Fête Galante:
Spring 2021 | Semester VI | University of Pennsylvania
Research Seminar with Ferda Kolatan
Collaborators: Christine Eichhorn
“Architecture is intrinsically linked to objects and images... In modern times the iconographic function of architecture has shifted toward abstraction and an emphasis was placed on separating mediums dealing with image, object, and architecture rather than further integrating them. This research seminar re-examines the combinatorial alliance of image, object, and architecture in the context of contemporary cultural ideas and technologies by designing artifacts that produce novel architectural effects and iconographies.”
The Folly: The architectural folly is a historically unique structure. As suggested by its name (roughly translated as “foolish”), it is typically viewed as an extravagant and superfluous artifact with no specific function or deeper purpose... What is “foolish” then could refer to the character of the folly as a mere “exotic” plaything as well as to its liberal use of stylistic types irrespective of an actual origin in time or place. Perhaps paradoxically, these seemingly inferior qualities make the folly a perfect precedent for our own project.
- Ferda Kolatan
Examining the roots of traditional follys, the concept of the chandelier became ever more intriguing. Criticized for obscuring audiences’ view of the theater, the chandelier was defended by Garnier by highlighting it’s intricate forms and play with light. This emotional appeal placed beauty and awe over the function of sight lines, trusting in a visceral reaction from those that viewed it. Translating this foolish chandelier into a contemporary fabrication - we could find no better inspiration than Kim Kei’s photography shown on the next few pages. Her material qualities and transformative forms seemed to give rise to a deep set feeling in the back of our minds. By introducing the two languages together we merged order and hierarchy with organic chaos. The end result - our fabricated folly - draws the eye through, around, inside, and back out again in a never ending loop while the structure itself relies just as much on the flowing form as it does on the ordered columns. Rhino, Maya, Grasshopper, and ZBrush were used in the creation of this form, while a Resin 3D printer was used to color print the final piece.
Kim Kei Photography
The use of a central chandelier aroused controversy, and it was criticised for obstructing views of the stage by patrons in the fourth level boxes and views of the ceiling painted by Lenepveu.[28] Garnier had anticipated these disadvantages but provided a lively defence in his 1871 book Le Théâtre: “What else could fill the theatre with such joyous life? What else could offer the variety of forms that we have in the pattern of the flames, in these groups and tiers of points of light, these wild hues of gold flecked with bright spots, and these crystalline highlights?”[29]
Garnier 1871, p. 205; quoted and translated by Charles Penwarden in Fontaine 2004, p. 94.
