The Fourth wall of the stage

Abstract

Theatrum mundi and the idea of ‘the city as a stage’ is the foundation of this research. It configures the our area of interest within the realms of stages, sets, scenes and backstages by defining their interrelations and metaphorical exchanges within the spaces in a city. The approach analysis and defines application backstages on architectural design and sheds light on the current conditions of the backstage. The research reveals the material, immaterial, spatial and ecological conditions of such workspaces that aid in cultural production. The study of landbouwbelang as a backstage displays its uniqueness as a case study and by use architectural drawings these leanings further validates the design approach towards domestication of existing infrastructure towards appropriability for a production environment. Additionally, it showcases cultural production as a new kind of performance, that in the design is further staged. Inspired by the set designs of the movie dogville(year), the methodology suppresses the curtains and reveals the working and organism-istic nature of cultural production. Domestication and appropriation is not a static phenomenon.. Hence, the methodology needed to be something that explains the mutating phenomenon. Inspired from the movie dogville, where the the ideas about set and props has been taken to a new dimension. In a way the approach with the markings and layer of imagination, it lead to me answer my questions and reveal the backstage at the same time. For he viewer to understand the variations, shaping of spaces and domestication of existing built fabrics. Landbouwbeland is a labyrinth and one loses the idea of space, and orientation within it, hence the final product will showcase the labyrinthic nature of landbouwbelang, this learning is transferred into the design, through fixed directional markers that align with the spine of the functions. By allowing the domesticity into the production space, it was suggested, there is a greater possibility for a fluid relationship between individual and group practice, unlike the formalized spatial and temporal structure of the rehearsal which brings individual practitioners together at a set time and for a specific purpose.