Yumeng Zhang
this design approach mainly focus on the architectural openings in which the the typology of openings can generate rich spatial qualities. Start at Utzon Study, the solid and void pattern indicate a potential of connecting interior void and exterior void, which then form openings. Thus the different openings can be generated, which is, threshold and light well, one for light come in and other one for people walk through. investigating from site, the gap and pod pattern can be use for facade opening design. Furthermore, the architectural element, the ceiling and column can generate different openings. When intersecting ceiling and column, a systemic language of mixed opening can be generated, which is the basic strategies for this design.
Chloe Henry-Jones
Utzon’s Elineberg Housing and Gofers’ Sirius both use a structural schema of blades and subtle level shifts to enhance privacy in a domestic setting. Transferred to the public domain, these core architectural elements have been repurposed to collapse privacy and create a more diverse dialogue between adjacent spaces. The spacing of the blades pays homage to the interior walls of the Mint and Parliament to form new spaces that have a quiet continuity with precinct architecture. In combination with carefully controlled apertures focused on the ever-visible stage, the unique stepping and ramping between blades aim to create a subtly textured and intuitively legible experience for people traversing the building.
Xin Du
Social Theatre, a branch of the new theatre movement of the 1960s that aimed to heighten audience awareness of theatre by elimination the distinction between the audience’s and the actors’ space. Situated at the threshold between Domain and Sydney’s CBD, the high density of population and complicated social background of the site provide sufficient conditions for the creation of social theatre. To attract audience to the site, the proposal provides a high performance venue and relative facilities that allowed public to create new functions for the building according to their own ideas, such as, a gym, a playground or a market. The social theatre also provides theatre production workshops that allow public to create their own narrative for their own drama. People can participate in the performance of the drama with the help of staffs and reveal themselves to the pubilc on the outdoor stage.
Jacqui Singer
The strand of colonial buildings behind Macquarie Street acts as the architectonic threshold between two worlds; the garden city notion of the Domain and the densely packed machine of the city. In studying the meter of Homer’s Iliad, written in dactylic hexameter, spatial solutions began to take shape according to a series of rhythmic parameters that shape the elements of this design. The solid, sunken earth of the theatre speaks to the principle of cavernous void; the ethereal steel collonade invokes the opposite, a hollow solid. In intertwining these two, notions of threshold and rhythmic promenade are reimagined in an open-air theatre of antiquity with a public membrane of programmatic function. From the Iliad comes the story of Mnemosyne, the Titaness of Memory. Her nine offspring otherwise known as The Muses were responsible for the practice of the performative arts. Poetic meter is a mnemonic device to allow for the passing down of stories through lineage. The Promnemo Theatre puts form to the intrinsic twines of memory, promenade, rhythm and spatial experience to create a divine architecture on corporeal ground.
Ethnie Yixin Xu
The project is derived from analysing the essential quality of a theatre and its effect on the audience. The traditional Greek definition of a theatre is an act which results in an emotional atmosphere. Through analysing the existing actions and atmospheres around the site, it is evident that the site is surrounded by a diverse range of functions and will, therefore, attract a diverse range of audiences from different backgrounds with primarily different expectations of a theatre performance. In order to embrace this diversity while harmoniously merging the audiences into one play, the theatre design is an open outdoor space surrounded by community functions where different people can be engaged in many different activities while at the same time still have the optional visual engagement to a public theatre, where their vision can penetrate through the glass and be constantly reminded of the fact that is it okay to step out of your current situation and allow the show to bring you to somewhere else.
Sophia Tsang
This project explores the relationship between architecture, theatre and occupant through different thresholds. With the investigation of Utzon’s operation of direction in creating the transition and motion between spaces, this design establishes a sequence of typologies that enhance the experience with audience,performer and art. With the focus on how body moves through and link with the space. This journey encourage users to discover different platforms and forums as our senses are waken first by sound then vision. With spaces that allow us to digest new ideas, these interactive,dynamic and intriguing moments are seized with free speech and expression. The sequence of geometries aim to be a part of performance and strengthen the characteristic of different expressions.Utilizing timber, glass and limestone, this new hub has a direct and intimate response to the landscape and existing urban complex. The subtle ground plane as an awareness of topography when users approach to the domain.This gestures create an unwind public space that escpae from the stiffness of the city. A new heartbeat to be perceived.
Martin Gao
Fractal is a collection of buildings that act as a transitional threshold from the barricade of heritage buildings to The Domain parklands. Each building accommodates their own functions, as well as platforms that connect them to external circulation pathways. These pathways divide each building, but also string together a series of courtyards. Based on the premise of fracturing a space and then piecing the spaces back together, this proposal explores how the relationship between exterior and interior boundaries can be manipulated to provide either a sense of freedom and disconnection or immersion and connection from internal to external spaces.
Tahnia Allauddin
The roots of performance manifest democratic ideas. The Theatre of Dionysos in Ancient Greece embodied a ritualistic notion of viewing performance. People from different tribes across Athens would gather in one space where all were able to view the performer, and one another’s reactions to the performances. They engaged with the performer and one another, voicing their opinions, agreeing, disagreeing. Exposed to and revealed by the sun, they sat there from dawn to dusk, alternating between plays of the comedy and tragedy narrative types to gain a holistic breadth of knowledge and be exposed to a multitude of ideas. – Richard Sennett, 1998 Raoul Wallenberg Lecture
Alice Jiayue Zhang
It is a place that all about the view. The architecture should be in touch with its surroundings, which in this site, is the diversity city’s scene around. The appearance of the city is various, views change when the position change. At different levels, with different orientations, one can observe the various appearance of the city surrounding the building. I see the architecture as an exhibition venue where the visual experience of the visitors are optimized. By framing the scene around, the architecture has a connection with its surrounding. It is not be just an exhibition hall but rather a city’s gallery that framing the diversity of the perspective of the city.
Freeman Fung
Pastiche is a structure birthed from Utzon’s ideals and his use of additive architecture. Utzon believes that architecture is a revelation of its surrounding culture, as supported through his representation of the shells and sea in the Opera House. Additive architecture was implemented via the addition of spatial qualities from surrounding key structures. As the site is at a nexus of many differing urban conditions, each with varying degrees of flexibility, the program then responds to these specific spatial and material nuances, and gently distorts it to the site context. The flexibility of materials in the surrounding urban conditions are expressed as a dynamic gradient. Through the gentle bend of the grid, and the insertion of random columns, the rigidity of the modular system is challenged.
Elizabeth Cox
Constructed Topography is inspired by Jorn Utzon’s unbuilt design for Hammershus Museum and Visitors’ Centre in Bornholm. Through drawing and studying sections of the Domain’s existing buildings in its two main axes, major datums were mapped and analysed to understand the constructed topography. The strategic conceptual design approach aims to: 1. emphasise these datum lines in order to measure; 2. a topography of steps and platforms beneath hosting art and performance. Horizontality is emphasised by pulling out thick concrete slabs and pushing away the glass and concrete walls to restrain its vertical rhythms.
Harry Lam
In response to the city mappings of the many layers, thresholds and edges that make up ones journey from city to the domain, the site was missing a proper transition through such spaces. The existing boundaries consisting of footpaths, road verge, roads, edges etc, defined what belonged to the city and what to the park. As a result, lacking a proper welcoming and preparation between two juxtaposing enviroments. My design aims to blur these boundaries of space that form such a separation between the two environments, in hopes to aid this transition. By building off these boundaries and reusing existing footpaths within the internal circulation of the building does it hope to diminish the value of the boundaries to provide a more comfortable transition as one moves through these layers and thresholds.
Ka Hui Lim
The act of seeing a theatre show holds the connotation of being an activity belonging to a higher social class. However, the role of theatre is important as a tool of communication. Hence my design aims to encapsulate this potential and promote a theatre that encompasses all social classes. On Nov 9, 1960, Paul Roberson performed freely for the workers at the construction site of Sydney Opera House. The scaffold, which symbolizing the working class, became the location for the theatre. Being a public building, my scheme exploits the characteristics of the scaffold to not only shape the theatre but shaping and defining the spaces as a whole.
Shiyan Huang
The project site has that distinct difference between two spaces. Therefore, I want to have a building that could demonstrate that transition from one space to another, having an opportunity to connect these two kinds of spaces. In order to show that transition, I use three kinds of architectural language, topography, column and wall. Column will create open and semi-open spaces, which have more connection to the Domain. Column is also given different usages, such as, “accompany”, “structure” and “furniture”. Topography will use level changes to gently divide two spaces without losing them integrating as a whole. Wall is to create private and closed performance space.
Evonna Dai
The Viewer and Performer animate the set. The contemporary notion of performance imbues these char-acters with inherent ambiguities. It renders their existence in an ever-fluctuating field, where the performer and the audience are opposing charges. In the moment of attraction, the field experiences a pause. And there exists space for the roles to interact. This project explores this ambiguous pause through the notion of transparency. Situated between two distinct urban zones of the Sydney CBD and the Domain, the site itself is an intersec-tion that embodies movement. Static is charged by the inter-section of overlapping of spaces and paths.
Jake Zekun Qin
Architecture is sensed. Instead of the looking at architecture in its conceptual and intellectual manoeuvres, the proposal manifests the belief in architecture as physical existence with embodied mystery, an object that triggers sensory temptation and promises robust experiences to its users, an intentional construction that is read by the human body. Informed by Jorn Utzon’s principles of the part and whole relationship, a formal schema delivers multiple architectural experiences with variations of a singular geometry, the truncated cone. Fifteen concrete volumes hosting large and small programs are placed into the ground, forming an cavelike journey of the underground. The ground surface is composed of undulating landscape clad with terracotta tiles which construct a haptic memory of the feet; high up in the sky is the suspended light weight structure made with white nylon fabric and steel trusses, working with the heavy concrete geometry but in a totally opposite material language. The eye reads the tallness and softness of the tension nylon structures rising up high above the context. The skin feels the change of texture and slope as one steps into the landscape. The ear confirms the veracity of spatial volumes through the echoing sound in rooms at different scales…
Grace Lee
BYO is the collection point for all incidental identities – public life, busker, artist, and speaker. Its design is a jovial revolt to the city of Sydney’s developing and commercially driven urban fabric and decline of public spaces that are charged by diverse, rich and artistic values. It is an exercise in architecture for a freely expressive public space that contributes to the culturally charged identity of our city and harbour. Its energy is dynamic and celebrates the coming together of a generous community through the engagement of public life with art. BYO creates a dependent relationship between architecture and audience. The space is continuously reinvented by the performances and interactions of the people who inhabit it. The name BYO Box/Step Ladder/Milk Crate plays with the tradition of creating your own stage at the speaker’s box. It becomes a democratic public stage for performers, artists and speakers to be heard.
Mia Evans-Liauw
Burrow & Soar is an outdoor theatre and gallery in the heart of Sydney’s CBD. The theatre is sunken into the landscape and encompassed by the prevailing gallery overhead. The theatre is functional as both a public and ticketed theatre and acts as an open public forum between performances. Beneath the surface is an underground bar and facilities for a permanent theatre company. The gallery sweeps around the perimeter of the site, giving curated glimpses to the historic buildings which surround and leading to an outlook towards the Domain. The structure is draped in a veil of copper tubes fitted with down lights which illuminate the edge of the building at night, beckoning to those passing by. The copper reflects the earthy tones of the surrounding buildings and with time the green patina that will form will create a seamless transition from cityscape to the natural parkland. The entire roof is trafficable, becoming a hub for social meetings and a haven to escape the busting streets of the city. The roof is an ascent to a peak which looks towards and celebrates Utzon’s Opera House.
Utari Tio
The Nutshell is an architectural landscape that aspires to blur the boundary between the city and the park by introducing the tranquillity of nature through elaborately designed buildings and connecting routes. The feeling of this transition provokes a sense of non-registration and non-identity. Another advantage to this approach is the potential to “erase” its immediate context as –temporarily muting the context of its multiple “identities.” The idea of this project comes from Jorn Utzon’s method of creating fragments. The ‘movement’ of fragments was created through different masses picking up the three principal axes within site, where it suggests a strong connection towards the Domain in order to activate the site as a new path connecting the hospital road and Macquarie street. Programs are placed within the fragments in a way that they split circulations of peoples within the landscape in a more casual setting and at the same time provides a centre core for the building. Masses are tilted in order to achieve a relationship within the ground, revealing what is underground and an extension of ground through levelling. The building is a landscape that operates as an architecture to blur the Boundary between the city and the park where its treated very casually in order to draw people to circulate around the building more as a connecting path, introducing the tranquillity of nature from the park into the city by giving the site back to itself disguised as architecture.
Nikita Chaudhary
Urban Symphony is an exploration of the parallels between the conception of architecture and the composition of music. Envisioning The Domain as a musical performance, space is perceived through the lens of different rhythms, repetitions, patterns, textures, syncopations, fragments and constants. Architecture – its nuances, typologies, materials and forms – is perceived as musical notation, amalgamated to form an urban symphony. The architecture which surrounds us becomes an unassuming yet omnipresent performance, expressing itself in all that we encounter.
Sophie Hutchinson
Ludic Dance is a celebration of the in-between realm; where formal aspects are no more important than the space between. The coherence of this architectural intervention lies in non-hierarchical reciprocal relations, manifesting as a polycentric network of spaces relating to one another on the basis of equality. The shape of relativity between one object and another is challenged upon the introduction of the body; exploring an interplay between the muted performance of architecture and the dynamism of dance. Formal language is sampled from existing architectural fragments that privilege the interstitial, generating a site specific pastiche where rudimentary forms subordinate embellishment. Polyvalent performance spaces lie in-between programmed rooms, ready for ludic choreographic interpretation.
Yuchen Wu
The design concept was derived from Utzon’s Can Lis house, particularly by looking at the constantly but subtly changing light and shadow are projected on the textured sandstone wall in the living room, from where you can look at the constantly but subtly changing nature and cosmos. Due to the site’s limited sunlight access, my architecture is then engaging the surrounding sandstone buildings to showcase the passage of time, in other words, making these buildings do the same thing as what Can Lis wall was doing. Additionally, my architecture is also creating some more intimate time-elapsing moments within the building
Sophie Peterson
Flux is a cathartic epicentre which emphasises and prolongs tensity to maximise the experience of the performance space hiding beneath the triple height centre chasm. Void and space are questioned through a cross examination of the tension-release equilibrium which shifts scales as a reflection of the architectural dynamic one is surrounded by. Through a mathematical analysis of rhythmic qualities in Jørn Utzon’s Bagsvaerd Church curved roof structure, a language to describe the tension-release equilibrium became the basis for Flux. Using this language, fields of high & low kinetic energy were thus extracted from Sydney’s CBD and cross analysed with an inquiry into anti-axiality on site in order to emphasise the anticipation of the building. These multifaceted rhythms are realised through the programmatic and formal approach to the performing arts centre, whereby the melodic curves are arranged within the stark orthogonal walls in such a way as to internalise this moment of release or catharsis. This idea of needing to know and experience what is within guides the experience of Flux.
Connor Tan
In this project, the orientation of both indoor and outdoor theatre spaces generates a geometric dialogue with the Art Gallery of NSW, Museum of Contemporary Art, and other cultural nodes within Sydney. This rotated orthogonal geometry creates an intriguingly compatible disparity between the existing urban axis and the new culturally inspired orientations. Deep, yet slender blade walls frame specific unidirectional views, making Oriēns an architecture that subtly amplifies an inherently earthly worship of the East. The design is also an expression of a volumetric language of dramatic counterpoint between solid and void, which simultaneously preserves access to the Sydney Mint and amplifies the beauty of its historic sandstone structures. The theatre reads as an impossibly heavy rammed earth cantilever perched on a comparatively humble concrete plinth. Cohesive in their massive qualities, the two volumes also starkly contrast in colour, tones, textures, and their differences in strata / relief patterns. Sheltered by the theatre above, the external exhibition space presents the Domain and exterior theatre as backdrops to its displays. In this way, Oriēns is a proposal that draws its theatrical poise from its context on both local and city-wide scales.
Calioppe Demitra Kefalas
The aim of this Cultural Centre is to bring together communities, urban and natural environments, routine and meander circulation, macro and micro scales and linear and fluid geometries. The architecture (macro scale) transitions between the shifting urban edge of the city and Mint (grid-like and linear), and the shifting natural edge of Sydney Harbour and Domain parkland (fluid and open). Edges converge in the centre, creating hybrid in-between spaces. The column system (micro scale) expresses the convergence of nature’s fluidity captured within the static built environment. These principles were extracted from Utzon Studies (of Bagsvaerd Church and Sydney Opera House).
Annalise Blatchford
Close analysis of ‘The Utzon Center’ in Denmark, uncovered a series of design principles; the platform archetype, lowered circulation corridors, and distinct material junctions. Collectively, these are each defined by datum lines, an idea which formed the conceptual basis of the project. Iterations of these were conducted to inform the design of the theatre, which features a playful arrangement of the ground plane, entrance datum and roof datum across a series of pavilions. Interplay between thresholds, materials and height, work to create a project where human spatial experience is valued, and creativity and innovation can be expressed freely through theatre, music, art and architecture.
Anastasia Pitt
This project is first and foremost about desire. The innate dichotomy between craving control and passivity simultaneously. The Domain’s Chthonic Playhouse proposes a space for free, interactive theatre and dance and attempts to dissolve the relationship between performer and spectator. Similar to improvisational theatre, this building attempts to engage the body and mind in a dialogic architecture that acts as an unravelling narrative through constructed space. From the outset, the body is engaged as participant and is wholly contained by the architecture. Upon coming across the building, one may steal glimpses of the internal workings of the sculpture garden through deep revels set into the thick wall bordering the site. They may not, however, enter without first undertaking a ritualistic walk from the park, through subterranean tunnels and deep courtyards open to the sky. This entrance sequence attempts to destabilise pre-existing notions of ‘theatre’ and as one is borne deeper below topsoil and encourages identity disengagement in the face of the unknown.
William Xu
An application of Utzon’s methodology utilising modulation, dualism and perspectival space, as expressed in the Kingo Houses, is realised through the articulation of Aperture Theatre. Aperture Theatre envisages a dynamic inhabitable labyrinth in the Domain, with a series of openings in the walls that frames seemingly serendipitous moments wherein the occupants unknowingly become performers for an unseen passing audience. Aperture Theatre empowers a passive audience to become active performers, or ‘spectactors’, as described in Augusto Boal’s ‘Theatre of the Oppressed’. Further foray into different theatre typologies and Boal’s ‘Theatre of the Oppressed’ yielded a hierarchy of theatre spaces with each echelon increasing the audience’s agency to influence the performance. Aperture Theatre erodes the conventional understanding of theatre spaces and spectatorship, as inhabitants now become the performers, with the architecture acting as the theatre stage where their lived experiences become performative and the framed incidental views each offer a different ‘act’ of the play.
Tingyu Zhang
The project started from a precedent study of Fredensborg Housing Community designed by John Utzon. The project is located on a boundary between city area and landscape. The intricate arrangement of walls forms different courtyards in this housing community. This idea corresponds to my own understanding of architecture. I think architecture should be an integrated appropriate object which can bring context, aesthetic, materiality, human and structure together. It should function as a tool or insertion which can adjust and arrange the relationship between the context and the people using the building. The site of the Domain Concert Hall is on the interface between the domain and the city — a context with rich elements that can be responded. Two kinds of mapping are generated here: vertical height change topography and horizontal orientation and sight lines. The mappings are based on the main view attractors and main orientations on the site. The sculptural shape of the concert hall is formed by the different orientations and sight lines on the site both horizontally and vertically. By having this form, it can adjust and enhance the existing relationship between people and the context. Landscape with brick paving is designed around the site, which is responding to the shape of the concert hall and the height change of the roof. The materiality is corresponding to the historical buildings around the site. Structural thinking in this design is not only for practical purpose but also based on the big architectural idea of how the building sits in the context and how people will approach and circulate around the concert hall.
Gabriella Boyd
Arboreal is a performance space located on the edge of the Domain and marks the transition between the city and the park. Heavily planted, the building appears to emerge from the park, or the park may seem to emerge from the building. The undulating form of the performance space is raised high above the concrete building and its oxidised copper surface is visible above the tree canopies. On the ground floor a series of planted spaces and concrete platforms lead up towards the building and a strong diagonal path links the city and the park. The upper levels of the building are all accessible via the circulation tower with open walkways linking to each level. The building culminates with the performance space, in which a performance may travel up multiple levels and around the canopy of the tree within.
Catherine Bauer
The Domain is an invaluable open parkland that connects the dense city with the harbour. Our site sits on the threshold between the open park land and the dense Sydney CBD. Historical landmarks such as the Mint, Parliament, St Mary’s Cathedral and the art gallery of New South Wales surround the sight. These buildings preserve significant elements of Sydney’s history and facilitate the display and education of a rich and growing culture. Just as a glass cabinet encases an invaluable artefact in a museum, the recent developments in the area sensitively wrap around and frame the historical sand stone buildings, in order to ensure their enduring relevance and appreciation. These new additions are true to their modern context- mostly built from glass and steel. This project aims to continue this legacy by framing the existing historical elements on the site; most directly the Mint and the art gallery of New South Wales. In addition, the art work displayed in the new gallery and the performances to take place in the new theatre, will too, leave their mark on Sydney’s history. The glass geometrical forms that sit above the ground surface act as frames for the site and the program. They also signal the form of the building below ground, as an entrance to descend. In this design we see once again, the steel and glass materiality encasing and displaying the history taking place below.
Josephine Nicholas
The nature of the spectator and spectacle are affected by the interplay of levels and heights. The authority in this relationship can be reversed, augmented or confused by architecture. The archetypal settings for performance are explored underground as functional program, then paralleled in the undulating ground plane. Subtle imprints and swellings of the ground create impromptu opportunities for performances where control is permitted or seized between observer and the observed, putting forth an interplay of positive and negative space. An awareness of topography is created as users experience the variations and degrees of the ground moving away or towards them.
Danielle Abigail Arana
An anthology of traditional spaces and classical performances meet in a form that is all at once familiar and new, yet can be utilised by all. The performative culture of the city has been celebrated through an organised assemblage, regulated by a taxonomy of steps and platforms that highlight a gradient and diversity of performance spaces at the heart of Sydney. Nestled heavily in a significant threshold site, it is simultaneously enhanced by the intricacy of brass and water ponds imbued throughout the building, drawing visitors in and influencing an orientating rhythm within a space that is constantly active and moving. The architecture is hence a multitude of stepped compositions capturing the delicate mix of performances in an urban threshold context, where wanderers can lose themselves in a series of evolving spaces. From a vast underground performance chamber that leads to a sunlit exhibition hall, one can journey through an organised chaos of a symphony to find themselves suddenly surrounded by the tranquility of a blooming courtyard, overlooking another intimate ballet recital below.
Yuewei Zhang
The history of theatre is about the relationship of spectacle and spectators. Since the ancient time, people start to gather around the fire to dancing to the cinemas nowadays. It is all about the story of performers, performances and viewers. This theatre complex is designed to create unexpected interesting architectural spaces for people to gather around. You will always see something in the places that you can linger around or stop, while you are also being watched by others in the building at the same time. People become the unconscious performers in the space.
Natalia Harasymiuk
The inspiration for this theatre began with an exploration of Sydney’s laneways. An extensive study of the streets of Sydney revealed that amongst the banks and government buildings was a hidden network of interconnected laneways that ran independently to the city grid. This project takes the organization of the laneways and internalizes them within the theatre. A primary corridor bisects the building and forges a connection between Macquarie Street and The Domain. Off this primary corridor radiate a series of laneways. Theatre patrons and the public can use the primary corridor to travel between Macquarie Street and The Domain. However, to experience the culture, the excitement and spectacle of the theatre one must enter the laneways.
Andy Huang
From initial mappings of walking experiences towards the site from the domain, it was concluded that the experiences were different depending on which route one takes to get to the site. It is the surrounding environment that draws peoples attention towards a certain direction when wandering around without any purpose. This is known as pscyhogeography. Inspired by situationist thinking, Constant Nieuwenhuys New Babylon model came into light, where the idea of a dynamic labyrinth became central to the idea of a performance space. The programs are fragmented into small modules based on a 3x3m grid. One module can be come the smallest exhibition, but by connecting the modules together and the aggregation of experience of the user when walking through the programs, it becomes the biggest exhibition The design challenges the idea of scale and how people perceive space. The labyrinthine circulation encourages playfulness, where visitors are encouraged to ‘drift’ and explore the fragmented programs. As one walks through the passages of space, the person accumulates different memories and experiences from different programs. The intimate passages encourages social interaction between the visitors. There is no one route to the theatre, yet every route is possible to access from all directions. As one reaches the theatre, the performance of ‘drifting’ have given them a unique experience and memory. The movement of people is the performance, and the theatre is a destination for recalling that experience.
Daiming Damian Zhu
The performances we champion must be those which are staged on performative platforms and are accessible to all. Conceived as an open-air timber scaffold inserted lightly into a materially and temporally heavy site, this temporary structure facilitates spontaneous spectatorship and ritualises everyday performances. Platforms at varying heights offer opportunities to perform, sit, and spectate – this fluidity of the ‘stage’ dissolves the formality between spectator and spectacle and encourages people to find individual vantage points. The structure’s openness ensures each performative encounter is driven by the site’s specificity, and proclaims the structure’s open invitation to participate in this impermanent architectural performance.
