Outside In
Gina DiTolla, Lauren Mishkind
Outside In
THE FESTIVAL CELEBRATES THE EPHEMERAL, WHILE AT THE SAME TIME, CREATES AN EXTREMELY SPECIFIC SPACE FOR THE SOLE FOCUS. WITH THE FOCUS ON TIME, SURROUNDING THE HARVEST, THE SUKKOT BOTH ENCOURAGES THE ENGAGEMENT FROM PASSERS BY, BY REQUIRING A LEVEL OF OPENESS, AS WELL AS ENCLOSURE. THE PURPOSE OF THIS SUKKOT WAS TWOFOLD, TO PURSUE TEMPORARY STRUCTURE CONSTRUCTION METHODS, THROUGH THE USE OF A SIMPLE TILING SYSTEM, WHILE MAINTAINING THE PRECARIOUS BALANCE BETWEEN FOCUS ON TIME./PLACE AND PURPOSE AND A LEVEL OF TRANSPARENCY TO BOTH THE SKY AND TO ENGAGE THE COMMUNITY.

THE APERATURE IN EACH TILE ENCOURAGES A TRANSITIONAL VIEW TO THE INTERIOR. THE HIGH LUSTER OF THE INTERIOR REFLECTS THE CANDLE LIGHT USED DURING NIGHT FESTIVITIES WHICH IS RELFECTED INTO THE SURROUNDING DARKNESS.

THE FORM MAINTAINS A LEVEL OF TRANSPARENCY THROUGH THE TWO NESTED HALVES, WHICH SERVE AS BOTH ENTRANCE, AND APERATURE. THE OVERLAP OF THE TWO HALVES PROVIDES BOTH STRUCTURE AND TRANSITION FROM THE INTERIOR TO EXTERIOR. AN IRREGULAR OCULUS IS FORMED THROUGH THE INCOMPLETION OF THE TWO HALVES, THEREBY ENGAGING THE SKY AS WELL AS WHERE THE SKY MEETS THE HORIZON, THE RELATION OF WHICH ALTERS AS ONE PROGRESSES INTO THE SPACE, AND ALTERS AS WELL WHETHER SEATED OR STANDING. THE FORM IS CREATED TO ENGAGE AND HEIGHTEN THE FESTIVAL’S EMPHASIS ON BOTH FOCUS TO TIME AND PLACE, WHILE ACKNOWLEDGING THE TEMPORALITY OF THAT SPECIFIC MOMENT.

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