P[]RTF[]LI[]
Ilgın Altun | 2025
I am a 23‑year‑old architect exploring the concept of interaction within my designs. The unique driving force behind my work is the dialogue between living beings and works of art.
By analyzing these interactions, I strive to understand art, the design process, and the outcomes they produce.
T[] THE TABLE?
Once upon a time, there lived an Artist—with a capital A. Preparing to exhibit their work in a gallery filled them with dread.
In an attempt to calm their nerves, they installed subtle mechanisms to observe how visitors engaged with the pieces. The findings were disheartening. So the Artist devised one final move — a decisive checkmate.
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Let's begin with the observation mechanism. The Artist built it to study how viewers behave in front of the piece: a pair of mechanical eyes that track every movement visitors make in the gallery.
Having witnessed individual reactions, the Artist grew curious about the overall choreography of their audience. To chart these motion patterns, they devised a second mechanism that records every visitor's movement.
By collecting this data, the Artist hopes to uncover deeper insights into how people engage with the piece—and, by extension, with the Artist themself.
Showtime arrived, and the Artist's trap was set. Should the audience treat the gallery like a playground—fidgeting, chatting, pacing—the mechanism would slowly deface the work: colors glitch, projections stutter, textures unravel.
The instant viewers fall silent and still, however, the piece heals itself, returning to its original form. But what happens if you never stand still?
Now comes the reckoning. Anyone who overstays the time limit will no longer see the Artist's work — instead, the installation will replay their own restless motions, warped and corrupted, in its place.
So what happens next? Once the person is confronted with their own image, how are they expected to react? What exactly were they meant to do in that moment?
Although the artist first presents the work as complete, they have built in a mechanism that still lets them intervene. If their conditions aren't met, they sabotage the piece—indirectly.
They make the audience damage the artwork, and if those who do so exceed a certain time limit, the artist more or less exposes them. During this process, the viewer will have a few choices: stop when they realize they've damaged the piece and experience the artwork in its original state, or keep on damaging it—forsaking the unique work to assert their own influence—and be disclosed in the end.
This whole performance becomes the art itself. While shaping the story, I read the essay "The Death of the Author," and in my version I built a narrative where—after creating the artwork and handing it over—the supposedly dead artist comes back to exact revenge.
Interactive 3D model showcasing computational design capabilities. Use your mouse or touch to rotate, zoom and explore the model.