Resonance and Transcendence of a Bodily Presence: How a filmic mapping of non-visual, aural and bodily relations in space can strengthen the sensory dimension in landscape architectural design.
Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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Resonance and Transcendence of a Bodily Presence : How a filmic mapping of non-visual, aural and bodily relations in space can strengthen the sensory dimension in landscape architectural design. / Munck Petersen, Rikke; Farsø, Mads.
Architecture filmmaking. ed. / Igea Troiani; Hugh Campbell. 1. ed. Bristol, UK/Chicago, US : Intellect Ltd., 2019. p. 299-321.Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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TY - CHAP
T1 - Resonance and Transcendence of a Bodily Presence
T2 - How a filmic mapping of non-visual, aural and bodily relations in space can strengthen the sensory dimension in landscape architectural design.
AU - Munck Petersen, Rikke
AU - Farsø, Mads
PY - 2019
Y1 - 2019
N2 - This article elucidates how film may offer itself as ‘resonance tool’ for both representation and conception of space that can strengthen an alternative, phenomenological and haptic position of transcendence in architecture, a position from which landscapes and cities are thought, planned and developed in closer relation to their spatial and sensory effects on humans. It underscores that the film camera can work as a kind of amplifier of how we, with our bodies, perceive space and project space. Through an analysis of first two works by the Austrian Filmmaker Johann Lurf and then three studio films the article points to the film media as a sensory amplifier and its ability to present a subject’s awareness of its bodily presence and a ”feeling into” space based on Gernot Böhme’s Den Raum leiblicher Anwesenheit (Böhme 2006) and Giuliana Bruno’s concept of resonance (Bruno 2014). How film and its sound – if being integrated as design studio tool – comes to amplify sensory dimensions. The studio films illustrate how the surface of the film´s picture frame almost become like a skin, and with its surface and sound, projecting both a site and near sensual experience, the film media reflects and projects a double perception. It supports a haptic reflection on both outer experiences and inner sensations that - in its audiovisual and time space-based presentation - is close to a human experience. Especially the parts humans often are not aware about. The sonic and ‘skin’ of the surface may leads to an extended awareness of a sense of touch, as the base for intensive projections of becoming.
AB - This article elucidates how film may offer itself as ‘resonance tool’ for both representation and conception of space that can strengthen an alternative, phenomenological and haptic position of transcendence in architecture, a position from which landscapes and cities are thought, planned and developed in closer relation to their spatial and sensory effects on humans. It underscores that the film camera can work as a kind of amplifier of how we, with our bodies, perceive space and project space. Through an analysis of first two works by the Austrian Filmmaker Johann Lurf and then three studio films the article points to the film media as a sensory amplifier and its ability to present a subject’s awareness of its bodily presence and a ”feeling into” space based on Gernot Böhme’s Den Raum leiblicher Anwesenheit (Böhme 2006) and Giuliana Bruno’s concept of resonance (Bruno 2014). How film and its sound – if being integrated as design studio tool – comes to amplify sensory dimensions. The studio films illustrate how the surface of the film´s picture frame almost become like a skin, and with its surface and sound, projecting both a site and near sensual experience, the film media reflects and projects a double perception. It supports a haptic reflection on both outer experiences and inner sensations that - in its audiovisual and time space-based presentation - is close to a human experience. Especially the parts humans often are not aware about. The sonic and ‘skin’ of the surface may leads to an extended awareness of a sense of touch, as the base for intensive projections of becoming.
KW - Faculty of Science
KW - Resonance
KW - transcendence
KW - atmosphere
KW - film
KW - space
KW - architectural design
KW - Resonans
KW - atmosfære
KW - film
KW - trancendens
KW - architectural design
M3 - Book chapter
SN - 9781783209941
SP - 299
EP - 321
BT - Architecture filmmaking
A2 - Troiani, Igea
A2 - Campbell, Hugh
PB - Intellect Ltd.
CY - Bristol, UK/Chicago, US
ER -
ID: 161883348