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bryn space

bryn space is an experimental and sensitive architectural practice, operating across the borders of architecture. Works deal with space, culture, time, interaction, and sensuousness, regardless of whether the medium is a building or something else.

bryn space was founded in 2011 and is run by Daniel Persson. Daniel Persson has studied at the School of Architecture at the Academy of Fine Arts in Copenhagen, at Melbourne University in Australia, and received his Master of Architecture from LTH, Lund University, Sweden. Daniel Persson teaches at the Bachelor Programme in Digital Cultures at Lund University.


Malmö
2011 - 2017
Photographer: Rickard Grönkvist

OSCILLATING STRING

Oscillating string is a proposal for a spatial strategy for the LTH university campus.

The LTH university campus is a latent superstructure, consisting of several similar crystalline brick buildings, separated by a vast parkscape, through which north-south transportation arteries run. The majority of the campus’ buildings was constructed 1960-69, in a rush to expand higher education. Although situated in a sloping landscape, all of the buildings’ floors are level to each other, prepared for further expansion, something that never happened.

The oscillating string is a strong axial order, that runs across the transportation arteries and the parkscape, establishing new and unexpected connections and interruptions. The parkscape consists of many small scale situations, slopes, vistas, small hills, groves, clearings, something that is both unused and unappreciated. Life at campus happens inside or just outside the buildings, very rarely does the park get engaged.

The oscillating string tries to break down the vast scale of the parkscape, and engage and enhance the small scale situations. It consists of different insertions made by different creators; architects, artists, designers, and others. Each year a new creator gets invited to make a contribution. The unveiling of the annual contribution is an event, that creates awareness of the possibilites of the park, not only at campus, but for the entire city of Lund. The campus becomes a destination and a resource for more people.

As the string takes shape throughout the years, it will come to consist of wildly different insertions. It will become a catalogue of different spatial/functional/aesthetic ideas. Creators are free to make any kind of insertion they wish, within a stimulating and provoking framework:
Max volume of the insertion is 15 m³.
For 80% of the insertion, max height is 1,2 m.
The insertion should establish a critical and playful dialogue with the rationality of LTH campus.
Color should be a fundamental part of its composition.

The oscillating string will thus enrich the campus, a very rational place, with a whole new set of values. The oscillating string becomes a spine for the park, with a strong spatial identity along its axis, but varying and inviting on its sides. The oscillating string excites the campus park.

Spatial strategy
Akademiska Hus Syd AB
Lund, Sweden
2014
Intent of the spatial sabotage. Result of the spatial sabotage.

SPATIAL SABOTAGE BY CLOTHESLINE

Performances in art contexts take place according to well-mannered and unstated agreements between performer and spectator. The spatial sabotage's intention was to break that social contract.

A clothesline with damp baby clothes was suspended across the room. The clothesline constituted a ribbon, about 30 cm wide, blocking eye contact between performer and spectator. The clothesline was suspended in such a way as to define the socially charged intimate zone closest to the stage. The clothes' bottom edges were at the level of the spectators' foreheads. The clothes were drenched in apple perfumed fabric conditioner.

The intention was to force the spectators to use the space in another way than expected. Eye contact could only be established in the intimate zone. In the rest of the space the contract was open. What do you do when you can't see the performer? The damp baby clothes and their scent were conceived as distractions, to infuse the spectators with social and sensuous associations to divert them from the proper agenda of the gallery. The clothesline demanded action and renegotiation.

The result was something else completely. Not as many as expected attended the seminar at the gallery. Instead of standing up cramped, there was enough room for the spectators to sit along the walls. The performers sat down on the stage. The clothesline created a lower and more intimate space, partitioned in one section for the spectators and one for the performer, where all could feel comfortably safe. The baby clothes provided cosy associations. Sometimes a drop fell on the floor.

Spatial sabotage by clothesline was conceived at the same time as the oscillating string campus spatial strategy.

Spatial performance/installation
Sabotage seminar in conjunction with the release of Ida Börjel's Miximum Ca Canny Sabotagemanualerna you cutta da pay, we cutta da shob
Publication Studio Malmö, Sweden
2014-04-05
Cover of Kairos by Andrzej Tichý Cover of Kairos by Andrzej Tichý

BOOK COVER FOR KAIROS BY ANDRZEJ TICHÝ

Andrzej Tichý's fourth novel Kairos delineates moments when the world is defined. The narration runs along several tracks, through different eras and scenarios. The text alternates between fragmented, saturated and flowing. The different tracks grind and reflect on each other. All tracks deal with hope, struggle, resistance and repression, will and violence, martyrdom, hopelessness, idealism.

The cover consists of three orders; typography, lines and paper, all with their own spatiality. The paper is iridescent and changes color depending on viewpoint. The lines in themselves have three orders that interferes with each other. In the interference, new patterns form, with different significance depending on how the book is viewed. The typography has stable, rounded letter shapes, sitting in the middle of the combined spatiality. When the book is viewed from different angles, paper and lines shift appearances, they transform into and out of each other. The letter shapes appear clearly from some angles, from others they sink completely into the lines.

The cover as a whole is an illustration of the text as a whole. At the same time the cover takes on figurative meanings during the read and illustrates different circumstances and phenomena in the text.

Book cover
Albert Bonniers Förlag
2013
ISBN: 9789100133474
Spread from Tid & Rum. Page from Tidskriften STAD. Page from Der Architekt. Page from Magasinet KOTE.

SNOW/TRACING PAPER

The text Snow/Tracing paper describes snow in the city; what the snow looks like, how it sounds, how the snow is shaping the city life and how the city life shapes the snow. Everyday routines are traced in the snow, while the city covered in snow offers new possibilities for its interpretation and usage.

Snow/Tracing paper was originally written in English for the architectural competition Time & Space, where it was awarded 2nd prize. The competition was unique in its thematic, writing about architecture, and received 173 entries from eighteen countries.

Snow/Tracing paper has been published in Danish as Sne/Kalkerpapir, in German as Schnee/Pauspapier and in Swedish as Snö/Skisspapper.

Tid & Rum, Arkitektens forlag, 2012, Danish and English
ISBN: 9788774074168
Tidskriften Stad 3, 2013, Swedish
ISSN: 2001-631X
Der Architekt 2, 2014, German
ISSN: 0003-875X
Magasinet KOTE 4, 2014, Swedish
ISSN: 1893-8132
Competition entry
2nd prize
Copenhagen, Denmark
2012

SAMPLODICA

Samplodica is a musical instrument, where sets of four sounds are played rhythmically, while continuously being accessible for manipulation. Samplodica is played by holding the sounds' bars and whipping the instrument in the air, a movement akin to hitting a drum. Manipulation is done by dragging up or down across the bars.

A multitude of sounds are included as standard. There's also the possibility to load your own sounds, as well as recording sounds directly through the built-in microphone.

Playability and the ability to engage the user's creativity are the most important factors for a musical instrument. Samplodica has a radically simplified interaction. It is directly playable, with infinite possibilities within well defined boundaries, for the creativity both to brace against and flow on. Samplodica is specific, with a distinct character of its own. The user is invited to handle the specific character; to play with it.

Samplodica is a configuration of the pioneer spirit and technically naive creativity of tape manipulation and early digital sampling. Samplodica is an instrument dedicated to the joy of sampling, and the joy of playing and manipulating sampled sound.

Samplodica is in conscious opposition to its medium, the smartphone. The medium is at its worst a pastime of the consciousness, with no connection to the body other than that the eyes need to strain to decode the small screen. Samplodica is corporeal, spatial, outside the screen, it demands time and attention, has a resistance and a reward if you practice.

Samplodica has egalitarian graphic design, advanced color composition, mood-setting text, playful sound design, historical context, critique of its medium, body movement integrated in its design, can be played without watching, is sold as super-pop-consumtion-culture, is beautiful, inspiring, contemporary, futuristic. All of the references, all sensitivity and contemplation have in the end crystalised into an instrument that is like toy; simple, fun and creatively engaging.

http://itunes.com/apps/samplodica
App
Global
2012
Collaboration with Pär Kjellberg
The competition entry, a letter in A1 format.

JÄRVAFÄLTET CEMETERY

Two weeks of sketching could not generate a dignified proposal and all of the sketches were scrapped. In the morning of the day of the deadline this text was written, rushed away to be printed, mounted on A1, and submitted, to convey the sketching's conclusions.

Competition entry
Stockholm
2010
English translation

Dear Stockholm,
the cemetery came to nothing. The site was not dignified. When the suburb gets a cemetery it deserves something better than a dump by a motorway junction. Making the most out of that site is not good enough.

Large operations are required to screen an eventual cemetery from the motorways. The operations would degrade the qualities and meanings of the landscape.

The old cultural landscape stretches out of the city through the valley between the two ridges' public housing blocks. It is a beautiful composition. There are horizon lines, meadows, pathways, groves, small streams, ancient monuments, visual connections with the housing blocks and historical context.

Somewhere else on Järvafältet, eastwards, a careful utilisation of the qualities of the landscape, maybe there's the cemetery that the surrounding neighborhoods deserve.

Beautiful, calm and dignified, for everyone, but especially for the ones in grief, for the ones remembering and for the ones having their final rest. The cemetery is for them.

Your friend

Photo of the lamp when it is turned off. Close-up of the lamp when it is turned on.

MESS

A figurative experiment in acrylic and metal, with time as an essential component. The lamp hangs from the ceiling and collects more and more dust, in a space where messy people live messy lives. The mess is manifested in the lamp's sublime aesthetics, essentially different from the fresh, clean, gridded and glossy.

The acrylic sheet is conceived as a landscape, where the bulbs are poplars (or equivalent exclamation marks in the landscape), the ceiling mount is clouds, wire and cord precipitation, wind, lightning. With time, dust settles on the landscape and by and by the light and shadow play change. It turns into a blend of lucidity and fuzziness, of bright metal and clear acrylic, blended with the matte light volume of the illuminated dust. The cords weave through it. The dust defines the design.

The work commenced by trying to make a used sheet of acrylic plastic into a rolling landscape in a ceramic kiln. During the making of the lamp there was never a drawing, everything was sketched directly in the materials. Mounts, sockets and wire hanging were designed step by step, usually by looking through boxes of nuts and contraptions in the hardware store. The lamp is a sketch, done in acrylic and metal, defined by time and dust.

Lamp (sketch/prototype)
Malmö
Ongoing (dust is settling thicker (towards the unhealthy))
Illustration of the climate screen. Illustration, close-up of the climate screen.

CLIMATE SCREEN FOR THE JELLING RUNESTONES

The Jelling runestones represent the start of Danish nation-building and the transition from Ásatrú to Christianity. The stones stand in front of an early Christian church, between two Viking Age burial mounds. Together, the burial mounds, runestones and church, form a concentrated spatial and historical context. The runestones are listed as a UNESCO World Heritage, but has up until now been unprotected from the elements, as well as from prying fingers.

The proposed climate screen respects the relationship between burial mounds, runestones and church. The climate screen makes itself as invisible as possible, for the stones to continue to draw their silhouettes against the surroundings. The narrative of the place is enough; no new elements are added, the climate screen takes its shapes from the existents.

The climate screen is constructed out of glued glass. Over the larger stone there are two thin metal cross braces. The two crosses refers to the first Christian Danish royal couple, in whose honor the larger runestone is erected, but also refers to the church's anchor plates. The glass construction takes its shape form the church's square gable roofed volume.

Competition entry
Jelling, Denmark
2009
Photo of the book Fält by Andrzej Tichý Cover for the book Fält by Andrzej Tichý

BOOK COVER FOR FÄLT BY ANDRZEJ TICHÝ

Andrzej Tichý's second novel Fält unfolds through a zigzagging inner and outer journey through the world, Europe, Sweden, Malmö, time, memory and the psyche. It is rigorous, sprawling, dirty and beautiful.

The cover is a diagram, so complicated, entangled and superposed that at first it's decoded as a black jumble. At a closer look the many lines and nodes appear. It is scientific, positivist, mathematical, organized, collapsed.

Through the reading, the diagram changes meaning and in the same guise illustrates different phases and turning points of the text. It is a map of Europe or neural pathways, a sprawling dream or a psychosis entangling its way in, a family tree or other.

Book cover
Albert Bonniers Förlag
2008
ISBN: 9789100115814
Illustration of an exhibition using showcases. Illustration of an exhibition of stuffed animals. Illustration of an exhibition in the Botanical Garden.

STRATEGY FOR A NEW MUSEUM OF NATURAL HISTORY

The artefacts at a Museum of Natural History carries with them a multitude of narratives. There's the science extrapolated from them, the stories of how the artifacts ended up at the museum, the aesthetic experiences they convey. All the time, the visitors to the museum create their own narratives, when they study and investigate the artefacts.

Our strategy for a new Museum of Natural History is built around the multitude of narratives. The strategy's first step is to liberate the artefacts from interpretative signs and curated exhibition arrangements. Visitors can then uninhibitedly experience the artefacts on their own terms and create their own appreciation of stuffed tigers, rock samples, or narwhale tusks. And be allowed to make their own connections between them.

The strategy's second step is an open platform for exhibitions, letting visitors freely choose between a multitude of curated experiences of the Museum's collections. The simplest exhibition is a couple of sheets of paper with information on selected artefacts and a map to where they are. Advanced exhibitions are delivered through smartphones and tablets: they respond to where the visitors are in the museum, contains deep background material, sound, video and animations, and encourages communication and interaction between the visitors.

Creating exhibitions is accessible for everyone; for scientists, for the museum staff, but also for the public and for organisations. This is also true for those who contradict or don't care about science's explanation of the world: gastronomy, evolution, horror movies, intelligent design, post-imperialism, the carbon cycle, volcanos, God, quiz. The Museum turns into a place for parallel and conflicting narratives; a living part of the conversation and culture of the city.

Competition entry
Copenhagen
2009
Collaboration with Lisa Deurell of Paradiso Arkitekter
Illustration of the public bath. Illustration of the public bath. Illustration, close-up of the public bath.

PUBLIC BATH IN ÄNGELHOLM

The building has a simple and playful geometry, with a loose and immodest reference to waves and foam. It is designed to be quickly read from the trains passing by a few hundred meters away: to catch the eye, to be something you will remember after the trip, decodeable despite the speed you are traveling with, a marker of the proximity to the sea, communicating the locality's identity.

On the inside, the shifts between transparent and opaque membrane in the facade creates a dappled light play, a hint of how the sunlight is playing on and below the water surface.

Sketch
Ängelholm
2008