ARENA is a responsive environment project that was inspired by Coupé, a car produced by Fiat. Reflecting on the 'attitude' of a sports car such as Coupé, its energy, its power and 'indomitable spirit' resulted in thinking of ARENA as the portrait of a living entity.
ARENA is a responsive environment project that was inspired by Coupé, a car produced by Fiat. Reflecting on the 'attitude' of a sports car such as Coupé, its energy, its power and 'indomitable spirit' resulted in thinking of ARENA as the portrait of a living entity.
The public can enter the installation via three gates. At each gate there is a panel on which the public can see a detail of the car: the headlight on the first, the engine on the second and the boot on the third. The first two parts of the car shown on the screens are 'pulsating'. The headlight switches on and off while the engine inflates and deflates rhythmically. The boot is keeping still but the picture is accompanied by the sound of an engine that is being exerted as if someone pressed the accelerator also rhythmically. Slowly, the image of Coupé as a living body is being built the headlight being its eye, the engine its lung and the sound of the engine associated to the boot its 'heartbeat'.
All of the gates and the pictures described are responsive. As the public tries to push the headlight/eye gate, the car (on the screen) turns on a very bright, almost blinding light, as a reaction. In the case of the second gates, upon pushing it, the engine/lung turns red. When the third gate is pushed, it seems to be blocked, but that is just because the car does not want to let people in; eventually, the car moves forward a little and the gate is unlocked.
All these reactions show the proud character of the car. People are allowed into the arena but are warned at the same time that this is not going to be an easy encounter.
The public can enter the installation via three gates. At each gate there is a panel on which the public can see a detail of the car: the headlight on the first, the engine on the second and the boot on the third. The first two parts of the car shown on the screens are 'pulsating'. The headlight switches on and off while the engine inflates and deflates rhythmically. The boot is keeping still but the picture is accompanied by the sound of an engine that is being exerted as if someone pressed the accelerator also rhythmically. Slowly, the image of Coupé as a living body is being built the headlight being its eye, the engine its lung and the sound of the engine associated to the boot its 'heartbeat'.
All of the gates and the pictures described are responsive. As the public tries to push the headlight/eye gate, the car (on the screen) turns on a very bright, almost blinding light, as a reaction. In the case of the second gates, upon pushing it, the engine/lung turns red. When the third gate is pushed, it seems to be blocked, but that is just because the car does not want to let people in; eventually, the car moves forward a little and the gate is unlocked.
All these reactions show the proud character of the car. People are allowed into the arena but are warned at the same time that this is not going to be an easy encounter.
Throughout the corridors between the gates and the main area, special outlets release air, as if it were breath, in keeping with the rhythm of the switching on/off of the headlight and the inflating/deflating and heartbeat of the engine.
Once within Arena, the public meet with the car in its 'full figure'. The inside is a sort of hexagonal circus whose edges bear a screen each. A constant screaming and cheering of crowd complements the environment. Here the car is awaiting for the public, standing still on one of the screens and the feeling is one of a show-down taking place.
The public have the option to approach the car standing still in front of them. As soon people are close enough to it, though, the car moves out of one screen and randomly into another. This is repeated every time someone tries to near the car and every time the moving-out/mo-
ving-in is performed, the screams and cheering are aroused and excited to a higher pitch.
Throughout the corridors between the gates and the main area, special outlets release air, as if it were breath, in keeping with the rhythm of the switching on/off of the headlight and the inflating/deflating and heartbeat of the engine.
Once within Arena, the public meet with the car in its 'full figure'. The inside is a sort of hexagonal circus whose edges bear a screen each. A constant screaming and cheering of crowd complements the environment. Here the car is awaiting for the public, standing still on one of the screens and the feeling is one of a show-down taking place.
The public have the option to approach the car standing still in front of them. As soon people are close enough to it, though, the car moves out of one screen and randomly into another. This is repeated every time someone tries to near the car and every time the moving-out/moving-in is performed, the screams and cheering are aroused and excited to a higher pitch.
So, if this is an arena, who is chasing and who is being chased? At first the public may believe that the car is avoiding them, perhaps frightened. But eventually the feeling of empowerment gives way to one of powerlessness and the public seems like an ever failing bull trying to unsuccessfully close in on the red rag. A rag held by the car, of course, acting as the bullfighter.
Conceding defeat is the only course of action left for the public and to facilitate this, three exit doors are placed along the walls of ARENA.
So, if this is an arena, who is chasing and who is being chased? At first the public may believe that the car is avoiding them, perhaps frightened. But eventually the feeling of empowerment gives way to one of powerlessness and the public seems like an ever failing bull trying to unsuccessfully close in on the red rag. A rag held by the car, of course, acting as the bullfighter.
Conceding defeat is the only course of action left for the public and to facilitate this, three exit doors are placed along the walls of ARENA.
ARENA is a responsive environment project that was inspired by Coupé, a car produced by Fiat. Reflecting on the 'attitude' of a sports car such as Coupé, its energy, its power and 'indomitable spirit' resulted in thinking of ARENA as the portrait of a living entity.
The public can enter the installation via three gates. At each gate there is a panel on which the public can see a detail of the car: the headlight on the first, the engine on the second and the boot on the third. The first two parts of the car shown on the screens are 'pulsating'. The headlight switches on and off while the engine inflates and deflates rhythmically. The boot is keeping still but the picture is accompanied by the sound of an engine that is being exerted as if someone pressed the accelerator also rhythmically. Slowly, the image of Coupé as a living body is being built the headlight being its eye, the engine its lung and the sound of the engine associated to the boot its 'heartbeat'.
All of the gates and the pictures described are responsive. As the public tries to push the headlight/eye gate, the car (on the screen) turns on a very bright, almost blinding light, as a reaction. In the case of the second gates, upon pushing it, the engine/lung turns red. When the third gate is pushed, it seems to be blocked, but that is just because the car does not want to let people in; eventually, the car moves forward a little and the gate is unlocked.
All these reactions show the proud character of the car. People are allowed into the arena but are warned at the same time that this is not going to be an easy encounter.
Throughout the corridors between the gates and the main area, special outlets release air, as if it were breath, in keeping with the rhythm of the switching on/off of the headlight and the inflating/deflating and heartbeat of the engine.
Once within Arena, the public meet with the car in its 'full figure'. The inside is a sort of hexagonal circus whose edges bear a screen each. A constant screaming and cheering of crowd complements the environment. Here the car is awaiting for the public, standing still on one of the screens and the feeling is one of a show-down taking place.
The public have the option to approach the car standing still in front of them. As soon people are close enough to it, though, the car moves out of one screen and randomly into another. This is repeated every time someone tries to near the car and every time the moving-out/moving-in is performed, the screams and cheering are aroused and excited to a higher pitch.
So, if this is an arena, who is chasing and who is being chased? At first the public may believe that the car is avoiding them, perhaps frightened. But eventually the feeling of empowerment gives way to one of powerlessness and the public seems like an ever failing bull trying to unsuccessfully close in on the red rag. A rag held by the car, of course, acting as the bullfighter.
Conceding defeat is the only course of action left for the public and to facilitate this, three exit doors are placed along the walls of ARENA.