As outlined by Lefebvre, inhabitation practices are greatly influenced by corporealities, while in turn space acts as an externalisation of selfhood, resulting in bodily representations to have deep implications in the production and use of space. The proposed project to be developed as part of the Agora Digital Art Residency takes on the theme of the body in relation to the spatial practice of architecture.
Historically, the naked female body characterised ‘the male gaze’, forming the object of the view rather than the subject. Such dichotomy was further accentuated by methods of representation in regards to spatial production employed by the field of architecture, where traditional strategies for the portrayal of bodies mainly revolved around heterocentric, eurocentric and able depictions. Thus, in order to restructure representation to portray an inclusive array of corporealities and further to rethink the design of environments, one has to challenge the implications of pre-established rules for the construction of space.
Further, with the advent of CAD software in the 1960s, physical space became primarily designed through digital tools. Along with the availability of digital space, the translation of the physicality of the body to digital corporeality followed. With an overall aim to restructure both representation and interaction with digital space, Amiss outlines the first steps to achieve such a purpose through exploring a space that highlights the day to day inconsistencies of gender roles embedded within the domestic space.
The proposed digital environment reflects on the domestic space. As an arena of exteriorisation of the self, dominated by the sphere of the private and intimate, it stands as a base for uncovering the politically charged narrative of the project. Through navigating the space of the online platform Mozilla Hubs, the user would be given the opportunity to discover and reflect on signifiers of the domestic space. The ‘gaze’ will be used as a navigation tool of this digital environment, referencing the subjective nature of experiences, as well as reflecting on current gender issues and popular media culture.
As the domestic landscape engages with objects in relation to social constructs, the Amiss proposal captures meanings within objects of the banal: mirrors and concepts of identity and vanity; laptops and notions of digital connectivity; cleaning supplies as a reflection on gender roles; makeup items suggesting the struggle surrounding beauty standards; magazines and idea of connection with media and culture; beds and definitions of sexuality. The use of some of the stated above objects supports the intrinsic nature of biases which has become embedded seamlessly into our daily routines. Each of such objects would be used as a trigger for a curated collage video reflecting on media and iconic popular culture moments, suggesting that such items not only further embody critical social significance but also bring forward the intersection of digital and physical space.
Stripping back the domestic space in an attempt to expose the biases encoded in the banal, the use of the glitch becomes a window to see beneath the surface of traditional architectural discourse. The use of the platform Amiss proposes therefore contributes to shaping a narrative weaving through different definitions of selfhood in relation to inhabition practices.