An architect based in New York
For additional info and inquiries please contact Jackie
at woonhyunbae@gmail.com.
If one can't help showing what one feels, and if the truth of any emotion, statement, or argument in public depends on the character of the person speaking, how are people ever to avoid being fathomed? The only sure defense is to try and keep oneself from feeling, to have no feelings to show...
In a milieu where sensation and feeling, once aroused, are though to be displayed beyond the power of the will to conceal them, withdrawal from feeling is the only means of keeping some measure of invulnerability.
For instance, people [in repressiveness of Victorian society] tried to shield their character from others by wearing as little as possible jewelry, lace, or trimmings of an unusual kind, so as not to draw attention to themselves...
At the same time that people sought to appear as unremarkable as possible, they began to demand that in the theater clothes be exact indicators of the characters, histories, and social positions of the dramatis personae.
art
frame
Umberto Eco's Travels in Hyperreality
"[...] if it is practically impossible to isolate the process of simulation, through the force of inertia of the real that surrounds us, the opposite is also true (and this reversibility itself is part of the apparatus of simulation and the impotence of power): namely, it is now impossible to isolate the process of the real, or to prove the real."
p.21 Simulacra and Simulation by Jean Baudrillard
The Abbey Theatre has been a key cultural institution for performing art in Ireland, founded by WB Yeats and active since 1904.
The site of the New Abbey Theatre is at the prominent Eden Quay, with a new opportune visibility from River Liffey.
The original, modernist Abbey Theatre built by Michael Scott is joined by historic buildings that line the Quay.
A new theatre bridges the site, maintaining the unique characteristics of each building while creating a singular entity.
The joining of the buildings creates a new vertical performing space and physical connection between the previous separate buildings.
The new theatre creates a visible icon and skyline along the Eden Quay.
The street-level experience is preserved with existing buildings, but enhanced by a generous pedestrian entry plaza at the alleyway where the new building becomes visible.
The original Abbey Theatre is supplemented by a new enclosed rehearsal space on the roof, while the Eden Quay buildings support the theatre with retail and public programming at the riverfront.
An 80-square meter residence is designed for minimal footprint in a small clearing in Topanga.
A long hallway joins series of small nooks for sleeping, bathing, and eating.