University of Southern California Dissertations and Theses

open house: On the intersections of girlhood, home, and memory

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open house: On the intersections of girlhood, home, and memory

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Content ope n- ho use
O n t h e i nt e r sec ti on s o f g i r lh o od, ho me, and m e m or y
b y
C hr ista Har y an t o
A T hesi s Pr e s ented to t he
F A C U L T Y O F T H E S C H O O L O F C INE M A T I C A R T S
U N I V E R S I T Y O F S O U T HE RN C ALIFO R N I A
I n P ar t i al Ful fil lme nt o f th e
R e qui r emen t s f o r t he D eg r ee
M A S T E R O F INT ER A C T IV E M ED IA
M a y 2 02 3
I ’ l l b e s o m e o n e e l s e ’ s
g o d . G o d h o o d i s j u s t
l i k e g i r l h o o d :
a b e g g i n g t o b e b e l i e v e d .
f r o m C h u r c hi ng b y K r i st i n C h an g
i i
A c k n o w l e d g e m e n t s
I a m et e r na l l y t h a nk fu l to e v er y o ne w ho has suppo rte d m e alo n g m y
j o u r n e y a s a n a rt is t a nd a sc h o la r . I’ d l ik e t o u s e this s pace t o ackn o w l ed g e
t h e f o l l o w i n g p eo p l e:
P a t r i ce— f o r be in g a gi r l w hen I w as t oo . Th ank y o u f o r p i ck i n g up f or
m e , f o r t h e h o u r s o f ca l l s a n d f eed b ack an d r ants. I t w as a g r eat h on or to
g r o w u p w i t h y ou . I ’l l a l w a y s p i c k up f o r y ou to o .
M y l i t t l e b o y P o ck y – I k no w y o u canno t r ead b u t t hank y ou f o r be in g
t h e b e s t d og e v e r . T h a n k y ou f or t he l o v e and co mp an y and ma kin g su r e
t h a t I n e v e r e v er f eel a l on e.
B i a nc a R a cel a – no t h i ng c an co me b et w e en! T hank y o u f or b e i n g m y
b e st f r ie n d a nd a co ns t a n t i n m y lif e.
J o h a n na h “ J oh h ” C h u n g and S ean Y am ag uchi— y our m u s ic an d
e n gi n e e r i ng c a r r ie d t h i s p r o j ec t t o ne w heig ht s. T han k y o u f o r y o u r t ime,
e n e r g y , c om p a n y , a nd d ea l i ng w ith m y i nd ecis io n...
L a u r a M en g– f or b e in g a r o ck an d a c he er lead e r and cr eat i v e s ou n d ing
b o a r d a n d a n a l l r o u nd g r e a t f riend. T han k y o u f o r k ee pi n g me c ompan y in
o u r d in g y co r ner .
C a m er o n A sh a r ia n — f or the lau g hs and cr eat i v e e ner gy th r ou g h ou t a ll
t h e s e y e a r s . T h a nk y o u f or b e ing just as e x cit ed abo ut cra s as I am .
M y t h esi s a d vi so r s M a r t z i C amp o s, Li s a M ann , and J oe
G a r l i n g t o n— t h a n k y o u f o r a l l th e f eed b ack, cr i tiq u e , and en co urag em e n t
y o u h a v e g i v e n m e t h r o u g h o ut this pr o cess.
T h e U S C I nt er a ct i v e M ed ia and G am e D esig n M F A 20 23 coh ort ,
e s p e c i a l l y Ka i t l in B o nfi g l i o, Y im e ng C hen, A dam M or ina, and C h ris ty
Y e — t h a n k y o u f o r bei n g t h er e f or t he ride. W e did i t!
P r o f ess or s R i c h a r d L em a r chand , H ol l y W i l l i s, Lai r d M ala m ed , Ki ki
B e n z o n , M a r i en t i na G o t si s, S op hia S i ddiq u e H arv e y , H i m adee p M u ppi d i,
S a m so n O p on do , P et e r A nt el y e s— t hank y o u f o r bel i e vi ng in m e an d bein g
a p a r t o f m y j o u r n e y .
M y f a mi l y – t h a n k y ou f o r suppo r t ing m y ed u c at io n, and f or t each ing
m e t o w o r k h a r d a n d ne v er g i v e u p.
i i i
A n d l a s t b u t no t le a st , t o D aniel E sp ino M endo z a–t hank y o u f or
s u p p o r t i ng a n d bel ie v i ng i n me f or so m an y y e ars, and s eeing m e thr ou g h
t h e b e s t an d w o r st o f i t a l l . W or ds cann ot e x pr e s s ho w g ratef u l I am f or all
t h e l o v e – y o u a r e m y h o m e.
i v
T a b l e o f C o n t e n t s
A c k n o w l ed g em e nt s . .. . .. . . . .. . .. . . . .. . ... .............................................................................. . . . . i i i
L i st o f F ig u r es .. . .. . . . .. . .. . . . .. . .. . . . .. . .. . . ..................................................................................... v i
A b s t r a c t .. . . .. . .. . . . .. . .. . . . .. . .. . . . .. . .. . . . .. . .. . .. . ................................................................................. v i i
C h a p t e r 1 : I n t r o du c t i on . .. . . . .. . .. . .. .. .................................................................................... 1
C h a p t e r 2 : I n t e ra c t i v e S c u l p t u r e................................................................................... 3
D e fi n i ng I n t er a c t i v e S cu l p t u r e................................................................................ 3
T h e I n vi t a t i o n t o T ou ch .. . . . ... .. ................................................................................... 4
I n t im a cy a n d I m m er si o n..................................................................................... 5
B r e a k i ng D o w n I nt er a ct io n ... . .................................................................................. 8
C h a p t e r 3 : P l a y . .. . . . .. . .. . . . .. . .. . . . .. . .. . .. . .................................................................................. 10
M e c h a n i cs. . . . .. . .. . . . .. . .. . . . .. . .. . . . .. . ... ............................................................................... . . . 10
M o nt es so ri Ph i l o s o p h y. .... .............................................................................. . . . 10
D i s co v er y .. . .. . . . .. . .. . . . .. . .. . . . .. . .. ................................................................................... 10
P e r f o r m a n ce a nd R o l ep l a y .. .. ................................................................................. 1 2
T h e P er f or m a n ce o f R eme mb eri n g . .......................................................... . . . . 1 2
T h e P er f or m a n ce o f P l a y and R o le pl a y..................................................... . . . . 1 5
C h a p t e r 4 : G i r l h o o d. . .. . .. . . . .. . .. . . . .. ... ............................................................................. . . . . 16
P e r s o n a l C o nt e x t a n d S p ec ificity........................................................................ . . 16
T h e P er f or m a t i v it y o f “ G ir l’. . ................................................................................. 2 1
C h a p t e r 5 : Su rv ei ll a nce a n d S p ace ............................................................................. 24
T h e G a z e. . .. . . . .. . .. . . . .. . .. . . . .. . .. . . . .. ... .................................................................................. 24
T h e ( D o l l ) H o u s e.. . . . .. . .. . . . .. . .. . . .................................................................................... 26
W o m en ’ s W or k. . . . .. . .. . . . .. . .. . . . .. ... .............................................................................. . . . . 28
Y a r n .. . .. . . . .. . .. . . . .. . .. . . . .. . .. . . . .. . .. .. ................................................................................... 28
F a c a d es. . .. . . . .. . .. . . . .. . .. . . . .. . .. . . . ... .. ................................................................................ 3 1
C h a p t e r 6 : M e m o r y a nd T im e.. ................................................................................ . . 3 5
T h e A ff o r d a nc es of M em or y............................................................................... . . . 3 5
H a u nt i ng s. . . . .. . .. . . . .. . .. . . . .. . .. . . .................................................................................... 36
C l o c k s a n d T i m el es sn es s. . .. ... .................................................................................. 3 7
C h a p t e r 7 : C on c lu si on . .. . . . .. . .. . . . .. ... ............................................................................. . . . 4 0
B i b l io gr a p h y . . . .. . .. . . . .. . .. . . . .. . .. . . . .. . .. ... . ................................................................................. 4 3
v
L i s t o f F i g u r e s
F i g . 1 : F l o o r p l a n of h o u se s t r u ctur e… ……… … ……… … ……… … ……… … ……… … ……… ..… ……… 2
F i g . 2 : I n t er a ct i v e sc u l p t u r e sp ace to p -d o w n v ie w … ……… … ……… … ……… … ……… … ….13
F i g . 3 : L e y d es do r ff ’ s “ d ou b l e her meneu ti c s ” o f act i o n v s i nact io n … ……… … ……1 5
F i g . 4 : C l o s e u p o f l a t ch m ec h a ni c i n ope n -h ouse ……… … ……… … ……… … ……… … ……… . . 2 1
F i g . 5 : G u e st t es t i n g op e n - h o u se dr a w er mec hani c p r o to type… … ……… … ……… … .…21
F i g . 6 : T h e h o u se I g r e w u p i n f r om 1 99 7 -2 0 0 4…… ……… … ……… … ……… … ……… … .…..24
F i g . 7: K ni t t ed r o o f t il es in op e n - hou se…… … ……… … ……… … ……… … ……… … ……… … …… … ….25
F i g . 8: W e ig h te d B e d s e t ( 2 0 2 1) b y C h ri sta Hary anto ………… … ……… … ……… … ……… … ...2 6
F i g . 9 : I n st a l l a t io n vi e w o f D a la ng (20 1 9 ), C hr ista H ary anto…… ……… … ……… ..… ..2 7
F i g . 1 0 : S cr ee nsh ot o f l a y er ed f o o tag e fr om D a la n g (2 01 9 ). ...............................2 8
F i g . 1 1 : M e cr o c h et in g a p o r t i on o f open - hou se ……… … ……… … ……… … ……… … ……… … ...3 8
F i g . 1 2 : D o l l ho u se b y M ir i a m Sc hapir o (1 97 2 )................................................... ...... . . 40
F i g 1 3 . u nt itl e d a k a cl ou d w a tc h ( 20 2 2), C hr i sta H ary anto ………… … ……… … ……… … …..4 7
F i g . 1 4 : T it l e U I f r o m I n s e p a r a ble (2 02 1). … ……… … ……… … ……… … ……… … …… … ……..… … ..48
vi
A b s t r a c t
A s a co m p a ni o n p i ec e t o o pen - ho us e , this pape r e x pound s on t h e
p r o j e c t ’ s d es ig n el em ent s , v is u al sty l e , cr e ati v e p r oc ess, and nar r ati v e
c o n t e n t t h r o u g h t h e l en s o f g end er stu die s, s oc io lo g y , and me d i a t h e o ry .
T h r o u gh ou t t h e p a p er , I w i l l b e att em pting t o ans w er tw o q uestio n s ,
n a m e l y : “ H o w ca n p h y si ca l i nter actio n and me ch anics b e u sed to r epr ese n t
i n t a n g ib l e p r oc es ses a n d co nc ept s?” and “ H o w can i n t e rac t i v e scu lpt ur e
c r e a t e a nu a nce d p o r t r a y a l of m y e xpe rien ce w i th g ir lho o d? ” T h e pape r wi ll
fi r s t d is c u ss t h e de fi ni t i o n o f “ int er acti v e sculpt ur e , ” and ho w I in vi te g u e sts
t o i n t e r a ct w i t h t h e e x p er ie nce. N e xt , I e x plo r e the inter acti v e sc u lpt ur e ’ s
u n iq u e r e l a t i on sh i p t o t h e c onc ept o f pla y . N e x t, I w ill defin e and e x pl or e
t h e c o n c e p t o f gi r l h o o d i n a p e rso nal an d pe rf o rm at i v e sen se. T h i s will th en
c o n n e c t t o a n e x p l o r a t i o n o f s urv e i l l ance and spac e in r elat i o n to gi r lhoo d .
E x p l o r i n g co nce p t s su ch a s t h e g aze, su r v e i l l ance , and d o mes t ic l abor , I
e s t a b l is h gi r l h o o d a s a f o u n da tio n to m y un de rstand i ng o f f e m i n in ity .
F i n a l l y , t h i s p a p er e x p l o r es h o w open - hou se e xplo r es c on cept s o f m emo r y
a n d t im e , a nd h o w t h e y r el a t e to g irl hoo d . I n sh or t, t his paper r e c or d s t he
a t t e m p t s op e n -h ou se di d t o c omb i n e e x pe rime ntal art, i n t e rac t i v e d e s ig n , and
t h e o r y t o p a i nt a n u a nc ed p or trait o f gi rl hoo d .
vii
C h a p t e r 1 : I n t r o d u c t i o n
I n ou r e v er - co nne ct ed w or ld, th e ho use is o ne o f the o nl y s pac es t hat
r e m a in p r i v a t e a n d p e rs on a l t o o ursel v e s. M o r e th an ju st a s p ac e of
d o m i c i l e , t h e h o u s e i s t h e s i t e o f co ming o f ag e, w her e o ne l ear n s their r ol e
i n t h e ir c o m m u n i t y a n d t h e w o rl d, and w her e m e mo rie s ar e m ad e an d
u n m a d e . A cr o ss ma n y s t o ry t ell ing t radit ion s o v er ti m e , t he ho u se i s
p o r t r a y e d a s a p o w er fu l a n d e v o cati v e s ymb o l of the human ps y c h e . I h a v e
a l w a y s b e en f a sci n a t ed b y t h e pr e v ale nce o f the ho use i n v ar ious f or ms o f
m e d ia , a n d w a n t ed t o co nne ct its impl i c at io ns o f do m esticit y an d
f e m i n in it y t o m y o w n p e rs on al m emo ry . U sing t he infr astru ctur e of t h e
d o l l h o u s e, t a c t i l e p l a y , a n d t h e y arn medi um, ope n -h ouse e x plo r e s m y
e x p e r i e n c e o f g i rl h o o d t h r o u gh e xp er i m ental inter acti v e m edia an d d e s ign .
I n p o r t r a y i n g t h e h o u s e t hr o u gh an i nte racti v e h y br id medium, w h ich
I c a l l “ in t er a c t i v e s cu lp t u r e, ” I ho pe d to pr e s ent a mo r e ric h an d c om ple x
e x p l o r a t io n of m y e x p er i en ce w ith g ir lh o od. T hr o u g h the pr oce s s of t h i s
t h e s is , I h o p ed t o a ns w e r t h e qu e s t io ns:
H o w c a n p h y sica l int e r a ctio n a n d mec h an i c s be u s e d t o r epr e sen t in ta n g i ble
p r o c e s s e s a n d con ce p ts ?
a n d m o r e s p e ci fi c a ll y ,
H o w c a n in te r a ct i v e scu lp tu r e c r e a t e a n ua n c e d por t r a y al o f m y expe ri e nc e w i th
g i r l h o od ?
1
F ig . 1 : F l o or p l a n of h o u se w it h lab eled fl o o rs. T he se nam i n g con v entions
w i l l b e u sed thr o u g ho ut the p ape r .
2
C h a p t e r 2 : I n t e r a c t i v e S c u l p t u r e
T h e s cu l p t u r e ’ s st ru ct u r e i s a mo di fie d s eco nd h and ch ildr en ’ s
d o l l h o u s e, r e p a in t ed a n d r e mo dele d. I t is c o v er ed almo st entir el y wit h y arn.
T e c h n i q u es o f c r o c h et , kn i t , a nd w ea ving ar e u se d t o co v er th e d ol lh ou s e
a n d it s v a r i o u s i nt er a ct i v e el e ments. T he d ol lh ouse ’ s r ear w all is c o v er ed in
r e a r p r o j ec t i o n f a br i c , a n d p l a y s a d iff er e n t video o n e ach fl o or of the h ou s e ,
c o n t a in i ng e le m ent s o f v i de o co ll ag e, m otion gr ap hics, an d ani mat i on .
D e n i n g I n t e r a c t i v e S c u l p t ur e
I n t h e a r t w o r l d, scu l p t u r e i s unde rs t o o d as a s elf -co nt ain ed o bje c t tha t
i s o b se r v e d e x t er n a l l y b y a v i e w er . H o w e v er , i n st allat ion is unde rsto od as
t h e o p p o si t e o f sc u l p t u r e, a s i t ai ms t o m anipulat e a sp ace that en v elo ps t he
v ie w e r . I n ot h er w or d s, t h e i n te nded v an t ag e p o int in w hic h ins tal lat i on is
e x p e r i e n c ed f r o m i s i nt er na l , w her e as scu l ptu r e i s e xt er nal. o pe n -h o u s e
c o m p l ic a t e s t h e di s t i nc t i o n b etw een th e s e tw o m edi ums . T he w or d
“ s c u l p t u r e ” a c k no w le dg e s i t s e x i st en ce as an o b ject that can b e e x per i e n c e d
e x t e r n a l l y t h r o u g h s p a ce. H o w e v e r , it s i nter acti v e an d imm e rsi v e
c h a r a c t e r i st i c s b r ea k t h e d is t a nc e typicall y ass oc i ate d w ith s cul ptu r e . T h is i s
w h a t m a k es o pe n - h ou se a n i ns t a ll at i o n w o rk to o , as t he ab ilit y t o ph y s i cal l y
i n t e r a c t w it h t h e p i ece i s w h a t m ak es it an i nst all atio n-l i k e e xp e ri e n c e .
A r g u a b l y , o p e n -h o u se a ls o co ntai ns s im i l ari t ies t o so m e oth er o bjects,
s u c h a s a l t e r na t i v e co nt r ol le r s o r pu z z les . H o w e v er , i t c on t ains un i q u e
c h a r a c t e r i st i c s t h a t d o no t fi t u nder the d e fin itio n o f t hese m edi ums.
o pe n - h ou se i s n ot a n a l t er na t i v e co ntr o lle r , as it i s no t an o b ject th at d ir e c t s or
m e d ia t e s a n e x p er i enc e. A n a l t ern ati v e co nt r o l ler r elies o n an e xt er n al
o u t p u t o r f eed b a c k , w h i le a n i nter acti v e scu l ptu r e ’ s inp u t and o ut put ar e
c o n t a in e d w i t h i n t h e p ie ce it se lf. I n o t h e r w or ds, the scu lpt ur e s t an d s f or
i t s e l f a s a n ob j ect , m u c h l ik e a po rt ab le g ame c on so le o r a to y . I n t h i s w a y ,
i n t e r a c t i v e sc u l p t u r e i s n o t cl a ssi fied as an alter nati v e co ntr o ll e r .
o pe n - h ou s e i s a l so n o t a p u z zl e. Th e r e is n o “ so lutio n ” t o the
e x p e r i e n c e, a n d t h e r e i s no i d eal o r der or d ur ati o n o f e xper ienc e. H o w e v e r ,
t h is d o e s no t me a n t h a t t h e sc ulpt ur e can be i n t e rac t e d in an y w a y t h e gu es t
3
p l e a s e s. I n t e ra c t i v e s c u l p t u r e s r eq u i r e, to so me e x te nt, a l e v el of g u i d an c e
a n d o n b oa r d in g i n o r d er t o be su cce ssf u l . T her e ar e se v er al bas i c r ule s i n
p l a c e t h a t a i m t o di r ec t t h e gu es t t o w ar ds an un de rstand i ng o f t h e n arr at i v e
a n d t h e m e o f t h e p i ec e— su ch as to no t r e m o v e i te m s o r u s e e x c ess i v e f or ce
o n t h e s c u l p t u r e. T h es e a r e in pl ace i n o r der t o k e e p th e g ue st saf e, an d to
e n su r e t h e s cu lp t u r e i s p r es er v ed f o r t h e n e xt gues t to e x per i e n c e .
S im p l y p u t , in t er a c t i v e scul p tu r e i s a fab r i cate d h yb r id f or m of to y ,
o b j e c t , i ns t a l l a t i o n, a n d a r t p i ec e that doe s no t c or r esp o nd t o defin iti o n s o f
o t h e r e s t a bl is h ed me di u m s .
T h e I n v it a t io n t o T o u c h
B e c a u s e t h e p r o j ec t w a s d efined as a s or t of “ sc ulpt ur e, ” I w as m et in
t h e t e s t in g s t a g e w it h s om e r elu ctance to i nte ract. T ester s w oul d as k t h e
q u e s t io n s “i s t h i s ok a y t o t o u ch? ” o r “w as t hat s uppos ed t o happen? ” w h e n
t o u c h i n g t h e ob j ect , ci t i ng t h e pr o jec t ’ s clas sificati o n as a bar ri er to their
a b il i t y t o co m f o rt a bl y i nt er a ct . Be cause p e op l e ar e u se d t o “ sculpt ur e ” bei ng
p r e s e n t in a m o r e s t e ri l e , h a n ds- o ff g all e r y e n vir on ment, it bec ame a
p r io r i t y t o des ig n el em ent s t h at addr esse d t he ch all eng e s peo p le fac e d i n
i n t e r a c t in g w i t h t h e p r o j ect . T he ai m o f the e xp er ienc e w as to r e w ar d
p e o p l e f o r e x p l or in g a nd i n t er acti ng w i th t he scu lpt ur e, ho p efull y
p r o m p t in g t h em t o st a y l o n g er and d isc o v er m or e n arrat i v e.
I a t t em p t e d t o r e me d y t his b y addi n g t h r ee s im ple “ o nb o ar d in g”
m e c h a n ic s a nd a ct i vi t i es t o i ntr o duce t he gues t t o th e sc ulpt ur e . T h e v ery
fi r s t i n v i t a t i on is t h e m os t im p or tant, as it i s the har dest on e to g e t o v e r .
W h e n t h e gu e st a p p r oa c h e s t h e scu l ptu r e, t he y ar e met w ith a s m all s i g n
t h a t s a y s “ C om e o n in a nd P l a y! ” F o u n datio nall y , ope n -h ouse i s b u i l t o n t he
s im p l e a ct of p h y si ca l t o u ch , and pr iming t he gues t t o do so as ear l y as
p o s si b l e b eca m e t h e k e y t o in vit i ng them to en g ag e in t he w o rk ’ s m o r e
c o m p l e x t a ct i l e a ct i v it ie s. B y pl aci ng sim pl er , t o uch an d f ee l o n l y
i n t e r a c t io ns c l os er t o t h e f r o nt o f the piece and bo tto m fl o o r , I h oped t h at
t h is p r i m er w o u l d b e i n v it in g eno ug h t o al l o w t he g ue st t o e xplo r e d ee pe r
i n t o t h e sc u l p t u r e. M o r eo v er , sm all ri bb o n lab els ar e pl aced near t h e
4
i n t e r a c t a b l e el em en t s o f t h e p ie ce , pr o vidi ng t he g u e st w it h si mple
i n s t r u c t i on s a nd p r o m p t s.
D e sp it e t h er e b e in g a n onb o ar ding pr o ce s s t hat atte mpt ed to
e m p h a s i ze t h e i m p o rt a nc e o f t ouc h in th e e xpe ri e nce , the g u es t s t i l l h ad th e
f r e e d o m t o c h o o s e h o w m u c h o r ho w lit tl e i nte racti o n the y engag ed wi t h.
T h e r e in l i es t h e sp i r i t o f t h e i nte racti v e sc ulpt ur e — it is an e xpe ri e n c e t h a t
a l l o w s f o r fr eed o m of i n t er a c t ion and e xpl o rati o n f r o m v ary i ng le v els o f
c o m f o r t a nd p r o x i m i t y .
I n t im a c y a n d Im m er s io n
B e c a u s e o p e n -h o u se e x is t s in ph y sical spac e, it w as ab le t o u se tac t i l e,
v is u a l , a n d a u d it o r y s t i m u l i i n o r d e r t o cr eate an i m m er si v e e xpe rienc e.
C r e a t i n g a n i m m er s i v e e x p er i en ce w as be y o nd just allo w ing f or ph y s ic al
p r o x i m i t y a n d a b i l i t y t o t o u ch o b je cts. I t w as abo ut cr eat ing an e n vi r on m e nt
t h a t w o u ld mo r e e ff ec t i v el y c om munic at e the e xpe ri e nce o f gi rl h ood .
T h r o u gh c r ea t in g a n e x p er i ence t hat appe aled t o mul ti pl e se n ses, o pen - house
a i m e d t o c r e a t e a r i ch er c on n ec ti o n b etw e e n the g uest and childh ood
e x p e r i e n c e.
T h e e x p er i en ce of in t i mac y w as t o b e es t ab l ishe d fr om the v e ry
b e gi n n i n g . D es p i t e t h e sc u l p t u r e ’ s name , open - hou se i s hid den upon first
e n c o u n t er . T o ent er t h e e x p er ience , gues t s had to pas s t hr o u g h a s m all
e n t r a n c e t o t h en r e v e a l t h e sp ac e w h er e the y w oul d b e m e t w ith t h e
s c u l p t u r e. T h i s w a s i ns p i r ed b y F r ank L lo y d W rig ht ’ s ar chit ec t u ral t h e o ry of
c o m p r e s s io n a nd r el ea s e, i n w h ich he w o u l d m ak e g u e sts first e n t er a tig h t
c o m p r e s s ed sp a ce t o t h en r e v eal an o pe n ar ea. D esp i t e the op en - hou s e
s c u l p t u r e a r e a no t bei n g e x t r eme l y l arg e, cr eating th is visu al and
e x p e r i e n t ia l co nt r a st w a s d o n e to am plify t he i mme rs i v en ess o f o pen - house .
5
F ig . 2 : I n t er a ct i v e sc u l p t u r e sp ace to p- do w n v i e w . C o mpr e s sion an d r el e as e
p o i nt i s hi gh ligh te d i n y ell o w .
T h e d o l l h o u se is 1. 2 m ete rs ( ab ou t 4 f e et ) t all, al lo w i ng a c h ild to
c o m f o r t a bl y p l a y a n d i nt e r a ct wi t h all f our fl o o rs w h i l e sit t i ng , kne elin g, a n d
s t a n d in g . H o w e v er , t h e t a r g e t audie nce f o r t hi s dol l hou se is f o r peopl e ag e d
t e e n a n d u p , w h o a r e o n a v er a g e, t alle r t han 1 .2 m e te rs. If the do ll h ouse
w e r e t o s t a nd o n t h e g r o u nd a s in itiall y inte nded , t he b o tto m fl o or s of th e
h o u s e w o u ld b e v er y d i ffi cu l t to in t e rac t w ith c om f o rtab l y . T o r e med y th is ,
t h e d o l l h o u se w a s p l a c ed on a p pl e b o x es , co nce aled b y d ark b lue v ar i e g a ted
y a r n w a t er t e x t u r e, a nd w h ic h a dd ed so me heigh t to the pr o jec t. T h i s
a l l o w e d f o r t h e b o t t o m t w o fl oo rs to b e i nte racte d wit h co m f o rtab l y i n a
s e a t e d p os i t i on b y t h e g u est s o f t he targ et au die nce . A ddi t ion all y , th e
c u sh io n a nd t h e s u r r o u n di ng ar ea o f th e e xp er i e nce w e r e c o v er ed b y b lack
f a b r i c a n d a na v y b l u e bl a n k et .
T h e e x p er i en ce of a g u est lo w er i ng them se l v e s in o r d e r t o ente r t he
e x p e r i e n c e w a s do ne i n o r de r to c r eate a sens e of intimacy and
6
i m m e r s io n— I a t t em p t ed t o e v o k e a r etu rn to a child- lik e state t hr ou g h th is
p h y s ic a l sh i i n p er s p e ct i v e. T his r et ur n w as also don e thr o ug h t h e u s ag e of
b l a n k e t s a nd p i l l o w s i n t h e sp a ce . B esid e s ju st cr eat i ng a mo r e c om f o r tabl e
a n d c o z y sp a c e, t h i s a l so cr ea t ed a m or e imm e rsi v e e x per i e nce — t h e s pa ce
d r e s si n g w a s do ne t o r es em bl e co nfin ed childh oo d pla y s p ace s , s u c h as
b e in g u n de r bl a nk e t s, o r p i l l o w f o rts. T he e xp er ienc e of ope n -h o u se i s a
k i n a e s t h et i c o ne, a s t h e e x p e r ienc e is i ntrins i cal l y “ co nne cted wi t h th e
a b il i t y t o k no w w h er e t h e p a r t s o f y our b od y ar e and ho w th e y ar e m o ving. ”
1
I n e m b o d y in g t h e c o r p or ea l st ate o f c hi l dho o d t hr oug h m o v eme n t an d s et
d r e s si n g , I a im ed t o co m m u nicate m o r e cl ear l y t o al l gues t s so m e of t h e
m o r e p e r so na l a nd l es s t a n gi b le asp e cts o f g ir lh o od.
D e sp it e t h e c a r ef u l c u r a tion o f t he scu l ptu r e and i ts sur r ou n d in g
s p a c e , I o p t ed t o f or g o c r ea t i ng an e xpe ri e nce t hat r e q ui r ed the gue s t to
f o l l o w a n e x p l i ci t n a rr a t i v e s t r uc t u r e o r or der o f i nte racti o ns . This w as d o ne
f o r t w o r e a so ns: t o em u l a t e t h e mo r e uns tru ctu r ed natu r e of pla y as s oc i ate d
w it h d o l l h o u s es, a n d t o a l l o w the g uest to en g ag e w ith t he sc ulpt ur e at th ei r
o w n p a c e . I a l so h o p ed t h a t in gi v i n g the g ue st so me mo r e ag e n c y i n th e ir
e x p e r i e n c e, t h e y w er e m o r e l i k e l y t o f e el a se n se o f i n t imac y and pe rs on a l
c o n n e c t i o n t o t h e p ie ce .
A n ot h e r c h a l l en g e t o i nt im acy i n i n st allat ion e x pe rien ces i s that of
a c c e s si b il i t y . T h e ch a l l eng e I am ha vi n g wi t h the pr o jec t is t o mak e t h e
e x p e r i e n c e a s a cc ess i bl e t o a s m an y pe o pl e as pos sib le. Al thou gh i deal i sti c, I
d id m y b es t t o m a k e op e n - h o u se as access i b le o f an e x per i e nce as po s s i b le ,
w h i l e w o r k i n g w i t h t h e sp a t i a l co ns t r aints o f i t b ei ng a ph y s i cal e x per i e n c e .
I f I w e r e t o e x p a n d t h e p r o j ec t mo r e in t he fu tu r e, I w o uld put the sc ul ptu r e
o n a l a t e r a ll y m o v in g p l a t f o r m th at I co uld ad just the hei g ht o f.
A d d it io n al l y , I w o u l d r ep l a c e the c urr ent e xisti ng cu shion s in fr o n t of th e
h o u s e w i t h s l i gh t l y t a l l er cu s h i o ns in o r d e r t o cr eate a m o r e ph y s ic all y
c o m f o r t a bl e s ea t i n g e x p er ie nce. T he o ther ch alle ng e w ith t he in t er ac t i v e
s c u l p t u r e is t h a t of sen so r y f ee db ack , and this w o u l d b e so l v e d t h r ou g h
i n t r o d u c i ng k n o bs a nd d ia l s t hat all o w f o r the g uest to adjust t h e v ol ume of
t h e m u si c a nd b r i gh t ne ss o f t h e pr o jection . I n th is w a y , t he pr oje c t w o ul d be
m o r e a c c es si b l e t o p eo p l e w i t h s enso ry p r o cessing i s sue s.
1
A s d e fi n e d b y t h e C a m b r i d g e D i c t i o n a r y
7
B r e a k i n g D o w n I n t e r a c ti o n
T h e i n t eg ra t io n of me a n i n g ful me ch anics ar e k e y i n i n t e racti v e
s c u l p t u r e de si gn . I n o r de r f o r t he g u e st to capt ur e the pi e ce ’ s m ean i ng, t he y
h a v e t o s p en d a s mu ch t i m e a s the y co ul d w ith t he p iece. N ar r ati v e th e me s
a n d s u b seq u en t l y , m ea n in g, a r e sl o w l y r e v e aled thr o ug h t he con t i n uo us a nd
g r a d u a l e x p lo r a t i on o f t h e do ll ho use s t r uc t u r e and e ngag in g i n i t s
m e c h a n ic s . Ph y si c a l a c t i on s suc h as hamm e r ing, ope ni ng lat che s , an d
f e e l in g t e x t u r es a l l em b o d y a m e mo ry or a w a y o f r emem b e r in g.
I n h is p a p er ‘I n te r a cti on ’ ve rs u s ‘ A ct i on ’ in L u h m a nn ’ s S oci olog y o f
C om m u n i ca tio n, D u t ch s o c i o l o gi st L oet Le y desd or ff m ak e s a d i sti nc t i on
b e t w e e n “ a c t i on ” a nd “ i nt er a ctio n, ” arg ui ng t hat “w her eas ac ti o ns oper at e
h is t o r ic a l l y , i n t er a c t i on s p r o vi de th e e v e nts r et r os p ecti v el y w i th me an in g. ”
2
B u i l d in g o n a r g u m en t s b y s o c iol o gists L u h man n (1 98 4 ) and H abe rm as
( 1 9 8 7 ) , L e y de sd o r ff u r g es u s t o co ns ider inter acti o n as a se c on d or d e r ac tion .
I n o t h e r w o r d s, h e a r gu e s t h a t int er action s ar e “ ac t i v e, ” w hile ac ti o n s ar e
“ p a ss i v e . ” I t is t h e a w a r e ne ss of t h e m e aning o f an act ion t h at th e n mak e s i t
a b l e t o b e cl a s si fi ed a s a n i n t er acti o n. In o ther w o r ds, r efl ec t io n an d
r e t r o s p e c t a r e w h a t di st in gu is h “ i nte racti o n ” fr o m it s deco nte xtu al i zed
c o u n t e r p a r t , n a m el y “ a ct i o n. ”
P a r ticipatio n O b ser v atio n
A c t io n A ct o r R e po rt
I n t e r a c t io n R o l e D i s co urs e
F ig . 3 : T ab l e fr om L e y d es do rff ’ s paper outl i n ing the “ dou b le h e r me n eu ti cs ”
o f acti o n v s i nact ion .
2
L e y d e s d o r ff . “ ‘ I n t e r a c t i o n ’ v e r s u s ‘ A c t i o n ’ i n L u h m a n n ’ s S o c i o l o g y o f C o m m u n i c a t i o n . ”
8
I f w e a r e t o e x t r a ct t h is meani ng o f i n t e rac t io n and ins er t it i nto t he
f r a m e w o r k o f i nt er a ct i v e sc u l p tu r e, w e can c on clu de th at th e m e an in g o f
t h e a c t i o n s p er f o r m ed i n op e n -h ou s e ar e no t m ade to b e im mediate l y
a p p a r e n t . O n l y a er t h e gu es t r efl ects o n the mean ing of w h at th e y just d id
d o e s t h e i r a ct i o n b ec om e a n i nt eracti o n. T h e mean ing s as signe d t o s uch
a c t io n s a r e r e fl ect i v e o f s oc ia l m yt hol o gies and shar ed unde rs t and i ngs of
t h e c o n c e p t o f t h e h ou s e, h ome , an d g irl ho o d. T h i s f o undat ion al t h e o ry of
i n t e r a c t io n in f o r m ed t h e m echani cs an d i n t e rac t io ns pr esent in o p e n -h o u s e .
9
C h a p t e r 3 : P l a y
M e c h a n i c s
M o n t e s s o ri P h il o so p h y
S e v er a l o f t h e l a rg er ma in i n t e rac t i v e mec hani cs o f open - hou s e w e r e
l a r g e l y in sp i r e d b y M o nt e ss o r i p hi lo so p h y o f to y desi gn. C r e at ed b y I tal ian
p h y s ic i a n M a r i a M o nt es s o r i i n t he ear l y 1 9 0 0 s, her e po n ymo us
m e t h o d o lo g y em p h a s i zed h a n d s -o n lear nin g and the d e v elo p ment o f r e al
w o r l d sk i l l s
3
. M o nt ess or i t o y s w er e desig ne d to on l y teach a sin g le s k i l l,
4
and
“ r e q u ir e d [ a ch i l d’ s ] p a r t i ci p a t io n an d ac ti o n f o r use. ”
5
Th e si m pl i c ity of
M o n t e s s o ri m ech a n ic s, a n d t h eir inc or po r at io n o f r e al - w or ld objects mad e
t h e m a s u r p ri s in gl y i n t er est in g f o undat ion f o r c r e ati n g inte racti o n s that
a t t e m p t e d t o e v o k e t h e e x p er i enc e of chil dho o d.
T h e r e a r e t w o i nt er a ct i o ns that use r eal M on t e sso r i t o y s , an d t w o t hat
w e r e in s p i r ed b y M o nt es so ri t e chniques . Th e s e w e r e th e spi n nin g cl o c k a nd
h a m m e r i ng i nt e r a ct i o n on t h e se co nd flo o r , the r epur pos ed lat c h es an d
d o o r s b o ar d i n t h e a t t ic , a nd t he m o v ab le dr a w e rs on t h e t hi r d flo or .
B e c a u s e M on t e sso r i t o y s w e r e m echan ical l y and vi suall y v e r y s imilar to
o b j e c t s t h a t e x i s t in t h e r ea l w o rl d, t he y m ade f or an ideal f ound ati o n f o r
t h e in t e r a c t a b le s i n o p e n -h o u se .
D i s c o v e r y
A p r o m in en t d es i gn p r i ncipl e i n t h e d e s ig n o f o pe n -h ous e w as th at of
d is c o v e r y . T h i s m ech a ni c w a s al r ead y pr esent in t he l atches and d oors
b o a r d , b u t a ls o f o u nd in o t h e r w a y s thr o u g ho ut the s cu l ptu r e. I at te mpt ed to
e x p a n d o n t h is p r i nc ip l e of “ d is co v e ry” b y usi ng a v ari e ty o f me thod s .
I n t h e b a se m ent fl o or , I o pte d to on l y c ho o se si m pl e w a y s of
i n t e r a c t io n. T h e m a i n i n t er a c t i o n o f the fl o or i s to u c h, and I w an t ed to
e n c o u r a g e i t b y a dd in g v a r i o u s y arn shapes and ob jects o f v ary i n g s i z es,
c o l o r s , a n d t e x t u r es. T h e fl oo r i s d e s ig ned to lo o k lik e it is unde rw ate r , s o
5
h t t p s : / / m o n t i k i d s . c o m / b l o g s / m o n t e s s o r i - t i p s - 1 / w h a t - m a k e s - t o y - m o n t e s s o r i
4
h t t p s : / / a m s h q . o r g / A b o u t - M o n t e s s o r i / W h a t - I s - M o n t e s s o r i / C o r e - C o m p o n e n t s - o f - M o n t e s s o r i
3
h t t p s : / / a m s h q . o r g / A b o u t - M o n t e s s o r i / W h a t - I s - M o n t e s s o r i / C o r e - C o m p o n e n t s - o f - M o n t e s s o r i
1 0
o b j e c t s s u ch a s s ea w ee d, s a nd , a nem on es, and co ral s ar e us ed to c r eat e t hat
s p a c e . O n t h e r i gh t si de of t h e bas eme nt fl oo r i s a smal l p i t, m ad e to look
l i k e a s a n d p i t e m b e dde d i nt o th e flo o r o f th e b ase m ent. A l i g ht ill u min at e s
t h e h o l e , w h i ch i s fu l l of sp ik y o bjects mean t t o r e semb l e s ea ur c h in s . T he
m e c h a n ic f or t h i s i s si m p l e— t he gues t is e x pected t o s t ick th e ir h an d i n to
t o u c h a n d f ee l t h e t e x t u r es i nside. T he y ar e als o w el co m e to r emo v e the
o b j e c t s i ns i de a nd p l a ce t h em el se w her e i n th e ins tal lat i o n. In o r d er to
p r e s e r v e t h e e x p e ri en c e f o r t h e ne xt g u e st, I r es et t he t i m e
T h e o t h er w a y in w h ic h d i s co v e r y i s u se d is in t he ches t o f d ra w e rs o n
t h e t h i r d fl o or . T h er e a r e t w o f or ms o f i nte racti o n in t he che st o f d ra w e rs:
t h e o p e n in g of t o p a n d b o t t o m dra w e rs , and t he sl idi ng o f th e mid d le
d r a w e r . I w a n t e d t o a dd a n ot h er m echan ic to the ch est o f d ra w er s be y ond
j u s t s i m p le o p eni ng a n d cl o s in g of d ra w er s. O n th e midd le l e v el o f the ch e st
o f d r a w e rs , I r em o v ed on e o f th e dra w e rs , cr e ating a po r t al in w h i ch a sm al l
v id e o c a n be f o u nd . T h e r em o v al o f th e dr a w er w as al so d o ne t o c r eat e a
h o r i z o n t al sl id i ng m ec h a n ic , p r o mp t i ng the g u est to mo v e th e d r a w er s ide
t o s id e in st ea d o f i n a n d ou t . T his w as als o d o ne t o add t he elem e n t of
d is c o v e r y t o t h e a c t o f si m p l y v ie wi n g the pr o jection . In be i n g a ble to
d is c o v e r m o r e v i de o t h a n i n it ial l y m e et s the e y e, I hope d t o cr eat e a m o r e
d y n a m ic a n d r i ch w a y o f v i e w ing the pr o jec t io n po rtion of the pi e c e.
D i s co v er y w a s a l s o o p enin g the b o x e s a mo r e si mplified w a y th r oug h
t h e o p e n in g of s m a l l b o x es a n d co ntai n ers. M an y M o ntes so ri t o y s ar e
d e si g n e d t o t ea c h t h e co nc ep t o f cause and eff e ct. C ause and e ff e c t c an also
b e u s e d t o u nd er s t a nd a n d p o rt ra y memo r y tri g g er s. T he Am er i c an
P s y c h o l o g ic a l A s so ci a t i o n d efi n es a t ri g g er as “ a stimul u s t hat e l i c its a
r e a c t io n . ” S u ch a st im u l u s co u ld be an e v e n t o r a s ens ati o n, and r e ac t i on s
i n c l u d e s t a t es o f em o t i on a l a n d ph y s i cal ar o usal . T he p r o cess of unc o v e ri ng
a n d d i sc o v er in g m ea n in g t h r oug h e xplo r at io n is an e m bo di ment of the
m e n t a l p r oc es s o f r em em b er in g. Th r o ugh M on t e sso r i t o y s and emphas iz ing
t h e p r o c es s o f d is co v er y , I h op ed that i n t e rac t ing wit h open - ho us e w o ul d
m a k e t a c t i l e t h e n o n -p h y si c a l a ct of “ r emem b e r ing, ”
1 1
P e r f o r m a n c e a n d R o le p l a y
A s m e nt io ne d b ef o r e, ope n -h ouse r equir es it s g u e st to ph y s i c all y
i n t e r a c t w it h t h e s cu l p t u r e i n or der to un p ack and u nf o l d i ts na r rati v e an d
t h e m e s . F o r t h e p u r p o s es of t his pape r , I d efine p e rf o rm ance as a “ c ol lecti o n
o f m u l t i p le i n t er a c t i o n s t h a t a r e b e ing i n t e rpr e t ed f o r a cer tai n m ean i ng. ”
H e n c e , a gu est ’ s p r esen c e a n d int er acti o n w it h th e sc ulpt ur e is as a
“ p e r f o r m a nc e ” i n i t s el f . H o w e v e r , ther e ar e tw o type s o f pe rf o rman c e
e x p r e s s e d i n t h e e x p er i enc e o f op e n -h ouse , n amel y :
Th e P e r f or m a n c e o f R em emb e ri ng
T h e fi r s t w a y i n w h i ch p erf or man ce is u tiliz ed i s i n emb od yin g t h e
p r o c e s s of “r em em b er i ng . ” B y int er acti ng w i th t he scul ptu r e, t h e g ue s t is
“ p e r f o r m i ng ” “r em em b er i ng . ” F o r e xampl e , w hen y ou ride a bicy c le , y o u
a r e r e m e m b er i ng h o w i t i s do ne– r eme m bering ho w t o r ide a bic y cl e
r e q u ir e s y o u t o r ec a ll h o w t o cy c le . R eme m bering hence h as an ele m en t of
p h y s ic a l e m b o di m en t . I n op e n -h ou s e, m emo r ie s ar e “ e x pl o r ed ” an d
“ p r o c e s s e d” i n a p h y si ca l m a n ne r t hr oug h i n t e rac t io n w i th it. E v er y g u est’ s
p h y s ic a l p r ese nc e i n , m o v em ent thr o ug h, an d m anipulat ion of t h e s pac e
m i m ic s t h e c og ni t i v e p r oc es s us ed to r ecall a m emo r y . T he g u es t i s
p e r f o r m in g t h e a c t o f r em em b e r ing t hr oug h t he t acti l e and mu l ti se n s ory
n a t u r e o f in t e ra c t i v e s c u l p t u r e, and t he o b jects in the sp ace ar e w h at m ak e s
t h is p r o c es s t a ng ib l e.
E a c h o f t h e f o u r v i deo o ut put s o n each fl o o r o f the stru ctu r e h as a
c o r r e sp o n d in g p r o x i m it y se nso r . W hen a gu e st firs t e nte rs the spac e, the
v id e o p r o j ec t i on c o n t en t is d im and du ll. H o w e v e r , as the g ue st appr oac h e s
t h e s c u l p t u r e, t h e s a t u r a t i o n a nd clar it y o f the video i n cr ease. T h is w as do n e
t o m i m i c t h e p r o c ess o f l oo k in g clo ser t o e xp lo r e and r eme m ber
s o m e t h i ng — t h e cl os er y o u a r e ab le t o lo o k i nto a me m or y , the m o r e cl ea r it
b e c o m e s .
I f w e a r e t o e x p a n d t h e m e taph o r o f inte racti n g wi t h the s c u lpt ur e as a
f o r m o f p e r f or ma n c e, t h e i t em s and me ch anics pr esent in t he s c u lpt ur e a r e
s y n o n y m ou s t o sp ec i fi c m em or i e s and e v e nts i n m y l if e . In o r der t o
12
e m p h a s i ze t h i s i d ea , t h e scu l p t u r e ’ s mec hani cal des ig n atte m pts to c on n e ct
a p h y si c a l m ec h a n i c w i t h a co rr e spo nd ing mental pr oc ess o r mem or y . F o r
i n s t a n c e , t h er e is a se ri es o f si x o penab le l atc he s and do o rs o n t h e att ic flo or
o f t h e s c u l p t u r e. O nc e o p ene d, a sho r t t e xt par agr ap h/ an ecdo t e i s r e v eale d.
O p e n in g a l a t ch ed co m p a r t m ent on th e atti c fl o or o f t he sc ulpt ur e is mor e
t h a n j u s t r o l ep l a y i ng i t s r ea l li f e c or r esp o ndin g acti o n. T h e i nte rac t i on
p r e s e n t in t h i s a ct i o n is o p eni n g up a hi dde n co mpar t men t t o u n c o v er
s o m e t h i ng h id d en beh i nd a n o b stacle. T hi s seco nd or de r o f meani ng, w hi ch
i s t o l i k e n p h y s i ca l a ct io n t o a m e t apho rical meanin g , is co ng ru e n t to th e
d e fi n i t i o n o f “ i nt er a ct io n ” m e nt i o ne d e arl i e r . In other w o r ds , th e m et apho r
o f d i sc o v e ri n g a s ecr et o r a mem or y t h at i s hidde n a w a y i s mad e mor e
t a n gi b l e t h r o u g h it s r ep r ese nt ati o n as an inter acti o n.
T h is c o n cep t i s t i ed m ost clo sel y to t he act o f “ dis co v e r y , ” as
m e n t i o n ed ea r l i er in t h e p a p e r . T hr o ug h the g uest’ s inter action w i th
o pe n - h ou se , t h e y a r e a b l e t o b oth emb od y and w i tn ess m y e xpe ri e n c e w ith
g ir l h o o d . T h e gu est t h u s be co me s bo t h an audi enc e m emb er an d a
p e r f o r m er o f gi r l h oo d, h o p ef u ll y al lo w i ng f o r a m or e w ho l e and imm e rs i v e
e x p e r i e n c e o f t h e i nt er a ct i v e sculpt ur e .
13
F i g . 4 : C l os e u p o f l a t c h m e ch anic pr o to ty pe in att ic l e v el o f op e n -h o u se
F i g. 5 : G u es t t est in g o p e n - hou se dr a w er m e c hani c pr o to t y pe
1 4
Th e P e r f or m a n c e o f P l a y a nd R o le p l a y
P e r f o r m a n ce is a ls o a n i ntr insic par t of mu l ti pl e f o rm s o f pl a y . I n h e r
b o o k C r i ti ca l P l a y , M a r y F l a na g a n descr ibes t heate r as an acti v ity w i th an
e l e m e n t o f p l a y , s t a t i n g t h a t i t “p r esents act o rs , o r pl a y e rs, w h o i n v o k e
m a k e - b e l i e v e a nd i m a gi n a t i v e w o r lds ju s t as ch i l dr e n do w hen pla y in g wit h
a p l a y h o u s e o r do ll h o u se. ”
6
P l a y has a per f o rm ance-l i k e qualit y t o i t , as th e
f r e e d o m t o e mb o d y a n d ch oo se i s emb edd ed i nto it s co nc ept. T h e abi l i ty
f o r p l a y t o e ng a g e ou r i m a gi nati o n an d tr i g g er t he ado pt ion o f a r ole w a s a
l a r g e r e a so n w h y I c h o s e t o u se pl a y and to y mech anics f o r o pe n -h o u s e. I
h o p e d t h a t t h e gu es t w a s a b l e to a ce rt ain e xte nt t o r o le pl a y “ g ir lh ood ” in
m y s p e c i fi c co nt e x t . T h e a i m of t his w as f or t he g ues t t o pr o ject, in s er t
t h e m s e l v e s, o r r efl ec t o n t h ei r o w n e xp er i e nce s of an d/ o r w i th girl h ood .
T h e e x p er i en ce of op e n - h ou se is al so b u ilt o n the f o undat i on s o f
r o l e p l a y a s a m ea ni n gf u l w a y o f l earni ng and d isc o v er y . H isto rical l y , the
d o l l h o u s e h a s be en u s ed t o t e ac h y o ung g ir ls ab o ut their b e h a v i o r s an d r oles
i n d o m e st ic set t in gs . L i k e ot h e r ac t i v i t ies d o ne in c hi l dho o d e d u c at i on
s e t t i n g s , su c h a s dr es s- u p , r o l ep la y is o e n used as an education al t o ol,
m e a n t t o t ea c h ch i ld r en em p a th y an d i m ag inati o n.
T h e d o l l h o u se is a co nt r ol led san dbo x p l a y en vir o nm e n t , i n w h ic h
t h e r e a r e sp ec ifi c e x p ec t a t i o ns and w a y s of inter action that ar e i n t en d e d b y
t h e i r d e s ig ne rs . S o ci a l a n d h i s to r i cal definit ion s o f g i r lh o od inf o rm w h at
t y p e s o f p l a y a nd r o l ep l a y a r e e xpe cte d an d al lo w e d i n th e s p ac e. T h i s i s the
i r o n y o f u s i ng t h e do ll h o u se a s a r ol epla y ing t o o l – its i nte nded use w as t o
l i m it a n d t o t ea c h i ns t ea d o f e xp and.
B e c a u s e o f t h e c on t e x t i n w hich do l lho u se s ar e ty pi cal l y f o und , the
a c t i v i t y t h a t i s m o s t s t r o n gl y a sso ciate d wit h th e do ll ho use is t h at of pla y .
B e y o n d i t s c o n nec t i on s t o m y e xper ienc es in g ir lh o od, u sing t o y m e c h an ics
a l o n g w it h t h e d o l l h o u se ob j ect cr e ate s a c on ne c t io n b etw e e n o bject, ac t ion,
a n d m e m o r y . I n u si n g mu l t i p l e e l eme nts o f pla y i n co nst r uctin g t h e w orld
o f o p e n - h o u se , t h e e x p er ie nce ’ s ab str act i nter acti o ns w e r e g i v e n ad d i t io n a l
l a y e r s o f m ea ni ng .
6
F l a n a g a n 1 4 9
15
C h a p t e r 4 : G i r l h o o d
T h e a e st h et i c s a n d co l or s m os t c om m on l y as so ciate d w it h gi r lhoo d
a r e w h a t i nf o r m ed t h e vi s u a l s ty l e o f the scu l ptu r e. co lo rs such as pi nk s ,
p u r p l e s , r ed s, a n d p a s t e ls a r e c omm o nl y ass oc i ate d w ith g ir ls , a n d ar e
p r e s e n t t h r ou g h o u t a l l f ou r fl o o rs. Sm all o b je cts such as t ri n k et b o x es,
fl o w e r s , m i n ia t u r es, a n d j e w el ry ar e al so pr om i n entl y f e atu r ed t h r ou g h ou t
t h e p i e c e . H o w e v er , I w a nt e d to mak e a co mm e n t ar y ab o ut g irl h ood be y ond
j u s t e x p l o r i ng a es t h et i cs — I w ant ed the pr o ject t o b e f ai th ful t o m y o w n
p e r s o n a l co nt e x t a nd h is t o ry . Bec ause g ir lh o od is a v e ry b r o ad an d n eb ulous
c o n c e p t , I di st il le d m y co m m entar y o n m y e xpe rien ce w i th it into th r e e
c o n c e p t s : p er f o r m a t i vi t y , t h e n or maliz at io n o f i n vi s ib le l abo r , a n d
s u r v e i l l a nc e.
P e r s o n a l C o n t e x t a n d S p e ci c i t y
M y u n der st a n di n g o f g irl h o o d w as r eliant o n m y cult ur al an d
t e m p o r a l p os i t i on a l i t y . I a m of di as p or ic C h inese In don esian anc estr y , an d
c a m e o f a g e in t h e m i d 9 0 s - ear l y 20 0 0s i n Ind on esia. I g r e w u p i n a
m i d d l e c l a s s h ou se h o ld , a nd a m t he d esc endan t o f m ult iple g e n er at i on s of
i m m ig r a nt s, a n d a m t h e el de st o f thr e e daug hte rs . op en - ho us e i s a
s e m i- a u t ob i o g r a p h i ca l w or k, and i t w as ne c essary to ack no w le d g e th e
i m p a c t t h ese t h i ng s h a d o n m y e xp e ri e nce an d u nd er standing o f gi r lhoo d .
T h is , a l o n g w i t h m y p er so na l and fami l y h isto ry , w as addr esse d in t h e
d e si g n o f t h e w o r k , a n d w h a t w as us ed to pai nt a detaile d an d nu an c e d
p o r t r a it of m y e x p er ie nce o f g i r lh o od.
D e si gn el em en t s t h a t s p ea k to m y cu lt ur al bac k g r o und ar e em bedd ed
t h r o u g h ou t t h e h o u s e. T h i s w as fir stl y estab lis he d b y t he tw o m us i cal tr a cks
t h a t p l a y ed d u r i ng t h e e x p er ie nce. U sing g am elan i n st ru men t s am ples, I
w o r k e d w i t h m y co m p o s er J o hh , w ho desi gne d t w o o rig in al motif s u s in g t he
p e l o g s c a l e o f t h e g a m el a n or c he stra. Ins pi r ed b y mus ic bo x so u n d s an d
c h i l d r e n ’ s g a m el a n s o n gs , b o t h tr ack s co nt r ast in to ne , on e a lig h t er and
m o r e m u s ic b o x - es q u e t r a ck , w hi l e t h e o ther w as dar k er and mo od i e r , with
d e e p g o n g so u nd s. T o m e, t h e s o unds o f gam e l an ar e e x t r eme l y e v oc ati v e o f
1 6
m y c h i l d h oo d, a n d a r e a m on g so me o f th e f o nder m e mo rie s I h a v e fr om
t h a t p e r io d i n m y l if e .
T h e b a se me nt l e v el of t he ho us e w as de si gne d t o l o o k l ik e a fl o or
s u b m e r g ed u n der w a t er . T h e s ec on d fl o o r , w h i ch w as im m edi ate l y abo v e it,
w a s d e s ig ne d t o l o o k l i k e i t w a s par t i al l y s ub mer g e d in w ate r . The desi g n
a n d m o v em e nt p a t t er n o f t h e b lue y arn i n th e s e bo t to m tw o fl oors w e r e
d o n e t o c r e a t e t h e i l l u s i o n o f w ate r . T he i n clu si on o f w at er and t h e s unk en
h o u s e a r e h o m a g es t o m y a n c est r y , an d th e g e ne r at i o ns of m i g ran ts w h o
t r a v e l e d a cr os s o c ea ns t o set t l e in Indo nesi a.
T h e v i deo c on t e nt a nd de sig n c ho ices of t he hou se ar e al so r efl ec ti v e
o f e x p e r ien c es sp ec ifi c t o m y o w n c hi l dho o d. F o r i nst anc e, t he r ooop of
t h e h o u se i s k ni t t ed t o em u l a t e the sam e d ark g r ee n co l or and t ilin g s ty le of
t h e r o o f o f t h e h o u s e I w a s b o rn and raised i n . V ideo f o ot ag e u s ed i n t h e
t h ir d fl o o r a n d a t t i c p r o j ec t i ons ar e fr o m m y o w n fami l y ho me vid e o s .
F i g. 6: T h e h o us e I g r e w up i n fr o m 19 9 7 - 2 004
1 7
F i g . 7: K ni tte d r o o f tiles i n open - ho us e
M y C h in ese a n d I nd o n esian b ack g r o und ar e al so r ef er e n ced in t h e
d e si g n e l em en t s o f t h i s p ie ce . A lo t o f m y e xp er i e nce o f gi rl hoo d w as
i n f o r m e d b y ea ch c u l t u r e ’ s r es pe c t i v e no rm s, and I w ante d to pa y h omag e
t o t h e s e t h r o u gh t h e in cl u si o n of se v er al s ymb o l s and o b je cts sp e c ific t o
t h e s e c u l t u r es . R ed y a rn a nd r ed e lem e nts ar e al so us ed th r o ugh o u t s m al l
v is u a l e l em e nt s a n d de co ra t i v e pi e ces in op en - ho us e, such as i n the han gi ng
l a n t e r n s an d de co r a t i v e e le m ents. E lem ents w ith r e d y arn ar e pl ac ed
a d j a c e n t t o or o n n eu t ra l y a r n s a nd pl anes t o e mphasiz e them v i s ual l y .
T h e c o l o r r ed i s a n im p o rt ant co lo r in m an y As i an cu l tu r e s an d h as
b e e n u s e d t o s y m b o l i ze cel eb rati on , pr o sp er ity , and t he r epul si o n of e vil.
7
B e c a u s e o f t h i s, t h e c ol o r r ed h a s b eco me a pr o mine n t part of o t h e r w orks I
h a v e d o n e e x p l o r in g m y C h in ese herit ag e .
7
h t t p s : / / a s i a . s i . e d u / r e d /
1 8
F i g. 8 : W e i gh t e d B ed s e t (20 2 1 ) b y C hr ista H ary anto
M y I n do nes ia n b a c k g r o und is al so v e ry impo rtant t o m y e x pe rience
o f g i r l h o o d . I w a nt ed t o p a y h o m ag e t o th at, and m y o ther w o r k s about m y
c u l t u r a l ba c k gr o u n d, b y a d d in g a r e ar p r o je cti o n el eme nt to th e pr oje c t . Th e
i n c l u s io n of t h e p r o j ect i o n sc r een is a h o mag e to the w a y a n g ku l i t traditi o n,
a n I n d o n es ia n f or m of s h a d o w pu ppe try and lo ng - f o rm per f o r manc e. Th e
p r e s e n c e o f t h e sc r een i s o n e o f the m ain ele m ents o f w a y a n g ku l i t, an d
b e c o m e s t h e st a g e i n w h i ch s t or ie s ar e enac te d. I w an t e d t he sc r e en on m y
p r o j e c t t o a l so b e u s ed a s a b a c k dr o p f o r the p e rso nal nar r ati v e el e ments of
1 9
o pe n - h ou se . B ec a u s e a l l t h e v i de o pr o jection use d in t he hou se pr i m ari l y
c o m e s f r o m p er s on a l o r f a m il y f o o tag e, it m ade se n se f o r that ele m en t t o be
f e a t u r e d o n t h e p r o j e ct ed el em e nts. Be cause th e puppe t s cr een i s an
e l e m e n t t i ed c o n cep t u a l l y t o v ario us f o rm s o f per f o r manc e ( an d
p e r f o r m a t i v i t y , m o r e o n t h a t l ate r ), i ts pr esenc e in t he p i e ce w as n ece s s ary
t o t ie t h e se c o n cep t s t og et h e r .
F ig. 9 : I nst a l l a t i on v i e w of D a l a ng (20 1 9 ), C hr ista H ary an t o
20
F ig . 1 0 : Sc r ee ns h o t o f l a y e r ed f o ot ag e fr o m D a la ng (2 0 19 )
T h e P e r f o r m a t i v it y o f “ G i r l ’
I d o n o t l oo k b a ck on m y g ir lho o d f o nd l y . As a m atte r o f f ac t , m y
c o m p l ic a t e d f e el i ng s t o w a r d s th at ti m e w e r e w hat r esul te d in an e v e n m or e
c o n t e n t io u s r el a t i o nsh i p w i t h f e mininit y an d g en de r in m y y o un g adul t
y e a r s . L o o k i ng b a ck o n m y g irlh oo d, I r eal i z e d t hat ther e w as a c on fl i ct
b e t w e e n t h e c o n st r a in t s, e x p ec tatio ns, and i l lus io ns of g ir lho o d, and w h at
w a s m y t r u e l i v ed e x p er i en ce of g i rl ho o d. op en - ho us e ad dr ess es ho w m y
e x p e r i e n c e w it h g i r l h o o d w a s m or e o f a pe rf o rm at i v e act rat her th an a tru e
e x p r e s s io n of m y se l f.
I il l u s t r a t e d t h i s c o n t r a s t b y p r ese n t ing co m mo nl y u nder s to od
s y m b o l s a nd n a rr a t i v es o f g ir l h o o d at the b e g in ning o f th e e x per i e n c e .
W h e n t h e gu e st st a rt s t h e e x p er i e nce , t h e y ar e pr ese n t e d wit h a m o r e visib l y
f e m i n in e p i ec e— t h e p r oj e ct io n s the y init i al l y e nco unter e d ar e of t h e c olo r
p a l e t t e o f gi r l h o od , a nd t h e i nstall atio n. O n l y t hr o u g h inter actio n wi t h th e
p ie c e w e r e gu est s a b l e t o d is co v e r the mo r e pe rso nal un de rl a y er of m y
21
p e r s o n a l e x p er i enc e w it h g i r l ho od. A s m enti o ne d earl i e r , I did m y b e s t to
d e si g n t h e e x p er i en ce t o r e w a r d t he g uest f o r eng ag ing wi t h the pi e c e mo r e.
I n h id in g t h es e c om p l i ca t ed notio ns o f gi rl hoo d b e h ind inter ac tion s , I
h o p e d t h a t ga i ni n g a de ep er a nd mo r e nuanc ed vi e w w as a viabl e r e w ar d f or
t h e g u e s t .
O n e o f t h e id ea s t h a t i n f o rm ed th is n e w f o und un de rstand i n g of m y
o w n g ir l h oo d c a me f r o m e nco un t e ring the w or k o f J u dith B utl e r . In h e r
1 9 9 3 b o o k B od ie s th a t M a tte r , B ut ler made a d i sti n ct i o n b e t w een
p e r f o r m a t i v i t y a n d p er f o r m a nce . Sh e ar g u e d t hat “ per f o rm ati v ity is n e i the r
f r e e p l a y no r t h ea t r i ca l sel f p r ese ntatio n; no r c an i t b e simpl y equat ed with
p e r f o r m a nc e. M o r eo v er , c o n str aint i s no t necessar il y th at w hi c h s et s a limi t
t o p e r f o r m a t i v it y ; c o n st r a i n t i s, rather , that w hi ch i m pels and su stain s
p e r f o r m a t i v i t y . ”
8
B u t l er ’ s d i st in ct i o n bet w e en these t w o t er ms inf o rm e d t h e d ic h oto m y
o f t h e e x p er i enc e o f g i rl h o o d I w as t rying t o e xpr ess i n open - hou se. I use d the
t e r m “ p e r f o r m a nc e ” t o des c ri b e b o t h r eme m bering and pla y , al ludin g t o the
m o r e fr e e a nd u nco ns t r a i ne d na tu r e o f these action s. H o w e v er , I use d the
t e r m “ p e r f o r m a t i v i t y ” t o d es cr i b e g ir lh o od. In r eaching thi s und e rs t an d in g
i n t e r n a l l y , I ma n a g ed t o m or e accur ate l y u nd er stand w h y th e fr eein g
c o n n o t a t i on s o f “ p er f o r m a nc e ” f e lt i n accurat e t o m y e xp e ri e nce o f gi r lh o o d .
O n e o f t h e a sp ec t s of t h e pe r f o rm ati v ity o f g ir lh o od w as e x pl or ed in
t h e m id dl e l e v el o f t h e ch es t o f dr a w e rs on the t hi r d flo o r . A e r s l i d i ng th e
d r a w e r , a n ot h e r v i deo i s r e v eale d o n the sc r een. T he tw o v i deo s c on t ras t
e a c h o t h er vi s u a l l y , b u t a r e p r o xi m ate t o each o ther , and o nl y o n e o f t h e tw o
v id e o s c a n b e vi e w e d a t a t i m e . I us ed th is m e chanic t o e xplo r e t h e tw o si de s
o f g i r l h o o d I w a s e x p ect ed t o p er f o r m. Th e init ial vi deo g ue sts enc ou n t e r is
h ig h l y f e m in i ne, d a i nt y a nd l i g h t and pink. T he se co nd vi d e o r e v e aled b y
s l id in g t h e dr a w er i s a d a r k er and g ri ttier edit o f th e fir st vi deo . I f the gue s t
w a s t o p l a c e t h e d ra w er in t h e middl e o f t he t w o vi deo s, t he y w ou ld s ee tha t
t h e t w o v id eo s w er e no t s ep a r ate pl a y i ng files, b ut rat her tw o seque n c e s
b l e n d e d t o g et h er t o f o r m o ne c li p. Th e fl e xib il i ty g i v en to the g u es t to mo v e
t h e d r a w er l e t o r i gh t c om m un i cate s t hat t he line d i vidi ng t hes e tw o
c o n t r a st in g e x p er ie nc es of gi r lh o o d i s m alle ab le an d co nst antl y i n fl ux .
8
B u t l e r , J u d i t h . B o d i e s t h a t M a t t e r 9 5
2 2
A n ot h e r i nt er p r et a t io n of this i nte racti o n w as als o that id eas of
g ir l h o o d , a n d m or e b r o a d l y , g e nder , w er e and ar e co ns tantl y in fl u x . I n he r
b o o k C r i ti ca l P l a y , M a r y F l a na g a n q uotes J udith B u tl er , s tating t h at “ s oc ial
n o r m s s u ch a s g end er a r e si t es of neg o t iat i o n f o r s ubjects w ho mu s t c h oo s e
f r o m u n r e a li s t i c o r e x a gg er a t ed bin arie s o f g e nd er i d e n t it y . ”
9
I n c on c e aling a
fl u i d a n d b l en ded vi su a l v i de o w ith a stiff and stru ctur ed dra w e r , I h oped to
t r a n sl a t e t h i s co nc ep t i n a t a ct il e and vi sual w a y .
H o w e v er , I ’ d l i k e t o p o si t that m all eabil i t y and fl e xi b i lity ar e n ot to be
c o n f u s e d w it h fr eed o m . J u st be cau se t he definit i o n o f gi rl hoo d w as al l o w e d
t o b e s o m e w h a t b r o a d, I f el t a s if ther e w as s t ill a r e al m of “ accepte d ”
g ir l h o o d t h a t I di d n o t fi t i n t o. I n co ncl u sio n, I descr ibed “pl a y ” as
u n g e n d e r ed a n d fr ee of c o n st r aint. I t w as t hr o u g h “ g i r lh o od” I l ear n e d w ha t
t y p e s o f p l a y w er e a l l o w ed o r accept abl e, an d in thus g i r lh o od w as a f o r m of
p e r f o r m a t i v i t y i n st ea d of p er f o r manc e.
9
F l a n a g a n , M a r y , C r i t i c a l P l a y 1 4 9 .
2 3
C h a p t e r 5 : S u r v e i l l a n c e a n d S p a c e
T h e G a z e
U p o n fu rt h e r r efl ect io n, I r ealiz ed that gi rl hoo d on l y f e l t c on s t rai ning
t o m e b e ca u s e I w a s m a de a w a r e of its e x isten ce, and tau gh t to f o l lo w i t s
g u id e l i n e s. G ir lh oo d i n i t sel f w a s no t intr i nsical l y c on st ri c t ing , b u t r at h e r
s o c ie t y ’ s d efi ni t i o ns o f gi r l h o od w e r e w hat cr e ate d t hese c on st rai nts.
I n e sc a p a b l e a nd o m ni p r e sen t , sur v eill ance b y so ciet y , fam i l y , a n d f r om t he
s e l f w a s a co nce p t t h a t w a s cl o sel y c on nec t e d t o m y e xpe ri e nce w ith
g ir l h o o d . C o nn ec t i ng t h i s t o B u tl er ’ s theo ry , w e can thus arg ue t h at
p e r f o r m a t i v i t y i s p er f o r m a nc e und er sur v eill ance .
I h op e d t h a t i n in t e ra c t i ons wit h op en - ho us e , gues t s w o uld c aptu r e t he
e x p e r i e n c e o f c on st a nt su rv ei ll ance th at cam e w ith m y e x pe rienc e w i th
g ir l h o o d . I i m p l em en t ed t w o de sig n c ho ices i n the desi gn o f op en - hou s e t o
c o m m u n ic a t e t h is co nce p t , na m el y thr oug h m otion se n so rs , a s u rv eillanc e
c a m e r a a n d t h e p l a ce m ent o f r efl ecti v e sur faces .
T h e r e w er e t w o w a y s mo tio n se nso r s w e r e use d in t he pr oje c t . T h e
fi r s t w a y w a s u s in g a sm a l l LE D mo ti o n r e ac t i v e ligh te d e y es . T h e e y e s ar e
s m a l l a n d gl o w or a n g e, a n d w er e pl aced i n the b ack o f t he att ic, s ee m i n gl y
w a t c h in g t h e g u es t in t er a c t w i th t he sp ace. T he e y e s w er e on l y acti v at ed
w h e n t h e gu e st b ega n t o i n t er act w ith t he attic fl oo r . T he se c ond w a y
m o t io n s e ns or s w e r e u s ed w er e thr o ug h t he r eacti v e natu r e o f th e vid eo
p r o j e c t io n . A s t h e gu est a p p r oach e s th e s cul ptu r e, t h e video pr oje c t i on
i n c r e a s e s i n cl a ri t y a nd s a t u r a t i o n, pr o jecting at full c lar ity o nce t h e gu est
h a s a r r i v ed a t t h e fr o nt o f t h e p iece.
T h is w a s a ch i e v ed t h r oug h pl aci ng f o u r hi dde n m o ti o n se n s or s on the
f r o n t fa c a de o f t h e do l l h o u s e. T hese w er e co nn ected t og et her t o an A r d uin o
U n o a n d t o T o u ch D es ig ne r , w h i ch then co ntr ol l ed the inten sity of the
v id e o o u t p u t s . T h e p r es enc e of t hese m o v i n g g lo wi n g e y e s, an d m ot i on
s e n s o r t e c h n ol o gy a s a w h ol e, w er e used to no t o nl y cr eat e a su r r eal ,
c h i l d - l i k e m a gi c f e el , b u t a l s o to e nhanc e the in t e nd ed e xpe rienc e of
s u r v e i l l a nc e.
24
T h e c a m er a u se d i n t h e p r o je c t w as a r epur pos ed b ack se at car cam er a,
w it h it s l en s p l a c ed i n t h e t o p rig ht co r ne r o f the sc ulpt ur e . Due t o the
d a r k n e s s of t h e su rr ou nd i ng a r ea and t he co lo r o f th e c amer a it is n ot
i m m e d ia t e l y a p p a r en t t o t h e g u e st. O n t he th ir d fl o o r o f the scu l ptu r e
e m b e d d ed i n t h e dr a w er s, t h er e is a sm al l m o nit or that o utpu ts th e l i v e f ee d
f r o m t h e ca m er a on t h e t op r ig ht o f t he sc ulpt ur e . T he cam e r a ’ s place ment
a n d a n g l e m i m i ck e d t h a t o f a s e c uri t y cam e r a. I t w as also tu rned at a 9 0
d e gr e e a ng l e, a nd o u t p u t s a w arp ed i mag e o f the g uest b e lo w . This and t he
c a m e r a ’ s lo w r eso l u t io n sc r e en ga v e the v i d e o outpu t an unne rvin g an d a
l o - fi f e e l .
I h a d t es t e d s e v er a l ca m e ra pos i tio ns an d r o t ati o ns i n th e s c ul ptu r e ,
b u t f o u n d t h e c a m er a t o b e m o st eff e cti v e w h en h idd en at the t op c orne r of
t h e s c u l p t u r e a n d a t a 9 0 d egr e e ang le . W hen p l a yt esting, g uests f o u n d th e
c a m e r a m o r e i nt ri g u i ng a n d i mp actful e m otion all y w he n t he vi deo f ee d
a n d c a m er a so u r ce w er e m o r e v ag ue an d har de r t o find . So me gu es ts
r e m a r k e d t h a t on ce t h e p r es ence of t he came ra w as kno w n, the e m o tiona l
t o n e o f t h e e x p er i en ce ch a ng ed fr o m a lig ht hearte d o ne t o a s li g h t l y mor e
u n se t t l i n g o ne . M o st i nt e r e st i ng l y , w he n the p r esenc e o f t he cam e ra w as
k n o w n so m e g u es t s w o u l d p erio dicall y g lan ce u p an d c heck t he c am er a an d
t h e v i d e o f eed t o s ee h o w t h ei r mo v e men t s l oo k e d o n c amer a. I n this w a y ,
t h e d e c is i on t o p l a c e t h e ca m era i n th e top c or ne r o f the h o use e mph as i z ed
t h e id e a o f gi r l h oo d a s a n e x p erienc e o f e x te rnal su rv e i l lanc e.
A e r a gi r l i s m a d e a w a r e , thr o ug h the co m men t s fr o m t h e pe o pl e
a r o u n d h er , o f h er s el f a n d h er “ gi rl hoo d , ” she l e arns to s elf -su rv e i l . I w an ted
t o e x p l o r e t h is c on ce p t b y u s i n g an ob jec t t hat w o uld w o rk co nt e xtu al l y in
a l l f o u r fl oo r s o f t h e h o u s e. T h r o ugh t h e e m bedding o f cameras an d
r e fl e c t i v e s u r fa c es i n op e n -h ou se , I h o ped to po rtr a y t he e x pe rienc e of
e x t e r n a l a nd i nt er na l su rv ei ll a nce th r o ugh th e pr o ject’ s d e s ig n.
I n p o p u l a r cu lt u r e, t h e mi rr o r is used as a s y m b o l o f v an ity an d
b e a u t y . I t a l so i s a n o b j ec t t h a t is co m mo nl y asso ciat ed wi t h f emin i ni t y .
T h is , a l o n g w i t h t h e ea s e o f s o u r c ing and fab ricating v ar i o u s r e fle c t i v e
s u r fa c e s , m a de m i rr or s a n d o t h er r efl ec t i v e su r face s a co nt e x t ual l y apt
c h o ic e t o co m m u ni c a t e t h i s i d e a. W hi le t her e w as o nl y on e cam e ra in th e
s c u l p t u r e, r efl ec t i v e s u r fa c es w er e plac ed in se v eral p laces thr o ugh ou t th e
25
s c u l p t u r e in v a r y in g si z es a nd o ri e ntatio ns. T hi s w as do ne to r epr e s ent the
o m n i p r e s en ce of t h e e x p ect a t io n f or g ir ls to s elf -su rv e i l . open - ho u se
i n c o r p o r at ed a v a r i et y o f r efl e c ti v e sur faces , such as m y lar , m i rr ors, and
e v e n m i ni a t u r e di s co b a l l s t o cr e ate t hi s eff ec t . T he v ar iet y o f m ate ri al s and
s h a p e s u s ed n o t o n l y cr ea t e d vi su al i n t e r est i n th e piec e, b ut al s o c r eat ed an
i n t e r e s t i ng v a r i et y o f di st or t ed r e fle cti o ns . T he y al so ha v e the ad d e d qu al i ty
o f b o u n c in g l i gh t , p r o j ect io n, and c ol o r i n i nte r esti ng w a y s, cr eat i n g a
d r e a m - l i k e a nd w h im s ic a l f e el to t he i nte ri o r o f t he ho us e.
O n e o f t h e mo st i n t er e st i ng e nco unter s I had w he n te sti n g t h e pr o j ect
w e r e c o m m ent s p e op l e m a de w h en t he y e nco u n t e r ed a lar g e sur f ac e w ith
t h e i r r e fl ec t i o n o n it . U p o n en co u n t e ring th e ir r efle cti o n o n a lar g e r su rfac e,
g u e s t s w o u l d t h e n o en m a k e a cas ual crit i cal r emar k ab o u t t heir l o oks.
P h r a s e s s u ch a s “ w h y di dn ’ t y o u te ll me m y hair lo o k ed lik e th a t ? ” o r “ w o w
m y e y e b ag s l o o k r ea l l y b a d t od a y” w er e am o ng so me o f tho se r e mar ks .
I n t er est i n gl y , t h e p r es ence of t he mi rr o r m ade the g u est a w ar e of th e ir
l o o k s , a n d a l l o f t h e c om me nt s g u ests m ade to w ar ds them se l v e s w er e in
s o m e w a y c r it ic a l . T h i s f e ed b a ck s ho w ed t hat the pr ese n ce o f m irr or s w as
c r e a t in g a s el f -c on s ci o u s f e el i ng in g ue sts, w hi c h r e fl ec t e d the mess ag e I
w a n t e d t o co n v e y . U n f or t u na t e l y , no ne o f the g ue sts made po sit i v e r em arks
a b o u t t h ei r a p p ea r a n ces w h e n enco unter ing t heir r efl ec t io ns. I w oul d al w a y s
d o m y b es t t o r es p o n d w i t h a co u nter co m men t , as I d id no t w an t m y gue st s
t o f e e l b a d a bo u t t h em se l v e s. H o w e v e r , u po n fu rt her r efl ec t io n, I b e lie v e
t h a t t h i s r efl ect ed a no t h er t en et o f gi rl hoo d I had dr a w n fr o m m y o wn
e x p e r i e n c e— gi r l s a r e t a u gh t n ot t o l i k e ho w th e y lo ok , but f o r o ther people
t o t h i n k t h e y l oo k g o o d.
T h e ( D o l l ) H o u s e
o pe n - h ou s e ’ s p h y s i ca l in f rast r uctur e is a mo d i fie d ch i l dr e n ’ s d oll h ouse ,
c o n s t r u c t e d i n a 1: 6 d ol lh ou se scal e
1 0
. T he 1 :6 sc ale is lar g e r t han w h at m ost
p e o p l e e x p ect a do l l h o u se t o be — this h o use in part icu l ar is s cale d f o r Barbie
a n d B r a t z d o l l s , a n d no t in t h e mo r e co m mo nl y asso ciat ed dol l h ouse s c ale s
o f 1 : 1 2 o r 1: 2 4 . I c h o se t h e d ol lho use f o r it s co nn ection t o our e s t ab l i s h me nt
1 0
h t t p s : / / s h o p o f m i n i a t u r e s . c o m / b l o g s / l i t t l e - s h o p - b l o g / e v e r y t h i n g - y o u - n e e d - t o - k n o w - a b o u t - d o l l h o u s e - s c a l e .
2 6
o f t h e i d ea s o f p l a y , i t s r i ch s ym bo l o gy , and i ts sto ry te l ling po t e n t i al .
N a r r a t i v el y , t h e h o u se is a sp a c e r if e w i th em e rg en t nar rati v e. T h e
d o l l h o u s e is a f o rm o f t o y t h a t aims t o m i m i c that o f a h o use. T h e d ol lh ou s e
i s a f o r m o f “ g end er ed t o y , ” w ith a b ulk o f i ts m ark et ing and ph y s ic al tr aits
a i m e d a t gi r l s.
I n h er b oo k W o m e n a n d S pa c e : G r ou nd R u les a n d S o ci a l M a p s , S h i r le y
A r d e n e r q u o t es so ci ol o gi s t Er ving Go ff man, w ho stat es t hat “t h e d i vi si o n s
a n d h i e r a r ch i es o f so ci a l st r u ctur e a de pi c t e d m i c r o e c ol o gical l y , th at i s ,
t h r o u g h t h e u s e o f s ma l l- sca l e spat i al met apho rs . ” T he ho u se is an apt
e x a m p l e o f su ch s m a l l - sc a l e spatial m e tapho r , as the in t e r and in tr a
p e r s o n a l e x p er i enc es o f bei n g “ at ho m e ” ar e o e n r e fle cti v e o f id eas an d
c o n c e p t s i n so ci et y . I n t h i s w a y , t he ho u se serv e s as a m i c r o co sm of s oc i e ty’ s
i d e a s o f g e nde r , h om e , a n d do m esticit y . T hi s sub seq ue ntl y m ak es the h ou s e
a r ic h st o r y t el l i n g b a c k dr o p a nd t oo l t o e x plo r e co ncepts o f g ir lh ood .
T h e u sa g e o f t h e h o u s e as a s t o r yt el l i ng v eh icl e is so dee pl y i ngrain e d
i n c u l t u r e t h a t i t s h o w s u p i n d a y t o da y sp ee ch . P hras es s uch as t o “ d ri v e
s o m e t h i ng h om e , ” h a vi ng “ s k el e to ns in the c lo set , ” o r l oo king at s ome on e
w it h “ b e d r o o m e y es, ” a l l r efl ect a co lle cti v e unde rs t an di n g of w hat c er t ain
p a r t s o f t h e h o u s e i m p l y . B ec a use o f this , the g u est i s ab l e to step in to the
i n s t a l l a t i on sp a ce a nd u nd er st a nd t hat t he ho u se is a v e hic le f o r s t o ry te llin g
a n d in d i ca t i v e o f a l a r g er m et ap hor .
T h e e st a b l is h me nt o f t h e ho us e as a sit e of pla y hap pe ns in our y o ut h
t h r o u g h t h e t o y s w e enc ou nt er . T he po p ular ity o f d o lls , t ea-t ime an d
k i t c h e n s et s , a nd m i ni a t u r i zed v e rsi on s of h o useho ld applianc es ar e
i n d ic a t i v e o f t h i s e st a b l i sh m ent. H o w e v er , the i d e a o f th e h o use as the
s e t t i n g o f o r c o n t e x t o f p l a y i s a n i d e a t hat pr ecedes o u r m o dern to y s an d
t h e o b j e c t o f t h e do l l h o u s e it self . I n her b o o k C r it i c a l P la y , M ar y Fl an agan
d e d i c a t e s a n en t i r e ch a p t er t o the co ncept o f “pl a y i ng ho use . ” E arl y in t he
c h a p t e r , sh e e x p l a i n s t h a t “ [ t h e ] co m puls io n to w ar d cr eat i ng min iatu r e
h o u s e s a nd r ep l i ca s o f h o u se h o l d g o o ds i s hundr e d s o f y ear s o ld , b ut s o is
t h e id e a t h a t do m es t i c ga m e s can b e m e chanis ms f o r identi f y i n g par ti cu l a r
t h e m e s i n cu l t u r e. ”
1 1
F l a n a ga n ’ s idea e mphasiz es t he no ti o n t hat t h e h ouse
h a s b e e n u nd er s t o o d b o t h h i s t or ical l y and in m o der n t imes as a pl a y s pace .
1 1
F l a n a g a n 1 9
27
T h is c o m m o n u nd er s t a n di ng is w hat i nf o r med t he de sig n d e c is io n to k e e p
t h e s h a p e o f t h e h o u s e a s i s , a nd to w o r k wi t h i ts st ru ctur e.
B e c a u s e w e a ll sh a r e t h i s f o undat ion al un de rstand i ng of t h e h ouse ,
o pe n - h ou se w a s a b l e t o u s e p r esen tatio n and sc ale o f ho useho ld o b je c t s t o
s u b v e r t a nd c h a l l en g e p er s o n al an d s oc i e tal m eanin g s o f “ ho u se . ” D e s ig n
e l e m e n t s s u c h a s o v e rt u r ne d fur nitu r e in the s eco nd and atti c fl oor , or t he
o v e r si z e d ch es t o f dr a w er s o n the t hi r d flo o r ar e b oth w a y s w h er e
p r e s e n t a t i on a nd s ca l e a r e p l a y e d w i th to c r e ate a w him si cal dr eam- l i k e
s p a c e .
W o m e n ’ s W o r k
T r a d it io na l l y , m en w er e e xpe cted to p er f o rm manual labor , ph y s ica ll y
b u il d i n g a n d m a i nt a i ni n g e x t e rnal facades o f t h e h o use. W om e n , o n t h e
o t h e r h a n d , t r a di t i o na l l y w e r e del e gate d t o co o kin g , cl eaning , an d
c h i l d - b e a r i ng ; m a i nt en a nce o f inte rn al w o r ki ngs o f the ho us e. A s a r e s ult o f
t h is , t h e h o u se a s a s t r u c t u r e is t y pi cal l y co d ed as mas cul i n e, b ut the h ou se
a s a c o n c e p t i s c o d ed a s f em i ni ne . I n us ing y ar n as t he “i n fras t r uctu r e ” o f
t h e h o u se, a nd i n p o r t r a y i ng t h e hou se as o ne f u l l op e n facade, o pen - hou se
c o m p l ic a t e d t h e t r a d i t i o n a l d i v isi o n o f l abo r betw ee n m en an d w om en .
Y a r n
T e ch ni q u es o f c r o c h et , knit , and w ea ving , ar e used t o co v er th e
d o l l h o u s e a nd i t s v a r i ou s i nt er act i v e e l e men t s . Al mo st e v er y it em in s id e an d
o u t s id e t h e d o l l h o u s e i s e it h er made o f o r co v er ed w i t h so me f or m of y arn
c r a . T e x t i l e a nd y a r n i s u sed t o enco u r ag e inte racti o n, and to e v o k e s o ,
w a r m , a n d i nt i m a t e f eel in gs . A d din g to the n arr ati v e t heme o f gr o win g u p,
t e x t il e a nd y a r n a r e m a t er ia l s t hat ar e ass oc i ate d w ith o b je cts suc h as s tu ff e d
a n im a l s o r b l a nk e t s . T h e a ss oc i atio ns b et w e en so ne s s and f em i ni ni t y ar e
u s e d i n o r de r t o e mp h a si z e t h e them es o f g i rl ho o d.
Y a r n a nd o t h er t e x t i l e a nd fiber ar t s h a v e t r aditio nall y bee n pas s ed
d o w n m a t r i a r c h a l l i nes . A cr os s man y cu lt ur es, w o m e n , tau gh t b y th e i r
m o t h e r s , t ea c h t h ei r d a u gh t e rs w a y s to eng ag e and w or k w ith fib er an d y ar n.
28
C r a s su c h a s cr oc h et , k ni t t in g, and ne e dl e w o rk ar e t hus a r epr ese n t ati on o f
c o l l e c t i v e m e mo r y . Y a r n i s t h us an apt mediu m to e x pl o r e the r ole of
f e m i n in it y , a nd s u bs eq u en t l y , gi rl hoo d , in t he co nte x t of m e mory .
F o r t h e m a n y t e x t u r es a n d o b jects in o pe n -h ous e , I had c hos e n t o u s e a
v a r i e t y o f g a u g es , t e x t u r e s, a n d siz es o f y arn. I n v ar yi n g the y arns I ch os e , I
w a n t e d t o cr e a t e a r i c h a n d i nter esting te xtu ral e x per i e nce . Th e d iff er ence
i n t e x t u r es w er e a l so c h o s en t o i n vi te the g u e st to t o uch an d e xp lo r e th e
p ie c e . G u es t s o e n u se d w o r ds su ch as “ so ” and “ sq uish y” w hen d e s c ribing
t h e y a r n t e x t u r es , a nd f o u n d t h at the v ar i e ty o f y arn te x tu r es mad e t h e
s c u l p t u r e in v it in g.
C o v er in g t h e e nt ir e h ou se i n y arn, and d o i ng all o f the y arn w o r k b y
m y se l f w a s no t j u st a n a es t h e t i c o r i n t e rac t i v e d esig n deci sio n. I n
p e r f o r m in g a l l t h e l a b o r r eq u i r e d to co v e r the ho u se b y m y sel f, I h oped t o
h ig h l i g h t j u st h o w m u ch l a b o r w om en t ak e o n that o e n g o es un n ot i c ed.
T h e f o u n da t io ns o f t h is p r i nc ip l e ar e estab li shed i n g irl hoo d , w h ic h c an be
s u c c in c t l y p u t a s “n or ma l iz in g in visib l e l ab o r . ” T he t e rm “ in visib le ” i s n ot
j u s t u se d t o sp ea k a bo u t p h y s ic a l l y lab o rio us ac t i v i t ies— th e e m ot i on al labor
a n d s p a c e w o m en t a k e o n f o r m e n is ano t her in vi s ib le f or m o f labor th at
o e n g o es u nn ot i c ed .
I n W o m e n a nd S p a ce : G r o und R ul e s a nd S oci a l M a ps , Ar de ne r pos its th at
f o r w o m en , t h er e a r e t w o r e a lm s o f “ space-t ime, ” namel y “ o r di n ar y
s p a c e - t i m e ” a nd “ a n “ i nt er io r ter ri t o ry ” o f a s p i rit ual and ps y cho lo gic al
n a t u r e i n w h i ch s h e i s l o c a t ed at th e sam e ti m e . ” I inter pr et ed th i s as a
c o m m e n t a r y o n t h e d i ch o t o m y o f w o men i n spac e. W o m en ’ s b od ies ar e
e x p e c t e d t o t a k e u p a s l i t t l e p h y si cal space as po ss ib le. H o w e v er , th e y ar e the
o n e s w h o a r e e x p e ct ed t o m a in tai n and cle an all do m estic spaces . W ome n
a r e b e r a t ed f or t a k i ng u p em o tio nal s p ace , b u t ar e e x pe cte d to s ilentl y h old
a n d t a k e o n t h e em ot io na l sp a ce and lab o r f o r men .
I n m a k i ng y a rn no t j u s t a part o f th e inter i o r , b ut al so th e ou te r
p h y s ic a l in fr a s t r u c t u r e o f t h e h ouse, I w an t e d t o l ite ral l y push t h e w or k of
t h e w o m a n t o t h e ou t er , e x t er nal l y f aci n g por ti o n o f t he ho us e. I n
c o n n e c t i ng t h e co nc ep t s of la b o r , dom e sti c spac e, and g ir lh o od, wit h the
i n f r a st r u ct u r e o f t h e h o u s e, y arn q ui t e lit er all y i s th e s t r ing t hat hol d s t h e
t h e o r e t ic a l f o u n da t io n o f t h e pr oject to g e th e r . T he us ag e o f the y ar n
2 9
m e d iu m t h r o u g h o u t op e n - ho u se is ul ti m ate l y a co mme ntary on i n vi si b le
l a b o r — m o r e sp e ci fi ca l l y , h o w th e no rm alization o f in visib l e l abor w as an
i n t e gr a l p a rt o f m y e x p e r i enc e w ith g ir lh o od.
I n V isu a l P l e a su r e a n d N a rr a t i ve C i n e ma , Lau ra M ul v e y po sits t h at
“ w o m a n ' s de si r e i s s u b j u ga t e d to her i m ag e (...) as be ar er , no t mak e r , o f
m e a n in g . ” H er e s h e m a k e s a n int er e s t ing o b se r v ati o n o n w hat s h e b e lie v e s
m e n p e r cei v e w o me n a s— M u l v e y describ es w o men as co ntai n ers f or the
d e si r e s a nd i de a s o f m e n, a n d no t au to no mo us b eings w ho too c an c r eat e
m e a n in g i n t h em se l v e s. T h i s t he o ry r efl e cted the l i m i t ed w a y s of bein g and
e x i st in g a s a w o m a n , e sp ec ia l l y w h e n l i v ing in pat r i ar c hal so ciet y . H o w e v e r ,
w h a t m o s t s t u ck o u t t o m e w a s her w o r d c ho ice o f “m ak e r” in con tr as t t o
“ b e a r e r . ” T h i s w o r d in g h el p ed m e m ak e a co nn ection betw ee n the t h e o ry of
s u b j u g a t i o n o f w o m en a n d c r a.
Y a r n o b j ec t s h a v e h is t o r icall y bee n pr o duced b y w o men, an d t h u s
b e c o m e a sso ci a t e d w it h w om e n and f em i n ine w o rk . S imilar to t h e
d o l l h o u s e, t e x t i l e a nd y a r n w o rk ar e ph y si c al r epr ese n t at ion s o f th e l ab or
w o m e n t a k e o n. W h er e t h e d o ll ho u se sp e aks t o the “ k e e pi ng ” of t h e h ou se,
t h e t e x t i l e a nd y a r n w o r k s r e p r es ent the f ab ri c at e d o b jects w ome n c r e ate .
30
F ig . 1 1: M e cr och e t ing a po rtion o f o pe n -h ous e
F a c a de s
W h a t gi v es in v is i b l e l a b o r i ts nam e is t he fact t h at i s no t me an t to be
s e e n . A w o ma n is e x p ec t ed n o t to demand e x ce s si v e att en t io n o r
r e c o gn it io n f o r h er la b o r . I t h as b e c om e a part o f h e r e xi s t e nce in the w orld .
G i r l s a r e n o t t a u g h t t h a t t h ei r lab o r is e v en l abo r at all — gi rl s ar e t augh t th a t
a l l t h e s e do m est ic a nd em o t i o n al sp aces t he y m ai ntai n ar e ju st a part of
t h e i r d u t i es i n l i f e. R efl e ct in g b ack o n m y e x per i e nce w i t h gi rl h ood , I
r e a l iz e d h o w mu ch i n v i si bl e l a bo r I w as e xp ec t e d to t ak e o n at s u c h a y o u ng
a g e . A s t h e el d est d a u gh t er i n a fami l y o f th r ee d au g ht er s, I am all to o
f a m il i a r w i t h t h e e x p e ct a t i o n to g o ab o v e and b e y o nd t o pu t o t her s first. A s a
r e su l t o f t h i s , I w a nt ed m y p r ojec t t o i n so m e w a y , ph y s i cal l y r epr e s ent th ese
i n v is i b l e a sp e ct s o f gi r l h o od .
T h e s eco nd h a nd d o l l h o u se I h ad so ur ce d f or t his pr o jec t w as a v er tic a l
c r o s s s e c t io n t y p e o f do l l h o u s e— th is meant th at all fl o o rs of the h ouse w e r e
f u l l y e x p o se d a t a l l t i m es . B es id e s m akin g th e e x per i e nce no n- l i ne ar , h a vin g
a l l t h e fl o o r s v i si b l e a l l a t o nc e w as visual l y o v erw he lming . I l ik e n ed t h i s
31
o v e r w h e l m i ng f e el in g t o t h e ch a o ti c , o v e r w hel m i ng , an d co m plic at ed
e x p e r i e n c e I h a d w it h g i r l h o o d .
I w a nt e d t o l ea n i nt o t h is al r ead y e xi s t ing de sig n t r ai t o f the h ou s e,
a n d u se d it s o p en -n es s t o i nf o r m the nar rati v e th e m e s in t he w o r k. Be s ide s
i t s r e f e r e nc e t o t h e l i t e ra l p h y s i cal s tate o f th e h o use, open - hou se al s o
e x p l o r e s ot h e r i de a s o f w h a t i t m ean s to b e “ ope n. ”
M ir i a m S c h a p i r o ’ s 1 9 72 piece D ol l ho us e w as a w o o d and m i x e d m e dia
s c u l p t u r e p a rt o f a c ol l ec t i on of w or ks tit led W oma n h ouse b y a f em i ni st
c o o p e r a t i v e s p o ns or ed b y t h e C al i f o rn i a Ins ti t ut e o f t he A rts .
1 2
D ol lh o u se
a d d r e ss e d t h e v a r io u s w a y s i n w hi ch r ol es such as “ w o man , ” “ mother , ” and
“ a r t is t ” c oe x i st ed a nd in t er a c t ed wit h e ach other wi t hi n t he artis t. In th i s
w o r k , S c h a p i r o a l so u s es t h e h o use as a m etapho r f o r he r per so n — th e
r o o m s , d is t i nc t i n s t y l e a nd p ur p os e, ar e all ho us ed u nder on e r oof . Si m ilar
t o o p e n - h ou se , D ol l h ou s e i s fr o n t- f ac ing and co mpl e te l y o pen, see m i n gl y
s p e a k in g t o t h e v u ln er a b i li t y t he art ist is practi c ing in shar ing t h e w or k.
1 2
h t t p s : / / a m e r i c a n a r t . s i . e d u / a r t w o r k / d o l l h o u s e - 3 5 8 8 5
3 2
F ig . 1 2: D ol l h o u s e b y M i r iam S chapir o (1 97 2 )
T h e t er m “ o p e n ” a l s o r ef ers to the id e a o f vu lnerab i lity t h at c ome s
w it h m a k in g a p i ec e o f p er so nal art . T he h o use b e ing “ o pe n ” is
r e p r e s e n t a t i v e o f m e b ei n g “ o p en ” t o bei n g vi e w e d and su r v e i l l ed b y gue s ts,
m u c h l ik e t h e e x p er i en ce of g ir lh oo d. A dd i tio nall y , t he te rm “ ope n ” c an be
e x t r a p o l at ed t o m e a n “ t r a ns p ar ent” o r “ ho nest, ” and t h u s is also us e d in thi s
p r o j e c t t o e x p o se t h e p r oc es s o f lear nin g i n vi s ib le l abo r in gi rl h ood . B y
u s in g t h e s a m e m edi u m i n bo th the in t e rio r an d e xte ri o r po rti o n s o f t h e
s c u l p t u r e, e v e n e x p a n di ng i n t o t he su rr o unding ar e a, I ho pe d to r e all y
e m p h a s i ze j u s t h o w “ o p en ” a nd visib le I w anted m y l ab o r to b e .
3 3
W o m en a r e e x p e ct ed t o e x ist in b oth ph y s i cal an d m e ntal s pac e i n t he
m o s t m in i m a l w a y p o s si b l e. E v e n th o ug h the do me sti c sp ace is oe n
r e f e r r e d t o a s t h e w om a n ’ s p l ace , it is u nf o rtu natel y no t w her e w o m en ar e
f r e e , b u t r a t h er , w h e r e t h e y a r e w at che d and e xp ected to r emain an d
m a i n t a in .
34
C h a p t e r 6 : M e m o r y a n d T i m e
T h e A o r d a n c e s o f M e m o r y
M e m o r y i s co m m o n l y unde rs t o o d t o b e u n r e liabl e— me m o ries
a l m o s t a l w a y s w a r p w i t h t i m e o r ar e f o r g o t t en al to g e ther . D esp i t e th i s,
m e m o r y i s st il l i mp o r t a nt t o us, and i n fl u e nce s a lo t o f w ho w e ar e an d w ha t
w e d o . T h e ma i n c h a l l en g e of this pr o ject is finding a m e ans to e xpr ess i n a
p h y s ic a l m a nne r t h e a b s t r a c t and i ntang ibl e co nc ept o f m e m o r y . M e mory is
i n t a n g ib l e, a nd o u r u n der s t a nding o f i t as a f acu lt y o f o u r b rain i s v er y
a b s t r a c t . H o w e v e r , t h i s d oe s no t s to p us fr o m at te mpt i ng to m a k e these
t a n gi b l e ; w e b u y s ou v eni r s a nd w r i te in jo ur nals , and s end po st c ar d s to ou r
l o v e d o n es. M em or ie s a r e i mp or tant to us b ecau s e w e w ant t o pr ese rv e ou r
e m o t i o n a l a t t a ch m en t s t o ou r pas t s . As a de epl y sentimen t al pe rs on m y se l f ,
I h a v e a l w a y s b e en fa s ci na t ed b y th is asp e ct of me m or y .
A s m e nt io ne d e a r l ie r , h u mans ha v e a t ende ncy to w ant t o m ak e
m e m o r y t a n gi b le a n d p r es er v ab le. O ne of t he man y w a y s t he y do th i s is b y
t a k i n g p i ct u r es a nd v i de o s o f m om e nts t he y s ee as mem or ies . A l mos t al l th e
v id e o f o o t a g e i n t h e p r o j ec t i o n co nten t o f op en - ho us e co m e s e i ther f r om m y
f a m il y ’ s h om e m o vi es , o r m y o w n f o o tag e. I di d m y b est to o nl y u s e
p e r s o n a l f o ot a g e, a s i t w ou l d c r eate a m or e intimat e and per so n al vi e w to
m y e x p e r i enc e o f g i rl h o o d . B ecau se m y e xper ienc e wi t h gi rl hoo d h appe ned
i n t h e p a s t , gi r l h o o d a n d m em o ry ha v e b e c om e i n separ ab le co n c ept s .
H o w e v er , I w a nt ed t o e x pan d b e y on d ju st u sing video s as a w a y in
w h i c h t o r ep r esen t m em o ry . As me nti o ne d e arl i e r , I w anted to use ph y s ical
i n t e r a c t io n a nd m e ch a n i cs t o r epr esent i n t an g i b le pr oc esse s an d c on c ept s.
T h e c h a l l en g e I t h u s fa ce d w a s t ransl ating t he intangib il i ty of m e mory an d
t i m e in t o t h e t a ng i b l e r ea l m o f r eal ph y sical space. E arl i e r i n the paper , I
h a d d i sc u s sed h o w I m a de t h e a ct o f r e m emb er i ng p h y sical b y lik e n in g it t o
t h e a c t o f p er f o r m a nc e.
H o w e v er , f or t h e ca se o f me mo rie s, I l eane d into th e dee pl y per s on al
a n d a s s o ci a t i v e na t u r e o f i t i n or d e r t o c r e ate a n uance d po rtra y al of m y
p e r s o n a l e x p er i enc e w it h g i r l ho od. S catt er ed thr o ug ho ut op en - hou s e ar e
e v e r y d a y o b j ect s t h a t r ef er e nc e v ar i o u s aspe cts fr o m m y p er so n al lif e.
35
T h e se a r e m o st l y f o u nd on t h e attic fl oo r i n t h e o p en abl e b o x e s an d
c o n t a in e r s . C o ll ect i n g sm a l l ob jects an d tr ink e ts suc h as fig uri n es , s eash e ll s,
a n d p o st c a r ds, h a s be en a h ob b y o f mine f or m y w ho le l i f e . I w an t ed to ad d
a p e r s o n a l t ou c h t o t h e p r oj e ct b y adding r e f e r ence s to t hese s m all t h in g s
t h a t I h a v e c o l l e ct ed si nc e m y g i rl ho o d b y h i din g t h e m i n th e at t i c . I h ope d
t h a t in i n t egr a t i ng t h es e o n t h e t o p fl o or of t he hou se, an d hid in g t h em
a w a y , t h e gu est w o u l d f ee l a sense o f r e w ar d in findin g th e s e sm al l o bjects.
S u c h r e w a r d co m es fr om no t j u s t a succe ssf u l pr o cess o f di s co v er y , bu t als o
a d e e p e r u n de rs t a n di ng o f m e a nd m y e x pe rien ce w i th g ir lho od .
H a u n t in gs
A n ot h e r w a y I w a n t ed t o e xp lo r e i n por tra y i ng intang i b l e con c ept s
t h r o u g h p h y si ca l p r o ce sse s w a s t hr o u g h inter r o g at ing th e ho u s e as a f o rm in
i t s e l f. I n fil m, t h e h o u s e i s m o r e than ju st a set ti n g . Th e h o use is al mos t a
c h a r a c t e r i n i t s el f , a s it i s u s ed a s a m e ans t o tal k ab o ut m emo r y an d t i m e .
T h is i s e s p eci a l l y p r e v a le nt i n the hor r o r g e nr e, w her e g ho sts an d h au n t in gs
a r e c o m m o n t h e m es. T yp i c a ll y , hou ses ar e ju s t “ si t e[ s ] f o r t he trau m a, ” t hat
h a p p e n s. H o w e v e r , t h e h o u se t hen b e c om e s aff ec t e d b y i t . H e nce , t h i s
r e l a t i o n sh ip b e t w een h o u se a n d tr auma is b est r epr esente d b y th e c on c e pt
o f g h o s t s a nd h a u nt in gs . I n m an y of these s t o r ie s, a pe rs on die s a d e epl y
t r a u m a t ic o r t r a gi c de a t h . A er death, thei r spir i t h au n t s t h e h o us e . M an y o f
t h e s i gn s of a h a u n t i n g in a sp ace i n v ol v es t he spir i t’ s ab ilit y to m an ipulat e
t h e i r e n v ir o n m en t d es p i t e t h eir ph y si c al abs enc e. T hr o ug h this, w h at
h a p p e n e d i n t h e r oo m i n t h e pa st li te ral l y aff ec t s th e ph y sical state o f th e
s p a c e in t h e p r es en t .
P r e v i o u sl y , I h a d di sc u s sed the w a y in w hi c h the ho u se is desc r i bed a s
a r e p r e se n t a t i o n of t h e m i nd. If w e ar e to t hink of t he mind as a v e s s e l f or all
o u r m e m o r i es, t h e h o u s e i s j u st a ph y si c al r epr ese n t at ion o f thi s . I
i m p l e m e nt ed co m m o nl y u n de rst o od no t i o ns of di ff er ent i nter i or s pac e s to
f u r t h e r e m p h a si ze m y n a r r a t i v e. F or instan ce, ho uses typicall y use
b a s e m e n t s o r a t t ic s t o s t or e a w a y t hi ngs t hat ar e n ot me ant t o be acc ess ed
o e n , o r t h i ng s t h a t b el on g t o th e f ar p ast. T hese i n t e rio r s p ace s thus
b e c o m e “ a m et a p h o r f o r t h e su b co nsci ous, a plac e to p ut a w a y the dar k
3 6
m e m o r ie s o f t h e p a s t . ”
1 3
I le a ne d in t o this n otion b y m ak i ng the bas e ment
fl o o r n a r r a t i v e t h e me d a r o u nd m y her itag e. V i s uall y , I k ept th e spac e d ark
w it h m in i m a l l i gh t i n g, a nd u sed dar k e r co lo r ed f o o tag e f o r t he vid e o
p r o j e c t io n .
U s i ng t h e h o u s e a s a v es sel f or me m or y al so all o w ed me t o ut iliz e a
v a r i e t y o f v i su a l st y l es a cr os s eac h fl oo r i n or der to t e l l the sto ry m o r e
e ff e c t i v e l y . I a ss ig ne d t w o a d j ec t i v es to e ach of t he fl o or s in o r d e r t o
o r g a n iz e t h e m em o r ie s I w a nt ed t o e x pl o r e. I had d e c ided t o m ak e t h e
b a s e m e n t l e v el m y s t er i o u s a nd eer ie, t he se c on d l e v e l m or e w himsi cal an d
m a g ic a l , t h e t h i r d l e v e l d y n a m i c and l i g ht h ear te d, and the att ic le v el
s o m b e r a n d r efl e ct i v e. I h o p ed i n th is w a y to ph y sicall y e xpr ess t h e
e m o t i o n a l v a r ie t y of m y me m o r i e s o f g ir lh o od.
C l o c k s a n d T im e le s s n e s s
C l oc k s w e r e a f a sc in a t i n g t h ing to e xplo r e, as I see th e m as a r e fle c t ion
o f t h e h u m a n t en den c y t o a t t empt t o o r ganiz e and m e as ur e the u n kno wn.
I n t h e c o n t e x t o f m em or y , t i me is no t t e th e r e d t o h o w w e e xper ien c e i t in
t h e m o m en t . T h e r ec o l l e ct i o n o f mem o ry al l o w s us t o m o v e b a c k an d
r e - e x p e r i enc e t i me s p a s t .
T o fu r t h e r em p h a si ze t he t hemes o f m e m o ry an d time , th e r e ar e
s e v e r a l c l oc k s p r es en t i n t h e w o r k, r epr esenting tw o as p ects o f t he
r e l a t i o n sh ip b e t w een gi r l h o od , me mo ry , and t ime. C lo ck s ar e a w a y in
w h i c h w e c a n vi s u a l l y se e h o w ti m e i s str uctur e d and measur ed . T h e r e ar e
t w o w a y s i n w h i c h I u s e cl o ck s i n th e sculpt ur e t hat r e pr e s ent t w o s e parate
r e l a t i o n sh ip s b et w e en g ir l h o o d an d time : in a no n- inte racti v e an d
i n t e r a c t i v e w a y .
T h e n o n - in t e ra c t i v e c l o ck s ar e me ant t o s ym bo liz e the am o u n t of
t i m e t a k e n t o cr a t h e s cu l p t u r e . U s ing smal l batt er y po w er ed c lo c k s f ound
o n l a r g e p o r t i o n s of y a rn , I p l aced t hese c lo ck s t her e as a co mme n t ary of
t h e a m o u n t o f l a bo r do ne in y arn cra , and i n w om en ’ s w o r k as a w h ol e.
T h e c l o c k s a r e a ct i v e , a n d sl o w l y t i ck and m o v e as the g uest is in t er ac t i n g
w it h t h e s cu lp t u r e. T h e y a r e sub tl e , y e t e v e ryw her e , static, y et mo vin g. Onc e
1 3
H o u s e o f H o r r o r b y E d w i n H e a t h c o t e
37
t h e y a r e n ot i c ed , t h e ir p r es en ce i s una v oidab l e. T hese lit tl e clo c k s ar e
n o n - in t e r a c t a b le , a s a r ep r e sentat ion of t he ine vit abil i t y an d l ack of c on t r o l
w o m e n h a v e i n t h e sh e er a m o unt o f t ime t he y d e d icate t o ho us e h old
l a b o r — i t is no t p os s ib l e t o t a k e s ho rtcut s in y ar n c ra .
T h e s eco nd w a y I u sed cl oc ks w as as a ph y sical i n t e rac t io n. O n the
s e c o n d fl o o r of t h e h o u s e, t h er e ar e se v eral unpo w er ed mec han ic al cl o c k
h a n d s a n d cl o c k f a ces . T h e g u e st is ab le to m anipul ate t hese cl o c ks an d sp i n
t h e m a s t h e y w i sh . L o os e a nd ripped o u t o f t h e visual co nte x t of t h e c l o ck,
t h e s e c l o c k s r ep r ese nt t h e a rb itr ary natur e o f time in the r ealm of mem o r y
a n d t r a u m a .
T h is p s y c h o g eo g ra p h y o f the ho me is in t r iguing b ecause it as s u mes
t h a t l in g er i n g p s y ch i c t r a u m a is so meh o w tan g i b le.
1 4
M emo r y is
c o m p l ic a t e d b y t r a u m a — m o r e t han jus t u n co mf o r t ab l e m emories, t rau m a
i s m o r e in t en se a n d v i s cer a l w hen r ecal led, and te nds t o b e b ur i e d d e eper in
o u r p s y c h e. W h en ol d m em ori es, e spe ci all y t r aumat ic o nes , ar e trigg e r e d
a n d r e c a l l ed , w e ma y r e gr ess i n to o l d per so nas and beha v i o rs. T h e time le ss
n a t u r e o f t r a u m a t ic e x p er i en ce is em phas i z e d t hr oug h t he pr es e n c e of th e se
l o o s e a n d fl e x ib l e cl o ck s . T h e c lo ck s ar e b rit t le, an d f ee l al mo st f r ag ile.
S o m e g u es t s h a v e a cc i de nt a l l y b r o k e n t hem, an d I ha v e had to r eass em bl e
t h e m b e f o r e t h e ne x t gu es t c om es . As i n co n v en ie nt as it m a y be f or me to
k e e p r e a ss em b li n g t h e b r o k en cl oc k, I f o und it al mo st po e t ic — as th e
r e v i s it in g of t ra u m a f ee l s l i k e co nstantl y mend i ng and heal i n g a w ar ped
s e n s e o f s el f a nd t im e.
I s t i l l w a nt ed t o e x p l or e trau ma as mo r e t han just a se t o f is olat ed
i n c id e n t s, so I e x p a n ded it i nt o the b r o ader desig n o f the ho us e. T h e id e a of
m a k i n g t h e b a s em en t l e v el u nder w at er had s ta y e d co nst ant fr om t h e v e ry
b e gi n n i n g , bu t I a dd ed t h e id ea o f making th e seco nd flo o r par t i al l y
s u b m e r g ed i n w a t e r l a t er i n t h e pr oc ess. T hi s w as ini ti al l y d on e to all u d e to
m y m e m o r ie s o f t h e y ea r l y fl oo d seaso ns i n J ak art a ar o u nd m y b irthd a y .
H o w e v e r , I r ea l i ze d t h a t t h e w a ter seeping i n t o t he ho us e co uld be u s ed as a
m u c h st r o ng e r m et a p h o r . T h e dark , on ce f or g o tte n w ate rs m o v i ng i nto t he
h o u s e a n d m a k i ng t h em s el v es pr ese n t in th e main ho use stru ctu r e w as u s e d
t o r e p r e s en t m y s t r u g g le s w it h su ppr essing tr aum a t hr oug ho u t m y l i f e ,
1 4
H o u s e o f H o r r o r b y E d w i n H e a t h c o t e
38
w h e t h e r t h e y b e p er so na l o r g en er ati o nal . I e x pr e s sed t his vi suall y b y u s ing
t h e s a m e y a r n s I u s ed i n co ns t ru cti ng t he w at er sur r ou nd i ng t h e h ouse i n
t h e c r e a t i on o f t h e w a t er t e x t ur e su rf ace o n the seco nd flo o r . I n this w a y , a
r e l a t i o n sh ip i s s t r u n g t o g et h er b et w e en them e, n arr ati v e , and medium.
3 9
C h a p t e r 7 : C o n c l u s i o n
U t ili z i ng el e me nt s f r o m b o th g ame and inter acti v e e xper ien c e d e s i gn ,
o pe n - h ou se i s a c el eb r a t i on o f t he inter se c t io n o f art , des ig n, and t h eo r y . Th e
d o l l h o u s e- l i k e st ru ct u r e, a lo ng w it h th e r i ch s y mb ol i s m and na rr at i v e
a s s o c i a t i on s w it h t h e “ h o u s e ” mak e it an ideal plac e to e xpl or e t h e c on c ept
o f in t e r a c t i v e s cu lp t u r e. E x p er i enc es w ith o pe n -h ous e w er e co nt in g e n t o n th e
g u e s t ’ s e xp e ri en c e a n d a ss oc ia t i o ns w ith g ir lh o od. F am iliar i ty c an rang e
f r o m p e r so na l , i n t i m a t e u n derst anding , to an u nd er standing o f the c on ce pt
o n l y fi l t e r ed t h r o u g h m edi a a n d inter per so nal r el ati o ns hi ps . Bec au s e of thi s
d is p a r it y , so me p a r t i c ip a nt s m a y f e e l a st r on g er co nne cti o n to th e
e x p e r i e n c e, a n d h en c e c a n co nne ct the c on cept s w ith t he me ch an ic s of th e
d o l l h o u s e.
A l o t o f m y w or k i n t h e p ast has e xplo r ed mem o ry an d i t s m an y
f o r m s a n d c h a r a c t er i s t i cs. T h i s pr oje ct i s o ne o f a se r ies o f w o rks I ’v e done ,
a n d in t e n d t o co nt in u e , o n u s ing i n t e r d i sciplinar y ap pr o ach es in ar t , t h e ory ,
a n d m e d i a t o e x p l o r e t h e co nce pt o f mem o ry .
F i g 1 3. u nt itl e d a k a cl ou d wa t ch (2 02 2 ), C hr i sta H ary anto 20 22
40
F ig . 1 4 : T it l e U I f r o m I n se pa r ab le (20 21 ), C hr ista H ary anto & C o l let t e Q ua ch
o pe n - h ou s e ga v e w a y t o a lo t o f firs t s . I t w as t he first time I h ad u s ed
y a r n i n a la r g e sca l e w o r k . I t w as t he first time I had d o ne w ea vin g s in c e
e l e m e n t a ry sc h o ol . I t w a s t h e first i nst all atio n I m ade th at p ri o ri t iz e d to uch
a s a m e c h a ni c. I t w a s t h e fi r st lo ng e r f or m pr o ject I h ad m ade usi ng
a n im a t io n a nd m o t i o n g r a p h i cs. I t w as t h e fir st pr o je ct I had w o r k e d on f o r
o v e r 9 m o n t h s , a nd t h e fi r st t im e I had to di r ect a sm all te am . I t w as t h e first
t i m e I h a d t o m a n a g e mu l t i p l e au dio and vi deo o ut put s fr o m o n e c om pu ter ,
a n d l e a r n ba s ic ci r c u i t r y a n d A r dui no . T he pr o je ct ti m e line w as e xtr em e l y
d iffi c u l t a n d t a x in g, esp ec i a ll y a e r s uff er i ng a clo se fam il y l o ss a f e w
m o n t h s in t o t h e t h esi s p r o ces s. A l o t of fl e xib il i ty had t o b e e x er c i se d in
o r d e r f o r m e t o p r o p er l y b a l a nce cr eati v e vi si on w i t h sco pe .
D e sp it e a ll o f t h e se h a r ds hips, I am pr o u d o f the w o r k t h a t w e n t i nto
o pe n - h ou se . I en j o y e d t h e ch a l l eng e of appl y i ng theor y i nto pr ac t i c e, an d
l e a r n in g n e w sk i l l s i n t h e m ed iu ms I lo v e t o w o rk wit h. F or t he f u tu r e , I’ d
l o v e t o c o nt i nu e in co r p o r a t i ng y ar n and t e xtile into o ther w o r k s , an d to
c o n t in u e e x p l o r i ng t h e su bj ec t o f mem o ry .
41
A l o t o f m y ea r l y a du l t y ear s w er e s p ent se ar chin g f o r a w a y to
u n d e r s t a n d m y gi r l h o o d, a n d w hat to mak e o f i t mo ving f o rw ar d . F o r al l of
m y e a r l y 2 0 s, I a t t e m p t ed t o l e arn w hat w as “ no rm al” and w hat w as not ,
a e r r e a l i z in g h o w i nt ens e a nd t ur b ulen t m y u pbr ing i n g w as . o pen - hou s e is a
p r o j e c t t h a t r efl e ct s a l o t o f t h at pr o ce s s o f r e fl ection as I l ea v e m y mid 2 0 s .
P e r s o n a l l y , t h e p r o j ect a l s o se rv e s as a bo o km ark in t he jou rn e y o f
d is c o v e r i ng m y s el f.
T h e fl e et i ng n a t u r e o f m e mo ry i s co mmo npl ace, b u t i t is still
m o u r n e d w h en it i s l os t . T h e dig itiz at io n o f t he o ld f o ot ag e and
p h o t o g r a p h s u sed i n t h e vi de o pr o jecti o n had b een do ne to support a lo t of
m y a r t w o r k , b u t i s a p r oj e ct t hat w ill co ntinue ae r t he t h e s is pr oc e s s i s o v e r .
W i t h t h e h e lp o f m y f a t h er , I ha v e beg un to t ak e o n the r o l e of t h e f am i l y
h is t o r ia n , a s h e h el p s m e d ig i t iz e and ar chi v e ol d d o cu m e nts and
p h o t o g r a p h s i n o u r f a m il y a r c hi v es. T h i s w as no t t he first w o rk I d id that
i n v o l v e d m y p er so na l e x p er ie nce and me m or y , and it c er tai n l y w o n ’ t be th e
l a s t .
4 2
B i b l i o g r a p h y
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N e w Y o r k : R ou t l ed g e.
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2 0 2 1.
h t t p s: / / e l i za be t h mu r p h y h o use.co m /t ag/ co mpr e ss i o n- and- r e le ase/ .
“ C o r e C o m p on en t s of A u t h enti c M o nte sso r i E ducati o n. ” n. d . A c c ess ed
A p r i l 9 , 2 0 2 3 .
h t t p s: / / a m sh q . or g/ A b o u t- M on tesso r i/ W hat- I s- M o ntes so ri /C or e - Co
m p o n ent s- o f - M o nt e ss o ri.
4 3
“ D e l u x e P o u ndi n g B en ch T o ddl e r T o y | M el i s sa & D o u g . ” n. d . A c c ess ed
A p r i l 10 , 2 0 23 .
h t t p s: / / w w w . m el i ss a a nd do ug .c om / pr o ducts/ delu x e - poun d in g-b enc h
- t o dd l er - t o y ? v a r i a nt = 40 10 9 11 4 982 4 54& sr sl t id=Af A wr E 6I jd 3T D 5lqG 1
Z O j K 4g j - q k t q y K 6 6 q 8J v M T U nX t D uL pQt Q D w hi3R o M .
“ D o l l h o u se | S mi t h s o n ia n Am er i can A rt M us eum. ” n . d. A cce s s e d A pril
1 0 , 2 0 2 3 . h t t p s :/ / a m er i canar t .si.ed u / artw o rk / do ll ho us e-35 8 8 5.
“ F e m in is m : T h e Se co nd W a v e . ” 20 20 . N ation al W o men ’ s His t o ry
M u seu m . J u n e 1 8, 20 2 0 .
h t t p s: / / w w w . w o m en sh is to ry . o rg / e xh ibi ts/ f e minis m-s eco n d - w a v e .
F l a n a ga n , M a r y . 20 1 3 . C r iti ca l P la y : Ra d ic al Ga me D es i gn . C amb r i d g e,
M a s s . L o n do n: M I T Pr ess.
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R ep r i nt . P eng u i n S oc ial S cien ces : P s y cho lo g y . L o ndo n: P en gu i n
B o o k s .
G u e n t h er , Sa r a h . n .d . “ W om e n T hat Y arn: S e lf -C ar e Th r o ug h Kn i t t i ng,
C r o ch et in g, a n d F i b e r A rts. ” W oma n l y M ag a zi n e.
h t t p s: / / w w w . w o m a n l y m ag .c om /w or ds- fr om -the- wi s e/20 18 /11/6/ w o
m en - t h a t - y a r n .
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4 4
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N o r d er s t edt : G R I N V e rl ag.
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S t u d i e s 40 ( 2 ) : 2 6 7 – 8 4.
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m - b u s y - bo a r d ? u t m _s our ce = O pe n G raph &utm _me diu m = P ag e T ool s
& u t m_ c a m p a ig n= S h a r e.
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4 5
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S k il ls . ” n. d . A c c ess ed Ap ril 10 , 20 23 .
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- n eed- t o - k n o w - a b o u t - do l l hou se -s cale.
4 6

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Asset Metadata

Creator Haryanto, Christa (author)

Core Title open house: On the intersections of girlhood, home, and memory

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Degree Conferral Date 2023-05

Publication Date 05/04/2023

Defense Date 04/20/2023

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag dollhouse,Experimental and Molecular Pathology,experimental art,experimental media,Feminism,feminist art,girlhood,installation,interactive,Interactive Media,interactive sculpture,memory,OAI-PMH Harvest,Sculpture

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Fullerton, Tracy (committee chair), Campos, Martzi (committee member), Garlington, Joe (committee member), Mann, Elisabeth (committee member)

Creator Email charyant@usc.edu,christacherie@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113099684

Unique identifier UC113099684

Identifier etd-HaryantoCh-11772.pdf (filename)

Legacy Identifier etd-HaryantoCh-11772

Document Type Thesis

Format theses (aat)

Rights Haryanto, Christa

Internet Media Type application/pdf

Type texts

Source 20230505-usctheses-batch-1037 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu