PORTFOLIO
Luc Askew-Vajra 150062895 Stage 5 Semester 2
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CONTENTS.
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GROUP PRECEDENT STUDY.
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PROJECT MANIFESTO.
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SITE ANALYSIS & CONCEPT DEVELOPMENT.
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WOODWIND CENTRE PROPOSAL.
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REFLECTION, COVID 19 & ARB CRITERIA.
Existing Work.
New Or Ammended Work.
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GROUP PRECEDENT STUDY.
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Aerial view of location of Rudolph Hall.
Paul Rudolph in front of Rudolph Hall.
Map showing global location.
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Photo of Rudolph Hall in 1960s.
Rudolph Hall. For the group precedent study, Huanglin and I studied Rudolph Hall which was formerly known as the Yale Art and Architecture Building. Located in the state of Connecticut, the building was one of the first examples of brutalist architecture in the United States. It was designed by Paul Rudolph, who was departmental head at Yale at the time, allowing him to occupy the unique position of being both client and architect. In 1969 the building was the victim of suspected arson and was later refurbished and extended with a newer modern extension by one of Rudolph’s former students.
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Ground floor plan of Rudolph Hall.
Spatial Organisation and Materiality. The original portion of the building is organised around a large central atrium space which serves as the main gathering space on each floor. The immense bushhammered concrete pillars are left rough and exposed throughout the spaces. This contrasts with the bright orange carpet that permeates the building, softening the brutalism. I very much like the idea of the structural materiality being visible and this is something I will take forward in my designs.
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Internal and external photos of Rudolph Hall.
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External photos of Rudolph Hall focusing on the pillars.
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Axonometric drawing of Rudolph Hall.
Axonometric. After studying the plans and external images, I created an external axonometric view of the building in order to better understand the arrangement of the pairs of different height columns that support the multiple floor-plates.
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Photos of group sectional model of Rudolph Hall.
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Photo of group sectional model of Rudolph Hall.
Study Model. In order to fully understand the complexity of the multiple levels that encompass this building, we decided to build a sectional model. This also allowed us to explore the relationships between floors but also the light qualities of the spaces.
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Section of Rudolph Hall by Paul Rudolph with outline of study area.
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Technical study model.
Technical Study Model. Looking closer at the section through the building, I wanted to look closer at a specific section of the building and how the technical elements related to the atmospherics of the spaces. I did this through modelling the section outlined above and then adding in further detail with a digital overlay.
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Typical Detail of Angled Rooflight Adjoining Vertical Concrete Wall.
Typical Detail of Window Frame to Concrete Wall.
Technical Study Model In Context. I then took this sectional model and overlayed it with a perspective section and detail drawings to show the context along with the detailed technical elements.
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Technical study model of Rudolph Hall in context.
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PROJECT MANIFESTO.
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A Woodwind Centre. Luc Askew-Vajra Semester 2
Woodwind: “A musical instrument in which sound is produced by
blowing against an edge or by vibrating a thin piece of wood or metal known as the reed, and in which the pitch is governed by the resonant frequencies of an enclosed air column.�
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Gralla Seca Catalonia, Spain
Duduk Armenia
Khene South-East Asia
Diagram of global instruments.
Global Woodwind Instruments. The earliest forms of woodwind instruments would have been simple horns crafted from hollowed out pieces of bone or simply a conch shell found in its natural state. They would have been used for communication but also rituals in ancient cultures. In the North-east of Spain, in the region of Catalonia, they had a woodwind called the Gralla Seca which is used in the building of castells - towers of humans. It is also used in other traditional festivities. The Duduk is a woodwind instrument from Armenia and is commonly made from the wood of an apricot tree. It is also traditionally played in duos with one player playing the melody whilst the other plays a continuous low hum. The Khene originates from South-east Asia and is made from pieces of bamboo that are connected to a small hardwood reservoir. The musician then blows into the reservoir. Whilst these instruments are different they maintain the same ideas of usage. They are also accessible to the amateur musician being simple and easy to learn.
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Diagram of instrument development.
Development Of Woodwind Instruments. During the late 18th and early 19th century, woodwind instruments were further developed by musicians and craftsmen. This included adjusting the size and shape of the main body of some instruments and also adding mechanical keys to others, such as the clarinet. This meant that now certain wood winds could play a much greater range of sounds at different pitches. Previously, during the Renaissance, a musician would have simply switched to a larger or smaller version of the same instrument in order to change pitch. Whilst this was an advancement which allowed woodwinds to progress with the more complex classical styles of music, it meant that instruments that had previously been relatively affordable and easy to learn had now become expensive pieces of craftsmanship that required many years of practice to master which thus made them less accessible to the amateur musician.
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Diagram of new arrangements and appropriation.
Classical Music And Woodwind Instruments. With the development of the woodwinds that were able to be integrate with complex classical compositions, there was also the development of new arrangements. Harmoniemusik was developed along with the modern oboes, bassoons and clarinets and was solely used as background entertainment for dinners and other social functions. Another arrangement was prompted by the Austrian emperor Joseph II who ordered that his table music be played by an octet consisting of two oboes, two clarinets, two bassoons and two horns. This arrangement was then also copied by many European courts of the time. This also presented a unique challenge as no music had been written for this combination of instruments. This resulted in a slew of new pieces as well as Mozart enlarging his Serenade K.375 from a six piece to an eight piece. He also arranged his own opera Die EntfĂźhrung aus dem Serail for the same octet. Whilst the development of new musical arrangements is not inherently negative, the appropriation of the woodwinds by the aristocracy, paired with more complex instruments, meant that the amateur musicians and communities became further removed from woodwinds.
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Diagram of industrialisation of woodwind.
Industrialisation And Woodwind Instruments. The main reason behind the physical changes to the woodwind instruments was the development of new machinery which offered the makers newer and often more accurate ways of making the instruments. The industrial revolution brought these new techniques to the fore, with new tools that allowed accurate casting of metal keys, but also more precise boring methods in order to shape the main cavity of the woodwind instrument. These changes were also desirable from a musical perspective as it meant that instruments played together could now be expected to sound the same as their production had been somewhat mechanised. With industry growing and becoming more globalised, trade routes were also established with new materials being imported from Africa and South America. Previously, woodwinds had most commonly been made from boxwood which had great acoustic qualities but was very reactive to moisture in the air resulting in the instruments contracting and expanding. With the addition of precisely cast metal keys this was not viable and so woodwind instruments began to be made from imported hardwoods with the most common being African Blackwood.
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Diagram of social mobility.
Cultural Changes And Industrialisation. Along with the development of manufacturing techniques, industrialisation also provoked changes in society. Previously, society was beholden to a fixed class system where the profession of the previous generation would define that of the next. But now, with the advent of mechanisation, people could choose their profession with more freedom. This meant that also more people chose to become musicians and in turn there were more orchestras formed. It also meant that more people could afford to go and see live music. However, this meant that concert halls became bigger to accommodate larger audiences which, in turn, affected the acoustics of the space and how the orchestra was assembled.
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Diagram of venue size vs. orchestra size.
Bigger Is Not Always Better. With the new sizes of this larger venues, the music was no longer heard equally well throughout the space. One of the solutions was to increase the size of the instruments in order to produce a higher volume however, this would also change the sound. The other solution was to simply increase the number of musicians in the orchestra but this then increased the cost of the concert which meant that the orchestra could no longer afford the upfront cost of the venue. It was an endless circle of increasing the venue size to make more money but then having to pay for a larger orchestra to have music powerful enough to fill the space. In a sense, the orchestra became a machine that was defined by the venue. Nowadays, this issue would be solved by using a sound system that amplifies the performers however, in my auditorium I wanted to look at using the material properties of wood to create a space that does not need the electronic amplification and in a sense de-industrialise the concert hall.
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Diagram of crafted history.
Crafting Of Music. As woodwind instruments have been redesigned many times throughout history, it is important to convey that this transformation is based on the work of craftsmen. Within my proposal will be a workshop space that will make and repair modern woodwind instruments with access to the public for them to connect with the process. The workshop will also create original woodwind instruments from before the industrialisation of production to teach people about the simplicity of the original instruments and how they used to be hand-crafted objects for all social classes. I also want to imbue this sense of craft throughout the proposal through the use of an exposed timber structure. This allows people with little knowledge in the field of construction to understand how the entire building was crafted and really conveys the sense of material being linked to function.
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Diagram of building program.
A Woodwind Centre. The idea behind the Woodwind Centre is to reintegrate the woodwind instruments back into society by providing a school for children and adults to learn how to play woodwind instruments free of charge, thus removing the financial barriers that meant learning an instrument was reserved for the rich. This school will also invite musicians from different schools in order to give the music students a varied musical education. The Centre will also host a performance venue in order to encourage the general public to engage with the music of woodwind alongside providing a music library showcasing the culture behind woodwind instruments. Finally, as the design and craft of woodwinds was so instrumental in the changes that took place in the classical period, the building will have a workshop that will allow the public to engage with the craft behind the instruments.
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Site Analysis Surrounding businesses
Restaurant Al Borgo
Loca Restaurant
BIGS Club Galerie Emanuel Layr
Shisha Lounge & Restaurant
Scotch Club
Restaurant Clementine Palais Coburg Residenz
Gartenbau Cinema P12 Offices
U.S. Consulate
Austrian Anadi Bank
Hotel AM Parkring
Wiener Privatbank
Marriott Hotel
Almanac Hotel Vienna
Location of Woodwind Centre. Much like the woodwind instruments were appropriated by the rich, the area surrounding the site is surrounded by offices, luxury restaurants and hotels along with offices and banks. The Woodwind Centre looks to provide a non-commercial hub in amongst this, with the free music school, public library and public gardens providing a space for all sectors of society with a focus on linking the centre with the public Stadtpark across the Ringstrasse.
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SITE ANALYSIS AND CONCEPT DEVELOPMENT.
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Map of music routes from Semester 1.
Haydn
Mozart
Music Routes. This map shows the four music routes of the composers that I studied in the first semester with the specific points shown in the more vibrant colours. I have then included the shorter music walk that I developed along with a pavilion at its end in order to show how they all overlap and interlink as they meander across Vienna. Finally, I have shown the site highlighted in orange showing that it does not currently connect to any of the music walks.
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Beethoven
Strauss
Semester 1
Map of consolidated music route.
Consolidated Route. This map then takes these multiple routes and consolidates them into one updated music route that links the pavilion at the end of Mariahilfer Strasse with the site for the Woodwind Centre.
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Site plan.
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Site Analysis Sun Path and Views
Sun path and views. The site for the Woodwind Centre sits on the edge of the Ringstrasse that encircles the main centre of Vienna. With the main facade facing South-West, the building receives ample sunlight for a large proportion of the day. The site also gives views back towards the Stephansdom cathedral in the city centre. Meanwhile, the front facade looks out onto the large expanse of greenery that is the Stadtpark, providing a much needed element of nature within the busy city.
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Aerial view of Stadtpark with statue loactions.
Stadtpark. Opened in 1862, the Stadtpark is the first communal park in Vienna and stretches out along both sides of the River Wien. The park contains many statues of famous artists and musicians and is very much entwined with the musical history of Vienna. Creating a link between the Stadtpark and the Woodwind Centre will solidify its presence in the site but also draw visitors to the building.
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Site Analysis Main Access, Transport & Noise.
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Access and Sound. The main transport routes near the site are based around on or adjacent to the Ringstrasse. This means that this is also the loudest aspect of the building. In terms of access to the site, there is a tram-stop close by and it is within easy walking distance of the city centre. Vehicular access is provided by an underground carpark that is accessed by a road between the two adjacent buildings. The building also provides internal cycle storage.
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Concept image of workshop.
Concept Image - Workshop. This concept image looks at the relationship between the public spaces and the workshop space and how the two could interact with a focus on the materiality of wood and concrete.
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Concept image of external space.
Concept Image - External Space. With this concept image I am looking at the outdoor space of the courtyard but also the way it relates back to the building itself.
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Concept image of auditorium.
Concept Image - Auditorium. This concept image looks at the way people would enter the auditorium space as well as the seating arrangement. I was also interested in the construction of the ceiling which is shown here as a sculptural wooden frame.
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Concept image of music school.
Concept Image - Music School. With this concept image I am looking at the spaces between the music classrooms and how different levels can be connected. The materiality of the warm wood all around the space is also important.
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Concept image of teaching space.
Concept Image - Teaching Space. In this concept image I was investigating how a teaching space could feel with different wall and floor treatments but all in the same material. I also looked at how the space could be less formal with temporary seating.
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Concept image of breakout space.
Concept Image - Breakout Space. This concept image looks at how large wooden stepped seating and greenery could be used to create breakout spaces within the building.
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Photos of initial sketch model.
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Initial Sketch Model. After multiple iterations in plan and in section, I made a sketch model of one of my initial building concepts. I was looking at the main ideas such as how the main entrance could be raised above the street and how the facade could provide glimpses of the interior through vertical elements and translucent screens. I was also looking at the use of cores for things such as circulation in order to tie multiple different levels together around a vertical axis.
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WOODWIND CENTRE PROPOSAL.
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Basement floor plan.
Basement Floor. 1. Parking 2. Service Access To Upper Level 3. Public Access To Upper Level 4. Plant Room
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Ground floor plan.
Ground Floor. 1. Library Space 2.Garden Performance Stage 3. Bike Store 4. Workshop Store 5. Toilets 6. Library Storage
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First floor plan.
First Floor. 1. Library Space 2. Workshop 3. Workshop Office 4. Workshop Test Room 5. Toilets 6. Cloakroom 7. Reception 8. Reception Office 9. Cafe
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Second floor plan.
Second Floor. 1. Green Room 2. Practice Room 3. Stage 4. Backstage 5. Stage Store 6. Dressing Room 7. Musicians’ Bathroom 8. Toilets 9. Auditorium 10. Control Room 11. Bar Storage 12. Bar
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Third floor plan.
Third Floor. 1. Music Practice Room 2. Recording Studio 3. Toilets 4. Auditorium Balcony 5. Breakout Space
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Fourth floor plan.
Fourth Floor. 1. IT Classroom 2. Shared Office 3. Toilets 4. Auditorium Upper Balcony 5. Bar 6. Office
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Fifth floor plan.
Fifth Floor. 1. Open Lecture Theatre 2. Recital Hall 3. Toilets 4. Small Group Music Room 5. Large Group Music Room 6. Central Performance Space
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Sixth floor plan.
Sixth Floor. 1. Open Lecture Theatre 2. Recital Hall 3. Toilets 4. Lower-Level Music Room 5. Music Room 6. Balcony To Atrium On Lower-Level 7. Small Stepped Performance Area
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Photos of La Tourette facade.
Photo of La Tourrette.
Facade Precedent - La Tourette. This monastery by Le Corbusier was his final completed building in Europe however I am interested in a singular aspect of the design by one of his employees at the time. The large glass facade by Iannis Xenakis. The facade itself is made up of, at first glance, a series of irregular horizontal and vertical divisions. However, their placement was actually defined by using Le Corbusier’s Modulor system, and apply musical principles of harmony and rhythm. Thus the facade, whilst fulfilling all of the practical applications, also serves as a visual musical art piece. It would be interesting to somehow link my facade with a piece of music, perhaps one of the pieces by Mozart rewritten to suit the octets of Harmoniemusik.
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Division of facade diagram.
Division of Facade. I have divided the main facade into different areas that relate to different functions within the building. These areas will then determine the density of the placement of louvres on the facade. The entrance will be free from louvres as it conveys a sense of welcoming and is also already sheltered beneath the cantilever of the building. The main staircase will be the densest area of louvres, giving the visitors glimpses out as they progress vertically through the building. The music school on the upper levels will also be encapsulated with a denser set of louvres which will in turn enhance the central roof-lit performance space, giving the school a central focal point within the building. The main routes through the school will however have sparser clusters of cladding allowing for framed views along the main axis. Finally, the floors around the auditorium which contain the main public space on the front facade will be sparsely populated with louvres to allow expansive views out towards the park.
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Sheet music for Serenade No. 12.
Positioning of Louvres. Using the concept of seen at La Tourette by spacing of my louvres musical interpretation of
musical interpretation Xenakis, I want the to reflect my own a piece of music.
The piece of music I have chosen to interpret is Mozart’s Serenade No. 12, also sometimes called Nachtmusik. I have chosen this piece as it is Harmoniemusik and was also specifically written for a wind octet. The piece has four movements and I will be interpreting different specific sections. For the densely populated areas of louvres I will be interpreting the Allegro as the quicker musical pace will related to closer spacings of louvres. For the sparsely populated sections I will be interpreting the Andante with the slower musical pace representing larger spacings between louvres.
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Spacing of Louvres. Here I have taken my musical interpretations from the individual movements of Serenade No. 12. I recorded the portions of the movements that repeated multiple times and transposed them into this linear form. The tempo of the music and the following time between notes dictates the line spacing. I then transposed these interpretations onto the facade in a sketch in order to define the placement of the louvres.
Interpretations of music into spacing of louvres.
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Louvres and shadows on the main elevation.
Louvre Placement. By combining the sparse and dense areas diagram along with my musical interpretations of the different movements of Mozart’s Serenade No. 12, I have determined the placement of the louvres across the facade. I have also accounted for the louvres that are positionally fixed to the column grid and I have incorporated the spacing around them. With these two images I am looking at the shadows created by the louvres and then focusing on the materiality of the facade up close.
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Louvres, materiality and shadows on a section of the main elevation.
Louvre Alignment. It was also important that the two different spacing patterns also seamlessly transition from one to the other and so elements from the sparsely populated section intentionally line up with certain elements in the densely populated section. This alignment also then relates back to the fact that these are both interpretations of movements from the same piece of music.
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Overall 3D view of design showing the external facade.
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Finalised Facade. The final facade gives the impression of an irregular structure that encompasses the building in a forest of wood whilst framing views out towards the rest of Vienna.
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Perspective section of proposal.
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Perspective Section - Key Spaces. This perspective section cuts through the three main spaces of the building which, in turn, highlights the key programmatic drivers of the scheme: The library/workshop space where the public learn about the history of woodwind instruments and how they are made, the auditorium where people can experience the music of woodwinds and finally, the music school where people come to learn how to play woodwinds.
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Technical perspective section of auditorium.
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Section showing sight lines to stage.
Diagram showing sound paths in auditorium.
Technical - Auditorium. With this technical perspective section of the auditorium, the thick walls of the music space are broken down into the individual layers that contain the space. This technical section is then layered onto a perspective view of the auditorium showing how the construction relates to the atmospheric qualities of the space. I have then also investigated the sight lines and the directions of sound within the auditorium.
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Photo of Albina Yard by Jeremy Bittermann.
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Photos of Albina Yard by Jeremy Bittermann.
Precedent - Albina Yard, Portland. Designed by LEVER Architecture, this precedent was the main inspiration behind the structural solution to my building. It also uses glulam beams and columns in conjunction with CLT floorplates with exposed structure. As my design is much larger than an office, I have increased the size of the structural members and I have also added a dropped ceiling to conceal the large services required in this building.
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Technical Section - Facade. With this image I am looking at the overall assembly of the entire front facade of the building. I will then look closer at the three main areas of the facade; where it meets the ground, the main spaces and the roof joint.
Technical perspective section of facade.
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Technical Section - Foundations. With this technical perspective section I am looking at how the building interacts below ground and the detailing of the pile foundations, ground floor slab and the retaining walls.
Technical perspective section of foundations.
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Technical Section - Main Space. With this technical perspective section of the double height bar area at the front of the building, I am looking in detail at the joints between the beams, floor plates and external glazing along with the vertical louvres.
Technical perspective section of main space.
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Technical Section - Roof. With this technical perspective section of the double height space of the music school, I am focusing on the roof construction and how it relates to the structure below.
Technical perspective section of roof.
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Photos of Airbnb HQ by Donal Murphy.
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Photo of main staircase at Airbnb HQ by Donal Murphy.
Precedent - Airbnb HQ, Dublin. Designed by Heneghan Peng, this precedent has been inspirational for some of the more informal spaces in my building. The large staircase that doubles as a social space running through the centre of the building is very much the goal for my library space whilst the wood-clad cube-like protrusions into the main atrium give some indication of the music school design.
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Perspective of library and workshop space.
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Perspective of stepped entrance.
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Photo of main atrium space at Life Science Bioengineering B202 by Adam Mork.
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Photos of Life Science Bioengineering B202 by Adam Mork.
Precedent - Life Science Bioengineering B202, Copenhagen. Designed by Christensen & Co. Architects, this precedent was the main inspiration for the central space within the music school. I like the way the architect has used different volumes within one space to subdivide an atrium. I also enjoy the use of multiple levels giving the impression of a cluster of spaces rather than being stratified by floor. Finally, the use of large skylights brings natural light into the space giving a it a light and airy atmosphere.
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Perspective of centre of music school from upper level.
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Perspective of centre of music school from performance space.
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Perspective of double height bar space.
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Perspective of workshop space.
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REFLECTION, COVID 19 & ARB CRITERIA.
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Reflective conclusion. I think that this semester has been interesting and rewarding and I enjoyed doing so much research before starting the design. This research also inspired the design and gave a strong base on which to form a proposal. The woodwind centre brings together the many strands of experience around woodwind instruments; craft, history, and music and places them within a civic centre designed to unite the different living classes of Vienna. This uniting of classes is also evident in the choice of site, which is in an upmarket business area typically considered exclusionary to lower social classes due to financial barriers. By placing a civic building here, it encourages people from different backgrounds to come to the city centre, creating links with the poorer districts outside the city centre. I also believe that the design of civic centres such as this will become more important in the current climate. Due to the global pandemic of COVID-19, economies around the world are becoming much weaker. This has led to a furthering of the already large divisions in society between the rich and the poor with rising tensions in many countries. By creating buildings and spaces that can be experienced by all and allowing those who might not be able to afford to learn new skills the opportunity, civic buildings and the services they provide can help to reduce these barriers. Overall this project has been satisfying and has taught me about designing larger and more complex schemes within an urban context. The skills I have learnt will be taken forward into Stage 6 and will allow me to create projects with greater depth which are integrated into their surrounding environments.
COVID 19 Considerations. Overall I think that working from home for the majority of the second semester has been a positive experience and the teaching has remained regular and of a consistent quality throughout. However, without access to the studio and the workshop, I have struggled to develop my project using physical models, which is a key aspect of my normal development process. This was also made worse by the fact that we had just finished a group site model which would allow me to model my scheme in the surrounding context. I have also missed the advice of my peers within the studio, as I find a social environment encourages continuous discussion about each others’ projects.
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ARB/RIBA Part II Criteria. To the best of my ability I have attempted to map this semester’s work against the criteria. This will aid me in my self assessment in this semester but also across the whole length of the masters course. It also shows me which areas I need to focus on for Stage 6 in order to hit all the ARB criteria in the duration of the masters course. GC1- Ability to create architectural designs that satisfy both aesthetic and technical requirements. I have looked at how the structure will impact the building’s atmosphere and designed with technical considerations in mind when creating spaces incorporating materiality into the structural strategy. I have used the technical properties of crosslaminated timber in order to create large open span spaces such as the auditorium. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. I have researched the history and development of woodwind instruments and incorporated spaces in the building which reflect this. I have also researched the history of Vienna and the Stadtpark and linked this to the design. Finally, I applied musical theory and research when designing the facade. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. I researched the changing landscapes of music and how this has impacted woodwind instruments and how my building can provide spaces to disseminate knowledge about these instruments. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. I have analysed the surrounding site and looked at transport routes to my building. I have also considered the scale of surrounding buildings when designing my proposal. I have also looked at the financial build-up of the city centre and how this contrasts with the location of my first semester project and how linking the two sites through a music route can benefit society. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. I have created internal spaces that allow the public to interact physically with the theory, craft and history of woodwind instruments. I have incorporated vertical louvres across the facade to provide passive solar shading and a water storage tank in the basement in order to reuse grey water within the building. The building entrance space mirrors the natural environment of the Stadtpark whilst the scale speaks to the surrounding buildings. GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The project builds upon the initial studio brief and then incorporates the research on woodwind instruments. This then informs a secondary brief which enabled me to outline a program of spaces but also how these spaces connect using traditional methods of spatial design such as stair and lift cores. GC8 Understanding of the structural design, constructional and engineering problems associated with building design. I have researched different methods of construction of buildings with large atrium spaces considering concrete at first with the group case study. I then researched more sustainable materials and settled upon engineered timbers as they provide similar structural properties whilst also creating a materiality that links into the theory behind the project. The building also uses steel bracing at two of the corners to stop the main structure from twisting. GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The initial designs compromised a large glass curtain wall however, in order to counter solar gain, I have designed vertical louvres to passively shade the large expanses of glass. I also wanted to passively cool the building but the spaces are too large for this so i have incorporated ventilation to work in conjunction with natural airflow. I have also looked at the auditorium design in detail, looking at the sound properties of the space and the sight lines to the stage.
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