Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo*ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo*ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ Episode D.
root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.)
Theatre at The “ofDomain or pertaining
to a threshold” Latin limen “threshold, cross-piece, sill” Transform
from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.) an opening, hole, orifice. From PIE compound *ap-wer-yo- *ap- “off, away”+ root *wer- “to cover.” Threshold (n.) door-sill, point of entering. Liminal (adj.) “of or pertaining to a threshold” Latin limen “threshold, cross-piece, sill” Transform from one world to another. Aperture (n.)
Leanne Meng 470015216 / Tutor Jason Dibbs Graduation Studio
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Contents
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
Project Statement
Foreword
Jørn Utzon Study / Can Lis, Spain
Site Mapping / Reading the City
Project Schema / Semantic Exploration
The Design
Moments / Parts of the Whole
Visuals
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I.
Project Statement
By examining the meaning of theatre, where the roles of audiences and performers are tied closely through the acts of viewing and moving, I’ve been able to reframe my conception of two particular architectural elements: apertures and thresholds. Establishing a conceptual framework based on the semantic themes generated from the etymological roots of the terms ‘aperture’ and ‘threshold,’ my proposal reimagines spatial experience by recompositing selected architectural components, such as apertures and thresholds, from the precedent of Jørn Utzon’s house at Can Lis, as well as a broad analysis of the existing architectonic elements surrounding the site. By doing so, this proposal argues for the narrative potential of architecture. The resulting design has an internal coherency that resonates with the performing arts, circulating scene by scene, subtly combining different theatrical experiences, and threshold and aperture typologies to create the dialogues between audiences and performers, the site and the city.
1
II.
Foreword
What does theatre mean to us? In the theatre, we see, we watch, we hear, we think, we perceive, we preserve, we move, we act. In the theatre, the main characters could be simplified as the performer and the audiences. Performer acting, audiences watch, performer moving, audiences see. Therefore, can we say in the theatre, the actions of our body are mainly moving and viewing? Based on this point, Jørn Utzon’s architectural design methodologies in the house at Can Lis have been explored. Either from the contrast between solidity and transparency, the vectors of material and the arrangement of space, the house itself, has a pure relationship between movement and view — the circulation is carefully designed to lead people to different sea views. Hence, the architectural elements of threshold and aperture are particularly concerned to investigate the space through a series of typology studies. Located behind the Mint, the site has a strong historical and cultural narrative. Theatre, as a place to express ones’ thinking and value, should inherit the local cultural identities to stimulate public life in the city. Therefore, the history of the Mint and the Domain become two vital factors affect the overall planning strategies of the scheme. Besides, continuing the same logic from Utzon studies, a board analysis of the existing architectonic elements surrounding the site is provided to take a close look at the site and the city.
Taking a further step on the literary background of the term ‘aperture’ and ‘threshold’, I find the etymological roots *wer- could help generated different spatial experiences and organization. This built a solid conceptual background to frame a series of architectural compositions of site elements based on these semantic themes. Such superimposition of autonomous elements leads me to explore French-Swiss architect Bernard Tschumi’s theories of Follies. By doing so, the ideals of purity, perfection, and order become sources of impurity, imperfection, and disorder; and I start questioning how does the city be composed. What does the city create? If saying the typology studies of façade, apertures and threshold are the products of the urban city, what does the reassembly mean? Does it offer a new way of thinking or imagination of our city? Does it link to the conceptual or physical basis of theatre? The acts of curating, compositing, reassembling, rearranging, collaging highlight the possibilities of architecture and spatial experiences one perceives; and it might also create a narrative potential of architecture that performs scene by scene but remains in the same story. Last but not least, as continuing mentioned throughout the whole semester — the relationship between ‘parts and whole’. The end resulting design back to the very beginning of the semester we’ve been told, “The total always exists in some parts. Sometimes, the total exceeds the sums of the parts”.
Leanne M.
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III.
Jørn Utzon Study / Can Lis, Spain
A Journey to Sea
Sitting on the seashore, the house is divided into different spaces by its functions. Each of the functional room are oriented towards its own desirable views. Hence, the sea becomes a calibration of fragments of views. One has to move around in order to perceive the entire landscape, as each of the aperture frames a piece of sea.
* Can Lis, Utzon Archives, 2019. Sourced from: https://www.utzon-archives.aau.dk/.
‘Fugle’ / Concept Drawing by Jørn Utzon
* Utzon Archives, 2019. Sourced from: https://www.utzon-archives.aau.dk/.
Solid and Transparent
Courtyard Connection
Pattern Vector
View between Volume
i.
Studio
Bedrooms
Living room
Dining & Kitchen View spot
ii.
iii.
iv.
v.
i. House of Can Lis ii. Divide spaces by its function iii. Orientate each volumes to desirable views iv. Add courtyard to create connections v. Introduce View Frame to provide different ways of viewing and spatial qualities
Planning Logics / One space focuses on one function
Living room
Studio
Dining & Kitchen
Roof and Platform / Body and Behaviour
Bedroom
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IV.
Site Mapping / Reading the City
How does the city be composed? What does the city create?
Located between the Mint and the Domain, the site acts as a threshold connecting the city and the landscape. Surrounding by a number of historical buildings, the site has its own cultural value that sparks public art and performance. With multiple connections to the heart of Sydney and the Art Gallery of New South Wales, even the Woolloomooloo Wharf, the horizontal axis of the site brings more opportunities to the site: either from the perspective of stimulating public life, and a bridge links urban city and landscape. Examining the vertical axis, the Macquarie St brings visitors from Circular Quay, where located Jørn Utzon’s masterpiece in Sydney – the Opera House. The site has a complex and unique position in the city of Sydney.
* Google Maps, 2019. Sourced from: https://www.google.com/maps
Vi ew
s
Axis
City
t
Local
Movemen
First Impression of the Site
Vi ew
s
History : The Domain / Typologies of Assembly
1850s Competitive Sporting Event
1878 to now The Speaker Cornors
Now Outdoor Concert
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V.
Project Schema / Semantic Exploration
The ideals of purity, perfection, and order become sources of impurity, imperfection, and disorder.
*wer- 1
*wer- 2
To raise, lift hold suspended
To turn, bend, convert, transform
*wer- 3
*wer- 4
Perceive, watch out for, to observe with awe
To cover, enclosure, sealed, closed
Example of Arrangement of Acts
VI. The Design
“The total always exists in some parts. Sometimes, the total exceeds the sums of the parts”
—— from first tutorial
VII. Moment / Parts of the Whole
“The Follies”
1:50 Detail Model: Seat of the Amphitheatre I.
1:50 Detail Model: Seat of the Amphitheatre II.
1:50 Detail Model: Main Entry
1:50 Detail Model: Secondary Entry
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VIII. Visuals
November / 2019