77 Design for Performance Brooklyn Says, “Move to Detroit” Space is typically demarcated by its physical bound- aries dhe soliditLJ of ǁall ceiling and Ňoor deĮne architectural interiors. Space in the landscape, though structurally similar, is bounded by larger-scale material conditons such as tree canoƉies horinjon sŬLJ and ground ,oǁ can architectural sƉace ďe deĮned ǁith- out architectural materials? As a proposal for the use of teŵƉerature as a sƉaceͲŵaŬing ŵaterial for design this design research project draws from philosophy and phenomenology to understand the body as an instrument for sensory experience. Architectural case studies are used to redeĮne the noton of ƉhLJsical visually perceived space and ways intangible experi- ences are at the forefront of a design /t inǀestgates hoǁ the ŵaniƉulaton of geotherŵal ǁater can unlocŬ the Ɖerforŵatǀe eƉheŵeral and edžƉeriental char - acteristcs of teŵƉerature as a ŵaterial for redeĮning sƉatal thresholds ǁithin the geotherŵal landscaƉe of Iceland. TEMPERATURE AS AN INVISIBLE, PHENOMENOLOGICAL DESIGN MATERIAL DEFINING SPATIAL THRESHOLDS Temperature is generally invisible to the eye. Our percepton of the char - acteristcs that defne space and place are largely visual, even though we sensorially inhabit the world through the other four senses of smell, taste, sound, and touch. In his Introducton to Realistc Philosophy, John Wild describes how the human body is a device that registers ephemeral and invisible aspects of the environment: “Sensing is a mode of awareness or cogniton. In sensing we assimilate the form without the mater obũectvely, thus becoming aware of some- thing as it isͶexternal to the physical subject of the awareness. But this does not mean, in the case of sensaton, that physical infuences from the object are not also necessary. For example, the physical warmth of the fre must physically heat my hand if I am to feel its heat… The physical infuence received in the skin is not the sensaton of heat but the medium by which this is carried to the sense organ under the skin. Moreover as for the actual sensaton it is an act of the temperature sense which is resident in the sense organ, which abstracts the form of heat from the physical changes of the skin medium, and thus makes the heat of the fre noetcally present as long as the fre keeps infuencing the organ.”¹ The human body is an instrument that measures the physical infuences of objects in its environment. It registers invisible qualites such as tem- peratureͶits heat or frigidity, moisture or aridityͶnot only on the skin, but also through smell, sound, and taste. Although these qualites cannot be seen by our eyes, the mind stll sees and recognizes the presence of temperature, at all tmes, using the other bodily senses. According to Wild, there are fve factors that structure sensaton, and are essental to our sensory awareness: 1 a quality that produces an efect on transmitng medium, 2 the ability of the medium to transmit that efect to a sense organ, 3 the ability of the sense organ to abstract that efect, 4 the abstracted sense, and 5 the material object, made known by the abstracted sense.ϸ Our formulaton of this objectve informaton through sensing is divided into three major classes: what we sense immediately, what we sense through some mediaton, or as a result of sensing something else, and what we sense only by accident or associaton.Ϲ We connect with and build knowledge of the external world through our experiences, collectng informaton conveyed to us by our senses. Physical objects around us have physical characteristcs we immaterially experience and abstract through our senses: seeing forms and colors, smelling scents, feeling heat and moisture. Over tme, our sensory experiences build on one another, convertng experience into bodily knowledge and awareness. Afer we burn ourselves for the frst tme, we become more familiar with sensory cues that prevent such an event from repeatng. This gradual understanding accumulates into known instrumental thresholds of our bodies’ limitatons. Understanding the physiology of the human body as a sensual instrument for learning and understanding the environment has generally been overlooked by the design disciplines. All of our senses, operatng simultaneously, should be considered as fac- tors for design. The design disciplines have largely focused on the visual as the means to organize, understand, and experience space. Visible, physical objects are privileged as the defners and creators of space. Christan Norburg-Shultz, a well-known philosopher of phenomenology, describes space as “the three-dimensional organizaton of the elements dherŵal torl ds RedeĮning ^Ɖatal dhreshol ds With Temperature in the Geothermal Landscape CATHERINE DE ALMEIDA University of Nebraska–Lincoln