CLASS OF 2021_Duarte, NF by jacques_23

“If I had a world of my own everything would be nonsense, nothing would be what it is, because everything would be what it isn’t and contrariwise what it is, it wouldn’t be and what it wouldn’t be, it would.” Lewis Carroll, Alice in Wonderland

Acknowledgements The mini-dissertation would not have been possible without the help, support, and inspiration of several people; my special thanks and appreciation go out to all those who have been part of this journey. My supervisors Dr. Mel Stander and Mr. Leon Pienaar, deserve my heartfelt gratitude. Without their help and continuous encouragement, this mini-dissertation would not have been achieved in its full potential, let alone been completed. A special thanks to my friend, Ms. Mila Bolt, for the fantastic support, motivation, and help in achieving this mini-dissertation. I am grateful to my friends, family, and co-works for all the encouragement and companionship given through this time. Helping me stay motivated in finishing this mini-dissertation. Finally, I would like to acknowledge and thank the Tshwane University of Technology for providing me with financial support to complete my Master’s in Architecture and their ongoing support on this path.

Hylozoic Dynamism Hylozoic Dynamism is a proposed metaphysical notion that this mini-dissertation aims to apply to architecture. The idea combines two closely linked philosophies, Hylozoism (greek hyle - matter and zoe - life) and Dynamism (Greek dynamis - power, might, strength). Hylozoism is the philosophy that defines life as an underlying entity in all matter, therefore seeing everything is alive or has life. Dynamism is the field of philosophy that attempts to explain the nature of matter in terms of indivisible force or energy and the phenomena of matter as the action of forces or energies. Combining these philosophies results in a reflexive theory in which all matter possesses life. That life is ultimately the unifying force that makes up the matter through the action of these unifying forces. When applied to architecture, Hylozoic Dynamism aims to personify this theory of inherent life through structures and spaces responsive to users, mimicking life through action.

Hylozoic Dynamism as Contingency in Architecture: The design of an interactive art classroom in the Capitol Theatre Submitted by Nicholas Duarte Submitted in partial fulfilment to the requirements for the degree Master of Architecture Professional at the Department of Architecture and Industrial Design in the Faculty of Engineering and the Built Environment at the Tshwane University of Technology Supervisor Dr M. Stander Design supervisor Mr. L. Pinaar

2021

Declaration I, Nicholas Duarte, hereby declare that this mini-dissertation submitted for the degree of Master of Architecture Professional (structured) at the Tshwane University of Technology is my own original work and has not previously been submitted to any other institution of higher education. I understand what plagiarism entails, and I am aware of the Tshwane University of Technology’s policy in this regard. I further declare that all sources cited or quoted are indicated and acknowledged through a comprehensive list of references. This project will rely on secondary sources and knowledge available in the public domain, and observations based on data collection will not infringe on vulnerable groups or individuals. Nicholas Frank Duarte

dynamism hylozoism engagement interaction

Abstract Traditional (modernist) architecture with its roots in the modernist tradition acts as a hermetically sealed envelope and numbs the senses, leading to detachment and a loss of engagement with the body and environment. Nikos Salingaros, an urban theorist and mathematician, takes the position that architecture within the modernist framework “encourages us to deny our biologically-evolved senses and embrace an unnatural, inhuman built world.” (N, Salingaros, 2013) Salingaros makes the argument that traditional modernist principles imposed on a cityscape, can lead to a fracture between the built environment and the people using it. This mini-dissertation argues for a hylodynamic architecture, which would produce a built environment that engages with the human senses and express a human ideal in built form. Furthermore, this mini-dissertation aims to provide an architectural approach in creating a life-like architecture, focusing on how the user experiences this architecture through the human body. The theory of hylozoism refers to the notion that all matter processes life. The application of this theory will guide the design of an interactive art classroom in the Capitol Theatre in Church Square in the Pretoria CBD. Hylozoic; from the word hylozoism, the philosophical doctrine that all matter has life or is alive. Dynamism; the theory that the phenomena of matter are due to the action of forces. The combination of these two ideas/theories, it is hoped will result in a living architecture with which the individual can engage and interact. The interior boundaries will no longer be static surfaces that accommodate human interaction, but rather living, dynamic elements that respond to human interaction by creating a positive feedback loop between the environment and the user. The architectural notion of Hylozoic Dynamism is in contrast to modernist principles that currently populate the Pretoria CBD.

Keywords: Dynamism, hylozoism, engagement, interaction, living

Abstract

Introduction

Project Context Research Objectives Research Questions Delimitations Research Methodology

Site & Contextual Analysis

Contents

Introduction Historical Overview Historical Significance Contemporary Context & Site Analysis Conclusion

Transformational architecture Introduction Context Literature Review Transformational Elements Conclusion

Hylozoic Dynamism Introduction Philosophical Theory Conclusion

Introduction

Precedent Study

Introduction Interactive Interventions Palimpsest Architecture Conclusion

78 84

Programme and brief Programme Accommodation list

Design development Introduction Scales of Development Iterations Conclusion

112

Design resolution Introduction Conclusion

126

Technical resolution Introduction Conclusion

148

Conclusion

152

Appendix

1: Exhibition 2: Speech 3: The Existing Promenade Architecturale 4: The Existing Promenade Architecturale List of Figures Referencing

Introduction

Chapter

Introduction

Project Context

Research Objectives

Research Questions

1 17 17

Main research question Sub research questions Research goals and objectives

Delimitations Research Methodology

Fig 01: Parti diagram of project (By author, 2021)

Project Context “The loss of ornament is the loss of vital architectural information. Unornamented forms and spaces are dead, sterile, and insipid, defining a sort of cosmic “cold death: an empty universe where no life can exist.” In an interview on Archdaily (Salingaros, 2013) This stylistic dogma of Modernism influenced the development of built form for the past 100 years. The “image” of Modernism, even in the 21st century, is currency that portrays power (Salingaros, 2013) in an interview with Archdaily. Cities have become impersonal to users, providing limited engagement and interaction. The developing Pretoria CBD is morphologically detached from the public, due to this modernist influence. A local example in the city, is the South African Reserve Bank, located in the Pretoria CBD. The buildings sizeable smooth glass façade is impersonal and creates discomfort and a lack of visual information. The lower ground landscaping is currently fenced off, removing the engagement/ interaction it once had. This research investigates the perceived shortcomings of Modernism and proposes an alternative. It asks how architecture can better deal with the public-building interphase. Existing conceptual principles such as open building, (focusing primarily on public participation and freedom of choice), and hyperbody, (where the primary goal is for buildings and their components to become more dynamic through responsive systems that respond to environmental and user-specific needs), are related to hylozoic dynamic design. The theory of Hylozoic Dynamism aims to combine these theories/concepts through the creation of living architecture. (Oosterhuis, 2003:64) (Legacy — Open Building, 2021) Hylozoic Dynamism is an approach to architecture where architecture becomes alive/ responsive and aims to create a personal relationship with the user by allowing for the dynamic change to the architecture (surfaces), as the user needs them. Although this borrows from existing concepts (open building & hyperbody), the opportunity in this project explores potential ways in which architecture can make these changes/interactions through a hylozoic lens. “Can an architecture live, could it respond to us, could it know we are here, could it care?” (Beesley, 2010) In an interview on VernissageTV. Regarding design, a life-mimicking architecture that adheres to the existing conceptual principles of transformational architecture (open building & hyperbody), with a special emphasis on interactive/responsive engagement with the user are pursued by facilitating the design of an interactive art classroom in the Capitol Theatre within Church Square in the Pretoria CBD. Interactions with the public will comply with the philosophy of hylozoism as a tangible expression. The research asks if hylozoic dynamic design approaches could create a better environment?

Research objective This mini-dissertation aims to investigate an alternative to the modernist approach of space creation and how users interact with them by examining the existing space of the Capitol Theatre and the notion of Hylozoic Dynamism and so adding to the relevant discussion of transformational architecture.

Research questions Main Research Question Can the concept of Hylozoic Dynamism as viewed from an architectural approach, contribute to transformational architecture as well as contribute to general modernist principles of space creation? Can this approach respond to human engagement between the body and the architectural environment? Will this approach be relevant in the setting of Church Square and specifically the existing space of the Capitol Theatre?

Sub research questions 1. How may the proposed notion of Hylozoic Dynamism contribute to the architectural discussion of transformational architecture? body and the architectural environment? Will this approach be relevant in the setting of Church Square and specifically the existing space of the Capitol Theatre? 2. How can the concept of Hylozoic Dynamism address some of the excesses of modernism, especially regarding the principles of space creation and can it respond to human engagement differently? 3. How may we create transformational architecture using technologies/methods that are viable and sourced locally?

Research goals and objectives 1. Investigate how Hylozoic Dynamism can contribute to transformational architecture by referencing it existing transformational principles and concepts. 2. Investigate how Hylozoic Dynamism can address the excesses of modernism with regards to space creation and its response to human engagement. 3. Investigate local building technologies/ methods and determine if transformational architecture is viable and relevant in South Africa.

Delimitations - The architectural intervention will be limited to the site of the Capitol Theatre in the Pretoria CBD and the surrounding context, i.e. areas of space adjacent to the site. - Many the existing elements of the Capitol Theatre will be preserved to respect the heritage site.

Research methodology This research investigates Hylozoic Dynamism and how it can be employed in an architectural manner. This relates to the engagement between humans and architecture. It explores an alternative to the modernist method of space creation, which is prevalent in the CBD of Pretoria. A constructivist (a research method where data gathered is interpreted through the individual experience and reflection) research paradigm will guide the research methodology in order to complete this mini-dissertation. Elkind (2005:334) states that Constructivism alludes to a recognition that reality is a product of human intelligence interacting with experiences in the real world. Including human mental activity in the process of knowing reality, a priori accepts constructivism. This allows for a dynamic approach to epistemology where, “the inquirer and the inquired-into are interlocked in an interactive process, each influencing the other.” (Mertens, 2019, 19) This offers a more personal and engaging method of data collection. The research uses qualitative data collection methods including consulting of professionals (lecturers/professors), secondary published data, such as literature surveys or case studies, and data gathered from site visits. This varied approach (called triangulation) will possibly create a deeper understanding of the subject under study. This project will consequently conduct a site analysis investigation of the area in close proximity to the Capitol Theatre in Church Square. This will be done by way of a foot survey, as well as desk research analysis of existing maps of the site in order to successfully address and answer the research objectives as stated above. This will be followed by a literature review that looks at existing principles and concepts of transformational architecture and modernist approaches to space creation. This will include cases studies of existing architectural works that are similar to the concept of Hylozoic Dynamism as well as interactive elements. It is proposed that the consulting of professionals i.e. professors and lecturers will enhance the acquisition of multiple perspectives for this study. .

Site & Contextual Analysis

Chapter

Site & Context

Introduction

Historical Overview

Historical Significance

2 32

Contemporary Context & Site Analysis Areas of opportunity of the site The ceiling The ground floor of the theatre Lost spaces between the built forms

Conclusion

City Scale, Church Square Fig 02: Site location at city scale (By author, 2021)

Neighbourhood Scale, Church Square Fig 03: Site location at neighbourhood scale (By author, 2021)

Introduction The selected site sits within Pretoria’s central business district, at the north-western corner of Church Square. The square is a prominent historical node in Pretoria and is where the city originated. The selected site of the Capitol Theatre was once a primary and revolutionary entertainment node in Pretoria. The theatre was one of only three atmospheric theatre s in South Africa (1930-1970) and is currently the last “standing” atmospheric theatre. The atmospheric theatre represented a moment in history and is defined as a type of movie palace design and is decorated to evoke the feeling of a particular time and place using projectors, architectural elements, and ornamentation (Hoffman, 2015). However, the site is no longer a functioning theatre and currently accommodates a car parking facility and a restaurant. The partial abandonment, misuse, significant location, and large enclosed structure of Capitol Theatre make the site an ideal setting for exploring architectural theories and opportunities. This site is the physical base from which this mini-dissertation initiates its investigation. The historically significant site has a rich history displaying elements of transformation, these are seen from its development during the origin of Church Square in 1856 up to the current setting. The theme of transformation is prevalent in the site’s history and Church Square due to the continuation of development and economic growth experienced by the city. Therefore, by introducing a transformational architectural approach, the intervention aims to positively transform the site and its surroundings and allow for continuous future transformations. This mini-dissertation adds to the discussion of transformational architecture and illustrates the local relevance. The public node of Church Square remains active within the city. Plans are in place to rejuvenate this space. With the primary aim of this project is to give the city a new, improved look by implementing landscaping and renovation work (Tlhabye, 2017:1). The eastern facade of the square hosts active official government quarters, marketplaces, and transportation nodes. However, the western facade has lost its vital entertainment nodes (Cafe Riche, atmospheric theatre, restaurant at Capitol Theatre). This mini-dissertation aims to engage the active areas of the square through interactive architectural interventions in line with the transformational concept of Hylozoic Dynamism in order to reactivate the once prominent entertainment node of the square. The contemporary Capitol Theatre building is situated at the back of the site, and most of the site’s interior and exterior spaces are inaccessible to passers-by. These inaccessible spaces create lost spaces within the site’s interior and between the built forms of the site and the adjacent buildings, preventing passers-by from accessing and engaging with this historically significant node. Unfortunately, the theatre within the building is derelict, and many elements are either damaged or repurposed to accommodate the car parking facility. These areas, as mentioned earlier, are the main components of opportunity that this mini-dissertation aims to employ in the design of its intervention when creating an interactive art classroom.

Fig 04: Historical time-line (By author, 2021)

Historical overview Church Square originated due to the succession of three churches that stood at the centre of the square. In 1856, Skinner and Devereu designed and built the first church, and in 1904/1905, the third church, known as Verenigde Kerk, was demolished. Over this period, various churchyards and marketplaces surrounded the square, and later the square gave rise to government/parliament buildings, creating the current built form of the square, for example, the Palace of Justice, Tudor Chambers, the Ou Raadsaal, the General Post Office, and other historically significant buildings (Raadsaal Building, Church Square, Pretoria | South African History Online, 2011). The Capitol Theatre is adjacent to the Netherlands bank (constructed in 1888) in the southwestern corner of the square. The initial development of the site was that of a hotel and tavern called Pretoria Hotel (1886), later South African Hotel (1889), and then CF Reck owned and used the site as a tavern, The Oaks (1889). The site was sold to African Consolidated Theatres Ltd. and became the President Theatre (1888–1910), Empress Theatre (1910–1912), His Majesty’s Theatre (1912–1928), and New His Majesty’s Theatre (1928–1931). In 1931, while Roger Percy Cooke designed the Capitol Theatre. Sandor Konya designed the new atmospheric theatre’s interior, decorated with elements resembling the Italian renaissance style. However, the building’s exterior, done in an art deco style that was prominent, contrasts with the exterior and interior. Ornamentation and decoration displaying architectural information covers the interior, whereas the exterior displays no ornamentation and provides a purer design. The theatre displayed revolutionary elements and hosted sound pictures, dramatic productions, and classical music performances. The Capitol Theatre remained a central entertainment node gathering point until the 1970s (Raadsaal Building, Church Square, Pretoria | South African History Online, 2011) (Swart and Proust, 2019). After the 1970s, the Capitol Theatre was no longer the primary entertainment node as further development of entertainment-based technology made atmospheric theatres outdated. Movie houses and cinemas became more exciting forms of entertainment and led to the site becoming derelict. Due to this, adjustments made to the site accommodated new functions (car parking facility and restaurant). The car parking facility saw partial adjustments to the atmospheric theatre’s ground floor, and the restaurant used the Capitol Theatre’s entrance area. The remaining areas of the Capitol Theatre were closed to members of the public (African History Online, 2011). Capital Arts Revolution, a group of youthful artists, requested in 2013 that the theatre accommodate space for Pretoria artists to create and exhibit their work. The Capital Arts Revolution conducted a march, and young artists signed a petition to aid their request. A few months later, the group of young artists held an event at the theatre called Re: Capitoli. The event included all art forms including music, dance, and photography, among others. Unfortunately, this was the last event held, and their desire to make constructive use of the space did not materialise (The Capitol Theatre, 2019).

Fig 05: Historical time-line 02 (By author, 2021)

Historical significance 1. The Capitol Theatre has stood in the CBD of Pretoria for 82 years and has survived three planned demolitions by the state. 2. One of the first atmospheric theatres in South Africa. 3. According to Clause 34.1 of the 1999 Heritage Act, any structure older than 60 years may not be altered or demolished. Unfortunately, the western facade of the Capitol Theatre was only constructed in 1963. 4. The location adds further significance to the theatre. Located on the western facade of Church Square, the site has been a place of social gathering and entertainment throughout the history of Pretoria. The historical facades of the buildings that make up the western side are significant to the character of the square and is seen as the historical heart of the city. 5. The theatre was a technological sensation, having advanced projection capabilities, special acoustical treatment to deal with the new talking pictures, electrical lighting, and a sophisticated cooling system. A system-innovative, steel, long-spanning structure makes up the theatre.

Fig 06: A view from the Promenade into the Grand Foyer, adapted by author (van Rooyen, 2016:18)

Fig 07: Site analysis (By author, 2021)

Site analysi

Fig #: Site (author, 2021)

is page full

Fig 08: Site analysis (By author, 2021)

Contemporary context and site analysis In 2014, the rejuvenation of Church Square was announced. The intervention had converted existing roads to be A-Re-Yeng bus service roads and areas, implemented new paved areas, restored landscapes, and added to the park to rejuvenate the site in the hope of urban regeneration. The newly added public services to the square have made the square more public-friendly. However, most notably, the main public gathering areas of the square are situated on the eastern areas/facade of the square due to the market spaces along Church Street. Unfortunately, the gathering nodes of the western areas/facade are currently nonexistent due to the closure of the once-prominent Café Riche and African restaurant nodes. The eastern section of the square is arguably still a thriving area, but the western section sees little to no public gathering areas as it has lost the vital nodes of entertainment it once had. The loss of these nodes provides an opportunity for this mini-dissertation to address and return pubic interaction to the western section of the square by utilising the eastern section’s busy market node.

Fig 09: Line drawings of the existing (By author, 2021)

Areas of opportunity Site-related opportunities arise from demolished or damaged areas of the existing structure due to adjustments made over the building’s lifetime. Similarly, areas of lost space around the built form of the site create opportunities for the intervention to address in this mini-dissertation.

The ceiling The Capitol Theatre’s dome-shaped acoustic ceiling is an element of significance. The ceiling was painted with an artistic mural depicting a night sky and has a span of approximately 27 meters. The mural was a prominent, revolutionary element of the structure’s interior. Unfortunately, the ceilings’ artistic mural has deteriorated and is damaged in some areas, possibly due to water damage and lack of upkeep. As this architectural element was one of the main features of the theatre’s interior and is a vital part of the atmospheric theatre design, the opportunity arises for the intervention to recreate this prominent element while employing contemporary technologies. The recreation of the ceiling using contemporary technologies would keep the theme of the existing element through modern technologies that employ the interactive architectural principles of Hylozoic Dynamism. The new recreation will incorporate acoustic and atmospheric elements necessary for the atmospheric theatre’s proper use of acoustic functions.

The ground floor of the theatre The theatre’s ground floor seating area had approximately 200 seats with three inner pathways and two wing pathways. The seating area gradually descends from the back area to the stage area with an approximate fall of 1:25. The removal of the ground floor seating area happened during the sites’ conversion from a theatre to a parking area. Only the screed covering remains in this area, and it is unclear whether this flooring screed was part of the existing 1930s construction. At one end of this open floor area is the severely deteriorated stage. This new open space provides the opportunity to create a new area for the public viewers of the intervention creating the interactive art classroom. This space is a large open space of approximately 650 square meters and has no structural elements. The bare floor provides the opportunity for recreation/restoration of seating and stage. The intervention will recreate these elements/areas through interactive technologies to create interactive atmospheric qualities for the theatre. The floor space recreation will create an atmospheric area for the public visitors/viewers. The stage will remain a stage, as it is a necessary element in creating a theatre. However, the old, deteriorated stage presents an opportunity to create a new stage area with interactive technologies associated with Hylozoic Dynamism.

Fig 10: Images of the existing depicting areas of opportunity 01 (By author, 2021)

Areas of opportunity Lost spaces between the built forms The courtyard is placed between the western facade of the building and an oversized wall that encloses the courtyard from the public street. This square area was the area of the 1920s His Majesty’s Theatre and restaurant. It is unclear what the space was used for in the original 1930s Capitol Theatre design. However, the space is assumed to be a gathering area, as escape doors and other thresholds open out into this space, or perhaps a spill-out space for theatre viewers. The courtyard area is currently used for additional parking space. This area is covered in asphalt and has some built car park covering structures. Currently, this space serves as a safe parking area for the officials who park there. The officials access the area through a gated opening in the large wall at the street-edge. This space makes the theatre site appear to lie far back and be enclosed from the square. The opportunity for this space is to partially open up to the public that use the square and allow for a more inviting courtyard and create a public gathering area for visitors and passers-by. This area is in direct contact with the square and can be seen from most areas of the square. Therefore, the courtyard areas should engage with the public and encourage user engagement with the site. Furthermore, the possibility exists for a gathering or entry point for the new proposed intervention.

Fig 11: Images of the existing depicting areas of opportunity 02 (By author, 2021)

Fig 12: Line drawing of the interior (By author, 2021)

Conclusion The function of the old Capitol Theatre as an atmospheric theatre and cinema in this context becomes irrelevant with the current state of the building. However, new technological interventions of mixed reality and virtual reality technologies allow the outdated programme to become relevant to the current entertainment context. This space will continue to embody the site’s essence as a cultural node within the city centre. The building has a plain art deco facade and lies at the back of the site, hiding the building slightly. Therefore, new public interactive architectural interventions will draw attention to the hidden site and extend Church Square’s public gathering areas. The facade will interact directly with the public and passers-by in the square. The intervention should also create a place for Pretoria artists to learn and exhibit their work through interactive frameworks and mixed-reality technologies. The intervention will use siterelated opportunities as discussed, and base the intervention upon the existing framework of the Capitol Theatre. The Capitol Theatre’s interior ornamentational elements and decoration will be restored to provide the architectural information necessary for interactive experiences, and the interventions will complement these elements. However, the facade lacks this visual architecture information, and therefore the intervention of Hylozoic Dynamism systems will add this necessary information. The next chapter on Hylozoic Dynamism will explain the related theories and help broaden the conceptual approaches of the architectural design.

Transformational Architecture

Chapter

Introduction

Context

Literature Review

3 51

Transformation

Open Building Principle Hyperbody Hylozoic Ground

Conclusion

Transformation

Caterpillar 1930 -1970 Cocoon 1970 - 2021 Butterfly 2021- Hylozoic Dynamism

Fig 13: Butterfly transformational metamorphosis (By author, 2021)

Introduction Through user-applied interaction, transformational architecture refers to architecture that creates spatial changes to the architectural environment that suit users’ needs in a reciprocal loop. This chapter reviews two existing transformational principles through literature reviews: opening building systems and hyperbody. Open building “is an approach to designing buildings that considers the possible need to change or adapt the building during its lifetime, in line with social or technological change” (Parmar, 2017). Hyperbody “focuses on advancing methods of designing and building interactive architecture, the interactive architecture of the hyperbody aims to establish a two-way communication between the [users, actors] and the environment” (Habraken, 1961). A better application of transformational architecture is possible by analysing the existing principles of open building and hyperbody. As the theme of transformation is relevant to the site and its history, the theme forms the basis of Hylozoic Dynamism. Understanding the theme of transformational architecture informs the design development of the proposed intervention of an interactive art classroom in the Capitol Theatre. The theme of transformation is the ‘golden thread’ the intervention proposes. The theme is necessary for creating life-mimicking architecture by creating feedback loops between the users and the architecture. This transformation allows users to directly interact with the architecture, creating architecture as a living entity. Through the application of transformational Hylozoic Dynamism, the architecture becomes alive. The proposed concept of Hylozoic Dynamism is rooted in transformational architecture and aims to add to the discussion by creating lifelike transformational architecture.

Context The site of the Capitol Theatre has shown a rich historic precedent, as discussed in Chapter 2. This illustrates how social, economic and environmental change to the site has transformed the built form over the buildings’ lifetime. The architecture changed due to the environment’s needs. The architecture transformed over time through demolishing and reconstructing to fit the new intended and required needs. This gradual change over the past century shows how architectural adaptation is a natural part of the built environment. Architecture then should make provisions for these needed changes. The social, economic, and environmental needs affect change in the built environment and in order for the building to ‘stay alive’, it has to adapt. If it does not, the architecture becomes derelict. Therefore, the argument is that the Capitol Theatre must become an adaptable space to stop it from becoming further derelict. Transformational architecture in the contemporary setting of the Capitol Theatre aims to make use of new technologies associated with extended reality to create adaptable elements that affect the architectural environment. Extended reality affects spatial or environmental changes to the perceived architecture that happens instantly with no physical changes. As the building’s essence is a theatrical production, the programme links to transformation as well, seen through production and performance theme changes as new exhibitions are displayed. New technologies allow these changes to become an integral part of the architecture, creating a life mimicking architecture using the architectural notion of Hylozoic Dynamism.

Fig 14: Transformational butterfly (By author, 2021)

Literature review Open building principle The open building concept is based on the legacy of Professor N John Habraken, who developed the concept in the 1960s (still used today) as a way to shift decision-making regarding mass customised housing and suggest new ways to harness the power of industrial production: “Supports are part of public domain and are permanent, while the infill belongs to the individual and is changeable. Public participation and freedom of choice of the user is the key objective” (Habraken, 1961). Habraken (1961) mentions that one of the main goals of an open building is to restore the “natural relationship” between the building form and the people who live in it. The lifestyles of the people who reside there are often assumed to be generic. Buildings are so rigid in their aesthetics and functions that people have little choice but to adapt to them because they were not designed to adapt to the people who live in them (Kilpatrick, n.d.). The adaptability of architecture mentioned in the principle of an open building aims to match to human lifestyles by allowing for changes that better suit users and their needs. The matching allows for more engagement with the individual and the architecture, where the individual must first interact to make the change or adapt the architecture. The natural relationship between the built form and the inhabitants is then restored according to this principle. This is relevant in the 21st century as technology advances and new adaptable systems become possible. However, the concept of an open building does not define how the adaptations or changes should take place.

Hyperbody “Hyperbody explores interdisciplinary spatial domains via specific practices and academic collaborations in order to develop in-house cutting-edge design tools, techniques, and methods for the making of complex non-standard, customised, interactive architectures” (Oosterhuis, 2012). The concept of hyperbody is directed by Prof. Kas Oosterhuis at TU Delft, Netherlands. Hyperbody focuses on advancing methods of designing and building interactive architecture: “interactive architecture of the hyperbody aims at establishing a two-way communication between the people [users, actors] and the environment [house, office] they live in” (Oosterhuis, 2003, 50). As technology progresses, the systems proposed by the concept of hyperbody have become more practical and advanced. Creating communication between the individual and the architecture further restores the “natural relationship” mentioned by Habraken (1961). However, the concept relies on advanced technologies that may not be available locally. The idea of two-way communication is still very relevant. The proposed notion of Hylozoic Dynamism will aim to create these communications through local technologies/systems.

Fig 15: Open building diagram, adapted by author (Beesly, 2011:11)

Literature review Hylozoic Ground Hylozoic Ground was the Canadian Pavilion exhibition at the Venice Architecture Biennale in 2010: “Hylozoic Ground is an immersive, interactive sculpture environment organised as a textile matrix supporting responsive actions, dynamic material exchanges, and ‘living’ technologies” (Beesley, 2010, 14). Addington (2010) purports that the Hylozoic Ground exhibition is a contingent architecture that evolves through interactions with the body. Each body reacts with behaviours unique to that instant in time and that individual (Addington, 2010). Applying the notion of hylozoism allows for a more intimate relationship between the individual and the built form. The notion shares many qualities with transformational architecture, but its main aim is to create life-mimicking or living architecture. However, the implications of this approach are limited to exhibition works, as the practical implementations are possible and relevant to the topic of transformational architecture. This notion allows the transformation of architecture to take place in a life-mimicking way.

Fig 16: Hylozoic ground, adapted by author (Beesly, 2011:11)

Conclusion Through user-applied interaction, transformational architecture refers to architecture that creates spatial changes to the architectural environment that suit the users’ needs. The site of the Capitol Theatre displays the elements of transformation over the building’s lifetime; therefore, the concept of transformation becomes relevant to the site. The intervention calls for additional and continuous transformation in the intervention. The concept is better understood by reviewing the two existing principles of transformational architecture principles, open building systems, and hyperbody—understanding these existing principles helps inform the proposed notion of hylozoic dynamism. Hylozoic Ground, an exhibition work in the Venice Biennale in 2010, applies the concept of hylozoism to create an intimate, interactive environment that the users interact with. The exhibition is a textile matrix that supports responsive action through human interaction, creating living technologies, and displaying architecture in a lifelike way. The exhibition’s understanding of the exhibition brings critical insight into some exciting living technologies of architecture that create direct feedback loops through the environment. The following chapter of hylozoic dynamism will define the notion and its combined philosophical perspectives and how they apply to architecture through physical and technology-based interventions. The chapter also uses transformational architecture as its basis.

Hylozoic Dynamism

Chapter

Introduction

Philosophical Theory

Hylozoism Dynamism Combination of Hylozoism and Dynamism The approach to architecture Transformational architecture Theory in architecture Technology based

Transformation

Conclusion

Fig 17: Hylozoic dynamism rhizome diagram (By author, 2021)

Introduction This chapter defines the concept of Hylozoic Dynamism in both a metaphysical and an architectural sense. The notion combines two philosophies that aim to define the unit of life and the basis of consideration for a thing to be alive. Hylozoic Dynamism is the combination of two closely linked metaphysical philosophies. Hylozoism is the ancient Greek philosophy that life is in all matter. Life exists in matter’s most divisible units. Hylozoism identifies life as an organic entity that arises in all things. This underlying entity of life is separate from nothing and forms part of its whole. Each unit of matter is part of a greater whole. Therefore, nothing can be inorganic. Dynamism relates to the idea that the existence of matter is a result of the action of forces and energy and that life as an underlying force in all matter affects the forces that make up reality. When applied to architecture, Hylozoic Dynamism aims to personify this theory of inherent life through structures and spaces responsive to users, mimicking life through action. This aim creates an intimate and engaging relationship between users and the architecture. This responsive interaction evokes the sense that architecture forms part of the natural world, an organic world where users form a part of the architectural organism. From a Vitruvian viewpoint, good architecture has three criteria: firmness, unity, and beauty. Hylozoic Dynamism aims to respect these essential criteria while creating a responsive architecture that incorporates users, emphasising a connection with nature. This personified understanding of architecture and the rise of new technological systems re-evaluates how design connects people and spaces. Several existing principles of transformational architecture are briefly discussed in this paper to show the topic’s relevance and add to the discussion of transformational architecture.

Philosophical theory Hylozoism Hylozoism (Greek hyle is ‘matter’ and zoe is ‘life’) is the philosophical doctrine that all matter processes life. While pre-Socratic Greek philosophers Zarathushtra, Thales, Anaximenes, and Heraclitus argued that all material objects possess life, they did not necessarily believe that the objects had separate lives or identities. Rather, objects possessed life as living insensible entities. Furthermore, this quality of life is an underlying element that connects all entities to a greater whole, one entity that is the sum of all or a ‘world soul’ (New World Encyclopedia, 2018). The philosophy of hylozoism is not without criticism, as the notion of the reality of life was less well understood at the time of its inception (pre-Socratic era). Based on a current understanding of living organisms, the idea is less appropriate for understanding life’s essence through contemporary philosophy. However, the notion is useful as the essence of the idea brings about unity and a sense of wholeness and connection to all things, instilling a greater appreciation of all elements that make up one’s surroundings (Skrbina, 2007, 34). Hylozoism then describes the life of individual entities in a fluid and changing state that forms part of all things. This life energy constantly transfers between the individual, the collective, and even in the smallest parts of matter. Hylozoism sees life as an ever-flowing sea that is part of all things. There is life even in the most indivisible parts of matter. The concept of hylozoism defines life as a fundamental point of reality. Everything has a lifelike aspect to its existence and hylozoism aims to explain life as a mechanism of reality (Redon, 1910) (Boyd, 2017).

Fig 18: Hylozoism diagram (By author, 2021)

Dynamism Dynamism (Greek dynamis is ‘power, might, strength’) is the field of philosophy that attempts to explain the nature of matter in terms of indivisible force or energy and the phenomena of matter as the action of forces or energies. An additional definition of Dynamism is active energy, continuous change, or progress. In essence, Dynamism defines a perception of reality due to the underlying indivisible forces that continually change and interact. These active forces make up the life of matter or give life to it. Through the acceptance of the philosophy, life is then the result of the action of forces (Dubray, 1909).

Fig 19: Dynamism diagram (By author, 2021)

Combination of Hylozoism and Dynamism The combination of the outlined philosophies of Hylozoism and Dynamism results in a reflexive theory in which all matter possesses life and that this life is ultimately the unifying force that makes up matter through the action of these unifying forces. Life is part of the action of force or energy. Linking these two ideas leads to an understanding of the mechanism that makes up reality, meaning that all things have life and are a part of the whole and that life is a product of a unifying force that animates all matter.

The approach to architecture (hylodynamic architecture)

Applying the theory of Hylozoic Dynamism to architecture aims to personify architecture and create structures that are better suited for human interaction. Hylodynamic architecture tries to mimic the idea of life as defined in the philosophical concept of Hylozoic Dynamism. This hylodynamic architecture responds to users’ external factors or actions and creates a positive feedback loop. Architecture is a living organism that mimics life through this dynamic approach, forming part of the natural world. Architecture and man together create a system that mimics life through their simultaneous engagement and interaction. The active dialogue between users and the architecture brings unity to the system, sharing in the life of the greater whole . As the world changes, its structures adapt to stay relevant and functional. The notion of hylozoic dynamism considers this possible need for change to occur over time or the structure’s lifetime. Just as the approach aims to mimic life in the present, it should also adapt over its lifetime. Adaptability plays an essential role in the approach to hylodynamic architecture. In seeing architecture as an organic system (organisms), an understanding is essential that organisms grow and change through their lifetime. As technological, social, and environmental changes happen, the hylodynamic architecture allows the structure to adapt to changes and remain alive.

Transformational architecture

Transformational architecture is an existing principle and forms the basis for hylodynamic architecture. Transformational architecture is the principle by which the structure or an element may be transformed through minor manipulations or alternations in response to specific needs while maintaining its identity and durability (Parmar, 2017). The architecture allows the users the freedom of choice in changing/altering architectural elements as needed and providing adaptable systems that allow for gradual, continuous change in the structure over time. The existing transformational architectural principle of the open building is an approach to designing architecture that considers the possibility and needs for structures to adapt to the changing external forces over time (Kilpatrick, n.d). This open building principle guides the understanding of transformational architecture and aids in formulating the concept of Hylozic Dynamism correctly.

Fig 20: Hylozoic dynamism over the Capitol Theatre diagram (By author, 2021)

Theory in architecture

Creating life-mimicking architecture through user interaction and feedback is the aim of Hylozoic Dynamism in architecture. The architecture engages with users and the environment and adapts in response. In a theoretical sense, the concept describes the actions of forces as the component that defines the element of life. Therefore, the interactive elements react to forces brought about by their engagement with users and the environment. The life-mimicking architecture created through these adaptable components provides users with vital architectural information to create structures perceived as living, breathing organisms. This architecture thus relies upon the interaction to remain alive, resulting in visual/ kinetic feedback that alters the appearance or experience of the space.

Technology based

Extended reality uses current technologies to affect reality using technological instruments to affect users’ experiences visually. Empty rooms could virtually become endless spaces or scenes. Technology is creating architecture that is alive through virtual systems that offer new perspectives with infinite opportunities. However, the users must be engaged with architecture to discover these virtual spaces/scenes. The combination of virtual and natural environments is defined as extended reality (XR). Human machine-generated interactions are created and placed in the architecture, resulting in new environments experienced through the devices/ wearables. Extended reality lends itself to creating virtual architectural spaces that become alive through human and technological interactions, for example, a wall is no longer a surface but rather a virtual portal to new environments. Through virtual and mixed reality, architectural spaces exhibit lifelike aspects associated with biological environments, creating living and breathing architectural spaces that are somewhat autonomous and reacting to internal and external changes in environments like human movements/interaction or climatic sensory changes. Extended reality becomes an extension of the architecture and is becoming more relevant in the contemporary and future architectural climate. Historically, the Capitol Theatre was an experiential theatre that transported users to a different place through its physical decor. However, today, using new technologies, it is possible to achieve the same experience (if not more so) without altering the physical architecture. So, by leaving some areas bare (open) and keeping the stucco decor inside the theatre, the intervention compassionately acknowledges the site. .

Fig 21: Technological transformation (By author, 2021)

Transformation

Caterpillar 1930 -1970 Cocoon 1970 - 2021 Butterfly 2021- Hylozoic Dynamism

Fig 22: Projector illustration (By author, 2021)

Conclusion When applied to architecture, Hylozoic Dynamism aims to personify this theory of inherent life through structures and spaces responsive to users, mimicking life through action. The notion of Hylozoic Dynamism is not of scientific origin. However, as the basis of quantum reality is still undiscovered, there is an argument that Hylozoic Dynamism may play a crucial part in the formation of reality. As an architectural expression, this idea proposes how one may interoperate and express reality and life through an architectural lens. Hylozoic Dynamism is a principle one can use to create life-mimicking architecture, defined by concepts of hylozoism and dynamism . The principle can be applied by moving from a literal and scientific perspective to a creative viewpoint, where the expression of Hylozoic Dynamism has no limits. Hylozoic Dynamism creates architecture as a living, breathing entity. Actions affect direct feedback and reaction to the architectural environment, and a transparent technology causes the architecture to interacts with information embedded into the walls, floors, and ceilings of spaces. The architecture is a living entity, providing architectural information via interaction. Hylozoic Dynamism is an architectural approach that aims to mimic life through the action of forces (external), creating a transformational architecture that seeks to adapt and change as needed over time. The users form part of this organic architecture, which forms part of the greater understanding of life as a whole. The notion of Hylozoic Dynamism also shows similarities with the relevant topic of transformational architecture and contributes to its discussion. The intervention placed within the framework of the Capitol Theatre will make use of areas of opportunity where existing elements have been damaged, altered, or create technical problems. Technology-based interventions aim to enhance the existing historically significant elements. The following chapter, the precedent study, discusses and analyses existing architectural works related to the topics of interaction and palimpsest architecture.

Precedent Study

Chapter

Introduction

Interactive Interventions

74 77

Urban Imprint - Studio INI SuperStudio 1970’s grid

Palimpsest Architecture

Non-structures & Palimpsests : Photography

Precedent study

5 69

Conclusion

Fig 23: Palimpsest structure line drawing (By author, 2021)

Introduction The criteria of the precedent selections are physical or theoretical architectural exhibitions that illustrate qualities of either interactive engagement or palimpsests. Interactive interventions are architectural exhibitions that directly transform due to human interaction. This resulting transformation is made possible through physical or theoretical exhibitions, where the user’s interaction causes a change in the built form. These interactive interventions will give a fundamental understanding of the possibilities of how human engagement may alter the architecture. The discussion of interactive architectural engagement is in line with the proposed concept of Hylozoic Dynamism and is a fundamental element in the concept. Palimpsest architecture refers to altering existing built forms that display visible traces to their former form by overlaying the alterations over existing. Therefore, preservation of the existing through the overlaying of necessary alterations. This concept of palimpsest architecture illustrates how new the new intervention of an interactive classroom may support and enhance the historically significant Capitol Theatre while preserving the site’s heritage.

Interactive interventions To aid in understanding the human engagement aspect required for Hylozoic Dynamism. The installations should show how human interaction changes the structure through mechanically adjusted or visual changes through virtual technological feedback loop systems.

Urban Imprint - Studio IN The installation features a floor and a ceiling that react in response to the movement made by users. The canopy opens up around the user’s heads in reaction to the weight of their footsteps. Achieving this through a ceiling connected to a mechanical pulley system increases tension with the weight-sensitive flooring system, resulting in the ceiling opening around the point of weight over the floor. The design intention is to illustrate the relationship between people and the urban environment through the inverse. “I wanted to create a space where your every step, your every imprint is amplified.” (Gibson, 2019) in an interview with Dezeen. The structure reacts to the rigidity of human-experienced urban space instead of natural surroundings, which adapt to human presence. (Gibson, 2019)

Fig 24: Urban imprint compilation adapted by author (author, 2021)

SuperStudio’s 1970’s grid “Superstudio was the name of an architectural movement formed by a group of university students in Italy in the late ‘60s that immersed themselves in utopian and democratic ideals and expressed them through film, photomontage, and striking visual imagery.” (Woodhouse, 2016) Superstudio’s architectural exhibitions reflected the group’s leftist political stance. “Their principal concept was to apply a grid system to the urban context in which every point on the grid was the same as any other point and people existed equally” (Woodhouse, 2016) The so-called anti-architecture graphic work represented by the overlay of the uniform grid over the existing urban context represents their view that all people existed equally. The grid is a space where the users may use it however they need. The interaction of the grid results in the transformation of the space according to the user’s needs. The theoretical approach is in line with the concept of transformational architecture, giving the user the freedom to do with the space they need. The overlay grid creates a utopian space, illustrating a unified system that connects the users with this new environment, giving the user a truly democratic experience.

Fig 25: Happy Island - SuperStudio, adapted by author from (Cady, 2016)

Palimpsest architecture Non-structures & palimpsests: Photography Similarly, the second part of the percent study will look at palimpsest architectural works that successfully juxtapose existing and new interventions—this theme aid in understanding how to work within an existing framework of historical significance successfully. “Palimpsest: Something reused or altered, but still with visible traces of its former form.” Introducing the Palimpsest concept into the design formula allowed us to look at the structure-building relationship from a new perspective.” (Gatica, 2017) Special attention will be paid to areas of connection between old and new structures, and this area of focus will guide the intervention as to how it should connect to the existing.

Fig 26: Unsustainable structures,, adapted by author from (Truffa, 2021)

Conclusion The interactive interventions illustrated in this chapter show the possibility of how architectural works use the essence of transformational architecture to create change. Leading to works that respond to human interaction and engagement, using mechanically driven systems such as the Urban imprint. Or the essence of transforming and changes through theoretical exploration such like the utopian grid of Superstudio where the space is a result of a democratic view of the individual or group. These works help understand transformation and how the discussion of these precedents may be related to the proposed intervention of this mini-dissertation. Palimpsest architecture shows how necessary alterations made to the built form still support and promote the historical significant of the existing. The next chapter will discuss the programme and brief of the intended intervention of this minidissertation —Allocating proposed use of areas and what the intervention accommodates.

Programme and Brief

Chapter

Programme

Accommodation List

Programme

6 81

Fig 27: Programme diagram (By author, 2021)

Programme The new Capitol Theatre intervention for an interactive art classroom sets a contingency approach to transformational design using Hylozoic Dynamism as an architectural approach. The Capitol Theatre serves to create an interactive building that engages with the users and passers-by using installations that display themes of transformation through physical and virtual technological means. In so doing, interactivity brings the building to life as suggested by the notion of Hyloizoic Dynamism. The aim of this intervention is to bring the historic building back to life, and reintroduce the artistic expression back into the building. The installation of an interactive art classroom fulfils a multi-purpose programme within the main programme of theatrical production and exhibition space created by local arts as well as the public. The following elements are essential to the success of creating a life-mimicking building through the concept of Hylozoic Dynamism. -Interaction and engagement: A place where users or visitors of the architecture can create change and directly affect changes to the architecture using artistic expression. The design of an interactive art classroom is a mixed-use building for the local artists to learn and exhibit their work and for members of the public to express themselves and interact directly with architecture, resulting in direct changes and feedback. Design development

Fig 28: Line drawing of the Capitol Theatre (By author, 2021)

Accommodation list General accommodation list Information desk Ticket sales administration Administration area/offices Rest-rooms Storage Entry foyer Grand foyer Exhibition areas Art classroom area Interactive stage Atmospheric theatre Theatre seating Backstage area Rooftop catwalk

Courtyard seating Interactive installations exterior Interactive installations interior Restaurant Sidewalk interactive intervention Interactive energy walkway

Design Development

Chapter

Introduction

Scales of Development

Urban scale - connecting the site to Church Square Site scale - working with lost space within the site Building scale - areas of opportunity within the built form of Capitol Theatre Elements - focused areas of opportunity on a smaller scale Detailed elements - focused on the connections between old and new elements

Iterations

111 Conclusion

Development

7 87

Fig 29: Line drawing of the Capitol Theatre (By author, 2021)

Introduction This chapter illustrates the concept of Hylozoic Dynamism informed design decisions at various scales in urban, site, building, elements, and detailed contexts. It illustrates the various scales of the intervention contributing to creating engaging and interactive architecture. The chapter illustrates the intervention through technological and physical alterations that portray these design decisions. This chapter aims to relate the development of the design to the concept and how the concept interacts with the existing elements creating a palimpsest that aims to show the importance of the historical significance of the old Capitol Theatre.

Scales of development The concept of Hylozoic Dynamism can be used to develop the site. Importance is given to specific areas of the intervention. These areas are approached at multiple scales, ensuring that the concept is embedded within the intervention.

Urban scale – connecting the site to Church Square The site is on the corner of the western facade of Church Square and presents an opportunity to connect the theatre to the square and to interact with the public in the square. The site currently does not connect to the square and is arguably hidden or disconnected from the square. The intervention aims to connect back to the square using themes of interactive engagement as a concept and to design a new facade and entrance that can be seen from the square and will attract visitors from the square. The intervention spills out onto the sidewalk, encouraging the visitors from the square to interact with the facade, while bringing them to the site.

Fig 30: Urban scale development (By author, 2021)

Site scale – working within the lost space within the site The site lies in-between buildings, and the spaces between the buildings present an opportunity to use the space to enhance the site. As an architectural approach, Hylozoic Dynamism reuses this space in creating transformational elements that give feedback to the users and allow for changes facilitated by users, allowing the users to create change and express themselves with the help of the life-mimicking structure. These derelict spaces disconnect the site from its surroundings. A Hylozoic Dynamic approach utilises these spaces to create a structure that interacts with other buildings and creates a life-mimicking building.

Fig 31: Site scale development (By author, 2021)

Building scale – areas of opportunity within the built form of the Capitol Theatre The existing structure of the Capitol Theatre presents an opportunity to reuse space allocated for theatre design in its original form. These areas vary in their degree of deterioration. The Hylozoic Dynamism approach uses and reuses these spaces for their original purpose through restoration and refurbishment, adding visual or virtual technology-based transformational elements. This technique appreciates the existing elements for their original purpose and brings the structure into a contemporary setting, allowing these additions to be adaptable for the exhibitors to affect change.

Fig 32: Building scale development (By author, 2021)

Elements – focused areas of opportunity on a smaller scale The focus of the design development on a smaller scale utilises damaged or altered space in the current setting, as mentioned in Chapter 2. An investigation of altered or marred spaces presents opportunities to use the Hylozoic Dynamism approach. Damaged or alternative elements are recreated using contemporary technologies. These spaces will bring life back into the building, and these elements will in their original design purpose.

Fig 33: Elements development (By author, 2021)

Detailed elements – focused on the connections between old and new elements Attention to detailed elements focuses on how new additions of physical or technological interventions connect to the existing and create a palimpsest within the building, allowing for a clear distinction between old and new. Thus, homage is paid to the historical significance of the Capitol Theatre. Hylozoic Dynamism on this scale aims to connect the old and new elements in a lifelike way, personifying the concept. In doing so, the position where the new interventions are grown from within the structure and the elements of life-mimicking aspects guide the connections between the old and new elements.

Fig 34: Detailed elements development (By author, 2021)

Fig 35: Design iteration 01a (By author, 2021)

Fig 36: Design iteration 01b (By author, 2021)

100

Fig 37: Design iteration 02a (By author, 2021)

Fig 38: Design iteration 02b (By author, 2021)

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102

Fig 39: Iteration 3 ground floor plan (By author, 2021)

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Fig 40: Iteration 3 long section (By author, 2021)

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Fig 41: Iteration 3 short section (By author)

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108

Fig 42: Iteration 3 elevation (By author)

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Conclusion This chapter looked at how the notion of Hylozoic Dynamism informed design decisions at various scales as mentioned in the chapter. The focused areas of the design contribute in creating engaging interactive architecture, through transformational architectural interventions. The transformational architectural elements are achieved through mechanical and technological based designs. The interventions illustrated in this chapter show how the intended interventions create palimpsest within the built form of the Capitol Theatre. The following chapter shows how the design developed into a final iteration.

111

Design Resolution

Chapter

Design

8 115

Introduction

125

Conclusion

113

114

Introduction This chapter shows the final iteration of the proposed intervention. The focus of this chapter is to illustrate the last iteration in progression with the design development. The design depicts the interactive transformational elements that create like-mimicking architecture through feedback systems that respond to the users. The Hylozoic Walkway and facade are the elements of the final iteration that best display the intention of creating a hylodynamic architectural design. The facade and walkway are balanced systems that respond to weight brought on by passers-by on the walkway; in turn, the walkway moves up and down, creating a wave-like effect; this system then directly changes the facade system by moving the counterweights up and down. The movement of the counterweight system then reveals a series of textile banners that depict the happenings of the theaters interior. The exterior and interior interactive interventions display both mechanical and technologically driven systems. The exterior interactive with the user through an analog billboard with multiple switches; as the analogy billboard switches get turned over, a new image is depicted on the billboard system. The internal interactive elements display lighting systems that show exhibited work. The internal partitioning system is a free-forming series of walls that may shift and bend to the user’s freedom (exhibitors).

115

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Fig 43: Ground floor plan design (By author, 2021)

117

118

Fig 44: Section b-b design (By author, 2021)

119

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Fig 45: Section a-a design (By author, 2021)

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Fig 46: Exhibition & courtyard perspective (By author, 2021)

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124

Fig 47: Model of facade (By author, 2021)

125

Technical Resolution

Chapter

Technical

9 129

Introduction

127

128

Introduction The technical resolution focuses on systems within the design. The contract documentation focuses on a specific portion of the design, primarily on the systems investigated in the design. The Hylozoic walkway and facade are the primary focal points in the documentation. Secondary focused on the structure, namely the exhibition area, the ceiling, and other interior elements. Many of the existing internals that are preserved are not touched in the documentation.

129

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Fig 48: Facade exploration sketch (By author, 2021)

Fig 49: Hylozoic tunnel exploration (By author, 2021)

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Fig 50: Hylozoic walkway exploration 1 (By author, 2021)

Fig 51: Hylozoic walkway exploration 2 (By author, 2021)

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Fig 52: Hylozoic facade exploration (By author, 2021)

Fig 53: Hylozoic walkway system specification (By author, 2021)

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Fig 54: Contract documentation site and locality (By author, 2021)

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Fig 55: Contract documentation ground floor plan (By author, 2021)

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Fig 56: Contract documentation section a-a (By author, 2021)

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Fig 57: Contract documentation edge detail (By author, 2021)

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Fig 58: Contract documentation details 01 (By author, 2021)

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Fig 59: Contract documentation details 02 (By author, 2021)

147

Conclusion

Chapter

Conclusion

0 151

Conclusion

52 54

149

150

Conclusion This mini-dissertation looked at how Hylozoic Dynamsim as viewed from an architectural approach, contributes to transformational architecture and contributes to general modernist principles of space creation. Using the site of the Capitol Theatre as a physical base for the exploration of the approach, which focused on how the architecture can respond to human engagement between the body and the architectural environment. And reconnection with the site and the active public node of Church Square. The Capitol Theatre has shown areas of opportunity for the concept approach to revitalize the site using transformational architecture and systems, bringing the public and church square passers-by to the site through engaging life-mimicking architecture that responds directly to the pass-by who interact with it, interaction through mechanically and using new technologies as the method of creating these systems. Program offers The resolution offers a reinvented atmospheric theatre the site once has while incorporating components that aim to engage with the user through feedback loops. The site creates areas of learning and art classroom where learns are the users who create changes into the architecture through learned systems thought by the architecture. The element of architectural transformation drives the resolution and illustrates how active engagement between the user and the architecture creates change and colour intervention through life-mimicking interventions that react to the users. While responding to the historically significant site of Capitol theatre, the interventions juxtapose the existing and illustrate their significance through palimpsests architecture that showcases the existing.

151

Appendix

Chapter

Appendix 1: Exhibition

160

Appendix 2: Speech

162 164

Appendix

1 154

Appendix 3: The Existing Promenade Architecturale Appendix 4: The New Promenade Architecturale

153

154

Fig 60: Exhibition sections (By author, 2021)

Appendix 1: Exhibition

Fig 61: Exhibition plan (By author, 2021)

155

156

Fig 62: Exhibition render 01 (By author, 2021)

Fig 63: Exhibition render 02 (By author, 2021)

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158

Fig 64: Exhibition images & render 03 (By author, 2021)

Fig 65: Exhibition elevation & image (By author, 2021)

159

Appendix 2: Speech Loss of ornamentation leads to a detachment between the body and the architectural environment, Nikos Saligraos says the “architecture within the modernist framework designed in a hermetically sealed envelope numbs the sense and leads us to ignore our biologically evolved senses” the loss of ornamentation is the loss of vital architectural information. Therefore the preservation of the historically significant ornamented buildings is of great importance. The site where the capitol theatre stands has gradually transformed through its lifetime, from a hotel and saver to various theatre iterations and restaurants, and ultimately to a neglected site that partially facilitates a vacant restaurant area, market stalls, and parking lot, historically significant building. The transformations of the site, are a result of user-specific, economic and environmental needs, the history of the site suggests that the theme of transformation has been its essence. In 1930 the capitol theatre building was built by architect Percy Roger Cooke and whoever, the designer of the interior atmospheric theatre, the atmospheric theatre was a time of theatre design where the interiors are set to invoke a sense from a particular time, giving the setting of the Italian renaissance environment of the theatre space. The atmospheric theatre changed the user’s environment once inside and teleported the user to a new environment, blocking the outside. However atmospheric theatres, became less popular as the new cinema and movies houses arise. Leading to the end of this program in the 1970s. This along with many other architectures significant to human engagement and interaction are lost in the contemporary setting, and this mini-dissertation aims to re-attach this one prominent entertainment node in the city, through the use of new technological interventions and highly transformative and adaptive design. The concept of Hylozoic Dynamism is the architectural approach used in potentially achieving the desired outcome, Hylozoic Dynamism is a reflexive theory with its roots based on transformational architecture. Hylozoic from the philosophy of hylozoism, where it is believed that all matter has life or is in some sense alive, and Dynamism where the phenomena of the matter is a result of the action and interaction of forces. The combination of this theory then states that life is in all things and this life is shown through the interaction of forces, as an architectural approach this concept looks to create a life mimicking architecture, by creating interactive elements that react directly to the user, creating positive feedback loops between the individual and the architecture, creating a personal dialogue between them. Giving life to the architecture, and in so giving life back to the capitol theatre as a main entertainment node in the inner city. The design looks to utilize areas of opportunity within the building, these areas are of deterioration neglect or areas that were altered cover the capitols theatres lifetime. The interior domed ceiling, the ground floor seating area that was demolished to facilitate the parking lot, the exterior facade that is left blank due to alterations, the theatre stage, and lost spaces within the site.

160

The design looks to utilize areas of opportunity within the building, these areas are of deterioration neglect or areas that were altered cover the capitols theatres lifetime. The interior domed ceiling, the ground floor seating area that was demolished to facilitate the parking lot, the exterior facade that is left blank due to alterations, the theatre stage, and lost spaces within the site. Precedents These precedent studies focus on creating palimpsest architecture that supports the historically significant architecture and gives respect to the existing, additionally, they explore interactive means of continuous change and process through transformational interactive design. And explore the theory of anti-architecture. The user experience will be seen through the lens of Alice (from Alice in Wonderland) Alice experiences the intervention through a new entrance that directly engages with her through the holozoic walkway set to move with her, this then causes the façade system to move with her too. Revealing more information, through a banner roll-up attached to the facade system, this transformation of the facade looks to visually create a life-mimicking architecture. This movement may be seen from Church Square, inviting passers-by and the visitors of the square to the new intervention. The entryway has interactive elements such as various switchboard displays, that allow passers-by to create artistic changes to the building and creates pausing spaces within the entryway courtyard. Alice then is transported through the rabbit hole into the building, where administrative and other related facilities happen. When inside she is transported to a new environment/reality, with the use of visual technologies of light and projector systems, that are easily adaptable creating various scenes within the interior. At the end of this liminal space, she is met with the threshold gateway. The gateway alters through her perspective through glass colour shifts, done by overlaying glass tins with one another. (Places perspex sheet over drawings) And in through the large doorway, Alice is transported to the interactive exhibition area where the scenes and environment complete change creating an atmospheric space filled with film and project walling systems and various lighting systems embedded into the existing. This space may be adapted to suit various needs and is a multi-purpose space, the term art classroom partially happens in this area, with the and of lightweight worm partitions this space helps create these new environments. Above, through, and past this space is the new atmospheric theatre, with the addition of a new moving ceiling and various lighting systems palimpsest onto the existing. Creating visually adaptable systems what aid in new and various theatre productions. The ceiling may rise and fall according to the production along with a new stage, the once main entertainment node of the atmospheric theatre is recreated, with contemporary technologies. Through the lens of hylozoic dynamism, life is then brought back into the capitol theatre, creating a space where users may learn, exhibit and perform. Re-establish this entertainment node within the inner city, Thank you.

161

Appendix 3: The existing Promenade Architecturale

162

Fig 66: Existing promenade plan (By author, 2021)

2. Fig 67: Existing promenade images, adapted by author (By author, 2021)

3. 163

Appendix 4: The new Promenade Architecturale

164

Fig 68: New promenade plan (By author, 2021)

Fig 69: New promenade render 01 & 02 (By author, 2021)

165

List of figures Fig Fig Fig Fig Fig Fig

01: 02: 03: 04: 05: 06:

Parti diagram of project, (By author, 2021) Site location at city scale, (By author, 2021) Site location at neighbourhood scale, (By author, 2021) Historical time-line, (By author, 2021) Historical time-line 02, (By author, 2021) A view from the Promenade into the Grand Foyer, adapted by author from

Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig

07: 08: 09: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20: 21: 22: 23: 24:

Site analysis, (By author, 2021) Site analysis, (By author, 2021) Line drawings of the existing, (BY author 2021) Images of the existing depicting areas of opportunity 01, (By author, 2021) Images of the existing depicting areas of opportunity 02, (By author, 2021) Line drawing of the interior, (By author) Butterfly transformational metamorphosis, (By author, 2021) Transformational butterfly, (By author, 2021) Open Building diagram, adapted by author, (Openbuilding, 2021) Hylozoic ground, adapted by author, (Beesly, 2011,11) Hylozoic dynamism rhizome diagram, (By author, 2021) Hylozoism diagram, (By author, 2021) Dynamism diagram, (By author, 2021) Hylozoic dynamism over the Capitol Theatre diagram, (By author, 2021) Technological transformation, (By author, 2021) Projector illustration, (By author, 2021) Palimpsest Structure line drawing , (By author, 2021) Urban imprint compilation, adapted by author from

van Rooyen, S. (2016). The Theatrics of Negotiating Identity. University of Pretoria., pp. 18. Available at: https://repository.up.ac.za/handle/2263/60214 (Accessed: 19 November 2021).

Gibson, E., 2016. Studio INI’s morphing Urban Imprint installation opens in A/D/O courtyard. Dezeen. Available at: https://www.dezeen.com/2019/05/16/urban-imprint-studio-ini-ado-brooklyn-courtyard/ (Accessed: 19 November 2021).

Fig 25: Happy Island - SuperStudio, adapted by author from

Cady, C., 2016. DESIGN STUDY: CONCEPTUAL ARCHITECTURE, ‘SUPERSTUDIO’ & UTOPIA Bagtazo. Bagtazo. Available at: https://www.bagtazocollection.com/blog/2016/1/20/theory-studyitalian-conceptual-architecture-superstudio-utopia (Accessed 14 August 2021).

Fig 26: Unsustainable structures, adapted by author from,

Truffa, L., 2021. Non-Structures & Palimpsest: Photography as a Register for Urban Regeneration and Real Estate Speculation. ArchDaily. Available at: https://www.archdaily.com/968713/non-structuresand-palimpsest-photography-as-a-register-for-urban-regeneration-and-real-estate-speculation (Accessed 24 November 2021).

Fig Fig Fig Fig Fig Fig Fig

27: 28: 29: 30: 31: 32: 33:

Programme diagram, (By author, 2021) Line drawing of the Capitol Theatre, (By author, 2021) Line drawing of the Capitol Theatre, (By author, 2021) Urban scale development, (By author, 2021) Site scale development, (By author, 2021) Building scale development, (By author, 2021) Elements development, (By author, 2021)

166

Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig

34: 35: 36: 37: 38: 39: 40: 41: 42: 43: 44: 45: 46: 47: 48: 49: 50: 51: 52: 53: 54: 55: 56: 57: 58: 59: 60: 61: 62: 63: 64: 65: 66: 67:

Detailed elements development, (By author, 2021) Design iteration 01a, (By author, 2021) Design iteration 01b, (By author, 2021) Design iteration 02a, (By author, 2021) Design iteration 02b, (By author, 2021) Iteration 3 ground floor plan, (By author, 2021) Iteration 3 long section, (By author, 2021) Iteration 3 short section, (By author, 2021) Iteration 3 elevation, (By author, 2021) Ground floor plan design, (By author, 2021) Section b-b design, (By author, 2021) Section a-a design, (By author, 2021) Exhibition & courtyard perspective, (By author, 2021) Model of facade, (By author, 2021) Facade exploration sketch, (By author, 2021) Hylozoic tunnel exploration, (By author, 2021) Hylozoic walkway exploration, (By author, 2021) Hylozoic walkway exploration 2, (By author, 2021) Hylozoic facade exploration, (By author, 2021) Hylozoic walkway system specification, (By author, 2021) Contract documentation site and locality, (By author, 2021) Contract documentation ground floor plan, (By author, 2021) Contract documentation section a-a, (By author, 2021) Contract documentation edge detail, (By author, 2021) Contract documentation details 01, (By author, 2021) Contract documentation details 02, (By author, 2021) Exhibition sections, (By author, 2021) Exhibition plan, (By author, 2021) Exhibition render 01, (By author, 2021) Exhibition render 02, (By author, 2021) Exhibition images & render 03, (By author, 2021) Exhibition elevation & images, (By author, 2021) Existing promenade plan, (By author, 2021) Existing promenade images, adapted by author from

van Rooyen, S. (2016). The Theatrics of Negotiating Identity. University of Pretoria., pp. 195. Available at: https://repository.up.ac.za/handle/2263/60214 (Accessed: 19 November 2021).

Fig 68: New promenade plan, (By author, 2021) Fig 69: New promenade render 1 & 2, (By author, 2021)

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References Beesley, P. (2010) Hylozoic Ground: Liminal Responsive Architecture – Part One. 1st edn. Toronto: Riverside Architectural Press, pp. 14 Boyd, T., 2017. Wisdom Bites - Hylozoism. Dubray, C., 1909. CATHOLIC ENCYCLOPEDIA: Dynamism. Available at: https:// www.newadvent.org/cathen/05222a.htm (Accessed: 19 November 2021). Elkind, D. (2005) ‘Response to objectivism and education’, The Educational Forum, 69(4), pp. 334. Gibson, E., 2016. Studio INI’s morphing Urban Imprint installation opens in A/D/O courtyard. Dezeen. Available at: https://www.dezeen.com/2019/05/16/urban-imprintstudio-ini-ado-brooklyn-courtyard/ (Accessed: 19 November 2021). Gatica, J., 2017. Architectural Palimpsest - Rethinking the Architecture School. Worldarchitecture.org. Available at: https://worldarchitecture.org/architecture-projects/ hhvzp/architectural-palimpsest---rethinking-the-architecture-school-project-pages. html (Accessed: 19 November 2021). Habraken, N., 1961. The supports and the people. Amsterdam: Scheltema & Holkema. Hoffman, S. (2015) A theatre history of Marion, Ohio. Charlotte: The History Press. Kilpatrick, I. (n.d.) Inter-generational living: Open building architecture and the importance of choice & independence, reGeneration Studio. Available at: http:// sieplcoatesstudio.weebly.com/uploads/2/3/3/0/23301256/kilpatrick_book_portion.pdf (Accessed: 5 June 2021). Mertens, D. (2019) Research and Evaluation in Education and Psychology. 5th edn. Thousand Oaks: SAGE Publications, pp. 19 New World Encyclopedia (2018) Hylozoism, NewWorldEncyclopedia.org. Available at: https://www.newworldencyclopedia.org/entry/Hylozoism (Accessed: 19 November 2021). Oosterhuis, K. (2012) Hyperbody: First decade of interactive architecture. Prinsenbeek: Jap Sam Books. Oosterhuis, K. (2003) Hyperbodies Towards an E-motive Architecture. Basel: Birkhäuser Publishers for Architecture. pp. 64 Open Building (2021) Legacy, OpenBuilding.com. Available at: https://www. openbuilding.co/legacy (Accessed: 7 June 2021).

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Parmar, R. (2017) Know about the transformation of building in architecture, Gharpedia.com. Available at: https://gharpedia.com/blog/transformation-of-buildingin-architecture/ (Accessed: 19 November 2021). Quirk, V. (2013) The quest to “liberate” architecture from Modernism’s evils: An interview with Nikos Salingaros, ArchDaily.com. Available at: https://www.archdaily. com/397653/meet-the-man-liberating-architecture-from-modernism-s-evils. Redon, J. (1910) ‘Hylozoism’, in Catholic Encyclopedia. New York: Robert Appleton Company. Available at: https://www.newadvent.org/cathen/07594a.htm. Sahistory.org.za. 2011. Raadsaal Building, Church Square, Pretoria | South African History Online. Available at: https://www.sahistory.org.za/place/raadsaal-buildingchurch-square-pretoria (Accessed 19 September 2022). ShowMe (2019) The Capitol Theatre, ShowMe.co.za. Available at: https://showme. co.za/pretoria/tourism/the-capitol-theatre/ (Accessed: 19 November 2021). Skrbina, D., 2007. Panpsychism in the West. Cambridge, Mass: MIT Press, pp. 34. Swart, J. and Proust, A. (2019) ‘Capitol Theatre details’, in Hidden Pretoria. Cape Town: Struik Lifestyle, pp. 150–157. Available at: https://www.artefacts.co.za/main/ Buildings/bldgframes.php?bldgid=3515. Tlhabye, G. (2017) ‘Church Square revamp’, Pretoria News, 25 January, pp. 1 Available at: https://www.pressreader.com/sout Woodhouse, M. (2016) Superstudio, White Lies Magazine. Available at: https://www. whiteliesmagazine.com/blog/2016/11/20/superstudio.

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