Encapsulated episodes challenges current tropes of architecture and their objectiveness with notions of void, carving, and matter as framed through a movement of the camera lens, for speculations in interiority. We developed encapsulated stages and episodes where relationship and adjacencies can evolve in response to spatial silhouette manipulations to document the mutation of space by introducing a speculative and exotic environment as the main character in a narrative-based scenario that develops over a span of time. Assuming a context-less environment, one which is defined solely in the episodic narratives of relationships, influences, and reactions as design strategies. Three-dimensional geometry is understood as mass and matter subject to time-based choreographies and mutations to postulate alternative realities.

Rather than accepting the differentiation of the real vs the fiction, the audience recognizes all production as layers of the world we experience. An environment that holds within multiple levels of resolution and definition. Encapsulated Episodes aim to transform the ordinary into the magical, and the magical into the ordinary in the pursuit of new hyper-realities. Encapsulated Episodes emphasizes design not only as an additive process but also as the rigorous curation, editing, and manipulation of collections and archives.

The relationship between unfamiliarity and familiar domestic spaces, by proposing new domestic alternatives working with adapting their newfound interiors into a kitchen, bedroom, living room, and bathroom. Existing silhouettes will speciate into a plethora of parts which will now become influencers upon our new stages. As some snap-fit, loosely wobble, slip or drip down the original silhouette will become equally morphed and edited based on how these new-found objects navigate our original sets.

The new interior typologies of Encapsulated Episode explored through precise camera movement (pans, zooms, dollies, trucks and pedestals). These techniques developed through deep study of film maker such as Wes Anderson, Hayo Miyazaki, Akira Kuosawa, Mamoru Hosada and David Lynch, using these techniques in the animation. In addition, by simulating the events happen in the chapters, for instance, water filling the tub, object dropping and framing with different gravity; overlay of sound ambient; using the light feature to superimpose the atmosphere. Audiences able to peek into the chapters with an experiential experience.

Students: Yu-Ting Chang , Amanda Harerr, Branden Hudak, Kelly Daugherty, Requal, Maira Furtadofaria, Denver Curtis, MaryKate McCafferty, Gabriela Allende, Lydia Black, Oreil