SEARCHING BEYOND THE MASK

The Layers Unseen

PROJECT BY: CATHERINE CHAMPAGNE SEARCHING BEYOND THE MASK SEARCHING BEYOND THE MASK

The Layers Unseen

University of Florida, Spring 2020

A Master’s Research Project presented to the University of Florida Graduate School of Architecture in partial fullfilment of the requirements for the degree of Master of Architecture

SUPERVISORY COMMITTEE: Chair: Mark Mcglothlin Co-Chair: Bradley Walters

CATHERINE CHAMPAGNE Beauty; skin deep. Focusing only on the surface that speaks to perfection. Ignoring the layers that are apart of its creation. Compelling one to mask the surface with metamorphic motions that conceal, reveal, enchance and morph.

-Catherine Champagne CONTENT

ACKNOWLEDGMENTS 11 ABSTRACT 13 INTRODUCTION 15

01 FORMS OF MASKING HISTORY VENETIAN MASK 18 COMMEDIA DELL’ ARTE MASK 22 PROSTHETIC MASK 26 MAKEUP MASK 30 02 ANALYSIS ORDER OF OPERATIONS 36 TONES -Catherine Champagne 38 IMPERFECTIONS 40 RHYTHM 42 BASE 44 03 METAMORPHIC MOTIONS DAILY MASKING 50 04 PROJECT EXISTING FORMS 72 05 REFLECTIONS BY LIGHT PHASE ONE 90 PHASE TWO 100 PHASE THREE 112

CONCLUSION 129 BIBLIOGRAPHY 131 LIST OF FIGURES 132 ACKNOWLEDGMENTS

I want to sincerely thank both Professor Mcglothlin and Professor Wal- ters for guiding me through this process of discovering myself in the realm of architecture. Providing me with the knowledge and encouragement to continue my research with no fear of making mistakes. This was an experience that was filled with challenges and victories where I got the chance to explore architecture through multiple lenses. Professor Mcglothlin and Professor Walters have been supportive of my discoveries, truly allowing me to explore masking and its role in architecture. I also want to thank my family and friends back home who have supported and encouraged me through this chapter in my life. For believing in me in everything I do and pushing me to become someone great. I want to thank my significant other Chevon Williams for being the one person who also pushes me to be my best self, to never give up, and for always believing in me. Thank you to my friends I have gained through coming into this program who have now turned into family. I will miss our long nights in the studio and the relief celebra- tions after final reviews. Lastly, I want to remind myself to be proud of who I have become and all the knowledge I have gained in the last three years despite the obstacles I have faced. I made it.

11 ABSTRACT

To look beyond the mask suggests that How one alters is determined on their there are layers that live in-between the base and definition of beauty that then urges how one car- the morphed. The morphed is a new version of ries out the motions and placement of concealing, one’s self, a version that contains ineradicable revealing, enhancing, and morphing. It is import- remnants of the true version. Therefore, the mask ant for me to seek out processes that reinforce the that one uses is just as temporary as the Spring existing layers with the morphed layers. I focused leaves are to Fall. One is then left to reflect at the on the processes that consist of concealing specific end of each day, performing the same ritual of re- aspects or all aspects of the base layer to corre- moving those layers. As time passes, and the rit- spond to a character or characteristics. Processes ual becomes an unconscious fluidity of motions, that focus on how to alter an identity based on ex- one begins to remove more than just the mask. aggerating or downplaying the different forms that One begins to erase parts of the true version. exist on the base layer. Processes that conceal what one considers to be imperfections. I choose to heed Further examining the systems of opera- on what encompasses the mask, to look beyond a tions of each of the layers and how they work, I surface, to rearrange layers creating different ver- focused on the different forms of masking. Such sions, and to take a more sympathetic approach to as Venetian masks, makeup cosmetics, facial what beauty is. prosthetics, theater masks, and utility masks. The layers used to construct each mask have systems of operations that respond to the base layer, which serves as a guide. I investigated the differ- ent forms to find the distinguishing factor that indicates how the identity of the base is altered in response to suggesting a sympathetic way as it relates to beauty but that goes beyond skin deep.

13 INTRODUCTION

I have always been fascinated with the process of makeup and this idea of masking identity. Since I could remember I always loved playing with my mom’s makeup as a child. Applying on mascara to give the illusion on longer, thicker lashes. Applying eyeliner to my waterline to bring attention to my eyes. There was something about makeup that at a younger age did not realize. As I got older I began to realize that makeup isn’t just foundation, powder, eyeshadow, or lipstick but that makeup is a process. A process consisted of multiple layers that require insight about how to apply them. Along with that, I noticed how makeup does more than just conceal what some may call imperfections but rather makeup has the power to alter identity.

Makeup for me now is a mask that I can put on every day and on each day that mask can be different. However, I wanted to know why do I mask, but more importantly why do others mask and how do they go about choosing what to mask. I questioned my process of applying my mask, breaking down the layers that I use to understand why. Why am I using this tone? Or why am I placing this tone on this part of my face? Why am I using seven layers instead of three? Why do I use different movements for different tones?

STATEMENT OF PURPOSE

The purpose of this Master’s Research Project is to investigate the process of masking as it pertains to the layers needed to develop the mask. Through the exploration of different forms of masking to determine how identity is morphed and altered.

1412 15 FORMS OF MASKING HISTORY Venetian Masks

Venetian masks are an old tradition of Venice, Italy. Typically used during the Carnival of Venice, but also worn by many on other occasions in the past to hide the person’s identity and even social status. These Venetian masks allowed for different purposes of the wearer, some personal, others involving community involvement. Venetian masks are characterized by their ornate design, along with their featuring bright colors and the use of complex decorations. Many designs of Venetian masks can be full-face masks or eye masks, exaggerating features such as the nose, chin, cheeks, and brows, among others. The masks represented the ab- sence of rules and freedom of action.

The mask provided the wearer with the anonymity to do what they wanted without fear in Venice, among the offices of institutions, regardless of the laws and Figure 01: Gathering of women and men wearing venetian masks the vetoes of morality. The Venice Carnival which a Carnival that to this day is well The ridotto by Francesco Guardi, ca.1755 known around the world is said to have started in 1162 with the celebration after the victory over Urich II of Tavern, the patriarch of an ancient city of Rome called Aquileia. During the 18th Century, the Carnival became a worldwide attraction that continued for six months. Today the Venice Carnival takes place in February beginning two weeks before Ash Wednesday.

Figure 02: Crowd gathering at Carnival Scena di carnevale by Giovanni Domenico tiepolo, ca. 1754

18 19 VENETIAN MASKS

15th c.a. 16th c.a. 17th c.a. 17th c.a. 17th c.a. 18th c.a.

VOLTO DAMA MORETTA MEDICO DELLA PESTE GATTO BAUTA

20 21 HISTORY Commedia Dell’Arte Masks

Commedia Dell’Arte masks date back to the sixteenth century. They repre- sent characters, ethic traditions, professions, and trades that relate to the different cities of Italy. Professional actors would personify them in the Commedia dell’Ar- te (the art of Comedy). It was a form of improvisational theater, which remained popular until the 18th century, by amusing in the form of jugging, acrobatics, and more typically, humorous plays. Male Commedia dell’Arte characters were depicted by actors who wore masks that represent regions or towns. The female characters, however, were usually not masked. More often than not, men would play the wom- en’s role dressing in women’s clothing and wigs. Figure 03: Actor performing scene in front of audience Commedia dell’Arte by Peeter van Bredael, c.a. 18th century. Every stock character of the Commedia had a distinct set of characteristics such as speech, gestures, props, and costume. For example, the Zanni is considered a servant characterized as silly, simple-minded, and vulgar. The character wears loose- ly fitted clothing often white, with a wood or leather half mask that had a glued-on beard. These masks gave actors a character to become, characteristics to embody and an identity in which they had to morph into.

Figure 04: People dancing in the country wearing commedia masks A Dance in the Country by Giovanni Domenico Tiepolo , c.a. 1755

22 23 COMMEDIA DELL’ARTE

14th c.a. 15th c.a. 15th c.a. 15th c.a. 16th c.a. 16th c.a. 16th c.a. 16th c.a. 17th c.a.

ZANNI ARLECCHINO BRIGHELLA COLOMBINA BURR ATINO ILL DOTTORE PANTALONE PIERROT PULCINELLA

24 25 HISTORY Prosthetic Masks

Prosthetic masks were developed to provide veterans with the opportunity to regain their own identity. Francis Derwent Wood was the founder of the Masks for Facial Disfigurement Department was a sculptor who established the mask-making unit in March of 1916. There he was able to help a lot of wounded soldiers. He then began working with Anna Coleman Ladd a sculptor. Both Francis Derwent Wood and Anna Coleman Ladd developed masks for veterans who suffered an injury to the face that left them unrecognizable. The masks were produced to match the sol- dier’s prewar identity, and so the masks would take about one month.

The month consisted of needing to study the person’s facial features to de- termine how they will then conceal the parts that were wounded. The technique in which they used involved casting the soldier’s face with plaster, followed by sculpting features onto clay or plasticine, then painting on more features and skin. The masks made by Ladd used the castings to build then build the prosthetic from thin galva- nized copper. Anna Coleman Ladd was able to assist by making about one hundred Figure 05: Various face plates and attachments in different stages of completion and eighty- five masks for veteran soldiers, all of which only lasted a few years. Both Imperial War Museum | Oxford Journals Wood and Ladd impacted the lives of many by allowing them to regain their identity through the process of masking.

Figure 06-07: French mutilé before (left) and after being fitted with a mask by Anna Ladd Library of Congress | Restoration by Lise Broer

26 27 Figure 08: “Masks, showing different stages in the work done by Mrs. Coleman Ladd of the American Red Cross, for soldiers whose faces have been mutilated in the war.” Library of Congress | Restoration by Lise Broer

28 29 HISTORY Makeup Masks

Makeup is a form of enhancing or changing the appearance of the face. In the case of makeup, the use dates back centuries and many used this form of mask- ing for different purposes. For instance, religious rituals, enhancement of beauty, Figure 9: Tones and placements for specifc face shapes. and promoting good health. In Egypt, the Egyptian women would use kohl which is Contouring for Your Face Shape, c.a. 2014 a combination of oxidized copper, and burnt almonds to produce a pasty substance that they would put around their eyes to enhance the shape. That same technique is still being used now as a method to enhance the eye shape ultimately drawing atten- tion to that part of the face.

Makeup can dramatically change identity by the process of adding multiple layers that alter the existing forms on a face. The layers added create illusions, alter- ing identity, concealing imperfections, and enhancing/ morphing features. There are steps associated with how to apply makeup in order to conceal, enhance, reveal, or morph. Tones, placement, motion, and quantity all respond to the existing layers in order to alter a person’s identity. For example, to create the illusion of a sharper jawline knowledge of placement guides the wearer to achieve the desire illusion. Masking with makeup requires an understanding that darker tones around the edges Figure 10: Tones and placements for specifc face shapes. of the face are important for achieving angular features. Lighter tones can serve a Contouring for Your Face Shape, c.a. 2014 double purpose such as concealing and also drawing attention and highlighting the high points on a face.

30 31 MAKEUP MASKS Before and After Diagrams

Figure 11-16: Before and after makeup application

32 33 ANALYSIS ORDER OF OPERATIONS

The angles and forms are generators that draw connections between each layer. The order of operations that are specific to each layer and together they develop a guide- line for the following layers. The layers start to establish a dialogue between each other, informing where and how to apply the layers. For instance, the high points of a face, in relation to the next point will determine where the wearer would place tones for conceal- ing or enhancing. Through the use of textures, tones, and lines in this mapping I was able to explore the levels of hierarchy between the layer.

Figure 17: Analytical Mapping 01 36 37 TheTONES create illusions that indicate the points of attention and concealing.

Figure 18: Diagram 01

38 39 TheIMPERFECTIONS are hidden beneath, once layers are removed they are seen again.

Figure 19: Diagram 02

40 41 TheRHYTHM is created by symmetry with the guidance of the edges.

Figure 20: Diagram 03

42 43 The BASE lines and grid contain information that serve as a guide to the wearer.

Figure 21: Diagram 04

44 45 46 Figure 22: Analytical Mapping 02 47 METAMORPHIC MOTIONS DAILIY MASKING

MONDAY mask | the process of concealing is minimal. Imperfec- tions and base layers can be revealed. Mask offers minimal coverage but still alters identity.

Figure 23: Diagrammatic Analysis 01

50 51 TUESDAY mask | Minimal concealing is present. Minimal use of darker tones. Mask offers little coverage but allows for base to be altered.

Figure 24: Diagrammatic Analysis 02

52 53 WEDNESDAY mask | Use of dark tones and the process of con- cealing are present but minimal. Mask is often partial coverage and the use of bold colors can be used.

Figure 25: Diagrammatic Analysis 03

54 55 THURSDAY mask | Use of dark tones is becoming more present. Morphing is achieved with the blending of tones. Mask has a partial coverage.

Figure 26: Diagrammatic Analysis 04

56 57 FRIDAY mask | The process of concealing with the use of dark tones and light tones are visible all over. Imperfections are concealed. Mask is often full coverage.

Figure 27: Diagrammatic Analysis 05

58 59 SATURDAY mask | A good amount of dark tones are used to morph. Mask is typically for concealing imperfections and drawing attention to the wearer.

Figure 28: Diagrammatic Analysis 06

60 61 SUNDAY mask | The process of concealing and morphing is not highly used. Mask is usually partial coverage, allowing the wearer to reveal imperfections.

Figure 29: Diagrammatic Analysis 07

62 63 MORNING mask | The process of concealing and morphing is slightly used to alter the wearer. Minimal coverage and neutral colors. are used

Figure 30: Diagrammatic Analysis 08

64 65 AFTERNOON mask | Concealing and enhancing with darker and lighter tones are used more. During the afternoon more layers can be added to further morph the wearer’s identity.

Figure 31: Diagrammatic Analysis 09

66 67 NIGHT mask | Darker tones are highly used to morph existing forms. Bold colors along eyes and lips are used to draw attention to the wearer.

Figure 32: Diagrammatic Analysis 10

68 69 PROJECT EXISTING FORMS Fine Arts Building C

The Fine Arts Building is rather simple. monotone, plain structure. It contains its own set of the order of operations that relate to the building’s mask. In order to under- stand the existing mask, I had to analyze the tones, placement, and movements of the dif- ferent layers that live within the mask. It is also important to identify the identity of the building and to determine the mask’s level of coverage, and characteristics. From those discoveries and by taking a sympathetic approach, I am able to determine how to morph the existing mask. By creating three phases I am able to test out the layers in which I con- ceal, reveal, morph, and enhance. Within those phases, I explored the way in which light impacts the morphed layers and creates a new dialogue between layers and the mask.

Figure 33: Collection of old images of the Fine Arts Building University of Florida Archives

72 73 Figure 34: Collage anaylsis Identifying the orders of operations of the FAC

74 75 Figure 35: Collage anaylsis Identifying the orders of operations of the FAC

76 77 Figure 36: Diagramatic South Elevation Orders of Operations of FAC

78 79 REFLECTIONS BY LIGHT These CLAY SCULPTORS start to talk about the relationship between the mask, base, and light. Constructing these allowed for a better understanding of the way in which light has an impact on the existing forms.

Figure 37: Sculptor Heads 01 Light and Shadow study

82 83 Once the light has hit the CLAY SCULPTORS, the shadows start to create a new dynamic between the layers of the mask. Essentially the shadows become a new layer that alters the mask.

Figure 38: Sculptor heads 02 Light and Shadow study

84 85 TheCLAY SCULPTORS allowed me to explore the phases in which light impacts the existing forms. These images show how the shadows start to take over the existing forms creating illusions and in a way altering the identity of the heads.

Figure 39: Sculptor Heads 03 Light and Shadow study

86 87 PHASE ONE PHASE ONE

Figure 40: Model 01

90 91 Figure 41: Model 02

92 93 Figure 42-43: Metamorphic Light Study 01-02

94 95 Figure 44: Movement Within the Layers 01

96 97 PHASE TWO PHASE TWO

Figure 45: Model 03

100 101 Figure 46-47: Metamorphic Light Study 03-04

102 103 Figure 48: Layering Study Figure 49: Layering Study 02

104 105 Figure 50: Movement Within the Layers 02

106 107 Figure 51: Movement within the layers 03

108 109 PHASE THREE PHASE THREE

Figure 52: Model 04

112 113 Figure 53-54: Metamorphic Light Study 05-06

114 115 Figure 55: Layering Study 03 Figure 56: Layering Study 04

116 117 Figure 57: Layering Study 05 Figure 58: Layering Study 06

118 119 Figure 59: Layering Study 07 Figure 60: Layering Study 08

120 121 Figure 61: Layering Study 09 Figure 62: Layering Study 10

122 123 Figure 63: Movement Within the Layers

124 125 Figure 64: Movement Within the Layers

126 127 CONCLUSION

Masks allow for a shift in identity but their functions were merely seen only as a form just concealing. However, there are suggestions that masks can do more, such as reveal, conceal, enhance, and morph identity with the application of one or more of the operations. Therefore, the notion of masking is far more complex than just an application. It requires an understanding of the new layers used in the process but also the existing layers at the base. More often than not the new layers added are in response to the base layer. The base is what serves as a structure to inform where to conceal, reveal, enhance, and morph. While researching the history and investi- gating the dynamics of each form of masking; I have found that in each process of masking there is a way in which identity is altered that is specific to its process.

When utilizing a mask that is a Venetian mask, identity is concealed and enhanced by the purpose in which the mask is used. There are characteristics of the action that then translate into the features and layers on the mask. As for the Commedia Dell’Arte mask, identity while also being concealed and enhanced by characteristics, the characteristics embodied are rather specif- ic to a character that is associated with the mask. Prosthetic masks alter identity in the form of providing characteristics of normality, instead of characteristics of function, or the characteristics of a character. There is a focus on regaining identity to those who have lost a part of the face by the notion of symmetry. Makeup mask alters identity in the form of characteristics that relate to perfection. The layers in the process of makeup are associated with concealing imperfections and enhance features that already exist.

A mask as it alters with the use of its characteristics also encounters other components that further alter its state by creating a new transpose layer. This other component is light and with light, the mask’s layers start to propose a new element of movement within the mask. This research project explores the possibilities of masking on an existing building by using the same process of masking a face. Essentially a facade is one that in architecture has to consider the identity of the building to determine the layers used. This architecture I propose is a sympathetic approach to morphing a new mask for a building.

128 129 BIBLOGRAPHY

1. Hernandez, Gabriela. Classic Beauty: The History of Makeup. , 2017. Print.

2. “Kohl.” Fashion History Timeline, Fashion Institute of Technology, State University of New York, 5 June 2019, fashionhistory.fitnyc.edu/ kohl/.

3. “The Carnival of Venice.”Ca’ Macana, https://www.camacana.com/en-UK/mini-lecture-history-carnival-of-venice.php.

4. Hill, Daniel D. History of World Costume and Fashion. Boston, Mass: Prentice Hall, 2011. Print.

5. “Egyptian Women Applying Makup.” Love to Know, https://makeup.lovetoknow.com/History_of_Makeup_in_Egypt.

6. Tiepolo, Giovanni Domenico. “scena di carnevale, o minuetto.” WikiMedia Commons, 1754-55 ca. 03, https://commons.wikimedia.org/ wiki/File:Giandomenico_tiepolo,_scena_di_carnevale,_o_minuetto,_1754-55_ca._03.JPG.

7. “A History of Cosmetics from Ancient Times.” A History of Cosmetics from Ancient Times | Cosmetics Info, 2016, cosmeticsinfo.org/ Ancient-history-cosmetics.

8. Shaheen, Aaron. “Spiritualizing Prostheses: Anna Coleman Ladd’s Portrait Masks for Mutilated Soldiers of World War I.” Modernism/ modernity, vol. 26 no. 3, 2019, p. 639-662. Project MUSE muse.jhu.edu/article/733191.

9. “A French mutile wearing the mask made by Mrs. Anna Coleman Ladd, of the American Red Cross.” Library of Congress, 1914-1920 #8351, https://www.loc.gov/pictures/item/2017682866/.

10. “Paris. French mutile wearing mask made by Mrs. Anna Coleman Ladd, of the American Red Cross.” Library of Congress, March. 1919, https://www.loc.gov/pictures/search/?q=Mrs.+Ladd+&sp=4

11. “Masks, showing different stages in the work done by Mrs. Coleman Ladd of the American Red Cross, for soldiers whose faces have been mutilated in the war.” Library of Congress, July. 1918, https://www.loc.gov/pictures/item/2007676089/.

12. Various face plates and attachments in different stages of completion, The Atlantic, Imperial War Museum/Oxford Journals, https:// www.theatlantic.com/health/archive/2014/08/the-first-face-transplants-were-masks/375527/.

13. Tiepolo, Giovanni Domenico, “A Dance in the Country.” metmuseum, 1755, https://www.metmuseum.org/art/collection/search/437812

14. Guardi, Francesco. “The ridotto.” KartaRuga Venezia, ca.1755, https://kartaruga.com/2016/01/29/3-curious-facts-about-the-history-of- venetian-masks/.

15. Hale, Cher. “How Did Italy’s Commedia Dell’Arte Shape the Art of Comedy?” ThoughtCo, ThoughtCo, 4 July 2019, www.thoughtco. com/what-you-need-to-know-about-commedia-dellarte-4040385.

16. Bredael, Peeter van. “Commedia dell arte Szene.” WikiMedia Commons, 17th century, https://commons.wikimedia.org/wiki/File:Peeter_ van_Bredael_Commedia_dell_arte_Szene.jpg.

17. “History of Venetian Masks.” Masquerade Masks & Venetian Masks Company, Italy Mask, 2013, www.italymask.co.nz/About Masks/ History of Venetian Masks.html.

7. Tiepolo, Giovanni Domenico, “Scena di carnevale.” 1754

8. “Tones and placements for specifc face shapes.” Contouring for Your Face Shape, 2014, https://beautytipsbysud.wordpress. com/2014/12/12/diy-bronzer-cream-magic-of-contouring-at-home-with-only-2-ingredients/.

130 131 LIST OF FIGURES

All images not cited here are attributed to the author

Figure 01: Gathering people wearing venetian masks Figure 34: Collage anaylsis Figure 58: Layering Study 06

Figure 02: Crowd gathering at Carnival Figure 35: Collage anaylsis Figure 59: Layering Study 07

Figure 03: Performing scene Figure 36: Diagramatic South Elevation Figure 60: Layering Study 08

Figure 04: People wearing commedia masks Figure 37: Sculptor Heads 01 Figure 61: Layering Study 09

Figure 05: Various face plates and attachments Figure 38: Sculptor Heads 02 Figure 62: Layering Study 10

Figure 06: French mutilé before and after Figure 39: Sculptor Heads 03 Figure 63: Movement Within the Layers 04

Figure 07: French mutilé before & after Figure 40: Model 01 Figure 63: Movement Within the Layers 05

Figure 08: Wall of Mask from Mrs.Ladd Figure 41: Model 02

Figure 9: Tones & placements for specifc face shapes. Figure 42: Metamorphic Light Study 01

Figure 10: Tones & placements for specifc face shapes. Figure 43: Metamorphic Light Study 02

Figure 11: Before & after makeup application Figure 44: Movement Within the Layers 01

Figure 12: Before & after makeup application Figure 45: Model 03

Figure 13: Before & after makeup application Figure 46: Metamorphic Light Study 03

Figure 14: Before & after makeup application Figure 47: Metamorphic Light Study 04

Figure 15: Before & after makeup application Figure 48: Layering Study

Figure 16: Before & after makeup application Figure 49: Layering Study 02

Figure 17: Analytical Mapping 01 Figure 50: Movement Within the Layers 02

Figure 18: Diagram 01 Figure 51: Movement Within the Layers 03

Figure 19: Diagram 02 Figure 52: Model 04

Figure 20: Diagram 03 Figure 53: Metamorphic Light Study 05

Figure 21: Diagram 04 Figure 54: Metamorphic Light Study 06

Figure 22: Analytical Mapping 02 Figure 55: Layering Study 03

Figure 23-32: Diagrammatic Analysis 01-10 Figure 56: Layering Study 04

Figure 33: Collection images of the Fine Arts Building Figure 57: Layering Study 05

132 133