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Hemingway, Simon Peter. "Hierophanies and heterotopias : magic, moving picture theaters and churches, 1907-1922 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008349.
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McKee, Cameron Taylor. "The Caldwell Theater Complex /." Online version of thesis, 1995. http://hdl.handle.net/1850/12251.
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Whitmire, Derrick. "Architecture as Theater; Creating a Vital Architectural Narrative." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337950009.
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Ruoff-Siler, Lees. "Pneumatic world theater." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78976.
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Xagoraris, Zafirios. "The automaton theater." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/70642.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Includes bibliographical references (leaves 45-47).
Hero of Alexandria was a Greek geometrician, engineer, and inventor who lived in Alexandria probably during the first century A.D. He wrote in Greek a number of theoretical treatises revealing a thorough knowledge of geometry, mechanics, optics, and pneumatics. Being more interested in the applications of his theoretical principles than in the principles themselves, Hero is known as the inventor of a number of ingenious devices based on principles of pneumatics, mechanics, and optics. The objective of this thesis is to evaluate Hero's work from an artistic viewpoint. To this end, it focuses on devices described in three of Hero's treatises, Pneumatica, Catoptrica, and Automatopoietica, in order to identify their artistic value and artistic novelty. Hero's influence on subsequent artistic-technical work, and in particular on the contemporary automaton theater, is also discussed. Finally, considerations are added in relation to a new project.
by Zafirios Xagoraris.
M.S.V.S.
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Ozdeniz, Cem. "Theater: Architecture of the Horizon." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23735.
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Architecture exists where the world of ideas meets the world of materials. From its general scheme all the way to the joinery of the floorboards, the proposed building should serve a guiding idea. Otherwise, architecture is not architecture but simply functional construction. Theater exists within a similar framework, whereby the actor\'s work is a mundane manifestation of the elements extracted from the world of ideas, making it the perfect conduit to examine the reconciliation of these oppositions: the mundane and the ethereal, the quotidian and the philosophical, the earth and the heavens...
By examining the dichotomous relationship between the tectonic and the stereotomic, the project proposed within these pages provides for a spatial experience that will aid its audience in shedding the entrapments of their daily lives as they proceed towards the auditorium to watch a play. As they move through the building, they will walk through six-foot thick brick walls of heavy stereotomy towards a lighter tectonic environment. As they approach the architectonic auditorium, the horizon, which they could initially only see through small openings within the massive brick walls, becomes more prominent, reminding them of the spherical nature of our world and the existence of an entire universe outside of our frame of reference - a phenomenon which is symbolic of the world of ideas that provides us with theater and architecture.
Master of Architecture
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MILLER, SCOTT N. "A Theater for Interaction." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085115966.
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Moser, Ruby Edna. "A Theater in Berlin." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/42346.
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Architecture and Man:
Berlin, with all its contradictions sets the stage for my thesis. I would like to receive you with pleasure in the reading of my drawings. To receive guests is a psychological proviso in which you invite them into the privacy of your home, a place that is not only physical, as sharing these spheres imply the cognizance of being together. The character of the host or hostess is unveiled not by way of the objects in the environment but via the representation or reflection of him or herself projected into these objects. The reception is in this way an attribute narrated by manâ s presence, emphasizing as indispensable requirement: the planning by man must include man. The planning criteria must embody architecture and man altogether, keeping in mind that neither may be limited to reducible, measurable canons and codes and notably the plan is just the initiation of a process in which the designer will be the first to leave and that will continue without their supervision or control. The reception is a classificatory division of behavior that is performed on behalf of a community where psychosocial associations generate the closeness found in the private realm. Going to the theater for example, meeting a friend for a theatrical production, and following it with drinks evoke rituals obtained from the first formed activities such as viewing a show and coming together. On behalf of the community these activities allow escapes from the everyday life of work and human relations in the form of little rites.
I would like to continue with not only manâ s presence, but manâ s presence as an active agent with our built environment. Whether we are conscious of it or not our bodies and our movements are in constant dialogue with our buildings. It is a kind of choreography, if you will. Thus, I would like to give attention to architectural space and the dancer. The dancer and the space inspire one another as partners. Dancers speak of the constant need to find oneâ s center. This is the region of the solar plexus, but the location is not as important as the fact that â centerâ , the inside, must be felt before the dancer may confidently move in space, the outside. This is related to our need to sense the security inside our dwelling place in order to act with courage in the outside community. For me Berlin is like a lost child that is wandering in a marred landscape, constantly being reminded of a tumultuous past. Berlin is lacking this pivotal point or â centerâ and ultimately is lost to this gravitational pull that our physical bodies have to contend with.
A Theater in Berlin was merely a working title for my thesis. It gave impetus to my thoughts in architecture. An architect sets the stage for the human figure. For me there is an excitement here which goes beyond technology to manâ s role as an active agent.Master of Architecture
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Chan, Ping-hung Joseph. "New Chinese opera house in Temple Street." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949421.
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Slattery, Maureen L. (Maureen Louise). "Walking in the city--an operational theater." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/70285.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references (p. 79-81).
The city is to be considered a site of power. Privileged, gendered, uneven, the city exercises authority and control over its inhabitants. What masks as public, in truth, is private. Its space and structures are fixed by its economic and political operations, impenetrable to the lived practices of its inhabitants. To transgress boundaries is to reclaim urban space for its residents. Urbanism is recast as a space of social production; the city is a contested site. The city as theatre reveals a totalizing impulse. The theatrical city suggests a scopic tendency, an image of the city grasped as a whole. Theatre itself is much more elusive; its definitions multiply. As scenography, it reasserts authority; as performance it infiltrates; as spectacle; it alienates; as drama, it contests. Theatre in the city operates at this intersection; its stage is mutable, its architecture muted. This thesis is then a strategy of inhabiting the city. Normal conceptions of the public city are set aside, the definition is appraised anew. To construct a momentary encounter that interrupts the familiar, reclaims territory. Occupying the unknown, viewing from below are tactics to remap the city. The program is a constructed theatre, sited and re-sited in New York City. To be assembled in place, the project intends to appropriate given public space and redefine it as a public space for performance. The inherent transmutive qualities of the stage and performance are appropriated for the building. The question becomes: How does a theatre operate in the city?
by Maureen L. Slattery.
M.Arch.
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Strassmann, Steven Henry. "Desktop theater : automatic generation of expressive animation." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/12871.
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Miller, Laurie Kathleen. "Theatre of perception." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/21591.
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Wong, Ching-long Jerome. "Opera centre & cultural park at Central-Wanchai waterfront." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945725.
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Braude, Talia 1973. "Computational design of a theater complex for Boston." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/64910.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 89-91).
The design of a theater complex for Boston is used as a test case for the more integrated use of computers in the design process. In architecture digital media remain mostly tools for efficiency and productivity rather than design and creativity. Simultaneously computational studies have been undertaken which produce exciting diagrams or seductive forms without necessarily leading to a built or buildable work. I believe that for the computer to become a useful partner in the design process the tools must be developed - borrowed, stolen, hacked together - in a way that takes into equal consideration design thinking and computational possibilities. This thesis proposes to pursue such a middle ground by developing a design for a theater complex using the computer as a primary design tool. The role of the theater is opened to reinterpretation in light of the continued encroachment of other forms of entertainment. The theater complex provides a place for the development of a theater culture, a space for the celebration of the attendance of any performance. Computational studies at many scales enhance the design exploration: from visualization of the urban flow to testing of acoustical and structural possibilities, from formal manipulation to analysis and conceptualization.
Talia Braude.
M.Arch.
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Schwartz, Janet Elizabeth. "The city as theater / by Janet Elizabeth Schwartz." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23441.
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Weller, Samantha Joanne. "The Lake Theatre." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53947.
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At the beginnings of this thesis, the importance was solely focused on the design of an independent multipurpose theater and the transitions between the public area and backstage. As the year and project progressed, it changed to become a realization and study of architectural experiences within a space.
After choosing a site within the Snoqualmie National Forest in Seattle overlooking Lake Serene, decisions were made to design a theater that would not hinder the natural landscape but immerse the audience in it. Years of backpacking, camping, and hiking, I have personal experiences and memories of walking through the shafts of light shining through the canopies of the trees or feeling the dampness that sticks to clothes as you roam through the fog rolling off the mountains. The orientation and exterior choices were made as to not take away from an audience member's experience of the natural surroundings of the area.
Blending the building within the mountain hides it from view as to not over take the landscape behind it, the bridge connects the two mountains to each other and the building itself creates an axis towards the lake. The movement through the lobby was designed as a natural progression towards the view as a canopy of timber surrounds the audience, mimicking the trees outside.
How we perceive architecture is how we experience it. Creating a space that would not only flow with its natural environment but also have movement inside to assist each individual, whether it is a visitor, stagehand, technician, or performer was my end goal. Focusing my efforts on the visitor, I was able to learn the importance of moments and the simplicity of details. Taking ultimately what Juahani Pallasmaa is quoted saying that "the architectural experience calls for the senses of balance, movement, orientation, continuity, time, self, and existence."Master of Architecture
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Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.
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Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
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Jakes, Dhruti Paleja. "The theater as an instrument of memory." Thesis, Georgia Institute of Technology, 1995. http://hdl.handle.net/1853/23207.
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Koss, Juliet 1968. "Empathy abstracted : George Fuchs and the Munich Artists' Theater." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/8832.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (v. 2, leaves 279-295).
Founded by the art critic Georg Fuchs and built by the architect Max Littmann in 1908, the Munich Artists' Theater is famous for its shallow "relief stage." Reworking the ideas of Friedrich Nietzsche and Richard Wagner in the service of the emerging mass audience, Fuchs advocated "the stage of the future," but created one embedded in its historical moment. Eliciting reactions from major figures in theater, architecture, and the visual arts, it provoked debate over the nature of spectatorship and crystallizes the complex relationship between empathy and abstraction, foundational concepts in modernist aesthetic discourse and artistic production. The relief stage embodied the modernist discourse of flatness; the performances it presented may be allied to the contemporaneous birth of abstraction in Munich. Evoking the newly popular film screen, it faced an amphitheatrical auditorium suitable for the emerging mass audience. The publication that year in Munich of Wilhelm Worringer's Abstraction and Empathy, which articulated the "urge to abstraction," a universal, visceral response to art, registered the spectator's changing status in aesthetic discourse. But Fuchs was inspired by the discussion of relief sculpture presented in 1893 by the sculptor and visual theorist Adolf von Hildebrand. Through Hildebrand, he absorbed the theory of empathy, developed in late nineteenth-century aesthetic philosophy, psychology, and visual theory to describe the spectator's experience as a form of active and embodied vision. Fuchs attempted both to create and serve the mass audience, but he relied on an outmoded aesthetic model while abstraction was brewing in Munich. Ignoring Worringer's displacement of theoretical allegiances from empathy to abstraction, he never linked the relief stage to the aesthetic theory being embraced by the Munich avant-garde. His political leanings were equally conservative; he valued theater's ability to mold a group of individual spectators into the unified audience that he considered necessary for the creation of a strong German state. The promotion and reception of the Artists' Theater in 1908 present a turning point between the solitary bourgeois viewer of the nineteenth century implied by empathy and the mass audience of the 1920s, often described in terms of abstraction, distraction, and estrangement.
by Juliet Koss.
Ph.D.
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Rodríguez, Ernesto F. "Theater and community : an architectural language for social integration." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/69738.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.Includes bibliographical references (leaves 57-58).
The experimentation with an alternative form of theater, which questioned the tradition dramatic heritage , emerged in Puerto Rico during the second half of the 1960's. This new form of theater, known as Experimental Theater, searched for a new aesthetic language rooted in the use of the human body as an instrument of expression. At the same time, the companies and groups - composed mostly of college students - working with this kind of theater had a well-defined social, cultural and political agenda, which was clearly reflected in the nature of their performances. The tradition of the Puerto Rican Experimental Theater has survived until today. It has experienced a change in its social and political approaches, which now are focused in the reinforcement of the Puerto Rican culture and the searching for the definition of a contemporary national identity . This idea of contemporary national identity presumes the breaking with the traditional system of dramatic representation used in the classical theater as well as in the early models of theatrical experimentation. New groups work with new codes of national representation detached from convention al cannon, creating a vibrant and contested imagery. In this line of work, the Puerto Rican group Teatreros de Cayey, directed by the theater professor Rosa Luisa Marquez and the Puerto Rican artist Antonio Martorell present a paradigm in and of themselves. Marquez and Martorell propose a work based on a theatrical dialogue between dramatic text and pictorial image. At the same time their work has focused on its interaction with low income communities as well as with school and elderly hospitals and institutions. Their work is based in the assumption that people don't have to be actors to make theater and that theater can be used as a community tool in order to produce social transformations.
by Ernesto F. Rodríguez.
M.Arch.
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Ro, Sung-Woo. "Space machine : the evolution of theater and its development." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21751.
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Yau, Man-ching Cindy. "Redevelopment of State Theatre." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948118.
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Wille, Dennis G. "A proposed architecture for theater coordination of global space capabilities." Thesis, Monterey, California. Naval Postgraduate School, 2006. http://hdl.handle.net/10945/2669.
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This thesis proposes an architecture for the coordination of global space capabilities in a joint force commanderâ s theater of operations. The current architecture for space capabilities coordination in a geographic area of operations is not standardized, and is instead left up to each theater to develop independently. As dependence on space capabilities proliferates to the lowest levels of operations, while the capabilities and products provided by space systems becomes increasingly complex, ad hoc relationships are no longer sufficient. Purely because of physics, assets on orbit are global, rather than theater, in nature, and require a global level of control. The interaction of a unified global controlling organization with disparate theater coordination constructs results in confusion, inefficiency, and potentially lost opportunities to influence or support operations. The standardization of space coordination across theaters will ensure that similarly trained and operating organizations are able to interact within their theater, across theaters, and up to the space command and control organization. This thesis proposes the establishment of a theater space coordination cell on the staff of the joint force commander in order to provide theater-wide space capabilities coordination and reach-back to U.S.-based space resources.
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Garlick, Anna Gorel Gunvor. "Neoclassicism and English theatre architecture 1775-1843." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337725.
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Jacobs, Ryan Patrick. "The Troupes of Theatre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91188.
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The art of theatre has been classified and critiqued as being a mimetic art which is different from architecture. The mimetic arts, such as the performing arts, occur in performance spaces concealed in the physical architecture of a theater building. This fixed location of the theatre has led to the elements of the theatre to be hidden and contained within the box of the architecture. These elements could be referred to as the "troupes of theatre" in the tradition of a group of thespians being considered a troupe. The performing arts have been traditionally confined as temporary entertainment whose lasting value is situated by virtue of existing only while being on stage within the building. Architecture, on the other hand, holds tectonic value by being present as a real, physical addition to the built environment and the world, yet it also performs as a mimetic art. This creates disconnect and discrimination against theatre, as a mimetic art, which is evident through the neglect and concealment of these troupes of theatre within architecture. This is present in contemporary architecture by the location of the portions of theatre's performances spaces being hidden and concealed within. There is a disconnect between the physical theater and the physical architecture of the building that houses it. The question then arises, could these parts of the theatre, the troupes of theatre, participate in the design of the whole building?
In this thesis, the troupes of theatre are celebrated and brought into the same light as the rest of the building that normally confines them to be revealed to the world. Those troupes of the theatre that typically are contained within the box of architecture, are expressed to influence the form of the building. This thesis project seeks to reveal these troupes of theatre that are typically hidden. The troupes that are usually concealed are revealed; the stage rigging, the repetition of the level changes of the seating within a proscenium theater, the curvature of the upper levels of seating, the form of the fly space for stage rigging, the form of the house of the theatre, and the support spaces necessarily for a theatre to properly operate. They become visual design features of the building, and directly influence the architecture by being incorporated into the design. Highlighting these troupes of the theatre allow them to provide didactic information to the public through the architecture. The public is allowed to experience these troupes of the theater, regardless if they are fortunate enough to see a performance or not. Typically, contemporary theatre invites the public into the theatre to have a dialogue within and on the stage of the theatre, within the architecture. But through the troupes of theatre being directly incorporated into the design of the architecture, they invite all to participate. Contemporary theatre acts a public space in its urban framework. It invites and welcomes people of all backgrounds to move throughout, congregate, and experience the troupes of theatre in the city. This theatre encourages and welcomes the public to gather and utilize a previously, uninviting and restricted site along the waterfront in Old Town Alexandria, Virginia.
This dialogue and direct connection between the theatre and architecture allows for endless variations in the design of a physical theater with interpretation left open intentionally to unrestricted creativity. Rather than, the design of a theatre as a simple, concealing container for the mimetic arts to create and display this dialogue only on the stage and behind closed walls, it is through expressing the troupes of the theater mimetically and tectonically that clearly identifies the typology of the building to the public and encourages all to be included.Master of Architecture
This thesis explores the design a proscenium style theatre with all of its necessary support spaces. The proscenium theatre requires dressing rooms, rehearsal rooms, storage, lobby, box office, event space, conference rooms, meeting rooms, a scene shop, crew rooms, offices, and many other support spaces in order for the theatre to perform properly. Typically, many of these support spaces and the actual theatre, where performances occur on stage and the audiences gathers, are hidden or concealed within the architecture of the building. The typology of the building is unknown to the public because of these support spaces are hidden in the shadows. This thesis seeks to celebrate all aspects of the theatre and have them directly influence the design of theatre building, itself. There is more of a connection between the theatre and its support spaces and the architecture of the building. The architecture takes influence from these elements of the theatre. The word “troupes” is used as a pun in reference to a group of thespians, called a troupe, to refer to the elements of the theatre that make a theatre. These troupes of theatre are clearly expressed and celebrated throughout the design of architecture for all, regardless of financial situation, to view these troupes of theatre and gain an understanding of how a theatre actually performs. The design of the physical theatre then because mimetic, imitates, learns, and celebrates, the troupes clearly and outwardly to all. This clearly identifies the typology of the building and is inclusive to all.
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Grobbelaar, Leon. "New Royal Theatre : the Marabi Theatre as locus for cultural reproduction." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29697.
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This dissertation investigates the role of architecture in the conservation of intangible heritage with specific reference to the ‘Marabi’ culture, a vibrant township culture unique to Marabastad in the North West of Pretoria which played a formative role in the development of South African popular culture from as early as the 1930’s. Due to the relocation of its citizens, the demolition of the Royal Theatre (together with the decommissioning of the Empire and Orient theatres) and the increasing effects of global cultural homogenization Marabastad has become dislocated from its cultural heritage. The principle aim of the dissertation is to re-introduce aspects of Marabastad’s cultural heritage within it’s current context. The proposal intends to revive historical cultural practices by re-establishing the physical loci that once hosted them, which in the context of Marabastad, are the The Royal, Empire and Orient theatres. The proposed intervention focuses specifically on the site of the Royal Theatre which was demolished in 1967. The project aims to (re)introduce a multi-form theatre on the site which will once again facilitate the cultural practices unique to the Marabi culture. The architectural response is informed primarily by the following: 1. The historical function of the ‘Marabi’ theatre as a multi-use, adaptable space that had to accommodate a variety of functions such as town hall, cinema, school, church hall, events venue, dancehall and theatre. 2. An analysis of the existing historical built fabric of Marabastad (which reveals a complex layering of thresholds). 3. Programmatic requirements: Multi-form theatre with shebeen, informal restaurant, recording studio and artist accommodation. 4. Amalgamation of performance space with public space within a historical meaning framework. 5. Response to contextual conditions, both current and proposed in the 2002 Aziz Tayob Meyer Pienaar Integrated Spacial Design Framework.Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted
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Parker, Alyssa Beth. "Performing in the landscape : a community theater for Marblehead, Massachusetts." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/69340.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.Includes bibliographical references (p. 101-105).
This thesis is an investigation of our perception of place and what constitutes our experience of place. It is a journey through a multitude of scales: region, site and individual. Architecture, in this sense, is the phenomonological perspective of placemaking and relationship between human and environment which is oft boundary, but many times a threshold. Stemming from a criticism of modern architecture that is placeless, this thesis is less about poor examples and more about question of process. How does one begin to understand the lands and begin to define a place within the landscape? How does the individual relate to the built environment within the natural The thesis, then, defines the individual as the source from which understanding is manifested specifically through sensory perception and place making. The project is a performance space for Marblehead, a town whose sense of place is deeply embedded within the history of New England. The project is located on the waterfront, where the natural characteristics of the tides and the seasons perform continuously, subtly altering the nature of the site. This thesis is organized in three parts. The first is a description of the region. the particular site, and the program within that site. The second is a construct of ideas which are related to experience and the forming of our understanding place. The third part is a journey through the site and project, proposing a method through which we may begin to understand the phenomonology of perception and the understanding of place through the design process.
by Alyssa Beth Parker.
M.Arch.
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Griff, Adam M. (Adam Michael) 1974. "Open space : theater and public life on the Central Artery." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29299.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (p. 89).
In the light of changes to the composition of society and the emergence of new technologies, conventional understandings of public space and inherited spatial forms no longer apply. Yet, for all the pessimism about whether these spaces will continue to exist, people still flock to places where they can be together. At the heart of this urge lies a crucial understanding of the modern city. Instead of being a closed community the modern city is cosmopolitan, a place for the gathering and living together of strangers. The city is the place where one goes to know people different from one self. Consequently, the city's reason for being is to socialize- for information, for business, for the development of the self. Like any place for socializing, it has its roots in pleasure. Located on the North End parcels of the central artery, my thesis project employs those programs that emerged right as this new understanding of the city dawned -- hotels, clubs, coffee shops, public promenades, restaurants, theaters, and pubs- to create spaces for socializing within the city. Social interaction is discursive, based on communicating, instead of being a visual relationship. The goal of the design is to create those moments where individuals can approach each other instead of being passive spectators to one another. Despite its lightheartedness, socializing and pleasure are serious because they set the terms on which different people can communicate and relate to one another, which ultimately is the basis for any democratic politics.
by Adam M. Griff.
M.Arch.
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Baker, Stephen D. (Stephen D'Aubert). "When metaphors speak : a design for a theater in Boston." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/71394.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Includes bibliographical references (p. 163-165).
This thesis pursues an examination of ideas in architecture and of ways that form may express both a conceptual metaphor for a building type and heighten the experience of that type for its participants. The vehicle for this exploration is the design of a dramatic theater in Boston. This thesis proposes as an idea for theater that the dramatic experience is simultaneously an extension of life and an idealized world. From this metaphor grow two parallel suppositions: that theater represents an image of our culture as it exists; and that it concurrently explores alternate images of culture and reality. This position suggests a model of theater as simultaneously an integral part of the city and as an isolated microcosm; these two extremes overlap and coexist in the lobby, offering a range of possible interpretations of its role. Architectural forms are sought that express this metaphorical order, with its inherent dialectic, and also respond to other orders, creating a degree of ambiguity in interpretation. From this combination of clear idea and formal ambiguity, it is postulated that a stimulating architectural environment will result.
Stephen D. Baker.
M.Arch.
30
Tsing, Jeanne C. (Jeanne Chien). "An ideal theater : the Takarazuka Revue Company in Los Angeles." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/70245.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1994.Includes bibliographical references (p. 81-82).
This thesis explores the relationship between the spectacle and the spectator. The vehicle for this investigation is a theater, in Los Angeles, for an all-women Japanese revue company. The building articulates the roles of the performers and of the audience. In addition to solving the functional program, as a social performer the theater seeks to propose new ways to activate the event of theater going. On an urban scale, the theater mediates the points of intersection between diverse communities. The theater thus becomes a gestural proscenium to the city. The spatial experience which results constitutes the making of an architectural icon.
by Jeanne C. Tsing.
M.Arch.
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Penfold, Timothy. "Storm warning: a theatre of atmospherics." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/19081.
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This document begins with a theory paper written in the first half of this year before moving on to images, charts, and graphs that have informed and inspired my project. It then offers answers to these fundamental questions relating to my chosen design project: Where? Why? What? and How? Before I move on to this, a brief description of the final design direction to locate the reader... The construction of a Theatre of Atmospherics located at the main breakwater of Cape Town harbour. This Theatre consists of four elements;, _a weather device; _a research facility for the South African National Antarctic Programme (SANAP); _a 'shifting' communal space for the research facility; and the theatre itself. The weather device is located at the end of the breakwater. It is a visual communicator that once again connects the people of Cape Town with the sea through its foreshadowing of the weather. The SANAP research facility is composed of office space, research labs, meeting spaces, conference facilities and a visitor centre and is located along , and protected by , the breakwater. The shifting communal space runs on tracks along the breakwater and is controlled by the ebb and flow of the tides. It is a resource centre for the research labs. During severe storm events it shifts to the landward end of the breakwater, closing it off to the public and activating the theatre. The above elements find a connector in the theatre. This is a space located at the entrance to the breakwater. It houses machinery (cogs, wheels, pulleys and ropes) that connect the weather device to the shifting communal space. It forms an entrance gateway to the breakwater which now becomes open to the public. The machinery forms a mechanical expression of the weather as registered by the weather device . During severe storm events the shifting communal space of the research facility gets pulled all the way to the theatre , closing the breakwater off whilst completing and activating the theatre. The theatre now becomes a stage to present all the work the SANAP researchers have been doing in Antarctica , displaying their findings to the public making them aware not only of the beauty and fragility of Antarctica , but also of its effect on the weather in Cape Town
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Torpey, Peter Alexander. "Disembodied performance : abstraction of representation in live theater." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55198.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 151-158).
Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon. This thesis presents a new approach called Disembodied Performance that adapts ideas from affective psychology, cognitive science, and the theatrical tradition to create a framework for thinking about the translation of stage presence. An implementation of a system informed by this methodology is demonstrated. In order to distill the essence of this character, we recover performance parameters in real-time from physiological sensors, voice, and vision systems. This system allows the offstage actor to express emotion and interact with others onstage. The Disembodied Performance approach takes a new direction in augmented performance by employing a nonrepresentational abstraction of a human presence that fully translates a character into an environment. The technique and theory presented also have broad-reaching applications outside of theater for personal expression, telepresence, and storytelling.
Peter Alexander Torpey.
S.M.
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Wessels, Anton. "STDC State Theatre dance centre." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10122006-121626.
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Fair, Alistair James. "British theatres, 1926-1991 : an architectural history." Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/252094.
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This dissertation explores how changing ideas of dramatic performance and of theatre’s place in society have been given built form by reference to twelve British theatres from the period 1926-1991. Hitherto, theatres have often been relegated to the margins of architectural history, but their buildings fulfil important functional and symbolic roles in responding to the complex needs, aspirations, and aesthetic ideas of their users. Chapter One discusses three inter-war theatres which were all intended to be somehow ‘modern’. It shows that this concept was interpreted in different ways by reference to the Festival Theatre, Cambridge (1926); the New Victoria, London (1930); and the Shakespeare Memorial Theatre, Stratford-upon-Avon (1932). The main part of the study is concerned with six examples of the post-war subsidised theatre boom: the Belgrade, Coventry (1958); the Nottingham Playhouse (1963); the Yvonne Arnaud, Guildford (1965); the Thorndike, Leatherhead (1969); the Crucible, Sheffield (1971); and the Barbican, London (1968-1982). Chapter Two argues that a self-consciously ‘modern’ architecture was deployed in order to express the desire for these theatres to reflect new ideas of their conception and purpose. Chapter Three examines the attempts in this period to escape the established proscenium-arch auditorium in the interests of modernity and as a way of responding to film and television. Chapter Four recognises that theatres with proscenium-arch and similar auditoria nonetheless continued to be built. It explores why this was the case. Chapter Five considers two theatres created in converted spaces: the Tricycle, Kilburn (1980) and the Almeida, Islington (1984), discussing how their architecture asserted itself to make a deliberate contribution to the theatregoing and performance experiences. In Chapter Six, the example of the Lyceum Theatre, Sheffield, (reopened in 1990) acts as a lens through which to consider the late-twentieth century trend to restore Victorian and Edwardian theatres.
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Downie, Marc (Marc Norman) 1977. "Choreographing the extended agent : performance graphics for dance theater." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33875.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (v. 2, leaves 448-458).
The marriage of dance and interactive image has been a persistent dream over the past decades, but reality has fallen far short of potential for both technical and conceptual reasons. This thesis proposes a new approach to the problem and lays out the theoretical, technical and aesthetic framework for the innovative art form of digitally augmented human movement. I will use as example works a series of installations, digital projections and compositions each of which contains a choreographic component - either through collaboration with a choreographer directly or by the creation of artworks that automatically organize and understand purely virtual movement. These works lead up to two unprecedented collaborations with two of the greatest choreographers working today; new pieces that combine dance and interactive projected light using real-time motion capture live on stage. The existing field of"dance technology" is one with many problems. This is a domain with many practitioners, few techniques and almost no theory; a field that is generating "experimental" productions with every passing week, has literally hundreds of citable pieces and no canonical works; a field that is oddly disconnected from modern dance's history, pulled between the practical realities of the body and those of computer art, and has no influence on the prevailing digital art paradigms that it consumes.
(cont.) This thesis will seek to address each of these problems: by providing techniques and a basis for "practical theory"; by building artworks with resources and people that have never previously been brought together, in theaters and in front of audiences previously inaccessible to the field; and by proving through demonstration that a profitable and important dialogue between digital art and the pioneers of modern dance can in fact occur. The methodological perspective of this thesis is that of biologically inspired, agent-based artificial intelligence, taken to a high degree of technical depth. The representations, algorithms and techniques behind such agent architectures are extended and pushed into new territory for both interactive art and artificial intelligence. In particular, this thesis ill focus on the control structures and the rendering of the extended agents' bodies, the tools for creating complex agent-based artworks in intense collaborative situations, and the creation of agent structures that can span live image and interactive sound production. Each of these parts becomes an element of what it means to "choreograph" an extended agent for live performance.
Marc Downie.
Ph.D.
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Hsu, Buo-yuan. "Urban square as theater : issues of continuity and discontinuity in urban design." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/67417.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.Includes bibliographical references (p. 77-78).
This thesis tries to establish some criteria for designing a good urban square, with concern for the static and dynamic approaches. The former refers to aesthetic issues, and the latter refers to social and contextual ones. I start by examining the phenomena of modernity from two aspect: the impact that modernity has on contemporary cities, and its influence on today's' people. Basically, it has made today's urban spaces inhuman, and made people lose their senses of self, the most basic and instinct concept linking body and environment. The issues discussed here are the time-space notion, self-identity, 20th century urban utopias, and the public-private relationship. Then the discussion goes to the dialect between" continuity" and" discontinuity." The argument is that discontinuity is necessary for creating abundant images of a city. It links all the elements on the urban level, and interestingly makes the whole urban environment continuous. The concept of "theater" is employed as a tentative framework to connect the theory and the practice parts, namely the criteria development. An analog based on some features shared by the urban square and the theater is taken to specify the characteristics of the urban square. Finally, three criteria for designing the urban square, boundary, theme, and collective activities are developed through studying some cases.
by Buo-yuan Hsu.
M.S.
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Söderin, Gudmar. "Dialogue Theatre : Encounter Two Sides of Society." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135512.
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Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.
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Bauer-Hsieh, Li-yun. "Das Theater auf dem Dach : figuraler Dachschmuck in der südchinesischen Tempelbaukunst /." Köln : [s.n.], 2003. http://catalogue.bnf.fr/ark:/12148/cb39911916g.
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Ramirez, Jasso Diana 1973. "The aesthetics of concealment : Weegee in the movie theater (1943-1950)." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/69444.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002."September 2002.
Includes bibliographical references (p. 175-189).
Between 1941 and 1945, movie theaters in the United States enjoyed a period of intense activity marked by record levels of attendance. Film scholars have explained this phenomenon by referring to the fascination exerted by "escapist" Hollywood films, which either idealized or completely negated the harsh economic and social conditions brought about by the outbreak of World War II. However, American photographer Arthur Fellig "Weegee" produced between 1943 and 1950 a series of photographs that reveal a more complex reality of movie going. Using infrared film and an invisible flash to cut through the almost complete darkness of the theater, his pictures reveal a peculiar function of the movie house at a specific moment in the history of the United States. By analyzing these photographs in the context of other sources of information such as posters, newspapers and magazine articles of the time, the dark and permissive interior of the movie theater emerges as an effective refuge from the violent forms of visual interaction that were established in public space as a consequence of wartime threats over American territory. Thus, at the time they serve as a starting point to recover a forgotten moment in the urban history of the United States, the images prompt a reevaluation of the spatial conditions of the movie theater itself-a site for public interaction that, interestingly, fosters unique forms of privacy and intimate exchange.
by Diana Ramirez Jasso.
S.M.
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Keeling, Tom. "Architecture and Human Event: a Theatre for the Consortium." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/45206.
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Architecture is an interaction, a marriage between human event, human need, human spirit and built form. Architects range along the line of this interaction from those that embrace the complexity of humanity and struggle with form to those that embrace only form and cause humanity to struggle with the results.
Is it possible to stand in the center of the creative tension of this struggle, embracing and recognizing the power of built form to support, shelter, enliven, confront, uplift and even bring transformation, healing and poetic transcendence to the human event and therefore to life while simultaneously embracing the rich complexity, contradiction and paradox of human event which informs and interacts with the place of happening; to recognize and wed the power of both.
This thesis is an exploration which questions the relationship of human event and the architectural response to that event. Perhaps it may serve to stimulate discussion of the vital bond between human beings and the places they design for themselves to inhabit.Master of Architecture
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Tamari, Mona V. (Mona Veronica) 1975. "A mobile theatre for Debussy's Pelléas et Mélisande." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/70349.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.Includes bibliographical references (p. 98-99).
This thesis shows the possibilities of staging operas in unexpected yet accessible places. The location, no longer neutral, as most theaters try to be, becomes an important factor in each performance. It affects the development of the narrative, the relationship of the audience to the performance, and the technical requirements of the stage. Like the stage sets, musicians, and costumes that are renewed seasonally for the staging or an opera, the site and architecture constitute another, dynamic component in the creative process, while giving a new form and meaning to a familiar site. Three places in Tokyo are the site of the project: 1. an urban lot (Shibuya Ward, commercial and residential neighborhood) 2. an open riverbank (Tama River, Western Tokyo) and 3. an interior space (the glass hall lobby, Tokyo International Forum). The staging of one opera, Debussy's Pelléas et Melisande, provides the project's program.
Mona V. Tamari.
M.Arch.
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Arthur, Daniel P. "A proposed architecture for theather coordination of global space capabilities." Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2006. http://library.nps.navy.mil/uhtbin/hyperion/06Sep%5FArthur_Wille.pdf.
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Thesis (M.S. in Space Systems Operations)--Naval Postgraduate School, September 2006.Thesis Advisor(s): Charles Racoosin. "September 2006." Includes bibliographical references (p. 77-79). Also available in print.
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Dayer, Carolina. "EROS: Desire in Architecture." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/30890.
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Dear All,
Eros moves.
In January of 2007 I decided to do research about Eros and his presence in architecture. I decided to do a thesis about LOVE. This thesis it is a story about me, since when you love architecture you give yourself completely to it. What you see in these pages, it's me: my life, my desires, my passion for architecture, my fears, my bad moments, my good moments, my joy--all of me.
Desire in architecture seemed to me at that moment something with which I didn’t know how to start working. It was so abstract that, when considered, almost anything can be a desire, and maybe it is. But this thesis is a story of how desire opened for me an infinite world of imagination and wonder--how Eros made me love the drawing, the line, the color, the wall, the shadow, the material....the architecture.
I have chosen to explore desire through the designing of a post office, theatre school, and retail shops. The site is in Washington DC, in between 7th and 8th streets SE, adjacent to Eastern Market.Master of Architecture
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Yau, Man-ching Cindy, and 游曼淸. "Redevelopment of State Theatre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B3198311X.
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Bowler, Lisa Marie [Verfasser], and Christopher [Akademischer Betreuer] Balme. "Theatre architecture as embodied space : A phenomenology of theatre buildings in performance / Lisa Marie Bowler ; Betreuer: Christopher Balme." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1124395792/34.
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Wiegand, Armin. "Das Theater von Solunt : ein besonderer Skenentyp des Späthellenismus auf Sizilien /." Mainz am Rhein : P. von Zabern, 1997. http://catalogue.bnf.fr/ark:/12148/cb37685648w.
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Turcza, Brian J. "Reinforcing the Social Spectrum Through Architecture." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337101107.
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Chan, Ping-hung Joseph, and 陳炳雄. "New Chinese opera house in Temple Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31985063.
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Doyle, Ryan P. "Framing history through cinematic storytelling." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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