Eduardo Mediero – Theatrum Orbi
Today, contexts of impermanence and crisis challenge our role as architects and
designers and question the logics of permanence in an urban environment. From this point of d
In 1619 English philosopher and cos- mologist Robert Fludd published Ars Memoriae, his treatise on mnemonics and the art of recollection. On one of its pages an engraving is shown: an empty, cubic room with three equal doors and square tiles on the floor. The title: THEATRE. Fludd had not only spatially defined the abstraction of the mind but also adopted an architectural typology that could stage our memories.
Much more than a technical mechanism, the theatre has historically been a model to both depict and construct architecture, decisively determining the relationship between building and city.
As a conceptual device, each student will individually build a teatrino, with which to propose a visual scenario that will pose a critical stand towards contemporary architecture and its relation to the city. The tentativeness of bringing objects together will give rise to the developed proposal for a theatre in the city of Ann Arbor along with orthographic drawings and a detail section model.
Laura Lisbona – “Theater as Iranian Tomb Tower”
”Theater as Iranian Tomb Tower” examines the typological extents of the theater and proposes a new space that allows for an alternative, contemporized, and dramatic experience. It is based on the idea that in order to fit into the typology, a theater can be identified as a “place to experience the extreme.” The project is a critical response to the over-stimulation of life in post-digital megacities and the need for a theater that allows for an extremely individual experience. The interior is arranged as a series of “Progressive Theaters,” a new genre in which the lines between viewer and performer become blurred. In “Theater asTomb Tower,” the occupant can decide how to experience each progressive space.
Mackenzie Anderson – “Theater as Utilitarian”
Beginning with an image by Bas Princen titled Cooling Plant, I began to analyze what Princen was trying to relay in his image. As common with Princen’s other images, he captures all-encompassing isolated structures, giving these autonomous buildings a theatrical representation of common objects. In the particular case of Cooling Plant, the massive plant is situated in the forefront of the frame with the growing city of Dubai seen in the background, hinting at a society organized on the prem- ise of functionality and efficiency.This criticizing theme lead attention to something that we previously did not notice as well as the idea of inverting the typology image of a theater.
Victor Mardikian – “Theater as City”
Reductional spaces and forms that have developed as a result of both capitalism and modernism have inevitably shaped much of the built environment we live in today. In an attempt to liberate the designer and the citizen from economic pressures and characterless forms, the project explores the potential of a collective of formally specific architectural mutations that help imagine an urban condition with new possibilities of engagement. In reconsidering known urban forms into new typological arrangements, canonical forms become abstracted, and new casted architectural creatures begin to emerge to suggest their own unique spatial and material identities as a family of characters within the play of the city.