Weronika Zareba Application Number: 21164914 MArch Architecture (ARB/ RIBA Part II) The Bartlett School of Architecture
Contents
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Theatro Paradiso
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Technical Section
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Professional work / 16 - 21
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Private projects
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1 Theatro Paradiso Project year : 2019 Location : Jurong East, Singapore Tutor : Ruzica Bozovic Stamenovic Institution : National University of Singapore
Type of project : Design Research Studio : Pre-master Thesis Project.A proposal for a structure, that incorporates both Smart Technologies and Synesthetic experience in the Jurong East Park in Singapore.
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Thesis ideology The “becoming theatre” is a research project, that aims at investigating how to create a space that incorporates both Smart Technologies/ Materials and enhances multisensory experience. The project speculates whether the cross-over between the physical and the digital could be the key to achieving novel design and urban spaces for wellness. As well as how could smart and responsive technologies be engaged in manipulating essential and higher senses to improve urban qualities.
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Social Relevance Singapore is located in the centre of the South-East Asia. For over 700 years, it has been open to diverse flow of people and ideas, connecting to wider geopolitical currents, all of which shaped its evolution. As a result, it became as a city of multiculturalism, representing the reality of hybridity, with its elements of cultural inhomogeneity and fusion of Malay, Tamil, Chinese and western culture. Simultaneously, it’s socio-cultural and historical landscape has undergone a rapid development. Leading to an extensive urbanization, rise in density and height, while losing its identity and handicapping people in attaining wellness in this smart city. Consequently, in Singapore there is a presence of nostalgia. The Government, however, is trying to cultivate the heritage through temporary art festivals such as Bicentennial or Singapore Heritage Festival 2019, treating art as a medium. Therefore, one question rises... Can we create a space, where the tradition, modern spirit and heritage can meet on some middle ground?
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Sound Scape Experiment Site Analysis of Jurong East, Singapore The experiment aimed at creating a diagramatic map investigating different accoustic operations, their source and frequency, as they would spread over the close neighbourhood of the site location in the Jurong East District. As well as to expand the synaesthesia research to urban scale. We hear in sound as well as we see in light. To try and see through sound, or hear through light is to reverse the order of things: to break down, if only conceptually, the perceptual dominance of one sense over another.
Legend Layer 1 - topography: Architectural components Water Green Areas
Layer 2 - sound scape elements: Tunnels Here are the chanels through which urban sounds are redirected and recomposed.
Sound mirrors Here are the focusing devices, collapsing an auditory spectrum onto a single point-of audition desynchronized from its corresponding point-of-view.
Planes Here are the acoustic reconfigurations of architectural space, a technique of echoing montage.
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Sound Scape Experiment Site Analysis of Jurong East present and imagined spaces The expreriment aimed at creating an imaginable diagram, that researches the connection, between the sound scape with the desired program expectations. Openess, freeform, freedom of choice, freedom of path, variaty of movement, floating stages (on water, in air), virtual unity and ability to become an actor, performer or a spectator by each of the visitors.
Subsequently, the diagram has transformed into the plan, through a series of (de)materializations and sequence arrangements.
Image: 1 - Diagram manifesto
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Ancient Stage
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Most of the Greek cities lay on or near hills, so seating was generally built into the slope of a hill, producing a natural viewing area known as the theatron. At the foot was a flattened generally circular performance space. The circular, stepped architecture was helping with both views and great acoustics.
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Wayang Kulit is a traditional Javanese form of puppet theatre, that consists of the ‘Dalang’ puppet master, leather- wooden puppets, screen, and the gamelan orchestra. The performance can be experienced from both sides of the screen, allowing for the experience from the ‘spectator’ or the ‘actor’ side.
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Vietnamese Water Theatre It’s a traditional Vietnamese form of puppet theatre, that consists of the stage filled with water, singers, orchestra and hidden puppeteers controlling the wooden puppets with bamboo sticks. The puppets appear to be moving over the water. When the rice fields would flood, the villagers would entertain each other using this form of puppet play.
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Wayang Kulit
Modern Western Stage Modern Western Theatre resembles the ancient Greek theatre in its inner design, however now it is roofed and enclosed., for the controlled inner environment. The middle stage allows for the underground movement and unpredictable pop-outs onto the stage. The red curtain creates a barrier between the spectator and the actors.
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Zhang Yimou - Modern Chinese Stage Zhang Yimou’s revolutionary Stage design, takes it’s inspiration from the traditional open-air theatres. It revolves around hundreds of actors interacting with nature, creating an unforgettable performance, which is enhanced by the magical power of the simple lights, sounds, shadows and other ordinary elements in this world.
Traditional Chinese Stage
Theatre of China has a long and complex history. What is the most peculiar to the Traditional Chinese theatre, is that it used be hosted in an open-air area. The performance itself would happen on a roofed stage, while the audience would be sited around on benches with tables and usually eat.
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Singaporean Food Court
Theatre Inspiration Since the inception of its existence, the purpose of the theatre was to transport the spectators into a realm of imagination. The plays were tackling romantic, but also sensitive and important subjects, such as social rights, politics, war etc. The architecture of the spaces varied with their locations, from Greek open-air theatres, Chinese traditional food court theatres, Vietnamese water theatres, Wayang Kulig shadow puppetry Javanese theatres to modern western closed theatres. Despite their form, they all had the same purpose, to create a space of an “escape” from the world.
Food Courts play an important role in a modern Singaporean society. They work as the autonomous food stalls serving variety of food, on an affordable price. Nowadays they are covered by a roof or placed inside a food court building.
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Traditional Chinese Umbrella Consisting of a bamboo frame and a surface made of delicately painted mianzhi or pizhi - types of thin but durable paper mainly made from tree bark - Chinese oil-paper umbrellas have long been viewed as an emblem of China’s tradition of cultural craftsmanship and poetic beauty. The round nature of an umbrella makes it a symbol of reunion because and “getting together.”
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Modern Digital Performance
Nowadays, however, our society is more accustomed with a theatre as a dense, enclosed space and to perceiving a spectacle in a seating position in front of stage, quiet, mute, and motionless, rather than through a physical interaction. Therefore, an idea of a space, that allows for the cognition of art, theatre music, through a movement, while breaking the stereotype of relationship between ‘Spector- Actor’ had a major implication for this architectural project. Moreover, a break from the western idea of a curtain, as a “threshold”, by placing it all over the park, enhanced the idea.
TeamLab is a group of creatives, aiming to achieve a balance between art, science, technology and creativity. Through a creation of immersive, interactive and mulisensory digital art installations, that transport a person into a different realm.
The mobility and adaptability of the space to the needs of a spectator, as well as the need to reconcile a diversity in function, contradictory desires, and multiple experience, was a major inspiration for this project. This has resulted in an idea of a space that allows for the perceiving of theatre/ play on different levels, both physical and emotional as well as sensory. The said theatre, a multimedia-park would create an open space of togetherness, unity, of a still architecture, combined with digital unpredictability, allowing the visitors to become --> spectators --> actors within the park boundaries. As, the modern society is so engrossed in their phones, that they do not see the world outside of it. Creating a hybrid of both the digital and physical through the use of virtual and augmented reality, as well as smart technologies, would create an escape from both the worlds. A so-called middle ground for the generations, modernity, and tradition to meet!
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Axonometric diagram
Floor Plan 1. Entrance / Ticketing Box 2. Entrance to the underground part of the stage 3. Openair Auditiorium 4. Main Stage 5. Singaporean Food Courts 6. Second entrance to the underground part of the stage 7. Multimedia Library 8. Cinema 9. Water Theatre 10. Sound Library 11. Exit
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Main Stage
Unconventional "Floating Stage" breaks the rules of static observation of the play/ performance.
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Multimedia Library
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A set of spaces, containing archives from theatre/ art/ dance/ music performances, divided into sound, video and media library. Multimedia curtains inspired by ayang Kulit, the Javanese Shadow Puppetry theatre and the relationship between the actor, spectator and a curtain. Treating a curtain as a threshold and media transporting spectators into different realm.
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Cinema
3 stages allowing for different perceiving of motion picture/ cinema. The ground one releases curtains, creating a forest of projections, to walk among. The middle one consists of floor screens to walk on, the 3rd one
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Water Theatre
A set of floating on water stages and auditoriums allowing for free perceiving of a play and even encouraging to take part in. Inspired by a Vietnamese Water Theatre.
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Umbrellas Controlled Size The principles of he Japanese technique of folding paper, called origami, has been incorporated into the foldable roof design, which can adapt to weather conditions, by decreasing and increasing its size. The PDLC panels are connected together and then attached to wires, from their both sides, which provides them with protection and allows for the quick fold.
Controlled by Sensors The PDLC panels, are connected to the FFC connector, which then is hooked up to transformers, which can scan and change its appearance, as a current is passed through. Its dependable either on weather sensors or on the desired performance.
Controlled Transparency The roof panelling is made out of the polymer-dispersed liquid crystal (PDLC) switchable diffuser, which changes from opaque to transparent when low levels of voltage are applied to its surface. The PDLC diffuser is a thin sheet comprised of a layer of liquid crystals sandwiched between two layers of a conductive material called indium tin oxide, all of which is encased in an outer insulating material. Individual areas are controlled by laser engraving electrical routing directly into the material, eliminating external wiring.
Main Stage Stage adaptable to the various needs of a performance, allowing the audience to be free in experiencing the performance form chosen height and angle.
SELECT SOUND SETTINGS DON GIOVANNI DARK SHADOWS MIXED CUBE 23 SELECT VISUAL SETTINGS DON GIOVANNI DARK SHADOWS MIXED CUBE 23 LOAD FROM THE LIBRARY
Stage performance possibilities diagram
2 The Adaptory Housing Project year : 2018 Location : Glasgow Scotland
Tutor : Isabel Deakin
Institution : University of Strathclyde
Type of project : Undergraduate University Project
Technical section & Facade Fragment
Technical Section Detail Section 1 1. (25 mm) aluminium cladding 2. (20mm) roofing membrane 3. (150mm) rigid insulation 4. (20mm) vapour control layer 5. (19mm) roof decking 6. (320 x 106 mm) beams/ (50mm) airspace/(270mm) rigid insulation 7. (20mm) vapour control layer 8. (19mmm) plywood 9. (12.5mm) plasterboard/ plaster finishing
Section 2
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1. (27 mm) vertical timber cladding 2. (50mm) cavity and horizontal battens 3. (50mm) cavity and vertical battens 4. (2x 12.5mm) plasterboard 5. (19mm) plywood 6. (20mm) breathable membrane 7. (80mm) cellulose insulation 8. (150mm) cellulose insulation/ (150 x 150 mm) timber framework 9. (20mm) vapour control layer 10. (19mm) plywood 11. (12.5mm) plasterboard/ plaster finishing
Section 3
1. (10mm) metal flashing 2. (30 x 230mm) white ceramic tiles 3. (40 x 160 mm) battens/ airgap 4. (20mm) vapour control llayer 5. (320mm) tapered insulation. 6. (20mm) vapour control layer 7. (19mm) plywood 8. (12.5 mm x 2) plasterboard
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1. (22mm) oak floor panels 2. (19mm) plasterboard plank 3. (50mm) cavity 4. (50mm) cellulose insulation/ battens 5. (20mm) vapour control layer 6. (19mm) plasterboard 7. (320x 106mm) beams/ cavity/ (130mm) cellulose insulation 8. (20mm) vapour control layer 9. (19mm) plywood 10. (12.5mm) plasterboard/plaster finishing
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Technical section - detail
3 Pine Cone Project year : 2019 Location : Jurmala , Latvia
In collaboration with : DJA Architecture
Type of project : A concept proposal for an architectural pavilion
Involvement : Whole project contribution
Status : Built
Images: 1. Axonomatric Drawing 2. Photograph of the Built Structure 3. Detail Photograph of the Built Structure
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3 Letters to Latvia Project year : 2019 Location : Latvia
In collaboration with : DJA Architecture
Type of project : A concept proposal for an exhibition installation
Involvement : Whole project contribution
Status : Awaiting to be built.
Images: 1. Axonomatric Drawing 2. Render Image
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3 Metal Tree Project year : 2019 Location : Jurmala, Latvia
In collaboration with : DJA Architecture
Type of project : A concept proposal for a playground, music installation
Involvement : Whole project contribution
Status : Awaiting to be built in 2021
Image: 1. Axonomatric Drawing
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Gulbisu Park Project year : 2020 Location : Gulbene, Latvia
In collaboration with : DJA Architecture
Type of project : Park revitalisation
Involvement : Design concept
Status : Awaiting to be built in 2021
Image: 1. Render View
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3 Agrippina Project year : 2020 Location : Menheim Opera, Germany
In collaboration with : DJA Architecture
Type of project : A concept proposal for the staging of Agrippina
Involvement : Design Concept Proposal
The main objective of the ptoject, was to create a Set Design, that modernise the XVIII century play written by George Friendrich Handel, in respect and influence of the baroque machinery and design aesthetics. Such as, transformation of “flats” into perspective/ 3D scenery.
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The 1st proposal
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One of the main inspirations was the Torelli’s most significant innovation. The Pole and Chariot system of stage machinery, consisting of sub-stage trolleys connected by ropes to a central drum, that allowed multiple flats to be changed quickly in full view of the audience in a highly coordinated manner. Here the stage design would consist of 12 vertical “flats”, deivided into 4-15 smaller pieces each, visually transforming a flat wall into a 3d journey, with many possibilities and spaces.
The 2nd proposal The main inspiration were the cut-outs landscape sceneries created/ painted in XVIII century by Philip James de Loutherbourg. Here the transformation from baroque would happen when the cutouts would open into the round 3d form.
Images: 1. Concept diagram of the 1st proposal set design. Chronological 3D movement.
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2. Axonometric Diagram of he 1st proposal set design. 3. Concept diagram of the 1st proposal set design. Chronological 2D movement.
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4. Render View of the 1st proposal set design. 5. Render View of the 2nd proposal set design. Movement/ Transformation proposal.
3 Don Giovanni Project year : 2020 Location : Vienna Austria
In collaboration with : DJA Architecture
Type of project : A concept proposal for the staging of Mozart’s Don Giovanni
Involvement : 3D physical modelling
Awards: Ring Award 2020 http://www.dja.lv/posts/Ring-Award-2020/
In our concept, what was truly profound was the material architectural world. Mozart’s Don Giovanni as a surreal thriller of modern human condition. When a lavishing dinner party in the Commendatore’s mansion is interrupted by the violent death of the host, the visitors and the servants found themselves mysteriously incapable of leaving the dinning room. As time passes and they run out of food and water, panic and madness set it. The unsolved death of the autocratic paternal figure - the hitherto moral reference - activates a yet unknown force in the protagonists. Soon everyone in the room becomes infected with the Don Giovanni syndrome - an unlimited desire that magnifies the individual obsessions and phobias.
Visual Aesthetics Explanation The symbol of the societal mores is gradually consumed and burned by the insatiate desires that cannot be controlled by the protagonist. This effect is achieved by gradual turning of the horizontal panels that create the set the dining room transforms into a burnt, black abstract environment. The process of morphing begins with black liquid that appears from the dinnerware set on the table (a hydraulic closed-circuit-installation in the table structure), drips down on the carpet under the table and spills out on the carpet. The black liquid stands for the unbound desire that stains the moral corset of the community on stage. Black hands prints on the light-coloured costumes mark the mischievous encounters of the protagonists.
Images: 1. Story board visualisation I act / II act 2. Model 1:20 Moving sequence
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4 Built Upon a Dream Project year : 2020 Location : London, United Kingdom
In collaboration with : Architect Ilina Cvetkova
Type of project : Cartographies of the Imagination” Exhibition Art Piece proposal
Goals (i) Mapping of a transition from the conscious reality into the subconscious mind in the state of dreaming (ii) Mapping of a creation of a fictive memory of a space never encountered (iii) Mapping of the dream decomposition (iv) Mapping of the dialogue between two artists (i) The creator of a dream (ii) The mind explorer
Thursday 12.11.19 Riga, Latvia I woke up immediately moved by the squeaking sounds of the old wooden floor. She was just leaving the room. I had no intention of getting up yet. After the hard working day, deadlines and stress I needed some rest. I deserved it. I closed my eyes. At first I didn’t notice that I’m already dreaming. I was still me, still in bed, in the same room, same flat. However few things seemed odd… I sat on the bed and looked through the window on my left-hand side. It was summer in its full blossom. The sun was intensifying the vividness of the colours, flowers, gardens, houses and roofs. Even air seemed to glow. I’ve never been to France, but in my head it was perfectly clear that the image I was looking at was a French village. I looked at the bed. The sun light was consistently playing. It was warm.I’ve heard some noises coming from the kitchen. Not getting up from the bed, my eyes took me there, as if my mind and spirit were floating in the air. I teleported? I saw peoples legs, lots of them walking through the corridor and entering the kitchen. The other odd thing was that the apartment was left to right. Like if it switched 180 degrees and the kitchen instead of on the right side, was placed on the left from the her room. The noises were becoming more and more intense. I didn’t know who the people were, but they were only men. They were not my friends, that’s for sure. Suddenly, my spirit was back in the room with me on the bed. I looked through the open doors. The wardrobe and the table created a portal. The room somehow seemed very long to me. Suddenly, the mass of people started to float inside. With each of their step they were losing their human form, becoming more and more animal-like. By the time they reached my bed, they were completely transformed. There was at least seven of them, all standing around the bed. One of these creatures was in front of me, looking at me with his ferocious eyes. He jumped. And then I woke up, in the same room, darkened by the November grey sky. Alone. 1. French Village - Fragment 2. Noises from the kitchen 3. Animals
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The Ship Housing Thursday 05.10.20 Glasgow, Scotland I remember I was running, escaping from something. I remember a blurriness of trees, an alley, a place from my childhood strolls with mom. I was heading towards a beach. The sun was slowly setting down, leaving long shadows on the road, and hurting my eyes. I could feel cold breeze on my cheeks, I was close. I thought ‘That’s the only way’, I didn’t know yet what it meant. The Ship Housing (it had 3 tiny windows at its end, resembling the balconies on the old ships), probably a failed experiment, was right there. Hundreds of machine-like flats, floating above sand, supported only on tiny legs. The houses were divided in half by a solar battery in the middle. I ran towards ‘my home’ and climbed up into a corridor. The sun was already kissing the sea, making it feasible for me to see, that the corridor gloomed with purple light, opening a portal at the end of it. With every closer step the light was brighter and the final image sharper. I didn’t have time, I dropped the cautious walk and jumped into the unknown. The Machines shines with the light of thousand stars, exploding into an amorphous, bright spot. I teleported into the darkness and coldness of a London Street. I was safe. And then I woke up.
Images: 1-2. Concept visualisations of the dream.
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Weronika Zareba