A Cartesian grid mapping the emotions as handled by the human brain (arousal vs valence) became 256 “faces,” reminiscent of ancient Greek theatre masks. These were molded from plastic to form a transparent hanging surface; a three dimensional, modern-day stained glass window. A “tattoo effect” of Quasimodo from classic Hollywood was laser-etched onto the plastic prior to vacuum forming to produce an overall pattern that only became apparent once the entire construction was assembled.
Each monster “face” was created using a set of rules relating to brain function to move a set of geometrical game pieces on a board. The result was something like town planning on a small scale; the block. At the end, all of the blocks were assembled into a Face City, and displayed as both drawings and interactive pillars with game boards adjacent to the hanging plastic installation.
The final product, based on my initial design, became an interactive stage set using the location’s day lighting to create various intentional and unintentional “tattoo” effects in which the viewer and the building itself were performers. We had created a theatrical experience (if only for the brief time it took to ascend the ramp). While not quite the “fricke” of ancient Greece, our depictions of fearsome beasts and monsters were able to illicit a reaction; not of fright, but delight. Like a good movie, we showed the world through a different lens.
Part of a research seminar continuing Stephen Turk's work with the changing idea of performance in the architectural discipline; exploring themes such as arraying, bedecking, furnishing, and ornamentation.
Group installation, Knowlton School of Architecture, G3 year, prof Stephen Turk.
Multiple designers and fabricators, including: Daniella Beltran, Kara Biczykowski, Eugene Calara, Abigail Callos, Allison Drda, Eric Haddenham, Janet Hong, Andrea Kamilaris, Joshua Kuhr, Brian Lee, Matthew Marano, Emily Neymeyer, Elizabeth Schneider, Joseph Sizemore, and Natalie Tancous
Location: Columbus, OH, US