The Performance Hotel

The hotel will incorporate the programmatic components of the theatre (programme x), which can inform and test the rigidity of the hotel typology. The design process will also strive to consider the overlapping of programmes to create a unique hotel experience for the guest, for example the overlapping of the stage and the lobby, and the atrium and fly tower. The hotel will in this way begin to blur the boundaries between performer and hotel guest. lobby/stage crossover: Through the generative design concept of the fold, which has the potential to create continuous forms, the project will seek to rectify the numerous barriers both physical and hierarchical that exist between the city and the water on the site. The folded landscape creates a space free of separation and alienation, and instead creates forms that are anti-hierarchical. This is a leading concern of the existing site situation. The hotel which will inhabit this space, will then through the continuing use of the fold, attempt to create an uninterupted space in which guests can enjoy theatre and hotel simultaneously, without barriers. This system has influenced the use of a folded landscape within the hotel (shown above), which provides various suitable areas for performances to take place. The various amenities that must be provided can be located within an open space that it free of physical barriers. Elements requiring an enclosed space such as kitchens and dressing rooms, can be located within separate volumes that read differently from the open space. These volumes also provide structure to support the folded landscape of the public roof terrace above. The two volumes which contain vertical circulation cores provide the structure for the four floors that contain rooms and guest gymnasium. The atrium at the centre of the rooms doubles as a fly tower for the stage below. In this way, hotel guests have an immediate connection with the pulleys, stage lighting and gangways: Ground floor plan: Second-Fourth floor plan: The overlapping of the two programmes should be bold and apparent from the start, and this approach can inspire a variety of new experiences that place the hotel user in the place of a performer. View from the rear of the auditorium towards the stage/hotel lobby area: The design began by envisaging an open plan space that could be adaptable and versatile in order to host a variety of performance types. The folded ladscape provides several internal external performance spaces, with the use of ramps to not only connect spaces, but also provide each audience member with a suitable view of the performances wherever they may occur. Waiting area (which also provides space for unused scenery which guests can explore) and restaurant which overlooks the Bosphorus (to the rear right- the auditorium and raised bar can be seen to the rear left): The folding black concrete floor throughout the space compliments the idea of a continuous space- the colour reflecting the dark colour of a stage which hotel guests are encouraged to circulate through. the hotel services such as cloakrooms, receptions, administration, and kitchens are found within black volumes clad in soundproof rubber- used to contrast the hard and solid nature of the floor. The raised bar which overlooks the stage and auditorium- views to the Bosphorus can be seen past the waiting area: I am interested in blurring the boundaries between performer and guest. I have observed during my time in Istanbul and in my research that often the performer takes control of a particular space which becomes a stage. In general, audience members are not permitted. The stage has become recognised as the place only for performers, and so by blurring this boundary, a surreal and provocative space is created. Since the birth of film and cinema, these boundaries have been tested, particularly with performances including audience participation. German playwrite Berthold Brecht became interested in the idea of making the act of performance the real draw for theatre goers. The theatre became a place where the audience were no longer tricked, instead it became associated with the formal idea of being entertained, and the connection between performer and audience member. Design strategy- The diagrams above illustrate the thought process of creating the experience of entering the hotel- beginning with the concept of the crossover of the stage and lobby looked onto from the auditorium which becomes visible only when the guest has fully entered the hotel. Another important concept is the connection to the Bosphorus- which is immediately visible from the main entrance and waiting area. The second diagram illustrates the theatre as a black box, which is surrounded by the hotel amenities that are arranged in a band. Thirdly, the connection of all hotel spaces as an open folded landscape with only hotel staff services internalised into separate volumes (such as the kitchen, storage, or the administration department). Lastly, the use of the hotel ciculation cores as structure to support the floating volume of the rooms, accessible and in full view of the reception area, and using the folded landscape to create various internal and external performance spaces. Facade- The lower element containing public and semi-private amenities are physically separated from the private upper element that contains the hotel rooms. This element appears to fly above the hotel, with each room afforded a spectacular view to the Bosphorus with a private balcony. On the facade, each room has a steel wire mesh curtain which can be electronically operated by each inhabitant, to provide extra privacy and solar shade. Therefore, the facade is constantly changing during the day, with the shining metal visually contrasting the matt black concrete. Site- The general inaccessibility and oppressive nature of the site as it exists must be addressed. The historical connection of the city to the water can be reinstated, and can form part of a new public zone that makes use of the existing historic and cultural attractions. The connection between water and city is fundamental to life in Istanbul and is seen as a luxury. Therefore, by giving the water back to the city, the proposal seeks to afford this luxury to the general public. In relation to the secondary programme of theatre, the proposal will also seek to establish areas that are suitable for public performances, which are common throughout the city. Entrance perspective: The design of the external landscape began with the objective of creating informal performance spaces in front of the hotel on the Bosphorus side (south). The external ramp which leads to the public roof terrace looks down onto the main performance space, which through the use of black concrete, creates a contrast to the surrounding light Turkish travertine stone. The parapit wall to this ramp (also made of balck concrete), continues into the ground and then emerges on the other side of the public street to form a bench. This bench wraps around to provide seating for potential audiences.