Matière et Mémoire_Joost van der Schoot

Opdracht: Stadsschouwburg Locatie: Middelburg Mentor: Rob Hootsmans Commissie: Ronald Klamer Patrick Koschuch

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Graduation BOOK

Student: Joost van der Schoot Studentnummer: 100621143 Afstudeerrichting: Architectuur Jaar: 2017-2018

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A NEW AGORA MIDDELBURG

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introduction This document contains the full documentation of the research and design proposal for my graduation project.

My graduation proposal is to design a new theatre in Middelburg. I want to show my design skills trough this complex but interesting typology.

This proposal will tell a short summary of the history of the city of Middelburg since this city is often not know very well to people outside Zeeland. It will show the history of the theatre in the city to the point where it is now. The design of a new theatre is a problem for the city for over thirteen years. In the picture on the left page the monument of these problems is visible as the construction of the new theatre failed when the basement was constructed.

Beforehand I wrote a research paper about defining the time I live in through the eyes of the philosophy of Walter Benjamin and the literature of Franz Kafka.

This research will serve as a base for this assignment because it formulates my socially critic view of society and how architecture, and in this case the new theatre, has to manifest itself in this social perspective.

posthistorisch onbehagen een visie voor nu door de ogen van toen

| Joost van der schoot (a) o6 | vibeke gieskes | 2017 |

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01 sUMMERY 02 Middelburg

CONTENT

Middelburg, the capital of Zeeland, a rather unknown city for those who are not born in the area. What is the history of this city and what role does the theatre play for this place.

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03 research - research theatre history - research of the city and new possible locations

04 design - schematic proposal - plan - visualisations

05 conclusion final note on the graduation project

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01 summary Matière et mémoire

E en nieuwe agora ( N L ) Middelburg zoekt al tien jaar naar een oplossing voor een nieuw theater. Na vele pogingen en een bouwput als monument in de stad voor het falen van die zoektocht heeft Middelburg tot op heden geen oplossing kunnen vinden. Ik ben zelf in de buurt geboren en ken de stad goed. Ik wil graag deze zoektocht onder handen nemen als mijn afstudeer opdracht. Met als vraag, wat heeft Middelburg nodig, wat voor soort theater moet dit zijn?

Theater was voor mij onbetreden gebied. Om theater te willen begrijpen ben ik de Oude Grieken gaan bestuderen, het tijdperk waar theater en zijn architectuur is ontstaan. De wereld van theater van de oude Grieken en Romeinen is een magische en wonderlijke wereld waar theater in tegenstelling tot nu een breed geïntegreerd onderdeel van de samenleving, religie en politiek was. De Agora, het Griekse stadscentrum, en het theater waren een verbindende factor in de maatschappij, de maken van de Griekse tragedie bracht mensen samen en was van groot belang voor de maatschappij. De Agora was een plek van publiek debat, handel, viering en toneel.

Ook in de Middeleeuwen in Middelburg

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werden net als tijdens de oude Grieken theaterwedstrijden tussen verschillende dorpen gehouden die plaats vonden in of rondom de kerk. Al deze factoren die al sinds de oudheid het fundament zijn van theater zijn in het hedendaagse theater niet meer terug te vinden, Middelburg is daar een goed voorbeeld van. Mensen in de stad hebben geen idee meer waarom ze naar theater zouden moeten gaan en wat het theater ze te bieden heeft. Eveneens trek het theater zich niets meer aan van zijn publiek. Dit maakt het zichtbaar door zich weggedrukt aan de rand van de stad als een gesloten onbeduidende gebouw te vestigen.

Geïnspireerd door al deze ingrediënten uit de lange rijke geschiedenis die theater kent en door het hedendaagse theater te bestuderen ben ik tot de conclusie gekomen dat het nieuwe theater een gebouw moet zijn dat veel meer is dan alleen theater.

Waar ik vooraf aan de opgave dacht een klassiek theater te maken is mijn opgave getransformeerd tot het ontwerpen van een nieuw hart voor de stad waar theater een onderdeel van is. De nieuwe Agora of stadscentrum voor Middelburg is een huis voor de stad, een flexibele machine

waar alle verbindende elementen van viering en dagelijks gebruik die mij hebben geïnspireerd, door het bestuderen van de historie van theater, samenkomen in een elementaire structuur, een nieuwe Agora.

Een gebouw dat mij doet denken aan een uitspraak van één van mijn favoriete schrijvers Walter Benjamin, “ Een gebouw dat de stad een interieur geeft” Een open structuur die betekenis geeft voor de gehele stad, een gebouw dat zich vestigt in het collectief geheugen van de stad, waar theater en viering het fundament zijn.

Het ontwerpen van een theater is een bijzondere opgave voor een architect, Want wat is een Grieks theater nu eigenlijk?

Een theater dat aan al onze verwachting van een theater kan voldoen, dat bestaat uit een stapel stenen en een goede lokatie. Ik denk dat het ontwerpen van een theater moet gaan over het ontwerpen van gelegenheid voor theater en creativiteit, een gebouw dat zich niet op esthetiek richt maar op de betekenis voor de stad. Een zo min mogelijk dwingende architectuur die verlangt overgenomen en veranderd te worden door de stad en zijn inwoners.

Matière et MéMoire

A new agora ( E N G ) Middelburg has been searching for a new theatre for over ten years. After many attempts and a open building pit in the city there is still no solution to the problem. I was born in the area and know the city well.

I would like to explore this assignment for my graduation period. Asking myself the question; What does Middelburg need?

What type of theatre should it be?

Theatre was unknown field for me when i started this assignment. To understand theatre i had to start where theatre and theatre architecture finds its roots. I studied the Ancient Greek, a thriving time for theatre and a magical word where the Greek tragedy was a connecting element is its society. Together with the Agora these places brought people together.

Places where people celebrated, traded and performed acting. Also in Middelburg during the Medieval ages in Middelburg people held theatre competitions between different villages in and surrounding the church on the main square. Al these elements that are the foundation of theatre are not to be found in many contemporary theatres, of which Middelburg is a good example.

People in the city do not have a clue why the would have to go to the theatre and on the other hand the theatre has nothing to do with its audience. Its presenting itself as a closed box at the edge of the city.

Inspired by all these rich ingredients of a long history of theatre and by studying contemporary theatre i came to the conclusion that a new theatre should be much more than just a theatre. Where i thought my graduation assignment was to design a new classic theatre my assignment shifted to designing a new city centre. A flexible machine that erases the its formal divisions in theatre, a house for the city.

A elementary structure where different function are facilitated. Or as Walter Benjamin would say “ An interior for the city” A building that settles in the collective memory of a city, In its matière et memoire.

A non compelling architecture that desires to be changed by the inhabitans of the city.

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hi s t orie

02 middelburg

Middelburg means the Middle defence ‘Burg’ on the island of walcheren dating from the year 880.

The first remains of civilisation that where discovered on the island of Whalcheren date back from the Roman empire. The most important is the remains of a temple at the coast of “Domburg” and a few water structures for small industries.

In the 9th century, Vikings attacked the coasts of Western Europe and therefore also the strategic island of ‘Walcheren’ on their plundering journeys. For protective reasons so called ‘ringwalburgen’ ( high wall of soil around a burcht) where build to protect the people during attacks. The middle ‘burg’ of these defences was the start of the capital of Zeeland, Middelburg. The success of this burcht was due to the topographic location of the place, since it was located on high ground and at a favourable position to the river Arne and a important location in the transition between sea- and river ways.

Another important step during this period is the construction of the abdij (monastery)

by Norbertijner monks in the year 1125. This monastery is still on of the most important buildings in the city. In the year 1217 the city official received its city rights by Willem I van Holland and Johanna van Vlaanderen.

Also the city achieved an important status when the Westmonsterkerk was build and the city became the religious centre of Zeeland.

The real flourishing of the city started in the late Medieval times. Middelburg and its front port Arnemuiden capable of hosting big ships from many places of the world for trading wood, wool and wine. From the port the goods could be transported into smaller ships and be transported to Belgium trading ports like Brugge, gent and Antwerpen.

During the 80year war (1568-1648) Middelburg stayed loyal to the Spanish king and was armed with the army of “Willem van Oranje”. This lasted until 1574 when the Spanish army capitulated and Middelburg moved to the Calvinism. It was also in this period that the city got its recognizable defence structures around the existing city walls. Also great improvements of the harbour structures of Middelburg improving its trading position.

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Middelburg’s most economically prosperous time was the time of the voc in the year 1600

VOC After an economical downfall the city reached its most prosperous time, the time of the VOC. The VOC was founded in 1602 and had different chambers (offices) in the Netherlands. The chamber in Middelburg was, after Amsterdam, the most important of the Netherlands with a twenty-five percent share in the company. The VOC company became and important economic drive for the city and Walcheren. People also initiated trading trips from Middelburg to collect products from all over the world. Not only concerning the VOC but also the harbour was the second most important of the Netherlands. This economic wealth lasted until the 18th century and in the beginning of the 19th century the economics started to drop resulting in the demolition of a lot of historic buildings like city-gates.

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The ship wharf of Middelburg

VOC middelburg

City map of Middelburg 16 century

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Theatre “noch betaelt an bijer als wij naer mijddelborch gijngen om prijs te wijnnen inde kleene souijtkeete” 1 4 8 0 “ H e t bloemken j e s s e ” The earliest signs of theatre are recorded in 1480. A rederijkamer located in the “Westmonster church” that was surprisingly situated on the location of the current market square. The “acting chamber” also had close connections to the church and played an important role in the society in that time. There where various small acting groups active on the island of Walcheren and often had competitions in the city. The church where this group was situated was a Gothic church that probably replaced a former Roman church at this location. After an unfortunate period of fire and demolishing by reformed Christians the church was disassembled in 1575 and the building parts were sold.

The disappearance of the church now forms the space of the great market of the city, an important square.

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t hea t re of middelburg 1 9 t h c en t ury

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re c on s t ru c t ion in 1 9 2 5 In the 19th century the theatre of Middelburg was located at the “Molenwater� this is also the location of the current theatre. The building is a neoclassical building and was functional for about 130 years. (picture top left) There was a reconstruction of the facade in 1925 but eventually a new theatre was build on the same location in 1939. A much more abstract modern building that seem to have some characteristics of the Bauhaus.

The theatre functioned in this state till 1963 when the theatre was demolished and a new theatre was build.

1800-1940

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Aerial pictures of the construction of the new theatre in 1963. On the picture below also a miniature park is seen as well as the gasfactory right next to the theatre.

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1950-1980 The new theatre designed in 1964 by architect Piet GĂźtzen from Middelburg.

The architect P. GĂźtzen was a Dutch architect from Middelburg that had been able to distant himself from the post war architecture and had a refined modernistic style with eye for detailing and a preference for using natual stone.

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Various advertisement articles about the theatre restaurant. Trough the theatre history this restaurant and its bar had been very popular in the city and where not only used during plays but functioned autonomously.

Theatre restautant was an important element and very populair in the city.

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1980-2017

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The current city theatre of Middelburg with a re-designed facade after the fire in 1986.

The theatre lost its modern architecture appearance of the earlier design by Piet GĂźtze and now seems a lot less richer.

Although Middelburg is city with the rich and fancy allures of a city like Amsterdam but the current theatre lacks a lot of quality and experience to the experience of going to the theatre. There seems to be no special treatment only a facility. Also after 30 years of service the interior is also outdated and the facilities for actors are very poor. Al these factors make that the theatre is not very attractive to the rest of the country an to theatre shows.

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03 research to understand theatre you have to start at the beginning

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CLASSICAL BC- 400 A.D.

RENAISSANCE 1550-1650

(neo)baroque 1650-1870

contemporary 1870-1970

primitive

single vista stage

horseshoe-shaped

fan-shaped

greek archaic

multiple vista stage

theatre of the restoration

caliper stage

greek classical

proscenium stage

thrust stage

greco-hellenistic

theatre of Shakespeare

in the round stage

roman

grande salle

greco-roman odeum

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Colosseum

fully enveloping

80Ad rome

partially enveloping

epidAurus

shAkespeAre

340BC

1600 agrolis

nonenveloping

london

Aspendos

t e A t r o o ly m p i C o

180Ad

1585 turkey

vicenza

l At e r e n A i s s A n C e

ClAssiC open stage proscenuim

400BC-300AC vitruvius ArChiteCturA

x

1500-1650 developmend of the perspeCtive i n v e n t i o n p r o s C e n i u m s tAg e

pA i n t e d s C e n g r Av i t y m e C h

fan-shaped

horseshoe-shaped

t e At r o fA r n e s e 1628 parma

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r oyA l A l B e r t

Berliner

hAll

philhArmonie 1963

1871

berlin

london

g u t h r i e t h e At r e 1963 minneapolis

symphony hAll 1900 boston

BAroque

n e o - B A r o q u e / r i v i vA l

modernism

1650-1800

1800-1876

1876-1970

m e tA l f r A m e C o n s t r u C t i o n eleCtriCAl light sight line And ACoustiC studies t h e At r e e n g i n e e r i n g

ery A n i z At i o n

p o w e r m e C h A n i s At i o n eleCtroniC lightning And Control C i n e m At o g r A p h y i n t h e At r e d e s i g n Computer Control

festspielhAus

Auditorium

1876

t h e At r e bayreuth

1889

neues festspeilhAus 1960 salzburg

chicago

opernhAus 1744 operA de versiAlles 1768

bayreuth

hofopernhAuse

metropoliAn

1869

operA vienna

1965

new york

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ancient heritage 400 B.C. - 400 A.D.

an c ien t G reek The history of theatre design starts with Vitruvius Pollio, a Roman architect and engineer from the first centru B.C. Vitruvuis is the only source of information there is reflecting on theatre design of the ancient Greeks. He was the only one of important writers of his time that wrote with such draft about this topic. He wrote this information in “Vitruvuis Book V, chapters III to IX. For ancient Greek theatre the site location is the start of the theatre and was almost as important as building a temple.

The site must have enough comfort regarding fresh air and orientation. A theatre auditorium was preferably positioned on a hillside if one was available, if this wasn’t the case the theatre would be build on flat ground. The architecture of the Hellenistic and Roman architects where advanced enough to build theatres on flat ground. Another important element of Vitruvius was the acoustics of the site. The acoustic quallitys of the site where more a mythical element than a proven one. The only true effect on the acoustic quallitys of the site is the background noise caused by the surroundings.

He beautifully stated “Vox autem et spiritus fluens, ea movetur circulorum retundationibus”. The seating structure was divided in different levels: The ima cavea, media cavea and summa cavea being the highest tier in the theatre. The different levels where separated by the “diazoma” which means crossover. Vitruvius rules for the diazoma was that they can never be lower or higher that their depth in order to retain good sightliness. All seats should be in a single line drawn from the stage. The architecture of the seats will be explained later. A schematic image of a Greek theatre is seen in image [1.2]

[1.1] Epidaurus theatre

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Schematic organisation of a Greco Hellenistic ancient Greek theatre.

Further in time the Greek theatre developed but was always based on this similar layout.

[1.2] schematic Greek theatre

O r c he s t ra

p arodo s

skéné

The stage in the theatre. This is the place where the choir would stand and the play was performed. Mostly the orchestra was a round shape but some theatre, like the Dionysus theatre had a rectangular shape.

The entrance to the theatre. A very important transition role of the entering of the performers and the choir. The length of the parodos was important, actors arriving would be seen first before they are close enough to speak as part of the play.

Also the right and left parodos have different meanings. Often was in a play the meaning of the left side the arrival from the country side and the right side was arrival from the port or the city.

Probably the skéné is an important element in the Greek theatre and had the base invention of the proskenion still seen in modern theatres. It was a temporary structure in the early years and was specific for certain tragedy plays.

It was part of the play as actors would stand on or in the skéné during a play. It was also used a dressing room. Later the skéné was a permanent structure and was also painted for optical illusion. (skenografia)

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[1.3] Dimension scheme by Vitruvius

a c ou s t i c s The theor of Vitruvius on sound waves was that they move like water but also in vertical plane, sound that moves in continuous circle patters.

He saw the voice like a breath of air perceived by sense of hearing. And that together with the size and geometry of a theatre there would be musical harmony. Besides the geometry of the theatre another important aspect was written b Vitrusvuis Chapter V about “sounding vases in the theatre�. An explanation of how Vitruvius saw the musical amplification in a theatre trough vessels (vasa) that where placed in cavities. These vessels where made of bronze an placed free standing inside a cavity among the seats. His theory was that as the sound was spreading from the stage to the audience it would resonate through the vases and become in harmony with itself. Later his theory of sound was partly disproved by scientific research. It is not yet clear if actors in the theatre would use a primitive small megaphone to amplify the sound or that the masks worn by the actors where designed with amplifiers to concentrate sound waves.

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In later Roman theatre designs Vitruvius stated that there are no strict rules for dimension of theatre design except for the basic dimension of the orchestra. The dimension of the orchestra would be the base for the proportions of the rest of the theatre. The only other dimensions he mentioned are the stage hight (no more than 5 feet) and the seating step (between 10 and 18 inches). Another addition to the Roman theatres to improve the acoustics was the topmost passageway in the rear of the auditorium that could be constructed in different ways. The roof would throw back the sound over the last row of seating improving the acoustics for the top audience. Although this is true the acoustic improvement is minimal. The roof would have to curve inside to be really effective. Another important acoustic rule of Vitruvius was the dimensions of the vomitories (cut back in seating) . This aspect will be described in the next page. Also the decoration of the theatre would serve as diffusion of the acoustics.

[1.4] seating detail Epidaurus theatre

s ea t ing Seating of the ancient Greek theatre became important as towns grew into important cities and the theatre became desirable for the majority. It was favourable to locate the theatre close to its urban core to stay close to most of the population and become a civic showcase.

As stated earlier the theatre seating would be located at a suitable hillside if there was one available. If such a site was not available a wooden timber structure would be made.

One of the first known is a wooden structure in the Agora, where dramatic works would be performed. Because of the drama festivals held in January and March a permanent theatre was build at the south slope of the Acropolis. This theatre was build as a dedication to Dionysus (the god of wine). [ 338-326 B.C. ]. In this early Greek time the seating would be no more than roughly cut limestone slates stacked along a hillside. Access would be gained trough the sides of the theatre. This theatre in Athens was later remodelled in Roman times.

The best preserved theatre of the GrecoHellenistic time is the theatre of Epidaurus [ 330 b.c.] This theatre was not modified in Roman times as they did to other theatres from this time period. The seating system was mass produced from local limestone and laid out to dry. The surfaced would than be smoothed by hand. A retraction was cut from the seating as a space for feat. The seating was made in a 2:1 ratio with exception of the aisle steps. These steps where detailed in such a way that would allow better rain drainage. The seating itself was also detailed in two parts that allowed rain to drain of the seating. To make the seating more comfortable it was common that most people brought their own cushion. But still it is hard to understand how sometime people had to sit on an uncomfortable seat with no backrest for a whole day. It is possible people would rest their back against the legs of the person behind them.

In ancient literature there is some evidence that the audience was restless caused by the seats.

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late renaissance 1550-1650

where t he R oman s lef t i t Theatre design starts to live again after a thousand years after the fall of Rome in late Renaissance Italy. The Italian theatre in this time period brought many inventions in theatre design like scenic design, the proscenium arch stage and painted shutters. The Italians where funding the rewritings of ancient Roman plays and developing the classic drama, making an end to the medieval period. The idea of neoclassicism was born in Italy and then further spread through Europe. It was based on the fascination for the ancient and classic theory and literature like Vitruvius work. It is based on the rational and the truth, not the dreamy and supernatural. In the late Renaissance painters and architects studied perspective and geometry which was often used is scenic illusion. Like the famous work of Sebastiano Serlino who’s work was published in Venice in 1589. He drew a section and a plan to show his rules for scenic perspective design [2.1]. His studies where not based on the literature of Vitruvius but on many studies of ancient ruins in Rome. His study concerned about the static Renaissance stage and single vanishing point to create a feeling of distance.

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[2.1] Sebastiano Serlino, scheme for a temporary theatre and the static single vista stage setting

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[2.5] Purported design for stage machinery for Teatro Farnese

t e c hni c al de v elo p men t The schematic drawings from Serlio where used by many others like Palladio, Scamozzi and Aleotti for court festival theatres all over Italy. An important example to show the development of the Renaissance theatre design is the Teatro Farnese (1618) from the architect Giambattista Aleotti. Plan and picture of the theatre is displayed on the next page [2.4]. The plan consists of a elongated horseshoe plan and a deep enclosed proscenium stage with mechanized and movable scenery. The design made for the machinery is displayed in the image above. [2.2] This theatre is seen as the link between the open platform theatres of Palladio and the more sophisticated mechanized proscenium stages of the Baroque.

The proscenium is the so called “fourth wall”of the stage. It is the imaginary vertical plane enclosed by a proscenium arch. The plane between the audience and the stage. The proscenium was also used by the Romans in the skené of the theatre.

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proscenium or in Roman “proscaenium”

[2.6] typical Renaissance theatre seating

s ea t ing Typical Renaissance theatre seating is based upon classical Roman theatre principles of Vitruvius. A simple backless seating with narrow back to back dimensions. The colonnade in the back offered room for additional portable seating or standing room.

The theatro Farnese seen on the next page is based on a similar type of seating but on a larger scale. Theatres in this time had a capacity of about 3000 to 5000 spectators. Although there are some doubt if theatre seating like the one shown on the picture above where used to their maximum capacity as man and woman in this time where dresses in excessive suits and dresses making it unlikely that the seating rows would be packed.

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baroque & rococo 1650-1800

t he I t alian s p e c t a c le Variations on the temporary theatres from Serlio’s theatre designs and stage mechanisation are made for over a century ultimately also reaching Western Europe. It extended as far as the English court. His principles where used for the existing grandes salles, academies and other large interior spaces, large multi-purpose rectangular spaces converted to theatres.

The foundation for the baroque theatre design is laid by and increasing development in variations of plays like the Opera, ballet and masques. Alls plays that had a strong emphasis on the spectacle rather than the play itself.

This spectacle was the base for the Baroque theatre period. The Baroque architectural style, beginning in Italy and spreading across Europe, dominated theatre building between about 1650 and 1800. Its main characteristics are refinement in detail of the proscenium stage and of the Renaissance horseshoe-shaped auditorium and seating plan. The innovations of the period were introduced in the private court theatres. As many as five shallow balconies were stacked vertically in the auditorium. For the first time there appeared an orchestra pit in front of the stage, sunk below ground level. The stage floor, which previously had extended only a few yards back from the proscenium arch, was now deepened to accommodate scenery, equipment, and dancing.

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The galli - bibiena s One of the most influential family of decorators, stage designers and theatre architects.

An unprecedented influence over three generations lasting a century. (1680-1780) They are responsible for the distribution of the Italian techniques of stage engineering and decoration through Europe. They not only worked for the most powerful and rich people in that time establishing their court theatres but also played an important role in the creating of public theatre. They where masters of the spectacle and became know for their opera theatres. The two sons of the founder of the family business, Giuseppe and Antonio spend their entire lives traveling through Europe establishing their theatre dynasty. Their most famous work are displayed on the next four pages. Giuseppe’s Opera house had a capacity of 1000 people in four tiers surrounding a small flat orchestra. Their plans would also inspire the later Rococo in France, theatres like the Residenztheater at Munich by Francois CuvilliÊs.

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[3.2] section Residenztheatre in Munich by Francois CuvilliĂŠs

t e c hni c al de v elo p men t The Residenztheatre was designed as a private court theatre serving the Wittelsbachs, the ruling house of Bavaria. The stage design was from Giovanni Paolo Gaspari. In the drawing above is seen that below the raked stage there is a counter-mechanism designed with baskets of stones as counterweights. It was able to make the raked theatre seating to a condition flush with the stage in order to use the entire room for balls and other festivities. It would also be later in 1882 the first theatre to install electric lightning. Also in the ?Baroque period the stage design became so developed that it became a separate profession from the theatre architecture.

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[3.3] Opera the Versailles seating box by Jacques-Ange Gabriel

s ea t ing Theatre in the baroque period provided seating for two types of theatre; the private theatres of the courts and the larger public theatres.

There are two important influences, Italian and French. The Italian seating where usually tight box systems with private rooms. The French was preferred the open box or gallery. In both cases the social order played an important role where as in more northern countries the seating was more democratic. The picture above shows both situations in the Opera of Versailles which has both private boxes and open galleries. This theatre has an adjustable seating part on the level of the orchestra that can be raised to the level of the stage. Maximum capacity is 1200 seats.

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baroque resistance 1800-1876

re v ol t again s t baro q ue The theatre scene shifts to the nineteenthcentury Germany. The well developed engineering technique is applied to solve the sightline and seating problem of theatre design. It was the rationalistic approach the good sightlines and acoustics. this victory was not achieved easily and only after many false attempts the success was achieved in the late 19th century with the construction of the Festspeilhaus at Bayreuth. It was still in this time that the work of Vitruvius was important in theatre design although the relation of the proscenium stage and auditorium had completely changed. The difficulties for rational theatre design to be established was caused by the princes of this time that paid for the theatres where all in favour of the classic Italian baroque theatre. Architects like Carl Friedrich Schinkel and Carl Ferdinand where not able to build any of their theatre designs.

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Carl F erdinand L anghan s Produced a long and illustrated essay reflecting on theatre acoustics. It is the most important statement by an architect since the rediscovery of Vitruvius work. He had a practical grasp on the physical practice of acoustics. He also made a distinction between acoustic design for music and that for speech. Although his clear statements he was not able to realise a theatre accordingly during his career as an architect.

In his acoustic studies shown on the right he demolishes the theatre plans of Patte and Saunders circular plans. In his studies he vows for the oval plan showing that the sounds source that moves over the stage is equally projected in the stage. The disturbance in the circle plan is caused by a concentration of reflected energy always present regardless of the source or location of the source.

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[4.2] Sight line problem test design of Gottfried Semper

t e c hni c al de v elo p men t Semper studied the so called resolution of the auditorium sight line-seating difficulties created by the proscenium stage that where never resolved by the designers of the horseshoeshaped opera house auditorium. In the sketches above three projects are shown within a existing structure. Project A is in favour of both the designs, with the still steep vertical rake solving the vertical sightline problem and have all seats in the 30 degree lateral sightline. His work was the base for the later realised Festspeilhause of Wagner in 1876. [4.5&4.6] The Festspielhaus broke finally the 2 1/2 century of baroque ringbalconied horseshoe shaped auditorium. It is a reassertion of Greek classical auditorium design principles applied to a modern roofed theatre.

To wagners ideal every seat in the auditorium had to have an unobscured view of the entire stage. He therefor also introduced the hidden orchestra pit.

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An important invention is this age of time was gas lighting which altered the characters of theatres. In 1817 gas lighting was introduced over the stage and the auditorium at the Lyceum and soon after also in Drury Lane.

With this invention also the limelight became a very important element in theatres since the auditorium could stay dark and the actor was lit out in the proscenium.

[4.3] Nineteenth-century theatre seating

s ea t ing Nineteenth-century theatre seating is characterized by the introduction of prefabricated individual seating chars with armrests arranged in fixed rows. In Europe designers favoured wood structures and in America the cast iron chair as shown in the picture above [4.3] was favoured. In the section on the right [4.4] the differentiation is shown between different types of seats for each rang.

The second ring has the most luxurious spacing of seating than the parterre and further up ring three and four are high backed benches. The seats on the first two rings are mounted on all four legs.

[4.4] seating profile Academy of Music Philadelphia

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modernism 1876-1970

t he moder mo v emen t Historicans mark 1876 as the start of the modern movement. The evolution of opera house and playhouse are seen as one. Wagner was the first to remove all of the distractions inherent in the multi-tier auditorium. He showed that the traditions of theatre architecture where successfully challenged. This did not mean the Italian horseshoe auditorium was dead. The Paris opera marked the continuation of this tradition. The theatres in this time period where build merely as clichĂŠs of former architectural masters. This type of architecture is described as an eclectic neo-Renaissance-baroquerococo. The practice of many of these theatres experienced the change in theatre construction from wood to metal structures spanning both auditorium and stage. Also the metal structured balcony replaced the post and beam. Also technical innovations like electric lighting and the hydraulic lift where implemented in these theatres.

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A dler & s ulli v an The multi-use proscenium theatre in the United states. Dankmar Adler and Louis Sullivan joined forces as partners in their architectural firm. They succeeded in designing a complex large theatre with iron beams that where not commonly used in that time yet. The building also incorporated an office building and a hotel facing opposite streets topped of with a 15-story tower that included a water reservoir for the hydraulic systems.

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[5.3] section Residenztheatre in Munich by Francois CuvilliĂŠs

t e c hni c al de v elo p men t The steel cantilever designed for the railway bridges also found its use in theatre architecture. It had an attractive economical use since the seating could be stacked much higher and due too the cantilever the balcony could stick out more over the auditorium realising more seats in smaller spaces.

52 - GRADUATION

The major technical innovation of the end of the nineteenth centaur other than the steel cantilever was the electricity and the incandescent lamp, which claimed to do everything a gas lamp did but better. There was a transitional period first because the light was found to look more unnatural than gas lighting and had less atmospheric capability.

[5.4] contemporary American self rising theatre chairs

s ea t ing Twentieth-century theatre seating is a further standardization of methods of the late nineteenth century. The material and acoustic properties of the chairs are also taken into consideration. The chairs are self rising and have retracting back supports. This was made so that when a person passes an occupied chair the person sitting does not have to get up. Back to back distance 91,1 cm.

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fla t floor s t age The flatfloor stage is a development of the movement against the proscenium spectacle theatre and encourages a directer relation between audience and actor. The actor is not raised on a platform but is levelled with the spectators. This type of theatre was used for the epic theatre of Bertolt Brecht, who still influences the modern theatre theory. He had strong criticism on the role of the spectator and the participation of society and theatre. The auditorium is often characterised by visible technical equipment and simple interior.

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bla c k bo x A black box theatre is a theatre form of dated from the 60’s. It became very popular because its simplicity and adaptability. Lots of spaces could be transformed to a black box theatre.

It would host direct small performances and amateur theatre.

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current 21st century

56 - GRADUATION

p ubli c engagemen t Het theater verhoudt zich altijd op een bepaalde wijze tot de werkelijkheid en tot de openbaarheid en is daardoor afhankelijk van de tijd waarin het wordt gemaakt. De economisering van de maatschappelijke sectoren onder het kapitalisme is niet voordelig gebleken voor de positie van het theater. Materieel bezit is het hoogste goed geworden. Het belang van materieel bezit is niet verenigbaar met de uitgangspunten van het ideale theater. Theater is door zijn onreproduceerbaarheid niet iets wat men kan ‘hebben’ en daardoor niet iets wat meetbaar vergeleken kan worden. Theater kan men niet bezitten, theater kan men ‘slechts’ ervaren. Dit is dan ook de reden dat de theatersector niet kan functioneren volgens het vrije-marktprincipe. De populariteit van andere –nieuwere en sensationelere– media heeft het theater naar de achtergrond verdrongen. De laatste jaren richten subsidiënten, instellingen en makers hun pijlen steeds scherper op het publiek. De toeschouwer is een onderwerp van belang. Er bestaat een ‘drempel’ die mensen tegenhoudt het theater te bezoeken. Blijkbaar wordt het theater toch nog steeds als onderdeel van hoge cultuur gezien door toeschouwers Gesteld wordt dat de bezoeker niet meer als consument gezien moet worden maar als participant in een specifiek maatschappelijk netwerk. Het is tijd op de gesloten bastions te veranderen in open ontmoetingsplaatsen. De paradox is dat theater als kunstvorm niet hoeft te voldoen aan functionaliteit en praktisch nut maar het door de bedreiging van zijn bestaansrecht moet zoeken naar een toenadering naar de toeschouwer. Een nieuw theater moet de stad opnieuw veroveren zonder zichzelf te verzwakken in ruil voor toegankelijkheid. Om de maatschappij te overtuigen van het belang van theater zullen de noodzakelijkheid en de idealen van het theater benadrukt moeten worden.

bla c k bo x

A black box theatre is a theatre form of dated from the 60’s. It became very popular because its simplicity and adaptability. Lots of spaces could be transformed to a black box theatre.

It would host direct small performances and amateur theatre.

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conclusion

58 - GRADUATION

p ubli c engagemen t Het theater verhoudt zich altijd op een bepaalde wijze tot de werkelijkheid en tot de openbaarheid en is daardoor afhankelijk van de tijd waarin het wordt gemaakt. De economisering van de maatschappelijke sectoren onder het kapitalisme is niet voordelig gebleken voor de positie van het theater. Materieel bezit is het hoogste goed geworden. Het belang van materieel bezit is niet verenigbaar met de uitgangspunten van het ideale theater. Theater is door zijn onreproduceerbaarheid niet iets wat men kan ‘hebben’ en daardoor niet iets wat meetbaar vergeleken kan worden. Theater kan men niet bezitten, theater kan men ‘slechts’ ervaren. Dit is dan ook de reden dat de theatersector niet kan functioneren volgens het vrije-marktprincipe. De populariteit van andere –nieuwere en sensationelere– media heeft het theater naar de achtergrond verdrongen. De laatste jaren richten subsidiënten, instellingen en makers hun pijlen steeds scherper op het publiek. De toeschouwer is een onderwerp van belang. Er bestaat een ‘drempel’ die mensen tegenhoudt het theater te bezoeken. Blijkbaar wordt het theater toch nog steeds als onderdeel van hoge cultuur gezien door toeschouwers Gesteld wordt dat de bezoeker niet meer als consument gezien moet worden maar als participant in een specifiek maatschappelijk netwerk. Het is tijd op de gesloten bastions te veranderen in open ontmoetingsplaatsen. De paradox is dat theater als kunstvorm niet hoeft te voldoen aan functionaliteit en praktisch nut maar het door de bedreiging van zijn bestaansrecht moet zoeken naar een toenadering naar de toeschouwer. Een nieuw theater moet de stad opnieuw veroveren zonder zichzelf te verzwakken in ruil voor toegankelijkheid. Om de maatschappij te overtuigen van het belang van theater zullen de noodzakelijkheid en de idealen van het theater benadrukt moeten worden.

H i s t ori c al

c urren t

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reference study theatre visits

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de kleine komedie location: amsterdam bouwjaar: 1786-1978 capaciteit: 503

day of the week

1

2

3

4

5

Tuesday

situation

urban center

entrance

frontal,visible

foyer enter

small transition

service

good

organisation of the building

clear

atmosphere

unforced natural

auditorium :

horseshoe, intimate

seating connection to the play distance to the back-wall aesthetics auditorium relation auditorium and play foyer break age differentiation leaving spectator energy level

comfortable very good, 2nd ring to high maximum 22m R=2,2 red pluche in line with play x good mix small foyer, slightly busy high

architecture

classic

general note

8,5

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22-10-2017

Google Maps

Kaartgegevens ©2017 Go

https://www.google.nl/maps/@52.3667341,4.8961561,18z

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schouwburg amsterdam location: amsterdam bouwjaar: 1894 capaciteit: Rabozaal 500 architect: jan springer

day of the week

1

2

3

4

5

Tuesday

situation

urban square

entrance

frontal,visible

foyer enter service organisation of the building

cafe, people drinking good slightly complex not unpleasant

atmosphere

cultural feeling, exposition

auditorium :

flat-floor. strict

seating connection to the play distance to the back-wall aesthetics auditorium relation auditorium and play foyer age differentiation leaving spectator energy level architecture general note

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simple very good, last rows too distant maximum 18-35m R=2,8 black,grey technical in line with play x good mix festive nice foyer high classic, auditorium contemporary 8,5

22-10-2017

Google Maps

Kaartgegevens ©2017 Google

Nederland

20 m

https://www.google.nl/maps/@52.3642866,4.8811011,18z

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schouwburg den haag location: amsterdam bouwjaar: 1894 capaciteit: Rabozaal 500 architect: jan springer

day of the week

1

2

3

4

5

Tuesday

situation

urban square

entrance

frontal,visible

foyer enter service organisation of the building

cafe, people drinking good slightly complex not unpleasant

atmosphere

cultural feeling, exposition

auditorium :

oval, decorative

seating connection to the play distance to the back-wall aesthetics auditorium relation auditorium and play foyer age differentiation leaving spectator energy level architecture general note

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simple very good, last rows too distant maximum 18-35m R=2,8 black,grey technical in line with play x good mix festive nice foyer high classic 7,5

22-10-2017

Google Maps

Kaartgegevens ©2017 Google

https://www.google.nl/maps/@52.0818444,4.3158713,17z

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de veste delft location: delft bouwjaar: 1995 capaciteit: Rabozaal 500 architect: jan hoogstad

day of the week

1

2

3

4

5

Wednsday

situation

edge of square

entrance

frontal,visible

foyer enter service organisation of the building

one understandable space good too simple

atmosphere

cultural feeling, exposition

auditorium :

fan shape, simple

seating connection to the play distance to the back-wall aesthetics auditorium relation auditorium and play foyer age differentiation leaving spectator energy level

comfortable very good maximum 16-23m R=2,4 black,grey technical x spacious but not exiting good mix festive nice foyer high

architecture

classic

general note

7,5

68 - GRADUATION

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schouwburg leiden location: amsterdam bouwjaar: 1894 capaciteit: Rabozaal 500 architect: jan springer

day of the week

1

2

3

4

5

Tuesday

situation

urban square

entrance

frontal,visible

foyer enter service organisation of the building

cafe, people drinking good slightly complex not unpleasant

atmosphere

cultural feeling, exposition

auditorium :

oval, decorative

seating connection to the play distance to the back-wall aesthetics auditorium relation auditorium and play foyer age differentiation leaving spectator energy level architecture general note

70 - GRADUATION

simple very good, last rows too distant maximum 18-35m R=2,8 black,grey technical in line with play x good mix festive nice foyer high classic 9

25-11-2017

Google Maps

Afbeeldingen ©2017 Aerodata International Surveys,Kaartgegeve

https://www.google.nl/maps/@52.1623401,4.4887474,179m/data=!3m1!1e3

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BT

A

D

M

R

72 - GRADUATION

location analysis Vitruvius listed many conditions for the site of a new theatre , although there is no hillside on which to construct an auditorium we could state that the “Dam square� of Middelburg is the most important site of the site since it originates from this point. Usually in ancient times the theatre would be build right after the temple en therefore was one of the most important buildings in that time.

Referring to their strong social relationship with theatre and the very quiet current theatre site I would suggest a new theatre should be build on an active and historical meaningful spot in the city. In times where cultural values are questioned a theatre should stand on the most important place it could get to make a statement to its significance. The site has been build in the past but was levelled around 1975, since then it has been an not so attractive parking square. The historical situation is shown on the next page.

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den s i t y

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hi s t ori c al p ar t s

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p arking and rou t ing

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c ommer c ial / c ul t ure

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v i s ibili t y

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O ld harbour

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marke t s q uare

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c our t lo c a t ion

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04 design

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no t e s from p a p er ( N L )

“Een theater dat zich niet met zijn publiek bemoeit, is onzinnig. Het theater begeeft zich niet bij zijn publiek omdat het geen idee heeft wat mensen er van willen.” [ B.Brecht ]

“De moderne wereld heeft een drang om alles dichterbij te brengen. Een drang net zo vurig als de strijd om de uniekheid van de realiteit te overwinnen door de reproductie ervan toe te staan.” [W.Benjamin] “In snel bewegende tijden moeten we niet vallen voor de makkelijke verleiding als we bang zijn de grip op onze tijd te verliezen, deze verleiding legitimeert zijn oppervlakkigheid.” [F.k] Door in het kapitalistische systeem op te gaan kan het theater zijn subversieve, namelijk zijn kritische, kracht verliezen.

Het theater is door zijn specifieke eigenschappen de enige kunst die niet technisch reproduceerbaar is. Het karakter van de voorstelling kan onmogelijk gevangen worden in een video-opname. Dit betekent dat de uniciteit van het kunstwerk en zijn aura zoals Benjamin dit benoemt, behouden blijft. Het kunstwerk bewaart zijn status van échtheid en hiermee ook zijn waarde.

Een groot verschil tussen het theater en andere media is dat het theater wel bemiddelt tussen de werkelijkheid van het moment en de opgeroepen werkelijkheid.

Andere media bevatten ondanks hun rechtstreekse verslaglegging altijd (net als het theater) een subjectieve benadering van de werkelijkheid. Doordat bemiddeling door het medium echter achterwege blijft, lijkt die getoonde werkelijkheid veel objectiever en meer waar.

Hierdoor kan de toeschouwer de beelden zonder kritiek als waarheid aannemen.

In het theater vindt er door de zichtbare bemiddeling, het duidelijke aanwezig zijn in het hier en nu, daadwerkelijke kritische reflectie plaats.

Het ideale theater neemt in de openbaarheid een rol op zich van bewustmaker van de werkelijkheid en aanzetter tot het debat. Doordat theater een reflectie op de werkelijkheid geeft en een visie van de theatermaker op de werkelijkheid toont, daagt het theater de toeschouwer uit om een positie in te nemen ten opzichte van deze reflectie en visie. Hierdoor neemt de toeschouwer ook stelling in de werkelijkheid. Dat het huidige theater minder vaak aanzet tot debat dan wenselijk zou zijn heeft te maken met de maatschappelijke ontwikkelingen die de samenleving en daarmee ook de positie van het theater in de samenleving beïnvloeden.

Het theater kan doordat het de tijd van de toeschouwer bewuster claimt dan andere media de rust nemen om een verhaal te vertellen. En omdat het deze tijd kan nemen hoeft het theater niet te polariseren, maar kan het de argumenten en de gevolgen van het conflict tonen. De werkelijkheid vormt zich steeds meer naar de principes van het theater. Theater heeft geen onmiddellijke maatschappelijke doelen te vervullen, het werkt in een andere tijd en op een ander ritme. Theater zorgt voor traagte, het kan stilstaan bij dingen, het neemt zijn tijd om een verhaal te vertellen. Het specifieke

van theater, zoals zijn traagheid, kan ingezet worden om de complexe materie van de werkelijkheid te doorgronden.

De individualisering heeft geleid tot een ieder-voor-zich mentaliteit. Elk individu heeft zijn eigen subjectieve kijk op de werkelijkheid en ziet dit vaak als de enige mogelijke manier om de werkelijkheid te beoordelen. Het theater kan de toeschouwer een reflectie bieden van de werkelijkheid om het bewustzijn van andere waarheden over de werkelijkheid bij het individu te creëren. De toeschouwer is ook onderdeel van het publiek. Binnen dit collectief bekijkt de toeschouwer de voorstelling die op dat moment in dezelfde ruimte gecreëerd wordt.

De globalisering heeft geleid tot een enorme schaalvergroting. De netwerksamenleving maakt het mogelijk overal in de wereld contacten te leggen en zaken te doen, waardoor de directe omgeving waar men mee te maken heeft enorm is vergroot en de afstand tussen lokaal en globaal is verkleind. Daarnaast moet de fysieke aanwezigheid het afleggen tegen virtuele vooruitgang. Het theater heeft juist als belangrijk kenmerk dat het deze fysieke aanwezigheid verlangt, alsmede dat het de toeschouwer een bepaald gedeelte van zijn tijd afdwingt. Door bewust deze tijd te vragen van de toeschouwer en door de fysieke aanwezigheid gaat het theater in tegen de snelheid van de maatschappij.

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c on c eMatière pt

et MéMoire

A new agora ( E N G ) Middelburg has been searching for a new theatre for over ten years. After many attempts and a open building pit in the city there is still no solution to the problem. I was born in the area and know the city well.

I would like to explore this assignment for my graduation period. Asking myself the question; What does Middelburg need?

What type of theatre should it be?

Theatre was unknown field for me when i started this assignment. To understand theatre i had to start where theatre and theatre architecture finds its roots. I studied the Ancient Greek, a thriving time for theatre and a magical word where the Greek tragedy was a connecting element is its society.. Together with the Agora these places brought people together.

Places where people celebrated, traded and performed acting. Also in Middelburg during the Medieval ages in Middelburg people held theatre competitions between different villages in and surrounding the church on the main square. Al these elements that are the foundation of theatre are not to be found in contemporary theatre, of which Middelburg is a good example.

94 - GRADUATION

People in the city do not have a clue why the would have to go to the theatre and on the other hand the theatre has nothing to do with its audience. Its presenting itself as a closed box at the edge of the city.

Inspired by all these rich ingredients of a long history of theatre and by studying contemporary theatre i came to the conclusion that a new theatre should be much more than just a theatre. Where i thought my graduation assignment was to design a new classic theatre my assignment shifted to designing a new city centre. A flexible machine that erases the its formal divisions in theatre, a house for the city.

A elementary structure where different function are facilitated. Or as Walter Benjamin would say “ An interior for the city” A building that settles in the collective memory of a city, In its matière et memoire.

A non compelling architecture that desires to be changed by the inhabitans of the city.

lo c a t ion c hoi c e

A new Agora, or city centre, a public place that concentrates all the cultural functions in to one big collective memory. Where else should that building be than in the middle of the hart of the city. On top of the place where the church once was. Where theatre if Middelburg had its real roots. A place already know for trading and celebration.

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p o s i t ion in hi s t ori c al ring

in s ide t he a c t i v e p ar t of t he c i t y

c on c en t ra t e t he c i t y ’ s c ul t ure

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p o s i t ion on s q uare

rela t ion c i t y hall

1 2 m x 1 6 m s t ru c t ure

s p a t ial di v i s ion

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fa c ade and s e c t ion

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main s t ru c t ure

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p lan

plan 1:200

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c elebra t ion and daily life

31 DECEMBER

food festival winterstad art festival

passage

markt

oldtimer show

nieuwjaarsreceptie

theaterweek

1 SEPTEMBER daklozen opvang

boeklezing dansles

1 MAART

kunstroute

nazomerfestival

startups

oefenzaal theater koningsdag

city of dance

trouwen

city run

mosselfeesten

four freedom award

1 JUNI

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building t ran s forma t ion

building fully opened acting as a public square

central large auditorium for multipurpose use surrounded by an open colonnade.

Building with open passage structure for cover and walk trough.

Central building is use for multipurpose use.

Fully operational closed structure.

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t hea t re Moments where the building hosts theatre the large passage functions as the main entrance, giving a spacious welcome to visitors. The other passage gives the possibility to drive inside with trucks unloading the scenery for the show. The main hall can be divided in thirds with curtains to adapt o smaller or larger shows.

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marke t The market is an essential part of the city and are held multiple times a week. The structure can be fully opened and the building will provide a covered public square.

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daily life Passages can be use as part of the art showrooms where Middelburg is famous for.

While on the other side of the building the graduation takes places from the university on across from the building. Small spaces can be occupied as cinema spaces.

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116 - GRADUATION

win t er In winter the facade close with the exemption of the passage facade who is designed to have an outside climate. In the main hall there is a ice skating an in the back passage a winter market is held.

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fe s t i v al s The large building structure can host festivals performing out of the building and occupying the square in front of it.

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s t ru c t ure de t ail

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s olar energy

ada p t able v en t ila t ion

t hea t re ligh t ing

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u s er s t ra t egy

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p o s s ible ou t c ome

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05 conclusion back to the beginning

128 - GRADUATION

final no t e My approach to theatre goes back to the beginning of theatre. It is a different interpretation of Ancient principles. At the start of my assignment I thought that I was going to make a classic theatre inspired by the magic appearance which I saw when I visited CarrĂŠ.

Designing a theatre is a range assignment for an architect. Asking myself the question, what is a theatre? In Ancient Greek it was just a couple of stones and a good location. What should I design than? Theatre in my opinion is about designing opportunity in a non compelling architecture that desires to be takes over by its people. In that way is can be come a truly socially reflective typology like it always was.

With much gratitude for my graduation team; Rob Hootsman, Ronald Klamer and Patrick Koschoch for enormous amount of knowledge and pushing my further to a great end result.

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