Bartlett Design Research Folios

PerFORM

by Protoarchitecture Lab
Bartlett Design Research Folios

Project Details

Practice: Protoarchitecture Lab

Designer: Bob Sheil

Title: PerFORM

Output type: Design

Function: Adaptive and experimental space for performance

Client: Royal Central School of Speech and Drama (RCSSD)

Location: RCSSD, Eton Avenue, London NW3 3HY

Collaborators: Jessica Bowles, RCSSD; Emmanuel Vercruysse,

Bartlett School of Architecture, UCL; Hannah Ringham
and Louise Ma, SHUNT; Matthew Shaw and William
Trossell, ScanLAB projects

Research assistants: Frank Gilks, Justin Goodyer, Kaowen Ho, Ric Lipson,
Thomas Pearce, Tom Svilans

Funding: Centre for Excellence in Training for Theatre at RCSSD

£20,000; HEFCE Economic Challenges Investment
Fund £10,000

Key stages: Research start date: October 2009; first public

presentation: January 2011; second public presentation:
September 2013
4 PerFORM

Statement about
the Research Content and Process

Description
PerFORM is a four-year, cross-disciplinary collaboration with
the Royal Central School of Speech and Drama and the award-
winning artists’ collective SHUNT. The research investigates the
adaptable qualities of digital representation and its relationship
to contemporary manufacturing in architecture and theatre
production. Initial tactical drawings and prototypes led to built
installations, using CNC fabrication and 3D scanning for
simultaneous data capture and space production.

Questions
1. How may advanced digital design representation techniques
innovate forms of performance and scenography practices?
2. How can architectural design address current challenges in
theatre, such as audience access and learning, sustainability
and performance experimentation?
3. How may high-definition 3D scanning be explored as a ‘live’
site survey to influence scenography?
4. How can digital media and production technologies mediate
performance space, and how can these technologies redefine
the role of the audience as agents in a participatory form
of performance space?
5. What role do materiality (reflective materials) and immateriality
(digital technologies) play in this process?

1 (previous page) RCSSD for proposed

Aerial and collaborative
modulated view experiments at 1:1
of the point cloud scale. The black
model generated by circles indicate
multiple 3D scans scanner positions
of selected areas at for each capture.
Statements 5

Methods
Sketches and physical models, 2D and 3D CAD models (Rhino,
Grasshopper), 3D printed models including mechanical
components (SLS), flip book, contextual drawings, animations, 3D
scanning (Faro, Faro Scene and Point tools), CNC fabrication
(laser and waterjet cutting), robotics (Universal UR10, with
bespoke driver software), photography and film.

Dissemination
This research was presented in a major public performance at the
Royal Central School of Speech and Drama (2013). It has been
exhibited and presented in three peer-reviewed conference papers
(London, Toronto, Prague), and discussed in six additional lectures.

Statement of Significance

Awarded funding by the Royal Central School of Speech and

Drama’s Centre for Excellence in Training for Theatre (£20,000)
and the Economic Challenges Investment Fund (£10,000).
6 PerFORM

2
‘I am here’, overall
view of The Scan,
as performed by
SHUNT. A group
of figures circle
the scanner in a
slow march while
two individuals
act out a scripted
performance.

3 3
Design model of
a mobile space
for experimental
performance.
An array of 3D and
plan views shows the
stages of deployment
from ‘compact’ to
‘extended’.
Introduction 7
Introduction
PerFORM concerns the design process
and representation of experimental spaces
for performance in collaboration with
the Royal Central School of Speech and
Drama (RCSSD). The overarching
themes of the research are: (1) design
process and tooling as means to
develop new forms of performance and
scenography practice; (2) collaborative
engagement between the disciplines of
architectural design and scenography;
and (3) design experimentation in hybrid
technologies of representation and
fabrication.
The research begins with a design
proposal for a mobile platform for
experimental performance, involving
investigations on related architectural
typologies and hybrids of modelling and
scanning technologies, and continues
through a series of 1:1 built installations,
involving bespoke 3D scanning and
modelling processes as components
of live performance.
The project culminates in The Scan,
a collaborative performance with ScanLAB
Projects and SHUNT, an award-winning
artists’ collective. SHUNT created an
original score for performance at RCSSD.
Protoarchitecture Lab worked with
ScanLAB to develop novel and bespoke
instruments in response to SHUNT’s
proposals and used digital technologies
of capture and modelling to blur the
boundaries between the represented and
the actual in the subsequent performance.
[fig. 1–3]
8 PerFORM

4
Illustration
representing the
design of the three
primary elements:
a foldable platform,
the deployable wings
and a proposed
fabric roof 4
Aims and Objectives 9

Aims and Objectives

PerFORM explores the synergy of —  The prototype should develop as

architectural and theatrical innovation a series of ‘evolving construction acts’
in practice, education and research. at a diversity of venues. We would
It aims to open up new associations and consider other forms of use, including
understandings between live performance, commercial, private, public and
scenography and digital media. community, and thereby explore other
sources of revenue, application and
Based on consultations with RCSSD,
exposure. [fig. 4 & 5]
the following objectives were agreed
for the design of the mobile platform: In The Scan the 3D scanning tools
that were deployed in earlier stages as
—  Performance and audience areas
design aids were introduced in the
would be accommodated on one
actual performance as spatial mediators
adaptable platform with defined
at 1:1 scale. Our objectives were:
control points for ‘transition’ and
‘management’. —  To develop interdisciplinary and
collaborative means for producing
—  Unit mobility would be a key
a live performance and scenography
requirement to involve other potential
that encourages interaction and
users and audiences, and provide
participation.
means to activate neglected public
space as an urban stage. —  To use appropriate digital technologies
to disperse and delay the performance
—  As a prototype the assembly would
across space and time.
provide a bare rig on which theatrical
productions would augment its —  To open up new associations and
degree of completeness with props understandings between building,
and seating. live performance, scenography and
digital media.
—  The prototype would act as a testing
rig for innovative technical provision,
such as alternative forms of lighting,
sound and energy consumption. The
need for visual and acoustic ‘black-
out’ would be considered, but not
imposed as an absolute requirement.
10 PerFORM

5
Montage of a digital
model and selected
still frames from
animation
Aims and Objectives 11

The first phase consisted of a series of

performance experiments in tandem with
a routine 3D survey. These experiments
intervened across a suite of scheduled
capture positions that explored conditions
such as sound, movement, materiality,
dialogue, montage, ‘blind spots’, building
fabric and narrative. In the second phase
bespoke ‘prop-like’ instruments were
installed at various positions within the
RCSSD building. Each of these
incorporated a 3D scanner head mounted
on a bespoke armature that faced
specifically orientated reflective panels.
This orientation was governed to project
a reflected performance in a ‘hidden/
projected’ space only viewable by the
scanner and subsequently only visible
through digital representation. These
orientations and reflections were simulated
and pre-calculated in a 3D software model
prior to their design and installation,
utilising a bespoke plug-in script.
In the third phase, the events recorded
during the second phase were re-enacted
through a live performance for a public
audience who were also invited to
participate in scanning events throughout
the building. The performance culminated
in a final room where multiple broadcasts
of the pre-recorded scans, new scans,
CCTV footage, recorded sound and live
sound were simultaneously presented
in a scene that challenged the audience’s
common experience of live or recorded
performance. This event explored the
concept of ‘reveal’ in theatre by dispersing
what might be understood as the real
performance across time and space.
[fig. 6 & 7]
12 PerFORM

Questions

Underpinning this research is a set of adaptive and dynamic qualities of the

questions on how the impact of evolving
digital technologies in representation
and fabrication influence the design and
making of architecture.
How may advanced digital design
representation techniques innovate
forms of performance and
scenography practices?
As the design for an experimental and
adaptable performance space, PerFORM
evolved through multiple drawn and
modelled iterations in collaborative
engagement with experts in theatrical
performance and scenography at RCSSD.
Key to the research process was the
capability of digital tools to simulate the
proposal, thereby facilitating a detailed
critique of and response to the brief. In
this regard, 3D animated representation
became the primary means to test the
proposal, not only for its property as a
visual feedback mechanism, but also for
its integration with design information
for manufacture. The introduction of 3D
scanning – as a tool to capture and analyse
the design at 1:1 scale and, later, via
a 3D point cloud model that incorporated
the digital design model in its site context – 
was particularly innovative. To our
knowledge, this is the first time that
such an exercise had been executed for
theatrical production. [fig. 8–10]

6
Composite image
from the point cloud
model consisting of
orthogonal sectional
3D oblique views of
key areas of RCSSD’s
premises utilised in
the project
Questions 13

6
14 PerFORM

7
Enactment of a
‘forensic scene’ by
RCSSD researchers.
This test explored
how a stitched digital
model encourages
multiple roles to be
performed by
individuals. The
resulting assembly
generates an
impossible scene
whereby character
alibis and
misdemeanours are
simultaneously
evidenced.
Questions 15

8
Analytical drawings
of potential spatial
organisation of a
performance space
built off a production
road trailer
16 PerFORM

9
Questions 17

10

9 & 10
The proposed design
was marked out at
1:1 scale in rope in
a public space near
RCSSD. Staff, students
and members of
the public were
invited to comment
on scale and spatial
organisation. Aerial
view of point cloud
model generated
from the 3D scan of
the 1:1 plan mock-up.
18 PerFORM

11

12
Questions 19

How can architectural design

address current challenges in
theatre, such as audience access
and learning, sustainability and
performance experimentation?
As both a prototype design and an event
design, the work is specifically framed to
challenge the conventions of ‘black box’
theatre, including the relationships
between auditorium, stage and backstage.
Dominated by the relatively isolated peaks
surrounding events, theatre is among the
least successful industries in addressing
issues of sustainability, energy
consumption and efficiency, and waste.
Many of these issues are associated with
management and methods, but others
are rooted in traditions; for example, the
dominant use of tungsten-based stage
lighting rather than more sustainable
technologies such as LED. Our research
is based on a critique of such enclosed
performance environments that require
complex control systems for ventilation,
heating, lighting and acoustics. PerFORM 11
explores an adaptable model that Selected frames from
challenges the necessity of these animated 3D Rhino
model illustrating all
requirements by offering a skeletal, mobile
intermediary modes
and more environmentally friendly of deployablity, from
infrastructure that incorporates found compact to fully
locations as components of the extended

performance itself. In this regard, PerFORM 12

is a design demonstrator for alternative Selected detailed
sustainable standards in performance frames from
animated 3D Rhino
and scenography practices. [fig. 11–13] model with key
envelope connections
and associated
mechanisms. 3D
animations are
utilised as routine
design tests and
previews of possible
conflicts between
structure and skin.
20 PerFORM

13
Questions 21

How may high-definition 3D

scanning be explored as a ‘live’ site
survey to influence scenography?
The Scan was specifically developed to
address this question, which arose from
earlier phases of the research. The
response came through simultaneously
integrating 3D scanning – a technology
predominantly reserved for purposes of
evidence verification and metrology – with
an original theatrical performance and
bespoke scenography. To begin, an
external courtyard of RCSSD’s premises
was selected as a key pivotal space from
which three- to four-storey flank walls rose
on three of its sides. These walls, of varied
materiality and configuration, acted as
boundaries to utilitarian internal circulation
routes and practice rooms. The form and
functionality of the territory these
surrounding spaces occupied were seen
as an opportunity to destabilise internal/
external relationships through hybrid
scanning and time-based performance
experiments. Various locations were
tested for their capacity to host a live
performance and simultaneously generate
a projected reflection via the scanner to
the external courtyard. Three locations
were ultimately selected to receive
specifically positioned scanning
instruments; a set of reflective surfaces
were installed on armatures in adjacent
locations. Protoarchitecture Lab (Sheil 13
Selected still
and Vercruysse) designed and installed
frames from an
The Scan, including making these bespoke early animation,
instruments. The event was performed illustrating the
by SHUNT (Ringham and Ma). ScanLAB digital design model
in deployed mode,
Projects (Shaw and Trossell) supported merged with a 3D
the 3D scanning. [fig. 14 & 15] point cloud model of
the main quadrangle
at UCL as a sample
location
22 PerFORM

14

14
The crying room
scene reflected,
from The Scan,
as performed by
SHUNT. The scanner
captures the figure’s
blind side through
the rebound of
signals from an
adjacent mirror.
The blind side
scene is then
digitally created in
a parallel room.
Questions 23

15

15
The crying room
scene reflected in
plan, from The Scan,
as performed by
SHUNT. This result
provoked interest
in developing the
reflected data as a
parallel performance
space exclusively
within a digital
environment.
24 PerFORM

16

16
‘The reveal’, relay of live and
from The Scan, as pre-recorded scan
performed by SHUNT. data, 3D models,
In the final scene animations, CCTV
of the performance, footage, infrared
an audience gathers footage, photography,
backstage to review sound recordings
a dense multimedia and dialogue.
Questions 25
How can digital media and
production technologies mediate
performance space, and how can
these technologies redefine the
role of the audience as agents in
a participatory form of
performance space?
During the live performance of The Scan,
the projection of key moments via 3D
scanning and subsequent modelling allows
the event to challenge perceptions of time,
space and narrative sequence through
a final distillation of ‘reveals’. By actively
engaging the audience and performers in
3D scanning as a process related to key
moments and locations, digital technology
is placed in the centre of the programme.
When the consequences of these moments
are revealed in the final room, the ambiguity
of performer and audience, and of live and
recorded performance, are established. The
final room also challenges the apparent
order of the narrative and, as with routine
functions of digital design technology, the
audience’s experience of spatial ‘cut and
paste’ becomes evident. In this regard,
the audience members are established
as agents in the performance and its
understanding. [fig. 16 & 17]
What role do materiality (reflective
materials) and immateriality (digital
technologies) play in this process?
The research interest in reflection
developed in response to the scanning
instrument manufacturers’
recommendation to avoid capturing shiny
or reflective surfaces, as these would
generate ‘noise’ or ‘dirt’ in the modelling
results. This scanning technology is
predominantly used for highly accurate
geometric verification and measuring.
By focusing on what we were advised
not to do, reflection became a key tool
in establishing and manipulating an
additional, purely digital, performance
space. In this regard, the mirrored
surfaces acted as conventional reflecting
surfaces for the performance and as
spatial mediators in relation to scanning
and modelling. [fig. 18 & 19]
17
‘This is the summary
of events’, from The
Scan, as performed
by SHUNT.
The image illustrates
a single frame from
the point cloud
model generated
by the capture of a
spoken performance
lasting three minutes.
The performance
explored a theatrical
prolongation of time.
The model was
later animated and
overlaid with
recorded dialogue.
The scene became
a key component
of the final
performance.
28 PerFORM

18

18 Similar predictive
The array of frames simulations were
illustrates the generated for
strategy for mounting Practice Room A
mirrored surfaces in and the external fire
order for the scanner escape stairs. Digital
to generate digital reflections from
reflections in the all three locations
point cloud model. converge at high
This particular array level in the model
presents the strategy of the external
for the internal stairs. courtyard.
Questions 29

19

19
Images presenting
various installed
reflective elements
and the performers’
engagement with the
3D scanner
30 PerFORM
Context
The Royal Central School of Speech
and Drama
PERFORM was commissioned by the
Royal Central School of Speech and Drama
(RCSSD), which has the UK’s largest
concentration of specialists in drama,
theatre and performance. RCSSD also has
the broadest portfolio of drama, theatre
and performance-related programmes
in Europe, and no other single faculty
worldwide offers such a diverse range of
specialist Master’s programmes in theatre
and performance practices. In 2005, the
Higher Education Funding Council for
England (HEFCE) designated the RCSSD
as the UK’s Centre for Excellence in
Training for Theatre (CETT), and it was
through this agency that PerFORM was
commissioned as a key research objective
of both CETT and RCSSD.
Mobile space
From an early stage, the ‘deployable’
design of PerFORM was developed as an
architectural performance akin to the work
of French interdisciplinary artists’ collective
La Machine. The proposed travels and
actions of the mobile platform of PerFORM
were envisioned as both an event and
a venue. In this regard, the system’s
mechanical movement was developed as
a choreographed unfolding of space, which
in itself could be seen as a performance.
Digital representation in theatre
production
Our collaborative work with SHUNT
belongs in the context of contemporary
performances that utilise new digital
means of production. As with many
practices, theatrical production has been
revolutionised by digital technology.
Organisations such as Blast Theory have
successfully developed a portfolio of works
that exploit the fluidity of contemporary
life populated by digital media and
technologies, where the audience
experiences the event through devices such
as phones, tablets and laptops. Our
research demonstrates how theatre related
to figurative performance, script, dialogue
and the live presence of an audience may
also engage with digital space in a way
that goes beyond documentary record.
Reflection in architecture and
performance
Reflection is a vast subject in architecture
(e.g. Hall of Mirrors, Palace of Versailles,
1678–1684; Sir John Soane’s House
London, 1808–1837; Mies Van der Rohe’s
Barcelona Pavilion, 1929) in which ideas
of multiplication, borrowed light, spatial
illusion and otherness are explored.
As reflection became a prominent theme
of this research, it opened up possibilities
for ‘extending’ the performance.
Context / Methods 31
Methods
Central to Sheil’s work is the engagement
with new technologies in design and
fabrication as both creative tools and
critical agents for research. This is as
much a process-driven enquiry as it is an
investigation of subjects surrounding
performance and technology. The project
is characterised by an experimental
approach to methods; techniques are
altered in iterative phases, depending
on the readings of previous results.
As design research PerFORM evolved
through the production of elementary
sketches and models, CAD models
(including authored plug-in scripts for 3D
software, Grasshopper and Rhino),
3D printed scaled models including
mechanical components (SLS), flip books,
contextual drawings (Illustrator and
Photoshop), animations (Adobe Premiere),
3D scanning (Faro, Faro Scene and Point
tools), CNC fabrication (laser and waterjet
cutting), robotics (Universal UR10, with
bespoke driver software), photography
and film.
Central to the project are 3D scanning,
3D modelling, digital fabrication and
visualisation. PerFORM emphasises the
potential of these technologies to inform
alternate strategies (rather than products)
for theatrical performance. [fig. 20–39]
20
Pocket-sized
presentation.
A flip book is
collaboratively
developed as a tool
to engage audiences
and potential
consultants in
the project.
32 PerFORM

21a
 Methods 33

21b

21
Page spreads the project’s 3D
from the flip design model is re-
book. Movement enacted as a parallel
from a sequential performance in
representation of figurative movement.
 34 PerFORM

22 23

23
Samples of sketch
models and
diagrammatic
drawings. Following
earlier design
propositions, the
proposal was
22 simplified and
A 3D SLS (Selective concentrated
Laser Sintered) print on a deployable
of an early design structural skin.
Methods 35

24

24
A 3D SLS print (1:50)
and concept test of
proposed deployable
chassis mechanism
that would be
activated by the road
trailer cab
36 PerFORM

25

25
Evolution of design
proposal through
iterative physical
scaled models
that illustrate the
unfolding platform
and roof emanating
from a ‘compact
trailer envelope’
Methods 37

26

27

26 27
First test at merging mobile platform Selected frames from design propositions
the digital design to the collaborative animated fly-through against accurate site
model with a point interactive generated by merging data. Critical issues
cloud model of the performance The Scan. the PerFORM CAD such as sight lines,
RCSSD premises at model with a point trajectory of deployed
Eton Avenue. Through cloud model of the elements and scale
this investigation, the RCSSD premises. were assessable
research transitions The exercise helped and measurable.
from the design of a us evaluate and verify
38 PerFORM

28
Methods 39

29

30

28
Selected frames
form one of a series
of orthogonal views
of an animated
Rhino model, in
this instance an end
elevation

29–31
Views of the design
model, showing the
assembly in
semi-deployed mode,
31 with roof canopy
40 PerFORM

32 the degree of detail

‘I am here’, detail and information
view from The that is retrievable
Scan, as performed and capable of
by SHUNT. The cross-referencing
image illustrates performance scripts.
Methods 41
44 PerFORM

34

34
The Grasshopper
33 (previous page) script at work on
Practice Room A, a model generated
housed within the by the site scan in
uppermost roof space Practice Room A.
of RCSSD, one of The script has
the selected sites for been deployed
Acts 2 and 3 of The to determine the
Scan. The instrument dispersal of reflected
created for this space data outside the
has been developed room and the
using a Grasshopper building. Performers
script that calculates will interact with a
the generation ‘digital’ mirror and
of reflected data the event will occupy
in relation to an external site that
performance hovers three storeys
positions. above ground.
Methods 45

35

35
The Scan,
alternative view
46 PerFORM

36
Methods 47

37

36
PerFORM/The Scan.
Top row: components
of scanning
instrumentation for
Room A. Middle row:
the appearance of 37
reflected figures in PerFORM/The Scan.
digital model. Bottom Composite drawing
row: components of installation array
of scanning and captured data
instrumentation for from Room A
the stairwell. © ScanLAB Projects
48 PerFORM

38

38
PerFORM/The Scan.
Composite drawing
of installation array
and captured data
from the stairwell
© ScanLAB Projects
Methods 49

39

39
PerFORM/The Scan.
Composite drawing of
installation array and
captured data from
the external rooftop
© ScanLAB Projects
50 PerFORM

Dissemination

In addition to attracting the involvement of the award-winning artists’ collaborative

SHUNT, PerFORM has garnered interest from experts in theatre design and theatre
production, including Jason Barnes from the National Theatre, Juliet Rufford from
the Prague Quadrinalle and Hannah Smitz from Theatre de Complicite. The research
and design process has been presented to diverse audiences in the following events
and publications.

Public presentations
‘PerFORM’, inaugural presentation to invited experts from theatre and industry,
Centre for Creative Collaboration, London (Jan 2011).
‘PerFORM/The Scan Act 1’, experimental performance events staged to test
possibilities for collaborative creativity during scanning of the RCSSD building
as part of a design survey, RCSSD, London (Apr 2013).
‘The Scan’ (a collaboration between Protoarchitecture Lab, RCSSD, SHUNT and
ScanLAB Projects), performance and exhibition of PerFORM, Collisions Festival:
New Research in Performance Practice, RCSSD, London (Sep 2013).

International symposium presentation and exhibition

Bob Sheil and Jessica Bowles, ‘PerFORM: a prototype for making theatre and theatre
making’, The Architecture of Affect: IFTR (International Federation of Theatre
Research) Theatre Architecture Working Group Symposium, Prague Quadrennial
of Performance Design and Space, Prague (Jun 2011).

Peer reviewed conference papers

Bob Sheil and Matthew Shaw, ‘Perform: a prototype for making theatre and theatre
making’. Presented at the International Adaptive Architecture Conference,
Building Centre, London (Mar 2011). Published as part of conference proceedings.
Bob Sheil, ‘PerFORM/The Scan: experimental studies in 3D scanning and theatrical
performance’. Presented at ACADIA (Annual Conference for Association for
Computer-Aided Design in Architecture) 2013 conference on Adaptive Architecture,
Cambridge, Ontario (Oct 2013). Published as part of conference proceedings.
Appendix 51

Related publications by the researcher(s)

Conference papers
pp. 50–61
Bob Sheil and Matthew Shaw, ‘Perform: a prototype for making theatre and theatre making’.
Presented at the International Adaptive Architecture Conference, Building Centre, London
(Mar 2011). Published as part of conference proceedings, 2–13.

pp. 62–67
Bob Sheil, ‘PerFORM/The Scan: experimental studies in 3D scanning and theatrical performance’.
Presented at ACADIA (Annual Conference for Association for Computer-Aided Design
in Architecture) 2013 conference on Adaptive Architecture, Cambridge, Ontario (Oct 2013).
Published as part of conference proceedings, 355–360.
52 PerFORM

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