Behind the Masks/ USYD BDES Graduation Studio Portfolio 2021 by Greta He

BEHIND THE MASKS Floating Theatre of Existentialism

Greta He 470149050 Tutor Thomas Stromberg Graduation Studio

Content Statement / Conceptual Framework / Research and Interpretation / Design Strategy and Schema Projected Reality Superimposed Absurdity

/ Final Design / Appendix / References

BEHIND THE MASKS Theatre, ultimately, is a projection of the stories of life. Audience and performers gather here to experience the life stories of characters. What if the theatre they look on is actually about the story of their own lives, for everyone, at the very present?

Only the theatre is more capable to articulate the intangible aspects of life, revealing them to the audience. Engaging with the self-referentiality, the architecture becomes an apparatus that dissolve the illusionary boundaries between real world and theatre, and between audiences and characters. Therefore, Thalia and Melpomene, the masks of theatre, draw the connection between the theatre and the real life, because the theatre and life both never-ending oscillations between comedy and tragedy, and the project intents to articulate the nothingness behind the unending masks.

“Behind the masks” is a proposal that concretize the intangible Absurdity in life, through enable the audiences to explore on the multilayer logic in architecture. It intends to break the repetition of everydayness, questioning the meaning of life. The project is designed for the absurd theatre – Waiting for Godot, informed by overlayed stories on the thread of existentialism., that is, The Crystal World, Waiting for Godot, The Myths of Sisyphus and Wanderer Above the Sea of Fog. The project situated at the gap, where people can see the city skyline and the sublime nature which stimulates the feeling of Absurd hero. Using the gap as a pinhole between Sydney CBD and the project, the theatre becomes the projection of real world, a map with a map, in which the Absurdity of life is materialised in the form of architecture.

Inspired by the crystal world, the project collects Sydney’s memory and history through some famous landmarks and deconstruct them to break the everydayness of life. The transformational process of this rapture can be seen in the architecture, which highlights the ambiguity between presence and absence inherent in waiting for Godot. As articulations of the myths of Sisyphus, and wonderer above the sea of fog, the theatre enhances the Absurdity through a journey of meaningless ascending and descending, overlooking and submerging to the sublime nature.

On top of all the multi-layered narratives, a superstructure of arch doorways is superimposed into the projected world in a mode of crystallization, which captures the present, helping people to escape from the linear timeline and rethink about the meaning of life. Reading the project as a reflected map of Sydney CBD, the form of arch doorway is informed by the symbol of spot level in map. Therefore, the arch system consists of different maps interpreted from the existential stories mentioned above. The arches are a concretization of the intangible Absurdity which superimposes on our dailyness inconspicuously. The architectural language aims to construct an absurd world for audience as the world in the absurd theatre. Though the selfreferentiality and ambiguity, the project questions the meaning of life.

The position of the floating theatre is totally determined by the external world, bouncing around within the repetitive columns.

Although the project intends to break the everydayness, eventually, it still cannot escape from it. According to Camus, the absurd hero embraces the struggle and the contradiction of living without purpose. Although behind the mask seems to be nothingness, but with all the masks, the meaning itself is no longer meaningful.

Conceptual Framework Meaning of life - Western philosophical perspectives

“Let us suppose that Rome is not a place where people live, but a psychical entity with a similarly long and rich past.”

“The observer would perhaps need only to shift his gaze or his position in order to see the one or the other.”

-Sigmund Freud

Research and Interpretation The Crystal World, Waiting for Godot, The Myths of Sisyphus, Wonderer above a Sea of Fog.

The Crystal World Author: J. G. Ballard Genre: Science fiction

"Perhaps it was this gift of time which accounted for the eternal appeal of precious gems, as well as of all baroque painting and architecture. Their intricate crests and cartouches, occupying more than their own volume of space, so seemed to contain a greater ambient time, providing that unmistakable premonition of immortality sensed within St. Peter's or the palace at Nymphenburg."

The crystal world is referred because it transforms the intangible value of history and memory into the process of crystallization and decrystallization.

Therefore, the project abstract Sydney’s famous landmarks and use the power of collective memory as an opportunity to reflect the present.

Waiting for Godot Written by: Samuel Beckett Genre: Tragicomedy (play)

“Let's go."

"We can't."

"Why not?"

"We're waiting for Godot.”

The project is designed for the play, Waiting for Godot. In this play, there is an ambiguity between presence and absence in the circular structure of the play. Inspired by the concept of “presentness” by Peter Eisenman, the project expresses ambiguity between process and outcomes, absence and presence.

The Myth of Sisyphus Author : Albert Camus Subjects: Existentialism Absurdism "The struggle itself towards the heights is enough to fill a man’s heart. One must imagine Sisyphus happy."

Camus interprets the repetitive ascending and descending of Sisyphus as our dailyness. The project intends to translate the nothingness into architecture language and spatial experience to express the absurdity of life. Articulating the absurd circulations in a theatre, the project also conveys the attitude that one must imagine Sisyphus happy.

Wanderer above the Sea of Fog Artist: Caspar David Friedrich Medium: Oil-on-canvas

“The absurd hero's refusal to hope becomes his singular ability to live in the present with passion.”

- Albert Camus

Wonderer above a sea of fog is referenced because the atmosphere of the drawing echoes to the feeling of absurd hero. Therefore, the project aims to choose a site which offers the sublime views and connection with nature to enhance the sense of absurd hero.

Design Strategy and Schema Projected Reality Superimposed Absurdity

Superimposed Absurdity Metal Doorways

Projected Reality Main Buildings

Connection Access Bridge

Pinhole Site: The Gap

The gap, a place with both view of Sydney skyline and sublime nature, can be used as a pinhole between city and the project. Therefore, the project can be read as a projection of the reality, with the concretized absurdity.

Creating a projected Sydney by deconstructing famous landmarks, the design intends to break the everydayness in life and start to question the meaning of life. The metal doorways suggest the intangible absurdity in the real world in architectural form to articulate its existence.

The multilayer and superimposed structure is not only about architecture and absurdity. It is also related to personal cognitive process. According to Freud, different layers of ourselves we build up superimpose in our mind. What's is behind the unending mask in our life? With the layering in the framework of absurdism, the project expresses the ultimate nothingness behind the endlessly layered masks.

Projected Reality Concrete Buildings

The concrete building draws formal language from Sydney CBD and reconstruct them with the inspiration from references in the thread of existentialism. The projected reality will still indicate the collective memory, but in a more absurd way.

By entering the theatre project, audiences are in a world that is as absurd as the world in Waiting for Godot. The ambiguity between audience and performer is enhanced. Though the selfreferentiality, the projects questions the meaning of life and suggests the absurdity of life.

Wanderer above the Sea of Fog Projected reality

Wanderer Above the Sea of Fog informs the site selection. The Gap is chosen because of its sublime feeling which echoes to the atmosphere of the painting.

The fearless characteristic evokes the association with the absurd hero. Also, the design articulating this spatial experience by creating different lookout platforms and seating area submerged in water.

100 0

500m

10 50m

0

10 0

50m

City View

Views of Design &Sea

The accessing bridge connects the site and building provides a space where people can see the city skylight and the project. Therefore, visitors can draw connection between theatre and reality. It also provides lookout platform in different heights to experience the site and building.

The Crystal World Projected reality

Six famous Sydney landmark around CBD are chosen as the sources for deconstruction. The design is laid out according to the location of the six landmarks, only it is reversed according to the pinhole theory. The programmatic function of the design also echoes to the chosen buildings. By deconstructing famous architecture in Sydney, it enhances the familiar but absurd feeling of the project.

Queen Victoria Building Eating & Shopping

Cafe Eating

Westfield Shopping Centre Eating & Shopping

Gift Shop Shopping

St. Mary Cathedral Religion uses & Meditation

Meditation Space Meditation

Opera House Theatre

Auditorium Auditorium

Sydney Observatory Observatory

Foyer Entrance

Sydney Harbour Bridge Connection

Entrances Bridge Connection

Waiting for Godot Projected reality

The ambiguity between presence and absence in Waiting for Godot is translated to architecture with the inspiration of Peter Eisenman’s concept of “Presentness”.

Learning from his early residential projects, the design keeps the trace of transformational process. Different elements are intersected with each other, so that visitor can get understand absent process from the final design.

Each main building is intersected with two elements from the buildings in two sides of the connecting red line.

Foyer & Cafe The void of Sydney Obeservatory creates a rerectional entrance.

Intersection Queen Victoria Building Arch

Main Body

Intersection

Sydney Obeservatory

Sydney Opera House

Void

Glass Entry

Exploded Diagram

Auditorium& Back of Stage The form of Sydney Opera House indicates its function of auditorium

Intersection

Main Body

Intersection

Sydney Obeservatory

Sydney Opera House

St. Mary Catheral

Roof form

Roof terrace

Void

Exploded Diagram

Meditation Space & Office Space The form of meditation space inspired by interior space of Catheral

Intersection Westfield Shopping Centre Box

Main Body St. Mary Cathedral Arch

Intersection Sydeny Opera House Structure

Exploded Diagram

Gift Shop & Absurd Lookout The colomn structure is informed by the facade of Westfield Shopping Centre

Intersection Queen Victoria Building Arch

Main Body Westfield Shopping Centre Facade

Intersection St. Mary Cathedral Tower

Exploded Diagram

Cafe & Absurd Lookout The arch roof shape and round windows is abstracted from Queen Victoria Building

Intersection Sydney Oveservatory Void

Main Body Queen Victoria Building Arch

Intersection Westfield Shopping Centre Box & Overhang

Exploded Diagram

The Myths of Sisyphus Projected reality

The meaningless and repetitiveness in the myths of Sisyphus is translated as meaningless ascending and descending circulation in the building. Moreover, the floating theatre will float away from the entrance point when the show begins. The floating direction is totally depending on the external world, the wind, the wave. When the show ends, it is not guaranteed that the theatre will get back to the entrance bridge. The audience could be temporary trapped in the sea. Therefore, a pop-up auditorium and stage is designed for the absurd situation. After up to 3 hours, the theatre will contract itself to the access point. There are columns around the site area to protect the safety of the floating theatre. The design intends to break the everydayness; however, it is still trapped in the repetitive columns. Although the whole project seems meaningless, at least it is a joyful ride and it is my way of being a happy Sisyphus.

Circulation Diagram

Superimposed Absurdity Metal Doorways

The doorway system is inspired by the symbol of spot level in the map. Projecting Sydney CBD in the Gap, the project can be iterated as a map of Sydney in Sydney. And theatre, as a place of storytelling, embodies multiple narratives and world.

Therefore, it also has overlaid maps.

The maps are produced through translate the references.

Because of all the references are in the thread of externalism, they all reveal the absurdity in life to some extent. Thus, the maps that condense the multiple references also expresses the absurdity in life. Moreover, in the form of doorways, it concretized the intangible absurdity.

Different doorways logic superimposed on the building indicates the process of crystallization. The crystallization intends to create an illusion of frozen the present, as J.G.Ballard described in The Crystal World, escape from the linear time so that people has greater opportunity to reflect on the present.

Waiting for Godot Superimposed Reality

The map of Waiting for Godot extracts the circular structure and the function of stage spaces.

Function: Stage

3D Views of doorways' location in site

The Crystal World Superimposed Reality

The map of The Crystal World extracts the idea of crystallization. The idea of doorways spread out throughout the building indicates the process of crystallization.

Function: Auditorium In the pop-up theatre, there is no clear definition between stage and auditorium. It creates the ambiguity between audiences and performer, which enhances the self referentiality of the project.

3D Views of doorways' location in site

The Myths of Sisyphus Superimposed Reality

The map of The Myths of Sisyphus focus on the meaningless ascending and descending. And there’s no beginning and end, which expresses the repetitiveness. When the doorway collides with buildings, it serves as a window or door in the building.

Function: Meditation Space and Door&Window

3D Views of doorways' location in site

Wonderer above the Sea of Fog Superimposed Reality

The map of Wonderer above a Sea of Fog highlights the view of the drawing. The experience of seeing the top of mountains is recreated by designing the doorways around the access bridge. And the doorways inside the bridge also used as structural component.

Function: Structural Componant

3D Views of entry

Final Design Floating Theatre of Existentialism

Ground Floor Plan 1:200

B

B'

A

A'

First Floor Plan 1:200

Roof Plan 1:200

Sectional Perspective A-A' 1:200

Sectional Perspective B-B' 1:200

Threshold & Interior AXO Drawings & Renders

This chapter present the building following the entry sequences. AXO drawings shows how the architecture is designed to guild visitors through the seemly chaotic circulation, articulating the underlying logic of the architecture. The renders show the architectural atmosphere, the celebration of chaos and multiplicity.

Connection with the site 1:100

Bridge 1:100

Bridge

Bridge Platform 1:100

Bridge Platform 1:100

Entrance 1:100

Access to the building

Entrance - Foyer 1:100

Foyer Entrance

Foyer to Auditorium 1:100

Indoor Auditorium

Absurd circulation 1:100

Walkway with views

After exit from the indoor auditorium, there is two different meditate experiences. One is on the roof top of office spaces, where visitors can enjoy the view to the ocean in a high space. The other one is going down into submerged sitting. Visitors can closely connect to the sea.

Auditorium - Meditation Space 1:100

Meditation Space

Meditation Space - Gift Shop 1:100

Gift Shop

There are two staircases in the giftshop to the roof top platform.

It actually has no function on the rooftop, and the circulation is meaningless. However, once visitors going up, they can experience the view of the cliff and ocean. The absurd circulation expresses the attitude that one must imagine Sisyphus happy.

Absurd Space 1:100

Rooftop Lookout

Gift Shop - Cafe 1:100

Cafe

Absurd Space 1:100

Absurd Space

Cafe - Outdoor Auditorium - Foyer 1:100

Outdoor Auditorium

Elevation when the theatre floating

Elevation 1:200

Elevation when the theatre floating

Elevation 1:200

Elevation when the theatre floating

Elevation 1:200

Elevation when the theatre floating

Elevation 1:200

Appendix Phase 1 & Weekly Process

Site Plan W1 Process

Miller's point 1:500 @ A3

Waverton corring points 1:500 @A3

Woollahra point 1:500 @A3

Concept Collage W3 Process

Concept Collage

Precedent Study Week2 Process

Introduction

Pavilion of Reflections, a timber island, arrange like a fragment of intimate urban space enclosed by five buildings: a tower, a tribune, a bar, a sun deck with changing cubicles below, a central pool with cinema screen above, and three generous sets of steps that lead into the lake.

Together with the tower, the volumetric roofs over the bar are built up from a distinct profile of timber lattice roofs. Its imitation of city makes the me think about the idea of analogous city.

Relationship with water

The Pavillon of Reflections floats in the lake against the backdrop of the city centre. It is not only floating on the water, but also embracing the water as part of the pavilion. Part of the sitting area is engaged with water, which provides oppotunities for visitors to play with water and to relax.

Construction

Pavilion of reflection appliesthe democratic construction techniques, which informed the design: the pavilion is made almost entirely of timber (European spruce), and all joints were designed to be simply screwed together. Timber as a material is easy to get and easy to install.

Accessibility

The team buillt not only the architecture but also the dock that connects it to the land. The pavilion is connected with the dock, not floating with the water. However, it provides an example for free floating architecture, that is, designing the dock as part of the architecture.

Access to the architecture through a woodern dock Water inside the pavilion

PAVILION OF REFLECTIONS

ARCHITECTS: STUDIO TOM EMERSON YEAR: 2016 ZÜRICH, SWITZERLAND

Phrase 1 Narrative

Translate the plot from The Crystal World

The project intends to explore the question- what’s the meaning of life, according to Camus’s philosophy, absurdism. Absurdism is a philosophy based on the belief that the universe is irrational and meaningless and that the search for order brings the individual into conflict with the universe. And Camus defines the absurd hero as knowing the absurdity of life, but still deciding to live fearlessly

Phrase 1 Drawings

AXO 1:200 @ A2

Threshold 1:50 @ A1

Plan & Sectional perspective 1:100@A0

References Books and Precedences

Ballard, J. G. 2008. The Crystal World. London: Panther Books Ltd. Beckett, Samuel. 1984. Waiting For Godot. Toronto, ON: Coles.

Camus, Albert. 2018. The Myth Of Sisyphus. New York: Vintage Books.

Freud, Sigmund. 1982. Civilization And Its Discontents. London ENG: Hogarth Press.

Friedrich, Caspar David. 1818. Wanderer Above The Sea Of Fog. Oil-on-canvas. Hamburg: Hamburger Kunsthalle.

García, Santiago, and Javier Olivares. 2018. Las Meninas. Bilbao: Astiberri.

Kanekar, Aarati. 2015. Architecture's Pretexts. London: Routledge.

Rossi, Aldo. 2007. The Architecture Of The City. Cambridge, Mass: MIT Press.

Precedents Eisenman, Peter. 2021. "House I 1968 — EISENMAN ARCHITECTS". Eisenmanarchitects.Com. https://eisenmanarchitects.com/House-I-1968.

Emerson, Tom. 2021. "Pavilion Of Reflections / Studio Tom Emerson". Archdaily. https://www.archdaily.com/790430/pavilion-of-reflections-studio-tom-emerson.