Bradley Powers

This thesis project is a conceptual design for a small performance venue which is specifically made for amplified live music: the House of Performance (HOP). Taking inspiration from the performance-based cultures of the Grateful Dead, Raves, and Burning Man, the project includes conceptual drawings for architectural and structural building design, as well as for live production sound, lighting, video projection, staging and rigging systems.The HOP is designed to operate in both smaller indoor and larger outdoor configurations, able to change between them by opening or closing three large doors on the venue’s rear wall. Accessibility is a major priority, with the aim to exceed building code minimum requirements. It is to be an intimate space with minimal barriers between performers and their audience. It can accommodate a wide variety of productions and events with installed equipment, reducing the amount of touring and rental gear which must be used. The ability to put on outdoor productions helps to prioritize audience safety in the era of Covid-19.To guide the design development for the HOP, I have named the specific groups of users whose needs must be considered (Audience, Community, House crew, Industry and Performers) and principles to follow when making decisions (Experience, Access, Safety, Environment). To limit the project’s scope, I have chosen to follow the BC Architects Act (RSBC 1996 c 17) limits for buildings which are not designed by a qualified architect. For a single storey public assembly building, the maximum gross floor area is 275 m2 (2960 ft2) and the longest unsupported span is 9 m (29’–6”). The HOP has been designed to fit within these guidelines.

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This paper documents the process undertaken in researching the viability of the creation of three-dimensional (3D) printed props in lieu of handmade props, more specifically a handmade Italian Commedia dell'Arte mask for the character of Scaramuccia (Scaramouche). With the guidance from resident prop master, Lynn Burton, I was able to create two handmade papier mâché masks through the process of casting a negative of a plasticine mask and then papier mâchéing both that negative cast and the plasticine mask. Through the use of a NextEngine 3D Laser Scanner, a plethora of online resources, and trial and error work with a number of 3D software editing products (NextEngine ScanStudio, MeshLab, Autodesk Meshmixer, netfabb Basic, Autodesk Memento, 3D Studio Max Design, and MakePrintable.com), I have been able to create a 3D model of this mask, which I then attempted to print using the FlashForge Creator Pro 3D printer.

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