I am curious to find out how people would react when presented with a human face as a canvas and having beauty tools and make-up as their art materials instead of the usual paint and paint brushes.
In addition, I would also like to see how the audience interact with the canvas and tools: will they erase anything on my face or continue on from the previous person’s work.
Yayoi Kusama // Obliteration Room (2017)
Allowing audience interaction, Kusama’s work allowed for the audience to stick colourful stickers all over the furniture and walls of the white room. The white room acts as a canvas in which the audience are able to experience being an “artist” by placing their own “mark” onto the canvas.
As such, the free interaction from the audience was what I took from and implemented in my own work.
Marina Abramović // Rhythm 0 (1974)
Also allowing audience interaction, Abramović stands still while the audience was invited to do to her whatever they wished. They had the option of using one of 72 objects she had placed on a table. These included a rose, feather, perfume, honey, bread, grapes, wine, scissors, a scalpel, nails, a metal bar, and a gun loaded with one bullet.
Similar to Abramović, I will be laying out an abundance of materials for the audience to pick and play with on a table and will not allow myself to talk and let them experience the canvas freely.
In this experiment before the actual submission, I have allowed for multiple people to come at me and do my make-up as they please. I realised that with more people working on my face, they tend to ask each other if they are doing the right thing, which is something I didn’t want them to care about. However, I did get some interesting response on the canvas as people are more willing to be creative when there are many people doing at a go.
actual submission – the human canvas
Having the audience coming and working on the human canvas one at a time, it felt much more personal than previously where everyone ambushed at the same time. It also allowed me to interact and react to the audience more intimately in which they can take their time to scout the different tools before testing it out on me. In addition, it was also interesting to see how many of the audience chose to add on and not erase the previous person’s work as if they are afraid to ruin it.
Get ready for an awesome tour of our underground utopia. The city has three queens – Naddy, Trevor and Bai. Today, Queen Naddy will be your guide.
Just a quick background info:
The Astoidians are a scientifically-advanced race of humans who were born from the depths and flourished living underground. The city is powered by the Astoid stone, comes in both black and silver colours which they harvested and mined from the depths.
They created a megastructure hub for its citizens to gather known as the Arch, which is a massive spiral structure made up of many repeating molecular looking units of energy-storing spheres and energy-absorbing solar panel.
Constructed strategically under a system of crevices, the solar panels absorb the rays of light seeping through the crevices from the ground above (gaps between stairs) in the morning, and radiates it out through the complex highway system at night to provide luminance and warmth to the whole city.
In a quest for efficiency and perfection, the Astodians realised that they could expand this energy-harvesting systems, thus renovating all their homes (habitats) into extensions of the Arch, allowing for more light to be absorbed and gaining more energy to use for science.
We have specifically picked the space below ADM level 2’s staircase as it conceals/hide our city very well and people can only see it if they come underneath. We also wanted to give sort of a spider’s cobweb feel where the city has been there for a long time and the highway (strings) and habitats (silver modules) keeps on increasing as time goes by and more citizens move in/are born.
The hub in the City of Astoid, called the Arch is made up of 2 curved planes each made up of expanded molecule structures. Each module in the Hub is spray painted black individually then connected by attaching the aluminium twirls together. The aluminium pieces of each module when placed together accented the metal motif which is the dominant motif of our soundtrack.
The black painted spherical part of the module allows for the plane to be more cohesive with the space we have chosen while also providing contrast from the habitat that is metallically layered. The two planes of the hub forms a symbolic loop where the tapered end of one plane flows seamlessly into the non-tapered end of the other plane, this creates a void contained within the two planes.
A closed feedback loop provides symbolisms of life and energy, which is what the hub provides for the entire city: In context, the black spheres are the energy-storage devices while the metallic twirls are the energy-capturing solar panels, and the Arch functions as a massive reservoir that absorbs sunlight seeping in from the crevice above and stores it for the city’s use.
Made to be extensions of the hub, the habitats are made using the same molecular modules but a smaller size. The habitats are located at varying distances expanding the city to the entire obscure space. Each module was individually painted metallic silver which represents our bells from out soundtrack.
The habitats are constructed in a pyramid format which provides two layers of symbolism: firstly with regards to our track, it symbolises the progression of the notes made by the xylophone, which is of three harmonious notes. Secondly, with regards to the context of the city, the pyramidal shape is thought to be a symbolism of the descending rays of sunlight by the Ancient Egyptians.
As such, it ties in with our concept of our city being sunlight-absorbing structures, pyramids are also believed to have the ability to channel energy from above due to its reverse funnel shape. The habitats allowed for the voids within the space to be filled with a little spark. The reflective surface allows for the backlight to be cast onto the highway made out of translucent threads.
Spanning across both ends of the obscure space, the highway serves as the bridge for all the modules in the city. Constructed strategically under a system of crevices, the reflective highway reflects the rays of light seeping through the crevices from the ground above(gaps between stairs) in the morning, and radiates it out through the entire highway system at night to provide luminance and warmth to the whole city.
In the night, the City of Astoid illuminates from the light it has absorbed during the day enough to provide warmth and light for its citizens. The city officials have also equipped its citizens and visitor with a special ray that allows for them to light up the city and find navigate their way through. Blue lights are used for Astoid citizens whereas white lights are for visitors. This is important as the visitors would need extra brightness in order to not get lost in the city’s complex highway system.
We hope you had fun with us at the City of Astoid, till next time!
Ma (間) is a Japanese word which can be translated to “gap”, “space”, “pause” or “the space between two structural parts.” The spatial concept is experienced progressively through intervals of spatial designation. In Japanese, ma, the word for space, suggests interval.
As mentioned in class, convexity and concavity also come in play when taking about negative spaces. A concave is a surface that is curved inwards and is hollow whereas a convex is a surface that is curved outwards and is bulging.
Our Sound Pattern
Pattern 1 – The Spooky Sounds
Pattern 2 – The Bustling Beats
Translating our analysis of the sounds into modules and actually executing it visually, we have come to a proper visualisation of how our moodbox would be for both our sounds. We started off with a very rough moodbox before improving on it to create a much clearer, cohesive and put together mood box.
Mood Box A
As the soundtrack for mood box A is relatively spooky due to the minor chords, we decided to go fo something spiky, sharp and has a couple different textures.
The spiky metallic piece is the Dominant piece and sound of this mood box. The pice is tapered at the end and has a sharp edge. There are 3 cut-out rectangular shapes that are decreasing in size as the shape gets higher and tapered so as to show how the pitch gets higher each time it is striked.
The broken balsa wood plane is our Sub-Dominant piece and sound as it is to show how we used the wooden sticks to strike it twice after the Dominant piece has been striked.
The small twirl of banana paper is to represent our Sub-Ordinate. It is the sound mini scratcher instrument that comes is very quickly at the end of the repetition along with the strike of the wooden sticks.
Mood Box B
The soundtrack for mood box B sounds very bustling and “busy”, and it had a very rhythmic and organised sense of feel to it. The engulfing sound of the xylophone also adds to how we plan to incorporate a sense of “binding” into the mood box.
The equally spaced out satay sticks are to represent our Dominant sound and piece as it comes on every first and third beat of a bar. The satay sticks act as a base for the other elements and it also a very prominent module out of the entire mood box.
The translucent cone with beads inside is our Sub-Dominant sound and piece as it represents the Kinder Musik shaker that goes on consistent four shakes per bar, throughout the soundtrack.
Lastly, the bell is our Sub-Ordinate sound and piece as it represents the minor xylophone that chimes at the end of each bar. The bell is placed singularly as it is to represent how it only comes on once throughout one repetition.
Revised Mood Box A
Based on the feedbacks given in class, we made a couple of changes to make our final mood box much more clearer and modular.
Realizing that our Dominant piece and sound increases and also decreases in pitch, we made another similar tapered piecebut this time, putting it from air to almost-ground, clearly indicating how the pitch decreases after hitting the third and highest note of the xylophone.
The Sub-Dominant piece which used to be the broken balsa wood piece has been changed to pairs of quarter satay sticksand it is not being repeated four times in the mood box so as to show how the Sub-Dominant sound of the wooden sticks coming in 2 beats after each Dominant sound has been striked.
The Sub-Ordinate piece had been changed to a sharp shard of card with a texture of foam balls on top of it. The piece has also been wedged onto one of the four satay sticks. This is to make it clear how the scratch sound from the mini scratcher comes in at the same time as the wooden sticks, nearing the end of the repetition.
Revised Mood Box B
We have almost completely changed the basic form of our mood box B to make it much more interesting and exciting.
The Dominant piece has been changed to 2 tapered curved planars, representing the two counts the wooden sticks strike in one bar, making it much more clearer. Instead of the satay sticks, we used the banana paper to create a much more textured feel to the piece.
We incorporated translucent threads all around the box to show how our Sub-Dominant and Sub-Ordinate sounds are able to engulf around the Dominant sound. as such, our Sub-Dominant had been replaced with 4 sparsely placed beads to represent the 4 beats that it comes in, in one bar.
The Sub-Ordinate remains as the bell but it has been increased to show a better presence and it is placed on the outer region of the box, as compared to the beads which were closer to the centre of the box to show how it engulfs the sound more when it is being striked.
We will be exploring Mood Box B further in creating our final model as we thought that the suspension idea would be very interesting. In addition, we would have to change the materials of our planars to make it modular with our habitats.
Modules is also a term that is actively used in architecture. A module is set of standardised parts or independent units that can be used to construct a more complex structure, in our case, our city.
In architectural terms, modules are a design of any system composed of separate components that can be connected together. The beauty of modular architecture is that you can replace or add any one module without affecting the rest of the system.
Modular objects are relatively smaller in scale as compared to modular furnitures and even modular architecture. For instance, in the image above, the speaker is seen as a modular piece of object as the different tiers are all in a circular module shape that stacks on top of one another to create a bigger speaker.
Modular furnitures are a great way to furnish an interior beautifully. Modular furnitures look absolutely cohesive and simply makes furnitures look futuristic, minimalistic and fun to interact with. Furnitures that commonly use modules are sofas, chairs, room divider and book shelves.
Modular architectures are larger in scale than the two previously mentioned modular objects. Modular architecture saves space as compared to normal architecture as the specific material used might help in setting the boundary. Modular architecture also harmonises the building as a whole and it is apparent in the Hive at NTU. It uses a rounded module for each classroom and thus on the surface, looks very cohesive, creating a bee hive-like structure.
The mood that we will be going for would be mysterious and suspense. We are planning to use black, silver and an accent purple colour to illuminate our city. The modules would be in black and metallic silver and will be varying in size. The strings would resemble that of a laser security room where the lines are from one end to another, causing visitors to manoeuvre their bodies when they come.