I N H A B I T I N G

M A T E R I A L
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PRUDENCE BRETHERTON - THESIS BOOK 2014
C O N T E N T S :
C H . 001 introduction, thesis q.
C H . 002 MATERIAL LANGUAGE
C H . 003 MATERIALS OF OPPOSITION
C H . 004 SPATIAL SENSORY INTERIORS IN A
GEOMETRIC STRUCTURE
C H . 005 MAKING MATERIALS
C H . 006 INTANGIBLE MATERIALITY
C H . 007 FORM VS FUNCTION: INTERIOR OBJECTS
C H . 008 EXPERIENTIAL MATERIAL INTERVENTIONS
C H . 009 DEPROVATION OF SENSE
C H . 010 THE PROPOSAL
C H . 011 REFLECTION, END NOTES, BIBLIOGRAPHY
THESIS BOOK 2014
As interior designers we have the ability to adjust this material
experience through making design decisions and challenging
materials in a controlled spatial manor
PRUDENCE BRETHERTON | 3337377
002 003
T H E S I S Q U E S T I O N :
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My thesis explores the role of a designer beyond the aesthetic within a spa-
tial realm where there is a new need to design in accordance with materials
and how they shape/change/alter spatial conditions for an inhabitant.
How do we design with materials in space to alter the individual experience
within it beyond the aesthetic? creating a material rich experience for in-
habitants?
C H A P T E R O N E:
P R E F A C E :
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WHERE WOULD WE BE WITHOIUT MATERIALS?
WHAT IS OUR ROLE AS DESIGNERS WHEN DESIGNING WITH MATERIALS?
Materials make up the world we live in, natural or man made they make up our
day to day experiences. As interior designers we have the ability to adjust
this material experience through making design decisions and challenging mate-
rials in a controlled spatial manor. Within each material there is elemental
truths and discourse in its nature, exposed or hidden within its application.
Through design there is a need to make material choices within a spatial realm
that act beyond the aesthetics of a given space and influence its inhabit-
ants through an experience, driven by our sensorial motivations to experience
a material within space. Spatial material choices are driven by the sensory
responses which they provoke, beyond aesthetics of sight, being subconscious
or conscious in our arrangement and design of materials in a spatial manor.
The implications of this determination and research, questions the ability of an inte-
rior designer through the application and composition of materials, to design a space
which acts beyond its aesthetic material quality and causes a spatial sensory moment.
my thesis is grounded within the interior, bringing all material decisions and
concepts within the interior. using the tool of making to explore material
concepts and ideas. this way of working has resulted in a book of high de-
tailed and loaded objects based around the concepts and ideas of materiality
within the interior.
all objects designed around the overall concept of
arrival (perception, sight) +
encounter / experience + response
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INHABITING MATERIAL L A N G U A G E :
MATERIAL TIME: where a material is inserted into space and its application causes one to
stop or pause within the interior. Material time marks the moment where a given material in
space alters how an individual or group spends their time within space.
SENSORIAL ONUS: where a particular material has the ability to embody a sensorial idea or no-
tion through its materiality or its make-up. E.g. a piece of stone may have a sensory onus as
it is textural and cool.
PERCEPTION: the ability to see, hear, or become aware of something through the senses.
How we see a material through siGHT is our perception, how we investigate its surface and ma-
terial is when perception is changed and altered through the discovery of the actual.
MODEL: a three-dimensional representation of a person or thing, or of a proposed struc-
ture, typically on a smaller scale than the original
MATERIALSOF OPPOSITION: where 2 or more materials are combined to create another material/
object or surface.
DESIGN AESTHETIC: a design reference which speaks of beauty and awe of a certain material
or object. An object or material choice which is made not for its specific use or application
but a choice made purely on what looks nice.
REPRESENTATION: a surface, form, or even material noted and reused through a representative
form or material beyond the actual.
CONTEXT: the circumstances that form the setting for an event, statement, or idea, and in
terms of which it can be fully understood. The placement in which we locate a certain mate-
rial or object, leaving the context to aid how the object or material is understood.
GEOMETRY (IN DESIGN) : the notion of placing material and objects in a structural manor based
on their geometry and form.
MATERIALSASSOCIATION: where an individual associates materials with a certain thing,
whether it be context, application, a sensory association or affiliation (such as texture,
softness, warmth/cool) with a certain material.
MATERIAL NOTATION: (LABELLING) notating or labelling a material as a form of identification or
label for a particular material. This may either be a leading or misleading form of identifi-
cation of a certain object material or surface.
OBJ ECTASSOCIATION: where an individual associates a given material/object or surface with
something else. This may be an association with memory, another object, or even a personal
feeling.
APPROACH: the action of coming, approaching/getting to a particular object/material/sur-
face. This includes forms of perception, histories, and all the preconceived notions which
comes with approaching something one is unaware of.
MATERIAL EXPERIENCE: ENCOUNTER: the experience of a material comes after the approach
and is a performance of how an individual reacts to a given material. This may not be a di-
rect hands on approach, but may instead be an observation that the material has in fact been
ignored. E.g. she experienced the cool floor under her bare feet.
RESPONSE: this follows on from the approach, the experience/encounter is the reaction an
individual has to a given material. Avoidance, acceptance, and/or inhabiting the material for
a prolonged period of time.
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T H E B R I E F :
CAPTURE SPATIAL MATERIALS IN TIME WHICH SHOW A MATERIAL BEYOND A
PHYSICAL A-TYPICAL SURFACE.
CAPTURE THIS MOMENT THROUGH VIDEO, PHOTOGRAPHY, SOUND RECORDING OR
ANY OTHER APPROPRIATE MEDIUM.
THE SURFACES SHOULD TALK OF A BODY OR MATERIAL BEYOND WHAT IS RECOG-
NISED IN THE INDUSTRY AS A COMMONLY USED MATERIAL.
OUR SENSORY EXPERIENCES AND HISTORIES FORCE US TO MAKE
PRESUMPTIONS OF MATERIALS AND OBJ ECTS AND WITH THAT
COME SENSORY ASSOCIATIONS
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perception + encounter + response
C H A P T E R T W O :
MATERIALS OF OPPOSITION
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010 011
012 013
014 015
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020 021
022 023
AS SOON AS YOU BUMP INTO A CHAIR YOU SEE
THAT CHAIR IN YOUR MIND
- ALBERT SOESMAN, CHAPTER ONE, THE SENSE OF TOUCH AND THE LIFE SENSE.
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R E F L E C T I O N | O U T C O M E S :
I started with the brief of joining two materials in opposition to create a series
of objects. The constraints of the objects was that the materials were to be
sourced as industry sighted materials and needed to be the scale of a hand span.
The outcomes were varied in the nature through which they were explored or intend-
ed. I wanted the outcomes to have a misperception in their appearance, and only
through experience, or a close investigation would the material truths come out.
The outcomes were intended to have a misperception in their appear-
ance, and only through experience, or a close investigation would the ma-
terial truths come out, inevitable creating a shift or a moment within
the model experience, something I would aim to create within an interior
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C H A P T E R T H R E E :
SPATIAL SENSORY GEOMTIC STRUCTURE | MODELS
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in the frst moment he had no idea what he was seeing, there was light,
there was movement, there was colour, all mixed up, meaningless.
a blur - oliver sacks, an anthropologist on mars.
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T H E B R I E F :
CONSTRUCT SPATIALLY/THINKING OR WORKING MODELS WITH A SPATIAL OR
INTERIOR QUALITY.
THE MODELS SHOULD SPEAK SPATIALLY THROUGH THEIR FORM AND COMPOSI-
TION. TAKE DIRECTION FROM PHASE 1 AND THE OBSERVATIONS MADE IN
PHASE 2.
CONSTRUCT THE SPATIAL MODELS AT 1:10 OR 1:50 AND SHOULD BE COMPOSED
OF 2 OR MORE MATERIALS BUT NO MORE THAN 4, REPRESENTATION CAN BE
USED FOR THE APPLICATION OF MATERIALS TO THE SPATIAL MODELS.
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028 029
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R E F L E C T I O N | O U T C O M E S :
My ideas and concepts are continually coming back to this series of
models I created as one of the first parts of my thesis work, a series
of interior objects which were initially driven by what I believed
to be a material considered design intention and experience, putting
sensory materials into spatial models and forms. However through us-
ing industry found materials, I was constantly using geometric form
in my design, showing a large amount of disparity and disconnect be-
tween the material concepts i had explored and the spatial designs I
had produced. As a designer, why are we attracted to man-made form,
and why do we find comfort in designing with geometry and structures?
These were brought to my attention when compared to the fluid mod-
els which were constructed through the combination of materials
in opposition (located in chapter 2). The constraints of the ob-
jects was that the materials were to be sourced as industry sight-
ed materials and needed to be the scale of a hand span. in an
interior space. This brings up the question as to how we can
apply this misconception and material discourse within space?
how can we apply this fluidity with-
in modern design, without losing a mateirals properties.
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C H A P T E R F O U R :
MAKING MATERIAL
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T H E B R I E F :
TAKING THE PRECONCEIVED NOTION OF A BRICK FORM TO MAKE MATERIALS.
CONSTRUCT A SERIES OF MATERIAL INVESTIGATIONS WHICH INVOLVES THE
COMBINATION OF INDUSTRY MATERIALS AND MATERIALS WHICH CAN BE
SOURCED ON MASS TO PRODUCE A SERIES OF MATERIALS WHICH COULD BE AP-
PLIED WITHIN AN INTERIOR SPACE TO CREATE A SURFACE OF MATERIAL.
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R E F L E C T I O N | O U T C O M E S :
CHOOSING TO ALTER A DESIGN AID SUCH AS THE BRICK, A STRUCTURAL GEO-
METRIC ELEMENT WHICH TAKES ON A STACKING LINEAR FORM WITHIN ITS AP-
PLICATION. RE-MAKING THESE OBJECTS WITH FORMS WHICH ARE ABALIABLE
IN MASS IN A EVERYDAY OCCURANCE, MEANT FORMING STRUCTURES WHICH
WERE OFTEN AWKWARD IN THERE ARRANGEMENT.
AS A PROCESS OF MAKING, RESEARCHING AND SOURCING MATERIALS THIS WAS
A VALUABLE TASK FOR A PROPOSED INTERIOR EXPERIENCE, HOWEVER I CAN
ALSO SEE THAT WITHIN THIS BRIEF, THERE IS AN OPENING FOR AN INDUS-
TRY APPROACH TO THESE METHODS OF SOURCING UNCOMMON MATERIALS FOR A
DESIGN OR STRUCTURAL APPLICATION. THERE IS NO DOUBT THAT THIS CON-
CEPT OF MAKING MATERIALS IS NOT A NEW ONE, AND THAT WITHIN THAT
THERE ARE A CERTAIN AMOUNT OF PARAMETERS WITHIN THE FINAL OUTCOME
SUCH AS COST AND AVALIABILTY,
IF APPLIED APPROPRIATLY AND DESIGNED WITHIN THESE CONSTRAINTS,
COULD PROVIDE INTERIORS WITH AN EXPERIENCE BEYOND THE INTERIOR,
CREATING A SHIFT WITHIN THE SPACE THROUGH THE APPLICATION AND ALSO
THE UNDERSTANDING OF THIS NEW SURFACE.
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C H A P T E R F I V E :
INTANGIBLE MATERIALITY
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T H E B R I E F :
CAPTURE SPATIAL MATERIALS IN TIME WHICH SHOW A MATERIAL BEYOND A
PHYSICAL A-TYPICAL SURFACE.
CAPTURE THIS MOMENT THROUGH VIDEO, PHOTOGRAPHY, SOUND RECORDING OR
ANY OTHER APPROPRIATE MEDIUM.
THE SURFACES SHOULD TALK OF A BODY OR MATERIAL BEYOND WHAT IS REC-
OGNISED IN INDUSTRY AS A COMMONLY USED MATERIAL.
D ESI G N I N G W I TH BODIESOF WATER | REFLECTIONSIN WATER
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R E F L E
C T I O N
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O U T C O M E S :
The next concep-
tor question I put
forward was how
can we design with
materials which
are not typically
recognised as sur-
face or a tangible
piece of material?
The brief was to
explore materi-
als which could
be used within
design. I have
chosen to capture
them in a visual
form of a photo-
graph.
D ESI G N I N G W I TH SHADOWS D ESI G N I N G W I TH SMOKE
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D ESI G N I N G W I TH HUMAN INHABITANCE D ESI G N I N G W I TH SHADOWS- REFLECTIONS
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C H A P T E R S I X :
INTERIOR OBJECTS
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FORM VS FUNCTION :
THROUGH A MATERIAL DISCOURCE
T H E B R I E F :
APPLY A SERIES OF CONCEPTS YOU HAVE EXPLORED THROUGHOUT THE SEMSTER
TO INTEIOR OBJECTS WHICH EXPLORE THE PREDETERMINED CONCEPT WHICH
MARKS THE POINT WHERE FORM AND FUNCTION MEET THROUGH MATERIALS.
THIS CAN BE PRODUCED THROUGH THE FUNCTION, DISCONNECT OR EXPERIENCE
CAUSED BY THE APPLICATION OF AN UNEXPLORED OR UNCOMMON MATERIAL.
TAKE AN EXISTING INTEIOR OBJECT WHICH IS RECOGNISABLE AND FAMILIAR,
ALTER ITS CHARACTERISTICS, AND THROUGH ITS MATERIALITY, CAUSE A MO-
MENT OR PAUSE THROUGH THE EXPERIENCE OF ITS USE.
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FORM FOLOWS FUNCTION -LOUISSULLIVAN
FORM FOLLOWS FUNCTION THATHAS BEEN MISUNDERSTOOD
-FRANK LLOYD WRIGHT
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PERISHABLE K N I F E
CLAY STONES| R O C K S
048 049
Construct a sensory interior experience at a human body scale. Simplify the
experience so as to best demonstrate its sensory elements. Through creating a
small scale experience, the site being the table and the inhabitant the person
experiencing the action of a meal. The research pragmatic in its response, using
the scale and material nature of the utensils we use in a day to day occurrence
to act as my research and aid my new design. A process of analysing product
design, drawing out what makes the utensil work as an object, then through adap-
tation and the use of recycled items, I adapted the products to do the opposite.
The drive of sensory understanding comes from Christain Lotz through the discus-
sion of Deleuze and Albert Soesman who examines and questions the 6 senses and
extends them into 12. To be a being of touch only is the immediate reaction to
sense, but through looking at practitioners like Deluze and Olafur Eliasson we
discover that there is much more to the inheritance of space, that is seemingly
subconscious but is soon developed as an integral part of the interior experi-
ence and therefore design. My research lies within these theorists ideals about
the inner ambition to experience sense within our day to day, and then apply-
ing these theories within the interior as an exaggeration or seamless element.
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WHICH LEADS TO THE DISTINCTION BETWEEN THE RECOGNISED
AND THE ENCOUNTERED SIGN -CHRISTIAN LOTZ
WRAPPED G L O BE
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DISFUNCTIONABLE H A N D L E
PLASTER C U P / G L A SS
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BAKED BO W L
054 055
: how can we apply the concepts/materials in brief one to an interior experience?
And what does this material application do to the interior? Explore form verses
function through a material discourse. Taking everyday forms within the interi-
or and altering their appearance through the making of a new material. The con-
text of interior objects such as a cup and a bowl are forms we are familiar with.
Forms we can recognise and identify. This is not a test of a functioning materi-
ality in these objects, as we know through history and design that the materials
these objects are made from currently, is what is best suited to their form. But
instead a question of material perception and understanding and how altering an
objects function through its materiality creates a sensory experience through in-
habitation and perception.
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Taking everyday forms within the interior and altering their appearance through
the making of a new material. The context of interior objects such as a cup and a
bowl are forms we are familiar with. Forms we can recognise and identify. This
is not a test of a functioning materiality in these objects, as we know through
history and design that the materials these objects are made from currently is
what is best suited to their form. But instead a question of material perception
and understanding and how altering an objects function through its materiality
creates a sensory experience through inhabitation and perception.
THISISA G L A SS
056 057
THISISA P L A TE
058 059
THISISA F O R K THISISA K N I F E
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THISISA SP O O N
062 063
actions of its users continually recreate its structures
- olafur eliasson
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R E F L E C T I O N | O U T C O M E S :
I have chosen to explore form verses function through a material discourse.
Taking everyday forms within the interior and altering their appearance
through the making of a new material. The context of interior objects such
as a cup and a bowl are forms we are familiar with. Forms we can recognise
and identify. This is not a test of a functioning materiality in these ob-
jects, as we know through history and design that the materials these objects
are made from currently is what is best suited to their form. But instead a
question of material perception and understanding and how altering an objects
function through its materiality creates a sensory experience through inhabi-
tation and perception.
THESE OBJECTS BRING WITH THEM MATERIAL IDEAS AND CONEPTS BASED AROUND EXPERI-
ENCE, MATERIAL PERCEPTIONS, THE AFFECT MATERIALS HAVE ON A SPECFIFC SPACE AND
THE LIST GOES ON. ALL DETERMINE BY THE NOTION OF ENCOUNTER: WHAT WE CAN SEE
OF THE MATERIAL, AND HOW OUR MIND INTERPRETS THIS MATERIAL, RESPONSE: HOW THIS
MATERIAL IS APPROACHED, WETHER IT IS EXPERIENCED OR NOT AND ENCOUNTER: THE RE-
ACTION OF THE INHABITANT AS THEY EXPERIENCE THE GIVEN MATERIAL OR SURFACE.
A MATCH THAT DOESNT STR I K E
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COMPRESSION STO O L
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068 069
C H A P T E R S E V E N :
EXPERIENTIAL MATERIAL INTERVENTIONS
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T H E B R I E F :
using a singular material, insert a series of interventions into
space (a given site) which alters the material connection within
space. this material insertion should create a shift or moment of
discource within space.
070 071
072 073
material connections or disconect transform a space from
what was originally an aesthetic inteior to that of an experi-
ence.
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R E F L E C T I O N | O U T C O M E S :
the insertion of a singular material within space to create a shift
within the regularity of the procession of space. this specfifc
installation was inserted within a walking track in warrandyte. it
is a high traffic site, and the placement wihtin the space created
a shift within the site as people paused to question the material
inserted within site.
this shift is something i have grounded within the interior with-
in the context of materiality. how we conceive and produce, de-
sign and co-ordinate materials within the interior, which creates
an experience within the interior which forces people to experience
a given material and its properties within space. as a designer
there is a need to create an experience within space and acknowl-
edge materials.
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C H A P T E R N I N E :
SENSORY DEPRIVATION
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USUALLY WHEN WE TOUCH SOMETHING WE ALSO LOOOK AT
IT...
TO BE A BEING OF TOUCH ONLY
- ALBERT SOESMAN. CHAPTER ONE. THE SENSE OF TOUCH AND THE LIFE SENSE
each of the senses is only understandable by bringing in the
other sense -albert soesman
satisfaction through the senses -albert soesman
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T H E B R I E F :
construct a series of mechanisms which deprive an
inhabitant of a materials properties through the
deprivation of a single sense.
sight | touch | sound | smell | weight and balance
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D E P R I V A T I O N O F SIGHT D E P R I V A T I O N O F SMELL
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EACH OF THE SESNSES SEPERATLY IS ONLY UNDERSTANDABLE BY
BRINGING IN THE OTHER SENSES
- ALBERTSOESMAN
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R E F L E C T I O N | O U T C O M E S :
THIS IS AN EXTENDED PROJECT FROM ONE THAT I EXPLORED IN FOURTH
YEAR, THROUGH THE DEPRIVATION OF SENSE, WHERE THROUGH REMOVING A
SINGLE SENSE WE CAN BECOME AWARE OF ANOTHER, AND IN THIS DEPRIVA-
TION, OUR OTHER SENSES COME TO COMPENSATE. WHEN APPLIED TO MATERI-
ALS, IT BECOMES APARENT THAT THERE ARE A NUMBER OF SENSES WHICH AL-
LOW US TO EXPERIENCE A MATERIAL OR SURFACE. WHICH IN TURN RELATES
HOW OUR SENSES IN RELATION TO MATERIALS AFFECT THE WAY WE ENCOUNTER
MATERIALS AND SURFACE WITHIN SPACE.
THERE ARE MANY RESEARCHERS AND THEORISTS WHO DETERMINE A NUMBER OF
THEORIES BASED AROUND HOW MANY SENSES WE HAVE, THE INTEGRAL SENS-
ES USED TO EXPERIENCE A MATERIAL AND THEREFORE SPACE ARE SIGHT AS
A FIRST NOTION OF EXPERIENCE, SECONDARY SOUND (IF THERE IS ANY),
D E P R I V A T I O N O F TOUCH
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C H A P T E R T E N :
- OVERALL REFLECTION
- END NOTES
- BIBLIOGRAPHY
D E P R I V A T I O N O F SOUND
082 083
The models produced in later projects have started to offer up ways of experiencing mate-
rials within an interior beyond the aesthetic and functioning basis of their application.
Through the application of given material with a sensorial onus within them,
we can design a spatial experience which can be applied to all elements of the
interior whether it be in a domestic, residential interior, an exterior space
or even a commercial retail space. Designing with materials within this way
opens up the social contexts we are entering as designers. A way of designing
with materials, within a spatial context, to differentiate ourselves as de-
signers in an expanding industry.
The objects created in this book are physical experiences of ideas and con-
cepts which have initially been developed from ideas of the interior, and
through a method of making have become objectified forms of thinking and work-
ing models as a result.
The reasoning behind the drive to create an experience within the interior is
a notion toward an interior being more than an aesthetically beautifull place
and a functioning interior. A space that is shaped by the materials within
it. A space which acts beyond a simple interior and questions within their
application perception, senses, and the time of an interior space altered by
the experience and length of a given surface. The experience of an interior
is broken down into three components. 1. The perception/sight: the way the
inhabitant views the surface, and how preconceived experiences and histories
lead them to view a material at a pure observation panel. 2. The experience:
how an individual reacts with a material surface, whether their interaction
with the given material or surface is one of a lengthened or shortened time,
if they enjoy the experience with the material or find the material oppres-
sive. 3. The response: this is a measured observation of the experience, and
can be the reaction of experiencing the material, positive or negative or may
even be the lack of interaction with the material, positive or negative.
END NOTES :
1 . soesman, albert, the twelve senses, Rudolph Steiner Pr, 1990
(PG. 24)
2 . sacks, oliver, an anthropologist on mars, picador, 1995
(pg.26)
3 . FORM FOLOWSFUNCTION -LOUISSULLIVAN
FORM FOLLOWSFUNCTION THATHASBEEN MISUNDER
STOOD -FRANK LLOYD WRIGHT (PH.47)
4. lotz, christian, representation or sensation?- a critique of
deluzes philosophy of painintg, michigan state university, 2004
(PG.55)

5. eliasson, olafur, models are real, jonathan.d.solomon, 2007
(PG.64)
6. soesman, albert, the twelve senses, Rudolph Steiner Pr, 1990
(PG.77)
084 085
B I B L I O G R A P H Y :
pallsmaa, juhani, the eyes of the skin, southern gate, john wiley and
sons, 2005
soesman, albert, the twelve senses, Rudolph Steiner Pr, 1990
bohme, gernot, thesis eleven, sage publications, 1993
gissen, david, subnature - architectures other environments, prince-
ton architectural press, 2009
holl, steven. questions of perception, phenomonolgy of architecture,
william stout publishers, 1994
murchie, guy, the seven mysteries of life - an exploration in science
and philosophy, houghton mifflin company boston, 1978
kultur, kunst, daidalos, architcture art culture, nauhaus dessau
foundation, 1998
086 087
columbia, beatriz, beyond pavillions - architecture as a means to
see, 1987
eliasson, olafur, models are real, jonathan.d.solomon, 2007
maurer, daphne, synesthesia - art and the mind, a scientific perspec-
tive, yaro. c.&ward, 1992
frichot, helene, what can we learn from the buble man and his at-
mospheric ecologies?, rmit university australia, idea journal 2010,
interior ecolohies, 2010
lotz, christian, representation or sensation?- a critique of deluzes
philosophy of painintg, michigan state university, 2004
sacks, oliver, an anthropologist on mars, picador, 1995
featherston, david, & painter, joe, your gravitational now, chcich-
ester, 2013
PRUDENCE BRETHERTON
THESIS BOOK 2014
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MANY THANKS
PHEOBE WHITMAN
ROGER KEMP
ROSS MCLEOD
GEORGIE
KARL WINDHOFER
BRONWYN UPHILL
ANNA HEALEY
PAUL BRETHERTON
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087