N. Amir Thesis

[PERFORM]ATIVEARCHITECTURE: THEARTISTANDTHEAUDIENCE NaeemahAmir The Pennsylvania State University Bachelor ofArchitecture 2013

TABLEOFCONTENT

1. ABSTRACT 2. THESIS STATEMENT 3. RESEARCH

.1.Area of Focus Summary .2. Literature Review .3. Questions/ Theoretical Issues Raised .4.Architectural Issues .5.Architectural Precedents

4. SITE AND COTEXT INFORMATION

.1.Aerial photos and/or maps of site

.2. Site Documentation

.3. SiteAnalysis

.4. Site Parameters

5. PROGRAM

.1. Program Type and Description .2. Programmatic Elements .3. Graphic Representation of Program

6. DESIGN PROJECT

.1. Project Parameters .1.1.Accessibility and otherADARequirements .1.2. Sustainable Design FeaturesAssesment .1.3. CodeAnalysis .2. Studies of Devices RevealingArchitectonic Ideas

.3. Site .3.1. Site Plan .3.2. Site Section .3.3. Site Model .4. Building Plans .5. Elevation and Facade Studies

.6. Building Section

.7. Wall Section

.8. Representation of Structural Systems

.9. Other Project Images

.10. DesignAssesment

7. CONCLUSION

8. BIBLIOGRAPHY

The world of the theater is used as an expression of a person’s truth. Whether making a

commentary on our current culture, love, politics, war, etc. there has always been a need to publicize this to an audience for their entertainment. And with this articulation of one’s own ideas and perspective, there has also been a need to create spaces that bring together the performer and the audience they seek. The Proscenium, Arena, Elizabethan and Hall theater configurations were created to give the audience different perspective of performance based upon what the directors called for. These spaces have all had the characteristics of separation between the spectator and performer. They were on stage and the audience sat in their seats; no chance for the two to interact.

As theater began to develop more experimental forms, the standard theatrical stages were simply adopted. And with this transition, others took the chance to change what audiences saw when experiencing space. This movement of the avant-garde pushed the limits of normal to construct a new identity and theatrical character. The space became involved in the spectacle, a silent character with an ability to be influenced at the whim of the performer. Audiences became another part of the scene, where the barrier that had forever separated the two was taken away. For the first time, the rules of space performer and audience had the possibility of transformation.

1.ABSTRACT

The Amato Opera House introduced an intimate link of the performer and audience in the grand art

of Opera because of its size. Yet the normative lines of PERFORMER and SPECTATOR have never been blurred in Opera. Performance art is one of the few artistic forms in which performer and spectator have a chance to shift positions. How can I create ARCHITECTURAL SPACE that fosters and exploits that relationship and in turn, becomes a part of the PERFORMANCES itself?

2. THESISSTATEMENT

The Amato Opera House was a feature of the East Village Bowery neighborhood in Manhattan for over 61 years. After closing its doors in 2009, the building has been left to create a new identity in the lively and cultured Manhattan neighborhood. The Amato Opera House created a sense of intimacy with its performances that is not normally present in the opera world. After understanding this anomaly, I chose to explore the interaction of audience and performer in other artistic expressions. This close relationship of spectators, performer and space are extremely poignant elements of performance art. Often times, the audience is asked to participate and become a part of experience. This delicate balance develops throughout performances and changes from artist to artist.

And when creating spaces for an ever-changing art, they must adapt as well.

There is the possibility for architectural space to alter and adjust as fast as the art form itself is changing. Adaptable theatrical space articulates the many different facets of performance art whether they are expressed through music, words, movement or a combination. The connection of all these elements can transform the way performance art is communicated to the audience. And in turn, can modify the way in which art is explored and understood by those who create it.

3.RESEARCH

3.1. Area of Focus Summary

Those who create, design, explore and produce performance art use everything at their disposal. The basic forms of theaters and galleries are transformed into architectural characters that have the ability to be manipulated and exploited in the performance. The mundane or normal are now center stage; to be used as important players. Stark stages, empty churches, hallways, all are acceptable arenas to express one-self. Breaking from traditional roles of performance spaces, performance art takes the next step of engagement, developing relationships based upon the tension that has become the theatrical norm. No longer are there barriers between spectator and performer, performer and space, and space and spectator. And if there are, they are a deliberate choice of the artist.

The flexibility of artistic expression that performance art brings, unfortunately has not translated often to the stage. The basic theatrical forms of Elizabethan, Arena, Proscenium and Hall do not interchange in arrangement. It is very difficult for a performance artist to have control of the space based upon their own vision of communication. They are tied to the architectural character that is already present. Adaptability of theatrical stages has not been an important element to theater design, many stating the many technical issues as reasons to not explore it. Yet many artists and directors call for spaces that can be changed, that have the capability of movement depending upon the proposed performance. It is the development of architecture that can take on different forms that can create a sense of open-ended possibilities for artistic investigation and audience experience.

3.1. Literature Review

3.RESEARCH

Performance art is an ever evolving method of communication that can take on many different spatial forms. Something that must be considered throughout the project is that the performance art movement continuously evolves and develops. The spaces that are used must then adapt to the inherent flexibility that characterizes performance art. What do performers need now? What will they need in the future? How can I create architecture that understands that unsteadiness?

The audience is another important character to the creation of performance art

that needs to be understood. The relationship between space, performer and audience has the ability to be utilized in special architectural expressions. The diverse array of performance art and their venues control space in completely different ways. It is the unanticipated movement and production that must be understood and apart of the design from the beginning.

?

ARTOFTODAY...

ARTOFTOMORROW...

CHALLENGE... PRESCRIPTIVE...

STAGE...

SOMETHINGELSE...

3.RESEARCH

3.3. Questions/Theoretical Issues Raised

The architectural issues that are apparent throughout the thesis mostly relate to performance space.

How can I create an architectural expression that understands the unsteadiness of art?

How much can you challenge an artist architecturally without becoming too prescriptive to their expression?

How can the architecture become another layer in the performance experience?

AUDIENCE

ARTIST

ARCHITECTURE

3.4. Architectural Issues

3.RESEARCH

Debra and Kevin Rollins Studio Theater Dallas, TX

This flexible theater space is used for an array of performance and art groups. It also functions as a venue for film screening and corporate meetings. The Blackbox style seating may be used in an end-stage, thrust, or in-the-round configuration. Can house between 80 and 229 persons.

Images courtesy of thelongcenter.org

La MaMa Experimental Theater Club New York, NY

The iconic performing arts theater in the Lower East

Side of Manhattan used the small dimensions of its building to create a new atmosphere for performance.

With different theaters on separate floors, La MaMa became a home for experimental theatrical productions and a place for many directors, actors and playwrights a chance to hone their craft.

Images courtesy of lamama.org & tomleeprojects.com

Ellen Stuart Theater

3.RESEARCH

3.5. Architectural Precedents

Judson Memorial Church Theater

New York, NY

The Judson Memorial Church is a working Church as well as home to many avant-garde performing arts.

Music, dance and theater all call the church theater home. The main theater space is adaptable to the different performance types that call for certain stage configurations.

Images courtesy of shenweidancearts.org & summationdance.org

Wyly Theater

Dallas, TX

The Wyly Theater is in a state of transition. Once

housed in a small steal barn in Dallas, the company used adaptable theater space as the cornerstone of their theatrical experince. so when they decided to expand to a new facility, they realized that their stage must be versatile while staying at a scale which could be arranged by theater technicians at a reasonable price. REX & OMA decided to build vertically leaving room for different stage configurations and chaning the orientation of ‘back of house’ and ‘front of house’ program to above and below the mainstage Images courtesy of archdaily.com

3.5. Architectural Precedents

3.RESEARCH

N

4.SITEANDCONTEXTINFORMATION

LOWEREASTSIDE,MANHATTAN

4.1. Aerial Photos and Maps of Site

SITE

THEBOWERY

4.1. Aerial Photos and Maps of Site

N

4.SITEANDCONTEXTINFORMATION

319 Bowery is home to The Amato Opera Theatre. On a 22’ x 93’ lot at 4-stories and roughly 5,400 sq.ft, the building is experiencing a renaissance after closing its doors in 2009. Founded in 1948 by husband and wife team Anthony and Sally Amato, The Amato Opera House was a Bowery artistic scene highlight throughout its 60+ year history. Boasting a 108-seat theater, the Opera was small but not short on drama or talent. Although from the outside the building may seem unsubstantial, this 4-story building became an incubator for Opera production and talent at a small scale. As described in a PBS special about the infamous tiny Opera House that could, “The Amato Opera has grown famous as a testing ground for young singers; many of its performers have gone on to sing, direct, and conduct in opera companies around the world.... The orchestra is phenomenal…And what the theater lacks in seating capacity it makes up for in intimacy.” After closing its doors in 2009, The Amato Opera House has been neglected. It sits unused; vacant and ready for a new life.

319BOWERY:THEAMATO OPERATHEATRE

4.SITEANDCONTEXTINFORMATION

4.2. Site Documentation

The main issue in the area is The Bowery as a whole is a part of a new gentrification and community development process. The neighborhood is now trying to create a revival from being known as New York’s “Skid Row”. This once dilapidated area was filled with saloons, prostitution, and homelessness became a haven for many artists and performers to explore their art in a lively environment

Founded in 1948 by husband and wife team Anthony (July 21, 1920 – December 13, 2011) and Sally Amato (27 September 1917 – 16 August 2000). Tony Amato acted as the artistic director, selecting the repertoire, practicing and directing the operas. In the early productions, Amato often cast students from his opera classes at The America Theatre Wing, where he was the Director of the Opera Workshop. There was no admission charge in early years of the company because it was prohibited by union regulations. Instead, during the intermission the Amatos would “pass the hat around” for contributions from the audience.

4.2. Site Documentation

4.SITEANDCONTEXTINFORMATION

ANDWHATTHETHEATRELACKS INSEATINGCAPACITY,ITMAKESUP FORININTIMACY...

After closing its doors in 2009, TheAmato Opera House has been negelected.

It sits unused, its owners trying to find a commercial retail program for the space.

Although from the outside it seem unsubstantial, this 4-story building became a incubator for Operatic production at the small scale. Untilits closing, the 108 seat theater performed exceptional shows for 61 years.

4.SITEANDCONTEXTINFORMATION

4.2. Site Documentation

4.2. Site Documentation

4.SITEANDCONTEXTINFORMATION

“THEBOWERY-NODAINTYKID-GLOVEBUSINESSBUTELECTRICFORCEANDMUSCLE -WaltWhitman,1888

From the second half of the 19th century and throughout the 20th century, the Bowery became a richly diverse district of commercial and residential activity while also being an infamous place for drug use, prostitution and homelessness. At this time, the Bowery also solidified its place as an artistic community hub for New York. Artists ranging from Jean-Michael Basquiat, Roy Lichtenstein, James Rosenquist, Vito Acconci, and Eva Hesse called the area home.

One of New York’s oldest thoroughfares, the Bowery became the city’s first entertainment district in the late 19th century. The street was a vast place where “theater, opera vaudeville, and burlesque flourished, while new generations of immigrants were bringing their cultures into the mix.” As zoning, transportation and the economy greatly changed, so did the nature of the Bowery. It became a celebrated commercial and residential neighborhood while retaining its ‘skid row’ personality.

4SITEANDCONTEXTINFORMATION

4.3. Site Analysis

KEITHHARRINGMURAL

BOWERYARTISTSTUDIO

CBGB

After the elevated rail line had been demolished in 1955 bringing unprecedented natural light to the street, artists began to see the opportunity to convert declining loft spaces into studios and apartments. And by 1965, more than one hundred painters and sculptors called the Bowery their home.

Artists of all kinds; dancers, painters, poets, writers, filmmakers and those who cannot fit into any one category exchanged ideas, performed and developed their artistry a part of the community.

Bowery Theatre (1826) was largest theater in U.S. at one time with 3,000 seats.

National Theater (at 104 Bowery) performs first stage production of Uncle Tom’s Cabin

First performance in America of ballet and the can-can.

Oldest brick building in Manhattan: 18 Bowery, The Edward Mooney House (circa 1785-1789)

First American streetcars ran on Bowery from Prince to 14th Street (New York & Harlem Railroad).

CBGB (birthplace of Punk Rock) performers included The Ramones, Patti Smith, Blondie, Talking Heads, & Sonic Youth

Liz Christy Gardens (1973), at Bowery & Houston, is city’s first community garden.

4.3. Site Analysis

4.SITEANDCONTEXTINFORMATION

The Bowery illustrates the vast number of spaces

SITE

BOWERYARTISTSTUDIOS

4.SITEANDCONTEXTINFORMATION

that artists of all forms chose to make their own. Each dot represents the studio space, gallery or home of some of the most influential artists of the 20th century. The Bowery is an artistic hub, where the presence of artists can still be seen in the culture and history of this celebrated thorough-fare.

The artists whose spaces are on this map include Burt Barr, Trisha Brown, Judith Bernstein, Eva Hesse,John Girono and Al Loving; to name a few.

Images courtesy of New Museum Bowery Artists Tribute

4.3. Site Analysis

With such a diverse and vast history, The Two Bridges Neighborhood Council (TBNC) in partnership with Bowery Alliance of Neighbors (BAN) are co-sponsoring the nomination of the Bowery to the National Register of Historic Places. From its beginning as a Native-American trail, to an expansive thorough-fare during colonial-era to the entertainment and cultural center of New York for decades, the Bowery has been a pivotal part of the development of New York. Though times has changed, this culture of art, music, literature among others is still a part of the fabric of the neighborhood. Efforts by institutions and grass-roots initiatives are trying to preserve the Bowery and its legacy which have bee threatened by the influx of new development. Yet the Bowery holds “two centuries of American social, economic, political, immigrant, labor, underground, criminal, deviant, marginal, counter-culture, literary, musical, dramatic and artistic history.� (Bowery Alliance of Neighbors)

4.3. Site Analysis

4.SITEANDCONTEXTINFORMATION

ZoningInformation: Borough:ManhattanBlock:457Lot:8 Zoning:C6-1 Zoning Map:12c Historical Zoning Maps:12c Department of City Planning, Zoning Database Borough:Manhattan Block:457 Lot:8 Police Precinct:9 Owner:319 BOWERY NY LLC Address: 319 BOWERY,NEW YORK10003 Lot Area:1596 sf Lot Frontage:22.33’Lot Depth:93 Year Built:1920 Number of Buildings:1 Number of Floors:4 Gross Floor Area:5,429 sf (estimated) Residential Units:0 Total # of Units:3 Land Use:Commercial and Office Buildings Landmark Building:No Historic District:No Dept. of City Planning, PLUTO 11v2 © 2011 and other city agency sources

4.SITEANDCONTEXTINFORMATION

4.4. Site Parameters

4.4. Site Parameters

4.SITEANDCONTEXTINFORMATION

4.SITEANDCONTEXTINFORMATION

4.4. Site Parameters

C6-1Zoning:

C6 districts are zoned for a wide range of high bulk commercial uses requiring a central location. Most C6 districts are in Manhattan and provide for corporate headquarters, large hotels, entertainment facilities, retail stores and some residential development in mixed buildings.

Because C6 districts are well served by mass transit, off-street parking is generally not required, except within the Special Hudson Yards District.

Commercial FAR: 6.0 (to 7.2 with bonus) Residential FAR: 0.87 to 3.44* (R7 equivalent) Height limit 85’ or 8 stories.

Possible building configuration based upon zoning guidelines

4.4. Site Parameters

4.SITEANDCONTEXTINFORMATION

This thesis plans to transform The Amato Opera Theatre at 319 Bowery into an experi-

mental arts incubator and performance space. Performance art is an extremely exploratory form where the number of performers, space necessary, artistic medium and production change from artist to artist and piece to piece. It is necessary to explore program that can foster this artistic discovery and then bring this space to audiences in new, exciting ways.

5.PROGRAM

5.1. Program Type and Description

PROGRAM

PERFORMANCESPACE:5,100Sq.Ft. STORAGE/DRESSINGAREAS:1,050Sq.Ft. OFFICES:200Sq.Ft. MECHANICAL/TECHNICAL:350Sq.Ft.

5.1. Programmatic Elements

5.PROGRAM

Performance art broke down the constraints of stage, audience and performer to become something completely different. It is with the spirit of these artists that I choose to create a space that celebrates this breaking down of barriers and understanding. Spurred by what is there, the building will become a catalyst for performance art exploration. The possibilities in the space are numerous, leaving the opportunity for a new experience every time one enters the building. This will be created through the manipulation of walls and floors to connect the artist, its audience and the building they both experience.

When there are no spaces to restrain both artist and audience, there is the possibility of role reversal. The ‘stagelessness’ that is so inherent in performance art will be pursued in the building.

5.PROGRAM

5.1. Graphic Representation of Program

“YOUREALLYHADTOBETHERE,ASTHESAYINGGOES.BUT OFTEN‘BEINGTHERE’,INTHEHEARTOFTHINGS,YOUARE REMINDEDOFTHETHEIMPOSSIBILITYOFEVERBEINGFULLY PRESENTTOONESELF,TOOTHERS,ORTOTHEARTWORK”

5.1. Graphic Representation of Program

5.PROGRAM

TYPICALTRAVELEGRESS

An important part of a performance space is egress and accesibility. The typical floor plans leave sufficient room for wheelchair accesibility as well as experiencing the space with the easiest accesible path.

BASEMENTFLR

GROUNDFLR

2NDFLR

3RDFLR

EGRESSTRAVELDISTANCE:115’

EGRESSTRAVELDISTANCE:90’

6.DESIGNPROJECT

EGRESSTRAVELDISTANCE:95’

EGRESSTRAVELDISTANCE:90’

6.1. Project Parameters 6.1.1. Accessibility and other ADA Requirements

AccordingtoNYCBuildingCode: Minimumegresstraveldistance-sprinkled:250’

4THFLR

5THFLR

6THFLR

7THFLR

EGRESSTRAVELDISTANCE:90’

EGRESSTRAVELDISTANCE:87’

6.1. Project Parameters 6.1.1. Accessibility and other ADA Requirements

EGRESSTRAVELDISTANCE:87’

EGRESSTRAVELDISTANCE:95’

6.DESIGNPROJECT

The largest source of in-city renewable energy that can be introduced to New York City is solar energy. According to the Center for Sustainable Energy, the amount of solar energy that falls on New York City is 2 times the energy required by the entire 5 boroughs. PVs solar space heaters, and air conditioners, solar ventilation and pre-heating systems are all available sustainable options for New York City solar energy. The largest potential for solar energy in New York City is photo-voltaic systems. And according to the Energy Analysis Report, my site lends to a high roof PV potential which would decrease net carbon emissions of my building.

YEARLYSUNDIAGRAM

RENEWABLEENERGYSITEPOTENTIAL

6.DESIGNPROJECT

SUMMERSUNDIAGRAM

WINTERSUNDIAGRAM

PHOTOVOLTAICSDIAGRAM 6.1. Project Parameters 6.1.2. Sustainable Design Features Assesment

Because this building is planned for used by a large number of people at a time, ADA and egress are important code conditions to consider. Highlighted are a few code regulations that are integral to performance spaces and their accesibility by all.

A4.3.10 Egress. Because people with disabilities may visit, be employed or be a resident in any building, emergency management plans with specific provisions to ensure their safe evacuation also play an essential role in fire safety and life safety.

A4.3.11.3 Stairway Width. A 48 in (1220 mm) wide exit stairway is needed to allow assisted evacuation (e.g., carrying a person in a wheelchair) without encroaching on the exit path for ambulatory persons 4.33.3* Placement of Wheelchair Locations. Wheelchair areas shall be an integral part of any fixed seating plan and shall be provided so as to provide people with physical disabilities a choice of admission prices and lines of sight comparable to those for members of the general public. They shall adjoin an accessible route that also serves as a means of egress in case of emergency. At least one companion fixed seat shall be provided next to each wheelchair seating area. When the seating capacity exceeds 300, wheelchair spaces shall be provided in more than one location. Readily removable seats may be installed in wheelchair spaces when the spaces are not required to accommodate wheelchair users.

4.33.5 Access to Performing Areas. An accessible route shall connect wheelchair seating locations with performing areas, including stages, arena floors, dressing rooms, locker rooms, and other spaces used by performers.

4.35.2 Clear Floor Space. A clear floor space allowing a person using a wheelchair to make a 180-degree turn shall be provided in every accessible dressing room entered through a swinging or sliding door. No door shall swing into any part of the turning space. Turning space shall not be required in a private dressing room entered through a curtained opening at least 32 in (815 mm) wide if clear floor space complying with section 4.2 renders the dressing room usable by a person using a wheelchair.

6.1. Project Parameters 6.1.3. Code Analysis

6.DESIGNPROJECT

THISISART...

ANDPERFORMANCE...

ANDEVERYTHING INBETWEEN...

CONCERTHALL

ELIZABETHANSTAGE

HISTORICALTHEATRESTAGETYPOLOGIES Performer relationship to space and audience is fixed

PROSCENIUMSTAGE

6.DESIGNPROJECT

THEATRE-IN-THE-ROUND 6.2. Studies or Devices Revealing Architectonic Ideas

CATWALK PERFORMANCE

‘BACKDROP’PERFORMANCE

EXPERIMENTAL STAGETYPOLOGIES Performer breaks ‘4th wall’, audience is able to move through the space freely- roles are still rigid

AUDIENCEMOVEMENTPERFORMANCE

6.2. Studies or Devices Revealing Architectonic Ideas

INFORMALIN-THE-ROUND

6.DESIGNPROJECT

‘MORELIKEWITNESSESANDSPECTATORS,ENGAGEINA VIBRANTRELAYBETWEENEXPERIENCEANDTHOUGHT, STRUGGLINGINACHARGEDPRESENTTOACCOMODATE ANDRESOLVETHEIMPERATIVE.TOMAKEMEANINGSFROM WHATWESEE...’

A building that houses avant-garde peformance has the ability to transfom the way performers and spectators experience architectural space. It is the relationship of the spectator and the performer to eachother, themselves and the space that they inhabt that can transend performance art. It is when an architetural space creates another layer of dialouge between all parties involved that expression can be higlighted and confronted for all to see

DISCONNECT RECOGNITION NEWPERSPECTIVE

6.DESIGNPROJECT

6.2. Studies or Devices Revealing Architectonic Ideas

WHATARETHEYGOINGTODO?

When program is open for experimentation and change, I began to explore the manny ways in which performance artists and audiences use space. Through emotions and actions, an expereince is created. To understand the space, I must first understand the users, their needs, goals and plans for innovation and creation

6.2. Studies or Devices Revealing Architectonic Ideas

6.DESIGNPROJECT

“ICANTAKEANYEMPTYSPACEANDCALLITABARESTAGE.A MANWALKSACROSSTHISEMPTYSPACEWHILSTSOMEONE ELSEISWATCHINGHIM,ANDTHISISALLTHATISNEEDEDFOR ANACTOFTHEATRETOBEENGAGED”

EXISTINGBUILDING

6.DESIGNPROJECT

CONNECTIONTOSTREET

DESIGNCONSIDERATIONS

How can a building become a part of the performance?

Think of the building as a performer

Create a full experience

Spatial nature of performance art

Space becomes another level to the art

'Stagelessness' connects & challenges both artist and audience

What are people going to do?

Changes nature of experience and becomes more spatially driven

DESIGNSTRATEGIES

‘ACTIVE’WALLS

VISUALCONNECTION

FACADEPLATFORMS

6.DESIGNPROJECT

6.DESIGNPROJECT

6.3. Site 6.3.1. Site Plan

S I T E 6.3. Site 6.3.2. Site Section

6.DESIGNPROJECT

6.DESIGNPROJECT

6.3. Site 6.3.3. Site Model

1.

2.

BASEMENTFLR

1.

1.MECHANICAL/TECHNICALSYSTEMS 2.STORAGE 2.

1.

2.

GROUNDFLR

2.

3.

1.BOXOFFICE 2.RESTROOMS 3.ADMINISTRATIVEOFFICES

6.DESIGNPROJECT

6.4. Building Plans

1.

2.

2NDFLR

3.

1.PERFORMANCEPLATFORM 2.DRESSINGROOM/STORAGE 3.OPENTOBELOW

3.

1.

3RDFLR

1.PERFORMANCEPLATFORM 2.RESTROOMS 3.OPENTOBELOW

2.

3.

1.

3.

2.

4THFLR

3.

1.PERFORMANCEPLATFORM 2.DRESSINGROOM/STORAGE 3.OPENTOBELOW

3.

1.

5THFLR

1.OPENTOBELOW 1.

2.

1.

6THFLR

1.STORAGE 2.OPENTOBELOW

2.

7THFLR

1.PERFORMANCEPLATFORM 2.OPENTOBELOW

1.

2.

6.DESIGNPROJECT

6.5. Elevation & Facade Studies

The design on the facade called for another level of interaction within the building. With the design of performace space right at the facade engages the often forgotten street level person into the building.

Now, there is a dialouge between the performers, those inside the building and people on the street.

This pulls the street in as another layer of information and a dynamic part of the overall performance.

Now the building facade acts as another programmatic performance element with a connection to the inside and outside.

EXP LOD EDF ACA DEA XON

6.DESIGNPROJECT

6.5. Elevation & Facade Studies

6.6. Building Section

6.DESIGNPROJECT

6.DESIGNPROJECT

6.7. Wall Section

INVERTEDWAFFLEGRIDFLOORSYSTEM

This inversted waffle-grid floor system supports the building’s floors while creating a certain aesthetic that I wanted to explore at the ‘performance platforms’ at the facade.

This floor system allows the floors to taper down to 6” at its thinnest point. This enables the platforms to read as if they are floating out of the facade without appearing too thick.

People seem to be floating on floors that extend past the facade creating a different sense of the facade and the floors.

FLOORFINISH

STYROFOAMFILL

WAFFLEGRID

6.DESIGNPROJECT

6.8. Representation of Structural System

6.9. Other images

6.DESIGNPROJECT

Buildings have always been the stage, not the performer. This thesis strives to create an architectural expression that brings the building into the experience of performance art. Once the building can become a participant in the nature of art by challenging both artist and audience to explore and innovate, the space is seen differently. It is normally the artist who breaks down this barrier of artist and audience but now this building is becoming another level to the dialogue. People are now active participants in the artistic expression and engage with the space in new, inventive ways. This blurs the sense of separation between the artist and audience into a more fluid concept.

This thesis aims to explore these lines and how they can be interpreted architecturally through the creation of views and moments that question the very nature of artist and performer. When these roles can be switched, questioned and broken, new possibilities form in their absence. The building now becomes a harness for artistic exploration and innovation by both the artist and the audience. Through the creation of a dynamic multi-level experience, everyone who enters the building is forced to confront whether they want to be a part of a performance. This will be created through the manipulation of walls and floors to connect the artist, its audience and the building they both experience. When there are no spaces to restrain both artist and audience, there is the possibility of role reversal. The ‘stagelessness’ that is so inherent in performance art will be pushed in the building.

Performance art broke down the constraints of stage, audience and performer to become something completely different. It is with the spirit of these artists that I choose to create a space that celebrates this breaking down of barriers and understanding. Spurred by what is there, the building will become a catalyst for performance art exploration. The possibilities in the space are numerous, leaving the opportunity for a new experience every time one enters the building.

OBJECTIVES

Change the politics of art and its relationship between artist and audience.

Break down the inherent separation of the two (artist & audience) through an architectural intervention

Question the prejudices of what a space can be- no longer just a backdrop for experimentation but an active participant in the whole experience

Facilitate the confusing the artist and audience’s set roles DESIGNSTRATEGIES

Transparency as a connection

Engagement at every level

People are now active participants and even possibly artists themselves

Harness for creativity and artistic exploration

Celebrate the smallness of the building while simultaneously opening the space up to connecting all those present in the building

6.9. Design Assesment

6.DESIGNPROJECT

The Amato Opera House introduced an intimate link of the performer and audience in the grand art of Opera because of its size. Yet the normative lines of PERFORMER and SPECTATOR have never been blurred in Opera. Performance art is one of the few artistic forms in which performer and spectator have a chance to shift positions. How can I create ARCHITECTURAL SPACE that fosters and exploits that relationship and in turn, becomes a part of the PERFORMANCES itself?

Throughout the past year I have constantly looked back my thesis statement for focus. To me, the thesis statement is the jumping off point for everything I have though about and designed. It is when I look back at it now that I see how great my understanding of that thesis statement truly is. And when looking at the work I have done, I know that my thesis came to fruition. Performance art is a great artistic expression that often has no rules. And when designing a space for something with no rules or set program, there must be an understanding of the art. The nature of performer and spectator is something that is extremely intimate and vulnerable depending upon the architectural space, the performer and even the spectator. Through the building I try to create spaces and moments where this relationship can be challenged and explored. The open floor plan with with ‘active walls’ leave the performer and the spectator with an invitation for experimentation that is often not present in art galleries. It is at the foundation of performance art to create a new sense of a space, time, politics etc. through performance, through changing perceptions. This has helped me focus my research and design a space that tests the performer to think outside of their own box of knowledge of what a contained performance space can be.

When the performer has the freedom to use every surface, corner or window as a space to perform, the spectator can now change the space and in tun, the performance. It is no longer the performer on a stage, it is the performer amongst the spectators. And now the normal lines between the two are now gone. This then highlights an important question- Who is the performer and who is the spectator?

This question is then taken a step further with the design of the performance space façade. There is now the possibility for those who are inside the building to become performers for those on the street, and those on the street to become performers for those inside. There is now a strong connection between all involved that makes the building truly become a live element in the city.

This exchange of perspectives is the basis of my entire thesis work. The changing relationship of all different levels to a performance is extremely fascinating and yet hard to completely understand. It can only be done by working with an understanding of the vast possibilities of performance art, people and their movement through space that pushed my project to its final design. My goal for the thesis was to focus my design and push where it matters- the creation of space as dynamic as the performances are themselves.

7.CONCLUSION

Athanasopoulos, Chreestos Georgiou. Contemporary Theater: Evolution and Design. New York: Wiley, 1983. Print.

Heathfield, Adrian, and Hugo Glendinning. Live: Art and Performance. New York: Routledge, 2004. Print.

Mackintosh, Iain. Architecture, Actor, and Audience. London: Routledge, 1993. Print.

McKinnie, Michael. City Stages: Theatre and Urban Space in a Global City. Toronto: University of Toronto, 2007. Print.

Oddey, Alison. Re-framing the Theatrical: Interdisciplinary Landscapes for Performance. New York, NY: Palgrave Macmillan, 2007. Print.

Pavis, Patrice. Analyzing Performance: Theater, Dance, and Film. Ann Arbor: University of Michigan, 2003. Print.

Pollock, Della. Exceptional Spaces: Essays in Performance and History. Chapel Hill: University of North Carolina, 1998. Print.

Vidler, Anthony, ed. Architecture Between Spectacle and Use. New Haven and London: Yale UP, 2008. Print.

8.BIBLIOGRAPHY

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