This research combines the arts with human spaceflight. The aim of the investigation is to identify the aesthetic parameters for display in works of art on extended crewed missions. The study claims that, within the research area of human spaceflight, novel working methods should be developed that can integrate the artist into the scientific process. The extraordinary challenges of extended space exploration not only concern technical and human-bodily aspects, they will also affect the enormous psychological and psychosocial restrictions the spacefarer will face. These limitations are due to the unusual distance and the long timeframes; the future explorers will live confined and isolated within the habitat environment far away from their place of origin. In addition, the consequences of sensory deprivation caused by the high-tech indoor habitat, the emptiness of outer space, the effects of social monotony and limited contact with home will dominate their life in the extreme environment and the emotional state of the future explorer. Many cultural techniques for recreation and stress mitigation are already in use or will be tested in human spaceflight in the near future. However, in this context the implementation of works of art has not been evaluated. The production of works of art for future astronauts represents a new research area. From the artistic perspective, creativity will expand in an unusual manner. Artists will not only have to develop significant metaphors, they will also be confronted with an unknown responsibility, because the confined and isolated astronaut will become the exclusive audience and user of their works. Furthermore, works of art must follow the particular demands of verifiability, safety, and reliability. These specific conditions will give the artistic work a unique meaning which makes the work a part of the life-sustaining system. The outcome will be an experiment that combines both artistic and scientific strategies.

@font-face { font-family: "Times New Roman"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }table.MsoNormalTable { font-size: 10pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; } Longstanding critical theories on place, memory, and identity can begin to address critical questions that residents, civic leaders, and designers are currently facing in twenty-first century small town America. The rapidity with which many rural communities are now transforming is unlike any previous phase of transition; due in large part to a vastly expanding globalized economy and mass culture. Anonymous, exchangeable environments are quickly becoming a standard condition for these cities, without much attention being paid by neither insiders nor outsiders alike. Often compounding the problem, poor existing social conditions within the aforementioned communities are not only being habitually unattended to, they are exacerbated by the parallel eradication of place. Due to these implications, a new direction in the modernization of rural communities across the nation is required to productively and responsibly plan for their future. A critical look at the roles of memory, place, and the built environment in the formation of collective and individual identities may be an integral step towards steering small towns down this path.

In this studio based visual arts project I am exploring through representational painting and compositing, perceptions, conjunctions and disjunctions in space and time in the urban environment. My approach situates the stranger as the phenomenological self, the perceptual being, at the centre of the research who explores the spatio-psychology of the city in the light of contradictory philosophies that move between seeing the city as a place of social malaise to seeing it as a malleable space for each individual within it.

In this studio based visual arts project I am exploring through representational painting and compositing, perceptions, conjunctions and disjunctions in space and time in the urban environment. My approach situates the stranger as the phenomenological self, the perceptual being, at the centre of the research who explores the spatio-psychology of the city in the light of contradictory philosophies that move between seeing the city as a place of social malaise to seeing it as a malleable space for each individual within it.

As the placeless globalization is accelerating around the world and especially in China, places that have strong ties to the particularities of a locale are desirable destinations to escape the generic monotony of placeless urbanization. The thesis here stipulates that even in a placeless globalization, opportunities exist to understand, interpret and celebrate local cultural phenomena. While many formal architectural artifacts may have outgrown their purpose and no longer have direct relevance today, a number of desires, customs and rituals persist as desirable conditions to be supported by architectural space. The thesis proposes to seek out an architecture, that embraces and reinterprets targeted aspects of the built form of traditional elements with modern means. / Master of Architecture / This thesis discusses possibilities to reinterpret the vernacular. Specifically, the sense of identity generated by the architecture traditions in Western China can be attributed to shape and construction of the roof, organization in plan, the central fire place, and a protected courtyard all enclosed by rammed earth. Reinterpretations of those elements in modern forms propose a continuity of culture and identity.

Many young people in the Stockholm metropolitan area struggle with accessing the formal housing market and are therefore relying on short-term, second-hand contracts. By drawing on ten semi-structured interviews this essay explores the second-hand tenant’s ability to feel a sense of belonging towards their home. The tenants are often unable to just be in their home and instead feel they need to conform to the landlord’s ideas of proper behaviour.Through the unequal power relations between landlord and tenant the tenants rarely feel at ease in their home. By using a phenomenological conceptualisation of home, I reason that home loses its ability to anchor a person’s sense self in the world and as a result the tenants become more isolated and detached.

Like every human, the sustainable entrepreneur is impacted by all the places they have inhabited, but even more so since their triple-bottom-line approach leads to a manifestation of their efforts in places. Opposing this concept of place, scholars describe the concept of placelessness as a manifestation of a lack of meaning or lack of physical location. This qualitative study of sustainable entrepreneurs explores the connection between sustainable entrepreneurship and place or placelessness.  Our approach opposes the common notion that placeness and placelessness are two separate boxes by saying that they are instead two extremes of a scale, making placeless or place-based within sustainable entrepreneurship a matter of degree rather than “either-or”. Building on Shrivastava & Kennelly’s framework of Location, Landscape, and Meaning, we were able to make contributions to the complex, multi-directional impacts that place(lessness) and the sustainable entrepreneur have on each other. While a connection to a place can also inspire sustainable behavior, it is the sustainable entrepreneurs’ environmental and social value creation that immensely benefits from the familiarity and security they experience in their place, as well as the communal support and trusting relationship with local institutions. Placelessness tends to offer stronger support mechanisms for the economic side of the venture, as well as, in the case of digital placelessness, flexibility, and a fast flow of knowledge. In return, the sustainable entrepreneur impacts their place context through their social and environmental efforts, as well as through community and place building.

This thesis examines the formation of spatial theory and the linkage between space and place and their relationship with historic preservation and heritage tourism. First, this thesis analyzes the terms space and place, and how scholars define each term. Second, this thesis focuses on the concept of placelessness. Third, this thesis examines historic preservation as a strategy to help alleviate placelessness and as a crucial link to heritage tourism. This thesis also will use regional examples of preservation and tourism as exemplified by the preservation efforts of private organizations, citizens, and government officials in Jonesborough,Johnson City, and Washington County,Tennessee. This thesis provides some ideas for the creation of a possible heritage tourism program within Washington County,Tennessee.

9 actions - Sensoric measures for eternal efficiency is a project negotiating with the consequences of modernist urban planning and its infrastructure which has produced phenomenons like “non-places”, places which neither become or are used according to the procedure of care that our public spaces require. Situated within this idea, I establish a methodology which is formulated as an eternal site analysis, which showcases the process as total and in constant transition, a perspective that rather than becoming an dogma aims to question the raised methodology in relation to site and the analysis within the field of interior architecture. The methodologies aim to embody the sequence of time and space, to bodily engage our senses and re-evaluate the relation to the surrounding environment. This is captured in 9 actions inspired by methods within performance, architecture and installation art. The sequence is examined with different mediums, such as filmmaking, drawings, 3d scans, diagrams, sound recordings, photographs and various other interpretations. A compilation of these acts emphasizes the importance of the methodology of the process and its ability to reconfigure. Concluded and executed at Konstfacks Spring exhibition 2021, visitors were invited to interact with a selection of actions examined during the project. Described below, 3 of the exhibited sequences: “REPET Workshop”; as an act of instruction to understand and question the bodily configuration of normative behaviours in relation to sites. “Pedestrian Measures”; a documented act where the participant was dressed in a reflective apparatus in order to experience irregularities hidden in the spatial hierarchy of sites - as fields of perceived space. “Den gemensamma kroppen”; A collective act, pronounced as the common body of the space. An installation where visitors were invited to dress and interact bodily to engage full focus. A reflective action configuring the use of the body and its sensory abilities in context of common spatial production.