Second Act

Name
Tim Fabian Puller
Education degree
Kandidat
Fagfelt
Architecture
Institute
Architecture and Technology
Program
Computation in Architecture
Year
2018

Introduction

 

“Something a person devotes his or her later life to, after retiring or quitting a former occupation.”

definition of ‘SECOND ACT’

 

Grounded on previous investigations of flexibility through kinetics, this thesis features the design of a speculative playhouse situated in two 19th century brick gas holders formerly utilized by Wola Gasworks in Warsaw.

The proposal is split into front of house with additional serving functions and the heart of the theatre - the stage and auditorium - to fit into and wrap around the two Varsovian towers.

More precisely, the interior of the first, smaller gas holder is being used as the public foyer with all theatre related public and non-public functions located in a the tower surrounding belt.

Being placed in the other, higher one of both gas holders, a large-scale kinetic apparatus enables the theatre to generate a myriad of different visitor experiences ranging from a more familiar stage/auditorium ensemble to far more experimental setups.

8 images

 

Site information and background

 

The site and the existing structures were carefully investigated for their reusability (gallery above). Furthermore, for the proposal only inevitable changes are created to the existing structures to safeguard the local heritage while at the same time reducing the release of waste through demolition works. 

 

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Front of House Tower

 

Behind the metal facade the first of the two gas holders hosts the front of house and other for the theatre required facilities.

While non-public functions are revolving around the existing structure on the upper floors, relevant public functions are mostly situated in the ground floor. 

There, the courtyard serves as circulation area and main access to box office, exhibition spaces, wardrobes, bar, and public bathrooms.

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Ground Floor: Reception, Box Office, Kiosk, Wardrobes, Bathrooms, Bar & Café + Access to Tower 2
1. Floor: Phone Bookings, Box Office Management, Exhibition Space, Gallery & Bar Lounge
2. Floor: Staff Canteen and Dining, Offices & Bar Lounge
3. Floor: Staff Lounge & Offices
4. Floor: Management

 

Perforated Metal Facade

 

Two methods were used to render information of space related requirements on data maps which then served for folding (defining viewing angles/privacy) and perforation (limiting transparency) patterns for the FOH tower's facade.

These were combined with ornaments resembling mechanics of the kinetic tower to give the facade a unique identity.

Alltogether this new skin reveals parts of the old building, highlights extrovert and protects introvert areas.

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Heterogenous facade generated by the means of information mapping
Privacy map used to generate a pattern of different folding densities
Complemented with ornaments, differently sized perforations serve for a myriad of transparencies
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The inner courtyard of the first tower serves as the key circulation space.
Revolving around part of the front of house tower, the gallery looks over the bridge connecting both towers.

 

Kinetic Tower

 

Drawing inspiration from the old pressure regulating mechanism of the gas holder, kinetic, utopic designs facilitating flexibile uses and roller coaster carriages, a complex kinetic apparatus is placed into the existing structure.

The mechanism allows for the movement of stages and elements along a rail system using modular rail wagons. 

Furthermore, the two part auditorium is centered on a scissor lift with rotation platform allowing it to move vertically and orient itself to active stages.

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A flexible, motorized rail wagon serves as key device to move elements on the grid.
The mount in the front allows to attach a variety of elements.
To always keep the same orientation, a rotation disk counteracts the change of direction (vertical to horizontal and vice-versa)
In its heart, a motor conducts energy to several gears, allowing for movement along the rails.
An exemplary stage element mounted onto several rail wagons, allowing for individual movement on the rail system.

 

Scenarios

 

Finally, three distinct scenarios were developed to show unique configurations of tools: From a play celebrating the journey of the story itself in form of a sensible architectural sequence, -  over a performance where the sense of place and orientation almost gets lost as objects and actors are flown through the space - to finally dynamic mutation of spaces and acrobatic acts.

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Theatrical journey situates the audience in the 'formal' auditorium to move from stage to stage and follows actor like a camera.
The auditorium guides the audience through the performance and turns the play into a chronological progression of sceneries.
Loosing contact implies performances making use of the enormous vertical and horizontal space available.
Here, people stand on the informal platform, while actors and elements are moved along the grid and rarely touch the ground.
The tensile performance uses suspended textiles/nets as a stage that constantly changes dimensions, tension and orientation.
Being the most dynamic play, the tensile performance is mostly suitable for a more artistic, acrobatic performance.

Portfolio

The Royal Danish Academy supports the Sustainable Development Goals

Since 2017 the Royal Danish Academy has worked with the Sustainable Development Goals. This is reflected in our research, our teaching and in our students’ projects. This project relates to the following UN goal(-s)