Reseach_2019 Spring

1. TITLE

To build a theatre dedicated for dance practice and performance.

To engage the audience and challenge their perception of story-telling during the concentrated performance hours.

Eurythmic Space

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2. THESIS STATEMENT

The ambition of the project is to create a new form of performance space based on dance movement, and thus to invoke new thinking towards spectatorship in contemporary theatres.

The vantage point of the project is to identify the similarities between the spatial design thinking and dance composing process. The final proposal will be dealing with how a certain piece of contemporary choreography along with its music can inspire the design of a performance space. The early technical drawing annotates the dancer’s movement. Further studies extend to the dancers’ interaction with the environment, the reciprocal relation to the audience, and eventually the making of the three-dimensional physical space.

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• Method of Inquiry 1 Can the connection between the choreography and spatial design be found?

2 Can audience feel they are immersed and part of the event?

3 Can the space challenge people’s perception of spectatorship?

• Terms of Criticism 1 The connection between the choreography and spatial design can be found, and the theatre will be inspired by dance movement.

2 The audience can feel that they are immersed and they are part of the event because the new form of program and spatial design.

3 People’s perception of spectatorship can be challenged.

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3.. PROGRAM

• • • • • • • • •

Performance

Theatre, stage and seating space Practice Rooms Warm-up Rooms Lighting Control room Audio Room Storage Administration Cafe Box office

The stage and seating space would be essential to create a new form of performance space.

Potentially the boundaries/separation between them will be made blurred intentionally to challenge the perception of spectatorship.

Major activities - experimental dance happennings User group - 250 people Approximate program size - 30,000 sf

Performance Area

Art Director Office

Musician Area Performance

Performance Area

Warm up room

Musician Area

Kitchen

Warm up room

Restrooms

Kitchen

Nursary

Set Storage/Deliveries

Costume Storage

Auditorium

Ticket Box

Cafe/Lobby

Support Space for Ticket Box Housekeeping Visitors Support Space for Housekeeping Cloakroom Visitors

Rehearsal Rooms

Administration

Security

Musician Area

Set Storage/Deliveries

Auditorium Housekeeping Cloakroom

Fronthouse

Support Space for Visitors

Cafe/Lobby Ticket Box Restrooms

First Aid

Security Room Security

More Adjacent

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Technicians and Crew

12

Restrooms

First Aid

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12

Control Booth

Restrooms

10

11

9

10

8

9

7

8

Recording room

6

7

Staff Office

Art Director Office

5

6

Administration Meeting Rooms

Staff Office

4

5

3

4

Security Room

Meeting Rooms

2

3

1

2

Security

Performance Area

Performance

Costume Storage

Cloakroom

Art Director Office

Support Space for Performers

Nursary

First Aid

Lighting control Technicians and Recording Crew room

Recording room

Restrooms

Set Storage/Deliveries

Cafe/Lobby

Lighting control

Kitchen

Shower Rooms

Costume Storage

Technicians and Crew

Warm up room

Support Space for Shower Rooms Performers Rehearsal Rooms Support Space for Shower Rooms Performers Rehearsal Rooms Nursary

Technicians and Crew

Admin

Meeting Rooms

Restrooms

Auditorium

Control Booth

Staff Office

Control Booth

More Adjacent

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Performance

Admin

Lighting control

Support Space for Performers Fronthouse

Support Space for Visitors

More Centered

13 12 11 10 9 8

Less Adjacent

Security Room

Less Adjacent

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Security

6 5 4

1

3

Less Centered

2 1

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Program in a not-known dance theater: The staging area with certain facilities has potential to break the confrontation line between the stage and the audience area. New forms of performance will be required to interact with the audience.

Three levels of openness might help to invite the audience be part of the event in different locations in the building.

Three levels of openness might help to invite the audience be part of the event in different locations in the building. New programs are required for the project.

Formal performance • Under the Sun • Dancing in the Air

Semi-casual performance • Body Sensorium • Parralled Universe

All-in Performance • The Courtyard • The Bar Room

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4. SITE/ SITUATED IDEA

• Boston Potentially an area ignored by tourists and locals, and the new theatre as a public space will bring a new vibe into this part of the city.

The site will be located between Boston and Cambridge, in a river island with MIT bridge going through it. The project will raise peoples’ awareness of aesthetic arts.

Located between higher education campus and back bay tourist commercial area, the site has the potential to bring education and rich business resources together.

• Black box, TBD Can be put in any context around the globe.

Situational Analysis DISTRICT

LANDMARK

EDGE

PATH

NODE

An Island on Charles River

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5. TECHNOLOGY_Issues

1. How does the application of technology relates to your thesis investigation and proposal?

The aim of my proposal is to create a space dedicated to dance performance; the space will elevate and sublimate the audience through interactions.

The building contains a mixture of dance studios, a performance hall with natural light, an experimental dance lab, administration and support spaces. To achieve the goal, the performance space will acquire mobile staging devices, potentially with adjustable staging area and reflective ceiling surface. Consultants are needed to build those facilities.

2. Issues that anticipated will emerge in your thesis relating to the building systems.

The devices in the performance area will need to go well with the building integration as a whole, which includes HVAC, structural, lighting, exterior envelope, and other assemblies of a facility.

The room with natural light-skylight or high windows-will need be located on the top floor, or on the building perimeter. Designers will consider the performance lighting facilities, the facade systems and its impact on the contrast between the outside and the intimate inside performance space (is it self-contained or outward-feeling), the acoustics, building structure and materials, the design decision of whether to hide or expose structural elements, etc.

3. How you anticipate technological issues might be relevant to your thesis? How might specific technologies be a vehicle for the development of the issues, concepts, and questions that are central to your thesis?

The designer initiates three components in the new dance theatre: 1 A mobile elevator that function as a stage both horizontally and vertically 2 One or two tilted dance floor up to 34 degree 3 A mirror ceiling that reflects the movement of the performers Issues: - Live experience: The mobile platform can function both horizontally and vertically as a programmatic stage of the performance space. Can it be supported by hydraulic piston? Can it move between floors? What material is used to create the inclined dance floor? Is the dance floor part of the fixed building structure?

- Accessibility: How can the dancers enter and exit the mobile stage? Is it through a bridge or through some cable?

Can audience step on to the inclined dance floor and remain safe?

- Lighting: How to control the natural light to sublimate the performance, and not distract the dancers movement?

- Structure: Can the reflected ceiling be part of the performance space or rehearsal rooms? What structure does the ceiling attach to? Can it be placed in the open air space?

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Tilted dance floor

Mirror ceilings

Mobile elevator

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5. TECHNOLOGY_ Methods and means of Inquiry

- Electrical/Mechanical - Firm: SKELLY & COUCH - Capability: We apply our specialist skills as designers and detailed knowledge of

building physics; building technology; building services; and environmental psychology  - Past project: Floating Cinema, East London Waterway - https://www.skellyandcouch.com - Structural Engineer - Firm: Momentum Structural Engineers - Capability: Our projects range from adaptable theatres to spectacular stage sets. From

state-of-the-art sport and commercial facilities to contemplative gallery environments.

- Past project: Garsington Opera - http://www.momentumengineering.com/ - Sustainability Consultant - Firm: Transsolar KlimaEngineering - Capability: Their design approach (access to natural light and air; simpler and cost-effective

building systems; site-specific design for identity) resonates with mine - Past project: Parliament West Block Renovation, Ottawa, ON, Canada - https://transsolar.com/

Floating cinima_Skelly and Couch

Garsington Opera_Momentum 9

- Acoustics Design - Firm: Nagata Acoustics, Japan - Capability: Acoustics - Past project: Spiral Hall, Maki & Associates; Taichung Metropolitan Opera House, Toyo Ito & Associates - http://www.nagata.co.jp/e_index.html - Live Experience Consulting - Firm: TAIT STAGE TECHNOLOGIES - Capability:Â awe-inspiring spectaculars, complex touring stages, theatre engineering solutions,

brand activations or cruise ship installations - Past project: Bridge theatre, London - http://www.taittowers.com/ - Interior Design - Firm: aLL Design London - Capability: The studio has designed some of the world’s most iconic architecture, and these

landmarks have often increased tourism, encouraged learning and lured people into their community - Past project: Blizard Building Queen Mary - https://all.design/interiors - Code compliance: TBD - Quantity surveyor: TBD - Main contractor: TBD

Kinetic Architecture_TAIT

Blizard Building Queen Mary 10

6. PERFORMANCE PROGRAMING

Imagined Experience In the midst of steel-glass jungle in the city centre, you were looking for a place that people kept taking about.You slipped from your saddle and parked your auto-horse, astray from the main roads and tourists, and tracked your way up the alleys. It became quieter and quieter with every step you took.

Turning around a corner, you sensed the unexpectedly familiar aroma, a bit like home. You took a few step further up the hill, and followed the curved surface of the wall. What was revealed in front of you hit you like deja vu; surprisingly the memories were extracted from a birds’ eye view.You dreamed about this.You remembered viewing the field from high- above, the structure and earth were one. The empty space in the middle awaited its next player, just like it awaited the last one. You were elated, feeling like you discovered your treasure land; then suddenly you felt so melancholic because you were afraid of leaving here. Then you slowly walked past the slot, gently pushing the veil. What’s behind it felt like breeze, warm and dry. A room full of sun light reminded you of how long you might had been here.

While you were meandering up and down in the space you felt more and more restful. It’s probably because of the warm light following you. Now you were prepared to step out.You felt transformed.

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Designer’s own experience - Jay Pritzker Pavilion Scattered metal panels scream at the amphitheater, holding its concert hall like a fine delicate cave. People are seated either at the red chairs in the circular seating area, or on the lawn behind, the flying metal curves are interwoven in mid-air, claiming the zone below as a friendly gathering space. When the concert is about to start, the glass curtain wall splits and slowly retreats back into the walls as magical doors. The acoustic of the orchestra is surprisingly amazing, filling every corner of the park with quality sound.

Or, one can choose to enjoy an indoor small concert, possibly a violin and a piano solo. This time the glass curtain remains closed, and audiences are seated on the stage, where the orchestra members sat, and facing the stage downwards. When musicians play, the city was framed as a silent background. One can see people walking through the park, the red seatings and the skyline far away above the horizon.

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7. HEALTH AND WELLNESS: CULTURAL CONTRIBUTION OF THESIS

Local and global responsibilities

Local responsibilities — leveraging its location

Attract more tourists to visit Boston and Cambridge

Make the community more liveable with performance arts and public facilities

Improves the quality of life of the local communities* Global responsibilities

Use the theatre as a tool to influence public attitude on social issues, questions and policies

Raise social awareness and develop aesthetic arts

Rethink the performer-spectator relationship in dance performance

Increase cultural exchange through the universal language - dance * Three ways to improve the quality of life

self-discovery and expression

history and education creativity

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Social Responsibility Reference: ‘Dance is not the repository of meaning but produces meaning each time it is produced.’

- ‘The power of dance and its social and political uses’

Q: What is theatre?

[Darcey Bussell] Theatre is a sense of escape, it transforms you into a new space. It can however, be many things. Theatre can be a source of intellectual learning, inspiration, and can even reflect your life.

Theatre is live, and that’s important. So much of our art is consumed through live-streams, through computers and so on – and this misses that extraordinary atmosphere, and sense of grounding and presence that theatre gives.

Q: Why do we dance?

[Darcey Bussell] There’s a natural rhythm and language in our lives that we want to express through the movement of our bodies Dance is something so basic, so human, that it can never disappear from our culture.

Dance isn’t just physical, it affects every emotion in the performer and the audience, and that’s something rare and precious which you don’t find in many other art-forms.

Q: Does theatre have a role ‘outside art’ in political, social and other struggles?

[Sir Howard Panter] Theatre goes in phases with regard it’s Political impact, and sometimes is more at the forefront of social-change than other times. What it should always do is enlighten the audience, and give them an experience which is different to their lives when they came into the performance. Whether it’s your perception of a human, social, environmental or any other issue… whether it’s the lightest, frothiest farce or the darkest piece of brutalist theatre… it should in some way change and involve the audience’s view of the world in which they live.

- ’Theatre, Performance and Society’

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8. ANNOTATED BIBLIOGRAPHY

Architecture, Actor and Audience, Ian Mackintosh

[“Theatre architecture is more than frame to a picture.� Mackintosh documented the past and present theories of theatre design, detailed the various perspectives of critics, analysts, director, designers, architects, actors and the audience as well as the various demands from the nature of performances from film, television, opera and dance, and offered guidelines for future designers with the emphasis on the two-way channeling of energy between the performers and the audience. ] Space for Dance, An Architectural Design Guide, Leslie Armstrong, A.I.A, and Roger Morgan

[A book jointly researched and written by an architect and a theatre-design consult, it gives information of requirement of dance and how to fulfil them. Dancers, choreographers, dance companies who wish to build their own dance theatre, or cities who wish to provide guidance to dance theatre construction can benefit from the book.]

Buildings for the Performing Arts, Ian Appleton

[In this three-part guide, Ian first offered the contextual information about the different client and building types, then discussed the responsibilities of various roles as well as the tasks and requirements of various design stages, and finally provided a detailed account of the specific site, design and financial requirements to help architects ensure proposal feasibility before progressing with the project.]

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Reading dance: a gathering of memoirs, reportage, criticism, profiles, interviews, and some uncategorizable extras / edited and with an introduction by Robert Gottlieb.

[This entertaining and informative collection of work includes many contemporary artists from the 19th and 20th centuries.]

The Ideal Theater: Eight Concepts

[The book records an exhibition resulting from the Ford Foundation Program for theater design. The program “allows the architects and the designers for once develop their concepts about the theater without the pressure of economic or administrative factors�.]

Dance history: an introduction / edited by Janet Adshead- Landsdale and June Layson. 1994

[From the examination and critique of American modern dance, early European modern dance, and traditional dance in England and West Africa, followed by documents of social dance, ballet, and feminist perspectives on dance history, this introductory book offers a myriad of angles for studying dance.]

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9. THE CASE STUDIES OMA; 1998; Bordeaux, France, Residential Overview - a house is a machine for living - “make the simplest and straightforward programs spatially dynamic and in a constant state of redefinition” - 500 m2 - single family house both simple and complex, client paralysed as a result of an automotive accident - an entirely diverse and surprising universe, a creative stage on which most of his daily life would play out - three houses on top of each other, an elevator in the centre, a magic carpet

Axon Structure

Elevation

Maison à Bordeaux

Sections

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OMA; 1987-2005; NDT Nederlands Dans Theater A theater specially built for dance

Diagram

Auditorium

Elevations

Program Anlysis

1 Auditorium; 2 Stage; 3 Rehearsal Room; 4 Green Room; 5 Foyer The rehearsal room is connected to the stage.

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Choreographer: Damien Jalet The choreographer for Thom Yorkes newest solo album: ANIMA.

Sections

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Philips Pavilion Le Corbusier Iannis Xenaki

Overview ‘The Philips Pavilion was a World’s Fair pavilion designed for Expo ‘58 in Brussels by the office of Le Corbusier. Commissioned

by Philips, an electronics company based in the Netherlands, the pavilion was designed to house a multimedia spectacle that celebrated postwar

technological progress.

Because Corbusier was busy with the planning of Chandigarh, much of the project management was assigned to Iannis Xenakis, who was also an experimental composer and was influenced in the design by his composition Metastaseis.’

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Bio-Bio Regional Theatre SMILJAN RADIC Overview ‘Our orihect for the Bio

Bio Regional Theatre is the possible skeleton of an enveloped theatre. Inside, the spectator will move through a special grid that seems to be stupidly measuring each corner.

In the main body of the theatre, this grid becomes less saturated and allows for the air needed for the performances: black air,

darkness with misty edges.

All this paraphernalia around the rooms, conceived as open fields in the midst of this structural selection with a 3.90 meter circumstances, is simply a scaffold, like a backdrop frame, the support structure mortally hidden and unseen.

Spectators therefore do not have to wait until they have crossed the foyer and entered the darkness of the main hall to discover the theatre. The mystery appears even before they enter.’

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Set Design_Ian Taberner The designer uses geometry to develop a space set that would help narrate the dancers’ story, inspired by the music and movement.

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Dance Group_Cloud Gate The dance group Cloud Gate stages free outdoor dance performance in cities and villages in Taiwan. Its theme were closely related to the geological and socio-political context.

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Yiran Shu

TH215 World Drama in its Context

grasped and can only be left to the imagination. It could be seen in Zhang Da-Qian’s paintings(see image above).

When he studied at Occidental College in the United States, he showed great talent in watercolour paintings while The he was less interested oil paintings.

Set Design by in Ming Cho LeeThe landscape painting taught him to use limited colours and gave him a solid foundation for watercolour painting.

In his earlier years 1962-1972 working with the American contemporary dancer Martha Gram, Delacorte Theatre, New York Shakespeare Festival and Arena Stage, he approached set design in a more outside-in way. He tempted to use abstract structures and lines of directionality to design the set. It was recognised as a new form but also critiqued by some as being too symbolic and simplified. While later he commented that his deign was logical and in lack of his own emotion.

1We did see a more inside-out emotional expressions later in his work(A life, 68).

In Lee’s set design, it shows a similar philosophy of Liu-Bai. He mentioned that set design should never be primary of a play, it should always serve the story and melt into the background.

In one of his most recognised designs Electra, a 1964 production at Delacorte Theatre, the pipes and foam-made stone sculptures represent the walls of a courtyard. Large spaces were left blank in the middle of the stage, and the three sculptures behind the stage delivered the play information of location, time period, tone and emotions. Such visual presentation and spatial composition could be regarded as a three-dimensional representation of the drawings he once being taught. Other Liu-Bai example includes The Witch of Endor (Dance, 1965, Martha Graham Dance Company), Inherit the Wind (Arena Stage), Boris Godunov(Metropolitan Opera, New York) and The Dream of the Red Chamber (Cloud Gate Dance Company, Taiwan).

Electra

The Witch of Endor

Lee stated that by the time of an approaching retirement he was ‘less rigid’ compared to early days. (A life, 70) 1

24 3 of 7

Nine Songs Cloud Gate Dance Group

The dream of the red chamber, 1994

Don Juan, 1979

K2, 1982

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Japanese Taditonal Noh Theatre

Japanese Taditonal Kabuki Theatre

There are both bridge elements in the Noh theatres and Kabuki theatres in Japan.

Actors in Noh play enters from the Hashigakari representing gods descending to the world and starting to play.

In Kabuki theatre, there are more stage facilities to enable actors entering or exiting the stage dramatically. Hanamichi, the bridge, acts as supplementary staging area.

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Chinese Traditional Theatres Southern Theatre

Northern Theatre

Some ancient Chinese Southern theatres were elevated semi-public woodenstructured pavilions with audience standing in the open court yard space.

Some northern plays happened indoors, and the buildings were also sometimes tea houses.

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Dance Annotation Recording Dance

Cachucha - A Spanish Dance Annotation

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Labanotation

Labanotation or Kinetography Laban is a notation system for recording and analyzing human movement that was derived from the work of Rudolf Laban who described it in Schrifttanz (“Written Dance�) in 1928.

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10. CONCEPT DRAWING AND MODEL

Two-dimentional Representaion of Dance Movement

Three Dancer, Degas, 1873

Three Nude Descending a Staircase, No 2, Duchamp, 1912

The Dancer, David Bomberg, 1913

“My aim was a static representation of movement, a static composition of indications of various positions taken by a form in movement—with no attempt to give cinema effects through painting. The reduction of a head in movement to a bare line seemed to me defensible.”

Duchamp

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Nederland Dans Theater Murals, Madelon Vriesendorp, 1987

CONCEPT DRAWINGS

Time-lapse Sketches for a dance “Bolero“

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Time-lapse Sketches for a new choreography

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CONCEPT MODEL

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Sketch models inspired by movement and tension

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Model Details

Shadow Studies 36

11. THESIS ADVISOR CONSULTANT

Potentially interviewed dancers, choreographers or theater stage designers Interview Quesion

Proscenium

Free-style

Thrust

Roundabout

Rehearsal-style

Gap

Live

Skylight

I will interview 15 people who work in the theatre industry, including dancers, choreographers, playwrights, theatre directors, and photographers.

The aim of the interview is to get the sense of how well the current theatre design works for the performance in different professionals’ opinions and to get their advice on how we can improve in terms of the design.

Sample questions below: 1. What was the most impressive dance performance space you have ever performed in? Describe the building and the space.

2.What other programs do you wish to have in that space?

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Presentation Board

Precedent Studies

Site and Programs

Sketch Ideas Interview Quesion

Two-dimentional Representaion of Dance Movement Anlysis

OMA; 1987-2005; Hague, Netherland; A theater specially built for dance

“My aim was a static representation of movement, a static composition of indications of various positions taken by a form in movement—with no attempt to give cinema effects through painting.

The reduction of a head in movement to a bare line seemed to me defensible.”

Duchamp

Diagram

Three Dancer, Degas, 1873

Three Nude Descending a Staircase, No 2, Duchamp, 1912

The Dancer, David Bomberg, 1913

Proscenium

Free-style

Thrust

Roundabout

Nederland Dans Theater Murals, Madelon Vriesendorp, 1987

Auditorium Elevations

NDT Nederlands Dans Theater

LANDMARK

EDGE

PATH

NODE

1 Auditorium; 2 Stage; 3 Rehearsal Room; 4 Green Room; 5 Foyer Rehearsal-style

Gap

Live

Skylight

OMA; 1998; Bordeaux, France, Residential Structure

Axon

I will interview 15 people who work in the theatre industry, including dancers, choreographers, playwrights, theatre directors, and photographers.

The aim of the interview is to get the sense of the how well the current theatre design works for the performance in different professionals’ opinion and to get their advice on how we can improve

Elevation

Sections

Maison à Bordeaux

Situational Analysis DISTRICT

in terms of the design. Sample questions below: 1. What was the most impressive dance performance space you have ever performed in? Describe the building and the space.

2. What other programs you wish to have in that space? etc.

An Island on Charles River

Performance Area

Performance

Art Director Office

Musician Area

Japanese Taditonal Kabuki Theatre

Time-lapse Sketches for a new choreography

Kitchen

Shower Rooms

Northern Theatre

Auditorium

12 11

Housekeeping

10

8

Recording room

7

Art Director Office

6

Meeting Rooms

3

Security

Security Room

2

Security

1

Bubble Diagram

perfor musici warmmanc ans up kitche restro e area area room n oms

Dance Group_Cloud Gate The dance group Cloud Gate stages free outdoor dance performance in cities and villages in Taiwan. Its theme were closely related to the geological, socio-political context.

performan ce area musicians area

13

warm-up room

12

kitchen restrooms shower rooms rehearsal rooms nursary costume storage set storage/d eliveries auditoriu m cafe/lobby ticket box housekee ping

room/stor age cloakroom first aid restrooms

light

rig/rear bars recording room art director office staff office/mar keting/sal meeting es/graphic rooms designers

Yiran Shu

security

The Set Designer Ming Cho Lee

postwar technological progress. Because Corbusier was busy with the planning of Chandigarh, much of the project management was assigned to Iannis Xenakis, who was also an experimental composer and was influenced in the design by his composition Metastaseis.

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show rehea costu set er rsal nursar me storag audito cafe/l rooms rooms y obby storag e/deli rium e veries

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Support Space for Visitors

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Electra

The Witch of Endor

Lee stated that by the time of an approaching retirement he was ‘less rigid’ compared to early days. (A life, 70) 1

Support Space for Performers

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house keepi cloakr first ng oom aid room/ storag e

restro oms

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More Centered

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light record art direct rig/rea ing r bars room or office

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staff meeti office/ ng securi marke rooms ty ting/s ales/g raphic desig ners

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Security

6 5 4 3

Less Centered

In his earlier years 1962-1972 working with the American contemporary dancer Martha Gram, Delacorte Theatre, New York Shakespeare Festival and Arena Stage, he approached set design in a more outside-in way. He tempted to use abstract structures and lines of directionality to design the set. It was recognised as a new form but also critiqued by some as being too symbolic and simplified. While later he commented that his deign was logical and in lack of his own emotion.

1We did see a more inside-out emotional expressions later in his work(A life, 68).

In Lee’s set design, it shows a similar philosophy of Liu-Bai. He mentioned that set design should never be primary of a play, it should always serve the story and melt into the background.

In one of his most recognised designs Electra, a 1964 production at Delacorte Theatre, the pipes and foam-made stone sculptures represent the walls of a courtyard. Large spaces were left blank in the middle of the stage, and the three sculptures behind the stage delivered the play information of location, time period, tone and emotions. Such visual presentation and spatial composition could be regarded as a three-dimensional representation of the drawings he once being taught. Other Liu-Bai example includes The Witch of Endor (Dance, 1965, Martha Graham Dance Company), Inherit the Wind (Arena Stage), Boris Godunov(Metropolitan Opera, New York) and The Dream of the Red Chamber (Cloud Gate Dance Company, Taiwan).

Technicians and Crew

meeti staff securi office/ ng marke rooms ty ting/s ales/g raphic desig ners

Admin 6

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light record art rig/rea ing direct r bars room or office

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Contr ol booth

Performance

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house keepi cloakr first oom aid ng room/ storag e

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ticket box

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perfor musici warmmanc ans up kitche restro e area area room n oms

grasped and can only be left to the imagination. It could be seen in Zhang Da-Qian’s paintings(see image above).

When he studied at Occidental College in the United States, he showed great talent in watercolour paintings while he was less interested in oil paintings. The landscape painting taught him to use limited colours and gave him a solid foundation for watercolour painting.

The Philips Pavilion was a World’s Fair pavilion designed for Expo ‘58 in Brussels by the office of Le Corbusier.

Commissioned by Philips, an electronics company based in the Netherlands, the pavilion was designed to house a multimedia spectacle that celebrated

Ticket Box

Security Room

4

Less Adjacent

Cafe/Lobby

Restrooms

First Aid

5

Staff Office

Support Space for Visitors

Fronthouse

Cloakroom

9

Lighting control

Administration

Control booth

Philips Pavilion Le Corbusier Iannis Xenaki

Musician Area

13

Progarm Matrix

TH215 World Drama in its Context

Performance Area

Set Storage/Deliveries More Adjacent

First Aid

Control Booth

Some northern plays happened indoors, and the buildings were also sometimes tea houses.

Recording room

Costume Storage

Cloakroom

Restrooms

Some ancient Chinese Southern theatres were elevated semi-public woodenstructured pavilions with audience standing in the open court yard space.

Performance

Nursary

Cafe/Lobby Ticket Box

Chinese Theatres Southern Theatre

Support Space for Performers

Rehearsal Rooms

Auditorium

Support Space for Housekeeping Visitors

Technicians and Crew

Lighting control

Kitchen Restrooms

Costume Storage

Set Designer_Ian Taberner The designer uses geometry to develop a space set that would help narrate the dancers’ story, inspired by the music and movement.

Technicians and Crew

Warm up room

Nursary

Choreographer_Damien Jalet Overview The choreographer for Thom Yorkes newest solo album: ANIMA.

There are both bridge elements in the Noh theatres and Kabuki theatres in Japan.

Actors in Noh play enters from the Hashigakari representing gods descending to the world and starting to play.

In Kabuki theatre, there are more stage facilities to enable actors entering or existing the stage dramatically.Hanamichi, the bridge, acts as supplementary staging area.

Admin

Meeting Rooms

Restrooms Support Space for Shower Rooms Performers Rehearsal Rooms

Set Storage/Deliveries

Japanese Theatres Japanese Taditonal Noh Theatre

Time-lapse Sketches for the dance ‘Bolero’

Set Design for Contemporary Dance - Finding new way challenging the established spectatorship

Control Booth

Staff Office

Warm up room

Theatre Design in Its Context

Program Diagram

Nine Songs Cloud Gate Dance Group

The dream of the red chamber, 1994

Don Juan, 1979

K2, 1982

Sketch models inspired by movement and tension

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Theatre, stage and seating space Practice Rooms Warm-up Rooms Lighting Control room Audio Room Storage Administration Cafe Box office

The stage and seating space would be essential to create a new form of performance space.

Potentially the boundaries/separation between them will be made blurred intentionally to challenge the perception of spectatorship.

Major activities - experimental dance happennings User group - 250 people Approximate program size - 30,000 sf

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Yiran SHU RESUME EDUCATION 01/2017-present

Boston Architectural College Master of Architecture

09/2010-06/2014

Sichuan University, Business School, China Bachelor of Management

09/2012-06/2013

Newcastle University, UK One-year Affiliate Program

07/2015 Candidate Customised Cities, Summer School Architectural Association School of Architecture Maya, Dynamic Form-finding, Siting, Peace Hotel facade RECOGNITION 2017-2018

Steffian Bradley Architects Scholarship Outstanding Student Award Best Portfolio Award Boston Architectural College

2012-2013

Excellent Prize Newcastle University Dance Society UK National Dance Competition Outstanding Delegation Model United Nation, Sichuan University

EXPERIENCE 04/2019-present

Designer Anderson Porter Design Residential multi-family and senior housing Urban arguricultural facility

06/2017-12/2017

Intern NBBJ, Boston Office Space study of Norman B. Leventhal Map Centre at the Boston Public Library; Summer Research ‘Hugs and Bridges - How university environment prepare students for the workplace’; One Kendall Square Master Plan outdoor stairs proposals

05/2016-12/2016

2011-2012

LANGUAGE Mandarin (Native) English (Professional Proficiency)

PROFESSIONAL SKILLS

Space Manager XinFab, Shanghai Providing 3D printing, laser cutting services for makers in Shanghai

Visualization (Rhino, Grasshopper, Revit) Adobe (Illustrator, Indesign, Photoshop) Fabrication (3D printing, Lasercutting)

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