With the stage well set, then who are the actors? The kids, of course. With the actors, theirgroups and their visions, all that were needed to put up a good show were the costume, the mask, a script and a good platform. All within the single theme of Child Play as a unifying force.
The results were mind boggling with a spark off of a discourse on Existentialism in the context of masking of the Self (Being) in relation to the Image of the Self (The Personas). The notion of communication among the phases of Noia, Para Noia and End Noia, in an attempt to address the notion of spectators and the performances in both realities and the surreal has been attempted. For the ease of understanding of the above said discourse read Jennifer’s rendition onExistentialism via the newsletter published by United Architect’s Corner. The translation of these themes into sub-themes had been further explored via the trans-mutation of the above notion into the form of the coffinto a habitable box which shall be described as we go along. Without fails, the kids were reminded constantly to derived ideas from these working prototypes as pretext to be implemented in the context of the massing model in an urban scale and the spaces and the skins within the building scale.
Cross references of ideas beyond the boundaries of scale has been rooted, again from another discipline beyond architecture – cinematography. The conceptual approach in the show Three Colors® and Sin City©has been debated upon where the characters of these shows were constantly appearing in the given context of totally unrelated events but yet constantly knitted tightly against the given fabric of time and space in a predominate pretext of color-scope against the silver-screen of Black and White or some times dual-tones in a constant debate between good and evil, masculine and feminine, obscene and decent. All for the sake of architecture.