The global outbreak has masked our facial connotations under seemingly abstracted pieces of fabric. The nose and mouth behind the masks were simultaneously rendered as a virtual image, dissociated from the physical forms and meanings. The masks evoked imaginary forms through subject’s contemplation, yet interpretations remained hidden as reciprocal revelation was never conceded.

 

The masks, screens and virtual signifiers can also be found in architectural manifestations. The facade of the Haus III (Ungers, 1995) can be considered as a mask as it veils domestic signs to achieve a level of abstraction. By masking kitchenette, water closet, and household objects, Ungers limits signifié and invites “spectators” to be part of the narrative. The reduction of hierarchy manifested in the Haus III is achieved by veiling the socially consented symbols embedded in architectural objects. 

 

By elongating the masked denotations allying the marginal gaps amid the shelter and the simulated symbols, this research aims to investigate the role of masks in the built environment. Areas of investigation include, but not limited to, urban masks, architectural masks, and social masks.