Page 1

EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH EEEW — OOOH University of Waterloo

School of Architecture

Undergraduate Studio Fall 2017


INTO THE GROTESQUE


Published by Blurb Inc.

Studio Team

Copyright 2017. Eeewoooh.

Ron Adriano January Chen Christy Cheng Bella Cho Kelsey Dawson Niki Farfel Elizabeth Lenny Daniela Lopes Kelsey Malott Nick Makhalik Samiha Meem Olivera Neskovic Eric Oh Bennett Oh Mayuri Paranthahan

All rights reserved. No part of this book may be reproduced in any form without prior written permission from the Eeewoooh team. Eeew-oooh is a studio at University of Waterloo Architecture with students examining what the term grotesque could mean today. Through ambivalence and play, the grotesque has the power to corrupt standard assumptions and make the boundaries between normal and abnormal fluid. By re-thinking or inventing a series of small usable objects in true grotesque fashion, the study explores how design can challenge and crack open a number of socio-political, cultural, and disciplinary issues that we are passionate about. By embracing the bizarre, ugly, or comical, perhaps the grotesque can point towards a more open and jolly way of being with and amongst one another. University of Waterloo School of Architecture 7 Melville St S Cambridge, Ontario N1S 2H4 @eeew_oooh

Studio Co-ordinator Michael Fohring Book Design Samiha Meem


Index

0 I II III IV V VI VII VIII IX X XI XII XIII XIV


STUDIO BRIEF RON ADRIANO JANUARY CHEN CHRISTY CHENG BELLA CHO KELSEY DAWSON NIKI FARFEL ELIZABETH LENNY DANIELA LOPES KELSEY MALOTT SAMIHA MEEM OLIVERA NESKOVIC ERIC OH BENNETT OH MAYURI PARANTHAHAN

09 11 33 51 68 81 101 131 151 171 185 211 235 255 273


Studio Brief

Michael Fohring

8

As the architect or designer sits in front of their screen spinning their 3D model around, they religiously search for beauty or efficiency; sometimes, they even search for both. This studio isn’t about either of these qualities. In most cases, beauty and efficiency both rely heavily on a certain amount of culturally-defined normalcy and convention – definitions, proportions, values, expectations, procedures, et cetera – which determine who and what belongs and who and what doesn’t. The grotesque, on the other hand, corrupts these assumptions. As scholar Justin Edwards describes, “[the grotesque] can reveal how the boundaries between the ‘normal’ and ‘abnormal’ are fluid, not fixed, and how grotesquerie can lead to an erasure of common distinctions.” While it presents itself at first glance as ugly, or repulsive, or even frightening, it’s actually a great deal more sophisticated, and a great deal more lighthearted: the ugly is also strangely beautiful; the repulsive is unsettlingly attractive; the frightening is uncomfortably funny. It’s never one nor another, and this ambivalence and play is at the heart of grotesquerie. By making us

EEEW-OOOH


uncertain of our instinctive feelings and subsequent rationalizations, the grotesque frustrates our perceptive framework, and opens us up to a more primal relativity outside of prevalent constructs and prejudices; we once again become animal. In light of this, as we slog through these times of socio-political tension and question architecture’s role in it all, perhaps grotesquerie can point towards a more optimistic practice. To test this claim, students will immerse themselves in the grotesque tradition through a series of exercises based on hands-on design and physical making. To initiate the design work, students will study various manifestations of grotesquerie in literature, film, and the fine arts, acquiring a thorough understanding of its foundational principles, its historical development, and its prominent themes and mechanisms, such as the carnivalesque body, formlessness, the uncanny, and, importantly, humour. The design exercises themselves will be organized into three progressions in scale, from small object, to furniture, to architectural. This will involve a rigorous investigation into how the grotesque can

INTO THE GROTESQUE

be used to think through object-to-object, objectto-body, and object-tocontext relationships, and in turn, how it can influence our perception of certain everyday items, of our bodies, of common activities and etiquettes, and of each other. Between the design work and the overarching themes, this course intends above all to release students from the highlycontrolled and rigid design practices many of us have grown accustomed to. Here, the messy, the unknown, the unforeseeable, and the inexplicable will not be frowned upon; free reign will be given to intuition and imagination, in pursuit of formal and material expression outside the slick and all-tooeasily-digestible work that bombards us on Pinterest and Instagram. In other words, students will be getting their hands and minds - dirty. A lot.

9


RON ADRIANO 10

S M L

Hair Lamp Buok Ubing T[hair]me Vals

EEEW-OOOH


The characteristics of hair are quite varied depending on its context. It can be seen as an object of beauty and vigor. However, once hair is removed from the body, it is usually received with disgust and repulsion. The following projects explore the material and associative qualities of hair when designed in different contexts. Each of the following projects plays with the point at which the hair is accepted to be something other than repulsive.

INTO THE GROTESQUE

11


S

Hair Lamp

12

EEEW-OOOH


Hair, which is so precious to some but present to all people, is the object of identity, beauty, fertility, and youth among many things. Yet, once it is removed, its value is lost and it becomes abject. Clipped hair is seen as dirty, disgusting, gross, etc. Hair Lamp is an object which explores qualities of clipped hair when cast in clear resin. Length, colour, density, and material quality all contribute to the way in which the composite resists its common reaction of repulsion.

INTO THE GROTESQUE

13


14

EEEW-OOOH


15


M

16

Buok Ubing


Buók Ubíng, translated from Ilocano to English as Hair Child, (Buók = Hair, Ubíng = Child) is an exploration of the abject nature of hair and its ability to bring life to inanimate objects and forms. Hair Child is ambiguous in shape, it possesses no clear indication of a head, legs, or arms; merely suggesting human form. Its body, pelt, and size lead the Child to gently occupy the Uncanny Valley, forcing us to question its motives, personality, and desires and in turn our own projections. In the conception of it, Hair Child is a planter - nurturing and protecting the plant within its pouch, cradling it with its limbs.

INTO THE GROTESQUE

17


18

EEEW-OOOH


INTO THE GROTESQUE

19


20

EEEW-OOOH


INTO THE GROTESQUE

21


L

22

T[hair]me Vals


Thairme Vals explores hair as an integrated design material. The result is a space which attempts to evoke the primal, beautiful, and surreal. Despite still evoking disgust, the hair leverages its ability to show fine detail and cast shadow to create a sense of wonder within the building. The hair acts a reveal every 30cm and is dense at first but slowly reduces in density as it approaches the skylights. The light which washes the walls, showcasing the beauty of the gneiss stone, now also captures the sheen of hair and casts linear shadows which dance to the drafts present in the space.

INTO THE GROTESQUE

23


24

EEEW-OOOH


INTO THE GROTESQUE

25


26

EEEW-OOOH


INTO THE GROTESQUE

27


28

EEEW-OOOH


INTO THE GROTESQUE

29


30

EEEW-OOOH


INTO THE GROTESQUE

31


JANUARY CHEN 32

S M L

Perfect Smile Lazy Chair Crook

EEEW-OOOH


In my series of work, I have been exploring the operation of distortion and its effects on the human position. Three methods of distortion are tested and applied in each variation of the grotesque series: a) distortions applied to the human facial expression through a designed piece of jewelry; b) formal distortions of geometry so that it begins to possess characteristics and relationships of repellence and attraction; c) a formal study on the capabilities and limitations of digital fabrication.

INTO THE GROTESQUE

33


S

Perfect Smile

34

EEEW-OOOH


A woman whose smile is broad and whose expression is glad has an exceptional beauty. “Perfect Smile� is an accessory for the face, highlighting and assisting the expression of a beautiful, natural smile.

INTO THE GROTESQUE

35


M

38

Lazy Chair

EEEW-OOOH


“Lazy Chair” is a study on geometry distortions, applied to an armchair. Through the manipulation of the chair, it begins to possess characteristics and relationships of repellence and attraction. The chair then becomes an active subject that impacts human “objects”, as the human position is crowded out by this other position.

INTO THE GROTESQUE

39


40


41


L

Crook

42

EEEW-OOOH


My final project focuses on the capabilities and limitations of digital fabrication. The project is a formal technique- based experiment focused on the interior corners of the typical household living room, amplifying and delineating volume through relations of thickness and depth, blurring boundaries of the “wall” in relation to the “ceiling”, and the “ground”. The results of these distortions are reminiscent of the box, and what is standard. The glitches of the software that surface in the process of manipulation forms dynamic creases, edges and relationships between geometries that would not otherwise have been considered.

INTO THE GROTESQUE

43


44

EEEW-OOOH


INTO THE GROTESQUE

45


46

EEEW-OOOH


INTO THE GROTESQUE

47


48

EEEW-OOOH


INTO THE GROTESQUE

49


CHRISTY CHENG 50

S M L

Delicate Distortions (Bend)ch Concrete Cave

EEEW-OOOH


We live in a world with so many unwritten rules. There are certain ways we have to look, act and react to be seen as “socially acceptable”. Through this series, the meaning of distortion is explored in a physical, material, and functional way. First, jewelry designed to appear very delicate and beautiful on display, however when wore, is extremely uncomfortable and distorts the face for some of which society defines as “beautiful”. Second, a physically distorted bench that creates a curiosity of the material properties. How can something so hard, appear soft at the same time? Lastly, a corporate concrete cave meeting room that completely changes the atmosphere.

INTO THE GROTESQUE

51


S

Delicate Distortions

52

EEEW-OOOH


These delicately made copper facial jewelry, distorts the nose, lip, and neck to make someone look and feel “beautiful”. People go through so much effort and pain just to make themselves feel “beautiful”. What we define as beautiful is always almost nearly impossible for everyone to achieve, and eventually decide to alter their bodies to meet these expectations. These three pieces, are meant to look delicate, but when they are worn, it is extremely uncomfortable and abnormal both mentally and physically.

INTO THE GROTESQUE

53


54

EEEW-OOOH


INTO THE GROTESQUE

55


M

56

(Bend)ch

EEEW-OOOH


(Bend)ch is designed to be a distorted bench in order to create a variety of ways to sitting. Playing with materiality, the intention was to create an illusion of softness in a hard material. This design of having the bench partially normal, and partially distorted, gives people a suggested idea of something that is already familiar to them, and adding something unfamiliar that they can become creative with. The distorted angle and soft image of the bench gives it a playful way of sitting on whether you are alone, with friends, or with a stranger. The modularity of the bench makes it flexible in many different settings.

INTO THE GROTESQUE

57


58

EEEW-OOOH


INTO THE GROTESQUE

59


60

EEEW-OOOH


INTO THE GROTESQUE

61


L

Concrete Cave

62

EEEW-OOOH


The concrete cave is a newly designed meeting room that is intended to create a completely different atmosphere. This new meeting space is designed to feel as if you were outdoors in a cave. The rules of being in a proper work environment are broken, from the work attire to the work hierarchy. This space gives the opportunity to have meetings that have a more comfortable atmosphere where no one is afraid to speak their mind. Although it has a very rough and raw aesthetic, it also has a therapeutic feeling. Humans are meant to be out in nature, when surrounded by it, there are benefits both mentally and physically.

INTO THE GROTESQUE

63


64

EEEW-OOOH


INTO THE GROTESQUE

65


66

EEEW-OOOH


INTO THE GROTESQUE

67


BELLA CHO 68

S M L

Selfie Mount Material Study Pantry

EEEW-OOOH


This grotesque was about ambivalence; there was no right or wrong and good or bad but its pure existence. It suggested mixed emotions and thoughts that questioned the intention of the design.

INTO THE GROTESQUE

69


S

Selfie Mount

70

EEEW-OOOH


Selfie is a self-portrait photograph typically taken with digital cameras and smartphones. Selfies are often shared on social networking services such as Facebook, Instagram, and Twitter and we live in a technologically advanced and interconnected world that people have started seeking for attention and approval through social media posts. This digital vanity has raised concerns about identity, privacy, security, and surveillance. So how extreme lengths a person go to get that perfect selfie?

INTO THE GROTESQUE

71


72

EEEW-OOOH


INTO THE GROTESQUE

73


M

74

Material Study

EEEW-OOOH


The final product is a desktop organizer that creates personal space suitable for working or studying. The material, acrylic sheet, is distorted and responds directly to the objects by fitting particular equipment into the acrylic sheet. It presents as a platform to bring different kinds of desk objects into common ground by using a simple material and method of push and pull. The plexiglass casts the angle and the shape of the objects and creates a crevice that hugs the objects securely. The molded structure pushes the boundary by distorting and deforming the plexiglass and brings different objects into one singular object. The final product resulted completely unexpected shapes that exploded through in tension and compression.

INTO THE GROTESQUE

75


L

Pantry

76

EEEW-OOOH


There is charm, and nostalgia associated with pantries- small room stocked with all kinds of food for parents and kids. Food and beverage pantries serve in an ancillary capacity to the kitchen and mostly carries nonperishable food like canned soups, vegetables, and fruits. This pantry walls appear to move and interact with people- the extruded compositions set up a complex scenery for the walls. It’s as if the walls are alivefingers reaching out seeking for attention and love. Each piece seems to freeze movement through their dynamic forms and can feel the tension through the walls. Along playing with the conventional and expectedthe interior finish gypsum board was replaced with plexiglass. However, the construction is a normalized wall assembly- acrylic panel width is the same as 16� stud spacing and can be laid as a grid through out the wall. INTO THE GROTESQUE

77


78

EEEW-OOOH


INTO THE GROTESQUE

79


KELSEY DAWSON 80

S M L

Body Time Gooey Excavation The Creature in the Attic

EEEW-OOOH


This studio was an experimental and in-depth material study, what properties do materials inherently have and how do these properties appear through their use? Time and memory were themes throughout the projects, I pursued tangible evidence of time passed in each physical hand built object.

INTO THE GROTESQUE

81


S

Body Time

82

EEEW-OOOH


Time in our system is measured cyclically whether it be a hand winding round a surface 24 times a day or an hourglass flipped over and over and over. We have cyclical patterns in our daily lives that we use as time measurement systems without acknowledging their relevance as concrete signifiers of time consumed. The seasons, the work day, bodily functions; bowel movements, hair growth, menstrual cycles, and nail growth. The clock aims to highlight that time can also be considered not as a cyclical process but as a linear accumulation of pasts and the constant expectance of futures. The clock observes how the present is fleeting; life, growth and time disappearing as you cut the living nail and collect the abject clipping. But meanwhile, moving linearly and accumulating.

INTO THE GROTESQUE

83


84

EEEW-OOOH


INTO THE GROTESQUE

85


M

86

Gooey Excavation

EEEW-OOOH


This project is a material exploration, slime was pushed through many different compositions to discover its true qualities. The form you see here is the production of this process. Slime was cast with plaster at a small scale, which created a chemical reaction. The oddly shaped negative of the slime was produced in plaster. This form was 3D scanned, digitally modeled, CNC Milled, and made positive through the pouring of concrete. Live slime then activated the form, dripping and oozing over its crevices. Drying into the soft and solid object pictured here.

INTO THE GROTESQUE

87


88

EEEW-OOOH


INTO THE GROTESQUE

89


90

EEEW-OOOH


INTO THE GROTESQUE

91


L

The Creature in the Attic

92

EEEW-OOOH


The attic is a space that exists outside the realm of typical interior domestic space, it provides an alternate space. It encourages mystery, memory, play. The bodily senses are engaged in an attic, it is a confused, transition space that calls to curiosity. The attic frustrates the domestic and exists in-between, occupying a prominent physical place in the house yet being outside the accepted home. Sound and space have a reciprocal relationship, the sounds an environment has can change your perception of the place. Slime is a liquid that dries solid and embodies many of the principles needed for a good sound scape, with a complex surface and many layers to the geometry.

INTO THE GROTESQUE

93


94

EEEW-OOOH


1/2”=1’ 1'

INTO THE GROTESQUE

95

3'


96

EEEW-OOOH


INTO THE GROTESQUE

97


Trusses Slime Wire-Mesh Studs Strapping Plywood Tar-Paper Shingles

1/2”=1’ 1'

98

3'

5'

EEEW-OOOH


INTO THE GROTESQUE

99


NIKI FARFEL 100

S M L

Worm Coat The Chair Choked

EEEW-OOOH


This series, titled, “The Works of The Flesh� is a of vain look, hands that shed innocent blood, and a lustful appetite. Human beings are sinful. Architecture, furniture design and clothing should reflect that. The series began as an exploration of the transformation of a human body to a beast using an additive method; clothing, furniture, and architecture. The idea behind the series is to study the seven deadly sins and to get into the minds of those who are sinful.

INTO THE GROTESQUE

101


S

102

Worm Coat

EEEW-OOOH


Worm coat is a grotesque spin on a fur coat. The coat acts as a commentary on the fashion industry where people will do anything to achieve a higher status through beauty. The inspiration for the coat is from One Hundered and One Dalmatians. Cruella De Vil is the main antagonist of the animated film. She is a wealth fashionobsessed heiress who wishes to use the skins of 99 Dalmatian puppies for a fur coat. The idea is to transform the person who wears the coat into a beast, the same way Cruella De Vil does.

INTO THE GROTESQUE

103


104

EEEW-OOOH


INTO THE GROTESQUE

105


106

EEEW-OOOH


INTO THE GROTESQUE

107


108

EEEW-OOOH


INTO THE GROTESQUE

109


M

110

The Chair

EEEW-OOOH


The chair was inspired by a murderer, Albert Fish, who was referred to as the werewolf, who was executed in 1936. The idea was to create a violent chair that communicates the chaos and the catastrophe that occurs when one gives in to desire, commits sins and reaches a state of ecstasy. The intention with the chair is that it represents the exact moment of transformation where a human losses all control, give in, and becomes a beast. The chair was created with woven rope, metal wire and layered finer class to add strength and as finish. This chair would have been, the most appropriate, last chair for Albert Fish.

INTO THE GROTESQUE

111


112

EEEW-OOOH


INTO THE GROTESQUE

113


114

EEEW-OOOH


INTO THE GROTESQUE

115


116

EEEW-OOOH


INTO THE GROTESQUE

117


118

EEEW-OOOH


INTO THE GROTESQUE

119


L

120

Choked

EEEW-OOOH


This is the final of the series. This project looks at the consequences after committing the final sin, gluttony; Apathy. A state where desires and needs have taken over to the extent where one does not care if he/ she harms themselves and chokes. The idea of the room is to feel as if one is inside a person’s organism. The throat was a particular inspiration. Using fiber glass that has been resined to create folds on the walls and sags in the ceilings. Embracing the natural moments as the droplets in the sag, the design allows the material to do “what it wants�.

INTO THE GROTESQUE

121


1 : 2 5

122 f

l o o r

p l a n

EEEW-OOOH


INTO THE GROTESQUE

123


124

EEEW-OOOH


INTO THE GROTESQUE

125


L o n g i t u d i n a l

1 : 2 5 s e c t i o n

EEEW-OOOH

126


t r a n v e r s e

1 : 2 5 s e c t i o n

127

INTO THE GROTESQUE


128

EEEW-OOOH


INTO THE GROTESQUE

129


ELIZABETH LENNY 130

S M L

Long Cutlery A Table Mushroom Bar

EEEW-OOOH


My focus this term has been dining. What are the conventions of the objects and spaces that we dine in, the expectations, the social norms? What is right and what is wrong? How can objects and spaces, the apparatus of dining obscure these conventions, not only for an individual, but the person sitting across from them at the dinner table? What are the resulting implications?

INTO THE GROTESQUE

131


S

132

Long Cutlery

EEEW-OOOH


In an attempt to de-programme our behaviour and pervert our experience of everyday life by disrupting social norms I designed and produced a set of cutlery that investigated the history of utensils, the manners that accompany them, and the social implications of both. A fork, knife, & spoon distort the typical proportions of utensils; elongating the stem and shrinking the end. The result is a set of cutlery that drastically alter the form and mannerisms of not only the consumer but those around them.

INTO THE GROTESQUE

133


134

EEEW-OOOH


INTO THE GROTESQUE

135


136

EEEW-OOOH


INTO THE GROTESQUE

137


M

138

A Table

EEEW-OOOH


The intimacy of sharing a meal with others, is something that is integral to human interaction, it is how we celebrate holidays, special events, and where we bond with others. Avi Friedman’s book View From the Porch inspired my work, questioning the role of the dining table in the home, as he states it is a symbol of unity. This was my point of departure, as I began to investigate an alternative to the dining room, in the form of a modular dining table, something that evokes the unity and festivity that Friedman states the dining room is traditionally the icon of. By obscuring the anatomy of the table, removing the legs, minimizing the surface, and forcing the users to support and assemble the table themselves, I have exaggerated the act of “setting the table�, made eating precarious, and created a table that makes dining into an event. INTO THE GROTESQUE

139


140

EEEW-OOOH


INTO THE GROTESQUE

141


L

142

Mushroom Bar

EEEW-OOOH


Mushroom Bar is a restaurant with live mushrooms as the wall finish. These living walls create a cave like atmosphere, with humid air, a dank smell. With an ongoing growing, harvesting, and bag replacement system, that is constantly in flux, the restaurant itself is never static. How do guests perceive this constantly changing space? What changes when the bag you are sitting on goes from a white sack to a field of mushrooms in a matter of hours? Do your legs brush against the fungus as you sit? Do you eat a few while waiting for your food? What happens when you lean in to talk to the person across from you and the whole bag slips and squishes underneath you? Do you jump a little when the automatic sprinkler system goes on, getting your white button down wet, making it a bit see through?

INTO THE GROTESQUE

143


144

EEEW-OOOH


INTO THE GROTESQUE

145


146

EEEW-OOOH


INTO THE GROTESQUE

147


148

EEEW-OOOH


INTO THE GROTESQUE

149


DANIELA LOPES 150

S M L

Phriend Soft Space The Wool Room

EEEW-OOOH


A common theme for my projects in this studio has been anxiety - dealt with in a playful and satirical way. The Little Grotesque was a completely blown out of proportion phone case that ended up taking on anthropomorphic qualities and becoming a kind of friend. The Medium Grotesque explored an unfamiliar washer felting method to create ‘stones’ which were tightly stitched into a pile to create a completely degraded footstool (or pile of stones) that you could hide your most precious treasures in. The Large Grotesque, in taking on a whole room, became a kind of a padded playground for small children.

INTO THE GROTESQUE

151


S

152

Phriend

EEEW-OOOH


Phriend is a phone case that satirizes the very close relationships we have with our phones. Greatly exaggerated in size, the doubtlessly safe case has anthropomorphic qualities that playfully engage, allowing your phone to become the face of a fuzzy, benign creature that follows you everywhere. It is made by hand by needle felting unspun wool, and can be made for any phone case to add new character and turn what was simply your phone into a friend.

INTO THE GROTESQUE

153


154

EEEW-OOOH


INTO THE GROTESQUE

155


M

156

Soft space

EEEW-OOOH


This Medium Grotesque is a completely degraded footstool/ ottoman that resembles a pile of stones. A washer felting method was used with wool and stuffing to create ‘stones’ of varying sizes and levels of squishiness. The stones were then tightly stitched together into a pile. After washing, I pulled the stuffing out of some of the stones to create oddly shaped hollows that could be used to hide precious and valuable objects. A sort of ‘soft safe,’ this pile of stones is the last place anyone snooping around would look, and each hollow stone is so well hidden in the pile, only the hider could possibly know where anything was stashed.

INTO THE GROTESQUE

157


158

EEEW-OOOH


INTO THE GROTESQUE

159


160

EEEW-OOOH


INTO THE GROTESQUE

161


L

162

The Wool Room

EEEW-OOOH


This large(ish) scale grotesque study takes a child’s bedroom and covers it with dense, washer felted wool ‘stones’, which act as insulation (with an R value of R-3.5 per inch), and create a playful – and safe – place to play. Most children are natural climbers, and in this room, they can play, climb, and explore to their heart’s content, without giving their parents a heart attack. Large, dense wool stones envelop the standard wood framing, replacing insulation and even doors. The only hint from the outside that a seemingly banal house contains this bright, ridiculous room is the overflow of colourful stones pressing against the window panes.

INTO THE GROTESQUE

163


164

EEEW-OOOH


INTO THE GROTESQUE

165


166

EEEW-OOOH


INTO THE GROTESQUE

167


168

EEEW-OOOH


INTO THE GROTESQUE

169


KELSEY MALOTT 170

S M L

The Playful Bear Entwine Entwine

EEEW-OOOH


Dimorphous expressions force interaction that cause you to express something different than you are feeling: often leaving users uneasy. The brain’s mesocorticolimbic system mediates this response. This behaviour commonly occurs across a range of situations and helps to regulate emotions by balancing a specific overwhelmingly positive or negative emotion, with its inverse positive or negative response. Examples include laughing at funerals, or releasing tears of joy. Through the lens of the grotesque, I aim to design projects that explore the complications of dimorphous displays.

INTO THE GROTESQUE

171


S

172

The Playful Bear

EEEW-OOOH


Inspired by cute aggression the urge to squeeze something that is unbearably cute - The Playful Bear addresses a type of dimorphous display. It forces interaction that causes you to express something different than you are feeling. Mediated by dopamine release in the brain, there is a cross-wiring of the response to cuteness and aggression that regulates emotions by balancing an overwhelmingly +/- emotion, with its inverse +/- response. By dispersing sound modules throughout the bear, unexpected sexual moans are released as he is cuddled. Curiosity is stemmed through interaction - resulting in unusual groping. By neither completely removing the bear’s innocence, nor fully committing to it’s corruption, The Playful Bear evokes the troublesome experience of dimorphous emotions.

INTO THE GROTESQUE

173


174

EEEW-OOOH


INTO THE GROTESQUE

175


M

176

Entwine

EEEW-OOOH


Constriction is a method used by various snake, octopus, and squid species to subdue their prey. Constriction “shuts off” blood flow needed by vital organs, which leading to unconsciousness and death. A body pillow is an oversized pillow that provides your body with extraordinary comfort, relief and a more restful night’s sleep. They mold themselves to your body to eliminate tossing and turning at night since they cradle you inside them securely. By neither completely removing the object’s uncomfortable aesthetics, nor fully committing to it’s plush security, Entwine evokes the troublesome experience of dimorphous emotions and leaves us to question - what really defines a monster?

INTO THE GROTESQUE

177


178

EEEW-OOOH


INTO THE GROTESQUE

179


L

180

Entwine

EEEW-OOOH


A snake pit is, in a literal sense, a hole filled with snakes. They are places of horror, torture and even death. Some scientists have theorized that humankind has an innate aversion to snakes, as an instinctual way to spot danger. We spend about a third of our day in our bedrooms. It is our inner sanctum: a restful, warm place to retreat. Entwine merges the comfort and playfulness of a standard bedroom with this innate aversion. Through the limitless use of a standardized module, this underground bedroom is overthrown. The stacking and intertwining of modules begins to indicate spaces of storage, mounting, hanging, and resting.

INTO THE GROTESQUE

181


Section A

Entwine

Section B

Kelsey Malott

Plan 1:20

EEEW-OOOH

182


INTO THE GROTESQUE

Entwine

183 Kelsey Malott

Section 1:20


SAMIHA MEEM 184

S M L

Nonplate Foam Soigné

EEEW-OOOH


These series of projects challenge and rethink the qualities and conventions we are accustomed to from the setting of a meal to an entire home, reintroducing a connection between our bodies and the spaces they occupy. Taking the disorientation produced through the initial deconstruction of a standard object, unconventional, or rather unpopularized, forms of engagement with ones’ surroundings are established and the use of all senses is prioritized over comfort. The embracement of chaos can provide an infinitely transformative experience of object, action and space that is uniquely magical—alive and breathing.

INTO THE GROTESQUE

185


S

186

Nonplate

EEEW-OOOH


The pressure of precision performance within a boundary in fine dining induces a physical dissociation with the food, its container, the table and the people around it from our own bodies. On these deconstructed plates, food is uncontained and collapes off the sides. As one moves through the meal there’s this aggressive collection of the consumed and the unconsumed, building a stronger relationship with the table itself and allows us to get messy. The absense of boundaries brings intimacy and life to the scene.

INTO THE GROTESQUE

187


188

EEEW-OOOH


INTO THE GROTESQUE

189


M

190

Foam

EEEW-OOOH


Hands are the most precious organs for human action. Each finger is an extension of the five elements of space, air, fire, water and earth. Eating with one’s hands stimulates these elements, bringing forth a divinity to this seemingly mundane act of consumption, and the nerve endings at our fingertips make us more conscious of the taste, textures and aromas of the meal. This is a table that itself becomes the dinnerware. The material, silicone-coated foam, forces the absence of utensils as using them would disrupt the fragility of the material. The tactile quality of the material elevates the experience of eating with ones hands and makes the table have its own presence. The landscapes keep you mindful of your body, its proportions and the portions being consumed as well as to those of the people around you. The meal, the people and the table become one. INTO THE GROTESQUE

191


192

EEEW-OOOH


INTO THE GROTESQUE

193


194

EEEW-OOOH


INTO THE GROTESQUE

195


196

EEEW-OOOH


INTO THE GROTESQUE

197


198

EEEW-OOOH


INTO THE GROTESQUE

199


L

200

Soigné

EEEW-OOOH


Soign� asks this: what if a space was intended for you to destroy it and for you to live amongst your destruction? The project devalues a completed space that is pristinely preserved, clean and consistent, subsequently producing a discomfort in those who have grown with a discipline for making things last, as the space around them ceases to be absolute and is incessantly broken down. It explores the unit as something designed through subtraction, from a whole, with the self as the additive. The fragility and suggestibility of the foam allows for the exercise of this artful destruction. A unit is packed with foam and space is carved out by the user in relation to their body, their needs and their time, forcing them to be comfortable with disorientation and disorder. An embracement of the material chaos can provide a hyper-customizable, infinitely transformative space that is alive and breathing. INTO THE GROTESQUE

201


Existing Plan

202

EEEW-OOOH


INTO THE GROTESQUE

203


204

EEEW-OOOH


INTO THE GROTESQUE

205


206

EEEW-OOOH


INTO THE GROTESQUE

207


208

EEEW-OOOH


INTO THE GROTESQUE

209


OLIVERA NESKOVIC 210

S M L

Foodplay A Touchy Table Pleasure Pantry

EEEW-OOOH


This is an exploration into food, contemporary dining and the modern-day obsession with diet. All three projects attempt to distort the way one dines, to erase the seriousness commonly associated with eating. The focus of the meal quickly shifts from calorie counting to one’s physical interaction with a meal when the tools, furniture and space associated with eating are altered in some way. Dishware becomes a playground for food. A table becomes an intimate dining companion. A pantry becomes a place of pleasure and indulgence. All for forget telling not to

the love of eating and to about the nagging voice you what to do and what do to stay thin.

INTO THE GROTESQUE

211


S

212

Food Play

EEEW-OOOH


Why do I feel shame when I eat? How do I hide my food guilt? How do you appear normal? ...even when everyone knows what you’re doing Wait, why do I hide my food guilt? Not wanting to eat is ridiculous. Eating is not ridiculous. Can eating be made ridiculous? Can eating be fun? What if you turned it into a game? What if your plate wasn’t a plate anymore? What if playing with your food changed your relationship with it? Kids play with their food. What if you could play with your food too? What if you had a playground for your food? This is a playground for your food.

INTO THE GROTESQUE

213


214

EEEW-OOOH


INTO THE GROTESQUE

215


216

EEEW-OOOH


INTO THE GROTESQUE

217


M

218

A Touchy Table

EEEW-OOOH


This is a table for one. It is made for those who lack intimacy. We call them “the single people”; the “lonely”. They are the people we pity, but who do not pity themselves. This is a table for indulgence. Indulge on it. It has been designed for romance. Get romantic. Get close to it. This is a table for you. Just you. “come sit on my stool. feel my globules shift beneath you. feel my weight resting on your thighs. feel my weight on you. how soft I am. how comforting. touch me. squeeze me. i squeeze back.”

INTO THE GROTESQUE

219


220

EEEW-OOOH


INTO THE GROTESQUE

221


222

EEEW-OOOH


INTO THE GROTESQUE

223


L

224

Pleasure Pantry

EEEW-OOOH


The pleasure pantry is exactly what the name reveals - a pantry for pleasure. Suspended in between the layers of a catalogue house, its reflective exterior oozes out into other spaces to tempt you in. All preconceived ideas of a pantry are abandoned. Shelves are swapped out with fßd sacs. These hollow, translucent, vinyl sacks coat the entire interior in a thick layer of pink plastic. The pantry transports one into a world where cravings are given a space in which to be indulged. Embrace gluttony and sensuality in this space. Experience it alone for maximum satisfaction. Come have a snack in the pleasure pantry. It won’t bite.

INTO THE GROTESQUE

225


226

process / collage

EEEW-OOOH


INTO THE GROTESQUE model / photos

227


228

EEEW-OOOH


INTO THE GROTESQUE

229


N plan / 1 : 2 5

230

EEEW-OOOH


plan v ie w (bolt to cord connec tion )

chrome cove r ing steel sheet metal

bolt s

bung ee cord s - ( looped throug h s ac s) r ubber cover ing opaque v inyl balloon-shaped “s ac” transluce nt large & medium : filled w ith spray foam in sulation small : empty - spaced clos ely to gether to for m a car pet-like floor cover ing

v inyl balloon-shaped “s ac” tran slucent

steel chain links

each hang ing f üd s ac i s hollow and can be pe netrated v ia a slit - like pe r foration on the e x te r ior

steel ba s e ( bolted to sheet metal )

f üd s ac / t y pe 0 1

detail s / 1: 10

INTO THE GROTESQUE

f üd s ac / ty pe 02

detail s / 1: 10

231


s an be d ke ba

TU

E E APPL

ba

ke

d

be

an

TUNA

P IN

PIN

E A PPL

E

NA

s ba ke an s

P IN

be

E APPL

E

d

TUNA

E P IN

E APPL

P I NE

APPL

E

s ec tion a / 1:25

232

EEEW-OOOH


ed

bean

s

bak

ed

bea

ns

bak

Classic

TUN

A

s ec tion b / 1 : 2 5

INTO THE GROTESQUE

233


ERIC OH 234

S M L

George Jackson Sporelando Bloom

EEEW-OOOH


Friendship is often a force relegated to the background. It is often seen as recreational, or comparatively shallow, with greater intimacy and vulnerability being reserved for romantic relationships. Using my own friendship as a case study, the three studies subvert conventions to create situations of greater intimacy. Washing feet, sharing a blanket, and the balcony, all work at different scales and in different ways to valorize friendship.

INTO THE GROTESQUE

235


S

236

George

EEEW-OOOH


In the first study, the foot bath “George” interrogates the role of vulnerability and power in friendships. There is intimate, though non-sexual, physical contact. The foot bath imagines a setting where foot washing is as normal as drinking beer or watching football. The object form is traced from my own lap, and friend’s feet, then “cast” in a resin-fibreglass composite. The feet of the washed are necessarily embraced in the lap of the washer.

INTO THE GROTESQUE

237


238

EEEW-OOOH


INTO THE GROTESQUE

239


240

EEEW-OOOH


INTO THE GROTESQUE

241


M

242

Jackson

EEEW-OOOH


Jackson is a blanket intended for shared use within a group of friends. The grossly exaggerated scale and homogenizing texture makes all status within the group equal, disarming the friends to engage in more wholesome, intimate conversation and activity. Several holes throughout the blanket allow users to become fully immersed and “wear� Jackson.

INTO THE GROTESQUE

243


244

EEEW-OOOH


INTO THE GROTESQUE

245


L

246

Sporelando Bloom

EEEW-OOOH


The balcony is the apartment’s paradox. At once, it is the most intimate expression of intimacy with the building, separated from both the interior and street, it is a kind of “nowhere”. This separation simultaneously makes it the least engaged with the apartment; the least expressive of its character. Sporelando Bloom, the balcony featured in this imagined narrative, inverts its typical typology. It is expressive, meeting the energy of its occupants with its own. Rather than occupying an XY Plane, engaging only the bottoms of feet, its users occupy the ZY plane, their whole bodies encompassed in the apartment.

INTO THE GROTESQUE

247


248

EEEW-OOOH


INTO THE GROTESQUE

249


250

EEEW-OOOH


INTO THE GROTESQUE

251


252

EEEW-OOOH


INTO THE GROTESQUE

253


BENNETT OH 254

S M L

Boner Rocking Chair Living Room

EEEW-OOOH


This series of projects focuses on inducing duality within an object, resulting in perplexing emotional and functional response. Process involves synthesis of two objects used in completely different contexts into an unsettling product. The two does not compromise but enhance each other.

INTO THE GROTESQUE

255


S

256

Boner

EEEW-OOOH


‘Boner is ‘a slang term for an erect penis due to sexual stimulation. It is called so because the penis resembles a bone. Project manifests the literal dimensions of this slang into a sexual toy.’ – Urban Dictionary Dildo is an abstraction of a male erection - boner. The primary ingredient of this dildo is a bone. Boner is a dildo primarily comprised or resembling an animal bone. Conceived with a play on words, their uncanny resemblance to each other amalgamate into a unsettlingly attractive object. The object is meant to induce mixed emotion between pleasure and disgust through juxtaposition.

INTO THE GROTESQUE

257


258

EEEW-OOOH


INTO THE GROTESQUE

259


260

EEEW-OOOH


INTO THE GROTESQUE

261


M

262

Rocking Chair

EEEW-OOOH


Rocking chair is amalgamation of a child’s rocking chair and dildo. Project emerged from idea that rocking motion can be used in two completely different contexts. Rocking chair alludes to wholesome, family environment, whereas dildo aspect appears pornographic and private. Motion as the common denominator, the object binds the two into an object in identity crisis.

INTO THE GROTESQUE

263


L

264

Living Room

EEEW-OOOH


Houses have evolved to serve our needs, ranging from simply providing a shelter to some of the most delicate aspects such as atmosphere. Buildings sustain our lifestyle through becoming an intersection of various systems. To most people, however, these are unknown. Even amongst architects, we treat them like abject. We deny existence of things that make our lifestyle possible. This project subjects these abject functions of the house to the front stage, our bodily functions and lifestyles are exposed, packaged perception and presentation of our living hood is demystified. Feel the house breathing; fluids pulsating through its veins and arteries. Find out what really keeps us alive and comfortable by uncovering the uncomfortable truth.

INTO THE GROTESQUE

265


266

EEEW-OOOH


INTO THE GROTESQUE

267


268

EEEW-OOOH


INTO THE GROTESQUE

269


270

EEEW-OOOH


INTO THE GROTESQUE

271


MAYURI PARANTHAHAN 272

S M L

Identity Kit Dream Machine Loom

EEEW-OOOH


Textiles are inherently close to us. We sleep in them, dry ourselves off with them and wear them as clothes. We sling them over windows, tables, and floors. Textiles are so close to us that we are even a little unaware of their existence. In this series, conventional objects are recreated through a change in material, and as a result, provoke alternative feelings. A purse is reconstructed with hair extensions; a nightstand turns soft and plush; the walls of a bedroom are woven to create soft, fluid forms. Using techniques associated with fabric, such as knotting, sowing and weaving, textiles become the protagonist in this three-part, grotesque series.

INTO THE GROTESQUE

273


S

274

Identity Kit

EEEW-OOOH


Cultural Appropriation highlights the power imbalance that remains between those in power and those who’ve been historically marginalized. Traits of women of colour are often rejected for not resembling European beauty norms, or aestheticized and appropriated for being ‘foreign’ and ‘exotic’. By weaving locks of Asian/Indian hair extensions onto a purse, the hair is removed from the body and physically accessorized. The purse then portrays an identity that is in fact false, surface-level, and merely aesthetic.

INTO THE GROTESQUE

275


276

EEEW-OOOH


INTO THE GROTESQUE

277


M

278

Dream Machine

EEEW-OOOH


The bedside table is one of the most intimate pieces of furniture in the home. It holds the objects that allow us to transition from an awake state to a dream state. These include objects of healing: pills, tissues; objects of pleasure: sex toys, contraceptives; spiritual objects: candles, a diary; and objects that bring us back to an awake state: a lamp, phone, alarm clock. The act of storing these personal objects becomes intimate, secretive – almost erotic, creating a poetic notion of the nightstand acting as a dream machine. With its plush pockets, Dream Machine attempts to provoke a playful, whimsical, erotic engagement with the bedside table.

INTO THE GROTESQUE

279


280

EEEW-OOOH


INTO THE GROTESQUE

281


L

282

Loom

EEEW-OOOH


Our domestic spaces are in permanent crises. Composed of hard planes and rigid materials, the conventional bedroom design fails to reflect the comfort, fluidity and serenity needed from our private spaces. Tables, chairs, shelves – even drywall and hardwood floors are ridden with anxiety, seemingly outof-place in the context of our domestic needs. Loom proposes an unconventional bedroom design where textiles are the protagonist – making up the furniture, finishes, and building materials of, what was once, an average bedroom. Swallowing the body in fabric, Loom portrays the bedroom for what it truly is – a physically emotional space.

INTO THE GROTESQUE

283


284

EEEW-OOOH


INTO THE GROTESQUE

285


286

EEEW-OOOH


INTO THE GROTESQUE

287


RON ADRIANO JANUARY CHEN CHRISTY CHENG BELLA CHO KELSEY DAWSON NIKI FARFEL ELIZABETH LENNY DANIELA LOPES KELSEY MALOTT SAMIHA MEEM OLIVERA NESKOVIC ERIC OH BENNETT OH MAYURI PARANTHAHAN MICHAEL FOHRING

Eeew-Oooh Waterloo Architecture Undergraduate Studio Fall 2017 Collection  
Eeew-Oooh Waterloo Architecture Undergraduate Studio Fall 2017 Collection  
Advertisement