On the Significance of Seeing and Being Seen
On the Significance of Seeing and Being Seen
Consider the modern theater; there are two distinct types, those of the movies and those for more traditional performances, such as plays and musicals. The former is characterized by a lack of interaction between anonymous patrons. People tend to stick within their own groups of friends and people they came with, very rarely meeting or talking to new people. The latter is not much better, patrons might occasionally spark new conversation with people to whom they may be accustomed, or possibly know of peripherally, but very rarely are new relationships started from scratch.
So amidst of this sea of social sterility, what is a comparable to a level of social interaction which is the goal this new theater archetype is attempting to achieve? Surprisingly enough, it is a combination of both film and live theater which provides the only nearest comparison: The Rocky Horror Picture Show. As unusual as it may seem, this level of social interaction is achieved simply by creating a light atmosphere where people are encouraged to speak to one another, even if they are complete strangers. The task at hand now is to reflect this atmosphere in the form, and use the architecture to help facilitate this interaction, while at the same time providing some semblance of structure and organization.
And so we return to the concept of See and Be Seen, of what relevance does it have in the context of social interaction? There are two types of people, those who prefer to have some distance between themselves and other people, and those who prefer intimacy and close quarters. Should the architecture provide both conditions, both types of people will be in a more comfortable environment, and be encouraged to speak to one another. Of course, how does one strike a conversation without first seeing someone else? The architecture should provide spaces where patrons can occupy and view other people, and at the same time participate as an object in the spectacle of viewing. Should the strangers, viewing from a distance, wish to strike a conversation, close and intimate spaces should also be provided. By creating a hierarchy of spaces that facilitate this viewing, and by providing those whom are insecure with a sense of distance and separation, the architecture facilitates the development of social interactions.
Consider the modern theater; there are two distinct types, those of the movies and those for more traditional performances, such as plays and musicals. The former is characterized by a lack of interaction between anonymous patrons. People tend to stick within their own groups of friends and people they came with, very rarely meeting or talking to new people. The latter is not much better, patrons might occasionally spark new conversation with people to whom they may be accustomed, or possibly know of peripherally, but very rarely are new relationships started from scratch.
So amidst of this sea of social sterility, what is a comparable to a level of social interaction which is the goal this new theater archetype is attempting to achieve? Surprisingly enough, it is a combination of both film and live theater which provides the only nearest comparison: The Rocky Horror Picture Show. As unusual as it may seem, this level of social interaction is achieved simply by creating a light atmosphere where people are encouraged to speak to one another, even if they are complete strangers. The task at hand now is to reflect this atmosphere in the form, and use the architecture to help facilitate this interaction, while at the same time providing some semblance of structure and organization.
And so we return to the concept of See and Be Seen, of what relevance does it have in the context of social interaction? There are two types of people, those who prefer to have some distance between themselves and other people, and those who prefer intimacy and close quarters. Should the architecture provide both conditions, both types of people will be in a more comfortable environment, and be encouraged to speak to one another. Of course, how does one strike a conversation without first seeing someone else? The architecture should provide spaces where patrons can occupy and view other people, and at the same time participate as an object in the spectacle of viewing. Should the strangers, viewing from a distance, wish to strike a conversation, close and intimate spaces should also be provided. By creating a hierarchy of spaces that facilitate this viewing, and by providing those whom are insecure with a sense of distance and separation, the architecture facilitates the development of social interactions.
posted by microzeta at
12:25 PM
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