i
Š 2012 Kansas State University All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing of the instructor or department head of the Kansas State University Department of Architecture. This publication is intended solely for educational purposes. Printed in the United States of America by Lulu.com
i. Copyright
iii
I. II. III. IV. V. VI. VII. VIII. IX. X. XI.
The History .............................................................................. 02 The Program .......................................................................... 08 The Concept ........................................................................... 14 The Curve ................................................................................ 22
The Technology .................................................................... 26 The Light Wall ........................................................................ 32 The Fish ................................................................................... 38
The Landscape ...................................................................... 44
The 4 Elements ..................................................................... 50 The Final .................................................................................. 58
The Appendix ........................................................................ 62
ii. Contents
v
T
he Royal Playhouse is a Master’s Studio project from Kansas State University, using the program set forth by the city of Copenhagen for the 2001 design competition. Lundgaard and Tranberg, a Danish architecture firm, won the competition and built what is now known as the Royal Playhouse. The first semester of the class was heavily researched based, with a focus on modern and historical case studies. It was important to understand not only what the city wanted, but to understand the Theater itself. There are many different components that go into a theater, most of which the public never sees. As a class, we published a book showing our research, with details on climate, culture, and the Theater.
The second semester was mainly design-based. Over the course of the first semester, we had small charrettes for our own designs, but the full schematic design phase took part in the second semester. This book goes through the series of phases my design took to become “final” - however, as we all know, no design is ever complete. Within my final design, there are four key elements are embedded within my design for the Royal Copenhagen Playhouse: Light, Skin, Circulation & Structure These elements are expressed in different ways throughout the project, with the use of materials and the overall form. These elements, in turn, translate to the experiential qualities of the space. The interactions
between a visitor and the actors, the actors and the building, and the building and its surroundings resonate along the harbor. Interactions are key to a successful space and by layering these interactions, the whole experience becomes elevated. Lights dance about as the actors perform, giving a show of its own for the city. Visitors can glimpse into the lives of the actors as they rehearse, and the theater itself reflects the atmosphere of its surroundings. The traditional and the modern converge in the building and any visitor to the site can experience all of these interactions and become part of the biggest play; for as Shakespeare so famously wrote, “all the world’s a stage, and all the men and women merely players.”
iii. Forward
vii
Part I. The History
2
S
ettled between Norway and greater Denmark, surrounded by the Øresund strait, rests Copenhagen, the capital city of Denmark. Copenhagen was founded in 1167 and is Scandinavia’s largest and liveliest city. It is located on one of the 406 islands that comprise the country of Denmark (Facts About Copenhagen, 2012). City of Copenhagen’s greater metro area is 3,030 km2 (1,170 sq. mi) and has a density of 6,200/km2 (16,000/ sq mi) (Copenhagen, 2012). Copenhagen flourished because of its harbor front and its access to the North and Baltic seas.
As the modern era has flourished, a new Copenhagen has been born. It has become a major regional center for culture, business, media, science, and green architecture. Copenhagen is hailed as one of the most desirable cities to live in by the New York Times (Husband, 2007).The traditional and quiet city has given way to some of the most notable architects and designers in the world, and creating a mood of “youthful dynamism,” as Stuart Husband writes. Husband also notes the average population age is twenties to early thirties, making Copenhagen a very young city.
4
The youthful revitalization has brought about a renaissance of the harbor. However, as technology has changed, the industrial era has died, leaving the harbor to become derelict and forgotten, until 2000. The Architects of Henning Larsen were hired to create the first Opera House along the Ă˜resund, in line with the Palace and the Marble Church, known as the Amalienborg axis. Within 5 years, the former naval base and Copenhagen military center was converted to a new opera house (Karlson, 2011).
With the new Opera House, came a plan for a complete redevelopment of the harbor. Henning Larsen had initially planned on adding a new theater across the harbor from their newly built opera house, to create a new architectural language on the waterfront. However, the Danish Ministry of Culture decided to open the offer to an international design competition.
6
Part II. The Program
8
C
openhagen has six theaters, but none are near the heart of the city. Theaters are a vital part of Copenhagen, and the Ministry of Culture was looking to expand into a larger playhouse to showcase their contemporary drama company (Karlson, 2011). The new theater must seat around 750 people in the large theater, but must also have two variable areas that can be used for smaller performances (Culture, 2001). Not only should the theater be filled with modern amenities, it should also cater to the needs of Copenhagen, and the revitalization of the area.
There are three key axes that are vital to maintain with the project: the Nyhaven axis, the Amalienborg axis, and the Sankt Annae Plads axis. These three axes define the importance of the connection between the old and the new, as defined by the Ministry of Culture. In addition, there is a standard building height in Copenhagen, and the only buildings that break through the invisable roof are towers and spires from the surrounding churches, becoming beacons for the city.
2000 ft 500 m
10
In the project statement, the Danish Ministry of Culture listed the projects constraints and referred to the future of the Copenhagen waterfront. The goal was to create uninterrupted promenades and easy access along the waterfront (Culture, 2001). The city wanted to keep the high standards of living found across the city, and wanted to make the theater patrons look into the past, see the present and forecast the future of the harbor.
Their goal to create a higher outdoor experiences will be enhanced by linking urban spaces to existing promenades; such as the Nyhaven axis. Being outdoors is important to the people of Copenhagen. Whether biking or sun bathing, the liveliness of the city must be catered to and enhanced along the harbor. Overall, the building needed to be inspiring, functional, modern and have easy access from the city and waterfront.
12
Part III. The Concept
14
T
he initial diagram of the project was meant to feel like a structure lifting off the pier. The motion not only maintained a sight line for the surrounding buildings, but also created a feeling of a light structure, contrasting the traditional brick of the surrounding buildings. The metaphor behind the diagram was that of a bird taking flight. The resulting structure was one that could be walked on, both designed an interactive, as if the pier was rising up. Both the Sankt Annae Plads and Amalienborg Axis were preserved.
As more iterations of the structure were completed, the location on the site changed to better accommodate the program and spatial requirements. A new challenge arose, however, and maintaining some sort of view for the Amalie Hotel became a driving force for the form of the structure. While the hotel has a direct connection with the water, I felt it needed to maintain view from the higher floors. This drove the structure to stretch itself out and gradually rise up to the tallest point, the fly tower.
16
The resulting structure then became dissected and a building began to form. The structure became a glass shell that covered the entire space. The idea of walking on the roof gave way to an umbrella concept to create the feeling of a space within a space. The interior buildings became independent structures under a glass roof and were placed on the site to allow visitors to walk around, between and through them.
The driving force of the project was to make the site open and accessible at all hours. The community would not just come to enjoy a play, but would come to shop, dine and enjoy the harbor. This openness would generate a new plaza space, similar to the plaza space to the West of Nyhaven. The plaza would allow for more activity on the waterfront and would help the harbor’s revitalization.
18
The spaces are divided into two separate buildings, the first building holding the cafe, retail and office spaces and the second the large theater, ticket booth and support spaces. While most of the offices for the theater would be located offsite, the offices on-site would be used for temporary office space for directors, as well as offices for security, managers and other temporary officers. The offices would be located on the second level, elevating them for privacy, as well as allowing views of the harbor and city.
rough glass facades to allow visitors to watch the rehearsal. Because the glass walls are rough, visitors would only be able to see outlines , giving them a glimpse into the life of the actors. This connection between active and passive participation became an integral aspect of the project. While the glazing is there to make the space participatory, it also allows in diffused natural light to glow within the rooms.
The second building space was oriented so the theater lobby would be between the two buildings and allow “back-of-house� and other support spaces views and natural light as well. The placement of both Below the offices would be the buildings creates a large plaza rehearsal rooms. These spaces are space within the glazed roof. on the ground floor level and have
B
A
B
A
A
Second Floor Plan
A
B
B
Third Floor Plan
1/64”=1’-0”
1/64”=1’-0” North
B
A
A B
First Floor Plan
1/64”=1’-0”
20
Part IV. The Curve
22
W
hile this thought process and schematics solved some key problems within the project, it still lacked many of the qualities that the city of Copenhagen was looking for. As a result, the form morphed from rigid and strait to fluid, relating to the sea. The curved structure stood out against the box-like shapes of the surrounding buildings. The form draws pedestrians in and around the site, while still creating a public plaza.
The building cantilevers off the pier, allowing a small and delicate connection with the water. This connection was also used for rainwater to drain back into the sea. The offices and internal spaces were located in the center of the large structure and the northeast corner of the building was a glazed curtain wall. This created the feeling of a delicate structure floating along the pier.
A
Cafe / Restrooms
Tech / Storage
A
Main / Ground Floor Plan
Offices / Workshops / Dressing Rooms
Lobby / Circulation
Cafe / Circulation
Lobby / Circulation / Coat Room / Restrooms
Tech / Storage
Black Box
Theater Stage
Section A-A
East Elevation
24
Part V. The Technology
26
K
nowing the city wants a theater to bring them into the modern age, the focus became about the future of the theater. Theaters have began experimenting with new technologies, such as 3D set projections, and the city of Copenhagen stays on the forefront of the technologies. The Ministry of Culture stated in their project statement the desire for the most up-to-date technical equipment, to cater to future needs of the theater, and finding distinct ways to connect the theater with the city and large (Culture, 2001). The building complex should "reflect the creativity and vitality of the playhouse it accommodates" and inspire the Royal Theater as its moves into a new era.
These statements resonated within me and I began seeing the project as more than just a theater. Instead of just being used for the traditional play, the Royal Playhouse becomes a prototype in a new form of theater production. Math, science and art come together in an experiment for the ages. While a traditional play can still happen with ease, the modern play can be explored and practiced in the new Royal Playhouse.
28
Because of the new curved layout of the building, the connection between the actors and the patrons is lost, and the actors moved to a higher floor, giving them elevated views across the harbor. To resolve this problem, I found another way to connect the patron with the act, with the use of LED's. The LED light wall was inspired by an interactive exhibit in the Utah Leonardo Museum of Art, Science and Technology. The exhibit, known as Dynamic Performance of Nature, or DPoN, and designed by EB Office out of Portland, OR, consists of embedded lights within a wall. The lights have an interactive interface and are attached to sensors that register even the slightest change in temperature, wind speed, seismic
waves and other environmental changes around the world (Goel, 2011). Each event is translated by color onto the wall visualizing the data. Another form of connection with the wall is on a more human scale. A person can tweet the wall a series of colors, and the wall will display them (DPoN, 2011). This level of interaction allows a person to directly connect with the wall and with others using it, as well as with the environment. This is the level of connection I want to achieve with my own project between the patrons and the actors.
30
Part VI. The Light Wall
32
T
o implement the idea of an interactive wall, I placed a "wave wall" on the west side of the building, facing the city, to connect the city with the theater. The wall is embedded with thousands of LED's. During the day, the wall connects with the environment the same way the DoPN wall does in Utah. However, at night, the wall becomes an interactive art piece. The LED's are wired to sensors within the theater, and begin to bring the theater outside, in a new way.
Imagine sitting along the harbor bank, as a play is about to begin. People inside the theater are chatting and getting settled for the start of the play, and the lights are dancing across the wall, translating the noise of the crowd into a beautiful light show for the city. The lights flash, a 5 minute warning for the play to begin, and the crowd starts getting quieter, the lights outside start slowing down.
Then silence.
How It Works
Sound Waves from Performance
Computer Processing
Translation Detail Environment / Interaction
Reaction / Translation
34
...the lights are still.
The curtain opens and a person steps out, the narrator, telling a tale of a boy or a girl. The lights on the wall slowly appear, as more people start talking, the lights begin to dance more and more.
As a passerby on the pier, you may not understand what is controlling the movement of the wall, but something intrigues you, and you continue to watch. You are experience the play in the form of light. A connection is being made. The idea that one can experience something without fully knowing is a powerful one. It is one that technology can create, it is one that can bring life back to the pier.
36
Part VII. The Fish
38
F
rom here, the building and drove me to think about 4 key its functions began to take shape. elements: light, skin, structure Programmatically, however, the and circulation. spaces were far from complete. These elements began translate The needs of the theater into the design of my building. The could not be fulfilled in the space doubled in size and the space provided and after more single curved structure became research I stumbled across an oval. The programmed an x-ray of a fish. The image spaces were moved from the was captivating, the way the center to the perimeters, leaving light came through the skin, the center, or the spine, for allowing a person to see the major circulation. This change delicate structure of its bones. I in program layout allowed for a wanted the same imagery for my significant increase in space. building. I wanted it to captivate a person with my space; The x-ray of the fish became my parti and
D
Meeting Room
Cafe
B
Meeting Room Office
Office
Office
Office
Office
Storage Lvl 0.00'
Open Office
Office Lobby
(Optional) Private Dock B
Cloak Room
Security Office
Wood Flooring
150 sqft Bar Lvl 0.00'
Carpeting
C
C
VCT Flooring
Ticket Booth For Both Theaters Lvl 0.00'
Main Theater Stage and Backstage Lvl -18.00'
Concrete Flooring
Main Theater Lobby Lvl 0.00'
17,000 sqft Workshops/Rehersal Spaces A
1,800 sqft Kitchen
5,800 sqft Resturant
20,600 sqft outdoor deck
A
Lvl 0.00'
5
10
15
20
25
Main Floor Plan Level 0.00' D
40
The programming of the building began to organize itself into public versus private. The private spaces stayed along the west side of the building, connecting them to the edge of the city, while the more public spaces faced the harbor. The rehearsal rooms were once again placed where they could be viewed by visitors, strengthening the connection between the patrons and the actors. The spine of the building was reflected on a human scale and long benches were placed down the center of the spine, giving a visitor a place to relax.
42
Part VIII. The Landscape
44
A
s the interior began to take shape, the focus switched from the building's structure to its connection with and the rest of the pier. The initial concept was to create a formal garden in front of the entry, relating the space to the palace gardens west of the site. The gardens created a unique approach to the building, but neglected the south side of the pier.
In order to connect the building with Nyhaven and Sankt Annae Plads, colorful pavers were added to connect the site to central entrance of the formal gardens. Between two of the color bands I added a strip of grass, to add texture to the pier as well as create a play space for people of all ages to enjoy.
D
Meeting Room
Meeting Room Office
Office
Office
Office
Office Storage
Cafe
Lvl 0.00'
Open Office
B
Office Lobby
(Optional) Private Dock Wood Flooring
B
Cloak Room
Security Office
150 sqft Bar Lvl 0.00'
Carpeting
C
C
VCT Flooring
Ticket Booth For Both Theaters Lvl 0.00'
Main Theater Stage and Backstage Lvl -18.00'
Concrete Flooring Main Theater Lobby Lvl 0.00'
17,000 sqft Workshops/Rehersal Spaces
A
1,200 sqft Kitchen
6,000 sqft Resturant
20,600 sqft outdoor deck
A
Lvl 0.00'
Storage
5
10
15
20
25
Main Floor Plan Level 0.00' D
46
This whimsical connection felt out of place next to the formal garden, and the garden itself spoke a different language from the building. The colorful bands were powerful and had a deeper connection with the building and the site. The gardens gave way and the blue bands began to encompass the site, and draw people into the building The brighter blues are a reflectance of the water, but also are a connection to the colorful buildings along the Nyhaven axis.
48
Part IX. The 4 Elements
50
A
fter connecting the building with its surroundings, and the focus returned to the building and its key elements. The first element, light, was translated into materiality, with the building itself feeling delicate and skeletal. The LED wall also defines another aspect of light the physical light. The LED wall moved from the city to the harbor, broadcasting its lights towards the sea.
The next key element, skin, was translated to the cladding on the theater. The iridescent facade is constantly changing based upon the atmosphere around the theater. Much like the LED's response to the play and the theater, the theater itself responds to the surrounding atmosphere. The change is subtle yet powerful, giving the building a feeling of fading between the water and the sky. The cladding is a simile to a fish's scales and their iridescence.
52
The third key element, circulation, has become translated into the landscape, drawing people through the site and into the building with bold blues. The waves of color were strategically placed to draw a person from key places, such as the taxi stop, Nyhaven and Sankt Annae Plads into the building. The bands lead visitors through the building to the ticket booth, the restaurant as well as the entrance of the main theater and draw people to the back of the theater, where they can view the palace, its gardens and the entrance to the Ă˜resund strait.
SANKT ANNAE PLADS
THE PALACE Meeting Room
Meeting Room
Office
Office
Office
Office
Office
O p e n O f f ic e
Cafe Office Lobby
NYHAVEN
Security O f f ic e
Large Rehearsal Room
Kitchen
TAXI STOP
Restaurant
Ă˜RESUND 5
10
15
20
25
Main Floor Plan Level 0.00'
54
The final element, structure, was the key to making the metaphor a strong one. The bone structure of a fish is light and delicate, a far contrast from the solid brick buildings around the site. My research became heavily focused on the works of Santiago Calatrava, and his study of animals and humans. The structure became 10' bays lifting above the space, and allow for other elements to come into play. The structural elements became the driving force for the other three: circulation, skin and light and without structure, the metaphor would be lost.
56
Part X. The Final
58
B
ecause of the key elements, certain sustainable aspects were able to form in my building. Natural light can diffuse through the spaces. The spine, covered in glazing, also naturally lights the circulation path, allowing a person to look up and have the feeling of being inside the fish. The exterior glazing panels are operable windows to allow for cross ventilation through some of the spaces. This allows the building to breathe, with windows acting as the gills of a fish.
Overall the metaphor is complete. The experience is airy, light and interactive. Anyone visiting the site experiences it, whether for a play or for a lunch. The building becomes part of the Copenhagen culture, inviting people to the harbor. The pier opens up to the public and becomes a platform for art installations, impromptu performances and new interactions. Each element of the building interacts with its surroundings in a different way, but creates a cohesive form, both elegant and whimsical.
60
Part XI. The Appendix
ix
Copenhagen. (2012, April 24). Retrieved from Wikipedia: http://en.wikipedia.org/wiki/Copenhagen Culture, D. M. (2001). The Royal Theatre Competition Document. Competition Statement. Copenhagen, Denmark. DPoN. (2011, November 21). Retrieved from Bustler: http://www.bustler.net/index.php/article/ dynamic_performance_of_nature_by_eb_office/ Facts About Copenhagen. (2012). Retrieved April 2012, from Visit Copenhagen: http://www. visitcopenhagen.com/media/facts-about-copenhagen/facts-about-copenhagen Goel, S. (2011, December 7). Dynamic LED wall. Retrieved from Design Buzz: http://www. designbuzz.com/entry/dynamic-led-wall-communicate-global-ecological-information/ Husband, S. (2007, June 19). #2: Copenhagen is Scandinavia's most desirable city. Retrieved from New York Times: http://www.nytimes.com/2007/06/18/travel/18iht- rmon2copenhagen.6190610.html?_r=1 Karlson, C. (2011, September 25). Rotch Case Study. Retrieved from Christopher Karlson 2011 Rotch Scholarship: http://www.ckarlson.com/blog/2011/9/25/rotch-case-study-royal-danish- playhouse-copenhagen-opera-hou.html
Part iv. Works Cited
xi
1. Royal Palace http://www.visitcopenhagen.com/See-and-do/Amalienborg-Palace/382 2. Crown http://www.visitcopenhagen.com/See-and-do/The-Amalienborg-Museum/382 3. Christian X Monument http://www.visitcopenhagen.com/See-and-do/Christian-X-monument/382 4. Danish Guard http://www.visitcopenhagen.com/~/media/WonderfulCopenhagen/Common/Images/Page%20backgrounds/Royal%20guard.ashx 5. Opera House http://www.ckarlson.com/blog/2011/9/25/rotch-case-study-royal-danish-playhouse-copenhagen-opera-hou.html 5. Nyhaven http://it.wikipedia.org/wiki/File:Nyhavn-Copenhagen.JPG 6. Nyhavn http://www.dailymail.co.uk/travel/article-1257824/Copenhagen-art-Little-Mermaid-Christen-Kobke.html 7. Tower http://www.visitcopenhagen.com/good-to-know/practical-stuff/map-of-city-areas 8. Bikes http://www.greatcity.org/2009/11/03/i-%E2%99%A5-copenhagen-3/bikescopenhagen/ 9. 8 House http://condobox.blogspot.com/2012/02/innovative-design-in-architecture-8.html 10. Black Diamond http://www.flickr.com/photos/darrellg/6421959601/ 11. Black Diamond on the Water http://www.cntraveller.com/photos/photo-galleries/25-reasons-to-go-to-copenhagen/royal-library 12. Skyline http://www.welcome-to-my-copenhagen.com/ 13. DPoN (5) http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office/ 14. Palace Garden http://denmark.nordicvisitor.com/travel-deals/denmark-tours/romantic-capitals-of-scandinavia/502/default.aspx 15. Wicked http://www.ilovenytheater.com/show.php?show=41 16. Digital Theater http://thecreatorsproject.com/en-uk/blog/icin%C3%A9matiquei-a-poetic-digital-theatre-performance 17. Calatrava Set http://www.splendidobjectsblog.com/2010/09/santiago-calatrava-new-york-city-ballet.html 18. Ghost the Musical http://www.nuhotelbrooklyn.com/blog/index.php/tag/ghost-the-musical/ 19. Crowd http://www.flickr.com/photos/ilbarbaricore/1256937674/
Part v. Image Citations
xiii