In my thesis project, I am questioning how we, as interior architects, can design and use material in a creative, sustainable and sensory way when the common workflow of our practice is becoming increasingly more digital and distanced, when quality and prices are being pressured by the consumer system and when production, to a great extent, has moved to developing countries.

I believe that when we distance ourselves from the practical knowledge and process of making, we are also distancing ourselves from understanding how our bodies inhabit the world.

How are we to design meaningful and multi-sensory spatial experiences, create something to connect and care for, when we are working from a distance, far away beyond the horizon?

In my view, all spatial experiences are multi-sensory, meaning that we experience them through more senses than our gaze. Therefore, I believe it is important to practice as an interior architect through embodied methods of making, not limiting our understanding of space to two-dimensional representations such as computer models or drawings.

Through tactile, slow and repetitive hands-on practice, I learn about the material wood and its sensory qualities and let the material guide me in my process. My project shows my collection of embodied memories from that learning process in an archive of wooden pieces and three pieces of furniture. All telling a tactile story of their own to be experienced with our senses.