Abstract:
Architecture and theatre are often understood as completely different fields; architecture is understood as a spatial form that one experiences over a period of time, whilst theatre a transient act experienced in space. For many architecture is viewed as a science discipline, whereas theatre has continually remained art for most. Architecture is very much genuine in existence, while theatre and illusion are inseparable. Co-operation and team improvisation are crucial components of curating a theatrical piece, and in contrast many architectural firms still identify with a practice structure, that is quite traditional with a ‘master designer’ who adamantly retains sole control. Architecture is characterised as enduring and having confining limitations, theatre is an inherently fleeting art form. This thesis however, challenges these common assumptions and considers these disciplines are not completely at odds. Instead this thesis focuses on the relationship between the two to speak and gain from one another. This project proceeds primarily through drawing as a mode of performance in an effort to develop the act of creating the design of a theatre for Auckland, drawing this space into being, to read as a performance itself. By means of the project vehicle of a performance space for experimental theatre, this thesis investigates spatial conditions to present insight to how the archetypal structure of theatre architecture should be reconsidered. By questioning its desire to remain concealed and monumental to an inherently transient art form, this thesis argues for a different design approach, to align theatre architecture to the energetic flux of performance.