architecture, space, body , costume

"The use of the term facade is in itself revealing. It signifies recognition of levels to be penetrated and hints at the functions performed by architectural features which provide screens behind which to retire from time to time. The strain of keeping up a facade can be great. Architecture can and does take over this burden for people. It can also provide a refuge where the individual can "let his hair down" and be himself."
(pg 104 , 'The Hidden Dimension', Edward T. Hall )

This is exactly what the costume does for the body. Within carnival the body carries the architecture instead of being contained by it. Like the facade,the costume acts as a mask allowing the wearer to loose all inhibitions and in doing so, reveal his or her deepest wants or desires.

SPACE

Space can be, at the same time Contingent - formed at the moment of its use, territorialized and then dissolved - homogeneous for all practical purpoed and at a large scale, and yet discontinuous and heterogenous in its minute detailed operations... Space is, by definition, that which defines difference in bodiesand objects and, by doing so, exceeds them. Space can envelope bodies and objets but in order to do so, it must also depart from them - unaffected , indifferent."

(pg 198 - 199 Ingraham, Catherine 'Architecture, Animal, Human: The Asymmetrical Condition')

ARCHITECTURE AND THE BODY ( ref. to virtruvius man)

" an analogy between one thing that is in motion, psychological, dynamic, and animate, and another thing that is inert, without mind, an object, inanimate. What architecture attempts to mimic are salient properties of the body - bones, skn, bilateral symmetry, the equinose of the feet. " Mimics" in this case means the formation of an approach to, the formation of a desire. The desire for movement and wholeness compel architecture in the direction of the body - a neoclassical dance enacted through the symbolic homage of the motif and the gesture."

" The approach to the human body, whether inscribed geometically as in leonardo's man or Le Corbusier's modular. or literally, as in the caryatids ( the special case), requires that the body become more biologically and psychologically simple, more animal-headed, and formal, but less distinct than human beings. "

(pg 225 Ingraham, Catherine 'Architecture, Animal, Human: The Asymmetrical Condition' )

and it keeps growing

Below is a 'crazy' matrix of the systems that make up trinidad's carnival, there are the original systems,parasitical systems and how they influenced and formed the existing system.
Elements of Time ( linear and cyclical), space ( appropriating, dominating, creating ) and body ( diguised , inversed , distorted and stylized) are key.

design work in progress

First costume based on fashion / body as threat device and sexual lure for the human body. Animals use their bodies social organs to communicate.Their stance and gesture along with the constrast of colour, texture, contour and size aid in appearing as the intimidating dominant or the sexually attractive. As our social organs have developed to signal these ideas ,so to has fashion and costume come about to aid the body in communicating these very same ideas.

The medium being used is bond paper cut in various size squares and then folded to produce a module, which is then repeated in and inserted into one another to created a continuous series of 'spikes'.

At present I have two body forms I am working on. One is the full female torso and the other the female chest.At first I thought the final look will be a female body suit constructed of the paper modules. It would highlight the areas of the female body that are used as both sexual lures and threat devices. Now i've decided to just continue to play around with the body shape and the effect the various sizes of modules and their placement can do for the body and come up with a variety of options or 'looks'.

i'll keep you posted!