SOPHIA YUE YIN | 5160627 | ARCH7202 ROLE-PLAY THEATRE /SzczerbickiMarkSanderson,David/ UNSW GRADUATION PROJECT / SOCIAL AGENCY / PORTFOLIO ARCH7202 / TWENTY TWENTY TWO / TRIMESTER TWO
Role-Play Theatre is a creative hub where users can freely express themselves, they can choose to be whichever ‘role’ they wish to ‘play’ – a customer at the café; a learner in the lounge room; a writer or a director; a designer or a film-maker; an audience or a performer, or unlock new ‘roles’ to ‘play’.
To create spaces that spark endless potentials of urban relationships and connections between users.
ROLE-PLAY THEATRE
ROLE-PLAYING THEATRE
To design a place where users have the exposure to new experiences and they can choose the ‘role’ they want to play like a passerby, a creator, an actor, a listener etc.
To design spaces that are not as seem, creating the encounter of serendipity for users. A creative hub where users can freely express themselves.
HIDDEN TREASURE
INTERCONNECTION
From observations gathered from the site, and by sketching human activities around the site, I have noticed the Redfern site is resembling an organised chaos. Everyone is assigned with a specific role at a specific moment. We can be a passer-by, a parent, a kid, a judge, a contestant etc. And the role we choose to play in a space fulfilled the space and creates endless pos sibilities of human interactions in a harmo nious way like an organised chaos.
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CONCEPTUAL MODEL ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CONCEPTUAL MODEL ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CHARACTER ANALYSIS ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CHARACTER ANALYSIS ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CHARACTER ANALYSIS ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CHARACTER ANALYSIS ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CHARACTER ANALYSIS ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO CHARACTER ANALYSIS ‘Threading Emotions‘ Initial Site Analysis
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO NATIONAL BLACK THEATRE REDFERN ‘Threading Emotions‘
Initial Site Analysis T he National Black Theatre was ran by a small group of aboriginal people, operated from 1972 to 1977. Their original concept grew out of political struggles, especially the land rights demonstration. One of the major problems facing Aboriginal artists was the battle to be taken seriously as artists rather than as social issues to be supported. To this end, the Black Theatre’s achievement of establishing its own performance space was an important step. The resulting exposure of their theatre work to a wider audience was another major step. It was the first Aboriginal play to enter the repertoire of the European Australian mainstream theatre.
Prime Minister Malcolm Fraser announced that cultural activities involving Aboriginal people would no longer be helped by the Department of Aboriginal Affairs, but would become the responsibility of the Australia Council. No funds were granted to the Council for its additional respon Lacksibilities.offunding had become an enormous strain on the Theatre, and all involved. With no grants for over a year, the burden of supporting the centre plus making a living burnt people out. By the end of 1977 the Black Theatre had closed. I wish to bring back the theatre. By narrating a tale on stage, the audience becomes emotionally invested in the performer. The voice is heard. The theatre is acting as the medium that bridges the gap between individuals.
ROLE-PLAY THEATRE / PORTFOLIO
/ARCH7202/5160627/YINYUESOPHIA/
I wish to construct a performance space that is so adaptable and limitless that people are free to play any role they like within the space.
NATIONAL BLACK THEATRE REDFERN
The idea of ‘role-playing‘ initiated
T he audiences are connected together not only because they’re adjacent, but also that they have a common focus, which is the stage. They share the same experience of watching the performance In the 18th century, the audience interacted with the performance. There is a strong connection between the audience and the performer, e.g., “encore! encore!”; they will “boo” when Shakespeare’s villain appears, etc. After the industrial revolution, as the middle class grew, theatres became significantly quieter. In the majority of theatres, audience members are prohibited from speaking during performances.
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO BRAINSTORM OF ACTIVITIES
Taking inspiration from the mystery role-playing game Cluedo, I have developed numerous roles for the design.
Taking the process of creating a theatrical performance from beginning and applying it to the building, the following roles were assigned: writer, designer, director, actor, film-maker, etc. Overall, they are the building’s storytellers.
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO BRAINSTORM OF ACTIVITIES
By developing several levels of interactions, i.e. separate work spaces adjacent to one another, authors are able to collaborate with designers, fostering serendipity of user experiences.
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO SITE CONDITION Front courtyard idea initiated from wanting to puncture through the northernhermaticfacade.
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO thinking process / arrangement of spaces writer’s studio theatre cafe The accessibility is restricted by the two strong linear boundaries. Nonetheless, the restriction compelled me to devise playful methods of space organisation.
thinking process / formal framework
Two performance areas have been created, one at either end of the site. One is the primary performance space, while the other is the secondary. The relationship between primary space and secondary space can be easily reversed, much like two magnets with the same pole trying to push and pull against one other within a long linear site.
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/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO 1. Open discussion room 2. General discussion room 3. Editor’s room 4. Double ceiling height space 5. Kitchen space 6. Director’s room 7. Equipment suite 8. Plant room 9. Unisex toilet 10. Toilet for public 11. Theatre 12. Backstage 13. Loading lift 14. Storage N Basement plan 1:400 on A4 1. 2. 3. 4. 5. 6. 8.7.9. 10. 12. 11.13.14.
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO N Groundfloor plan 1:400 on A4 St.Turner St.Redfern 1. Courtyard 2. Lounge space 3. Cafe 4. Kitchen 5. Lobby 1. 2. 3. 4. 5. 6. 6. 7. 8. 9. 10. 12. 11. 13. 6. Reception 7. Toilet 8. Staircase entrance to the theatre 9. Role-playinng theatre 10. Artwork corridor 11. Bar 12. Turner Street entrance 13. Loading zone A-AB-B
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO 6. Control room for theatre1. Writer’s room 2. Design workshop 3. Toilet 4. Storage 5. Discussion room N First floor plan 1:400 on A4 St.Turner St.Redfern 1. 2.3. 4. 5.6.
sectional perspective A-A
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO Section B-B 1:500 on A4
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO
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/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO MODEL MONTAGE
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/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO
/ARCH7202/5160627/YINYUESOPHIA/ ROLE-PLAY THEATRE / PORTFOLIO
SOCIAL AGENCY / ROLE-PLAY THEATRESOPHIASOPHIAYIN0314@GMAIL.COMYUEYIN/5160627 / ARCH 7202 /
