Project Upcycle x Theatre / Christine Jing Liu by christinejingliu

PROJECT UPCYCLE X THEATRE C O U R S E S T U D E N T T U T O R

BDES3027 STUDIO 3B CHRISTINE JING LIU / 490479249 RUSSELL RODRIGO

CONTENTS 01

Sydney Harbour site and context

Exploration research and CONCEPT

ITERATIONS PHASE I AND PHASE II

Project Upcycle X Theatre design, drawings and details

References soruces

01 02

SYDNEY HARBOUR 03 04 05

site and context Site and context exploration began on 10.08.2021.

NTS SYDNEU HARBOUR

Sydney Harbour Site Selection

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Fig. 1

EXPLORING THREE SITES

Fig. 2

Fig. 3

Nawi Cove

Berry’s Bay

Pasley Bay Reserve

Nawi Cove was created as part of the Barangaroo Development with a focus on increasing accessible public space. This means that this area will be capturing a diverse group of individuals from across Sydney. 1 There are significant narratives involved in the history of the site which can be explored.

News from February 12, 2021 exposed the alarming levels of toxins within the sea bed during excavation. 2 The surfacing issues with water quality in this area can be explored further together with the historical context of the site.

Parsley Bay Reserve is a tranquil site located in Vaucluse with mostly local residents visiting and engaging in activities at the site. 3 A short documentary created by the Seniors Workshop in 2014 called A Little Piece of Paradise highlights the significance of the site for local residents – were the site associates with memories of family, childhood and community. 4

01. SYDNEY HARBOUR

NTS JOURNEY

Fig. 4

Fig. 5

Fig. 6

NTS JOURNEY

Fig. 10

Pasley Bay Reserve, Vaucluse In contrast to the other two sites, Parsley Bay has a strong and intimate connection with the local community. It brings about lots of interesting opportunities when a tranquil site such as this one collides with a theatre.

Fig. 8

Fig. 9

01. SYDNEY HARBOUR

Fig. 7

1:200 SITE SECTION

Parsley Bay Wharf

Parsley Bay Reserve Park Track Parsley Bay Swimming Enclosure Parsley Bay Reserve Park Parsley Bay Bridge

01. SYDNEY HARBOUR

SITE PLAN

1:200

1:5000

PASLEY BAY RESERVE, VAUCLUSE

05 04

06 03 09

16 100m

NTS CONTEXT PLAN

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17

Parsley Bay Park Parsley Bay Swiming Enclosure Parsley Bay Bridge Parsley Bay Wharf Vaucluse Bay Lighthouse Vaucluse War Memorial Wentworth Memorial Church Point Seymour Vaucluse Public School Village Point Kutti Beach Vaucluse Amateur 12Ft Sailing Club Gibsons Beach + Gibson’s Beach Reserve Watsons Bay Wharf Watsons Bay Baths Vaucluse Park + Vaucluse House Historic Site Watsons Bay

01. SYDNEY HARBOUR

KEY

PARSLEY BAY RESERVE

The site is the water. The water carves out the landscape and the landscape embraces the water on the site. There is a constantly blurring of boundaries between these two bodies. As the water advances towards the shoreline, so does marine life living within. As it receeds the hidden terrain is revealed. The landscape shifts and moves in a constant rhythm that at times becomes difficult to notice unless one dedicates time to witness these changes. Many phemomena are invisible to the human eye, yet sometimes if we are willing to really focus and try to notice we will realise that perhaps it wasn’t so invisible after all.

WATER = SITE

WATER + ACCESS

Parsley Bay Reserve Park acts as a mediator between the terrain and the harbour as people travel through this area prior to encountering the water.

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WATER + PUBLIC

WATER + PRIVATE

Surrounding Parsley Bay Reserve are a range of public ammenities, including the Vaucluse House Historic Site, the local school, yacht clubs and a range of different beaches. Unlike the rest of the beaches, Parsley Bay Reserve is more enclosed and small creating a optimal gathering space for families and friends. Due to the shape of the cove, debris carried by the ocean currents likely gathers here.

In the neighbouring area most land is classified as R2 5 used for Low Density Residential purposes. meaning that most people who visit Parsley Bay Reserve are local members of the community.

CONTEXT ANALYSIS + CONCEPT

PRIVATE SPACES

01. SYDNEY HARBOUR

PUBLIC SPACES

Section Endnotes 1

“Nawi Cove,” NSW Government, accessed November 24, 2021, https://www.barangaroo.com/venue-hire-and-permits/venue-hire/ venues/barangaroo-reserve/nawi-cove/

“Toxic sludge at Berry’s Bay,” The Sydney Morning Herald, accessed November 24, 2021, https://www.smh.com.au/national/ nsw/toxic-sludge-at-berrys-bay-20210212-h1ty0g.html

“Parsley Bay Reserve,” Woollahra Municipal Council, accessed November 20, 2021 https://www.woollahra.nsw.gov.au/ recreation/parks,_reserves_and_playgrounds/list_of_parks_and_ playgrounds/parks_and_playgrounds/parsley_bay_reserve

Metro Screen, “A Little Piece of Paradise,” January 2014, video, https://www.youtube.com/watch?v=Lb-V-_FOYqs&ab_ channel=MetroScreen

“Woollahra Local Environmental Plan 2014,” NSW Government, accessed November 20, 2021, https://pp.planningportal.nsw.gov. au/publications/environmental-planning-instruments/woollahralocal-environmental-plan-2014

01 02

EXPLORATION

03 04 05

RESEARCH AND ITERATIONS “If I have seen further, it is by standing on the shoulders of giants.” Isaac Newton

HOW CAN THEATRE BECOME FOR RETHINKING A SUSTAINA COMMUNITY AND WATER?

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RESEARCH QUESTION

02. EXPLORATION

A CATALYST AND SENSOR ABLE CONNECTION WITH

NTS ACTORS IN THE THEATRE

‘ACTORS’ IN THE THEATRE Theatre can transport us into a different realm and in the process of doing so it is almost as if another space is created. In this collage the idea of bringing the underwater world to form a new realm is expressed and the audience become actors themselves within this space. The theatre should also be inclusive of all members of the community, where different ideas can be explored and narrated through theatre.

02. EXPLORATION

WEEK 3 COLLAGE

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KEY PRECEDENTS

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NTS STATEMENT 01 02. EXPLORATION

DEFINING KEY ARCHITECTURAL SPACES AND LANGUAGE BASED ON IMMERSIVE + EXPERIMENTAL THEATRE PRINCIPLES.

NTS RETHING THEATRE PROCESS

Fig. 11

rethinking theatre processes This is a set design / costume design project that reconsidered the raw materials of production, choosing to use waste material to eliminate additional waste within our landfills. 6 Through this project, the issue of waste is addressed in a manner that firstly recognizes the problem with our existing methods of dealing with waste and secondly provides a provocation for other possibilities. The act of reclaiming waste material resonates with the Sydney context, where the litter carried through our waste water systems end up polluting the Sydney Harbour and waters well beyond. By using existing material found locally in the process of creating theatrical props and the structure of the theatre may generate a new lens through which the local community can come to see the act of upcycling. Whilst recycling provides a new life to some objects in an unknown location, upcycling provides a present based engagement with raw materials thus bringing about more educational purposes and discourse surrounding waste and environment.

Tanja Beer, Strung (this is not rubbish), Melbourne, Australia, 2013.

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Hour25 Production, Theatre in the Wild, Hong Kong, China, 2019.

In our usual everyday lives, we have difficulty concentrating deeply to really focus on the surroundings due to the constant bustle of modern city life. To really connect people to the water on our site, we may need to rethink the building blocks of structures, namely the platform and walls.

02. EXPLORATION

Fig. 12

Theatre in the Wild immerses its audience in the wild quite literally. Without shelter and only a temporary structure erected for the purpose of the performance the spatial qualities is quite out of the ordinary. One can imagine the heightened awareness of the site when the familiar is stripped away and the connection with the site becomes raw and simple. 7

RETHINKING CONNECTION WITH SITE

RETHINKING connection with site

NTS RETHINKING ENGAGEMENT

RETHINKING engagement The creating a stage for community engagement - began with apple crates for this project. The community and permaculture specialists collaborate to plant edible plants which form the final set. The responsiveness of this scheme to the environmental crisis and local food sources is reflected very strongly through the processes taken to create the performance space. 8 By involving the public in this mid term project, a sense of ownership to knowledge is created that encourages local residents to continue this practice of eating locally within their daily lives. Fig. 13

Tanja Beer, The Living Stage, Castlemaine, Australia, 2013

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Although a theatre, this project engages with accessible materials which can be used in Emergency Shelters. The act of utilising and finding such material encapsulates the core idea of immersive and experimental theatre.9

Richard Douzjian (Instructor), Shady Waked, Abdelkader Ghazzawi, Sandra El Hajj, Emergency Shelters, Byblos, Lebanon, 2014

RETHINKING MATERIAL

Rethinking material

02. EXPLORATION

Fig. 14

NTS RETHINKING COMMUNITY 01

rethinking community 0110 Arrival • Equality on entrance – ramp + stairs • Centralized Entry Space • Surrounding spaceS: Vernon avenue /Tudor Court / Glencoe Drive / Open towards the Women’s Library Club Park Form • Canopy walk – surrounding trees are mirrored in the structure of the upper level – walking amongst tree canopies • The form is light and the form is based around lightness emerging Materiality • Timber to connect with the surrounding trees and parks Concrete Facade with Stone tiling Exterior and Interior • Energy of theatre flowing into the street via openings • Lobby and upper floor glowing at night and draws attention • The lower floor lobby opens up to the adjacent outdoor space to enlarge civic area • Open Air performance • Two faces of the structure open to the outside – main lobby area and the front entrance • The interior seeps out into the exterior and the exterior informs the interior through lighting and materiality Fig. 15

Flexibility • The sliding doors opens the lobby area into the outdoor space forming open air performance area • The flexibility of the main lobby area changes the space from function space to lobby to performance area of different sizes and creates a sense of engagement

Studio Gang, Writers Theatre, Glencoe, Canada, 2016.

02. EXPLORATION

Fig. 16

WRITER’S THEATRE AXONOMETRIC

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1:5000 RETHINKING COMMUNITY 02

rethinking community 02 Sustainability • Timber construction • Green Roof • Cavity created by upper level • HVAC system that uses the concept of displacement ventilation • Native landscaping to reduce heat lost, run-off, and the need for irrigation • Reusing original brick from previous building for acoustic properties • Left over timber used in millwork and furniture for interior • 10.34% Building materials are recucled content • 23.43% Building Materials were locally harvested and produced (within 500miles) Construction • Joining wood to use its tensile strength • Cedar called port Alfred cedar – with straight grain used in structural elements in upper floor • The wood has strong cedar smell and keeps microbes away • Extensive testing on material • Working together with the people who are making the structure and testing the materials • Timber panels used for acoustic purposes

Fig. 17

Other • Sense of intimacy is core to this theatre group founded in a book shop and is reflected in the lobby space where the boundary between performer and audience is blurred

Studio Gang, Writers Theatre, Glencoe, Canada, 2016.

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Fig. 18 (left to right) a b c d e f g h

(up to down) Recycled Brick Recycled Timber Upper Walkway Rooftop Theatre Show Exterior Theatre Street View Material and Collaboration

WRITER’S THEATRE PHOTOGRAPHS

PRECEDENT STUDY: Writers Theatre / STUDIO GANG

02. EXPLORATION

WEEK 2

NTS RETHINKING PORTABILUTY

rethinking portability A theatre form that travels to multiple locations to share its story, designed to be constructed with portable materials that can be built and taken apart for portability.11 The structure would be constructed of repurposed steel created from shipping containers.

Fig. 19

Dorita Hannah, Container Globe, unbuilt, 2012.

02. EXPLORATION

RETHINKING PORTABILITY

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NTS RETHINKING SUSTAINABIITY AND TECHNOLOGY

RETHINKING Sustainability and technology Theatre is also a place of change that often brings to us surprising food for thought. In creating a sustainable connection between community and water, it is perhaps fitting to explore the structure of the theatre can as another ‘actor’ to take a lead in improving the water quality in Sydney Harbour. In the process of doing do, accountability should also play a part where the structure should act as a sensor to record and express the changing environmental conditions.

02. EXPLORATION

WEEK 3 COLLAGE

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KEY PRECEDENTS

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NTS STATEMENT 02. EXPLORATION

UTILIZING EMERGING TECHNOLOGY TO COLLECT DATA / EXPRESS DATA / CREATE CIRCULARITY / REDUCE OCEAN WASTE.

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Fig. 20

HIGH WATER

HIGH WATER High water is a project that allows the weather to become the artist. 12 The watercolours on the digital screens change according to the weather conditions that are processed through a mechanical system. The ephemeral qualities of a piece like this seems to really make the usually invisible or unnoticed something special. This type of technology and idea can be integrated within the sensor aspect of the theatre design.

Indigo Hanlee, Michael Thomas Hill and Lightwell, Highwater, Sydney, Australia, 2018.

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The Watt Dance Club and Foot Powered Lighting Project, Rotterdam.

02. EXPLORATION

Fig. 21

Originally designed for the use in night clubs, these tiles both collect energy as people walk across them and lights up – with the possibility of modifying the lighting. 13 Whilst the building will play a part in reducing waste, the engagement of the community is what allows it to continue. Thus the active engagement of the community should also be recorded and taken note of. By collecting energy from the visitors to create light is metaphorically reflecting the idea that by participating, visitors are contributing light and energy in a small but significant way.

WALKING POWER

NTS VERTICAL WIND TURBINE

VERTICAL WIND TURBINE Considering that the site is water, turning our attention to naval structures may shed some light on possible energy harvesting technologies to reduce reliance and support the structure to become off-the-grid. Many smaller scale ships and yachts employ wind turbine systems to harvest wind energy to be used locally on the ship with low noise pollution. 14 Given the site location of an outdoor space, the integration of such vertical axis wind turbine technology will be very suitable.

Fig. 22

Qr6 Vertical Axis Wind Turbine, VWT Power Ltd.

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Air quality is invisible until one day it is not – i.e. when there is such high levels of air pollution that we are forced to be made aware of it. To prevent the deterioration of the air quality and increase recorded information, Huachen Xin designed the Pollution Ranger and Smog Shade 15 to help everyday people notice air quality, monitor it and increase awareness.

Huachen Xin, Pollution Ranger and Smog Shade, installation, 2020.

AIR SENSOR

02. EXPLORATION

Fig. 23

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FOG COLLECTOR FOG COLLECTOR

Continuing to explore the idea of moving off the grid, in a oceanic environment freshwater becomes a scarce resource. In dry alpine environments, fog catches have been successfully utilised to collect water to support local communities who have no other access to water. Similarly, in a project seeking to reduce waste and support circularity, the harvesting of water from the air encapsulates both ideas.

Fig. 24

Aqualonis, CloudFisher, Mt Boutmeiguida, Morroco, 2013.

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SEABIN

Seabin Project, Seabin V5.

02. EXPLORATION

Seabins is an initiative currently operating in multiple cities across the globe and Sydney is one of them. 16 The technology allows water to enter the bin by having a lower level for the rim and as water enters the bin, litter enters the bin (similar to the way litter is carried through drains). Whilst the water can go through the filter and bin lining, the litter will be held within the bin until volunteers collect them. This reduces a high volume of surface litter and is especially effective in areas with high activity levels as litter generated through those activities can be retrieved when it is still on the surface. Due to the small capacity of the bin, volunteers need to visit often to clear the bins. Whilst this creates more engagement throughout the day, to make this kind of technology more feasible in a theatre environment, the principles will be retained but the form will be reimagined.

Fig. 25

Section Endnotes 6

“Strung (this is not rubbish),” Tanja Beer, accessed November 20, 2021, http://www.tanjabeer.com/strung-this-is-not-rubbish

PragueQuadrennial, “PQ 2019: Performance Space Exhibition: Theatre in the Wild,” April 30, 2019, video, https://www.youtube.com/ watch?v=qCWi3XD4tmQ&ab_channel=PragueQuadrennial.

Tanja Beer, “The Living Stage, ” accessed November 20, 2021. http:// www.tanjabeer.com/the-living-stage

“Emergency Shelter / LAU Architecture Students,” architecture lab, accessed November 20, 2021, https://www.architecturelab.net/ emergency-shelter-beirut-lau-architecture-students/

“Writers Theatre,” Studio Gang, accessed November 20, 2021, https:// studiogang.com/project/writers-theatre

“Container Globe,” Architizer, accessed November 20, 2021, https:// architizer.com/projects/container-globe/

“High Water,” lightwell, accessed November 20, 2021, https://www. lightwell.com.au/projects/high-water

“Pavement power Toulouse Streets,” Lizzy Davies, accessed November 20, 2021, https://www.theguardian.com/world/2010/apr/13/pavementpower-toulouse-streets

“Qr6 Vertical Axis Wind Turbine,” QuietRevolution, accessed November 20, 2021, https://www.quietrevolution.com/

“Pollution Ranger and Smog Shade installation visualizes air quality data,” India Block, 22 September, 2020, https://www.dezeen.com/2020/09/22/ pollution-ranger-and-smog-shade-installation-design-air-quality/?li_ source=LI&li_medium=bottom_block_1

“The Seabin V5,” Sea Bin Project, accessed November 20, 2021, https:// seabinproject.com/the-seabin-v5/

ITERATIONS PHASE I AND PHASE II Iterations outlining the progression of design and the key moments within the designing process.

01 02 03 04 05

01. 01. 02. 02. 03. 04

ROOF STRUCTURE ITERATION

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05. 06.

03. ITERATIONS

4. 07.

ROOF STRUCTURE ITERATION

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CIRCULATION AND THRESHOLD

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Fig. 26

Andreas Claus Schnetzer and Gregor Pils, Pallet House, Venice/Linz/Grenoble, 2008.

03. ITERATIONS

In week 1-5 the basis of the design proposal was being formulated. A focus during this time was firstly exploring the site, then deepening the understanding of a theatrical experience followed by the exploration of material. In this process, the design was driven by the collage and the discovery of the pallet as a waste material used in construction. From there, the design took on the pallet as the ‘pixel’ for the project creating modular form.

WEEK 1 - 5

A1 PHASE 1 PANELS

KEY SITES SITES Sites were considered for a range of factors that can support the formation of the theatre space into a catalyst to enhance and support the relationship between communities and water. Three sites of varing level of contamination are proposed as the pilot sites for Project Upcycle x Theatre.

SITE: PARSLEY BAY RESERVE

SITE: BERRYS BAY

SITE: CABBAGE BAY RESERVE

PROPERTIES ESTABLISHED COMMUNAL GATHERING SPACE

PROPERTIES HIGHLY CONTAMINATED AREA THAT REQUIRES REMEDIAL ACTION.

PROPERTIES HIGHLY PROTECTED CONSERVATION AREA WITH OPPOTRUNITIES TO REPRESENT THE WONDERS OF THE UNDERWATER.

PRECEDENT STUDY Precedent: Writers Theatre

Precedent: DOC Tempoary Floating House

Collaboration of stakeholders and innovative use of materials.

Pontoon design allows the structure to stay afloat during low tidal levels and is able to withstand variations in water level.

Formation of multifunctional space in the lobby allows multiple types of functions to occur in the same space.

High level of adaptability in terms of usage and program.

Use of material - adaptive reuse and waste reduction.

Framing the views.

Image Source: https://studiogang. com/project/writers-theatre

Image Source: https://bigsee.eu/ doc-temporary-floating-house-by-limestudio-romania/

PROJECT UPCYCLE X THEATRE

CHRISTINE JING LIU / 490479249 TUTOR: RUSSELL RODRIGO

“The theatre, when all is said and done, is not life in miniature, but life enormously magnified, life hideously exaggerated.” Theatre is a powerful human activity, and has the potential to become the catalyst of change within our society. Project Upcycle x Theatre focuses on the possibilities for the theatre to become the node of community forming and environmental rejuvenation, to create a sustainable connection with both the community and water. Project Upcycle x Theatre merges two programs within one and entwines ocean plastic collection with the processes that occurs behind the scenes on set. The type of theatre envisioned is experimental and immersive. Generally these forms of performance are completed in spaces that are not traditional theatres as they require local materials to inspire the performers. This creates the opportunity for set designers and performers to become involved

in the ocean cleaning project, to become involved with the local communities and also the body of water we know as Sydney Harbour. The way in which the two processes work begins with the ommunity volunteers, set designers and actors who would regularly collect, clean and sort the collected ocean plastic collected by ocean plastic bins fixed to the structure. The sorted plastics and “waste” will then begin their second life on the stage space – where two main containing areas will display the collected raw materials. Once the plastics and materials have dried, set designers and actors would use this material as inspiration to create their costuming, set construction and their next master piece. Due to these factors, the theatre is designed with a central auditorium connected to the stage, backstage and actors space to allow maximum flexibility and a central collaborative space. During performing days, this space can be partitioned in ways chosen by the performers. Water is a body that connects continents and from many reports, it is clear what we put into our waterways will circulate the globe and vice versa. This emphasises the importance of co-operation between global citizens at all levels, whether it be locally or internationally.

The neutral axis of the siting speaks to this geo-political notion. During the full lifecycle of the production, the local community would be invited to use the theatre space and to contribute to further uses of materials and participate in the process of upcycling. Whilst this reduces the rubbish currently existing in Sydney harbour, the further reaching impacts goes beyond the harbour and enters the homes of community members, where they are able to recognise the potential in “waste” and find a more sustainable way to navigate their everyday. The project is envisioned to travel around Sydney Harbour, travelling to both destinations of high pollution as well as conservational areas. This is to ensure the performers and audience are able to engage in the range of different water conditions across Sydney Harbour. It brings the conversation about the underwater into the stage and above water. To increase possible locations and flexibility, the pontoon construction method was chosen. The base material for this structure are timber pallets used in storage and delivery to give them a new life – away from the landfill.

PRINCIPLES

8 AA

6 2

13 PLAN L1 1:200

13 4

PUBLIC v SERVICE v CIRCULATION BLUE - PUBLIC YELLOW - SERVICE RED - CIRCULATION

ENTRY VIA TWO PATHWAYS FOR DIFFERENT GROUPS OF COMMUNITY MEMBERS TO INCREASE ENGAGEMENT

FLEXIBILITY AND OPENESS OF MAIN INTERIOR VOLUME TO ACCOMODATE VARIOUS ACTIVITIES

USAGE OF THE PALLET AS THE SINGLE UNIT OR PIXEL IN THE PROJECT. UPCYCLING.

INTER-RELATION OF ALL PROGRAMS TO SUSTAINABILITY AND COLLABORATION.

12 11 10

PHASE 1 PANELS

7 8 AXONOMETRIC 1:200 @ A1

2 6 5

1 2 3 4 5 6 7 8 9 10 11 12

Entry Pavillion (Public) Kayak and Swimmer Landing Pad Ticket Booth + Upcycling Store Auditorium + Workshop Stage + Ocean Waste Clean Up Station Ocean Waste Storage Backstage + Workshop Actors Space + Workshop Male / Female Bathroom Viewing and Sitting Platform Cafe Kitchen

12 1

SECTION 1:50

SECTION AA 1:200

1 2 3 4 5 6 7 8 9 10 11 12 13

1 PLAN 1:50 1 | ENTRY PAVILLION

03. ITERATIONS

PLAN LG 1:200

This is a communal space and has the community in mind. Located at the entrance of the theatre, this space can provide shelter for not only those watching theatre, participating in upcycling activites but also those who are just interested in experiencing the water in a more immersive manner. The space also facilitates communication between individuals as they pass through this space and stall to take in the view. Each square in the plan represents one standard timber pallet.

LOCATION PLAN

1:5000

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Aspects to rethink:

Aspects working well:

The access into the ticket booth/upcycling store is quite small despite being a central connection to the café, theatre and entry. This might change especially as upcycling should be emphasised and it is a core element in the waste recycling process that could put on display – perhaps in the form of a small gallery of display of local artworks / community based projects

Pixel based design strategy with pallets. This is because this relates directly to the issue of waste produced and one of the root cause of pollution getting into our waterways. Therefore this strategy of involving upcycling of material addresses this issue at the roots. I will continue to look at the ways that this material can be used – in its raw form or broken up into further components for walls / cladding / structure.

The hallways also signify the special quality of a journey and process - ie the process of engaging in physically upcycling and performance and being present in the environment. This can perhaps become a prompt when considering the kinds of views that are frame. Threshold moments towards areas such as the theatre needs further thought – it currently feels quite normal / standard and not special - there is not much of a transition in the movement into that space. I might strengthen this by increasing the size or creating an entrance that is and wider or with different levels.

Flexible spaces in the internal main activity areas. This element allows multiple functions to occur at different times of the year / during the performance cycle and makes sure the theatre can be utilised and engaged with all the time. I will need to look at ways to make this space more functional with storage integrated and consider the types of equipment that would be present in different modes (ie workshop mode, performance mode etc.) to then understand how this space can be configured with doors and openings. Integration of theatre and recycling/ocean rubbish sorting plant. Integration of waste and the process of creating sets and productions puts this environmental issue at the core of the project. It allows immersive theatre performers to engage with the world under the surface of Sydney Harbour while also reducing new materials used in the production of costumes and sets. This sets an example for the audience to take this idea home and to use waste material they produce in their everyday in a more productive manner. I perhaps need to emphasise this element more in the staging area or provide more exposure to the recycling process that will happen – perhaps placing these on pods external to the main structure – especially as increased perimeter will allow more rubbish to be collected.

03. ITERATIONS

The current hallways are quite long and the views they direct towards have not been integrated into the design concept as much as the other areas. The only hallway (the entry hallway) that currently does have a deigned view looks into the stage area with the waste collection.

WEEK 6 DESIGN FEEDBACK

WEEK 6 Design feedback

ROOF ITERATION 2 AXO AND PERSPECTIVE

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Fig. 27

After the Phase 1 Presentations, I began to rethink the central pavilion and how the structure could relate more succinctly with the narrative of the theatre. As the design looks to bring the underwater to the world above, I explored the use of fluid forms in the underside of the roof. The upper was to remain squared off to mirror the rectilinear form of the ‘pixel’.

Mario Cucinella Architects, Guastalla School, Guastalla RE, Italy, 2015.

WEEK 7

03. ITERATIONS

Whilst this idea on paper sounds coherent, the form that it produces visually became too monolithic, heavy and formal for a project such as this one – where openness and lightness were key qualities of the structure to allow users of the space to immerse in the structure.

ROOF ITERATION 3 AND WATER COLLECTION

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Fig. 28

Rua Arquitetos, Sede do Campo Olímpico de Golfe, Rio de Janeiro, Brazil, 2016.

03. ITERATIONS

In week 8 I started looking into water collecting structures for the roof and Sede do Campo Olímpico de Golfe by Rua Arquitetos became a central structural precedent. This structure was used for an exterior pavilion and it has integrated lighting within as well as water collection systems that recycled water as it came down. By collapsing multiple functions within the one structure not only resolved many problems with one solution, but it also matches the a central idea of the theatre architecture where everything should be seen as multifunctional and has the potential to do more than initially imagined.

WEEK 8 - 9

A1 INTERIM PRESENTATION PANELS

WORKSHOP RENDER

COMMUNITY CONNECTION WITH EXTERNAL CONDITIONS

ROOF MEMBRANE WITH WATER COLLECTION PIPE AT BASE

STAINLEESS STEEL STRUCTURE LAMP W/ COLOUR VARIATION BASED ON SENSOR INFORMATION SHADING SCREENS VERTICAL WIND TURBINE POWERING LAMP

GROUND FLOOR PLAN (PERFORMANCE LAYOUT) 1:200

STRUCTURE BASE HOUSING FOLDING DOORS

1:50 DETAILED AXONOMETRIC

ENTRY PAVILLION THRESHOLD

GROUND FLOOR PLAN (WORKSHOP LAYOUT) 1:200

PERSPECTIVE SECTION (STAGE + WORKSHOP) 1:100

EXPLODED AXONOMETRIC

ROOF PLAN 1:200

SOUTHERN ELEVATION

WESTERN ELEVATION

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Fig. 29

Foster + Partners, Stansted Airport, London , United Kingdom, 1991.

03. ITERATIONS

In week 10 I continued to develop this decisive detail surrounding the structure and was inspired by Stansted Airport due to the integration of services within the spaces between the columns. This furthers the multifunctional nature of the structure and supports the structure to become integrated in a very fundamental way to the architectural language. This lead to the integration of folding doors to collapse into the structure, housing a folding bench for increased public amenity and also wind harvesting vertical turbines.

WEEK 10

PROJECT UPCYCLE X 01THEATRE 02 DESIGN RESPONSE

03 04 05

Upcycle x Theatre focuses on the possibilities for the theatre to become the node of community forming and environmental rejuvenation, to create a sustainable connection with both the community and water. Project Upcycle x Theatre merges two programs within one and entwines ocean plastic collection with the processes that occurs behind the scenes on set. The type of theatre envisioned is experimental and immersive. Generally these forms of performance are completed in spaces that are not traditional theatres as they require local materials to inspire the performers. This creates the opportunity for set designers and performers to become involved in the ocean cleaning project, to become involved with the local communities and also the body of water we know as Sydney Harbour. The way in which the two processes work begins with the ommunity volunteers, set designers and actors who would regularly collect, clean and sort the collected ocean plastic collected by ocean plastic bins fixed to the structure. The sorted plastics and “waste” will then begin their second life on the stage space – where two main containing areas will display the collected raw materials. Once the plastics and materials have dried, set designers and actors would use this material as inspiration to create their costuming, set construction and their next master piece. Due to these factors, the theatre is designed with a central auditorium connected to the stage, backstage and actors space to allow maximum flexibility and a central collaborative space.During performing days, this space can be partitioned in ways chosen by the performers.

NTS CONCEPT DIAGRAMS

PROGRAM REQUIREMENTS Provided standard sizes for programs.

NORTH - SOUTH AXIS Water is global and cannot be isolated.

GROUPING Grouping and al size to match

ROOF HEIGHT Highest roof in auditorium followed by the entry pavillion.

CIRCULATION Circulation forming a journey weaving through the theatre.

SEAT Adding publ

WASTE PROCESSING Ocean waste collected at perimeter and processed by actors, volunteers, NGOs, and citizen scientists.

THEATRE + PRODUCTION Table and chairs extratable from the ground plane to transform space to workshop.

THEATRE + PE Entire platform stage and aud space depend mance requ

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THE ‘PIXEL’ Using the upcycled delivery pallete as the ‘pixel’ for the project.

TING lic amenity.

DIGITAL PATH Pedestrian powered pavement with LED displaying community engagement.

ENVIRO TECHNOLOGY Rain collection + vertical wind turbine + fog catcher.

AIR FLOW Bi-Fold doors, pivot panel system and semi-open roof to allow users to experience the natural climatic conditions

ROOF Water collection in roof structure. Digital display below theatre roof. Pavillion roof doubles as lighting.

ERFORMANCE m can become dience seating ding on perforuirements.

CONCEPT DIAGRAMS

AMENITY + ORGANISATION Pavillion before ticket booth to include general public.

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PROGRAM ltering program h principles.

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SECTION BB

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11 LOCATION PLAN

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Entry from Parsley Bay Wharf Entry Pavillion + Water Collection Boat Access Ticket Booth Built in Workshop Table Central Theatre Space Fold Out Bench Exterior Circulation + Waste Organisation Ocean Waste Collection W/C Viewing Platform Cafe Kitchen Open Planning Office Storage Staff Bathroom Audience Portable Seating Performance Water Collection + Display Roof

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KEY

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19 01

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LOCATION PLAN

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1:200 PLAN ROOF 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19

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KEY

NTS ENTRY PAVILLION

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entry pavillion

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ENTRY PAVILLION

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ENTRY PAVILLION PERSPECTIVE

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ENTRY PAVILLION PERSPECTIVE

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COMMUNITY GATHERING AND CIRCULAR ECONOMY

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The entry pavillion is located in between the two realms - the everyday and the theatre. It acts as a mediating space between the two realms to allow anyone to use the space. It provides public ammenity and a common space for discourse to occur and though the community engagement in this area those who may have not known about the theatre may venture further into the theatre to experience and take part in the activities occuring in the theatre.

COMMUNITY GATHERING AND CIRCULAR ECONOMY

Community gathering and Circular Economy

The proximity of the screens to the integrated seating allows individuals to engage with the screens and the water on them in a tactile manner. Following different weather and climates this facade will also change and in a low tech manner, visitors may be able to track the differences through recalling their memory at the entry pavillion.

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The facade treatment is open creating a pavilion with shading screens. These screens double as fog catchers to harvest freshwater for consumption within the theatre. It highlights the circularity of water and the lessons we may learn from nature when it comes to the production and treatment of waste.

NTS CENTRAL THEATRE SPACE

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central theatre space

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CENTRAL THEATRE SPACE

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WORKSHOP MODE PERSPECTIVE

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The Central Theatre Space is multi functional with the design of the floor plate to accomodate the shifting of program between workshop mode and performance mode. Tables are inspired by yacht designs with folding tables that sit within the floor plate. The floor plate was also increased to accomodate under floor storage for seats that can be stored away when not in use to open up the Central Theatre Space.

WORKSHOP MODE

Workshop mode

The space is also open to the elements to a certain degree that can be managed by performers to achieve a intended level of exposure to the elements. As this theatre is the hub for experimental and immersive theatre, the openess of the theatre allows one to feel the site as one spends time beneath its shelter. The creative process and crafting process fosters a sense of ownership. It also contributes to increasing awareness of the rubbish that enters the Parsley Bay Reserve marine area, and more widely the Sydney Harbour. By creating this sense of ownership and awareness, visitors and locals are encouraged to bring these concerns home - to question if they should try to reduce waste at the source.

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Waste collected at the perimeter of the structure will be further processed in the the Central Theatre Space during workshop mode. The waste becomes the raw materials for set design, costume production as well as becoming the upcycling projects for visitors. This space is envisioned to blur the boundaries between the performers, staff, volunteers and audience by helping each of them become ‘actors’ with the purpose of reducing ocean waste in a creative manner.

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LOCATION PLAN

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Performance mode happens after the production stage of the theatre is over. Structures such as the tables and additional chairs can be stored away within the floor plate and performers are able to choose the location for their performance.

PERFORMANCE MODE

Performance mode

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The underside of the roof structure forms a grid for props to be easily hung above. The shutters and bifold doors can be altered depending on performers narrative and decision. With the doors open, one may experience more of the ocean breeze and the ocean becomes the backdrop to the performance. Whilst with the doors and shutters closed, one may be more able to feel the vibrations of the structure beneath them from the gentle waves rising and falling beneath the structure.

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07 08

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NTS DECISIVE DETAIL

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decisive detail

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DECISIVE DETAIL

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NTS DECISIVE DETAIL

the decisive detail The project is primarily concerned about waste, community and upcycling and each of these elements are encapsulated within the single module of the roof structrure for the Central Theatre Space. Therefore the exterior waste collection space and the roof structure was chosen as the decisive detail. The structure is multi-functional. With consideration to the human scale, different functions were positioned differently. At the base is a pivoting bench and bi-fold doors all operable by the individual. Above these are wind collecting turbines with lights and ventilation shutters controlled electrically. The element of touch is important at the level of the human scale - thus all materials in this area is crafted using recycled hardwood with rounded and semi polished edges. This allows the touch to be pleasant whilst maintaining a level of history to the timber. The edge condition is open to the elements and welcomes one to sit and watch the sea through the integrated seating. At the same time, it also becomes a optimal location for outdoor performances.

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DECISIVE DETAIL MODEL

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NTS CONNECTION WITH WATER AND ENVIRONMENT

connection with water and environment Waste collection gutters are located at the edge beneath the top surface of the edge pallet, allowing increased waste capturing all around the Central Theatre Space. As the water teavels through the filter and into the pump, it will also enter a sensoring device used to record levels of general, plastic, and oil waste collected on site. This data will inform the LED sheeting in the ceiling to create digital art. The data will also be recorded to enable accountability. The ceiling is formed by LED sheeting with displays inspired by High Water - allowing the waste collection process to become the ‘artist’ in this space. Integrated within the roof is a water collection system used to collect freshwater to be filtered and used for consumption, reducing the reliance on external sources.

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DECISIVE DETAIL MODEL

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gathering space

GATHERING SPACE

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Nature as the backdrop

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NATURE AS A BACKDROP

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