M.Arch (semester 2) Folio_2021

STUDIO

MOSAICS OF MUSIC 2021-HS1-ARC70001/ARC70003/ARC80002Desin Research Studio A, B, C (Semester 2), Swinburne University Led by Dr Pantea Alambeigi

submitted by A S M Forhad Hossain Master of Architecture Student Id_103141287

CONTENT PROJECT BRIEF

01RESEARCH & INITIAL IDEAS 1.1 PRECEDENT STUDY 1.2 ARCHITECTURAL STANDARD 1.3 UNDERSTANDING OF SOUND 1.4 SOUND SIMULATION

02DESIGN DEVELOPMENT 2.1 FORM EXPLORATION 2.2 RAY VISUALISATION 2.3 MATERIAL EXPLORATION 2.4 PROPOSED AUDITORIUM

03THE SOUND GALLERY 3.1 SITE ANALYSIS 3.2 SPATIAL PLANNING 3.3 CONCEPTUAL SKETCHES

04IDEA DEVELOPMENT 4.1 FORM EXPLORATION 4.2 DESIGN DEVELOPMENT 4.3 FACADE EXPLORATION 4.4 LAYOUTS 4.5 FORMAL EXPRESSION 4.6 SECTIONAL PERSPECTIVE 4.7 DIAGRAMS

05VISUALISATION REFFERENCES & LINKS 2

Sound is spatial and ephemeral. It’s amazingly powerful. It exists in architecture with a mutual interaction. The built environment that we hear can shape emotions and change perceptions. Sound is a dynamic medium for delivering elegant, rich and connected experiences. While sound is not a new concept in architecture and it has been addressed centuries ago by many architects and design theorists, such as Marcus Vitrivius, it is generally accepted that sound is currently excluded from architectural design practice. Despite its ubiquity and critical significance, architects’ primary focus is on designing a visual environment rather than a sonic environment.

During the twentieth century, the acoustic sciences evolved into a professional and academic field that offered opportunities for interdisciplinary collaborations. However, it is still not commonly adapted by architects. While other ocular-centric design drivers such as light and colours are becoming inseparable part of the design, sound as a design driver is highly neglected. Relying on acousticians and limiting the acoustical approaches to only the choice of material is very typical in practice. Admittedly, the acoustic design is highly dependent on materiality for better sound performance, however, a design should be fully understood not only at the level of material but also at the scale of the entire geometry.

PROJECT BRIEF

Studio Agenda and Scope • Design as research • Iterative approach to the design through a sound-performative research and simulation • Tradeoff between architectural, acoustical and urban requirements This studio will investigate the architectural and acoustical principles of designing a music venue featuring an auditorium for music performance that offers a live space with acceptable level of music clarity and provides even sound distribution over the audience area. It also deals with the Victorian government proposal of ”Transforming Melbourne’s Arts Precinct”, with the aim of bringing visitors from interstate and overseas, reinforcing Melbourne’s position as Australia’s cultural capital and giving families a new public place to enjoy and explore.

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01

RESEARCH & INITIAL IDEAS Understanding the process of entwining sound and space and introducing inspiring new solutions in which aesthetical and functional requirements inform the geometry within a constant interaction!

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1.1 PRECEDENT STUDY ELBPHILHARMONIE A concert hall in the HafenCity quarter of Hamburg, Germany, on the Grasbrook peninsula of the Elbe River.It is one of the largest concert halls in the world. It is popularly nicknamed Elphi.

• • • •

Built on top of an old brick warehouse (Kaispeicher A, built in 1963) Design by the Swiss architecture firm Herzog & de Meuron The tallest inhabited building in Hamburg, with a final height of 108 metres (354 ft).

Inaugurated on 11 January 2017 Heptagonal Shape Auditorium with central stage provide space for large number

1. Kaiserspeicher, built 1875, damaged in WW2, demolished 1963 1

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2. Hamburg aerial view with Kaiserspeicher left-centre, 1882 2

3. Kaispeicher A by architect Werner Kallmorgen (built 1963) in 2005 3

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The auditorium-the larges product of parametric des velop an object’s form. Al typefaces even chairs. In t used algorithms to genera acoustic panels that line th giant, undulating puzzle. T chromatic coral reef, but b

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Funnel shaped roofing provides more sound reflections

st of three concert halls in the Elbphilharmonie is a sign, a process by which designers use algorithms to delgorithms have helped design bridges, motorcycle parts, the case of the Elbphilharmonie, Herzog and De Meuron ate a unique shape for each of the 10,000 gypsum fiber he auditorium’s walls like the interlocking pieces of a The room looks almost organic like a rippling, monobringing it to life was a technological feat.

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XIQU CENTRE, HONG KONG Revery Architecture (formerly Bing Thom Architects) and Ronald Lu & Partners

The Xiqu Centre is located on the eastern edge of the West Kowloon Cultural District, at the junction of Canton Road and Austin Road The eight-storey building has a total area of 28,164 sq m and houses a Grand Theatre, accommodating 1,075 seats, a Tea House Theatre, with a capacity of up to 200 seats, eight professional studios and a seminar hall, all specially designed for different types of xiqu-related functions and activities. A unique feature of the venue is the location of the Grand Theatre at the top of the building, which allows for a large open atrium below with space for exhibitions, stalls, and xiqu demonstrations and workshops.

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12

Suspended Auditorium

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1.2 ARCHITECTURAL STANDARD

GEOMETRY OF AN AUDITORIUM The talker to audience distance can be minimised by carefully considaring the room geaometry A rectangular shoe box type with stage across one narrow end, may be excellent for music where an audience can be seated farther away and a greater ratio of reverberant sound is desirable However, a rectangular geametry is only suitable for a relatively small speech hall.

Another one which is considered to give satisfactory results without introducing complications in the acoustical treatment of the hall is the Fan shaped plan.

Shoe box

PROPORTION OF AN AUDITORIUM Fan

•

•

Diamond

• • • • •

Horse shoe https://www.slideshare.net/aaqibiqbal940/auditorium-desktop-study-90054494

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Neufert Architect’s data

There are obtained from apectator’s physiological perception and viewing angles, as well as requirement for good view from all seats.

Head movement should be accounted to the following, 30 - No movement 60 - Slight eye movement 110 - slight eye and head movement 150 - head movement 90 degree 360 - full head and shoulder movement

AUDITORIUM SEATING •

VOLUME CALCULATION: • • • • • •

Total seating area = 0.5 sqmx 800 (capacity) = 400 sqm Approx. area including stage , circulations = 400x2= 800 sqm As per seating consert hall volume = 6-15 cubic m Max. volume 15 x 800= 12,000 cubic m Min. volume 6 x800 = 4,800 cubic m Avarage volume = 8,400 cubic m

RT VALUE RANGE FOR THIS VOLUME WOULD BE 1.4-1.7

• •

• •

•

The seats should be arranged in concentric arcs of circles drawn with the centre located as much behind the centre of the curtain line as its distance from the auditorium rear wall.

Important factors in the auditorium design are clear and unobstructed sight lines to the screen being one of the controlling factors.

To provide best visibility from any seat, no patron should sit exactly in front of any other patron.

Staggering is a accomplished by the nonuniform placement of seats varying width in succedind rows.

Seating Capacity on the format selected Max number of 25 seats per aisle is permissible if one side exit door of 1.2 m width is provided per 3-4 rows

https://www.arch2o.com/theater-design-7-for-designing-a-good-theater/

Neufert Architect’s data

Neufert Architect’s data

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1.3 UNDERSTANDING OF SOUND

SOUND BEHAVIORS:

• • • • •

Absorption Reflection Refraction Scattering Transmission

SPL - SOUND PRESSURE LEVEL: Sound pressure level (SPL) is the pressure level of a sound, measured in decibels (dB). It is equal to 20 x the Log10 of the ratio of the Route Mean Square (RMS) of sound pressure to the reference of sound pressure (the reference sound pressure in air is 2 x 10-5 N/m2, or 0,00002 Pa).

RT - REVERBERATION TIME: Reverberation time (RT) is the time required for the sound in a room to decay over a specific dynamic range, usually taken to be 60 ,30,20 dB, when a source is suddenly interrupted.

http://www.larsondavis.com/support/reverberation-time-in-room-acoustics

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https://www.researchgate.net/publication/323739491_Situating_Deliberative_Rhetoric_in_Ancient_Greece_The_ Bouleuterion_as_a_Venue_for_Oratorical_Performance/figures?lo=1

1.4 SOUND

SIMULATION

Following four matrix to find the minimum reverberation time from different geometrical shape. Using grasshoper script to generate different shapes and simulating in Pachyderm plugin for Sound pressure level (SPL) value and Reverberation time (RT 30) value in color coded diagram.

Matrix 1:

Plan geometry: Variable Area: will be changed when varying the plan geometry Volume: Constant Height: Constant 17

Geometry

Rectangle(cube)

Hexagon

Pentagon (Ht_12m)

Heptagon

Triangle

(Ht_12m)

(Ht_12m)

(Ht_12m)

3D

SPLA

Min. SPLA

35.34

39.75

39.89

40.04

39.55

40.33

39.96

Max. SPLA

47.54

46.28

46.46

46.53

46.1

47.03

47.28

Avg. SPLA

41.56

41.33

41.23

41.22

41.06

41.96

41.28

Min. RT(30)

1.77

2.11

1.85

2.1

2.05

1.93

2.17

Max. RT(30)

4.57

3.54

3.36

3.35

3.56

3.38

3.58

Avg. RT(30)

2.8

2.7

2.64

2.7

2.76

2.6

2.7

RT(30)

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Semi-Circle

Convex Triangle (Ht_12m)

(Ht_12m)

Fan

Horseshoe

38.07

30.52

39.38

39.08

36.75

36.99

34.95

46.97

46.5

46.74

46.14

47.46

47.76

46.76

41.18

41.02

38.23

(Ht_12m)

Combine shape

(Ht_12m)

(Ht_12m)

40.78

40.73

40.80

40.84

1.78

1.17

1.84

1.83

1.4

1.65

1.55

3.82

4.91

3.91

1.28

3.7

3.32

3.37

2.81

2.61

2.69

2.68

2.64

1.49

2.4 19

Selected Geometry Identified through the optimum peformance of sound in the simulation with SPLA value of

38.23pa and Rt value 2.4.

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SPLA

RT(30)

Variables

Height 6m

Height 12m

Height 18m

Height 24m

1.4 SOUND

SIMULATION

3D

Matrix 2:

SPLA

Min. SPLA

34.77

34.95

40.33

32.79

Max. SPLA

49.24

46.76

46.71

48.81

Avg. SPLA

38.57

38.23

37.2

37.26

Plan geometry: Constant Area: constant Height: Variable Volume: will be changed when varying the height (this helps to find the appropriate volume for your design).

Selected Geometry Height variation from 12m to 18m identified as an optimum range for the optimum performance.

RT(30)

Min. RT(30)

1.96

1.55

1.62

1.05

Max. RT(30)

3.49

3.37

2.91

3.71

Avg. RT(30)

2.68

2.4

2.12

2.27 21

5 degree down slope towards stage

15 degree down slope towards stage

5 degree down slope towards back

15 degree down slope towards back

Both side slope

Matrix 3:

Height: Constant Plan geometry: Constant Volume: It may vary a bit when changing the angle but it’s not substantial.

Area: Constant Ceiling Angle: Variable

34.97

33.22

34.78

30.99

35.45

49.45

49.65

49.45

49.42

48.9

38.26

38.11

38.02

37.11

38.32

1.74

1.64

0.83

2.92

1.77

3.43

2.62

4.2

4.53

3.22

2.55

2.07

2.48

2.34

2.58

Selected Geometry Both side inclined ceiiling is choosen for optimum performance with rational volume of the geometry though down slope towards stage givce the minimum performance value.

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Variables

outward angular wall

inward angular wall

outward curve wall

inward curve wall

1.4 SOUND

SIMULATION

3D

Matrix 4: SPLA

Min. SPLA

32.87

34.91

34.02

33.17

Max. SPLA

49.18

49.84

49.32

49.53

Avg. SPLA

36.36

38.43

37.1

36.93

Ceiling Angle: Constant Plan geometry: Constant Area: Constant Height: Constant Wall Angle: Variable Volume: It may vary a bit when changing the walls’ angles but it’s not substantial.

Selected Geometry Inward curved wall with both side inclined ceiiling is choosen for dynamic shape of thye geometry with with optimum performance value.

RT(30)

Min. RT(30)

1.9

1.67

1.48

1.59

Max. RT(30)

3.49

2.03

3.1

2.8

Avg. RT(30)

2.03

1.83

2.22

2.17 23

02

DESIGN DEVELOPMENT Developing formal expression and ray visualisation from the same functional layout

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1

4

2.1 FORM

EXPLORATION

2

5

3

6

Auditorium layout

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2.2 RAY VISUALISATION FLAT ROOF

x’

y

SECTION XX’

SECTION YY’

DOUBLE CURVE ROOF

x

y’

x

y’

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SINGLE CURVED ROOF

x’

y’

y

SECTION XX’

SECTION YY’

x

x’

y

SECTION XX’

SECTION YY’

FLAT ROOF AND FOOLR

CURVED ROOF AND FLAT FOOLR

CURVED ROOF AND SLOPE FOOLR

Simulating with different roof and wall types of the same layout geometry in Pachyderm grasshopper script for sound ray visualisation for optimum performance of the auditorium.

Animate diagram link:

https://www.youtube.com/watch?v=becSE4kXPx4

https://www.youtube.com/watch?v=ZLxUtrzHG54

https://www.youtube.com/watch?v=1Ti7p_ CmAK0

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FINAL FORM RAY VISUALISATION Final visualisation showing the sound ray reflection occuring between the sound source and receiver in different distance starting from the stage to the back of the auditorium.

OVERVIEW OF RAY VISUALISATION PERFORMANCE Animate diagram link:

https://www.youtube.com/watch?v=yErni2edciQ

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5 Meter

10 Meter

15 Meter

20 Meter

25 Meter

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2.3 MATERIAL

EXPLORATION

REFLECTIVE Reflection is the change in direction of a wavefront at an interface between two different media so that the wavefront returns into the medium from which it originated. Common examples include the reflection of light, sound and water waves. ...

In acoustics, reflection causes echoes and is used in sonar

METALFABRICS

CURVALON

Aluminum and stainless steel fabrics from GKD are used as a suspended ceiling, wall cladding, and on balustrades in the redesigned and acoustically optimized Koningin Elizabethzaal concert hall in Antwerp, Belgium. The fabrics provide acoustic neutrality, a high-quality visual effect, and fall guard protection, as well as concealing the building technology.

Curvalon faces can be radiused, concave, convex, or made into a serpentine form. Curvalon is made into custom-sized design options in linear strips, narrow panels or full-size sheets up to 4’ x 10’.

Curvalon can be used on ceilings, walls, soffits or suspended as “acoustical reflectors”. Custom-sized and shaped panels can be specified to fit unusual ceiling designs, resulting in minimum product waste. When compared to building curved panels in the field, Curvalon saves time, money, and produces a more consistent and uniform appearance from panel to panel.

https://www.gkd-group.com/en/metalfabrics/aluminum-mesh-stainless-steel-mesh-acoustics-elizabethzaal/

https://archello.com/product/curvalon

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WOOD DIFFUSER BUNGE can support you in any projects with a custom tiange mineral wool panels and sound absorption design or our standard details below.

Tiange can support you in any projects with a custom tiange mineral wool panels and sound absorption design or our standard details below.

HYBRID DIFFUSER This hybrid diffuser absorbs low frequencies more and keeps the higher ones in the space, a large advantage in comparison to acoustic treatment that only absorbs.

DIFFUSER Diffusors (or diffusers) are used to treat sound aberrations, such as echoes, in rooms. They are an excellent alternative or complement to sound absorption because they do not remove sound energy, but can be used to effectively reduce distinct echoes and reflections while still leaving a live sounding space

http://partitionswalls.sell.everychina.com/p-108004614-woodacoustic-diffuser-ceiling-panels-3d-mdf-auditorium-sound-proofwall-board.html

https://rdacoustic.cz/en/blog/2020/05/15/building-a-high-endlistening-room-4-fine-tuning-acoustics/

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FLEXIBLE WOOD DUKTA flexible wood is a unique type of incision process that makes wood and engineered wood flexible. Because of the incisions, the material gains textile-like properties and a significantly wider range of application. With its visual and technical qualities, DUKTA opens up completely new horizons for interior fittings and decoration.

The exellent sound absorbing properties of incised engineered wood are of particular interest. The internationally patented method works with commercial engineered wood such as plywood, MDF and tree-layer boards.

ABSTRACTA Abstracta’s new acoustic panel Sahara is produced by utilizing excess materials from production of wine corks in Portugal. The material is sustainable given that it is renewable and reusable. The production of cork is a naturally circular process given that the bark grows back on the cork tree after it has been removed. This makes Sahara acoustic panels the natural choice for a sustainable acoustic environment

ABSORVATIVE When it comes to sound absorbing materials, also called sound absorbers or sound diffusors, they are, usually, soft, light, fluffy, or porous, which enables them to better absorb an echo.

https://archello.com/product/dukta-flexible-wood#product-description

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https://abstracta.se/story/acoustic-panel/

ABSORVATIVE These materials eliminate sound reflections and are generally porous, with many pathways that redirect sound and cause it to lose energy. Typical sound absorbing materials are fiberglass, rock wool, open cell polyurethane foam, cellular melamine foam, heavy curtain blankets and thick fabric wall coverings.

PANELITE

COMPOSIT GYPSUM PANEL

Panelite Bonded Series honeycomb panels are highly resource-efficient, consisting of approximately 70-85% air by volume. Panelite ACOUSTIC panels weigh only 0.8 lbs per square foot (about 25 pounds per panel) and can achieve greater spans than other sheet or panel materials due their structural honeycomb cores, saving material and labor in installation.

Panelite materials contribute to LEED credits, including Daylighting and Views, and Innovation in Design

The walls, ceilings and base of the acoustic reflector are lined with ridged gypsum fibreboard, patterned to act as an acoustic baffle with a tessellation of irregular craters. Every one of the 10,000 gypsum panels is different, and they make up a reverse-map of the acoustics at the space boundary. http://www.designcurial.com/news/elbphilharmonie-by-herzog-de-meuron-5730915/

https://www.panelite.us/products/interior-bonded-series/panelite-acoustic/

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2.4 PROPOSED

AUDITORIUM

Section AA

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A

B

B

3D VIEW

Layout Plan A

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Section BB 36

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Interior Space

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03

THE SOUND GALLERY The second project is an engagement with architectural program and spatial arrangement within an iconic building and exploring various geometries.

Formed a group of four Students were expected in groups to devise and distribute the program in the site spatially, identify spaces and sub-spaces and find architectural standards for each. Each group was briefed to use 1 or more of their auditoriums designed in the first project and toadjust it according to the site’s limitations and potentials and to place it in the design of an iconic building for the music center in the art precinct of Melbourne. Final submission includes

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3.1 SITE ANALYSIS The site within Melbourne’s Art Precinct not only encompasses the new city garden, but is also surrounded with iconic architecture, boasting creativity, and captivating audiences both from the external views, and performances within.

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The site selected for this project is 1 City Road, Southbank which is listed in the second phase of “Transforming Melbourne’s Art Precinct” run by Victorian government. The site is a testing ground at the moment open for creative projects and special events and it is designated for a “Center for Creativity” in the government’s phase two of the project. It is the only available land in the heart of the dense Southbank suburb, house for many art and cultural centers in Melbourne.

The site potentials with the proximity and connection to the most renowned cultural centers in Melbourne, such as National Gallery of Victoria, State theatre and Arts Center Melbourne make it very interesting and challenging at the same time.

Elk map Melbourne

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Victoria State Library

Fedaration Square

Docklands

thb Sou ank

Ci ty ro ad

Flinder Street Station

Blv

Southern Cross station

Shrine of remembarance

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Proposed Melbourne Art Precint

Hamer hall

Art center

Proposed site

NGV Australian Ballet school

Proposed Melbourne Art Precicint

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MELBOURNE ARTS PRECINCT TRANSFORMATION Australia’s largest cultural infrastructure project, the Melbourne Arts Precinct Transformation will be delivered in two phases:

Phase one • • • • •

a unique new 18,000 square metre immersive public garden in the heart of the precinct, including space for outdoor art and performances NGV Contemporary, a new gallery dedicated to contemporary art and design – set to be the largest of its kind in Australia new connections and improved access into and through the precinct underground shared services infrastructure that will ensure the seamless and sustainable operations of the precinct and its venues, as well as foundational works for Phase Two. This phase will create 5000 jobs during construction. Early works are scheduled to commence in late 2021.

Phase two • •

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an upgraded and reimagined Arts Centre Melbourne Theatres Building, beneath the iconic spire a new Centre for Creativity, run by Arts Centre Melbourne, with spaces and facilities for Victoria’s small to medium and independent arts sector, a new performing arts gallery and an expanded Australian Music Vault.

South view of the Melbourne Arts Precinct (artist impression)

Precint Plan

North view of the Melbourne Arts Precinct (artist impression)

$1.46 billion has been announced to fund the first phase of Australia’s largest cultural infrastructure project.

Situated in Southbank, the Melbourne Arts Precinct already has one of the highest concentrations of arts, cultural and creative organisations anywhere in the world – and presents up to 3000 performances and exhibitions in a typical year.

It’s home to the most visited art gallery and busiest performing arts centre in the country, the best arts education and training institutions, iconic architecture, galleries, theatres, music venues, studios, creative co-working spaces and more.

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CLIMATIC ANALYSIS

Sunpath Diagram

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Windrose Diagram

66.9dB

83.2dB

83.2dB

80.4dB

Sound Level Around The Site 49

SITE ACCESS & MAPPING Due to the proposal of new arst precinct main graden plaza will have an access problem for south bank neighbourhood.

To address this issue we are proposing an tunnel connection between from the City road to the proposed garden precinct. Also proposing public vehicular access road from fanning road in to the building and service access from Sturt road under the proposed plaza.

VEHICULAR AND PEDESTRIAN ACCESS

IMPROVED PEDESTRIAN CIRCULATION + POSSIBLE VEHICULAR ACCESS

Prepared by Sheng Ge

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CIRCULATION

WATER

VEGETATION

Prepared by Emma Dobbie

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Art centre NGV

Botanical Garden

Australian Ballet School

Sou thb

ank

Blv

Proposed site

City ro 52Alexandr

ia ave.

ad

SITE SUROUNDINGS

VIEW FROM CITY ROAD

VIEW FROM MELBOURNE ART CENTER ELEVATED PLAZA

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3.2 PRECEDENT STUDY CASA JURA

Bois D’amont, France

CASA JURA IS ENCLOSED BY ITS SURROUNDINGS, IMAGES BY JULIEN LANOO

FORM FINDING DIAGRAMS

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Ground Floor Plan

First Floor Plan

Roof Plan

BUSAN OPERA

Busan, South Korea Busan, South Korea

GLAZED PANELS SHAPE THE FACADE

BUSAN OPERA HOUSE BLURS THE DEFINITION OF INSIDE AND OUTSIDE

Sec �o n

Parametric Designing

Ground Floor Plan

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3.3 SPATIAL PLANNING Space

Area

Restaurant

1800 m2

Auditorium

10000 m3

Rehearsal / Studio

TicketOffice

600 m2

200 m2

Lobby

4000 m2

Offices

400 m2

Bathrooms

200 m2

Mee�ng

320 m2

Car parking

Volume

2000 m2

Prepared by Adrian Pace

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Proposing a ramp connection from the City road for the adjuscent Southbank neighbourhood to the Garden precinct.

Public restaurant is located at the juction corner of City road and Sturt road.

Audotorium is located at the edge of Fanning street on level 3. Main access is considered from the proposd garden precinct at level 2.

Prepared by Sheng Ge

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3.4 CONCEPTUAL SKETCHES PLAZA LEVEL ZONING

Level 2 - Emma Level 2

Level 3

Level 4

Prepared by Emma Dobbie

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RESTAURANT ZONING

Prepared by Adrian Pace

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Ground & Level 1 - Sheng FORM CONCEPTUALISATION Try to explore a curvilenear form that can entwing with the sound curve and generate an organic shape to enclose the functional space and also give the opprtunity to find an hollow space to connect the neighbourhood urban space with the proposed garden precinct.

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Ground Level

GROUND AND LEVEL 1 ZONING

04

IDEA DEVELOPMENT Level 1 Level 1

Ground & Level 1 - Sheng Level 1 Ground Level

Level 1 Prepared by Sheng Ge

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4.1 FORM EXPLORATION

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1

2

3

4

5

6

ON-FOOT CONNECTION + 24

+8

+0

The Sound Gallery

Plaza Level

City Road

Prepared by Adrian Pace

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4.2 DESIGN DEVELOPMENT PRPOSED PRECINCT

PUBLIC CONNECTION

TRANSITIONAL PLAZA

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RESTAURANT

LOBBY

ZONING

AUDITORIUM

RESTAURANT VERTICLE ACCESS

AUDITORIUM VERTICLE ACCESS

VERTICAL ACCESS

Proposing an accesable pathway for the Southbank neighbourhood. New project is identified as an transitional platform for public access.

Proposing an accessible tunnel and extend the graden precinct in the building

Over the tunnel try to generate an curvilinear shape to create an iconic ness of the building and also respect art center building.

Merge the proposed garden precinct into the building in diiferent level to give a breathing space for the people.

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4.3 FACADE EXPLORATION

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We try to explore the idea of acoustic experiences even the door of a auditorium and at the same time we want to bring some graphical elements into the facade design. Varing shapes of different levels of accoustic manipulations by using Pachyderm ray tracing we continued to distributing this shapes along the outer building shell in relation to internal functions.

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4.4 LAYOUTS

Ramp to underground carpark

Rehearsal / Lesson

Rehearsal / Lesson →

Gi� shop Rehearsal / Lesson

←

Lobby

Office Rehearsal / Lesson Cloak

Office

Carpark entrance

Ticket Rehearsal / Lesson Rehearsal / Lesson

Loading dock Public drop-off

Ground Floor plan Scale 1:1000

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Storage

Second Floor Plan Scale 1:1000

Cafe

Restaurant

Void

Green

←

Changing

Stage Auditorium

Stage mgmt

Storage Performance space

Void

Third Floor Plan Scale 1:1000

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70

+ 170

The Arts Centre Spire

+ 24

The Sound Gallery

+8

Plaza Level

+0

City Road

Site in Sec�on

Scale 1:500

4.5 FORMAL EXPRESSION Animated diagram link: https://www.youtube.com/watch?v=rsnV1wUPNYA

D

C

E

F

B

A

View from A

View from D

View from B

View from C

View from E

View fromF

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4.6

SECTIONAL PERSPECTIVE

Showing the relation between different public space and also the overall performace of the building and accessibility.

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4.7

00

01

02

04

DIAGRAMS

SHOWING DIFFERENT LEVLES

link:

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https://www.youtube.com/watch?v=Ngvu5XgabIA

AXONOMETRIC VIEW SHOWING FUNCTIONAL ACTIVITY

DOUBLE GLAZED ROOF

PERFORATED FACADE

GLASS FACADE

TUNNEL CONNECTION BETWEEN CITY ROAD AND PRECINCT

AUDITORIUM

SHOWING DIFFERENT COMPONENTS EXPLODED VIEW OF DIFFERENT DESIGN FEATURES

link:

https://www.youtube.com/watch?v=iwfdo2j7XE4

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Visualising with interactive garden precinct and the Melbourne Arch Center

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VISUALISATION

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View from the City road View from Hammer hall Plaza

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Restaurant court View from NGV Plaza

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Activity in evening light 80

Rainy night ambience

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Tunnel plaza

Plaza Acitivity 82

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ANIMATION LINK: https://www.youtube.com/watch?v=fBdhSfWr78g 85

REFFERENCES https://www.elbphilharmonie.de/en/ https://www.westkowloon.hk/en/the-district/architecture-facilities/xiqu-centre https://creative.vic.gov.au/major-initiatives/melbourne-arts-precinct http://jdsa.eu/jura/ https://www.archdaily.com/283592/busan-opera-house-winning-proposal-snohetta https://www.researchgate.net/publication/323739491_Situating_Deliberative_Rhetoric_in_Ancient_Greece_The_Bouleuterion_as_a_Venue_for_Oratorical_Performance/figures?lo=1 http://www.larsondavis.com/support/reverberation-time-in-room-acoustics https://www.slideshare.net/aaqibiqbal940/auditorium-desktop-study-90054494 https://www.arch2o.com/theater-design-7-for-designing-a-good-theater/

ANIMATED DIAGRAMS LINK https://www.youtube.com/watch?v=Ngvu5XgabIA https://www.youtube.com/watch?v=iwfdo2j7XE4 https://www.youtube.com/watch?v=yErni2edciQ https://www.youtube.com/watch?v=becSE4kXPx4 https://www.youtube.com/watch?v=ZLxUtrzHG54 https://www.youtube.com/watch?v=1Ti7p_CmAK0 May 2021 103141287@student.swin.edu.au

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