Sensory spatiality: Tangible and intangible dynamics in interior architectural design by Gabriele Knueppel

* Click on the red time-stamp to go directly to each segment in the video

00:10 The Chair (Peter Downton) welcomes the audience and introduces the examiners: Bill Fox, Dorita Hannah, Stephen Loo

00:48 Gabriele Knueppel: Introduction to presentation

01:26 Explaining the exhibition and the two key questions - Project Description / Project narrative

06:47 Background - Situating

10:55 Situating and Contributing

12:30 Use of technologies – Project narrative

12:57 The structure of the presentation: Five key threads, conclusion, and contribution

13:55 The elements of the exhibition - Structuring

18:15 Digital tools and recordings as tools and techniques within the design process – Practice methods

22:00 Demonstration of sound domes – Physical demonstration

24:30 Second project to illustrate the use of digital recordings: Interior reverberations - Project narrative / Physical demonstration

27:50 Second key point of the research: time, movement and change in special environments

29:23 Two projects to illustrate this point - Project narrative / Physical demonstration

34:04 Third key point: relationships between visual and auditory qualities of space, the human body and movement - Project narrative

39:30 Project: Choreography Site One – Physical demonstration

41:54 Fourth key point: Spatio-temporal sensory design as a facilitator of human behaviours and interactions – Project narrative

42:50 Project to illustrate the point: Choreographies of inhabitation – Physical demonstration

44:47 Final key point: How spatiality is defined through different dynamic sensory tangible and intangible qualities – Project narrative

46:19 Two projects to illustrate the point – Physical demonstration

53:49 Conclusion: key connections between projects; key decisions and shifts in thinking and practice; the future and the contribution

1:02:06 End of presentation

1:02:28 SL: Question about the role of technology in design and in the practice

1:12:22 DH: Many comments and a specific question about the Insight interviews – what role they played and why they were not continued

1:22:11 DH: Comment about the use of ‘visual noise’

1:24:37 BF: What was the one thing that surprised you about working on your degree?

1:27:33 BF: Identifies two halves of the research and asks if they are two halves of a whole or if there is a third part, to be completed, which manifests architecturally?

1:30:42 SL: Comments about spatial, human, acoustic ecologies: control and technology

1:42:40 DH: A question asking for expansion on the idea that sound and video ‘may be occupied in different ways’

1:53:25 DH: How do you translate your observations into design (contribution)?

1:58:09 DH: A question about the journey of a PhD and whether there needs to be a conclusion

1:59:04 SL: A question about how this work is ‘critical’

2:03:30 End and applause

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Abstract

If interior architects consider spatial environments as a set of dynamic and multi-layered conditions for human occupation, rather than as fixed physical form, what then are ways of mapping, communicating and designing with such ephemeral qualities? This proposition was my incentive to explore new tools and techniques beyond the conventional methods used in interior architectural design practices. My research has specifically focussed on visual and auditory relationships within the human occupation of spatial environments and questioned how sensory, spatial and temporal conditions of interior architectural design shape human behaviours, movement and interaction. Using research through design as my investigative framework, six PhD projects have contributed to new knowledge and ways of practising within the field of interior architecture. In these project works I developed novel techniques of mapping and documenting multi-sensory, tangible and intangible forces and flows by using digital technologies, such as sound and video recordings, as key tools for designing. Through this research I have not only been able to augment my own practice as a designer of sensory, spatial and temporal interior environments, but also to offer other interior architecture practices new tools and techniques that can be used at different stages of the design process.

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