Art House Theatre by Saliza Zakaria

Master of Architecture University of Newcastle, Australia

Art House Theatre nur saliza zakaria

Master of Architecture University of Newcastle Australia 2013

Acknowledgements

First and foremost, I am grateful to Allah S.W.T for establishing me to complete this study. I am thankful to be given this opportunity to complete my Master of Architecture in the University of Newcastle, Australia. This University has given me many experience throughout my studies especially making through my final year and support of those around me. My thanks and appreciation to Genevieve Lilley and Warren Haasnoot for persevering with me as my tutor throughout my final year, you have been such an inspiration on the way which I approach Architecture. I am grateful as well to Chris Tucker for coordinating MOA class of 2013 you have made it possible for us to complete our Master. Not forgetting the visiting tutors (Peter Stutchbury, Richard Leplastrier), it has been a great experience gaining new ideas from you all. Your own Architecture knowledge has open my mind in many ways in the Architecture world. Throughout the entire of my studies, my family has been supportive. My father (Zakaria Kamarudin), mother (Salmiah Ahmad) and brother (Ahmad Shazali) who have given me countless support throughout my downs, stress and anxiety moments. Without you I would not have made it this far. I also thank my friends for understanding me and I would like to take this opportunity to apologies for things that I have missed out. I am truly thankful for all of the encouragement and emotional support during the years of my studies. Thank you all . . .

Studio/Home

Table of Contents

Page

Project Introduction Introduction Summary

2 2 3

Project Initiation The Project Project Brief

4 4 5

Site Analysis Site History

7 8

Project Research History of Theatre Timeline Architecture Theatre theory

11 12 13 14

Precedent

Concept

Schematic

Access, Egress and NCCA Compliance

Developed

Working Drawing

Final

Conclusion

References

Project Introduction Introduction For many years arts itself have suffered from lost of tradition and has been misunderstood with entertainment especially in arts education, teachers tend to ignore the arts in their teaching. Being in modern vast technology world, production of high tech movies dominates the quality of originality of theatre. From the ancient to modern, there has be a contrast in viewing art theatre itself. Why is this problem while the arts and theatre are as natural as living and breathing? Art in performing have suffered from lost of tradition and has been misunderstood with entertainment especially in the art performance practice. The arts have been in around for as long as human civilization through knowing and action. The arts are fundamental to the daily life of all indigenous people they play a central role in the identities and cultural practices. Building from existing context, this project is to design a dance workshop and performance space within a community/historical context. The early and modern spatial concepts have driven the design of the performance centre by means of spatial orientation and the ideology of a performer. The â&#x20AC;&#x2DC;Art house theatreâ&#x20AC;&#x2122; is a series of trenches that can be seen as scarification of the land while separating public spaces and private space. The performance theatre is nestled into the gradient of the site to allure a greater darkness that will generate the sensation of presence. The theatre becomes an artifact within the land as a form of preserved space, while the natural appearance of the landscape and public space is not inflicted.

Project Introduction

Summary The Art House Theatre, King Edward Park, Newcastle offers a new typology and an inspiring program as a platform to test ideas of originality, space, materiality, proportion and perception throughout the course of the year, mounting a higher understanding of how these elements interact, as well as the level of architecture that this project have been translated. The project itself has been a successful grouping ideas, promoting arts performing industry to a new level in order to acknowledge the presence of arts through architecture. I believe that if we use art as one of the architecture language to design an artistic building the definition to an architectural building be meaningful. Therefore, if even the opportunity to take this project to a reality level I would made this project even believable.

Project Introduction

Project Initiation The project The Art House Theatre describe as a development of the King Edward Park Headland reserve. The purpose of this project is to provide a public recreation of the cultural, historical and geographical significant. With that exploring the individual art performer with space, light and material on the responds to the human behavior. The AHT investigate the relationship between the virtual and the real, in quest for how to tackle the connection of the site and the project, link and existence of life as rival of the virtual.

Project Initiation

Project brief The proposed Art House Theatre is located at Ordnance Street on the King Edward Park. Newcastle. The Park, known for its spectacular ocean views and a popular recreational place for the local residents has links with the cityâ&#x20AC;&#x2122;s penal past and carries a special significance in the Hunter, both in Aboriginal and European history. The location was deemed appropriate in recognition of its cultural, historical and geographical significance. The project will take a total of 0.65 hectares of the former Bowling Club and where other school facilities will be scattered throughout the south of the hill downwards to the current Garside Garden. The conceptual design of this project is to create a new additional facilities for artists especially local, independent and international ones. This Art House Theatre is not just for artist but for public knowledge as well in promoting the arts performing to a whole new level. The focus of this project would be on the physical and spiritual events, ranging from naivetĂŠ to reflection and from naturalness to artifice. Exploring the five senses of ; sight, smell, taste, hear and touch, that emphasize and connects surroundings and cultural elements that could be a landmark for new artists to boost their confident in acting, performing, dancing as well as exploring their inner self spiritually and physically.

Project Initiation

Site Analysis

Site History The King Edward Headland Reserve is an area of Reserved Crwon land on a headland to the east of the Newcastle CBD under the control of the NSW Lands Administration Ministerial Corporation. The site was previously a bowling club by the former Newcastle Bowling Club, which operated the premises from 1964 under a Special Lease in perpetuity from the Crown. The Bowling Club went into liquidation and the lease was subsequently transferred to Newcastle Shores Recreation Club Ltd. However, the site has many physical features, including its exposed elevated location on a headland with spectacular views of the Pacific Ocean; its context within a reserve dedicated for public recreation, and itâ&#x20AC;&#x2122;s historical associations such as the defence, mining, bogey hole and leisure for the local community and the City of Newcastle. At The site has the potential to reveal archaeological remains of the first commercial coal mining in Australia by mine shaft (vertical shaft). There has been minimal archaeological research carried out on this mine shaft. The mine was worked from 1817 and 1831. is a high archaeological potential in finding information relating to colonial mining techniques. related to the convict/Macquarie period in this shaft.

Site Analysis

Site

Project Research

History of Theatre We never really notice the meaning of ‘Theatre’.All we know is that ‘Threatre’ must have a magnificent building where plays are performed. The real meaning of ‘Theatre’ is a ‘place for seeing’. Its the whole idea behind what happens there.Theater is where playwrights write scripts, directors supervise rehearsals, set designers and technical crew work behind-the-scenes, and the actors perform on stage. All of these people have an important role in the theater, but it is not true theater until an audience is there to experience it. Exactly when theater began is a mystery. Prehistoric hunters acted out stories about their hunting expeditions. Ancient Egyptians performed sacred songs and danced for their gods in religious ceremonies, but the idea of theater as dramatic entertainment came later. The history of theatre were over the past 2,500 years. While performatice elements are present in every society, it is customary to acknowledge a distinction between theatre as an art form and entertainment with theatrical or performative elements in other activities. The history of theatre is primarily concerned with the origin and subsequent development of the theatre as an autonomous activity (wikipedia).

“HIstory is a mighty dramos, enacted upon the theatre of times, with suns for lamps and eternity for a background” -Thomas Carlyle

Scene from “The Happy Land”, at the Court Theatre 12

Project Research

Timeline

Project Research

Architecture Theatre theory The concept of the Theatre architecture theory is based on the architectural construction which has been around since the time of the ancient Greeks. Over the time, there have been changes in the form in which adjusts to myriad ways of the relationship between audience and performance. These changes have been influence from the advances in technology and at times by changes in fashion, in the type of performance that was popular at any given historical moment. The changes that affect the architecture are driven by technology that usually cause a shift in fashion, as the artist creating the performance respond to the new possibilities opened up by the new architectural form (Der Raum Des, Theatre Space) Giving the Greek Theatre for example, the root of theatre means “a place for viewing” and the oldest attributed usage of the word originally referred to a physical, architectural structure in which performance or presentation could take place. “A place constructed in the open air, for viewing dramatic plays or other spectacles.”(Theater, Oxford English Dictionary) “A building had to be constructed realizing the concept of Town Theatre and Communication Centre both from the outside and inside with a relationship to the surrounding town in a dual sense. The result it also suited to be >Multiple<. . . In the new composition of the media this comprehension and this power of judgement in the citizen are again evoked; this is the meaning of this building at the heart of our society” ( Frank Burckner, Bauwelt 34 of 10.9.73, pp. 1483-1488). Frank Burckner, a former codirector of the Berlin Forum theatre, economist and manager of renowned street theatre groups in 1973 did his study on his own project on “Mixed-Media-Theatre” where he stated that “Our Theatre architecture breath helpessness, tradition, hope, confidence in the radiating power of material and line, but especially helplessness. His sarcastical criticism of theatre construction opened our survey of the state-of-affairs by way of his critisim has by no means lost its meaning. It would be unjust to put the blame on theatre architect’s alone. Architect have been putting up exactly the building that society wants to see since the old days. As long as authors, theatre people had to leave the institute house to perform their concept of theatre in the streets, in the train depots or in factory halls. His study shows that his project should also be seen in this context and the building should initiate in the notion that in traditional theatres are not alive. In addition ,archietcture theatre can be define as the communication with to the performer, audience and building. The communication could be from the historical period to deliever messages from past time to remind us of our past history. 14

Project Research

Italian comedy, Innamorata, Verona, 1772

“Mountain, stone, water, building with stone, built in mountains, our attempts to give to this words an architectural interpretation, transfer it’s meaning and sensuality guided by our building plan as we were shaping its step by step.” -Peter Zumthor

Precedent

Architect

Peter Zumthor

Project

Thermal Baths Vals

Location

Switzerland

Themal vals is a hotel spa which started in 1996.It is located 1200, above sea level and are deeply embedded in the mountainside, and mountain community, much like their underground entrance (Architecture and Urbanism Extra Edition, 1998). The scheme of the building was to form of cave or quarry like structure. Surrounded by natural context the bath lay below a grass roof structure half buried into the hill side. The site is known as an architectural creative work which gives a meaningful finds an embodiment through an evidently deep understanding of the materials and process by which to realise the visioned end. Peterâ&#x20AC;&#x2122;s intention towards this baths is by the fascination for the mystic qualities of a world stone within mountain, for darkness and light, for light reflections on the water, pleasure in the unique acoustics of the bubbling water in a world of stone, feeling of warm stones and naked skin, the ritual of bathing. The effect that ensues from the poetic use of materials and the strategy of dimly lit enclosures makes for an atmosphere of intimate serenity.

Precedent

Architect

Tadao Ando

Project

Church of the Light

Location

Osaka, Japan

Andoâ&#x20AC;&#x2122;s Church of Light represent his philosophical framework between nature and architecture through the way in which light can be describe and form new spatial perceptions equally, if no more so, as that of his concrete structures. The Church describe as a minimalist and reductive of religious belongings to a simple cross-shaped extrusion, which is often appraised as disturbingly empty, void, and undefined. As a modern, minimalist structure the Church of the Light produces an architectural purity that is found in the details. The main element that he use in this Church is concrete. His principle on concrete is to focus on simplicity and minimalist aesthetic. Nevertheless, the way in which concrete is poured and formed forms concrete a luminous quality when exposed to natural light. His main approach to light and concrete in the Church, as well as his other projects, has a unique effect that changes material into immaterial, dark into light and light into space.

Precedent

Architect

Álvaro Leite Siza Vieira

Project

Tolo House

Location

Lugar das Carvalhinhas – Alvite, freguesia de Cerva

Alvaro’s Tolo House intention to this building is to follow the contours of the landscape. He describes how he made a “game” of his house, playing with the light inside the building and the stairs that lead you from one room to another. The design of this house he made gives connections between indoor and outdoor spaces. Alvaro’s explore how such a simple concrete “boxes” placed down the slope connected by stairs, where each “box” is a container for different human activities and be integrated within the slope. The form resulting from a rigorous, modular geometric abstraction establishes the vital rotation of certain modules to adapt to the natural morphology of the terrain, trying to preserve all the pre-existing trees and the respecting the distance from neighboring walls, thus appearing to move naturally and with absolute freedom.

Precedent

Architect

Kevin Low

Project

Dog Concrete House

Location

Kuala Lumpur, Malaysia

Kevin Low Dog Concrete House describe as a raw architecture whereby the concrete walls left un plastered. The house depends on the pattern of shock contract to have unforgivable contracting work for aesthetics. His approach evolves a subtle science which combines climatic theories based on air circulation with architectural ideas about opaque and translucent walls. His ideas is the main point which he places upon context and the way in which he redefines the concept .Lowâ&#x20AC;&#x2122;s style are raw, subtle and humble, honesty and simplicity are appreciated more highly than refinement, materials are left to express themselves without interference.

Precedent

Architect

Tom Kundig of Olson Kundig Architects

Project

Concrete House embedded in Pacific Ocean Rock

Location

San Juan, Washington State

This house fortress is nestled inside large rocks on the San Juan Islands, the concrete and glass house looks as though it bursts through the rocks on which it stands. The rockâ&#x20AC;&#x2122;s presence continues to be felt inside the home. Excavated portions of the rock were used as an aggregate for the concrete floors, so they are literally made from the very rock on which the house sits. In addition, one of the room is carved from the portion of the rock outcropping. A sky tube is through to the top of the rock and topped by glass. According to Kunding it seemed a perfect place to put the house. It reminded him of Native American cliff dwellings or Greek and Italian hill towns.

Precedent

â&#x20AC;&#x153;I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human beingâ&#x20AC;? -Oscar Wilde

Concept

Concept is where all the research .......... Archimotion is a combination of two disciplines of dance(motion) and architecture that share a special relationship that are related. Both have its own definition and use space as the main interpretation. Dance is movement of the human body through space over time. Architecture and its spatial qualities are experienced by the human body through movement over time. Dance. When we look at dance in matter of space. The principle of space can easily be developed by taking the cube as a basic of our spatial oreientatiom . The conception of the cube as a basic is not a compromise but a fundamental principle of our oreint in space.To think about space created for and by the body as the common linkage between dance and architecture. I utilized the dance performance theatre as a vehile of design investigation. By employing the concept of the practice of dance whereas the stages of PREPARATION- PRACTICE-PERFORM. The intent of this thesis project is to find an architectural solution for the dance performance theatre that inform the users of dance and allows dance to inform the definition of the architetcural space.

Concept

Artistâ&#x20AC;&#x2122;s impression

Key Issue and Strategies

Concept

sight- sight separate us from the world while the rest of the sense joins hear- buildings can reflect sound by making noise (echoes) and they have feelings too taste- taste of the materials of the building touch- touch and feel of the material-edgy, smooth, rough etc smell- different space define different atmo sphere we can tell by the smell of each space through color, light, material.

Oil painting on canvas 28

Concept

Artistâ&#x20AC;&#x2122;s impression Concept

The concept design stage is to provide the main scheme of this project is to identifying the meaning of this project and the art behind the theatre. The research from the previous page is the study on the arts practice as well as the definition on theatre â&#x20AC;&#x153;movementâ&#x20AC;? of a performer. This stage is vital and difficult due to responding to what the clients would require for this project and to meet the brief of this project. The initial development is revealed into the spaces left over on the site. An assortment of cut spaces of the slope that needs to be carefully consider towards the sensitivity of the site. Research from precedent studies really open my mind on the architecture language of how I could explore the relationship between the public and private functions on the site which lead to a zoning diagram expressing the space as a tying element between the two. The connections between these spaces shares the same relationship with each other. The stages indicates which facilities should be located, thus the spaces are located accordingly to the stages a performer or artist. 30

Concept

â&#x20AC;&#x153;The word theatre comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation. The theatre is a spritual and social X-ray of its time.The theatre was created to tell people the truth about life and the social situationâ&#x20AC;? -Stella Adler

Schematic

From the concept stage, the ideas have been developed into schematic stage where by the preliminary design layout from concept has been clarify to spaces on the site. The flow of the facilities from accommodation to classes have been identify in the schematic stage. The site has divided into 5 facilities which includes; accommodation, indoor theatre, outdoor theatre , teaching space and cafes. The facilities are surrounded by landscape that interpret the meaning of The Art House Theatre while each of the facilities defines different elements of the five senses. Take the classes facilities for example, the rooms has variety types of spaces and quality and different light ventilation, thus creating different types of mood while rehearsing. The scheme is to maintain the relationship between the public and private by providing the facilities that both can be use. The architecture nature of this schematic is the building which sits into the slope and with respectively towards the site.

Schematic

Reflected Worlds Through The Looking Glass

Access, Egress and NCCA Compliance

Introduction This section will classify the key issue of NCC compliance and together with the access and egress within the project of Art Theatre House. It will provide preliminary design solution for the issues relating access, egress and NCC compliances. Section A: General Provision Classification-The NCC Building Classification of a building components of The Art Theatre House is determined by the purpose for which it is designed, constructed or adapted to be used. The table below describe the building function with NCC building classification together with following indication on the following page.

Access, Egress and NCCA Compliance

Site Plan

Access, Egress and NCCA Compliance

Section D: Access and Egress The aim of this section is to: Provide, as far is reasonable, people with safe, dignified and equitable access to: i) A building: and II) The services and facilities within a building: and b) Safeguard occupants from illness or injury while evacuating in an emergency.

Access, Egress and NCCA Compliance

Section D: Access and Egress

Access, Egress and NCCA Compliance

Egress: Ground Floor Plan

Access, Egress and NCCA Compliance

Egress : Lower Ground 1 Floor Plan

Access, Egress and NCCA Compliance

Egress : Lower Ground 2 Floor Plan

Access, Egress and NCCA Compliance

Fire isolated staircase and ramp- Lower Ground 1 Floor Plan

Access, Egress and NCCA Compliance

Fire isolated staircase and ramp- Lower Ground 2 Floor Plan

Access, Egress and NCCA Compliance

Access: Ground Floor Plan

Access, Egress and NCCA Compliance

Access: Lower Ground 1 Floor Plan

Access, Egress and NCCA Compliance

Other key NCC Compliances

Access, Egress and NCCA Compliance

Other key NCC Compliances

Section -AA- Indoor Theatre Stage & Backstage area: 287 sqm Total Space :1,185 sqm

Access, Egress and NCCA Compliance

â&#x20AC;&#x153;She said the object and colour in the materials around us actually have a physical effect on us, on how we feelâ&#x20AC;? -Florence Nightingale

Developed

From the schematic stage, the scheme of the design has been simplify to more symmetrical layout on and with that the changes of the brief making the facilities to just a performing theatre and the studios to be more to public in the expose are since the site is public territory to engage the relationship between the audience and the performer whist maintaining the underground feeling of space. The performance theatre is buried into the site and out of the site to allure a greater darkness that will generate the sensation of presence. The theatre becomes a buried artefact beneath the land as a form of preserved space, while the natural appearance of the public and landscape is not inflicted.The sketches explains the process on how the levels and height of the space should be with the new sketch layout of the plan. 64

Developed

Site Plan 66

Developed

1st lower

3rd lower

Section Developed

Section

Elevation 68

Developed

Roof detail Developed

Developed

Steel...

Timber...

Glass...

Cast Insitu Concrete...

The main element that is carred through this structure is using reinforced conceret wall. The importance given to the walls is a distinct departure from modernist architecture. They are usualyy made of â&#x20AC;&#x2DC;in-situâ&#x20AC;&#x2122; poured in place concrete. Considerable care is taken to see that the walls are thick, solid, massive and permanent. The other chosen materials for this project are steel, timber, glass for minimalist and raw architecture.

Developed

“An architect’s most useful tools are an eraser at the drafting board, and a wrecking bar at the site” -Frank Lloyd Wright

Working Drawing

â&#x20AC;&#x153;...There are few openings in this space, since light displays its brillance only against a backdrop of darknessâ&#x20AC;? -Tadao Ando

Final

Final Prints

Final

90 90 Final Final

Final Final

91 91

Final

Conclusion

95 95

Conclusion Even though the project has struggled throughout the from the early stage towards the end, the changes and research has been developed and a certain conceptual ideas have remained true. There was also difficult and tough phase in this design process, getting through the brief and the site was one of them. However, designing the Art House Theatre within a public land reserve, the architecture should always be refined and reflect the patterns and action of its user. The Art House Theatre proposal focused on the human concept, environmental, cultural aspect and how this project can be accepted into Newcastleâ&#x20AC;&#x2122;s community. Thus, this project would be a new foundation for arts performer to further their career and experience being a performer in a whole new perspective. With this Art House Theatre I hope it could be one of the base in this new typology artâ&#x20AC;&#x2122;s performing building nature in the future and if given the opportunity I hope to continue this type of study near the future. Thank You.

References

References Atmospheres-Architectural Environments surrounidng Objects, (2006),Peter Zumthor Coal River Working Party,(2012), Posted by UoNCC, Source: http://coalriver.wordpress.com/2012/08/31/origins-of-king-edward-park/, Viewed on 31 October 2013 Condemned Buildings, (1993), Douglass Darden, Princeton Architectural Press Integrated Site Design Pty Ltd, (2007), Plan of Management for the King Edward Headland Reserve, Newcastle, Newcastle Regional Library Knowitall, History of the Theatre,(2002), Source:http://www.knowitall.org/kidswork/theater/history/, Viewed on 15 October 2013 Newcastle Heritage Study, (1990) Revitalising Newcastle: City Centre Plan, (2008), Regional Cities Taskforce-NSW Department of Planning Tando Andoâ&#x20AC;&#x2122;s Architecture In The Light of Japanese Aesthetics, (2003), Jale Nejdet Erzen, Source: http://www.doaj.org/doaj, Viewed on 5 April 2013 The Theatre: A concise History (Revised Edition), Phyllis Hartnoll Theatre HIstory Timeline, Posted by andy2027, Source http://www.scribd.com/doc/37443001/Theatre-History-Timeline, Viewed on 20 October 2013 Theatre Space, Des Raum,(1977), International Federation for Theatre Research, Heinrich Huesmann