Tess Diduch Design Document Project 1 Concept More and more it is being recognized how the physical spaces we occupy influence behavior. Personalized housing plans is nothing new, and a variety of 'options' on standard plans are proliferating through all types of construction sites for the family with a lower budget. The importance of layout and architectural design in the workplace is a newer idea, but fast catching on. When originally thinking about the first project, the idea of focusing the viewers' attention through an artificial spacial construct was appealing. Since the viewer must interact and exist within the given space, this would present a natural way to display the visual/written project as an interactive experience rather than as a curiosity to passively study. A desire for feasibility and simplicity of design set the dimensions to that comparable to a telephone booth (rather than, say, a gallery.) Practical concerns about lighting as well as aesthetic preferences led to the 'dark, enclosed space.' The size and lighting also restrict the number of individuals at any point to one, personalizing the experience. With a space defined it remained to chose an appropriate subject to explore. Since pictures and text are both happy to be two dimensional, the walls would be a reasonable display space. Using war as a theme fit well with the restrictions on space, as well as provided a topic not only big enough to allow interpretation and exploration, but which is pertinent to the current political climate. A dark enclosed space should cause slight agitation and stress in most individuals. This tone mimics that of a submarine or bomb shelter. Thus an emotional stage is set in the environment, even before considering the text and visuals. Because the space already implies a place, pictures and text were sought that extended the information given. Originally, the plan was to compile several topics together, overwhelming the viewer with information. With such a common theme, however, it seemed best to place restrictions what would actually be displayed. By focusing closely on two or three points, it becomes easier to compare and contrast, and to form specific impressions rather than overwhelm the viewer. The Text War is fascinating because of the various ways it impacts people. The reality of war manifests itself to different classes in different ways, from the experiences of those on the front lines to the kids who go without chocolate bars to workers who see a change in the industrial demand to the student whose only connections to war are the news and the games played as a child. This last class is, in fact, more likely to gain a personal view on war not through historical fact, which by nature is rather devoid of emotional impact, but through fictionalized and/or personal accounts. Knowing this, it was decided to have the text portion of the project centered around fictional stories. Several popular novels were considered, including Catch 22 (Joseph Heller), The Red Badge of Courage (Stephen Crane) and sections of War and Peace (Leo Tolstoy). Eventually chosen was All Quiet on the Western Front (Erich Maria Remarque) and a short story by Crane (Red Badge ofCourage) called “The Upturned Face.” Printing the entire texts on the wall would have been overkill, and would also restrict the freedom to explore, since the viewer might feel compelled to follow the narratives as written. From Remarque, paragraphs were chosen that provided a specific image of what the characters were going through, and which would still hold meaning devoid of the intended narrative context. Even without a familiarity with the book, and armed only with the context of 'war', a viewer should be able to understand the thoughts and situations expressed in each passage. Also, when displayed randomly, a new narrative can be pieced together from what was once a specific linearity of events. Paragraphs from Crane were chosen as well, to provide a contrast to the one set of characters present in the novel. The difference in character, situation, and narrative voice should also aid in the reconstruction of a new narrative, unreliant on previous intention. The Upturned Face is centered around the burial of a fallen comrade, in the middle of an attack. The tension which disrupts the usual hierarchical relationship is as telling as the actual act of burial. Together these two sets of passages are a decent representation of war-fiction. Both of these texts are a far cry from the conventional idea of romanticized fiction. None of the characters enjoy war, none are conventional heroes in the vein of legend. In each war is a gritty reality, displaying fear and tears and gruesome images like body-halves lodged in the trees. And yet by their very medium these stories are romanticized. The idea of suffering, in such a clear situation, can seem noble. The lay-person who lacks trauma beyond high school can crave a real justification for angst. Hopefully, the disruption of the linearity questions this tendency, by forcing the focus on specific emotions and events rather than painting a picture of a tragic life. At least, it should allow the viewer to question what makes the tragedy appealing, when it is constructed of these terrible events. There is no character who can reach a heroic end, since all that is available are moments, with no before and no after, no preparation and nothing to make it all go away. The Graphics Historical graphics were sought to counterbalance the fictional text. This ties the project into reality, since regardless of how graphic and detailed the stories, they are yet only representations of actual war, and neither text has the backing of historical fact. Using war photography was considered, but eventually dismissed. Pictures of the effects of war, while powerful, was not a great enough contrast to the images evoked by the text, and the individual narratives of each medium would be reduced through the repetition. Instead, the Library of Congress was searched for images that depict what else was going on at home while the military was at war. Both industrial propaganda and the suffrage movement were considered. The suffrage movement was one step removed from war-time, but the interface between the fight for voting rights and equality and the shifting focus on women's role in the economy during war provide an interesting topic, and produce a