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 -