Computation for the Performance Space

Following are pieces of work, carried out as a team of 6 graduate students, as part of MBL 514E - Digital Architectural Design Studio. A whole term's assignment was based on the conduction of a play by Samuel Beckett's Endgame by a team of 20 undergrad students in their first year of study. Our goal was to leverage them through the design process with computational methods, without directly governing design decisions.

Preliminary design work presented above was carried out by the undergraduate students, prior to our involvement in the project.

System solutions, created by teams of graduate students. Works selected from the whole studio are presented above.

stage8inverse.mov
hingesT.mov
stage3front.mov
stage3side.mov
stage3Persp.mov
fold2.mov
fold3.mov
fold3physical.MOV
fold3physical1.MOV

Studies for auxetic surfaces, utilized as the theater curtain, based on the theme of the play

fold6stagePersp1.mov
fold6stageFront.mov
fold6stageSide1.mov

Computational design applications for performance spaces. Simulating / choreographing the movement of auxetic elements. Transitioning from the abstract to the real.

azraFoamProccess.mov

Fabrication process of a costume piece, based on a virtual mannequin achieved via photogrammetry.

This procedure was translated manually through heavy use of undergrad labor and polyurethane foam.

Computational studies on the design, and manufacturing of inexpensive lighting elements / costumes for the play

process_fab.mov
lighting_study.mov

Photogrammetry was exploited to rapidly acquire representations of the cast. Costume designs were easily iterated as a result.

Initial design intent for the stage design, developed by the undergraduate students. Featuring silhouette distortion with transparent materials featuring rough surface textures.

Aram Bartholl - “0.16”

casetteTrans.mov

Creation of a pixelating panel, inspired by '0.16' by Aram Bartholl, acting as a mediating space where both the projected imagery and the actual performer exist. The rear sheet is opaque fabric, transmitting only the shadow silhouettes of the back-side. Front sheet is thick vellum paper, blurring the silhouette. Cassette structure situated between the sheets limits the blurring effect to cells, creating the pixelation effect. An effect, commonly attributed to computer screens is achieved via analogue methods.

anim2.mov
oguzDance.mov

The pixelation panel was used to create a seamless transition between the shadow of an actor ,a projected animation and the shadow on another actor, position behind. Creating an intermediate space between the real, and the abstract.

The presented material was the result of a team effort. Bahar Ursavas, Batuhan Esirger, Ecenur Yavuzoglu, Kutay Yüncüler, Merve Akdogan, Oguz Bor and Sezgi Yalçınkaya were involved in the production.

Results of the study were presented at the 12th Computational Design Research in Architecture Symposium, MSTAS in Isparta / Turkey

DADS - MSTAS