1. The hub is an Open Air Dance Theatre

Alfred Vinyu 210044535 Studiowork 2 Exercise 2

2. Because of the material marine ply, the concept/ idea was to have a “dancing ship”. The hub due to the shear size

imposed by the concept was to be a scaled down abstraction of the concept.

STW2 – Exercise 2

3. Attitude to Space

Alfred Vinyu 210044535 Studiowork 2 Exercise 2

The changing room space is ideally more private and therefore has a higher degree of enclosure compared to all the

other spaces. The walls do not support the overhead roof in order to provide light and ventilation through the

openings. The configuration of the changing space was set up to provide privacy for the people who may be using the

rear space for online purposes. This configuration also helps to promote interaction should there be young people

playing interactive online games or chat. The over head roof covers these areas to add a sense of intimacy as well as

preventing natural light reflection on the computers.

The masonry core is placed between the performance stage and the backstage area as it serves both spaces.

The performance stage which is positioned in front of the changing area is configured with a shape which articulates

an “opening up” to the audience. The space is completely open to allow maximum visual from the spaces around it.

The roofing elements only cover the rear end of the stage in order to put the focus on the front end where the

performance is.

The circulation space in front of the stage merges the stage and the audience spaces.

The audience/ seating space surrounds the circulation space and is more open at the one end in order to articulate the

entrance/ exit even though it is an open space. The surrounding trees are planted in designated areas signifying the

boundary of the hub.

4. Relationship between Form and Function

Alfred Vinyu 210044535 Studiowork 2 - Exercise 2

• The overall form of the hub needed to articulate the function of the hub which is movement by dancing therefore

diagonal elements were used to help achieving dynamism.

• The form of the changing space was a result of attempting to provide privacy as well as promoting interaction

between users.

• The stage was shaped with the intention of opening up to the audience and it is therefore wider in front than it is at

the back.

• The audience space surrounds the performance stage for viewing as well as providing an intimate space within the

hub by semi-enclosing the space.

The base in the changing

space is suspended from

the ground

Alfred Vinyu 210044535 Studiowork 2 Exercise 2

5. Attitude to Technology

The main aim for the technology was to use the material that helped the space function as well as being able to carry the

concept through with the way its form projected.

Poles used as diagonal elements are

supported by 2 pole either side for

stability. The poles are fixed to each

other by bolts. Poles are embedded

into the ground at angles.

Stainless steel cables and

turnbuckle systems are used

for tensile construction.

Stainless steel caps are used

to anchor suspended poles.

Marine ply is used as both roof covering

and stage flooring due to its durability and

waterproof qualities

Clay is used to terrace the burmer which is

compacted earth. The clay helps with

maintaining the form of the audience space

Alfred Vinyu 210044535 Studiowork 2 Exercise 2

The main and secondary structural poles are

embedded into the ground at angles. The main

pole is anchored by 2 secondary structural

poles to assist with stability. These poles are

fixed to each other with bolts.

Secondary poles 100mm

Bolt

Main pole 150mm

A stainless steel cap is used to anchor the

roofing pole to the main structural pole.

Main pole

Roofing pole

Stainless steel

cap anchors

roof pole

Stainless steel cap and

turnbuckle

Roofing pole

Stainless steel cap

Main structural pole

Secondary structural pole

A stainless steel cap is used at the top of the main

pole to anchor the roofing pole with cables and

turnbuckles in tension.

The central roofing pole is anchored by 4

poles and is cabled on the end of the pole as

well as the middle to resist pressure from

forces acting on the middle

Stage wing roofing pole

Central roofing poles

Roof plane over stage area

6. Analysis of the Dance Theatre

Alfred Vinyu 210044535 Studiowork 2 Exercise 2

The roof covering allows

overhead light to penetrate

through the middle and front

spaces thereby articulating

the main focus of the

performance

Natural light is abundant over most of the

performance area and the audience space with the

trees providing shade and to an extent, warm

filtered light.

The rear area has an

overhead roof but

natural light penetrates

through the open

sides.

The masonry core is a unique element in the theatre due to its difference in technology and imposing height it becomes a

sort of landmark which can be seen from a distance.

• In section, the hub is dynamic, consisting of diagonal

elements and a smooth, flowing audience space,

emphasizing movement. The backstage area consists of a

semi-enclosed, wrapping articulation, which when moved

to the stage, begins to open up to the audience.

• On plan, the backstage area translates what can be seen in

section and “opens up” on the stage. This is also repeated

on the audience space, where it seems enclosed then it

opens up as gets to the stage.

Relationship of Plan to Section

Symmetry and balance

In section, there is no symmetry, but the balance is achieved by

the heights either side. A high stage area is balanced by high

trees.

On plan the audience space is much wider than the stage and

backstage, however the central positioning of these spaces

brings balance without symmetry

References:

Ching, F. 1979. Architecture: Form, Space, and Order. New York. Van Nostrand Reinhold Company, Inc.

Righini, P. 1999. Thinking Architecturally, An introduction to the creation of form and space. South Africa. University of Cape Town Press.