MEMORY THEATRE-BDES3027 Portfolio

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MEMORY THEATRE

THE MEMORY THEATRE

Lingyan Tao
BDES3027

Though absent long, These forms of beauty have not been to me,

As is a landscape to a blind man’s eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them,

In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart;

And passing even into my purer mind, With tranquil restoration

Introduction

Sydney Harbour Drama House

The Sydney Harbour Drama House reimagines theatre as an immersive, memory-rich journey that connects deeply with Sydney’s iconic harbour landscape. Inspired by the idea that architecture can evoke layered narratives, this project situates itself not on solid ground, but within the fluid, reflective realm of the harbour—a setting charged with collective memory, cultural significance, and natural beauty.

Drawing from Sydney’s unique maritime history and the land’s Indigenous heritage, the design frames the harbour itself as a stage. Audiences are invited to engage with performances on multiple stages, each representing a temporal perspective: the past, present, and future. As they choose their own paths through this journey, the theatre experience becomes a personal encounter with the site’s history and an exploration of the city’s identity, both remembered and imagined. This theatre exists as both a landmark and a vessel for the city’s memories, floating within the rhythms and reflections of the harbour, a transient presence echoing the stories of Sydney.

I. Habour Memories

The Site

Yurulbin Park, located in New South Wales, holds deep historical and cultural ties to Sydney's harbor culture. Once a cradle for Indigenous fishing traditions, the site evolved through its shipyard heyday into its current role as a ferry terminal. This park is rich with memories of harbor culture, serving as a living archive of Sydney's maritime history.

Today, however, Yurulbin Park faces neglect. It is under-maintained and functions mainly as a quiet rest area for nearby residents and a ferry access point, drawing little attention from the wider public. Despite its designation as an Indigenous cultural heritage site, it has not received the attention it deserves. Instead, it is threatened by construction activities related to the Western Harbor Tunnel, putting its cultural significance at risk.

1796 1879 1885 1912

LAND GRANT being given to George Whitefield
JETTY developed
HARBOUR WALL developed around Long Nose Point
SAWMILL construction at the end of Long Nose Point
Historical Timeline of the Site, Yurulbin Park

BOAT COMPANY & WHARF

Use of the area as a power boat company & the wharf

REINSTATEMENT of the traditional name for the area to Yurulbin over Long Nose Point 1917-1919 1923-1970 1972 1994

MORRISON and SINCLAIR

Use of the site for shipbuilding

YURULBIN PARK Developed

Historical Timeline of the Site, Yurulbin Park

The concept of the Memory Theatre is to create a space that navigates the journey from historical human civilization to the new, contemporary harbor culture—a space that weaves together the past, present, and future. This floating theatre aims to celebrate Sydney’s harbor culture while reviving Yurulbin Park's place in public memory. It aspires to serve not only as a theatre but as a community cultural centre, where new memories are created and old ones are preserved.

The design of the theatre draws inspiration from the concepts of "route" and "circle," symbolizing the flow of time and the layering of memories. At each angle in the space, visitors encounter distinct moments of history and glimpses of the present, as if standing within a vast time compass where each shift in perspective reveals an interwoven narrative of past, present, and future.

& Memories, collage, looking to Yurulbin Park

Precedences

Memory Theatre draws from influential precedents to create a layered, immersive space that bridges past, present, and future through optical illusion and varied perspectives.

Inspired by Giulio Camillo’s Theatre of Memory, the design establishes a central viewing point, with radiating sightlines leading to three distinct stages—each symbolizing a different temporal memory stage. This radial arrangement encourages audiences to explore memories through focused fragments aligned with unique backdrops.

The flexibility of Walter Gropius’s Total Theatre informs Memory Theatre’s adaptable stage arrangements, which support diverse performance styles and audience interactions.

Additionally, Camillo’s bridge concept informs Memory Theatre’s use of angled perspectives, allowing the audience’s position to shift their experience with each stage. These elements together craft a theatre that immerses viewers in collective and personal memories, rooted in visual and spatial storytelling.

A rendering by an unidentified artist of Camillo's memory theater.
Drawing of Giulio Camillo’s theatre of memory by Bertrand Schefer, 2007
Left to Right: Walter Gropius, Total Theatre, Interior Volumetric Composition; a)an arena arrangement.
Left to Right: b) a proscenium stage; c) a classic depth perspective theatre.
Elizabeth Diller,Ricardo Scofidio,and Victor Wong, Camillo’s Bridge, 1986

The Concept

Memory Theatre creates a journey that deeply connects with the historical and cultural layers of its site. The design uses varied stage heights and orientations to frame distinct perspectives, each evoking a specific temporal memory— past, present, or future.

The immersive performance format allows for simultaneous stage performances, enabling audience members to select a personal memory moment. Free to enter or exit at any point, viewers engage in an unbounded narrative, moving between stages to experience different angles of memory and interact with performers, fostering a fluid, individualized connection to the site's evolving story.

Balls Head
Sydney Harbour Bridge
Cityscape: Sydney Central Business District

Balls Head

STAGE OF "PAST'

The “Past” stage draws inspiration from Balls Head, a site rich in Indigenous heritage and historical significance. This stage represents Sydney’s ancient land and its early interactions, immersing the audience in the memory of Indigenous port culture and the original landscapes, setting a foundation for collective memory.

Sydney

Harbour Bridge

STAGE OF "PRESENT'

The “Present” stage centers on the Sydney Harbour Bridge, an iconic symbol of modern Sydney. This stage encapsulates the city’s identity today, representing the bustling connections, resilience, and multiculturalism that define contemporary Sydney, inviting the audience to engage with the present moment.

Cityscape:

Sydney Central Business District

STAGE OF "FUTURE'

The “Future” stage is oriented towards the cityscape of Sydney’s CBD, embodying aspirations, innovation, and evolving urban landscapes. This stage represents the forward-looking vision of Sydney, encouraging the audience to imagine the possibilities and transformations that the city’s future holds.

Circular Trajectory of Memory Theatre

II. Architectural Narratives

Gather and Prepare

The audience gathers in the open space outside the theater, immersing themselves in nature as they prepare for the upcoming performance.

Entrance Journey Explore Amenities Immersive Viewing

The audience follows a path into the theater, gradually reaching the core of the space, symbolizing the beginning of their journey into memory.

The audience enters social spaces within the theater, enjoying moments of relaxation and interaction, adding a social and leisurely aspect to the experience.

The audience watches the performance from their chosen stage area, experiencing different atmospheres of memories.

Storyline

Narratives

CIRCULATION

fig.1 round hall reception and guidance

fig.2 audience amenities bookshop and restaurant

fig.3 U-shaped corridor threshold moment of stage selection

fig.4 Stage of 'Past'

fig.5 Stage of 'Present'

fig.6 Stage of 'Future'

It is recommended that the browsing order be from clockwise direction. Theater presentation in chronological order

fig.1
fig.2
fig.3
fig.4
fig.5
fig.6

CIRCULATION FOR PERFORMER

fig.1 Entry circular bridge connecting amenities

fig.2 Preparation & performing backstage connects with the stages and office building

fig.3 F1 Situation stage of 'Past' directly connects to F1 office area

fig.4 Ending End the performance and exit in clockwise direction

The staff area is set up to ensure separation from the audience circulation.

III . The Journey

Details

Threshold Moment: entry of the round hall 1:50 plan drawing

The revolving door guides the perspectives of enter and exit

Threshold Moment: entry of the round hall

1:50 section drawing

The revolving door serves to divert the crowd

Journey Phase1: the round hall

1:100 plan drawing audience get reception and guidance

Journey Phase2: the social spaces within the theatre
1:100 plan drawing
audience bookshop and resturant

Journey Phase3: circular corridor-Choose Moment 1:100 plan drawing

Entrances to the three theaters in chronological order

Journey Phase4: the stage of “Past” 1:100 plan drawing
Facing Balls Head Mountain

Journey Phase5: the stage of “Present” 1:100 plan drawing

Facing the Sydney Habour Bridge

Journey Phase6: the stage of “Future” 1:100 plan drawing Facing the Sydney CBD view

Structure

Laminated Glass Roof
Timber Roof Beams
Aluminum Frameless Bar Grille
Timber Ceiling Lining
Chain Link Fabric Curtain Mesh
Translucent Polycarbonate Panels
CONSTRUCTION AXO
The building is made of light materials. The facade is made of translucent material, adding a dreamy color to the theater.
Facade Detail
1:20 axo drawing
Double layered at F1 level for putting the visual focus on corridor moment
Ceiling Detail 1:20 plan drawing
Aluminum Frameless Bar Grille use to soften and average the sunlight

Wordsworth, William. Lines Composed a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye during a Tour. In Lyrical Ballads, 1798. Bristol: Joseph Cottle.

Eliot, T.S. Four Quartets. London: Faber & Faber, 1944.

RCAAP. “Dramatic Arch.” Accessed November 7, 2024. https://comum.rcaap.pt/ bitstream/10400.26/39205/1/2021_Dramatic%20Arch_157-170_Carolina%20E%20Santo. pdf.

DS+R. “Camillo’s Bridge.” Accessed November 8, 2024. https://dsrny.com/project/ camillo-s-bridge.

Socks-Studio. “Socks: Foto, Tumblr.” Accessed November 8, 2024. https://socks-studio. tumblr.com/image/183194704659.

PROJECT TACE. “Welcome to TACE.” Theatre Architecture – Database, Projects. Accessed November 7, 2024. https://www.theatre-architecture.eu/project-archive.html.

Futures Plus. “Theater for Magicians – Sara Shafiei.” Accessed November 9, 2024. https:// futuresplus.wordpress.com/2011/10/13/theater_for_magicians-sara_shafiei/.

Cortes, Sayumi. “From Padova to Vicenza.” Accessed November 9, 2024. https:// sayumicortesdalmaut.wordpress.com/2012/07/17/from-padova-to-vicenza/samsungdigital-camera-173/.

Pinterest. “Moving in Time and Space.” Accessed November 9, 2024. https://au.pinterest. com/pin/pmoving-in-time-and-space-httpswwwmadsibenfeldtcommovingintimeandspace7 sl21r9jp39ea--722124121489066468/.

Instagram. “Sara Shafiei – Concept.” Accessed November 9, 2024. https://www.instagram. com/p/CsjaNGwpDmC/?igsh=d2FsZmZiY3Q4ZW15.

Pinterest. “Conceptual Art.” Accessed November 9, 2024. https://au.pinterest.com/ pin/94716398418221270/.

Pinterest. “Design: Insert Dadaism into Parametricism.” Accessed November 9, 2024. https://au.pinterest.com/pin/design-insert-dadaism-into-parametrici sm--954622452242897716/.

Pinterest. “Architecture Inspiration.” Accessed November 9, 2024. https://au.pinterest. com/pin/378302437423329468/.

“ Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable.

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MEMORY THEATRE-BDES3027 Portfolio by Lingyan Tao - Issuu