This thesis started as an exploration of spaces created with subtle light changes in atmosphere, spaces created for the sole purpose of lingering in, of relaxing in, during a hot summer day, winter or in a busy day, when all you want to do is get away from it all in a soul-comforting place. Soon after, I realized that these spaces should have no other purpose than their simple existence, thus the idea of pavilions seemed to be the best fit for such a description. After locating the pavilions in Ramnicu-Valcea, Romania, through the exploration of the place memory, the present conditions and materials, the project started to take shape. The final project became a room within an urban setting. The pavilions, a series of five rooms connected by shape and materiality into two buildings, created in between a new plaza, a new urban space, a sixth room. / Master of Architecture

Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.

Through the sculptural object, this thesis, in|form: The per formative object, explores the relationships between body and object, viewer and artist, performance and the per formative. By exploring the performativity of an object (and questioning how an object performs in relation to the body), the documented performances activate an inter-relational act between artist and object (I perform the object, the object performs me simultaneously). The work that unfolds from this investigation considers the placement of the viewer’s body in relation to the artist’s. A dialogue is formed between the three bodies: object, artist and viewer, creating a sense of embodiment within the work through this relationship. in|form explores this embodiment through the role of video documentation. The performances are constructed to be viewed solely through the documentation, which creates a discussion between the ‘live’ moment and the documented event, and how the viewer then relates to this. The performances take place as solo acts, but are constructed with the viewer in mind. As the viewer watches the documented performance of the action between artist and object in space, the relational nature of the work creates a second performance which embodies the viewer. This sole action, recorded and then viewed, considers the relational value of the body, specifically engaging with the abstraction of bodily formlessness within the object to reveal a bodily nature. Using the object to trace the movement of the body creates a language that communicates to, and about, both viewer and artist: through the awareness of passing time, through the large scale projection of the documentation, through the bodily nature of the object, and through the performativity of the object’s responsive nature to the artist’s body as the pair navigate through space. in|form explores how the absence of the body (in a literal sense) considers the body as an object bound by time, at once physical yet transient. By tracing the motion of the body through object, the viewer experiences the body through sensibility. Ultimately, the function of the body negotiating as a time-bound object is imitated through the performativity of the object with artist, and the elusiveness of this action emphasized by its documentation.

Η παρούσα μελέτη έχει στόχο την προβολή, την ανάδειξη αλλά και τη διερεύνηση της σημασίας του εκτός σκηνής γλυπτού διακόσμου του ρωμαϊκού θεάτρου όπως παρουσιάζεται στο σωζόμενο και δημοσιευμένο αρχαιολογικό υλικό από τον ελλαδικό χώρο. Η σύλληψη αυτής της ιδέας προέκυψε από τον προσωπικό προβληματισμό για τον τρόπο που αντανακλάται η σχέση της τοπικής αριστοκρατίας με τους εκπροσώπους της ρωμαϊκής κυριαρχίας στους χώρους των δημοσίων θεαμάτων και συγκεκριμένα στα θέατρα. Η ψυχαγωγία του πληθυσμού αποτελούσε μέσο ελέγχου των πολιτών και μέσο επικοινωνίας ανάμεσα στις τοπικές αρχές ή και τα ανώτερα στρώματα της κοινωνίας από τη μια πλευρά, και την κεντρική εξουσία από την άλλη. Ο γλυπτός διάκοσμος της scaenae frons των ρωμαϊκών θεάτρων στον ελλαδικό χώρο αποτελούσε συχνά αντικείμενο μελέτης και έρευνας με απόρροια τη διατύπωση διαφόρων ερμηνειών και προσεγγίσεων για το συμβολισμό της γλυπτής σύνθεσης. Από την προσπάθεια αυτή που εστιάζει στη μελέτη του εκτός του κτηρίου της σκηνής γλυπτού διακόσμου, είναι φανερό ότι ανακύπτουν εύλογα ερωτήματα: Ποιος είναι ο συμβολισμός και η ερμηνεία του εκτός του κτηρίου της σκηνής γλυπτού διακόσμου; Διαφοροποιείται από το γλυπτό σύνολο της scaenae frons; Η Παπασταμάτη – Von Moock, περιγράφοντας τις αλλαγές και προσθήκες που έλαβαν χώρα την Αδριάνεια περίοδο στο κοίλο του θεάτρου του Διονύσου Ελευθερέως, αναφέρει ότι ήταν σαφές ότι το πρόγραμμα ανακαίνισης και διακόσμησης της σκηνής εντασσόταν σε ένα ευρύτερο πρόγραμμα ανακαίνισης και νοηματοδότησης του θεάτρου. Η θέση όμως αυτή δεν φαίνεται να μπορεί να χρησιμοποιηθεί με βεβαιότητα για το σύνολο των προς εξέταση θεάτρων, καθώς διαφοροποιείται ανά περιοχή ο ρόλος της τοπικής αριστοκρατίας (ελίτ) έναντι της ρωμαϊκής κεντρικής εξουσίας. / This study aims to show and exploring the significance of non-scaenae frons sculptural decoration of the Roman theater as presented and published in the surviving archaeological material from Greece. The conception of this idea came from a personal reflection on how that reflected the relationship of the local aristocracy with representatives of Roman rule in the spaces of public entertainment and specifically in theaters. The sculptural decoration of scaenae frons of the Roman theater in Greece was often the subject of study and research result of the wording of various interpretations and approaches to the symbolism of sculptural composition. From this effort that focuses on the study of the outside of the building sculptural decoration of the scene, it is clear that legitimate questions arise: What is the symbolism and interpretation of the outside of the building scene sculptural decoration? It differs from the sculpture entire scaenae frons; The Papastamati - Von Moock, describing the changes and additions that have occurred in the period of Hadrian's auditorium Dionysus Elefthereos says it was clear that the program of renovation and decoration of the scene was part of a wider refurbishment program and meaning to the theater. The position, however, does not seem to be used with certainty for all concerned to theaters, and varies by region, the role of the local elite (elite) vs. Roman central authority.

Through the sculptural object, this thesis, in|form: The per formative object, explores the relationships between body and object, viewer and artist, performance and the per formative. By exploring the performativity of an object (and questioning how an object performs in relation to the body), the documented performances activate an inter-relational act between artist and object (I perform the object, the object performs me simultaneously). The work that unfolds from this investigation considers the placement of the viewer’s body in relation to the artist’s. A dialogue is formed between the three bodies: object, artist and viewer, creating a sense of embodiment within the work through this relationship. in|form explores this embodiment through the role of video documentation. The performances are constructed to be viewed solely through the documentation, which creates a discussion between the ‘live’ moment and the documented event, and how the viewer then relates to this. The performances take place as solo acts, but are constructed with the viewer in mind. As the viewer watches the documented performance of the action between artist and object in space, the relational nature of the work creates a second performance which embodies the viewer. This sole action, recorded and then viewed, considers the relational value of the body, specifically engaging with the abstraction of bodily formlessness within the object to reveal a bodily nature. Using the object to trace the movement of the body creates a language that communicates to, and about, both viewer and artist: through the awareness of passing time, through the large scale projection of the documentation, through the bodily nature of the object, and through the performativity of the object’s responsive nature to the artist’s body as the pair navigate through space. in|form explores how the absence of the body (in a literal sense) considers the body as an object bound by time, at once physical yet transient. By tracing the motion of the body through object, the viewer experiences the body through sensibility. Ultimately, the function of the body negotiating as a time-bound object is imitated through the performativity of the object with artist, and the elusiveness of this action emphasized by its documentation.

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Teddy bears have become a universal symbol of our childhood, but we tend to forget them when we grow up. The toy industry is a growing empire where manufacturers constantly compete for consumers' attention. This results in growing waste from the toy industry and a need to find solutions to how to deal with it. This research explores repurposing possibilities of discarded stuffed animals based on their colour, form, texture, and print to create sculptural textile objects through deconstruction, patchwork, and sculpting techniques. This research was conducted by performing a series of design experiments exploring discarded stuffed animals through deconstruction and time-limited sketching. This allowed various sculptural objects to be constructed mainly by crazy pathworking and casting with different plaster materials or teddy bear filling. The outcome is a collection of 7 textile objects with a suggestive function, but the material it is constructed in challenges it. They extend from recognisable vase forms to forms that almost are unrecognisable. These objects place themselves in the field of not only textile design but also functional art. This research contributes to the field of textile design by suggesting a new usage for an atypical material, discarded stuffed animals. Furthermore, the collection Teddy Vessels [also known as our former best friends] proves that discarded stuffed animals still have a place in our lives even though we have forgotten them.

The central theme of my degree project is the concept of solid and void, with each piece embodying a unique idea. The void element represents a container that can be filled with individual thoughts and perceptions. My goal is to create interactive objects that can be viewed from different perspectives, allowing for a personalised experience based on one’s expectations, experiences, and perceptions. I believe that the point of view from which we look at things (how we look at things) might be more important than what kind of thing it is. Through my work, I aim to induce people to change their perspectives on their daily objects and surroundings.  This thesis report is the story of my graduation work, which I worked on from December 2022 to May 2023. It contains the intentions and aims I was trying to convey through my work, the process of working on it, the difficulties I encountered along the way, and my concerns. I wrote this thesis report as a kind of working notebook or end-of-day diary, writing honestly about what I felt and learned during the process. / <p>KunSik Choi</p><p>www.kunsik.com</p>

Stand Up Weave explores multiple-layer weaving from a sculptural and spatial perspective in combination with non-textile materials as a way of challanging what weaving can be and how it can be developed in the changing textile industry. The aim was to develop three-dimensional fabrics by hand weaving in multiple layers with integrated supporting structures to achieve sculptural textile objects directed towards experimental textile design. The work investigates and develops methods of how to design and produce complete textile objects directly in the loom without industrial machines or finishing processes such as sewing together parts. The result is a collection of three woven objects, each exhibiting different ways of constructing three-dimensional textiles with individual solutions for warp planning, weaving and supporting structures.