home
D e s i g n processof a s e c o n d s k i n & peripersonal s p a c e
ArtEZ, University of the Arts, Zwolle Interior Architecture Master, corpo-real MA1 / Unit 1 Design process booklet within the theme of home 1
by Lisabell Zint
2
3
M
a
k
i
n
g
T
h
e
o
r
y
Transparency theory
Domestic violence
Broken skin
Second skin
Second skin requirements
Interpretations second skin
Design element light
12-13
15
16
17
18
20-21
22-24
8 9-11
Personal meaning Transparency & safety
48 49 50
Reflection & fascination List of sources
l t
Concept of home
b n
25-47
19
a o
Research through making
Second skin requirements
14
7
Introduction theme of home
Transparency as protection
6
Designer & researcher
T c e e o n f t
D e s i g n e r & r e s e a r c h e r Lisabell Zint „I am convinced that out of limitations comes creativity and creativity will lead us to amazing experiences!“
6
I n t r o d u c t i o n t h e m e o f h o m e My position as a Designer within the theme of home
Home – a term which can be defined in many ways and goes way beyond a simple description of a place, where someone lives permanently. Ironically human beings in earliest history actually used to be nomadic not having a certain place to live and home which might have been just a tent with a bonfire in front of it. Focusing on today’s notion of home is much more than a house with doors, windows, stairs, walls and a roof on top of it. The sense of home is among other things connected to the conditions of comfort, privacy, control, happiness, relaxation and especially safety and those conditions, in turn, are attached to feelings. Feeling at home is a process which is not easy to define (in time as well as in specific process steps) but very diverse depending on each of us. During my research within the theme of home starting with the psychological aspect and continuing with a very personal definition of home – transparency – I gained insight into different topics like memory, human senses, home shelters and the history of the Dutch window within domestic spaces. The main essence I took out of this is that the notion of home as well as the feeling of being home is constantly changing whether we plan it or not. Furthermore, our home can be influenced by different factors like people we are living with, the culture and society which is surrounding us and the space in which we operate. As designers, we can mainly focus on the last circumstance by identifying problems and creating domestic spaces, design tools or elements which will lead to a better change according to the inhabitant using it.
7
In order to do so, the first questions I will ask myself in the future is how to improve a certain living condition which would be: “Who am I designing for?”, “What will I bring in and what will I let out?“, “Does the inhabitant suffer from any disorder or disability?”, “Which condition/aspect is the most important one for him/her to feel at home?”, “What are my possibilities to do research?”, “How can I make my design suitable for a social group?” As the home is in fact related and dependent on space and space, regarding George Perec’s book about “Species of Space and Other Pieces” is an open definition, my conclusion is that one can feel at home not just in a house but everywhere else. Due to the huge opportunities of traveling people nowadays are creating, experiencing and even switching between several homes during their lifetime. To conclude - this reminds me again how nomads used to move from location to location not having more than a tent, a fire and familiar faces around them. This makes me speculate: Will the notion of home still exist in the future? Or will it change its meaning? Will home get a living condition for certain social groups? How would design and the working field of a designer change then in relation to domestic space?
P m
e
e
r
a
s
Architecture and transparency – a combination which became a really important theme in my life. Talking about home and my feeling of being home has always been affected by the interaction of those two notions. Windows - layers out of transparent glass - make me feel connected with and one with the world (nature and people). Doors, walls and roofs may also lead to this kind of feeling by letting sounds into the space. During my individual research about architecture and transparency within the theme of home I started to visualise this interaction of notions by building models - representing light. In the beginning it was electric light shining through a thin layer of white paper representing a house where the roof was sewn together with wire to symbolise the importance of a closed and non-transparent roof for my feeling of being safe and protected. Trying to build something without the use of electricity but instead natural daylight I came up with a repetitive structure which I formed through stacking cardboard shapes ontop of each other. The structure involves gaps which will get wider or smaller depending on the individual perspective on it. Through the different colours of the two cardboard sides (red and white) it also reflectes an interesting pinkish tone on the white elements.
n
o
i
n
n
a
l g
Carrying on with this idea of structure in a more social aspect in mind I devolped a structure which would allow people to walk through and experience transparency by dealing with open and closed spaces in a physical way. The scale would also enable a group of people to maybe live and create their own spaces within in this structure. Further it would even be imaginable to use those elements to stretch a roof above making the place beneath a safer one for people possibly living in there. By doing this it could for example become an optional temporary home for refugees or homeless poeple. Thinking about the material it would be very important to choose a material which is affortable, maybe able to be packed up, shipped and reassembled in locations globally to stay flexible in function and usage.
My very personal meaning of home: transparency and safety
First model: The transparent paper house, paper, paste and wire
8
T r a n s p a r e n c y & s a f e t y
Second model: Stacked structure, cardboard 9
Third model: The white window, black paper and wax from candle 10
Fourth model: Folded openings, brown paper 11
T r a n s p a r e n c y t h e o r y Transparency is a subset of translucency - a translucent medium allows the transport of light. “’Transparency,” ‘space-time,’ ‘simultaneity,’ ‘superimposition,’ ‘ambivalence’: in the literature of contemporary architecture these words, and others like them, are often used as synonyms. We are familiar with their use and rarely seek to analyze their application.”- Colin Rowe and Robert Slutzky in Perspecta by the Yale School of Architecture1 Defining transparency, the state or quality of being transparent, is a two-fold process. As a material condition, transparent qualities include admitting the passage of light and that which is easily seen through. As a result, transparency is also defined as easily recognized, quoting Rowe and Slutzky caused by our inherent demand for that which should be easily detected, perfectly evident, and free of dissimulation.”2 To follow the definitions of Rowe and Slutzky, there are two types of transparency: literal and phenomenal transparency. A literal transparency (perceptual ) is a quality inherent to substance or
matter, such as in translucent walls. A phenomenal (conceptual) transparency is a quality inherent in the spatial or volumetric organization (Rowe & Slutzky, 1982). The physical qualities of a transparent material, such as glass, can produce welcomed compositional ambiguity within a space. Where solid forms (do not allow transport of light at all) stop the movement of the eye for focus on the object itself, transparent materials call for a continuation of interpretation to objects beyond its division. This layering, or overlapping of planes, gives the interpreter the sense of more than optical transparency, but also a broader spatial order. Quoting Gyorgy Kepes “Transparency means a simultaneous perception of different spatial locations. Space not only recedes but fluctuates in a continuous activity”. Besides Kepes says that transparency allows for two objects to co-exist simultaneously in the same space and time, transparency is a space-time condition of betweenness.
The clarification of transparency
picture 1: Transparent church in Limburg, Belgium by Gijs van Vaerenbergh
12
Literal Transparency vs. Phenomenal Transparency, Real Transparency vs. Seeming Transparency, Substantial Transparency vs Organizational Transparency, Actual Transparency vs Implied Transparency, Perceptual Transparency vs Conceptual Transparency, Transparency of Seeing/ Looking vs Transparency of Reading, Transparency of Visibility vs Transparency of Understanding, Transparency of Observation vs Transparency of Interpretation. History of transparency
pic. 2: Muller house in Prague by Adolf Loos pic. 3: ‘Snow‘ installation at the mori art museum in Tokyo, sensing nature exhibition 2010 pic. 4: Atelier Ozenfant in Paris by Le Corbusier 13
Having space and transparency in mind, there mainly have been 3 important architects in the past which have brought the use of transparency (glass facades)into architecture - Le Corbusier, Walter Gropius, and Frank Lloyd Wright. Their intention was to create an openness with respect to light‘s transition and within this a flow between the inside (interior) and outside (exterior). This led to new discoveries of the human-environment relationship and has influenced the domestic living since then.
T r a n s p a r e n c y a s p r o t e c t i o n 5. pic.: The 72 hour cabin in Sweden by Jeanna Berge
Although the usage of transparency in spatial design is very much connected to generate open and non-private spaces I started thinking about the opposite. Human beings mainly tend to hide and cocoon themselves behind domestic walls, in search of privacy and to relax. As soon as this private space is entered we would feel safe and free to do whatever we want to. On the other hand, this step through the door of a private space might also be mentally connected to insecurity. Other examples I came across is the current #metoo debate which is about sexual harassment and sexual assault especially at workplaces or the global issue of feeling uncomfortable or even insecure solely because of being alone with a strange man as a female person every now and then. Having
above stated scenarios in mind lead me to think of transparency more as a sort of protection. Challenging myself with this combination of themes I focused searching for a precarious group (related to the topic of home) which might profit from these characteristics which will, in turn, lead to a bigger meaning for my further research. Domestic violence has been the first thing which I thought of and by doing the first research within this topic, I found out that 1 out of 3 women and 1 out of 7 men globally will experience domestic violence during their lifetime. This led me to start my project and further intensive research through making, research by reading, interviewing, observing and by finding references in order to understand the issues and needs of female victims (as they are more often suffering from abuse).
<< How could transparency be a design tool to create a safe domestic environment in a social aspect? >>
Transparency as a design tool to create safety within domestic space
14
D v The world wide issue of domestic violence
o i
m e s t o l e n
15
c e
Domestic violence is described as a pattern of abusive behavior - within the home - in any relationship that is used by one partner to gain or maintain power and control over another intimate partner. Domestic violence can be physical, sexual, emotional, economic, or psychological actions or threats of actions that influence another person. This includes any behaviors that intimidate, manipulate, humiliate, isolate, frighten, terrorize, coerce, threaten, blame, hurt, injure, or wound someone.
Emotional Abuse: Undermining an individual’s sense of self-worth and/or self-esteem, constant criticism, diminishing one’s abilities, name-calling, or damaging one’s relationship with his or her children
Physical Abuse: Hitting, slapping, shoving, grabbing, pinching, biting, hair pulling, denying a partner medical care or forcing alcohol and/or drug use
Psychological Abuse: causing fear by intimidation; threatening physical harm to self, partner, children, or partner’s family or friends; destruction of pets and property; and forcing isolation from family, friends, or school and/or work
Sexual Abuse: Coercion of any sexual contact or behavior without consent, marital rape, attacks on sexual parts of the body, forcing sex after physical violence has occurred, or treating one in a sexually demeaning manner
6. pic.: Crayon House Foreclosure, street art graffiti in Los Angeles by Banksy
i c
Economic Abuse: making or attempting to make an individual financially dependent by maintaining total control over financial resources, withholding one’s access to money, or forbidding one’s attendance at school or employment
B
r
o
k
e
n
s
k
i
n
As besides psychological abuse, most women worldwide experience physical abuse (sexual or non-sexual) the effects after surviving domestic violence, however, will be mainly psychological and can be treated in different kind of ways. Thinking about spatial designing though, following issues should be considered to improve the mental health of the inhabitants: need of security and safety, wish for isolation, hiding and/or covering one‘s body, privacy, and control of one‘s own action, lack of self-esteem, self-love and -confidence.
Characteristics of the skin which can be related to the mental health of abused women caused by domestic violence:
Reflecting on the above stated it is the skin which plays an important and extremely relevant role in all mentioned issues. The skin as a part of design research represents the borderline and connection from inside (body) to the outside (exterior in relation to the body) as well as from physical to psychological. All actions we do and all actions been done to us require the co-existence of the human‘s largest organ - the skin. Further, the skin is a smooth semi-permeable membrane that maintains the integrity of the body, providing a boundary for the body (also for protection), and serves as the medium of interchange between the body and its environment. It is the body’s most visible surface, a sensitive signifier, within which the body‘s sensory faculties are embedded, and the organ that offers the body the touch sense in particular. Being aware of those characteristics of healthy skin, we start to understand the importance of it and how it can be considered and related also to spatial design.
Characteristics of the skin which can be related to spatial design:
-
-
The broken skin mental issues of abused women
identity (cultural, age, individual,...) safeguarding and sheltering the psyche being touched, creation of bad memories maintains integrity - privacy and control, safety sensitive and fragile - vulnerability (covering) interchange between body and environment insecurity/anxiety
first line of defense to protect the individual body borderline of self and world - private and public touch sense enables us to feel materiality (haptic) semi-permeable membrane - transparent layer which allows air to circulate (ventilation) and light to go through
<< What are the needs of abused women and how are they related to their skin? >>
7. pic.: Deserted, selfportrait by Laura Zalenga
16
S
The second skin an extra personal borderline
8. pic.: Spiderdays, selfportrait by Laura Zalenga 17
e
c
o
n
The term „broken skin“ can be understood literally or be more pictorial for the mental state of women who have experienced abuse. Either way, there would be a need for fixing this „broken skin“ through healing or creating an additional skin which could act as a second borderline and protection of the body as well as the mind. Researching on extra personal space and borderlines, I came across the American anthropologist and cross-cultural researcher Edward T. Hall, who writes about the idea of an invisible bubble. Quoting from his book „The Hidden Dimensions“ (published in 1990) T. Hall says that „People like to keep certain distances between themselves and other people or things. And this invisible bubble of space constitutes each person‘s „territory“.“ Following up on this thought of T. Hall it would be evident that everyone also has an invisible second skin for bodily self-protection representing the borderline from semi-personal space to public space. Comparing the bodily skin with this invisible second skin, the second skin is a pure
d
s
k
i
n
mental defense of everyone‘s personal safety and privacy. By keeping alive this invisible borderline all the time and everywhere, we try to keep also alive those conditions which make us feel more comfortable and safer in any situation during life. In relation to abused women, I am asking myself how this invisible skin could look like if it becomes visible and physical. Having the needs in mind - what architectural and design characteristics would it have? Does an abused woman still have a bubble of space and an invisible second skin to defend herself after she has experienced domestic violence or did it get destroyed by it? If there is still a second skin mentally placed around her body did it even get stronger through her experience? What‘s the spatial distance between both skins? What are the parameters to define this distance?
S e c o n d s k i n r e q u i r e m e n t s Security (mental)
Important needs to consider during the making process of a second skin
Safety (physical) Control Transparency Privacy Identity New memories
18
<< How could a second skin look like? >>
First sketch: The invisible second skin; bubble 19
<< What are the parameters to define distance in space? >> Scanned by CamScanner
I n t e r p r e t a t i o n s s e c o n d s k i n
9. pic.: Pre-birth, selfportrait by Laura Zalenga 20
<< Besides touch, what senses can act as protection? >> Possible interpreations of „second skins“ as a sort of protection
10. pic.: Wrapped Trees, Riehen, Switzerland by Christo 11. picture: Faceless, Afghan woman wearing chadri 12. pic.: Bubblegum, graphic by Sara Andreasson 13.pic.: What if I fall?, photo by Laura Zalenga 14. pic.: Cactus 21
The term of a „second skin“ has been interpretated many times in the past already. Artists and Designers have created different projects trying to built a mental or physical second skin in different ways. Existing interpretations can also be taken from nature. One very popular one is fashion. Almost from the moment of our birth, clothing acts as our second skin, almost like a tool of refuge to protect our body from the outside world. This in return can have a huge impact on the mental safety perception. Others are sound, water, natural appearances such as sunlight, shadow or spotted spikes of certain plants.
D e s i g n e l e m e n t l i g h t
“The idea I’ve always been working with is this idea of inside to outside. It requires some distance and a good deal of space.” - James Turrell
15. pic.: Skyspace /The Color Inside, project by Overland Partners and James Turrell 22
Natural and artifical light as a design element
As without light - natural or artificial - there would be no translucency, it is very essential to have a closer look to the perception of (colored) light and how it can impact the health and wellbeing of humans through spatial experience. Other research questions in connection to the spatial perception are: Which colors have a „positive“ (i.e.relaxing) mental impact? Which characteristics of light are relevant for a spatial design of a second mental skin of protection including the space inbetween the female body and the „second skin“? Which aspect of light (natural or artificial) can be a valueable approach in my case of spatial design and how can it be realized? The shown references are projects made by James Turrell, an american artist working solely with light to play with and change spatial perception in empty spaces. He describes his works as « perceptual environments » in which the spiritual dimension of light has a huge impact. The three main qualities of light in relation to color
16. pic.: Various lighting effects and how they can impact a space (Illuminating Engineering Society, IES) 17. pic.: Blue light room, light and space art by James Turrell 23
Brightness is the amount of light given off by a light source, usually expressed in lumens or lux. Some studies have shown that brighter light can intensify emotions, while low light doesn’t remove emotions, but keeps them steady. This can lead to people having the ability to make more rational decisions in low light and find it easier to agree with others in negotiation. Saturation is the intensity of a color. More saturated hues can have amplifying effects on emotions, while muted colors can dampen emotions. In art, saturation is defined on a scale from pure color (100% [fully saturated]) to grey (0%). In lighting, a similar scale can apply. Hue is defined as a color or shade. It’s been proven (through various studies) that natural light can make you happier, but colors created by artificial light can also evoke different emotions and have other effects on the body which can differ depending on the person.
<< How does colored light affect us? >> GREEN: Also known as the “strength provider,” green is the color of nature. Green light therapy stimulates the creation of growth hormones and strengthens muscles, bones and other tissues. It can also boost your immune system. In lighting and interior design, green can be used to portray nature, growth, cool, money, health, envy, tranquility, harmony, calmness, fertility, safety and ambition. BLUE: Also known as the “bringer of peace,” blue can be used to lower high blood pressure or to calm people down. It’s also used for light therapies for people who have circadian rhythm disorders. In lighting and interior design, blue can be used to portray trust, loyalty, wisdom, confidence, intelligence, faith, truth, sincerity, cleanliness, air, sky, water, health, tranquility. PURPLE: Purple light can help reduce emotional and mental stress. Lighting and interior design projects can implement purple to portray royalty, power, nobility, luxury, ambition, wisdom, dignity, independence, creativity, mystery, magic and romance.
RED: In lighting and interior design, red can be used to portray love, romance, gentle, warm, comfort, energy, excitement, intensity, life, passion, danger, leadership, courage and friendship.
The impact of colored lightning
ORANGE: Also known as the “source of creativity,” orange stimulates the creative thought process and can help people come up with new ideas. In lighting and interior design, orange can be used to portray happiness, energy, enthusiasm, warmth, wealth, prosperity, sophistication, change and stimulation. YELLOW: Yellow can sometimes be beneficial in the treatment for depression. In lighting and interior design, yellow can be used to portray happiness, laughter, cheer, warmth, optimism, hunger, intensity, frustration, anger, attentiongetting, caution, sickness, jealousy, intellect and energy.
18. pic.: Perfectly Clear light and space art by James Turrell 19. pic.: Three Saros, light and space art by James Turrell 24
R e s e a r c h t r o u g h m a k i n g Fundamental definitions for my further design research process
The second skin within this design process I define as a physical layer with characteristics of the existing bodily skin, such as being transparent to allow air to circulate (ventilation) and light to go through as well as being flexible. It can provide insecure humans with an additional borderline of defense they can to be in control of to protect
nd seco
A peripersonal space is a space defined by a second skin which is located around a humanâ&#x20AC;&#x2DC;s body within reach to provide control of the space for the inhabitant.
skin
peripersonal s p a c e
First graphic: Vitruvian me 25
Blue light as a second skin:
Fifth model: Blue booth, white cardboard, blue plastic-folder 26
Sixth model: Blue tube, blue foam 27
Seventh model: Blue bag, blue plastic foil and white foam 28
Conclusion: Blue light as a second skin
29
Through the making process of blue models, I have figured out that the color in combination with light can have a very calming and relaxing impact on the mental state of oneself. Still, after several tests on the person and considering my theoretical research about colored light and its mental impact, the effect on people can be very diverse and is therefore based on an individualâ&#x20AC;&#x2DC;s perception and opinion. Due to this outcome, I continued making without the use of color to create space which fits the needs of the target group.
Textile as a second skin
rennacSmaC yb dennacS
Second sketch: Yoga skin shapes 30 Scanned by CamScanner
Experiment with a bedsheet 31
Eighth model: Doubled textile, bed sheets (grey, dark blue) and metal rings 32
33
Nineth model: Textile fan, Textile (green) and PVC electric tubes (yellow) 34
35
Through the making process of textile models, I found out that textile is a diverse material with lots of possibilities and characteristics depending on the kind of textile being used. Jersey has been a good option to create a flexible layer which also defines a space in which the inhabitant can move and play with its second skin by getting closer or creating more distance to it. As transparency does play an important role, I did further research about other flexible but also transparent materials to allow one to see through. That is how I came across latex rubber and I started experimenting with it in several layers to try out which thickness will have a larger or smaller transparency level.
Conclusion: Textile as a second skin
36
Latex rubber as a second skin
Latex rubber, thin layer (natural) 37
Tenth model: Bamboo net, Latex rubber and rattan strips 38
Eleventh model: Fragile skin, Latex rubber and rattan strips 39
Twelfth model: Embedded meshes, Latex rubber and rattan strips 40
41
Thirteenth model: Flexible skin, Latex rubber and rattan strips 42
43
Fourteenth model: Curvy skin, Latex rubber and blue electric wire 44
45
46
47
oCONCEPT n c e p f h o m
SECURITY INSECURITY
BROKEN SKIN DEFENSe
borderlin
C o
HOME
C O N T R O L
PERIPERSONAL SPACE
S E C O N D S K I N
t e
A concept of home can be defined through different qualities. During my design research process, I have developed a new concept of home for women with insecurity caused for example by domestic abuse. The concept is defined through an embodied second skin and peripersonal space with certain parameters. By asking myself throughout the process what the parameters could be to define distance in reachable space I have built very diverse models with different kinds of materials, light, thicknesses as well as scales. The main parameters which became relevant for creating the space are materiality, transparency but also color. Focusing on the needs and interests of the inhabitant, the concept of home can also be defined through security, safety, control, transparency, privacy, identity, and new memories. Another guideline to define concepts of home the is by using the 5 continuums by Altman & Chemers (1980) which are Permanent vs. Temporary, Homogenous vs. Differentiated, Communal vs. Noncommunal, Identity vs. Commonality and Openness vs. Enclosure. Following these continuums, the concept is defined as being temporary, homogenous, noncommunal, identity and openness as well as enclosure due to transparency.
The emergence of a new concept of home
48
R e f l e c t i o n & F a s c i n a t i o n My reflection & fascination within the home design research process
Transparency and safety - The first year of design studio has started with a very personal meaning of home and will end up with a preliminary result of a research project about a second skin for defense. The process itself was driven by and emerged through theoretical as well as practical research but most importantly by and through me as a designer. For the first time in my study career I have been able and even asked to develop my own project and ambitions within the theme of home. The difficulties were not to take action but to control and work with almost no boundaries; exclusively driven by the movement of the research itself alike a chain reaction. Reflecting on the mentioned personal issues of the past year I can recognize some parallels to my project as control and having some borderlines to feel secure are also the main needs of my design of a second skin.
49
To be part of the emergence of a second skin has been very exciting as it developed into an unknown path which guided me towards new knowledge and craft skills. One particularly beautiful aspect of the process was the creation of something new and the act of constantly intertwining materiality and psychology. As the psychological part started with an extremely sensitive and global topic - domestic abuse - I was keen on doing extremely sensitive research as well. The skin represents that sensitivity. My fascination with this process has also been based on the constant emergence of connections between space and emotional needs through the making. To give an example, the tension and balancing act of transparency, safety and security is something I am fascinated about and interested in keep working with. The connection of all previously described aspects of fascination is the fundamental design research component - the movement. The movement which has evolved through the interaction between space, body, and mind has been the base for my whole project and turned me into a researcher.
L s
o
i
u
s
r
t
c
o e
f s
picture 1: Transparent church, in Limburg by Gijs van Vaerenbergh, https://angelarch15.wordpress.com/2015/10/25/ transparency-phenomenal-vs-literal/, 31.05.2019 picture 2: Muller house, in Prague by Adolf Loos, https://sfkaylabee.files.wordpress.com/2013/09/01jennifer-bloomer_ mullerhouse_75_02_02.jpg, 31.05.2019 picture 3: ‘Snow‘, installation at the mori art museum in Tokyo, sensing nature exhibition 2010, https://www.designboom. com/design/tokujin-yoshioka-for-sensing-nature-exhibition/, 31.05.2019 picture 4: Atelier Ozenfant, in Paris, by Le Corbusier, https://www.parijs1900.nl/atelier-ozenfant/, 01.06.2019 picture 5: The 72 hour cabin, in Sweden designed by Jeanna Berge http://www.fieldandnest.com/journal/2018/1/11/ outside-meets-inside-nordic-architecture, 01.06.2019 picture 6: Crayon House Foreclosure, street art graffiti in Los Angeles by Banksy, https://www.etsy.com/de/listing/567529818/banksy-kinder-haus-super-grosse-druck, 03.06.2019 picture 7: Deserted, selfportrait by Laura Zalenga, https://laurazalenga.tumblr.com/post/154635024970/deserted-thank-you-maximilian-münch, 03.06.2019 picture 8: Spiderdays, selfportrait by Laura Zalenga https://hiveminer.com/Tags/face%2C©laurazalenga/Recent, 03.06.2019 picture 9: Pre-birth, selfportrait by Laura Zalenga, https://www.flickr.com/photos/laurazalenga/8616532108, 03.06.2019 picture 10: Wrapped Trees, Riehen, Switzerland by Christo, https://just-good-design.com/post/168185073056, 03.06.2019 picture 11: Faceless, Afghan woman wearing chadri, https://www.pinterest.de/pin/28358672623695266/?lp=true, 03.06.2019 picture 12: Bubblegum, graphic by Sara Andreasson https://img.oldskull.net/image/138657006532, 03.06.2019 picture 13: What If I fall?, photo by Laura Zalenga, https://www.instagram.com/p/BZgkNIWFowC/, 03.06.2019 picture 14: Cactus, https://weheartit.com/entry/242036952, 03.06.2019 picture 15: Skyspace /The Color Inside, in Austin, project by Overland Partners and James Turrell, https://www.archdaily. com/560974/the-color-inside-overland-partners-james-turrell-skyspace/5449f371e58eceb567000296-the-color-inside-overland-partners-james-turrell-skyspace-photo, 03.06.2019 picture 16: Various lighting effects and how they can impact a space (Illuminating Engineering Society, IES), https://www. tcpi.com/psychological-impact-light-color/, 03.06.2019 picture 17: Blue light room, light and space art by James Turrell, https://www.konbini.com/ng/inspiration/experience-hypnotizing-light-space-art-james-turrell/, 03.06.2019 picture 18: Perfectly clear, light and space art by James Turrell, http://www.artnews.com/2019/01/14/report-kanye-westwill-donate-10-m-james-turrells-roden-crater/, 03.06.2019 picture 19: Three Saros, light and space art by James Turrell, https://situ.nyc/fabrication/projects/three-saros-james-turrell, 03.06.2019
Pictures
50
51
ArtEZ, University of the Arts, Zwolle Interior Architecture Master, corpo-real MA1 / Unit 1 Design process booklet within the theme of home by Lisabell Zint
52
