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  1. Theatricality in Installation Artworks: An Overview
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There are pipes supporting the garage eave, to articulate the fire engines entrance. Hadid's solution on architectural design is different from post-modernist architecture. There is minimum treatment on cladding. The positions of walls, roof, and ground speak for its form with absence of excess. The design is daring and the building presents a theatricality of 'movement frozen'.

Theatricality was introduced to architecture by Gottfried Semper in the 19th century. Semper is a German 'theater' architect who drew upon Renaissance, reminded people of poetics. Moreover, to compromise with the inevitable utility and function requirements, the transmission of design concept is weakened. To resolve this weakened transmission, contemporary design sought for abstraction and anonymity.

Design looked for metaphysics.

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Design concept is interpreted in an indirect way through the manifold play of the visible and the invisible. Therefore, theatricality had become a prevailing trend in the end of the 20th century. Both motion and animation could form theatricality, whereas there is slight difference between these two concepts.

The exterior of the Vitra Fire Station presents a motion, while the interior plan and circulation is animated. Hadid perceived movement conceive as the prevailing trend of architecture. There was once when certain artistic movements focused on geometric abstraction. However, Hadid thought this regularity is able to be broken up, and allow architecture achieve more calligraphy.

Three enclosed elongated volumes overlap and intersect with each other. While some of the concretes slabs overhand walls, contrasting the prismatic form of the elongated volumes on the other side.

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  6. The building is sealed from the front, and sensed only from a perpendicular viewpoint. Single walls and roof also formed prismatic shapes. The parallel and layered walls are playful and aim to form spaces.

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    The intersection of the volumes expresses dynamics, fluidity, and a randomness which is actually calculated. Walls and roof panels seem to glide past each other, and create eaves and high windows. Hadid retained sharpness of the concrete slab edges, which contribute to the feeling of alertness of the building. The garage door is a sliding door which is a large piece of concrete. It underpinned the shifts of walls and the motion as a whole.

    Theatricality in Installation Artworks: An Overview

    The Brutalism of in-situ concrete gave the building a feeling of strength and braveness. Though the opening cuts on walls are decided by the program inside, there is not any awkwardness, since concrete formed stereotomy and random cuts are acceptable. The shifts of concrete panels gave this hermetic material permeability.

    Walls and roof break regularity. Except the garage, walls and openings are oblique rhombus, which express a movement direction. Not only the building, but also the benches and other facilities around it have oblique form. For furniture and interiors, Hadid preferred to mold and cast rather than assembles. The fragmentation of concrete panels are not chaotic, instead, there is a direction.

    Thus when they shrink or expanse, there is always a continuity. There is orbit in a building, thus every proliferated wall could find its position.

    The Crisis of the Object: The Architecture of Theatricality

    Interior space was jut forward, as if a fire had forced space to rush to open air. The wing-looking exit canopy becomes an terminal acceleration of the trajectory. This canopy is the only element that is separated from the building, with one of the angles slightly touched above the garage sliding door.

    The canopy creates an image of lightness, and a sense of taking off as if a wing of a bird. The unchangeable fact is that this piece of concrete is weighted and supported by two rows of steel poles.

    The use of a different material, the steel, is to present a theatricality of lightness. There is a theme in the building, as an abstraction of a fire. In response to the building purpose, the building staged a spectacle of ready to explode into action at any moment. Theatricality is the theme which has been interpreted virtually.

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    To differentiate theatricality and theatricalization, is to define whether a building's core form is authentically expressed by its art form. Theatricality has 'thing' character of objectivity, with consistent core form and art form. In contrast, the art form and core form in theatricalization is disconnected. Theatricality is not without tectonics.

    Crisis of the Object

    On the other hand, A-tectonics usually form theatricalization. Theatricality does not deny construction. In fact, it is sustained by construction. Theatricality is interpreted by tectonic with lawful detailing. The steel pipe rows at the garage entrance supports the overhung canopy. There are eight pipes in the front and four behind them.

    Building as Object: The Architecture of MAD

    These pipes aligned in a line with random distance. The four pipes at the back is oblique, parallel to one of the edge of the wall behind it.

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    Pipes of this size and rows remind people of Alvar Aalto's Villa Mairea. This had brought the building into the discussion of ornaments. In Villa Mairea, the timber pipes are the excess that are not even connected to the ground. While in Hadid's building, they work as load bearing, which is considered to be tectonic element. The idea of light weight columns supporting solid forms could be traced to Russian Constructivism.

    All of the tilts and gestures aim to present an alert motion of the concept. Architecture is not equal to construction, but beyond construction as it express a theme. The Vitra Fire Station express theatricality. The constriction form of the building is self-illuminated. Theatricality in Vitra Fire Station [15]. The Vitra Fire Station was designed as an linear element to the factorial site, defining the site rather than occupying space. Hadid analyzed the farming landscape around the Vitra factory site.

    Although the site is flat, Hadid believed there is still topography to study. A breaking form is more tempt to conceive in a farmland or vineyard. The linear and breaking form is a contrast to the adjacent bordering buildings. Within a large factory site, Hadid had unconventional idea on deciding the building form. Instead of articulate the building among the site with a massive building, She chose to deploy elements of the project, and created simulation on the site with theatricality of motion.

    In Hadid's concern, access is the only penetration, since site edges are fortified.