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Searching Beyond the Mask 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.
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