Who Are You?
Hung-Yi Li
This project investigates how immersive interior space can be used as a critical medium to externalize the psychological and emotional effects of social labeling and identity performance in the digital age. The aim is to reveal how surveillance, role expectations, and perfectionist pressures shape individuals’ behaviors and perceptions of self. The central research question asks how scenographic strategies can spatially simulate the psychological burden of being watched, labeled, and required to perform ideal identities.
These insights are translated into spatial design interventions through symbolic elements such as masks, mirrors, cameras, and ritual acts, which choreograph a psychological arc of confrontation and release. The design outcome is an experiential sequence situated in Govanhill Baths, Glasgow, structured into seven zones that guide participants from assigned identity roles to moments of fragmentation, confrontation, and temporary liberation. The project does not aim to offer resolution or self-discovery, but rather to provide a critical awareness of the emotional cost of continuous performance, positioning interior design as a cultural and psychological mirror that reveals the invisible pressures shaping identity today.
In contemporary society, identity is no longer a stable or fixed concept. Instead, it is continuously shaped, reshaped, and curated through social interactions—especially in digital spaces. As Judith Butler (2011) argues, identity is not something we inherently possess, it is something we do. Through repeated actions, speech, and gestures, we construct a version of the self that aligns with what society expects or rewards. Similarly, Erving Goffman (1959) describes everyday life as a stage where individuals manage impressions in response to perceived audience expectations. In the digital era, this theatricality is amplified; we not only play roles in physical life but also perform continuously online, monitored by invisible audiences and algorithms. This ongoing self-curation can lead to psychological fatigue and a growing disconnection from the “unfiltered” self. When life becomes a performance of ideal roles, it raises a critical question: Who are we when no one is watching?
Masks have long served as powerful theatrical symbols, representing role-play, identity transformation, and shifts in the dynamics of seeing and being seen. From the ritualistic performances of Ancient Greek theatre, to the emotional depth of Japanese Noh, the archetypal characters of Commedia dell’arte, and the social anonymity of Venetian Carnival, masks have transcended time and culture to remain a central element of performance. In this project, I begin by tracing the historical evolution of masks and their symbolic functions, before distilling this exploration into four selected mask types for spatial experimentation: Neutral Mask, Character Mask, Half Mask, and Animal Mask. These types are not bound to a single cultural origin, but rather chosen for their distinct performative qualities and the different modes of perception they enable. Together, they serve as a conceptual framework through which to explore themes of identity, gaze, and the deconstruction of roles within an immersive interior experience.
The exploration of mask typologies establishes how identity can be mediated, concealed, or exaggerated through symbolic devices. Building on this methodological framework, the project extends theoretical concepts into spatial strategies. Butler’s idea of performativity positions identity as a repeated act shaped bysocial expectations, which informs the use of the Setting Room as a stage whereparticipants are assigned roles rather than expressing an inherent self. Goffman’s role theory, which frames everyday life as theatre, guides the design of the Camera Room and Gazing Corridor, where surveillance and staged performance be-come spatially choreographed. Mirrors, projections, and cameras materialize thedisconnection between self-presentation and self-perception, while the Target Room translates impression management into a symbolic act of resistance. The Ball Room and De-role Room then draw from immersive theatre precedents to create ritualized transitions between performance and release. Positioned after the study of masks, this translation clarifies how theory directly informs design decisions, bridging conceptual reflection and spatial narrative.
The narrative unfolds as an immersive script where participants are both actors and audience, drawn into a staged journey of identity construction and dissolution. It establishes a psychological arc that guides participants through stages of exposure, fragmentation, resistance, and release. Each space embodies a distinct tension between external labeling and inner self-perception, translating theoretical perspectives into lived encounters. Rather than presenting static environments, the sequence unfolds as a series of staged situations that gradually shift from controlled surveillance toward moments of liberation. This narrative serves as the conceptual script on which the subsequent design intervention is built.
The spatial layout is organized through a vertical and horizontal circulation strategy. Participants first move upward vertically, creating a perspective of gazing and being gazed at, which emphasizes the visual tension of surveillance. Horizontally, the path follows a clockwise circulation that encircles the central stage, reinforcing its role as the focal point of the experience. The former swimming pool, originally a sunken area, becomes an advantage by naturally forming a space that is surrounded and visually centered. Above, the sloped roof with large glass panels allows natural light to fall directly onto the central stage, intensifying its brightness and creating a stronger contrast with the surrounding dim corridors. In contrast, the surrounding corridors remain untouched by sunlight, enhancing an atmosphere of darkness, mystery, and pressure that deepens the immersive experience.
The design intervention unfolds as an immersive journey that transforms Govanhill Baths into a stage where identity theories are materialized through spatial experience. Sixteen participants enter the experience at one time, divided into four groups that correspond to the four masks. This configuration recalls the structure of a chessboard, where each side begins with sixteen pieces, each bound by its own rules yet interdependent in shaping the progress of the game. The experience positions participants as role-bearers whose actions are regulated but also interconnected, creating a collective narrative of identity performance. Rather than presenting static installations, each room is carefully choreographed to confront participants with the psychological weight of performance, surveillance, and social labeling. Building on the conceptual narrative, the intervention translates theoretical ideas into tangible design strategies by combining spatial form, materiality, sensory devices, and symbolic elements. Masks, mirrors, and ritualized actions operate as active agents that mediate the oscillation between self presentation and self-perception, guiding participants through moments of construction, distortion, resistance, and release. This section introduces how design decisions converge to create a sequence of encounters where the invisible forces of identity performance become embodied and perceptible.
This project has been an exploration of how interior design can serve as a medium to materialize the invisible forces that shape identity in contemporary society. Through the process of translating theory into spatial experience, I was challenged to balance psychological narratives with architectural strategies. Each stage of the design revealed new questions about the relationship between performance, surveillance, and personal freedom, reminding me that identity is never singular but always negotiated. The project also pushed me to refine my methodology, from abstract concepts to immersive storytelling and scenographic interventions. Reflecting on this journey, I recognize that the value of the work lies not only in its final proposal but also in how the process deepened my understanding of the role of design as a critical and experiential practice.
See the trailer video of the experience here!