LEST WE FORGET - BDES3027 Portfolio

LEST WE FORGET IRINI CHEN

SYDNEY HARBOUR DRAMA HOUSE IRINI CHEN | 490170944 Architecture Studio 3B BDES3027 Tutor: Victoria King

TABLE OF CONTENTS

CONCEPT

01

MAPPING

09

FORM DEVELOPMENT

23

DESIGN

35

DECISIVE DETAIL

55

THE MOMENTS

63

APPENDIX: PROCESS

73

REFERENCE LIST

80

CONCEPT

1

2

STATEMENT As Australia is a separate continent surrounded by oceans, the history of invasion and defence is rich. In addition, Sydney Harbour is the only entrance from sea into Sydney City, which leads to a series of fortifications built along the whole harbour. Nowadays, we live in peaceful times without war, and there are also more convenient means of transportation than ship from sea. The fortifications are gradually obsolete, meanwhile the history is abandoned by people. The words ‘Lest We Forget’ are seared into our consciousness. However, for Australia’s inhabitants, forgetting has occurred too often when it comes to a military.

Beehive Casemate, in Mosman, as one of the fortifications is chosen as my site. It is a structure hidden in the natural cliff, monitoring Sydney harbour from three holes. The structure inside is small, dark and narrow. That reminds me of the previous living situation of soldiers during the war period. I intend to design a theatre responding to Beehive Casemate for an innovative memorial of the history.

The typology of a memorial in the post-Second World War era has continued to shift from triumphalist monolith to quiet, abstract space that evokes contemplative individual experiences, connecting the visitor with memories of deep tragedy across spatial and temporal divides. Different presentations of contemplative and self-connected atmosphere will be transformed form different spatial arrangement. Besides, for emphasizing the difference between the dread and powerlessness in the war period and the peace and hopefulness in the post-war period, I would design two theatres in great contrast.

Grid works as the main language in my design, glazing, structure, cladding panels. Grid is arranged orderly and every piece seem the same in macro perspective. They all contribute to creating a continuity of the project and harmonic atmosphere. However, when you get closer to them, each grid frames different views, each glazing admits different light, each structure support different elements. It is like soldiers in wars, they all devoted themselves for protecting the country but each of them has different characteristics.

3

The first part of the design is a small sunken theatre which represents enclosure. The entrance is built underground to bring people from the land to the water. The staircase provides an existentially harrowing descent, because it is long, dark and narrow. The feeling of unknown and infinity could evoke visitors of reflection about war history and connection between their own memories of tragedy. When arriving at the hall of this theatre, the light from sky delivers a signal of hope to calm people down. The auditorium there is small, interactive and simple. This spatial atmosphere, enclosed, having gloomy light from several holes and water running along the walls, echoes with the situation in the casemate. The end of this part is another staircase climbing up to the outdoor walkway, transmitting viewer’s feelings to peace and hopefulness.

At the middle of the walkway, there is a central leisure area formed by timber frame structure. This open, cross-ventilated shared space frees the spirit and offers an opportunity for people to memory the history in a more calming way. Food, books and natural views all tell the beauty of the present world. In addition, it stands exactly front of the casemate, which provides a broader view in the same perspective of the casemate.

At the end of the journey, there is a big translucent bright theatre which embodies the atmosphere of liberation. The theatre is constructed by glazing and timber thinner frames.

It is totally contrasting with the sunken theatre in size, colour, illumination and solidity.

The arrangement of the auditorium is similar to general contemporary theatre, which conceptually connecting to the post-war period. The fully glazing situation provides a outdoor-like scene and allows performers to have some innovative shows resonant to the nature. However, glazing protects people from disturbed by uncontrollable natural elements, which is like the army protects us nowadays quietly.

4

COLLAGE - CONTRAST

5

COLLAGE - GRID

6

RESPONSE TO THE BRIEF The project for Architecture Studio 3B is to design a temporary floating theatre in Sydney Harbour. This Sydney Harbour House project exchanges the ancient, urbane waterways of Venice for those of our fresh antipodean harbour with its crumpled shoreline of coves and points, bays and headlands that it meets sometimes calm and glistening and at others with the full force of nature. That is the sweep of watery expanse that this project adopts as its territory in place of the typical demarcated site for an architectural project that is a plot of land unmoving and bound.

The project requirement is to design a 250 seat theater with adequate basic facilities, such as bathrooms, staff rooms and leisure areas. I intend to design it consisted of 2 contrasting theaters and a central public leisure area to respond to the brief and present my concept. The central building will be able to float dynamically along with the tidal change. In addition, the sunken theater is fixed on sea bed but have cracks on the walls which allows water interacting with the building and bring dynamic. Thirdly, the glazing theater provides audience and performers to have some particular shows above water. The theater is fixed on sea bed as well, yet the fully open view offers a illusion that they are floating on the ocean.

Generally, people walk through an underground staircases to go down and experience the theater.

The staircase is long, narrow and dark, which is opposite to the exited feeling that audience may have they arrive the site and see the open view of Sydney Harbour from a different angle.

When people walking along the staircase, their spirits will be calmed down and have a deep understanding of the enclosure theater. There is also a small wharf decking adjacent to the liberation theater which is staff used only. It usually is used by staff and performers to move goods and clothes from other places to the theater.

The shows there will be generally related to the topic of war, and trying to keep reminding people do not forget the history and the people who contributed themselves for protecting the country.

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8

MAPPING

9

10

Georges Head

Signal Hill

Bradleys Head

Middle Head

Fort Dension

South Head

SYDNEY HARBOUR Australia

as

a

entrances

from

separate oceans

continent, matter.

the

Sydney

Harbour is the only entrance to Sydney city area from sea. There are many fortifications along the harbour. Most of them were constructed during the World War II for prevention of foreign invasion.

Some of these remarkable structures were built by convicts from the local sandstone and are reminders of how fearful the fledgling colony was of invasion. On the east side of the harbour, there is a complete defense system formed by mainly North Head, Middle Head and South Head. These three sites generated a triangle surveillance area, which can support and back up each other.

Through images of these fortifications, we can see the typical features that they are buried underground and constructed by similar materials of surroundings.

SCALE 1:500,000

11

RESEARCH OF DEFENSE SYSTEM

12

NORTH HEAD

MIDDLE HEAD

• • • •

• • • •

Hidden in forest Main parts connecting by a long walkway Separate scattered structures Formed by circles and rectangles

Buried in the ground Having a long walkway to enter Iteration of a structure Forms generated from basic geometries

GEORGES HEAD

• • •

Iteration of rectangles and circles Separate pieces Structure dug from the ground

SOUTH HEAD

• • • •

Hidden by trees Separate parts connecting by a zig-zag circulation Iteration of circles Linear arrangement

13

TYPOLOGY OF DEFENSE SYSTEM

HIDDEN IN NATURE

14

ITERATION OF BASIC GEOMETRIES

SEPARATE PARTS

LONG CIRCULATION

These four features will be absorbed and presented in my design to reflect on Sydney Harbour’s defense system.

15

LOCATION PLAN - BEEHIVE CASEMATE

SCALE 1:5,000

16

SITE SECTION - BEEHIVE CASEMATE

SCALE 1:750

17

BEEHIVE CASEMATE Beehive Casemate is located in Mosman and facing east, which is a part of the Georges Head Battery. The Georges Head Battery we see today consists of the original battery and barracks located at the end of Suakin Drive, Georges Heights, two later batteries located adjacent to the corner of Middle Head Road and Best Avenue, Georges Heights, and the Beehive Casemate adjacent to the Armoured Casemate in Chowder Bay Road. Beehive Casemate, or Lower Casemate, is a fortification buried in the cliff which is facing the Sydney Harbour entrance. It is integrated with the cliff as it is made of sand stone which is the similar material with the cliff. It is hard to see from outside. That caused my interest and is chosen as my site.

The battery is one of three forts in the area that were built for the purpose of defending the outer harbour. The other two forts are located at Middle Head and Bradleys Head, Mosman. The fort became a command post in the 1890s for the coordination of all of Sydney s harbour defences. However, all of them are obsolete after the war period. Meanwhile, the history of the casemate also is forgotten by the general public.

18

BEEHIVE CASEMATE AXONOMETRIC

19

EXISTING CONTEXT - BEEHIVE CASEMATE

SCALE 1:2,000

20

VIEW FROM THE SEA

SKETCH OF THE CASEMATE

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22

FORM DEVELOPMENT

23

BUILDINGS ARRANGEMENT

I. SINGLE BLOCK FACING BEEHIVE CASEMATE

24

II. SPLITING INTO THREE BLOCKS

III. PUSHING THEM INTO CONTRASTING SIZE

IV. PUSHING THE MIDDLE PART TO AVOID OVERSHADOWING

25

BUILDINGS ARRANGEMENT

V. ADDING / SUBTRACTING BASED ON FUNCTIONS

26

VI. SUNKEN INTO WATER

VII. APPLYING CLADDING WITH SAME PROPORTION

IV. CONNECTING THEM WITH THE SITE

27

ENCLOSURE THEATER to sink, to reflect, to meditate

28

Assembly Typology: Interactive Theater

Interaction with Water

A small (approx. 50 seats) theater, having a close distance between performers and audience.

Cracks trimmed the corners of the theater, admitting water in and raise the middle stage up at high tide.

29

LIBERATION THEATER to open, to breathe,to cherish

30

Assembly Typology: Indoor Theater

Scaffolding

A big (approx. 220 seats) theater, both performers and audience can immerse in shows completely.

Scaffolding combined with the glazing frames to supplement the transparent and bright box, keeping the same geometry language with other buildings.

31

CENTRAL LEISURE AREA to relax, to gather, to feel the nature

32

Facade Strategy Overlaying the facade of two theaters, to double the proportion of frames, gathering two theaters geometrically.

Echo of Beehive Casemate Projecting the section of the casemate on the building to form the void, an extension and continuity of the casemate.

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34

DESIGN

35

ROOF PLAN

SCALE 1:1,000

36

SITE SECTION

SCALE 1:1,000

37

GROUND FLOOR PLAN SECTION B

SECTION C

2

6 1

5 SECTIONAL PERSPECTIVE

4 3

38

3

7

SECTION A

8 10

11

9

13

12

1 2 3 4 5 6 7 8 9 10 11 12 13

Auditorium Stage Bathrooms Reception Staff Area Backstage Book store Cashier Desk Bathrooms Cafe Kitchen Hall Walkway

SCALE 1:250

39

UNDERGROUND PLAN

SECTION B

1

2

3

4

3 SECTIONAL PERSPECTIVE

8

5

40

6

7

SECTION A

9 10

11

12

13

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Backstage Orchestra Room Dressing Room Bathrooms Storage Meeting Room Office Staff Amenities Auditorium Stage Backstage Hall Bathrooms Entrance

14

SCALE 1:250

41

SECTIONAL PERSPECTIVE

42

SCALE 1:200

43

MATERIAL PALETTE

44

AXONOMETRIC

BRUNT TIMBER CLADDING

DARK CONCRETE INTERIOR WALL

TIMBER DECKING

TIMBER WALL

WASHED TIMBER FRAME

WHITE CONCRETE INTERIOR WALL

SCALE 1:500

45

SECTION A

46

SCALE 1:150

47

SECTION B

48

SCALE 1:150

49

SECTION C

50

SCALE 1:150

51

EAST ELEVATION

52

SCALE 1:250

53

54

DECISIVE DETAIL

55

DETAIL I. TIMBER COLUMN

56

This construction is inspired by ‘Chidori’, a flexible wooden furniture concept designed by Japanese architecture studio Kengo Kuma. Each structure block can be interlocked without using adhesives or nails and is easy to take apart.

57

DETAIL II. TIMBER CLADDING ON CONCRETE WALL

58

In order to keep the building language similar to other parts as well as keep waterproofing, panels formed by brunt timber strips is bolted on interior concrete walls and fixed by steel plate and timber strips.

59

DETAIL III. GLAZING ON TIMBER FRAME

60

The theater will be fully glazing with frosted and clear glass for a open and bright atmosphere. The glazing panel are fixed by steel plate on short steel hangers. The steel hangers will go through the timber frames and be bolted on timber columns.

61

62

THE MOMENTS

63

EXTERIOR PERSPECTIVE RENDER

64

65

EXTERIOR PERSPECTIVE RENDER

66

67

INTERIOR PERSPECTIVE RENDER

CENTRAL LEISURE OPEN SPACE

68

VIEW FROM CASEMATE

69

INTERIOR PERSPECTIVE RENDER

LIBERATION THEATER

70

ENCLOSURE THEATER

71

72

APPENDIX

73

PHASE 1

PLAN &SECTIONAL PERSPECTIVE 1:1000

74

PHASE 1 CONCEPT COLLAGE

75

PHASE 2

PLANS 1:500

76

SECTIONAL PERSPECTIVE 1:750

EXTERIOR PERSPECTIVE RENDER

77

PHASE 3

PLAN 1:1000 / SECTIONAL PERSPECTIVE 1:500

78

ELEVATION 1:750

79

REFERENCE LIST

For Our Country, designed by Daniel Boyd and Edition Office, https://design-anthology.com/story/for-ourcountry.

Chidori, designed by Kengo Kuma, https://www.ignant.com/2015/09/03/minimal-building-block-furniture-bykengo-kuma-and-associates/.

David Brownlow Theater designed by Jonathan Tuckey, https://www.archdaily.com/955879/david-brownlowtheatre-jonathan-tuckey-design?ad_medium=gallery Sydney’s Fortifications, https://www.visitsydneyaustralia.com.au/harbour-forts.html.

Museum of Ocean and Surf designed by Steven Holl Architects & Solange Fabiao, https://www.archdaily. com/135874/museum-of-ocean-and-surf-steven-holl-architects-in-collaboration-with-solange-fabiao?ad_ medium=gallery Grand Théâtre de Québec Restoration designed by Lemay & Atelier 21, https://www.archdaily.com/961714/grandtheatre-de-quebec-restoration-lemay-plus-atelier-21?ad_medium=gallery Space Guy Môquet Cultural Center designed by Oeco Architects, https://www.archdaily.com/887589/space-guymoquet-oeco-architectes?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user A list of Pavilion, https://www.wallpaper.com/gallery/architecture/bold-architectural-pavilions-and-temporarystructures Chichu Art Museum, designed by Tadao Ando, https://benesse-artsite.jp/en/art/chichu.html Concrete Bunker cut in half, designed by RAAF and Atelier de Lyon, https://www.dezeen.com/2013/12/11/movieconcrete-bunker-cut-in-half-raaaf-atelier-de-lyon/ Australia House designed by Andrew Burns Architecture, https://andrewburns.net.au/abprojects/australia-house/

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30/08/2021 - 26/11/2021