ARCHITECTURAL STUDIO 3B : BDES3037 ANTONY FENHAS : 490480496 TUTOR : ALIA NEHME
TABLE OF CONTENTS BACKGROUND SITE & HISTORY PRECEDENT STUDY CONCEPT
PHASE A SKETCH ITERATIONS PRINCIPLES
PHASE B MATERIALITY DESIGN DEVELOPMENT
THE GLEBE LINKS
4 6 12 16 18 19 24 26 28 30
RENDERS
36 51
APPENDIX
66
BIBLIOGRAPHY
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BACKGROUND
A community centred space, one that does not impose itself on the existing but grows out of the site, understanding what one once stood, the present state, and the future of the space in it’s ever changing landscape. Thus are the notions that The Glebe Links aims to attain on the dilapidated site of the Glebe Island Bridge in Pyrmont, sitting on the Sydney CBD’s western boundary.
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SITE & HISTORY
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GLEBE ISLAND BRIDGE 8
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figure 1: CITY OF SYDNEY GLEBE ISLAND BRIDGE PROPOSAL
figure 2: VIEW FROM EXISTING PATH
figure 3: VIEW FROM WATERVIEW PARK
figure 4: GLEBE ISLAND BRIDGE AERIAL
The site chosen for the project was that of the Glebe Island bridge, once an essential link between Pyrmont and Rozelle, it now sits unoccupied and out of service, overgrown and deteriorating. Sitting on Jones bay just beneath the Anzac Bridge, the site is connected to the walking track of ‘Waterview Park’ and is a short distance from the famous walking track of Blackwattle bay. With links to the site via ferry, and future council proposition to provide light rail access to the bridge and turn it into a pedestrian link, the site holds rich potential for both it’s accessibility and heritage value. The rotating swing bridge of Glebe Island Bridge was built in 1903, acting as the vehicular link between Rozelle and Pyrmont, long before the Anzac bridge was built. It remained in use until 1995 when it was finally decommissioned after the construction of the Anzac bridge. This region of Sydney was once a heavy industrial precinct, with factories and warehouses scattered along the waterfront, whereby some of this industrial history can be still be seen today throughout Pyrmont and Glebe. To one side sits Sydney’s industrial history, juxtaposed on the other by the rapidly growing business and residential buildings that tower the bay to the East in Pyrmont and Sydney’s CBD.
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PRECEDENT STUDY
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3 2
5 4 ROPE CURTAINS SUPPORTED BY FRAME CHS STEEL FRAME
TIMBER DECKING PONTOON FLOATING ON WATER STEEL DECKING PLATE
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THE FLOATING ISLAND Dertien 12 & OBBA : Belgium The Floating Island In Bruges, Belgium designed by Dertien 12 and OBBA is an urban floating public space for recreation and play in the medieval city where space on land is limited. The space takes the form of an organically flowing island, hosting seating that is made up of white rope that undulates as it flows across the space. The project was designed to juxtapose the historic medieval town of Bruges, where due to its high density of heritage buildings, public open space is limited, therefore leading to the design of the floating structure on one of the city’s many canals. This precedent was used as it provided a great example of a floating public open space, where similar to my chosen site, attaches itself unto a historically significant site in a non destructive manner, that both juxtaposes the heritage, whilst not being too intrusive that it intrudes on the existing aesthetic. The organic form of the overall island and the potential for the notion of play for both adults and children, also acted as precedents in the design of my floating theatre. Thus providing the goal of creating an open, inclusive public space.
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AUDITORIUM STAGE / ARENA
AISLE
FOYER
PERFORMANCE SPACE REPURPOSED HERIAGE STRUCTURE RUINS RECYCLED TIMBER INFORMAL SEATING TIMBER DECKING RAISED WALKWAY
THE WAVE
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THE WAVE PUBLIC PERFORMANCE SPACE The Scarcity and Creativity Studio : Chile The Wave public performance space designed by The Scarcity and Creativity Studio acted as the most influential precedent driving the design of the floating theatre. Sitting in an abandoned ruin of a building, the ‘roofless’ performance space uses recycled materials to create a stepped tiered seating space where each tier of seating rises as the structure fans outwards. Through the use of basic construction techniques and raw materials, the theatre creates a sense of honesty and an almost ‘uncomplete’ aesthetic, leaving it for the public to create their own narrative and sense of place. One of the most successful aspects of this performance space that inspired the Glebe Links, is that most events hosted in the theatre are not ticketed. Whereby the organisers deliberately chose to create a community centred performance space that is accessible to all and supports local artists, over a luxurious theatre. This notion thus providing the aim to create am intentionally unassuming public theatre, designed for the use of the local inhabitants that is both affordable, and creates a strong sense of community.
E THEARE PLAN 1:200 @A3 VALPARAÍSO, CHILE
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CONCEPT COLLAGE The ambition of this design is to create a community centred floating theatre on Sydney’s harbour, one that is not opulent, but deliberately implicit and accessible to the wider public. These notions are thus captured in this initial concept collage, illustrating the architectural ambitions and thematic agenda of the space. The weaved newspaper underlayed beneath the water represent the histories and narratives of the site, networked with the present community and ever changing landscape of Sydney. A construction crane carries the iconic construction workers of the empire state building in the ‘Lunch atop a skyscraper’ photo, as they watch over the outdoor harbour theatre. This embodies the notion of the theatre designed for the average working class member, with links to Pyrmont’s strong industrial roots. Finally the concept of designing an outdoor theatre overlooking the harbour is seen in the illustration of the crowd sitting along the water edge. These were thus the driving ambitions that shaped the final theatre through it’s many iterations, leading to the development of its final form.
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PHASE A
BUBBLE DIAGRAM 19
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STEPPED EDGE CONDITION TAKES ORGANIC FORM UNDULATING IN AND OUT AROUND THE EDGE
PUBLIC BOARDWALK SURROUNDING THEATRE
THEATRE
BREAKDOWN OF THE EDGE CONDITION TO CREATE DIRECT CONNECTION TO WATER AS WELL AS TIERED SEATING
SKETCH ITERATIONS
Taking the two notions derived from the precedent studies of organic flowing forms and a thrust stage style tiered theatre seating, sketch iterations were carried out to determine a form. Sitting on the historically rich site of Pyrmont, it was essential for the space to belong to the site, and not be disconnected from it’s local landscape. Industrial architecture and materially was thus adopted to create a connection between the structures and the existing Glebe Island Bridge, as well as to link back to the history of the site. Thus carrying the past into the present, to create a space for existing and future communities of the precinct. To achieve a sense of intimacy between the audience and performers, Greek and Roman amphitheatres were adapted to include a semi circular tiered seating space. This meant that audience members were free to chose their seating, as well as remove any form of class delineations between the seating spaces.
ITERATION 01
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ITERATION 02
ITERATION 03
SKETCH ITERATIONS
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INDUSTRIAL MATERIALITY RELEVANT TO SITE
INFORMAL AMPHITHEATER TIERED SEATING
BREAKING DOWN OF THE EDGE CONDITION
COMMUNITY FOCUSED SPACES
ACCESSIBLE SPACES
PEDESTRIAN LINK
PRINCIPLES
Based off the iterative sketches and designs, the initial concept was thus derived to create a precinct like floating island instead of a singular theatre structure that hosts multiple programs. This supported the notion of creating a communal public space that hosts both formal and informal theatre spaces, as well as a dining amenities. The three main spaces seen in plan consist of the main enclosed theatre followed by the outdoor amphitheater to the left, and finally the café/bar sitting on the left side of the precinct. The breaking down of the edge condition of the island was incorporated to create seating along the water, and wheelchair accessible winding ramps allowed the user to travel from the existing paths to reach the island.
SITE ORGANISATION DIAGRAM 25
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PHASE B
Heavy use of exposed steel structural system pays respect to the once existing factories of Pyrmont and Glebe whilst keeping in touch with the aesthetic of the existing bridge and the contemporary architecture of the surrounds, therefore allowing the island to be a bridge between the past and the present. Exposed steel structures act as the primary structure creating and supporting the forms. This can be seen in the trussed columns and roof beams, supporting the wall and roofing systems. Corten steel walls clad the main enclosed theatre, as well as the roofs of the two exterior structures. The steel roofs of the outdoor amphitheatre and café are perforated to allow for light to enter whilst providing shading and a degree of rain cover for the occupants of the outdoor structures. Finally, exposed stone aggregate concrete is used throughout the precinct as the main flooring system, as well as for the tiered seating and piers holding up the island. The aggregate concrete provides that balance between the link to the rustic industrial architecture and the modern aesthetic of the precinct.
MATERIALITY
CORTEN STEEL
EXPOSED STEEL STRUCTURE
PERFORATED STEEL SHEET
STONE AGGREGATE CONCRETE
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To further drive the notion of a community centred public space, the precinct must be able to host public events such as festivals and fairs, that can host a large number of people. The exterior walls of the main enclosed theatre were therefore designed to be operable to allow for them to open up and allow passer-by’s to view the stage whilst walking by without the need for formal seating. To achieve this goal of having the stage being visible from the outside ground level, the stage level was dropped down to sit at almost water level, and the tiered seating was opened up in the centre, and fanned outwards like a tiered pyramid to allow a for a full view from the centre whilst keeping a high capacity of seating. This thus allows for the main theatre to open up during events such as vivid or other festivals so that live performances can be viewed whilst people are walking past, whilst simultaneously allowing the walls to be closed to host ticketed and private performances.
DESIGN DEVELOPMENT
THEATRE DURING CLOSED POSITION PLAYS, PERFORMANCE, & TICKETED EVENTS
THEATRE DURING OPEN POSITION PUBLIC EVENTS, FESTIVALS & CONCERTS
OPERABLE WALLS DIAGRAM 31
TIERED EDGES INCREASED IN DEPTH TO CREATE CONTOURED ISLAND
ROOF AWNING OVERHANG INCREASED TO PROVIDE ADDITIONAL RAIN COVER TO ADJOINING PATHS
PHASE 2 SITE PLAN 32
CENTRAL TIERED BATHROOM REPLACED WITH A RAISED PUBLIC GREEN SPACE
PLANTING ADDED TO FIRST TWO STEPS OF TIERED EDGE TO INCREASE PUBLIC GREEN SPACES
PHASE 2 GROUND FLOOR PLAN 33
INITIAL SEATING FORM
PREVENTS VIEWING OF THE STAGE FROM THE OUTSIDE
ABSTRACT PROPOSED FORM
TIERED SEATING DIPS IN THE CENTRE AND PLATEAUS AT EXTREME EDGES
FINAL SEATING COMPOSITION
STEPS TAKE THE FORM OF THE ARCH AND ALLOW VIEWING FROM BEHIND THE STEPS
TIERED SEATING ITERATIONS DIAGRAM 34
EXTERNAL WALLS ARE MADE OPERABLE TO OPEN UP SPACE TIERED SEATING FANS OUTWARDS AS IT RISES TO ALLOW FOR VIEWING FROM ENTRANCE
PHASE 2 DETAIL PLAN 35
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APPROACH PERSPECTIVE 37
LOCATION PLAN 1:10000 38
INDUSTRIAL MATERIALITY RELEVANT TO SITE
COMMUNITY FOCUSED SPACES
PEDESTRIAN LINK
BREAKING DOWN OF THE EDGE CONDITION
ACCESSIBLE SPACES
INFORMAL AMPHITHEATRE TIERED SEATING
PRINCIPLES DIAGRAM 39
1
2
3
BLACKWATTLE BAY
JONES BAY
ANZAC BRIDGE
PRECINCT ACCESSED THROUGH ACCESSIBLE BRIDGE
LEGEND 1 GLEBE ISLAND BRIDGE
3 OUTDOOR AMPHITHEATRE
5 PUBLIC GREEN SPACE
7 ACCESSIBILITY RAMP
2 MAIN ENCLOSED THEATRE
4 RESTAURANT / BAR
6 TIERED EDGE SEATING
8 WATERFRONT PARK TRACK
SITE SECTION 1:1000 40
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3 4
6
5 2
7 1
SITE PLAN 1:1000 41
4 2 11
8
7 3 12
1 10
5
9 6
GROUND FLOOR PLAN 1:500
LEGEND
42
1 MAIN ENCLOSED THEATRE
5 PUBLICLY ACCESSIBLE BATHROOMS
9 CONCRETE TIERED SEATING
13 STAFF OFFICES
2 OUTDOOR AMPHITHEATRE
6 BOOKSHOP
10 STAFF STAIRS TO LOWER GROUND
14 STAFF BATHROOMS
3 RESTAURANT / BAR
7 FOYER /OPERABLE DOORS
11 TIERED EDGE SEATING
15 BACKSTAGE AND CHANGE ROOMS
4 ACCESSIBILITY RAMP
8 WATERFRONT PARK TRACK
12 PUBLIC GREEN SPACE
16 STAFF ROOMS AND STORAGE
2
1
7
4
3 5 8 6
LEGEND 1 FOYER
4 PUBLICLY ACCESSIBLE BATHROOMS
7 STAFF STAIRS TO LOWER GROUND
10 STAFF OFFICES
2 OPERABLE DOORS
5 BOOKSHOP
8 STAFF STAIRS TO BACKSTAGE
11 STAFF BATHROOMS
3 CONCRETE TIERED SEATING
6 STAGE
9 STAFF ROOMS AND STORAGE
12 BACKSTAGE AND CHANGE ROOMS THEATRE DETAIL PLAN 1:250 43
BOOKSTORE DETAIL SECTION
SHELVES FIT INTO BACK OF ANGLED TIERED SEATING WALLS
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BATHROOMS DETAIL SECTION
BATHROOMS ACCESSIBLE FROM THEATRE AND PUBLIC WALKWAYS
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10
11 7
8
12
LEGEND 1 FOYER
4 PUBLICLY ACCESSIBLE BATHROOMS
7 STAFF STAIRS TO LOWER GROUND
10 STAFF OFFICES
2 OPERABLE DOORS
5 BOOKSHOP
8 STAFF STAIRS TO BACKSTAGE
11 STAFF BATHROOMS
3 CONCRETE TIERED SEATING
6 STAGE
9 STAFF ROOMS AND STORAGE
12 BACKSTAGE AND CHANGE ROOMS LOWER GROUND PLAN 1:250 45
THEATRE DURING CLOSED POSITION PLAYS, PERFORMANCE, & TICKETED EVENTS
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THEATRE DURING OPEN POSITION PUBLIC EVENTS, FESTIVALS & CONCERTS
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9
8 3 1
6
2
5
7 4
CROSS SECTION 1:250
LEGEND
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1 FOYER
4 STAFF OFFICES
7 TIERED SEATING EDGE
2 CONCRETE TIERED SEATING
5 BACKSTAGE AND CHANGE ROOMS
8 OUTDOOR AMPHITHEATRE
3 ACCESS RAMP TO PRECINCT
6 STAGE
9 GLEBE ISLAND BRIDGE
10 6
9
2 3
5
1
12
4
7
8
11 16
13
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SECTIONAL PERSPECTIVE 1:500
LEGEND 1 MAIN ENCLOSED THEATRE
5 PUBLICLY ACCESSIBLE BATHROOMS
9 CONCRETE TIERED SEATING
13 STAFF OFFICES
2 OUTDOOR AMPHITHEATRE
6 BOOKSHOP
10 STAFF STAIRS TO LOWER GROUND
14 STAFF BATHROOMS
3 RESTAURANT / BAR
7 FOYER /OPERABLE DOORS
11 TIERED EDGE SEATING
15 BACKSTAGE AND CHANGE ROOMS
4 ACCESSIBILITY RAMP
8 WATERFRONT PARK TRACK
12 PUBLIC GREEN SPACE
16 STAFF ROOMS AND STORAGE 49
RADIAL STEEL ROOF SYSTEM SUPPORTS ROOF SHEETING
STEEL UNIVERSAL BEAMS SUPPORT CLADDING AND ROOF SYSTEM CONCRETE TIERED SEATING SPANS OUTS AS STEPS RISE ACCESS TO PRECINCT THROUGH BRIDGE
OPERABLE STEEL WALLS OPEN UP DURING FESTIVALS TO ALLOW SPECTATORS TO VIEW WHILST STANDING OUTSIDE
BATHROOMS ACCESSIBLE TO PUBLIC AND STAGE
PATH LEADS TO ENTRANCE / EXIT RAMP LEADING TO GLEBE ISLAND BRIDGE
STAFF STAIRS FROM BACKSTAGE LEADING TO MAIN STAGE
ISLAND SUPPORTED BY PIER SYSTEM
EXPLODED DETAIL AXONOMETRIC 1:200 50
RENDERS
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APPROACH VIEW 53
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VIEW FROM OUTSIDE THEATRE 55
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ENCLOSED THEATRE 57
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STAGE 59
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OUTDOOR AMPHITHEATER AND GREEN SPACE 61
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CAFE / BAR 63
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GLEBE ISLAND BRIDGE 65
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APPENDIX
SITE SELECTION
SITE SELECTION
GOAT ISLAND
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SITE SELECTION
WOOLLOOMOOLOO WHARF 70
SITE SELECTION
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This Early iteration captured the main essence of the design, however the latter and final concept saw the removal of the central tiered bathroom block and the exaggeration of the stepped edge condition. The central bathroom amenities were replaced with publicly accessible green space, and the tiered edges were brought inwards and increased in steps to create a contoured landscape where the steps reached all the way down to the water
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INITIAL CONCEPT
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INITIAL STRUCTURE
The initial primary structure that supported the radial roof consisted of a central column that sat on the centre of the stage, rising up to meet all the roof beams at a single point. The central steel column would thus carry all the loads meaning that no horizontal beams were needed, it however took up a large portion of the stage, and caused visibility issues as it obstructed the view of the second half of the rear stage.
INITIAL ROOF STRUCTURE 75
The final proposed structure therefore aimed to remove that central column to allow for full unobstructed view of the stage, whilst still supporting all the loads of the roof system. This was done by creating a deep steel horizontal roof beam that went across where the two semicircles of the forms met allowing the radial roof beams to sit on the centre of its span. Four thicker horizontal universal columns at the edge of the building and edge of the stage carried the downwards loads, and the trussing system and angled column provided shear strength to prevent it from swaying. These thicker members therefore allowed for the removal of the central columns and allowed the loads to sit evenly on the primary steel structure without any obstruction of views.
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FINAL ROOF STRUCTURE 77
BIBLIOGRAPHY 78
SITE 1.
Figure 1: ‘“Glebe Island Bridge – Possible Future” Artists Impression. Image courtesy of: City of Sydney
2.
Figure 2: Photo by: Reidole Eng
3.
Figure 3: Photo by: Reidole Eng
4.
Figure 4: Glebe Island Bridge. Image Courtesy of: Visit Sydney Australia
PRECEDENT 5.
“the scarcity and creativity studio develops public event space in valparaiso, chile.” Designboom. Accessed 17/08/2021.
6.
“THE WAVE: PUBLIC PERFORMANCE SPACE IN VALPARAISO, CHILE.” DesignBuild Exchange. Accessed 17/08/2021.
7.
“The Floating Island / OBBA & Dertien12.” ArchDaily. Accessed 17/08/2021.
7.
“THE FLOATING ISLAND BY OBBA AND DERTIEN12.” Metalocus. Accessed 17/08/2021.
COLLAGE 8.
“Lunch atop a Skyscraper.” Author Unknown. 1932.
9.
“Opera In The Amphitheater.” Image courtesy of: Operatif Opera Song Travel
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