CHIESA DIRUTA

Back and forth, appreciation and depreciation always occurs as an undeniable truth. Not only the collapse of architecture happens, but also the revival of it. Besides, every perishing human construction are able to unexpectedly generate the captivating phenomenon. The phenomenon relies on the paradox of tangible and intangible, sensory and sentimental. Audiences would be stimulated by this incident repeatedly as the ruined architecture kept performing to the audiences all the time. Same as the wrecking Srichum Temple in Sukhothai, Thailand.

The remaining of the hundreds-year-old religious place still emerges the appealing untill now. Because of the sound coming out from minor niches contrarily resonates all along the whole area which is built up from the tectonic of the masonry. Each brick relentlessly devotes itself for carrying loads (tangible), together with absorbing and reverberating sound simultaneously (intangible). Furthermore, the light penetrating through the broken roof (tangible) and then touching the surfaces contributes to the paradox of inner and outer space (intangible).

We have perceived the similar phenomenon when we found about the tangible and intangible quality of  Chiesa Diruta and Srichum Temple and the plenty number of other ruins in the world which contain its identity and potential that can be developed and reactivated into eclectic performance space further.

Beginning with plugging in the modules to amplify the three main original areas leading to the skyrocketing overstep of enthusiasm, identity and multi-function. Our idea "Architecture as an amplifier of eclectic inherited traces" is about creating subtle and flexible modules comprised of the performance and acoustic properties that beyond ordinary. Likewise, the modules reflect the precedent patterns and remain flexible for the flow. Performers are able to adjust and select the various probability of performing layout which plays an important role in producing the atmospheric phenomenon specifically belonging to the spirits of this place afterward. For the decent coexistence of all seasons, fabric partitions are built up for convenient adjustment in both indoor and outdoor. 

At last, the proposal which manifests an innovative method about the restoration of leftover building, turns into a unique concert hall which especially brings out the latency of fallen down with the maximum aspiration, leading every ruined area to be transformed into the fluidity of various performance space.

The Niche: acting as the cave stage and displayed as the movable modules, hosts the intimate solo and chamber performance. The horizontal volume is amplified by inserting the new modules. Therefore, the volume, acoustic and number of audiences is flexible depending on the performers. Meanwhile, the enclosing masonry resonates the sound as the cave.

The Dome: acting as the sphere stage, has a centralize-shaped plan. The new modules amplify both horizontal and vertical volume. Its feature lifts up the audiences’ experience by enhancing the acoustic effect of dome shape. In addition, the audiences are able to interact with the performance and performers through 360 degrees of vision and sound perception. The ruined oculus brings the natural light in the interior and integrates the outer atmospheric light as the part of performances.

The Tower: acting as The city stage. The height and depth of the new module can be amplified to serve the needs of the performers both external and internal volume. The town residents are able to enjoy the performance as the broadcaster awakes their hometown.