Performing Architecture by Michelle Wun

Performing Architecture Wun Michelle Hiu Shuen Thesis 2016 | Department of Architecture The University of Hong Kong

01. Artifact

Thesis Statement The art industry produces. Art tourism consumes. An art amenity is a process that bridges the spectrum. The thesis aims to reconstruct the theatre process and create a city route of immersive cultural experiences. Theatrical architecture is re-defined by blending and re-distributing traditional production, performance and spectator spaces. The rapid exchange of roles between performers and audiences is expected as a result. The spatial arrangement of a city has potential to engage with human movement just as theatrical architecture moves toward a more dynamic, immersive experiences. By exploring a new language of theatricality in the urban, architectural and installation scales, the performing nature of architecture can transform passive audience into an engaged participants and ultimately a cultural activist. By developing the menu of theatricality, it aims to inspire users to engage in the spatial construct as collective, group or individual contributors

02. Structure of thesis work plan

TABLE OF CONTENTS

P.3 P.5

INTRODUCTION Performing Architecture-the next cultural reality Definition

P.6 P.20

WHY Evolution of Theatrical Architecture Disciplinary Proposition

P.23 P.32 P.41 P.43

WHAT From manufactural to cultural industries Global Case Studies [Issue] City Positioning [Programme] District Test Case [Scale & Scope] Overarching Urban Strategy

P.44 P.48 P.50 P.52 P.56 P.58 P.60 P.62 P.64

HOW Identifying Theatrical Elements Revolution of traditional theatre process Target Users Analysis Urban Scale: Site Analysis Architecture Scale: Spatial Arrangement Prototype Scale Comparison Programmatic and Scenario Projections Structure and System Spatial Ideal

P.84

CONCLUSUION

ii vi x xiv

PROGRESS REPORT Review 01 Review 02 Review 03 Final Review

BIBLIOGRAPHY

Event, movement and spaces are analytically juxtaposed in mutual tension in deconstructing the city and to explore new codes of assemblage. - Bernard Tschumi

The goal of theatre is to get as many people as possible to overcome fear by taking action. We create reality wherever we go by living our fantasies. - Jerry Rubin

INTRODUCTION Performing Architecture-the next cultural reality â&#x20AC;&#x153;Architecture is both about space and about the events that take place in that space...Space is temporal because we move through it; time is spatial because, as architects, space is what we construct. It is through space that we are capable of addressing time. But time also exists to activate our spaces, occasionally transforming them by challenging perceptions of their boundaries.â&#x20AC;? - Bernard Tschumi, 2000 This thesis aims to reconstruct the theatre process and create a city route of immersive cultural experiences. Theatrical architecture is re-defined by blending and re-distributing traditional production, performance and spectator spaces. Rapid exchange of roles between performers and audiences is expected as spatial configuration reposition according to time and programme change. A new language of theatrical architecture will be tested on a context with potential in cultural industry which makes culture a living reality in accordance to the socio-political situation. The structure of this report begins with the discussion of the disciplinary awareness concerning theatrical architecture, through a historical research into an evolving architectural language. Followed by case studies worldwide to bring up the issue of global urgency in replacing manufacturing landscape with cultural industries, in which driving factors and creative process are analyzed by each context. The focus is further narrowed down to the city and district scale with programme and scope of design in perspective. The methodology includes the extraction of theatrical elements and language, and projecting into contemporary and future living experience.

Culture

03. Theatrical Space

04. Characterization

DEFINITION This thesis identifies culture as a living process in addition to artistic production. It is a combination of peopleâ&#x20AC;&#x2122;s behavior and way of living in relation to the historical context, current challenge and vision for a place. In which sense of belongings have a positive correlation to peopleâ&#x20AC;&#x2122;s attachment and contribution to their culture.

Theatrical architecture

In addition to performance related programme, theatrical architecutre is defined as architectural or spatial configuration which triggers an expression and rapid exchange of ideas between individuals and groups. It can take place in the periphery of architecture where it meets its immediate surroundings, within an architecture and in a public open space.

Theatrical Space

Traditional theatrial space includes production, performance and spectator space, which defines the performer-spectator relationship with specific layout. This thesis aims to create a new combinationof theatrical space in encouraging the shift of roles between performer and spectator.

Characterization

Characters engage in the cultural process can be divided into three stages, and five types of characters are identified and selected for the design purpose of this thesis. Three Stages1) Absentee characters (past industry owners and workers/ government officials), 2) Existing characters (building owners, tenants, workers in light industry, logistic, cultural industry,Neighbourhood, tourists), 3) Future characters (office workers, tourists, F&B, commercial activities) 5 Types 1) Residents 2) Hawkers/Caterers 3) Artists 4) Office workers 5) Tourists/ Visitors

WHY? Evolution of Theatrical Architecture The role of theatre architecture and performance-audience relationship have evolved according to changes in social situation and context. For the purpose of this thesis, the spatial arrangement in performance studies is the focus in relation to the architectural discourse. The perspective of the discussion is set from the western world where the evolution of theatrical architecture in line with prominent movements, social situation and world events. 01

01. Street Theatre Before the act of performance was regulated into architecture, street theatre was staged all the time. The concept of Theatre first appeared in the English world in the 14th Century, in which “both natural and man-made open space are defined as theatre for people to watch spectacles of various sorts. “1. They included festivals, rituals (initiation, healing, burial, punishment and execution), courtroom trials, political events (inaugurations, coronations, public gatherings, parliamentary debates, and party congress), sports, games, weddings and performance of arts. In Germany, too, the concept of theatre was known as “any space for demonstration and ostentation” where something worth seeing occurs, which included public execution, anatomical dissection and battlefield. Under this definition, Street theatre was an organic spectacle which took place in the public domain and confined to the urban fabric, where the performer-spectator relationship is engaged and ever changing. An example drawn from this time period is the Piazza del Campo in Siena, Tuscany of Italy. Being one the greatest medieval squares established before the 13th Century, it is an open space in front of a church, surrounded by residential settlements with ground floor as market place or restaurant. The centre open space and surrounding settlements serve as spectator space to the horse-racing event. This piazza can cater social rituals of various scales and purposes with the temporary and periodic spatial arrangement, and in line very much on the socio-cultural aspect of the context. 1. “The Concept of Theatre” P.6, Fischer-Lichte, Erika, Ramona Mosse, and Minou Arjomand. The Routledge Introduction to Theatre and Performance Studies. , 2014. Print.

01. Piazza del Campo in Siena, Tuscany of Italy 02. Public Execution

02. Theatre in Hierarchy

Starting from the 16th Century, Theatre primarily refers to enclosed buildings in the English world, and this definition prevails to the present day and in all British-influenced colonies. In the second half of the 18th Century, the scope was furthered narrowed down to institutional art-theatre in Germany, in which only drama, opera and ballets were entitled to perform. Many of the performances such as circus, variety show, striptease and colonial expositions are excluded from the category.2 When performance is confined into architecture, the socialpolitical hierarchy and dominance have destined the receptive and passive role of spectators with controlled perspective and spatial setting. Instead of dynamic street scenes, performances are staged in permanent setting and scheduled frequency. Performers take this chance to deliver a story or message, while the affluent spectators make use of this opportunity to be seen and demonstrate social status and wealth. The Elizabethan Globe Theatre in England with the audience capacity of 1500 is a typical example of theatre in hierarchy. The circular plan with open ground floor space and three storeys seating space have created hierarchy in line with the social situation: nobles and wealthy audience sitting next to the stage to be seen by others, common people sitting up the storeys and poor peasants standing on the ground in front of the stage. Either the theatre was used to deliver such social distinction, or being a product of it, the sense of hierarchy have separated the audiences in different social tiers as well as from the performers.3

2. “The Concept of Theatre” P.6, Fischer-Lichte, Erika, Ramona Mosse, and Minou Arjomand. The Routledge Introduction to Theatre and Performance Studies. , 2014. Print. 3. “Recognising and realising space” P.106, McKinney, Joslin, and Philip Butterworth. The Cambridge Introduction to Scenography. Cambridge, UK: Cambridge University Press, 2009. Print.

03. Roman Theatre 04. Elizabethan Globe Theatre

03. Dialectic Theatre

Before late 18th Century, proscenium-arch theatres remained main-stream. While the darkening of fan-shape auditorium with theatrical lighting and the sunken orchestra prioritized vision of the stage, the picture frame stage suggested potentially passive observational role of the spectators. A break-through from the architectural prioritization of the stage was realized with the development of Arena and thrust theatre. Instead of focusing on internal communication of characters on stage, these theatres promoted the “reciprocal exchange of energy between performer and spectator, and to engage spectators on bodily, visceral and intellectual terms”4. In the late 19th century, debate to reassess definition of theatre and the performer-spectator relationship raised in both scenographic and architectural disciplines. the boundaries between theatre and other cultural domains are challenged. For instance, Avant-garde movements “understood theatre as an autonomous art instead of a medium for bringing the literature art to audience”5. The Dadaists and Surrealists strived to bring theatre into reality, whereas the Bauhaus Movement abstracted stages without actors, and to bring art closer to life, “to shock the spectators, or to liberate their creative potential and transform them into the longed for, yearned after, even if differently defined ‘new’ beings”6. The changing role of spectator from a passive to engaged one leads to the architectural evolution of theatre into a dialectic forum, and gave rise to active theatre.

4 “Recognising and realising space” P.108, McKinney, Joslin, and Philip Butterworth. The Cambridge Introduction to Scenography. Cambridge, UK: Cambridge University Press, 2009. Print. 5. “The Concept of Theatre” P.7, Fischer-Lichte, Erika, Ramona Mosse, and Minou Arjomand. The Routledge Introduction to Theatre and Performance Studies. , 2014. Print. 6. “Changes to the Paradigm of Theatre in the Twentieth Century” P56, Fischer-Lichte, Erika, and Jo Riley. The Show and the Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press, 1997. Print.

05. Arena Theatre 06. Thrust Theatre

04. Active Theatre

World War II marked the end of the Avant-garde and the rise of Fascism and Stalinism. It also marked the beginning of cultural exchange across different nations, including the Chinese Opera and Japanese Kabuki Theatre tour in Europe. The Hanamichi as an active theatre where performing space is extended into the audience space and triggers multiple focal points within a performance. Similarly, Walter Gropius proposed an elaborate mechanized concept in 1927, in which the Total Theatre (unbuilt project) can rotate and have part of the auditorium serve as a place of action. The notion of active and transformable theatre has rejected the bourgeois literary theatre and create a new mode of perception and relation with the audience. In 1960s, Fluxus was established as “anti-commercial, anti-art network of international artists”7, composers and designers. They were known for blending different disciplines including performance, Neo-Dada noise music, visual arts, urban planning, architecture, design and literature. The focus on process rather than product became the new trend in cultural performance. At the same period of time, the Polish innovative theatre director Jerzy Grotowski proposed “the exodus of performance form theatre buildings”8. Even though he believed the theatre occurs between the audience and the actor, and emphasized on how performance itself creates spatiality, this period of time marked the revolution of theatrical architecture from being the container of performance.

7. “Changes to the Paradigm of Theatre in the Twentieth Century” P56, Fischer-Lichte, Erika, and Jo Riley. The Show and the Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press, 1997. Print. 8. “The Concept of Theatre” P.9, Fischer-Lichte, Erika, Ramona Mosse, and Minou Arjomand. The Routledge Introduction to Theatre and Performance Studies. , 2014. Print.

07. Kabuki Theatre 08. Total Theare, Walter Gropuis, 1927

05. Transpose Theatre With the advancement of technology and socio-cultural condition to urge for a more active role of spectators, contemporary theatre architecture and performance are in the direction of blending the spectacle into living reality in form of transpose theatre that range from black box to environmental staging. 09

Black Box theatre adopts a bare stage setting in which the performance and spectator space is different on every production. Allowing the most dynamic exchange of role and viewing experience between performers and audience within a theatre setting. The Dee and Charles Wyly Theatre in Dallas, USA in 2009 was designed by REX and OMA in realizing the trend of urban theatre with transformability. By repositioning the front and back stage programmes, the ground floor of the theatre can transform from a proscenium setting, to a thrust layout, and even to a flat floor plan which opens up to the public open space in front of the architecture. Likewise, the constructing Culture Shed in Manhattan which scheduled to be opened in 2019, adjacent to the northern leg of the High Line, was designed by Diller Scofidio + Renfor and Rockwell Group with its featured retractable roof, flexible and transformable for multi-scale events.

These two examples show a prominent change in theatrical architecture in breaking out of the building and extending into public domain, that serves as an “interface at which different classes met and intermingle” and lead to “social heterogeneity”9.

9. “Performing Public Space”, P.132, McQuire, Scott. The Media City: Media, Architecture and Urban Space. Los Angeles, Calif: Sage, 2008. Print.

09. Black Box Theatre 10. REX & OMA, Dee and Charles Wyly Theatre, 2012 11. Diller Scofidio + Renfor and Rockwell Group , Culture Shed, 2017

06. Site-specific/ Mobile

In the 21st century, an ambiguous performer-spectator relationship has been established with the rise of improvisational performance in public domain. Once again, theatre is active on street and the most common places of everyday life, while abandoned factories, manufacturing buildings, cattle depots, etc are breathed in new meanings as cultural production bases. Performance spaces are realized as found spaces in urban setting10, such as terraces, squares, leveled circulation space, shopping malls or even normal pedestrian walkway. Vehicles also become the tool of temporary and mobile stage and widely used in commercial advertising. In light of this trend, transformability and mobility will be the focus of the coming architectural innovation in various scales catering different events.

Disciplinary Proposition The democratic social situation, responsive and reciprocal cultural trend demand a new form of theatrical architecture. In line with this disciplinary proposition, this thesis aims to investigate scenographic potential and sequential experience in architectural and urban space. In which the MISE EN SCENE in orchestrating movement and event in everyday life will develop in different scale and time in nurturing people’s behavior; and in a reciprocal fashion, the performers and spectators will become builders themselves in contributing to the spatial construct. In addition to art and performance, “Culture” is defined as a living experience which references the earliest form of spectacle in street theatre. Instead of a confined interior space to stage action, architecture can take up an active position in fostering culture, where the role of “Architecture ceases to be a backdrop for actions, becoming the action itself”11.

12. BMW Guggenheim Lab 13. Tiny Travelling Theatre

10. Birch, Anna, and Joanne Tompkins. Performing Site-Specific Theatre: Politics, Place, Practice. , 2012. Print. 11. Bernard Tschumi, Space and Event, Architecture and Disjunction, The MIT Press, 1996, Print

01. Artifact

WHAT? From manufactural to cultural industries In the age of technological advancement, many industrial landscapes are diminishing and being converted into other uses. Cultural production and consumption are seen as “solution to deindustrialization and social unease”1by Charles Landry and Franco Bianchini. A redeveloped cultural district is considered as symbolic economies with “commercial exchange and social identity”2. While many of them are pulled down for top down redevelopment, many others are invaded by the cultural industries which take advantage of the enormous space, or the freedom to produce noise. Under such architectural and urban ambience, cultural industry would be a suitable test case of the thesis, in which scenographic potential and sequential experience can be complimentary to the context and programme.

Global Case Studies [Issue] Looking into different parts of the world, examples of converting post-industrial spaces into cultural attractions (be it unintentional or planned) are abundantly found. Most of them can be identified as either Cultural Productions (music/ art/ design/ print and broadcast media) or Cultural Tourism (art venue/ heritage site/ event and festivals). Artists begin to form cultural clusters within the vacant buildings, and the atmosphere usually attracts commercial, F&B and even high end residential into the area. As a consequence rents sky-rocketed, artists are forced to move out, and the once cultural hub becomes nothing more than an over-commercialized district for Cultural Consumption. Despite being an important agent to vitalize a place, cultural industry as production is often threatened to be eradicated when tourism completes over the commercial value of the place. In order to mediate these polarizing producition and consumption phenomenon, this thesis will position the role of architecture as Cultural Amenities (subsidiesd and local arts, and civic provision for the public good)3 that develops among the community’s living experience. To unveil architecture’s position in relation to the social, political, economic and cultural factors, three case studies are identified in North America, Europe and Asia for an analysis of their respective cultural process. 1. “The Culture Industirs” P.102, Miles, Malcolm. Cities and Cultures. London: Routledge, 2007. Print. 2. “Culture re-producing citis” P.97, Miles, Malcolm. Cities and Cultures. London: Routledge, 2007. Print. 3. “The Culture Industirs” P.103, Miles, Malcolm. Cities and Cultures. London: Routledge, 2007. Print.

01 North America SOHO in Manhattan, New York, was an archetypal example of inner-city regeneration and gentrification from a manufacturing district, to a bohemian enclave, and nowadays an outdoor shopping mall. As a former cast-iron industrial district, it currently includes 300,000 meter square of land with 26 blocks and 500 buildings, and populated with 13,000 people consist of 67% White, 15% Asian, 8% Hispanic and 1% Black. During the American Revolution, it became location of numerous fortifications, redoubts and breastworks. After the Civil War from 1861-1865, there was a loss of 25% of population and middle-class was driven out to give place to textile industry. After WWII, the textile industry migrated southwards and empty buildings become warehouses, printing plants, garages and auto repair. Starting from the 1960s, Artistsâ&#x20AC;&#x2122; Loft developed in the district and a cultural community was born. This socio-cultural tie successfully derailed the Lower Manhattan Expressway by the government, and led to the Zoning Resolution in 1971 for allowing the manufacturing buildings to be modified into joint live-work quarters for artists. Since then, the SOHO district continues to draw affluent residents and commercial uses, while artists were able to remain under the Loft Law for rent protection despite the rising land value. From this case, the government policies in preserving the area as Cast Iron Historic District, Zoning Resolution and Loft Law played an important role for the community to prosper. Obsolete architecture acted as a back drop for new event and uses to creep in, while the high ceiling height and street fronts in levels were favourable to the staging of activities. SOHO falls into cultural production and consumption classification. 02. Timeline of creative process in SOHO

02 Europe The Old Vic Tunnel in Waterloo Station of London, UK is another example which share similarities with Hong Kong. As a former railway tunnel, this abandoned infrastructure transformed into an underground art venue which showcased productions, performances, installations and art events. It also connected with the communities, developed educational initiatives and brought talented artists together. Given a fixed land lease of 3 years, the art venue from 2010-2013 was a joint effort by the artistic director Kevin Spacey, England’s Department of Transport, British Rail, Old Vic Theatre Trust, artists and the neighbourhood. During the entire period of lease, the Underground Artist in Residence Scheme allow free studio and gallery space for photographers, graffiti artists, designers, filmmakers and DJs. On top of that, the Old Vic Tunnel was given the Big Society Award by Prime Minister David Cameron as a recognition to their contribution to the community. It was actively engaged in social action by having half price tickets for the neighbourhood in the underground cinema, holding innovative productions and collaborative exhibitions. The next occupant, House of Vans which opened in 2014, follows closely to this concept and allows public to enjoy the underground skate park for free while a portion of tickets sales for performance by artists are donated to charity. Once again, abandoned infrastructure became a crucial stage set for creative ideas to take place. As Jane Jacob said, “New ideas need old buildings”, the parasitic nature of cultural industry needs obsolete spaces which awaits the imprint of a new identity. Social and political factors also contributes a lot to the success of this art venue, and it can be identified as a mixture of cultural production, education, tourism and amenity.

03. Timeline of creative process in Old Vic Tunnel

03 Asia As a close reference to Hong Kong, Tian Zi Fang in Shang Hai of China is chosen for the third case study. Being an art and craft enclave from a renovated residential area in the French Concession area, the local Shikumen architecture cluster is with 200 diverse business including boutiques, retail stores, bars and restaurants situated in the 41400 meter square of urban fabric. During the demolition plan to tear down the entire district for redevelopment in 2006, opposition among local business owner and residents, as well as the famous artist Chen Yi Fei (whose works are known as Chinese Romantic Realism), in addition to a group of artists was influential. They submitted a proposal to the local government for preserving the Taikang Lu area with its traditional architecture and ambience. With the help of international media exposure such as the New York Times, Tian Zi Fang was recognized as a major tourist attraction with both local and foreign brands. The construction techniques of Shikumen LiLong architecture was even recognized as the national non-physical cultural heritage register by the Chinese government. This case demonstrates the importance of local social situation in which the inhabitants, business and artist community were able to safeguard their cluster from a bottom-up approach, while the architecture contributes to the city ambience and atmosphere for the blossom of the cultural hub. Tian Zi Fang can be classified as cultural tourism and consumption.

04. Timeline of creative process in Tian Zi Fang

Driving Factors The above three cases showed a common pattern for the success of cultural industry is to align with the social-cultural and political factors within the context. Political initiation can avoid economic constraints, as evidenced by the Loft Law in SOHO, which also mediate the collaboration of different parties as shown by the Big Society Award received by Old Vic Tunnel. On the other hand, social factors cannot be undermined, as proven by the rise of affluent residents in SOHO which brought forward demand for cultural consumption in balancing the economical urge. It was also crucial for the inhabitants of Tian Zi Fang to side with the businesses and artists to overthrown the top down demolition plan. Last but not least, the cultural factor is most crucial of all. The architectural and urban condition favourable for the growth of a cultural cluster does not take place anywhere but develops organically. The independent artists in SOHO, established cultural institution or commercial brand in Old Vic Tunnel, and the businesses and artists symbiotic to the community in Tian Zi Fang, all found their way to sustain in spite of political, economic and social challenges. Thus these driving factors act as guidelines for the research of a suitable test case for this thesis.

05. Relationship of driving factors

City Positioning [Programme] Within the cultural industries in Hong Kong, 5 categories are identified including 1) Consumption, 2) Tourism, 3) Institution, 4) Production and 5) Amenity which are privatedly-funded or government subsidized. Given the politic-economic advantage of free trade in Hong Kong, cultural consumption is prosperous in central (CBD) and Tsim Sha Tsui. While a lot of international galleries are found in Central and auctions for high art pieces took place periodically; it also blends into the commercial sector for citizens and tourists in places like the K11 art mall. Targeting cultural tourism, museums, galleries and showcases can be found also in Central, Tsim Sha Tsui, and within the future cultural destination in West Kowloon. Government subsidized venues include the Hong Kong Art Museum, Tai Kwun, Hong Kong Arts Center, Oil Street Art Space and M+ Museum, whereas privated-funded art spaces include ArtisTree, Fringe Club and Things that Can Happen.

06. Cultural District Distribution

07. Art Venue in Hong Kong

City Positioning [Programme] From an institutional point of view, cultural education takes place in prominent local and international art and design academies, such as the Hong Kong Academy of Performing Arts, Academy of Visual Arts, Hong Kong Design Institute and SCAD. Asia Art Archieve and C&G Artpartment serve as collection space for contemporary art. Utilizing obsolete buildings for cultural production set up by the government are realized in the PMQ, Cattle Depot Artist Village, Fotanian and JCCAC, with alternative art space like ParaSite. Other organic cultural hubs can be found in former industrial district such as Kwun Tong, San Po Kong and Wong Chuk Hang. Amenities to be used by local residents are mainly found in municipal services buildings in each district. They are government regulated buildings composed of a wet market on the ground floor and lower floors, civic centre with theatre and rehearsal rooms, public library and self-study rooms, and indoor sports facilities on top floors. Most of the above architecture functions according to institutional or economic factors. Very often for the benefit of profit making and convenience of policy making, the existing ecosystem of a place was never the first priority, which rarely allows active engagement from general citizens except open invitation or events. These policies may favor developers and making unnecessary attention to current users and system, which turns out to be destructive to the cultural industries. For the purpose of this thesis the former industrial district as cultural production and amenity will be tested to bring forth the idea of Culture as a living reality in additional to art and performances. It also aims to develop a new architecture language for theatrical architecture in response to the transformation in society. It is positioned as a privately/ crowd-funded project which serves the neighbourhood. 08. Timeline of creative process in Kwun Tong

09. Site Map

10. Site photos

District Test Case [Scale & Scope] Context: Kwun Tong is a former industrial area in transition into a CBD situated in the context of Energizing Kowloon East movement initiated by the government. Place-making events like Playful Thursday, Fly the Flyover, We Own the City, The Spirit of Creation, Wine & Dine Festival 2014 and AXA Streetathon took place since the inauguration of the EKEO. On the other hand, the obsolete industrial buildings attracted bands, artists, performing arts, film editing and galleries since 2000. Nevertheless, the Revitalize Industrial Buildings Policy in 2010 have made life for artists difficult, as many suffered from high land rent and were forced to relocate. This top down and bottom up dilemma need mediation. Site qualities: The theatrical nature of architecture will be tested on the site where 1) Urban void/ in-between space, 2) Allow centrifugal movement, 3) Linear journey from individual to collective, and 4) Vertical complexity are found. The scale of the project will be from a linear journey, street/alley (individual entry) to an urban open space (collective use). Scale + Scope: Proposed site would be the abandoned bus depot and the adjacent urban fabric (alleys, flyovers and tunnel in orange and Tsun Yip Park) in Kwun Tong. The program would be a sequence of urban theatre from street to auditorium scale. The extent of the site bridge the residential district north of Kwun Tong Road, pass through the liminal urban fabric of the old industrial area and extend into the promenade which face the Kai Tak Cruise Terminal. Vision: The site is selected as the area is experiencing re-zoning from a localized district to the city’s next commercial and cultural hub, yet empty with infrastructure and “awaits the imprint of an identity”1. By setting out the journey to trigger social interactions and collective experiences, this thesis aims to set out a theatre of social action to ignite neighbourhood’s creative use of urban space and in nurturing people’s behavior. In a reciprocal fashion, the users will become builders themselves in contributing back to the spatial construct through their living cultural experience. 1. “City as Stage: The Theatre of Social Action”, P.157, Richard Koeck, Cine|Space Cinematic Spaces in Architecture and Cities, Routledge, 2013. Print

Scale positioning The chart indicates the scale and scope [WHAT], target users [WHO], design and application [HOW] and phasing plan [WHEN] for the test case vision and positioning. Installation: Installation can take place immediately and carried out by individuals with a high degree of control and design. Architecture: Architecture contains a projective system which can be shared and used by different group of people Context: The urban context and surrounding environment are embeded with theatrical elements for collective use under self-built and modification

Overarching Urban Strategy 01 Reconnect the Urban Fabric

The abandoned bus depot situated in the center of two busy streetscapes, How Ming Lane and Tsun Yip Lane which are connected by the back alley Yu Suen Lane. It disconnects the urban fabric as an enclosed and inactive site. The open sports ground and park in front of the bus depot indicate the possibility of connecting the pedestrian flow from [I] the Ngau Tau Kok tunnel through the bus depot to the open space, instead of going through the back alley [III], and reaching the footbridge in [II] Tsun Yip Lane which connects to the residential area beyond Yue Man Square.

02 Immersive experiences

This urban detour allows the pedestrian flow to connect the residential area to the industrial-commercial part of the district. The journey allows immersive experiences to take place by reusing the bus depot as a rehearsal and production space for the artist community in East Kowloon. The bus depot becomes an art amenity for the neighbourhood as well as the artists with an open operation system which allows different events to take place on an assigned and scheduled basis. Users become individual or collective contributors in shaping the spatial experience of the bus depot and surrounding environment. It opens up a more dialectic relationship between performer and audience and allows passersby to take a more active role in the immersive experiences.

03 Hub of Living Culture

Instead of underground or scattered within the industrial district, the bus depot art amenity stages the rehearsal and production space which allows the neighbourhood to part takes into the process. By situating in part of an important daily commuting route of the district, the work-in-progress and rehearsals become display of living culture and the space as a platform of exchanging ideas, advertising and communication between different user groups. With its prominent location next to a public open space, and connecting two major commuting routes between the residential and industrial part of the district, it can create a hub for the communal use in which artists can take root in. This allows the neighbourhood to re-identify the district which is undergoing large scale urban redevelopment in both the residential and industrial area.

HOW? TOWARDS A NEW THEATRICAL ARCHITECTURE LANGUAGE Design Strategy

The methodologies in developing a new theatrical architecture language are to extract from traditional theatrical elements, re-invent the theatre process, to identify target usersâ&#x20AC;&#x2122; behavior on site, project on theatrical elements in urban context, test spatial prototypes on site and project on the possible programmes and scenarios.

01. Table of Theatrical Elements

Identifying Theatrical Elements Based on a theatre setting, 5 theatrical elements with spatial quality are extracted. They include A) Horizontality, B) Verticality, C) Circulatory, D) Scale and E) Temporality. Horizontality is defined as peopleâ&#x20AC;&#x2122;s perception of space by horizontal planes below or above eye level. It alludes to the separation of stage and auditorium which confines peopleâ&#x20AC;&#x2122;s role and activities. The below planes are sunken space, change of material on ground and elevated space, while above planes are covered area, framed gallery space and roof with graphics for zoning. Verticality originates from the proscenium and side curtains of a stage, which implies actions and triggers curiosity. In urban situations, it is defined as physical and visual connections which are found in sliding or rotating vertical walls, gateways and openings on faĂ§ade.

Circulatory space denotes the spatial ambiguity of performance space, and is exemplified by the orchestra pit and Hanamichi in Japanese Kabuki Theatre which blends the act of performance into the spectator space.

It works between levels and programmes by connecting with slopes, ramps and steps, or intersection on same or different levels to create movements.

Scale is derived from the props and backdrop on a stage, where the distortion of scale by objects and enlarged projection trigger sense of collectivity and individuality.

In an urban context, enlarged graphics or objects build sense of collectivity, while miniature objects and urban furniture create sense of individuality and intimacy to a place.

Temporality reference to stage set and hanging sceneries form a performance. It represents the degree of permanence and frequency of a spatial setting which is transformable in nature.

It is often realized in real life as mobile stage in form of vehicles and deployable structures such as flea market stalls which can be transformed and assembled.

The above five categories of theatricality can become analytical and design elements for urban streetscape in creating a spatial journey to trigger movements and events. Architectural elements can be transformable elements to cater various activities in different time of a day. Spatial temporality will be explored on streetscapes of the site. 47

Revolution of traditional theatre process A break down analysis of the time (preparation, on-shop, post-production) and space (production, performance, spectator) of traditional theatre process shows the possibility of a more engaging experience for audience to part take in the process. Each stage of a theatre process allows possibility of a reciprocol exchange of ideas and experience with the blending and re-proosition of production, performance and audience space.

02. Theatre Process

The spatial proposition is centred around one principle: the notion of surround or being surrounded. This idea creates spatial dynamic and establishes a viewing relationship to the activities to be happened in a space, and the changing role of performers and audience. Within a static spatial setting which allows a shift of viewing focus, different types of production can take place in a different time.

Target Users Analysis

03. Tse Hiu Yu

Interviews taken from “From the Factory” are chosen in representing artists in Kwun Tong district specializing in different media, scale, and varies in land rent. The interview is focus on three area, 1) Locational Advantage of Kwun Tong, 2) Production Difficulties interms of rent, space, government policy and changing nature of industry, and 3) Industrial Revitalization’s impact on the district and the artists’ reaction to the policy.

04. MUR MUR/ Wide Closet

The interview shows that the abandoned industrial buildings which used to be desirable for artists to work becomes unaffordable over the years. Especially since the government determined to make Kowloon East the next CBD with industrial revitalization policy, the original locational advantages including good network and material supply, has weaken as a pulling factor for artists to stay.

05. Fantasy Puppet Theatre

A break down of occupants, duration and activities take place in the district is shown in the chart. Five types of users, visitors, caterer, residents, office workers and artists are identified according to varying degree of permanence on site.

06. LAB by Dimension+

07. Hidden Agenda

08. Interview break down

09. Target Users analysis

Urban Scale: Site Analysis Three journeys in approaching the site are identified with distinctive spatial experience and qualities, which include the sunken situation, elevated streetscape and adjacent back alley. Each of them are equiped with existing theatricality as highlighted in orange in which additional elements to be built upon the streetscape are shown in brown in the models I) Sunken The journey begins with a tunnel which connects the Ngau Tau Kok MTR station, passes through commercial buildings, and encounters mobile hawkers and a road junction before reaching the site. II) Elevated This is a footbridge connecting to the residential area on the other side of Kwun Tong Road. The journey came across different levels of circulation, various openings on industrial and utility buildings, and a one way loading/unloading driveway, and reach the site through the open playground. III) Adjacent The back alley along the site where the projected balcony and former loading/unloading area

10. Site Map

11. Sunken streetscape Analysis & Design

12. Elevated streetscape Analysis & Design

13. Adjacent streetscape Analysis & Design

14. Spatial Configuration Prototype

Architecture Scale: Spatial Arrangement Prototype Spatial configuration aims to blend performer-audience relationship and separate/ blend traditional theatrical spaces (production, performance, spectator). By using the grid system, which is a standard spatial quality in industrial buildings in Hong Kong, three spatial ideas in addressing Verticality, Horizontality and Ramp are being explored. 1) Verticality With the idea that production process is a living display, an open/close system is studied with vertical partition as storage, production and performance space. Different materiality in varying degree of physical and visual transparency is proposed for different programme. 2) Horizontality Levels exist in three conditions, sunken, same plane and elevated. This allows different viewing conditions and degrees of interaction to take place. 3) Ramp Ramp allows changing perspective and spatial ambiguity with circulation as spectator space or a surface for performance space. It determines the direction of viewing and circulation.

15. 1:50 Prototype_01

16. 1:100 Prototype_01 & 02

17. Scale Comparison

Architecture Scale: Scale comparison A standard stage size is being compared to the column grid dimension of the bus depot. The proscenium of a standard stage is 10m wide and 5m high. The technical system hidden above includes the fly grid, loading gallery, fly gallery, curtains, rigging system and lighting contribute to another 6m height of space. The column grid of the bus depot is 10m x 10m (+/2m) with the floor to floor height 6.7m. Each bay is the size of a standard stage which suits the purpose of rehearsal and production.

18. Programmatic Projection

Programmatic and Scenario projections The spatial intervention within the bus depot is directly related to the programme in different scales serving various target users. S Small scale events are carried out by individuals on a random basis for community use. It takes place around one core for 1-20 people within a threshold of 2-6 meters. Examples are skill sharing, pop-up store, parade, display, and community library. M Medium scale intervention serve as co-working spaces used by groups on a rotational basis. The space spend between two cores and two levels catering 20-50 people within a threshold of 10 meters. Galleries, studio, office, fab-lab, multi-media screening and workshop spaces take place within the architecture. L Large scale destination are used by collective. The space spend over 4 cores for multilevels in a threshold of 15 meters serving 50-70 participants. Activities to be anticipated are performance, forum, festivals, urban rituals and banquets. 60

19. Scenario Design

20. Structure and System break down

Structure and System Possibility The existing structure of the bus depot cosist of a column grid system in the interval of 10 meters, whereas deep beams for the original purpose of supporting doubledecker bus parking spend parallel to the longituginal direction in a much compact intervals. Convert Structural and system intervention are converted according to the programmatic and spatial needs. For instance, ring beams can be inserted into the regular beams to provide structural support for openings in different levels. Ring Truss can also inserted for hanging staging equipments, while additional column and beams are constructed for sunken slabs. Adapt Additional system for hanging lighting and equipments are inseted according to the existing column grid in longituginal direction. This allows events to take place connecting the road junction to public open space.

Spatial Ideal The case studies on evolution of theatrial spaces are compared to the bus depot in terms of spatial idea and scale. Greek theatre, total theatre, standard stage, globe theatre, Tiny travelling theatre, BMW Guggenheim Lab and Piazza del Campo indicate the impact on site.

21. Conceptual Collage

By working on the theatrical elements which reference these spatial ideals, three spatial ideas are tested for the building in relation to the urban context, namely Auditorim, Gallery and Proscenium.

Auditorium The auditorium situated in the west side of the building next to a road junction. It connects the stage to the spectator area in which interchangeable performer-audience role is possible with platforms integrated into traditional auditorium. The arena catwalk can provide technical support to both area depending on the type of events needed. Multi-level visual and physical connection is designed.

22. Auditorium rendering

23. Axonometric drawing of Auditorium

24. 1:50 model of Auditorium

Gallery The gallery locates along the ramp blends circulation into production. The spatial concept is without a stage which allows interchanging and co-existing relationship between different users. When users walk along the ramp they can interact or oversee the production and rehearsal spaces on both sides, and look into the sunken stage below with metal mesh as flooring material. Visual and physical connection is achieved by ramps and material with high transparency and porosity.

24. Gallery rendering

25. Axonometric drawing of Gallery

26. 1:50 model of Gallery

Proscenium The proscenium locates at the east end of the building which opens up to a playground and park. The spatial concept is to take away spectator area, in which the performer and audience co-exist in the space. Instead of a regular rigging system, the sky deck provides a safe and independent slab which allows visual connection between levels. each bay on both sides of the sunken stage becomes a rehearsal space catering different activities.

27. Proscenium rendering

28. Axonometric drawing of Proscenium

29. 1:50 model of Proscenium

CONCLUSION

Retheatricalization The goal of theatre is to get as many people as possible to overcome fear by taking action. We create reality wherever we go by living our fantasies. - Jerry Rubin Retheatricalization is to create ‘a theatre which did not imitate a reality which actually existed, but which create its own reality’1. By openging up and repositioning traditional theatrical elements, an immersive yet subtle experience is created with the three spatial ideas tested in the bus depot. It opens up a dialetic relationship across the traditionally seperated production, performance and spectator space and nurture passersby to take up a more active role by visually and physically being able to engage into the process. Co-working and living breeds creativity by allowing collaboration with new platform of ideas. By making the production process more transparent and accessible to receivers/ spectator, the source of inspiration becomes more interactive with immediate feedback and input during the production process. It also serves as an advertising platform by staging the work-in-progress as a living display. In the era in which spectator can have a potential influence to performances instead of passive receiver of information, an open spatial arrangement which signifies transparency, openess and movement can further explore upon the familiar theatrial element to the majority. Nevertheless it takes time to educate and breed mature audience to take action and contribute to the spatial construction, and once they are ready, the vision of true retheatricalization will be realized.

1 “Retheatricalization” P115, Fischer-Lichte, Erika, and Jo Riley. The Show and the Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press, 1997. Print.

APPENDIX

PROGRESS REPORT Review 01 Jury: Sony Devabhaktuni, Yan Gao, Chad Mckee This thesis aims to explore scenographic potential and sequential experience of architectural and urban space. The role of theatre architecture and performace-audience relationship have been evolved according to the change of social situation and con[text]. Before the act of performance was regulated into architecture, street theatre stages everyday life with a spectrum of activities including ritural practice, execution and even funeral. When performance are brought into architecture, the relation with social-political factors such as hierarchy and dominance, have destined the receptive and passive role of spectators with controlled perspective and spatial setting. Starting from the 20th Century, discussions to reassess definition of theatre and the performer-spectator relationship arised in both scenographic and architectural domain. Contemporary theatre architecture and performance attempted to blend the spectacle into living reality in form of urban theatre and environmental staging. In line with this evolution in theatrical architecture, this thesis aims to investigate spatial configuration in orchestrating movement and event in everyday life, and how would it nurture people’s behaviour. In addition to art and performance, “Culture” is defined as a living experience which reference the earliest form of spectacle. Where the role of “Architecture ceases to be a backdrop for actions, becoming the action itself” .

Referencing the composition of theatre, I have categorize 5 elements of theatricality. The first one is variation of horizontal plane on ground level and above eye level in influencing peopleâ&#x20AC;&#x2122;s perception of space. Second is about verticality in controlling physical and visual connection. Third is Circulatory space in form of slope, ramps and steps in connecting different levels, and intersection on same or different levels. Forth is on the distortion of scale in triggering sense of intimacy or theatricality. Fifth is about Temporality of mobile or deployable structures in varying degree of permanence and frequency.

According to the catalogue of theatrical elements, three linear streetscape is identified which directs pedestrian flow to the bus depot. Each of them have a distinctive spatial experience in approaching the site. The first one connects to the site with a tunnel from the Ngau Tau Kok MTR station, and pass through commercial buildings, encountering mobile hawkers and a road junction before reaching the site. The second one is a footbridge connecting to the residential area on the other side of Kwun Tong Road. The journey came across different levels of circulation, various openings on industrial and utility buildings, and a one way L/UL driveway, and reach the site through the open playground.

With these elements of theatricality, and the aim to explore scenographic potential in urban context, the considered site qualities for my test case will include: 1) Urban void/ in-between space, 2) Allow centrifugal movement, 3) Linear journey from individual to collective experience, and 4) Vertical complexity. The scale of the project will be from a linear journey of individual entry to an urban collective space.

The third one is a back alley along the site where the projected balcony and former L/UL area are either fenced up with metal panels and bollards, or becoming outdoor seating area for a restaurant. All these streetscapes have existing theatrical qualities to build upon.

My proposed site would be the abandoned bus depot and the adjacent urban fabric in Kwun Tong. Under the Energizing Kowloon East movement, the site is changing from an industrial district to the cityâ&#x20AC;&#x2122;s next commercial and cultural hub, where artists, galleries, bands and film makings are abundantly found within the obsolete industrial buildings. Instead of purely engage in cultural productions, or eventually becoming cultural consumption or tourism as the commercial potential develop around the site, the ideology of making Culture a Living experience on top of art would be suitable for the test case.

Juryâ&#x20AC;&#x2122;s comments: Thorough research on theory and background, useful site analysis and elements on theatricality. Disciplinary position clear but need to clarify methodology respond to corresponding making group. Need to decide on scope and scale of architecture intervention, can reference to La Scala in Milan.

01. Timeline of case studies

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08 02. Evolution of Theatrical architecture typology 03. Elements of theatricality 04. Architectural typologies

05. Cultural industry distribution in Hong Kong 06. Timeline of Kwun Tong District 07. Site map 08. Sectional perspective of streetscape to site

PROGRESS REPORT Review 02 Jury: Sony Devabhaktuni, Jason Carlow, ThomasTsang This thesis aims to explore scenographic potential and sequential experience of architectural and urban space. Time act as the main driving force to define design in urban, architecture and installation scale. For urban scale intervention, I have referenced the composition of theatre and categorize 5 elements of theatricality. The first one is variation of horizontal plane in influencing peopleâ&#x20AC;&#x2122;s perception of space. Second is about verticality in controlling physical and visual connection. Third is Circulatory space in form of slope, ramps and steps in connecting different levels, and intersection on same or different levels. Forth is on the distortion of scale in triggering sense of intimacy. Fifth is about Temporality of mobile or deployable structures.

My proposed test case is the abandoned bus depot and the adjacent urban fabric in Kwun Tong. Under the Energizing Kowloon East movement, the site is changing from an industrial district to the cityâ&#x20AC;&#x2122;s next commercial and cultural hub, where artists, galleries, bands and film makings are abundantly found within the obsolete industrial buildings. According to the catalogue of theatrical elements, three linear streetscape which directs pedestrian flow to the bus depot are identified. Each of them have a distinctive spatial experience in approaching the bus depot. The first one connects to the site with a tunnel from the Ngau Tau Kok MTR station, and pass through commercial buildings, encountering mobile hawkers and a road junction before reaching the site.

03 01. Sunken 02. Elevated 03. Adjacent

The second one is a footbridge connecting to the residential area on the other side of Kwun Tong Road. The journey came across different levels of circulation, various openings on industrial and utility buildings, and a one way L/UL driveway, and reach the site through the open playground.

From this analysis, a logic on how to use this building as a system is shown in this table. Time act as a common denominator to divide the building into three levels. In the street level, the degree of permanence is low as it connects the street to open space, it serves for small scale random events carried out by individuals that are community base. For the first level, the space will be medium scale co-working space shared by different groups on a rotational basis. For the roof, it will act as a destination place for collective use.

The third one is a back alley along the site where the projected balcony and former L/UL area are either fenced up with metal panels and bollards, and is directly adjacent to the bus depot. The brown elements in the models are the extracted conditions with theatrical qualities to build upon. The street arriving the site focus on junctions and objects, the street of entry play with levels and openings, and the adjacent back alley explore the shaded linear space and relationship with the open space. This booklet is a summary of the moderated or additional theatrical elements for the 3 conditions in urban scale.

Juryâ&#x20AC;&#x2122;s comments: The theatrical elements in the urban scale and architectural scale need a narrative to make them more coherent and comprehensive. Feel like scattered along the street at the moment.

For architecture scale focus on this abandoned bus depot, with its main entrance connected to this junction, [render 1] the back facing the open space [render 4] and adjacent to the back alley [render 5]. A giant ramp connects the upper floors in the middle of the building [sections].

Need to tie the theatrical elements into one event by disintegrating theatre into the city in terms of rehearsal and performance process.

Can make use of one type of performance to make the narrative more specific and create drawings more legible in depicting the event and process.

This analysis shows a distribution of time and activities conducted by 5 types of target users on site. They are identified by the degree of permanence and frequency appear on site from most frequent to least frequent, these 5 types of users include caterers, residents, office workers, artists and tourists. And this chart shows what time in a weekday or weekend they are active on site and what kind of activities they are doing. vii

07 04. City Positioning 05. Target user analysis 06. Programmatic proposition 06. Visualization of bus depot

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08. Urban scale intervention 09. Sections of Bus depot

PROGRESS REPORT Review 03 Jury: Sony Devabhaktuni, Yin Zhou This thesis aims to reconstruct the theatre process by creating a city route of immersive cultural experience. Theatrical architecture is re-defined by blending and re-distributing traditional production, performance and spectator spaces. Rapid exchange of roles between performers and audience is expected as spatial configuration reposition according to time and programme change. The role of theatre architecture and performance-audience relationship evolved according to the change of social situation and con[text], which demands a specific language at a time. Instead of a passive perceiving restrained by theatre design which set out a distinctive separation of the spectator and performer, both the scenographic and architectural discipline is in search of a language in blending the spectacle into a living reality. My proposed test case is Kwun Tong under the Energizing Kowloon East movement, the site is changing from an industrial district to the cityâ&#x20AC;&#x2122;s next commercial and cultural hub, where artists, galleries, bands and film makings are abundantly found within the obsolete industrial buildings. My proposed scheme is to turn an abandoned bus depot into an art amenity serving the neighbourhood. The route begins with the a tunnel connecting to Ngau Tau Kok MTR station, passing through the bus depot, reaching the public open space and a community canteen, and looping back to the residential area in Yue Man Square with a footbridge. As shown in the unfolded section and plan.

01. Interview with artists

Before I go into the design strategy, letâ&#x20AC;&#x2122;s take a look at an interview with the artists in Kwun Tong who works with different media, on what attracts them to Kwun Tong, what are their current production difficulties, and how does industrial revitalization affects them.

sharing platform where the demonstration is surrounded by participants, whereas for a community library setting, the activated zone is surrounding the production storage space. For the middle scale configurations which spend between two core, it works between two levels. In the case of a stage setting, the platform can either be performance, production or spectator space depending of the nature of activities.

[interview video] So going back to the analysis and design for theatricality, I have referenced the composition of traditional theatre setting and extract elements of theatricality that exist in urban conditions. And analyze the spatial needs in a theatre process that would activate the production, performance and spectator space, in generating this menu of spatial configuration.

While the large scale for collective use spend across 4 cores in blending the activities to multi-levels. This exploded axon shows an overall distribution of the scenarios and how the existing structure can cater and modify according to different spatial situations. So that the bus depot together with the adjacent urban fabric can act as a whole journey to inspire users to engage in the spatial construct as collective, group or individual contributors.

By looking into the type of users who are active on site and the types of activities that they engage in, a programmatic projection is set up to cater different events. For instance, small scale events such as community and skill sharing can be conducted by individuals on a random basis, medium scale activities take place as co-working space to be used by different groups on a regular rotational basis, while large scale events such as forum and festival celebration can part take by collective users.

Juryâ&#x20AC;&#x2122;s comments: The scenario design using circle as visual and physical threshold can be shown more clearly on section and plan in a hierarchy of distribution in relation to visitorâ&#x20AC;&#x2122;s experience.

Base on the above research and principles, scenario is design according to one core principle, which is to create space that allows a shift of performer-audience relationship, by activating the center, middle zone, or surrounding zone into a grid system.

The circulation and relation to city context need to address through drawings with spatial idea in S, M, L scale.

For instance, in an individual scale this threshold of scenario is with 1 core, with a radius of 1-3 meters, catering 1-20 people and works on one level. Example can be a skill xi

02. Theatre process and spatial proposition 03. Calendar of Event 04. Structure and ststem of bus depot

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05. Scenario Design

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PROGRESS REPORT Final Review Jury: Sony Devabhaktuni, Jason Carlow, Michael Kokora, Nasarine Seraji, Ken Wai, Erik Amir The project begins with a collaboration of artists in Kowloon East and aims to reconstruct the theatre process by creating a city route of immersive cultural experience. [Interview video] (4mins) As introduced in the interview, we are a group of people ranging from students, non-professionals to full-time artists. During the urban renewable process in changing the industrial landscape to another Central Business District, we have been learning from other Art Hubs in the world including Manhattan, London and ShangHai, and identify our community in the East Kowloon from other art districts in Hong Kong. In which we positioned ourselves as art amenity in blending traditional performance, production and spectator space that operates under crowd funding and rental income. And here we are, with the route begins with the a tunnel connecting to Ngau Tau Kok MTR station, passing through the bus depot, reaching the public open space and a community canteen, and looping back to the residential area in Yue Man Square with a footbridge. As shown in the unfolded section the former bus depot which acts as urban connector to bridge the two busy streets, Tsun Yip Lane and How Ming Lane. How are we different from other art hubs? As a cluster of performing arts production, we looked into both the architectural and scenography discipline, and discovered the evolving trend of changing spatial and performer-audience relationship. Instead of a passive spatial design which set out a

01. Interview with artists xiv

distinctive separation between the spectator and performer, we aimed to reconstruct the theatre process by letting spectator to take up a more active role in the preparation, onshow and post-production process.

role is possible with platforms integrated into traditional auditorium. The arena catwalk can provide technical support to both area depending on the type of events needed. The proscenium locates at the east end of the building which opens up to a playground and park. The spatial concept is to take away spectator area, in which the performer and audience co-exist in the space. Instead of a regular rigging system, the sky deck provides a safe and independent slab which allows visual connection between levels. each bay on both sides of the sunken stage becomes a rehearsal space catering different activities.

By extracting elements of theatricality from a traditional theatre, we identified some architectural conditions which entails these qualities, and further develop upon them as preliminary spatial configuration studies. These elements are designed in blending the performance, production and spectator spaces for different uses and scale including individual, group and collective.

The gallery locates along the ramp blends circulation into production. The spatial concept is without a stage which allows interchanging and co-existing relationship between different users. When users walk along the ramp they can interact or oversee the production and rehearsal spaces on both sides, and look into the sunken stage below.

Juryâ&#x20AC;&#x2122;s comment: The role as an architect in spatial alteration can be more clear with addition and subtraction to the test case and context. Additional circulation can be added to dramatise the experience which connects the 3 spatial ideas.

When we put the theatrical elements in the bus depot, we discovered spatial similarities between a standard stage and the column grid of the building. The floor height of 6.7 meters makes each bay a perfect stage dimension including all the technical system. By working on the theatrical elements, three spatial ideas are tested for the building in relation to the urban context.

Relation with context can be addressed more in tie with previous analysis to strengthen the idea.

The auditorium situated in the west side of the building next to a road junction. It connects the stage to the spectator area in which interchangeable performer-audience xv

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BIBLIOGRAPHY 01 THEORY Contemporary Texts

1. Bernard Tschumi, Space and Event, Architecture and Disjunction, The MIT Press, 1996, Print 2. Richard Koeck, Cine|Space Cinematic Spaces in Architecture and Cities, Routledge, 2013. Print 3. McQuire, Scott. The Media City: Media, Architecture and Urban Space. Los Angeles, Calif: Sage, 2008. Print. Cross-discipline Research 1. McKinney, Joslin, and Philip Butterworth. The Cambridge Introduction to Scenography. Cambridge, UK: Cambridge University Press, 2009. Print. 2. Fischer-Lichte, Erika, and Jo Riley. The Show and the Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press, 1997. Print. 3. Huxley, Michael, and Noel Witts. The Twentieth Century Performance Reader. London: Routledge, 1996. Print. 4. Giannachi, Gabriella. Politics of New Media Theatre : Life. Florence, KY, USA: Routledge, 2006. ProQuest ebrary. Web.. 5. Schechner, Richard, and Victor W. Turner. Between Theater & Anthropology. Philadelphia: University of Pennsylvania Press, 1985. Print. 6. Fischer-Lichte, Erika, Ramona Mosse, and Minou Arjomand. The Routledge Introduction to Theatre and Performance Studies. , 2014. Print. 7. Southern, Richard. The Seven Ages of the Theatre. New York: Hill and Wang, 1961. Print. 8. Scott, A C. The Theatre in Asia. London: Weidenfeld and Nicolson, 1972. Print. 9. Counsell, Colin, Signs of performance : an introduction to twentieth-century theatre, London : Routledge, 1996. Print 10. Wu Tai Yi Shu =: Stagecraft. Beijing: Zhongguo ren min da xue shu bao zi liao zhong xin, 2001. Print. 11. Xi Ju Yan Jiu =: Journal of Theater Studies. Taibei Shi, 2008. Print. 12. Michael Kirby, Futurist performance, New York : PAJ Publications, c1986.Print

Site and Context Research

1. Breakazine! 023, Breakthrough Ltd, 2013. Print 2. McKinnie, Michael. City Stages: Theatre and Urban Space in a Global City. Toronto: University of Toronto Press, 2007. Print. 3. Birch, Anna, and Joanne Tompkins. Performing Site-Specific Theatre: Politics, Place, Practice. , 2012. Print. 4. Miles, Malcolm. Cities and Cultures. London: Routledge, 2007. Print. 5. Terada, Yoshitaka. Authenticity and Cultural Identity: Performing Arts in Southeast Asia. Osaka: National Museum of Ethnology, 2007. Print. 6. Chan, Choi-lai S, and Shih-peng D. Yang. Childrenâ&#x20AC;&#x2122;s Theatre and Youth Theatre Activities in Hong Kong in the Last Decade. Place of publication not identified: publisher not identified, 1983. Print. 7. Chen, Jiaâ&#x20AC;&#x2122;en. Identity and Theatre Translation in Hong Kong. , 2015. Internet resource. 8. Landry, Charles. The Creative City: A Toolkit for Urban Innovators. London: Earthscan Publications, 2000. Print. 9. Lin, Kehuan. Xiao Fei Shi Dai De Xi Ju =: Theater in Consumer Society. Taibei Shi: Shu lin chu ban you xian gong si, 2007. Print. 10. From The Factory, http://www.ktfactorystudio.com/ , Web

02 TECHNICAL 1. Corry, P. Stage Planning and Equipment for Multi-Purpose Halls, in Schools, Colleges, Little Theatres, Civic Theatres. London: Strand Electric and Engineering Co, 1949. Print. 2. White, Gwen. Perspective: A Guide for Artists, Architects and Designers. London: Batsford, 2003. Print. 3. Incerti, Guido, Daria Ricchi, and Deane Simpson. Diller + Scofidio (+ Renfro), the Ciliary Function: Works and Projects, 1979-2007. Milano, Italy: Skira, 2007. Print. 4. Asefi, Maziar. Transformable and Kinetic Architectural Structures: Design, Evaluation and Application to Intelligent Architecture. Saarbrücken: VDM Verlag Dr. Müller, 2010. Print. 5. Hensel, Michael. Performance-oriented Architecture: Rethinking Architectural Design and the Built Environment. , 2013. Print. 6. Siegal, Jennifer. Mobile: The Art of Portable Architecture. New York: Princeton Architectural, 2002. Print. 7. Pellegrino, S. Deployable Structures. Wien: Springer, 2001. Print. 8. Kottas, Dimitris. New Trends in Microarchitecture. , 2014. Print. 9. Gantes, C J. Deployable Structures: Analysis and Design. Southampton: WIT Press, 2001. Print. 10. Bridgette Meinhold, Urgent architecture : 40 sustainable housing solutions for a changing world, New York ; London : W.W. Norton, 2013. Print 11. Bahamón, Alejandro. The Magic of Tents: Transforming Space. New York: Harper Design International, 2004. Print. 12. Berger, Horst. Light Structures, Structures of Light: The Art and Engineering of Tensile Architecture. Basel: Birkhäuser, 1996. Print. 13. JR Clancy, Theatrical Rigging System Design Guide, 2010. Print

03 RELATED PROJECTS Seminal Projects

1. Giovanni Battista Piranesi, The Gothic Arch, 1749-50 2. Brodsky & Utkin, Stageless Theatre, 1986/90 3. Piazza del Campo, Siena, Tuscany, Italy, 13 Century 4. Shakespeare’s playing company, the Lord Chamberlain’s Men, Globe Theatre, 1599 5. Walter Gropius, Total Theatre, 1927

Contemporary Projects

1. Hsieh Ying-Chun, 朗讀違章 (Illegal architecture), Taiwan, 2012 2. Elizabeth Diller and Ricardo Scofidio, Slow House, New York, 1989 3. REX & OMA, Dee and Charles Wyly Theatre, Dallas, 2009 4. Diller Scofidio + Renfor and Rockwell Group, Culture Shed, New York, 2017 5. Atelier Bow Bow, BMW Guggenheim, New York, 2011 6. Aberrant Architecture, Tiny Travelling Theatre, Clerkenwell Design Week 2012 7. BMW Guggenheim Lab, Atelier Bow-Wow, 2011-2014

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Thesis 2016 Department of Architecture The University of Hong Kong Credits

Supervisor Thesis Chair Teaching Assistant Helpers

Sony Devabhatuni David Erdman Samantha Wan Cheng Ka Tung Roy Lau Siu Fung George Kong Sze Wai Justin Lee Wai Yan Stephanie Henry Tsai

The University of Hong Kong Department of Architecture All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording or otherwise, without prior permission of the Department of Architecture, The University of Hong Kong. Department of Architecture The University of Hong Kong TEL (852) 2859 2133 FAX (852) 2559 6484 EMAIL dept@arch.hku.hk URL http://fac.arch.hku.hk