experience into a physical space.
out of body: Near-Death Experience in narrative journey
Blackmore, S. J., 2005. Beyond the Body: An Investigation of Out-of-the-Body
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Experiences. Chicago: Chicago Review Press .
Figure 2 – Book ‘‘Beyond the Body’’ 8
She (Blackmore, 2005) analysed the stages of near-death experience (Figure 2 – Book ‘‘Beyond the Body’’) . She is one of the investigators who deeply explained the stages of people who have had neardeath experiences. Some of them have up to five stages of the experience, some experiencing the tunnel phenomenon. At first, it is a feeling of peace; the next stage is the bodily separation (Figure 3 – Bodily Separation); then some interviewees entered into darkness (Figure 4 – Darkness Space). After this stage is reached, seeing the light at the end of the space, such that the space seems like a tunnel or hallway (Figure 5 – Tunnel Space). Finally, they enter the light and pass into another world.
Figure 3 – Bodily Separation
Figure 4 – Darkness Space
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Figure 5 – Tunnel Space
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4. Transitional Space
The above literature surveys have inspired me to start considering how the transitional space (Figure 6 – Photography of Transitional Space) exists between here (life) and there (death). It might be a corridor, hallway, tunnel and so on. What kind of spaces could have a sensual effect on people and immediately communicate to their subjective emotions? These questions bring me to study the intention of the transitional space in artworks.
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Figure 6 – Photography of Transitional
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The research began to discuss how the design of transitional space could arouse people’s consciousness of spatial experience which leads to someone like Antony Gormley whose theory is pretty close to Blackmore’s description about stages during near-death. His sculpture is “12-meter-long tunnel named “Passage” (Figure 7). He extracted scale, material and other tools, giving the audience an impressive memory when they are walking in the journey of darkness. The subjective experiences released in the space could reflect on Bruce Nauman’s architectural sculpture (Figure 8 – Room with My Soul Left Out, Room that Does Not Care). All of these things (multi-direction doors, light, structure, material) illustrate the human experience of basic orientation through the spatial experience. Nauman provided the spatial experience that questions his inner complicated world and self-perception. Nauman (2002) created an “atmosphere of unease, discomfort, fear, and sadness in the sculpture”. With those above artwork references the surrounding objects such as material, light, structure feature, and space orientation all participate in the transitional space, and those elements all enrich and embellish the narrative and experiential space.
Nauman, B., 2002. Bruce Nauman. Baltimore: Maryland Johns Hopkins University Press. Figure 7 – Passage
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Figure 8 – Room with My Soul Left Out, Room that Does Not Care
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5. Narrative Journey in “Tunnel” Space
Figure 9 – Crossed Model
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This process tries to translate the narrative experience, especially the spiritual near-death experience, into a physical realm through making a model, photographing and filming. What is the primary aspect to create a narrative experience using art language is a question to investigate through observation of real life. In the period of practice, the idea of the model is inspired from the tunnel phenomenon at the last moment of the near death experience. The Figure 9 – crossed shape model recorded film from four directions. In this short film, audiences watched the film from 4 directions simultaneously. The film tries to extract some tunnel characters and provides an experience of space. The film included the multi-directional visual experience; rhythmical heart rate sounds from inside of the space, and was followed by the chaos of voices that came from outside (Figure 10 – Multidirectional Visual Experience). This practice intends to create spatial atmospheres through the various human sensations.
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Figure 10 – Multidirectional Visual Experience
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6. atmosphere of “Tunnel” space This stage starts to get people into large scaled spaces with body as the medium of the individual subject while moving through spaces. This is done in order to evoke the perception of space and the body itself. The idea of integrating spatial and bodily penetration along with emotional perception is introduced. The following film and structure proposes to create a sort of journey. It is a film playing from a large scale and darkness space. The film extracted some (Figure 11) elements of a tunnel in the brain’s memory such as a railway track, a light spot and a frame structure. It aims to create a journey in a strange space (Figure 10 – Journey Creation). Nevertheless, there are some common features, which are related to the original tunnel scene and derived from the brain’s memory. 19
Figure 11 – Elements of Tunnel
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It aims to create a journey in a strange space (Figure 12 – Journey Creation). Nevertheless, there are some common features, which are related to the original tunnel scene and derived from the brain’s memory.
Figure 12 – Journey Creation
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Audiences are able to see the movement of these scenes, and walk through the attic space with full of these translucent fabrics (Figure 13 – Projection Screen). They watch the conversion of the film through projector mapping on these overlaid translucent fabrics. The film tries to image a journey (Figure 14 – Illustration of journey) about near-death experience. The space gives a sense of mythic phenomenon, when the light penetrates on the gap between each fabric and the tunnel image seems visible but out of reach. The film examines people’s last moment of life and translates the spiritual experience into a physical space, in a sense, the spatial experience arousing inner subjective feelings. It is open for interpretation to facilitate a personal experience for audiences. This process tries to explore an atmosphere of space with people’s participation and allows visitors to experience in an unknown space.
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Figure 13 – Projection Screen 24
Figure 14 – Illustration of journey
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Figure 14 – Illustration of journey
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Figure 14 – Illustration of journey
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7. Spatial Perception - Corporal Departure
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Touching the experience of space, not only engages our multi-sensory body, but also could be an emotional engagement, which goes beyond the physical senses. The design of installation achieves to create a silent atmosphere. Silence not only means without any sounds in physical space, it is a mental feeling. Once people concentrate on the mental experience, all of the chaos from outside will be void and come back to quiet. This section will combine all of the practice above, extending the previous tunnel journey from visual experience to an emotional experience. Providing a spatial experience of silence, based on Descartes’ dualism to investigate the mind being present in the world, rather than the flesh. During the process, the mind’s freedom arises from corporal.
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This installation is a black rectangle structure (Figure 15), allows audience’s entire body to get involved in this enclosed dark space. The tunnel journey video is projected onto multi-layer fabrics, which are screens. There is a soft mattress that provides the audience a place to lie down and watch the video from upward. These images penetrate the translucent screen and reflect on the audience’s body. Meanwhile, headphones are playing peaceful music. The design of an all-encompassing dark surrounding space, and the addition of headphone music, all try to achieve an immersive and silent space (Figure 16). All of these objects surrounding the audience will implicate them to concentrate on the film, and leave outside chaos away. In a sense, the simulated spatial experience will allow the audience’s mind to participate in the journey, with an emphasis of escaping the reality and experiencing a spiritual realm. This installation exploring beyond the physical limitation of the mind through a combination of point-of-view imagery and tunnel-like surroundings, promotes the idea of separation of flesh and mind, thus allowing the audience to engage in an out-of-body experience.
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Figure 15 – Black Rectangle Structure
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Figure 16 – Silent Space
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Figure 17 - Corporal Departure
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Overall, the spatial experience (Figure 17 - Corporal Departure) is non-specific and open for interpretation; the experience facilitates a personal experience for the audience. The whole experience encourages discussion on different interpretations, reflecting the narrative journey’s uniqueness and making it personal to an individual. Furthermore, the existence of this installation is a chance for people to escape from the reality, giving a subjective perceptual experience in the narrative space, which is a mind crossing the borderline from physical circumstance to a spiritual domain.
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8. Experience Sense of Space - Mindscape
Figure 18 – Natural Object Movement
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This final section intends to explore human physiological engagement; namely, experience a sense of place, to embody mutual penetration, sympathetic between spatial sequence and people emotional expression. According to Hertzberger’s theory (2010), “Sense of space is a mental construct, a projection of the outside world as we experience it according to the equipment at our disposal. Notion of space turns up in every corner of our consciousness, and reflect the previous practice. Space is more like feeling stereoscopically than seeing stereoscopically”.
Therefore, the space should not have a specific dimension, every object could have its own spatial sequence. The final film provide the audience with natural object movement (Figure 18), such as water, a tree, a plant and so on. It attempts to take back everything’s original situation while participating in the people’s physiological response and every individual tends to be any elements of the nature in the spatial experience, breeze, get involved with nature.
Hertzberger, H., 2010. Space and the Architect: Lessons in Architecture 2. Rotterdam: 010 Publishers.
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The design of final film achieves to create a silent atmosphere. The film script (Figure 19 - Natural Scene Collection) based on natural object movement, with the upward position in near focus distance. Seeking a peaceful and immersing experience.
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Figure 19 - Natural Scene Collection
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Figure 19 - Natural Scene Collection
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Figure 19 - Natural Scene Collection
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Figure 19 - Natural Scene Collection
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Figure 19 - Natural Scene Collection
Film: OUT OF BODY - mindscape The film (Figure 20 - Film: Mindscape) explores a journey from visual experience to an emotional experience. Following by a voice from the song, the film tries to take people into an unknown dreamland. The spatial environment attempts to arouse people’s perceptions and encourage people to reflect on environment, themselves, meditation and even in a mythic way. The space created seems timeless, at rest, generating a silence, reach-less phenomenon. As the phenomenon of silence always relates to memory and meditation. During the period of remembering and meditation, time fly, space is unlimited, and the real place loses its significance.
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Figure 20 - Film: Mindscape
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Figure 20 - Film: Mindscape
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Figure 20 - Film: Mindscape
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Figure 20 - Film: Mindscape
The Interaction of Installation and Design Purpose
Figure 21 - Brainwave Recording
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There is an immersive experience, which allows the audience to lie down on a soft bed, listening to the stereoscopic music from speakers, watching video from upward. Meanwhile, the EEG headband delivers brain wave data (Figure 21 - Brainwave recording) that measures the user’s state of mind. The volume of music will be changed by the brain wave data and expresses in the spatial experience. As users start to calm and focus their mind, the volume of speakers would get lower. All of this Figure 22 - interactive experience would be a chance to transform the emotional consciousness from the mind into an aural experience in reality. All audio is responsive and changes based on the audience’s brainwave frequency, it can support audience’s physiological activity, helping users train themselves to be mindful and achieve flow states. Thus, the mind seems to be in the existed space, and the individual person tends to be any element of this scene, controls, and experiences the movement of tree leaves or water. During my procedures, this Figure 23 - installation looks forward to promote people do not perceive the body pain or disability issues, only calming their mind to levitate through the fantastical narrative space. In a sense, the spatial experience allows people change of the state, which from material to immaterial. The mind is removed from physical limitation—a bodiless experience.
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An INTRODUCTION TO THE DIFFERENT TYPES OF BRAINWAVE
Figure 22 - Interactive Experience
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The Five Types of Brainwave
Gamma Waves: Gamma waves are waves that occur between 40Hz to 100Hz. These are involved in ‘higher processing’ and are the waves we want to generate when learning new information or engaging in sports. Meditation has been shown to help encourage gamma waves. Gamma waves are the key to consciousness due to their function in uniting different areas of the brain. Beta Waves: These types of waves are similar to gamma waves, being involved in learning, focusing and thinking logically, though they are somewhat less intensive when compared to gamma waves and occur at 12Hz-40Hz.
Alpha Waves: Alpha waves are the slow we experience in normal waking life when we’re relaxed or absent minded. These are the brainwaves likely present when you unwind with a book or get ready to fall asleep, occurring at 8Hz to 12Hz.
Theta Waves: Theta waves occur between 4Hz and 8Hz and are associated with daydreaming and sleep. Theta brainwaves are thought to contribute to creative thoughts, as our brain explores loosely connected ideas and topics in an unstructured way.
Delta Waves: Occurring between 0.5 and 3Hz, Delta waves are associated with the deepest levels of (dreamless) sleep, as well as intensive meditation. They suspend our awareness of the external world and are thought to be connected to empathy.
Hillman, K., 2014. An Introduction to the Different Types of Brainwave and What They Mean. [Online] Available at: http://www.psychology24.org/an-introduction-to-the-different-types-of-brainwave-andwhat-they-mean/#.WWaaV0mPwxk [Accessed 17 06 2017].
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Figure 23 - Installation: Mindscape
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Figure 23 - Installation: Mindscape
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Figure 23 - Installation: Mindscape
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THANKs