Upon An Alien's Eyes

Studio project at The Southern California Institute of Architecture (SCI-Arc), instructor Matthew Gillis, 2013

Continuing the development of the packaging in "In the Bikini Zone…", the final stage in this set of formal explorations was to transform the overall object using the projective or operational methods learned previously. 

Clearly, the sliced sections of the object had taken a direct role in the production of its form throughout the process; so, it was purely natural to garner them for the final step. By displacing them at different angles of axonometric projection, the overall composition called into question the truly three-dimensional nature of the axonometric as a representational form. Additionally, it brought forth the discussion about the methods for documenting a form which was so imperviously created in a new-age ontology, rejecting by default the ideals of a two-dimensional plane of representation from its genesis. 

Once transformed, an overlay of imposed fields was used to further flatten and warp the perceived forms on the page. Color and demarcation were brought forth to compose the canvas in a way which both differentiated and shadowed the process of transformation.

As before, the dialogue continued.

It would be quite odd to pass by a convenience store andrevel at the oddity that is the human race. Think of the astonishment which foreign being would experience upon its first encounter with a bikini zone razor. How would we, delude of all connotations and realizations which have embedded themselves inside our psyches, possibly compile an acute understanding of what exactly drove the man [or woman] to create such a thing. To ponder on the laboratories and endless seas of scientists employed for the creation of this, one must come to odd conclusions. Even then, what would we think seeing it without prior knowledge? How would the banal eye perceive this awkward little thing?

A combination of a projection of a slice reveals for us the most odd space imaginable. Feathery, nearly animalistic or anthropomorphic inform, we would be at great difficulty to define its being into a comprehensible entity. Rather, we might use to question the axonometric, because, when projected across an array of angles, it reveals its slight transformation into something oddly perspectival. How then do we reconcile the ambiguity of the axonometric with the specificity of the perspective.