graduation studio
aki green
UNVEIL underwater theatre
510 464 721
CONTENTS 01 : the brief / 03 - 04 02 : the site / 05 - 20 03 : the concept / 21 - 32 04 : the journey / 33 - 36 05 : the design / 37 - 54 06 : the realisation / 55 - 64 07 : the timeline / 65 - 70 08 : references / 71 - 72
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Inspired by Aldo Rossi’s “Teatro Del Mundo” - a temporary floating theatre - the graduation studio brief seeks the creation of a Drama House, either fixed or floating within the watery expanse of Sydney Harbour. Unlike a typical unmoving and bound plot of land, the theatre is to adopt the unpredictable stretch of sea as its territory, harnessing environmental phenomena, such as tides and changing water conditions to enhance the dramatic experience of the building.
{ unveil } / UN‘VEIL/
01
/ the brief
To reveal something grand that is otherwise hidden or kept secret. My interpretation of the brief revolves around the concept of theatre as an escape from reality, a sanctuary where individuals immerse themselves in the artistic portrayal of others’ lives, temporarily disconnecting from the external world. In perceiving Sydney Harbour’s undulating waters as a delicate veil, my underwater theater celebrates the unveiling of an otherworldly space beneath the water’s surface. The exterior showcases two protruding pebble-like forms, gradually unveiling their interconnected solidity during tidal changes. This contrast between the exterior’s solidity and the interior’s warm lightness accentuates the idea of an escape to the ethereal. The arrival sequence takes center stage within the experience of the building, orchestrating a gradual immersion for audiences as they traverse mezzanines, suddenly finding themselves submerged in an underwater realm. The design features two pivotal theatre spaces: a formal drama theater seating 250 at the heart and an informal amphitheatre in the grand foyer accommodating 100, creating a space for contemplation with a panoramic view of the underwater expanse. This thoughtful integration of nature and architecture offers a captivating and immersive experience for both performers and audiences.
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bottle and glass point nielson park, vaucluse
02 / the site
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Located at the tip of Nielson Park, ‘Bottle and Glass Point’, the scheme extends out from a narrow reserve framed scenecally by trees, onto Sydney Harbour’s expansive waters. The distinctive feature of this site is the overwhelming presence of large heavy rocks which act as almost a sculptural art piece which foregrounds the backdrop of the harbour. My project draws inspiration from the dynamic tidal rhythms that characterise these rocks. During high tide, they evoke the illusion of floating islands, casting an enchanting aura, only to unveil their genuine, solid mass when the tide recedes. This intriguing interplay between the rocks and the tidal nuances forms the essence of my design, creating a captivating experience that mirrors the ever-changing beauty of Sydney Harbour. This section introduces a critical analysis of the site at both the macro and micro scale to substantiate the design’s appropriate locale in terms of access, usage, views, orientation, and the overall topography.
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SYDNEY HARBOUR LOCATION PLAN / the site
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Within the context of Sydney Harbour, Bottle and Glass Point sits at the tip of Nielson Park, Vaucluse. It finds itself somewhere in between the antithetical views of the Sydney city skyline and the horizon.
With the site edging away from the distant city-scape, the theatre integrates with the expansive ocean view, transporting its visitors to an underwater realm—a haven within the boundless sea, away from the urban sprawl.
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VAUCLUSE CONTEXT PLAN / the site
Post European settlement, Nielsen Park remains a popular reserve, rich in native flora and fauna, with its prime harbourside location attracting visitors from across Sydney. Offering uninterrupted views of Sydney Harbour, particularly from the scenic Bottle and Glass Point, the site is optimal for a formal, public function space.
VIEWS WESTWARD bustling city-scape
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Nielsen Park is part of the traditional land of the Birrabirragal Aboriginal people. The location was an attractive occupation site due to its accessibility, supply of fresh water and fishing resources. Extensive archaeological evidence at Nielsen Park demonstrates use of the land for camping and fishing over an extended period. To date, there are 14 recorded Aboriginal sites within the park, each containing middens, rock shelters and various aesthetic pieces.
VS.
VIEWS EASTWARD
contemplative horizon
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NIELSON PARK SITE PLAN / the site
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A lengthy boardwalk links the theatre to Nielsen Park, stretching from the narrow tip of Bottle and Glass Point to the entry deck. It meanders towards the prominent ‘Circle Rock’ before smoothly redirecting straight to the theatre. This intentional route offers audiences a chance to appreciate the site’s natural beauty, treating it as an artistic precursor to the subsequent encounter with the addition that is ‘Unveil’.
USAGE : The park is predominantly bushland, with various walking tracks within. Shark Beach is, by far, the most popular destination, leaving Bottle and Glass point rather secluded and overlooked. The proposal reinvigorates the tip of this site.
ACCESS: The proposal’s main entry is intended to be by foot to lengthen and fully immerse visitors in the act of arrival. However, it also considers other entry via public ferry and private boats for staff and props to be transported directly backstage.
TOPOGRAPHY : The topography is rather unique, with Nielson Park’s shallow, rocky perimiter, followed by a steep drop off the edge of Bottle and Glass Point. This stark change in topography is mirrorred in the design’s falling circulation, denoting the act of immersion.
ROCKS: The site is characterised by an abundance of small rocks outlining the perimeter of Nielson Park. One large rock at Bottle and Glass Point stands in contrasts due to its sheer size, and plays an important role in bringing personality to the site.
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Whilst approaching the theatre, views out towards the water are heavily veiled by dense trees and bushes. However glimpses of ocean blue can be caught between the foliage, fostering a sense of curiosity for what lies beyond.
As visitors near the end of the trail, the scene begins to unveil, with the foliage framing the picturesque city in the distance. It is from this point that audiences step foot onto the board walk towards the theatre.
CONCEALED WATER VIEWS / the arrival
UNVEILING WATER VIEWS / the arrival
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Views out towards the sculpural rocks at high tide.
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CONCEALED SITE ROCKS / the arrival
Views out towards the sculpural rocks at low tide.
UNVEILLED SITE ROCKS / the arrival
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The small sandstone island which motivated the conception of this project has long been a point of intrigue for historical artists and explorers. The island was initially identified by early colonists for its rock formations, which were likened to a bottle and glass, hence the title ‘Bottle and Glass Point’.
However, by the 1850s, natural weathering had eroded the features that gave rise to its name, and by the 1880s, rumors circulated that the rocks had become a target for practice by a man o’ war moored at Watsons Bay. Unfortunately, in 1938, illegal quarrying occurred, leading to additional collapse and further altering the once-distinctive landmark.
CONRAD MARTENS (1870) / historical depictions
MITCHELL LAWSON (1887) / historical depictions
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MONTHLY TIDAL CYCLE / the site
The maximum (1.8) and minimum (0.3) tide heights are shown against the proposal. The theatre’s perception at high tide is distinct from its appearance at low tide; with differing amounts of its interconnected roof plane being unveiled.
5 year average of tidal height variations at Nielson Park (m)
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03
/ the concept
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The concept of the theatre revolves around the juxtaposition between what can be seen of the cold, stone-like building from the outside, above water, in comparison to light experience of the space from within. Submerged within the depths of Sydney Harbour, Unveil emerges majestically out of its surrounding waterscape, rising naturally as a soft hill on the rocky shore of Bottle and Glass Point. These seemingly separate hills are in fact revealed to be interconnected beneath the water’s surface, giving rise to an expansive and contemplative space in the depths of the Harbour. A key aspect of the building is the unconscious transition, transporting visitors from the world above sea level to the ethereal realm below, marking a crucial immersion before entering the theatre.
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The conceptual collage serves as a visual anchor, solidifying the project’s ambitions from its initial stages. It illustrates the dual realms, above and below sea level, employing a colour gradient that signifies the shift from the ordinary to the extraordinary. The upper world captures the historical rocks of Bottle and Glass Point in black and white, while the lower world unveils a vibrant theatre, bathed in warmth, where people gather and connect with nature. A notable element of this collage is the depiction of individuals descending from above water to below, symbolising their unintentional journey driven by the immersive music of the underworld.
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CONCEPTUAL COLLAGE / the concept
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The project finds profound inspiration in the natural phenomena of the site’s rocks and their dynamic transformation with the tide. Instead of seeking to aesthetically replicate these natural elements, the project aspires to evoke a comparable atmospheric quality that captivates the essence of the site.
The initial concept draws parallels with the saying, ‘the tip of an iceberg,’ suggesting that what is visible above water may appear modest, yet what remains veiled below is rather substantial.
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The channeling of water between rocks also gives rise to the view of water as a veil, as it conceals the rocks’ interconnected nature, causing them to be perceived as distinct objects above water. This, again, contrasts the experience above with that of below.
The depth level correlates with the distance from the outside world, indicating the degree of immersion. The foyer space is designed to facilitate this descent, as the theatre is situated at the deepest point.
DESIGN DRIVERS / the concept
What is unveiled above water serves as a signal to the external world. The three indicators comprise the two primary entrances and the oculus above the theatre stage, emitting light into the darkness above and indicating the ongoing theatrical performance.
The greatest challenge involved bringing shape to these ideas of atmospheric quality. This process began with a circulation and program spatial arrangement study, further elaborated on page 27.
The general arrangement was found by separating the private and public circulation routes, with the main theatre at the heart of the form, dividing front of house from back of house.
The heart-like shape was derived by treating the 3 main spaces as circular elements; the entry, the informal theatre, and the formal theatre. By lifting these elements above water, a channel is created between the formal and informal.
The two elevated points serve as entry spaces, while the oculus emits light to the external world during a spotlighted theater performance, acting as a signifier of the lively world underwater.
FORM FINDING / the concept
All of these spaces are infact interconnected in an expansive, multi-level Grand Foyer space underwater. This act of falling is key to the experience of the building.
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BUBBLE DIAGRAM (PLAN) / the concept
PUBLIC CIRCULATION
PUBLIC CIRCULATION
PRIVATE CIRCULATION
PRIVATE CIRCULATION
PRIVATE / STAFF SPACES
PRIVATE / STAFF SPACES
GRAND FOYER
GRAND FOYER
PUBLIC SPACES
PUBLIC SPACES
BUBBLE DIAGRAM (ELEVATION) / the concept
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A crucial feature of the building is found in the submerged foyer space, where a skylight exposes a thin layer of water flowing between the theatre’s roof planes. When sunlight interacts with this area, it creates captivating ripples that illuminate the foyer floor, immersing the audience with motions of the water at all angles. Additionally, a narrow window strip encircles the building, strategically opening up in the foyer, providing a panoramic underwater view. Through this deliberate unveiling of water views, visitors gradually and unknowingly become immersed in the space, reaching the pinnacle of immersion just before entering the auditorium.
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SKYLIGHT DETAIL ABOVE FOYER / the concept
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EXTERIOR
INTERIOR
VS.
The self-supporting ferrocement roof is adorned with grey, roughly worked natural stones (slate, granite) that will naturally weather over time, acquiring a patina of oxide and moss, seamlessly integrating the building with the landscape. In contrast to its robust exterior, the interior of the roof is clad with stacked timber panels, and the entire theater is adorned with warm finishes of western red cedar and walnut timber.
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MATERIALITY / the concept
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04
/ the journey
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The following sequence outlines a visitor’s journey from the entry to the auditorium, guiding audiences through key spaces designed to enhance their experience and gradually immerse them in the unique atmosphere of the site. Each step in this passage is thoughtfully curated to create a seamless and captivating transition, allowing visitors to engage with the surroundings and build anticipation before reaching the pinnacle of immersion. From the entry to the submerged foyer space with panoramic views of the underwater landscape, the design orchestrates a narrative that encourages a profound connection between the audience and the architectural marvel, making the entire journey a memorable and immersive experience.
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ENTRY DECK & OUTDOOR BAR / stage 1
BAR MEZZANINES / stage 2
IMFORMAL AMPHITHEATRE / stage 3
FORMAL THEATRE / stage 4
STAGE & OCULUS / stage 5
Provides an expansive view of the outside world and distant cityscape for one last time.
Thin window strip conceals ocean views as visitors gradually immerse themselves down the mezzanines.
Window strip opens up to a panoramic view of underwater where visitors can dwell at the informal amphitheatre and contemplate their surroundings.
Audiences are transported to the classic tiered seating style formal theatre with no views of the external world. This is the pinnacle of immersion.
The oculus works with other artificial lighting to provide a spotlight on the stage. At night the oculus can be seen illuminating the exterior, introducing a sense of curiosity for those in the the world above.
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05
/ the design
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The following section introduces a series of final drawings and models that bring the earlier concepts into practical realisation. This marks the conclusive form of the building, showcasing how the initial ideas have been translated into tangible design elements.
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EXTERIOR AXO / final drawings
EXPLODED AXO / final drawings
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GROUND LEVEL PLAN / final drawings
UNDER-WATER LEVEL PLAN / final drawings
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WEST ELEVATION / final drawings
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SECTIONAL PERSPECTIVE / final drawings
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SECTIONAL MODEL / 1 : 200
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SECTIONAL MODEL / 1 : 200
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SECTIONAL MODEL / 1 : 200
VIEW FROM ENTRY DECK
INTERNAL VS. EXTERNAL MATERIALITY / 51
SECTIONAL MODEL / 1 : 200
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SITE MODEL / 1 : 500
SITE MODEL / 1 : 500
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06
The following section provides realistic visualisations of key external and internal views, offering a comprehensive and immersive glimpse into the intricacies of the final design.
/ the realisation
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SUBMERGENCE / external view 1
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IMMERSION / internal view 1
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CONTEMPLATION / internal view 2
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UNVEIL / external view 2
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07
This section briefly reflects upon the development of the design across the semester through drawings and panels. It foregrounds the moments at which significant decisions were made.
/ the timeline
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The project had strong conceptual underpinnings, however the form was under-developed and un-resolved. This feedback sparked a complete redesign.
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PRECEDENTS Parametric Architecture. “The Parabolic Roof of the Whale Blends with Its Surroundings, Inspired by the Whale’s Journey.” Parametric Architecture. https:// parametric-architecture.com/the-parabolic-roof-of-the-whale-blends-with-itssurroundings-inspired-by-the-whales-journey/#google_vignette. Dorte Mandrup. “Whale Norway.” Dorte Mandrup. https://dortemandrup.dk/ work/whale-norway.
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/ references
ArchDaily. “World’s Largest Natural Marine Observatory Takes the Shape of a Whale.” ArchDaily. https://www.archdaily.com/960122/worlds-largest-naturalmarine-observatory-takes-the-shape-ofa-whale. Baca Architects. “Australian Underwater Discovery Centre by Baca Architects.” Dezeen. January 21, 2021. https://www. dezeen.com/2021/01/21/australian-underwater-discovery-centre-baca-architects/. Snøhetta. “Under.” ArchDaily. https:// www.archdaily.com/913575/under-snohetta. Safdie Architects. “Kauffman Center for the Performing Arts.” Safdie Architects. https://www.safdiearchitects.com/projects/kauffman-center-for-the-performing-arts. Arup. “Kauffman Center for the Performing Arts.” Arup. https://www.arup.com/ projects/kauffman-center-for-the-performing-arts. Safdie, Moshe. “Kauffman Center for the Performing Arts.” ArchDaily. https://www. archdaily.com/151008/kauffman-centerfor-the-performing-arts-moshe-safdie.
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Museum of Applied Arts & Sciences. “The Sydney Opera House Drawings.” Museum of Applied Arts & Sciences. https://mhnsw.au/stories/general/thesydney-opera-house-drawings/. Architectuul. “Sydney Opera House.” Architectuul. https://architectuul.com/ architecture/sydney-opera-house.
HISTORY Dictionary of Sydney. “Bottle and Glass Rocks.” Dictionary of Sydney. https:// dictionaryofsydney.org/natural_feature/ bottle_and_glass_rocks. Attenbrow, Val. Sydney’s Aboriginal Past: Investigating the Archaeological and Historical Records. Randwick, New South Wales: UNSW Press, 2010. p. 171. ISBN 978-1-74223-116-7. Wild Walks. “History of Nielsen Park.” Wild Walks. https://wildwalks.com/bushwalking-and-hiking-in-nsw/sydney-harboursouth-side/history-of-nielsen-park.html. McFadyen, Michael. “Bottle and Glass Point.” Michael McFadyen’s Scuba Diving Web Site. https://www.michaelmcfadyenscuba.info/viewpage. php?page_id=530.
COLLAGED TEXTURES Unknown. “Knotted Timber Staggered.” Architextures, https://architextures.org/ textures/171 Unknown. “Oak.” Architextures, https:// architextures.org/textures/729 Unknown. “Western Red Cedar Stack.” Architextures, https://architextures.org/ textures/1097
Unknown. “Polished Concrete.” Architextures, https://architextures.org/textures/736 Unknown. “Walnut.” Architextures, https://architextures.org/textures/727 Unknown. “Exposed Aggregate.” Architextures, https://architextures.org/textures/738 Unknown. “Plain Red Velvet.” Architextures, https://architextures.org/textures/3431 Unknown. “Textured Plaster.” Architextures, https://architextures.org/textures/1040 Unknown. “Galvanised Steel.” Architextures, https://architextures.org/textures/910 Unknown. “Limestone, Corfiot.” Architextures, https://architextures.org/textures/1483 Mart Production. “Man in Suit Playing Trumpet.” Pexels. https://www.pexels. com/photo/man-in-suit-playing-trumpet-8107048/ Catley, Dave. “Big Rock, Slopey Rock.” Dave Catley Landscape Photography. https://madcat.com.au/products/bigrocks-slopey-rock-margaret-river-western-australia/ Vishnu, Nair. “Large Crowd at Concert.” Pexels. https://www.pexels.com/photo/ people-at-concert-1105666/ Gorlin, Anton. “Ocean Water Splashing Onto Rocks.” Anton Gorlin Photography. https://antongorlin.com/blog/seascape-photography-ultimate-guide/
Unknown. “Concrete.” Architextures, https://architextures.org/textures/700
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