The city of Zaghandian sits on the banks of the Yang-Tse, the great river that crosses the country and marks the future of Chinese history.
The river is the main natural landmark of the city: a new, horizontal city that lives off the river incorporating canals and lakes into its urban fabric.
The city of Zaghandian suffers from an icon, an architectural symbol that identifies the city and its inhabitants. The river is its main natural element. Is it possible to re-interpret traditional Chinese architecture into a new architectural icon of the city?
DISTORTION OF REALITY: REFLECTION
The reality of the architectural icon is diluted in the reflection of water: this distortion of reality, equal in spirit but diffuse in form can be extrapolated to the world of theatre, a diffused representation of reality: things that appear to be what they are but are not; Chinese theatre. How to represent and with what order, the reflection, idea resulting from the union of the natural icon of the city, the river Yang Tse, the architectural icon, the ¨pagoda¨, necessary for a new city like zagandhian, without references or history, and the new reality consequence of the combination of both: the reflection, the new reality, the imaginary world, the theatre? The formal answer is the Tangram, a reality that is distorted and rearranged again according to its own laws and geometry: Tangram, Zaghandian's new theatre.
Tangram is a game of figures, and Chinese theater is a visualization of figures. From this paradigm The Tangram, as a formal representation of the building containing the theatre, reflects in its geometry a fundamental aspect of the concept it houses: the figurative theatrical representation.