Tónlistarþróunarmiðstöð - Architectural Project Portfolio '20 - Lucas Akira Druet

sounds from a safe harbour// lucas druet_M1 20.01-20.04

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Contents

first term summary

2

preliminary studies

16

site & context studies

26

program development

36

schematic design

42

model studies

62

design development

76

final design

90

Ă?S - Sound Installation

146

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First Term Summary

Sept - Dec 2019

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The prompt of a School of Music in the expanse of Iceland’s West Fjords set off a series of studies focused around landscape and the meditative and collaborative process of song writing.

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Landscape & Creativity The project began with submersion into geographical, contextual, and programmatic studies. Experienced through readings, film, photography, and physical experimentation. The ultimate goal of these studies was to uncover and explore sources of inspiration conducive to the creation and writing of music.

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ab

le

vu

ln

er

perman ent

in t ro ve r te d s o lid s / ext ro ve r te d flo w s

Inspired by the natural interactions between permanent and vulnerable or fluid elements, I began to strategize the program arrangement in terms of introverted solid spaces and extroverted fluid space.

sol

fluid

id

int

ro

ve

extrovert

d

ed

te

r

cast ing stu d ie s

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An experiment using charred wood as form-work for a curved geometry was an additional study into the idea of elemental interactions and creating imprints of a memory.

Introverted Studies Having established a concept of introverted and extroverted spaces I began a series of form and material studies through digital and physical modeling, inspired by formations in the Icelandic landscape.

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Ex t ro ve r t e d S t u d ie s

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This model was created purely for the purpose of studying spatial relationships between introverted and extroverted forms as well as beginning to understand strategies of flowing a program down a sloped site.

Further to its intended purpose of understanding spatial relationships, this model became used as a device to study the use of light, reflections, and distorted imagery.

These new ideas where translated to experiential and material strategies for the building.

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B ui l di n g D eve l o p m e n t Gathering strategies learned from studies and experiments, I had begun to formalize and express these ideas in building representational graphics as well as form studies that related to program adjacency strategies and scale.

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This graphic depicts the notion of various introverted solid austere forms scattered in the landscape with a light transparent structure flowing and bridging between them.

The highly reflective glass projects the surrounding landscape in an effort to add a level of stealth of the building in the landscape.

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This graphic explores the interior experience of the extroverted volume. Continuation of solid forms and glimpses of other spaces encourage exploration. Volumes open to the exterior strengthen environmental connections.

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Preliminary Studies

preliminary studies

16

A highly urban project demands a great deal of research in understanding the needs of a community and the impact of an intervention.

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A Space to Make Noise In researching the music scene in ReykjavĂ­k, I came across the story of two brothers who moved to the city in the early 80s to form the popular rock band UtangarĂ°smenn. In interviews, guitarist Danny Pollock speaks of the struggles that musicians faced in trying to find places to perform and rehearse in ReykjavĂ­k. Frustrated by this, Danny took the initiative to convert an old fish factory into a music development centre where local musicians, professional and amateur alike, could come together and perform, rehearse and contribute to the burgeoning Icelandic music scene.

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Since Danny has first hand experience in identifying the needs of the local music community and operating a highly public and social building, I reached out to him to discuss these community needs and the success of his music centre.

Our discussion became a catalyst for the development of the building program.

Images Source: http:// icelandicmusicmuseum.blogspot. com/2014/12/158-daniel-pollock. html

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Character of a Safe Harbour During the studio trip to Iceland, I spent a full two days getting to immerse myself in context of my site. Spending hours monitoring the activities from different points around the Old Harbour, speaking with local industry workers, and observing the effects of the climate and October lighting.

While the primary character of the harbour is one of safety and shelter, the aesthetic is one of grunge, durability, and weathering.

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preliminary studies

intimacy of rafting

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Given the limited space of the harbour, long rafted lines of boats are ubiquitous. This simple act of efficiency produces a quiet charm of intimacy and bracing.

preliminary studies

durability and weathering The harbour hosts a diverse collection of ships. Each with their own construction and unique history imprinted through natural weathering.

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preliminary studies

scale and influence of the tide

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The roughly 4m rise and fall of the tide adds another dynamic element to the harbours aesthetic. The grand fishing vessels grow and diminish against the fixed pier edge.

preliminary studies

visual noise Another delightful element to the harbour aesthetic is the constant visual noise produced by the collage of different structures, objects, materials, and colours.

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Site & Context Studies

Site & Context Studies

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A site located in Reykjavík’s Old Harbour provides a unique blend of urban public and industrial activities.

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Primarily flat at harbour sea floor 7.5-10m MLLW

Harbour Growth 10.0m

7.5m 5.0m 2.5m

0m 5m

10m

15m

Primarily flat at harbour edge 0-5m

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The ReykjavĂ­k Old Harbour is a perpetually evolving man-made land mass. As the harbour industry grew, reclaimed land continued to push outwards along the outer perimeter.

This means that the vast majority of the Old Harbour is flat, sitting at 3m above mean sea level, with the average harbour depth of 7.5-10m below the mean lowest low water mark.

Future development plans show further integration of public and private amenities to the Old Harbour.

1960

1990

1970

2000

2020

1980

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REYKJAVIK OLD HARBOUR

marine industry

marine industry

general moorage

tool library

the marshall house art museum Olafur Eliasson studio cafe / bar

music rehearsal centre instrument repair shop

marine industry general moorage

private moorage

marine industry

iceland ocean cluster marine industry entrepreneur incubator restaurants marine industry rentable units

seafood wholesaler

general moo

tourism & commercial car rentals shops markets

private moo

tourism & commercial

site & context study

Flourishing Hybridized Urban Harbour

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As tourism began to become a major contributor to Iceland’s economy, Reykjavík’s Old Harbour did not become de-industrialized, but rather a more hybridized urban space. The harbour is a vibrant mix of tourist industry, marine industries, public amenities, restaurants, local craft, design, and music. With hybridization it is slowing become more public, more touristy, while the established industries are flourishing.

harpa concert hall

sailing club

hotel & commercial hotel & commercial

maritime safety training

flea market

naval ship restaurants & shops art museum

whale watching centre

tourist industry whale watching yatch charters Sea tours

retaurants & shops

private moorage

ship yards hotel & commercial

orage

residential reykjavik maritime muesum restaurants offices

orage residential & shops

restaurants & shops

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site & context study

climatic forces on-site

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The proposed site, located on a narrow 25m wide by 110m long fixed pier that extends south east, exposing the west face to the majority of afternoon sun. The daylighting conditions in Iceland can be a beautiful and artistic tool to work with, It skims the horizon, giving only 3-4 hours of daylight in the winter and 22-23 hours of daylight in the summer. The annual temperature has a very moderate swing from an average of 0ยบC in the winter and 11ยบC in the summer.

N

W

E

S ANNUAL WIND AVERAGE

20ยบ

10ยบ

0ยบ

-10ยบ ANNUAL TEMP AVERAGE

100mm 80mm 60mm 40mm 20mm 0mm

ANNUAL RAINFALL AVERAGE

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HIGH TIDE

(example)

October 26th 5:05 PM GMT 4.04m MLLW

HIGH TIDE

(example)

October 26th 5:05 PM GMT 4.04m MLLW

3m above MSL - Average Ground Level High Tide: 4.04m Above MLLW

3.000

King Tide: 4.66m Above MLLW February 21st 2019 7:41 AM GMT

2.240

0m - Mean Sea Level (MSL) (Datum for Land Topography)

0m - Mean Lowest Low Water (MLLW) (Datum Reference for Marine & Tide Charts)

3.000

13.240

3m above MSL - Average Ground Level

2.240

8.000

0m - Mean Sea Level (MSL) (Datum for Land Topography)

13.240

0m - Mean Lowest Low Water (MLLW) (Datum Reference for Marine & Tide Charts)

8m below MLLW - Average Sea Floor

34 GSEducationalVersion

)elpmaxe(

EDIT WOL

TMG MA 24:11 ht72 rebotcO WLLM m10.0

LOW TIDE

(example)

October 27th 11:42 AM GMT

leveL dnuorG egarevA - LSM evoba m3

0.01m MLLW

000.3

)LSM( leveL aeS naeM - m0 )yhpargopoT dnaL rof mutaD(

042.2

)WLLM( retaW woL tsewoL naeM - m0 )strahC ediT & eniraM rof ecnerefeR mutaD(

3m above MSL - Average Ground Level

3.000

042.31

0m - Mean Sea Level (MSL) (Datum for Land Topography)

2.240

000.8

13.240

0m - Mean Lowest Low Water (MLLW) (Datum Reference for Marine & Tide Charts)

roolF aeS egarevA - WLLM woleb m8

35 noisreVlanoitacudESG

Program Development

program development

36

Preliminary urban and contextual studies led to a redevelopment of the building program to better service the needs of the city and industry.

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urban study

plan

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---

Public Ownership & Harmony with Industry Through preliminary research into Reykjavík’s music scene I found that there is a demand for: • Music rehearsal spaces to allow musicians to develop their craft • Small music venues to promote local talent • Access to instruments & local and international music for influence This in combination with the understanding of my site as being in a highly public yet industrial setting led me to shift my building program from an institutional School of Music to a highly public Music Conservatory with supporting program including formal performance venues as well as informal venues, Cafes and Bars. The main challenge was to realize this program while ensuring I did not impede in the existing harbour activities, but rather contributed to them.

A major part in the public ownership of the building is the incorporation of a music and instrument library. Putting the tools and knowledge in the hands of the public to create and inspire others.

It should be a building where musicians can practice as loud as they want, a place to develop your own skills and branch out to other instruments, a place to be inspired and to create.

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A detached streetscape massing meets, matched to the neighbouring building height acts as a comfortable invitation to the activities of the building.

02 Concourse Massing

The existing site, used for miscellaneous harbour activities, including ship renovations, tourist boat unloading, and safe moorage during storms.

01 Streetscape Massing

00 Blank Site

Massing Response to Site

A long concourse will host a majority of the public functions of the building.

Set to the limits of the pier to allude to the intimacy of rafted ships.

Begin to manipulate the massing of the concourse to allocate and accommodated the different public functions.

05 Grounding Mass Block

04 Program Manipulation

03 Lifting Public Concourse

Lifting the public concourse to not impede in the daily activities and life of the pier below.

A mass block to ground the structure and host the remaining programmatic functions of the building.

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Schematic Design

schematic design

42

The project continued to develop through rigorous digital and physical modelling to test the structural and experiential value of the building.

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Architectural Expression as a Response

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An architectural language characterized by structural expression and honesty of materials began to develop as a response to the industrial visual noise of the harbour.

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schematic design

development of expression

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Early digital massing models helped to formulate the language of form in the context of the harbour with the neighbouring buildings, the rise and fall of ships with the tide, and the mixing of activities between industry and program.

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schematic design

engagement with the urban context

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Early studies of the interaction the building had with the streetscape was important to help ground the project as one that encouraged public exploration and ownership.

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east elevation

structural strategy ___

floating diaphram

mass-wood block

lift tower

conservatory ballast

22.0 18.0 14.0 10.5

10.0

07.0 05.0

03.5 00.0

00.0 west elevation

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05.0

03.5 00.0

00.0

structural strategy ___

west elevation

mass-wood block

lift tower

Structural Focus Due to the constraints of the site and the resolution of the program massing, a large focus on structural systems began early on in the design process.

10.5 07.0 03.5 00.0

The raised main floor volume created an immediate challenge of achieving great north elevation cantilevered spaces.

west elevation

south elevation

Establishing a tight 5m grid,

k j a v í k m u s i c l a b the @ t hfirst e o l d strategy h a r b o u r was to use a

___ h ö f n t ó n l i s t a r m i ð s t ö ð

rsion

steel full story high spacetruss that projected from a concrete grounding ‘ballast’.

north elevation

reykjavík music lab @ the old harbour

GSEducationalVersion

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schematic design

Structural Studies

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By creating a structural digital massing I was able to simulate simple structural stresses to highlight areas that required greater reinforcement.

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structural simulation ___

structural simulation ___

schematic design

exterior view 01

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- Experiments in form - Striving for visual noise - Structural expression

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schematic design

exterior view 02

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- Experiments in form - Striving for visual noise - Structural expression

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schematic design

interior view theatre

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- Experiments in material expression - Focused views - play with light

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schematic design

exterior view activities

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-

Experiments in material expression intimacy of activities industry cross-pollination structural expression

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Model Studies

preliminary studies

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Physical models became a vital tool in the study of structural systems and experiential qualities

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1:200

What started out as a simple structural grid model became a device which accompanied me through many stages of the design.

Evolving from a structural study into an experiential tool as it was built onto and manipulated.

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With this model I began to develop the ideas of the exploration I wanted to achieve in the main public concourse. I started to visualize the experience of progressing through this volume as being akin to the experience of progressing through the different levels and rooms of a ship. Complex paths that flow through differing levels and levels of compression and openness. This brings a certain level of complexity to the circulation that helps to entice further exploration and discovery in a space.

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1:100

A larger scale model allowed me to further this study of experience and material relationship through careful crafting and realization of form and opportunities.

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This model became a device to find opportunities for moments within a simple form. A strong structural expression gave way to some of these moments and the use of solid wood to simulate monolithic concrete forms helped to visualize other moments.

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Design Development

design development

76

After completing structural and physical model studies I spent time reflecting on the early design principles I had established. This aided in the further evolution of the building form and structural strategy.

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Building Evolution

In revisiting early design principles and strategies that I began the project with, I realized there were items I wasn’t achieving.

1. An unobstructed pier that was both functional for the marine industries and inviting for the public gaze.

2. A public concourse focused on diverse exploration through programmatic volumes.

3. A more simplified building structure and material response to the visual noise of the harbour.

4. Better diversity in spatial arrangement of the music conservatory.

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design development

visual noise Simple 3D printed forms aided in the iterative process to satisfy the design principles I was aiming to achieve.

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Building Evolution The revised form removes the large grounding mass and the cantilevered structure is replaced with a series of supporting diagonal columns.

This visually and spatially frees the pier level. The strong concrete structure give more flexibility to the manipulation of spaces within.

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Final Structural & Systems Approach The primary structural approach for this building form was to use a concrete diagonal grounding structure spaced 10m apart that pierced through the second floor concourse and landed on a concrete pile cap. From the pile cap five steel pipe piles descended until reaching the Icelandic bedrock where they were secured using Rock Socket connections.

The floors that sit atop the concrete concourse are built using a lighter steel/mass timber hybrid system.

Mechanical systems run through a raised floor pedestal system, with hydronic radiant heated floor tiles. The vertical circulation block acts as a lateral stabilizer for the concourse and carries services to be distributed on each floor.

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SOUND WAVES SCATTER & DISPERSE

LOW LIGHT REFLECTS AND DIFFUSES

Special attention has been given to the handling of natural light and acoustics within the building spaces. An inverted pitch vault form pierces downwards into performance spaces, rehearsal rooms, as well as the entry building volume. This form works to scatter sound waves onto other surfaces, including reflective and absorbent panels. Additional, the roof form works with the low Icelandic sun to diffuse daylighting back into the space at regular hours of the day. At night, the activities within illuminate the ceiling and create a beacon into the Old Harbour.

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April 21st 10am

April 21st 7pm

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design development

axonometric massing

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Final Program Arrangement Starting at the street level you immediately enter into an Cafe space with a built in venue space, acting as a lure for passerby’s. This building also hosts the primary administrative functions of the building. After ascending the stairs of the entry building you pass through a skybridge connecting to the main concourse volume. From here you immediately enter the music library with instrument library accessed through a grand stair. Continuing in the concourse you come across the primary performance space. Past this is the Cafe/Barrin venue space. The primary building mass above the concourse hosts all the practice rooms as well as the recording studio. At the front of the building sits a detached recital hall.

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[Music Development Centre]

Tónlistarþróunarmiðstöð

Final Design

90

A experiential walkthrough as a user of the Music Development Centre.

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SITE ENTRY EXISTING BUILDING

A

B

C

D

E

F

20.000 5.000

H

1 A-302

I

J

K

L

5.000 5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

EG

2

3.

00

5.000

G

2 A-302

EG

3.

SETBACK

SITE ENTRY

.15m CURB

01 3.

FG

FG

3.

01

2

3 A-302

5

4 A-302

2.1 1 6.650

A-301

13.300

CAFE VENUE

FLOOR AREA: 266 m2

1 01 3.

FG 1 01

1 01

3.

LOADING

EXISTING BUILDING

FG

3.

FG

SERV.

FG

3 01

STAGE

3.

2 3.

EG

2.3

GROUND FLOOR

94

KITCHEN

UP 26R

6.650

2.2

4

3

A-302

A-302

UP 21R

2

1

A-302

A-302

SITE ENTRY

M

E

5.000

5.000

O

G

P

90.000 5.000 5.000 5.000 5.000

H

Q

5.000 5.000

I

1

R

5.000 5.000

2

3

A-302 A-301

J

S

5.000 5.000

K

T

5.000 5.000

L

U

M

5.000 5.000

A-301

V

N

5.000 5.000

W

5.000 5.000

O

X

90.000 5.000 5.000

P

Q 5.000

R 5.000

S 5.000

5.000

EG

3.

00

5.000

F

2 A-302

3.250

EG

3.

00

1.1 1.2

.15m CURB

3

UP 24R

UP 24R

FG

3.

01

2

6.750

A-302

1.3 1 6.750 27.525

A-301

1

3.250

1.4

EG

3.

3.

00

00

1.5

UP 21R

7.525

FG

3.

01

1

EG

1 01

LOADING

3.

SERV.

FG

EG

3.

00

FG

3.

01

1

B

N

3 A-301

1.6

3 A-302

3

2

A-301

A-302

1

2

3

A-302 A-301

A-301

GENERAL NOTES: 1.

REFER TO STRUCTURAL CONSULTANT DRAWINGS FOR LOCATION OF ALL LOAD-BEARING PARTITIONS AND SHEAR WALLS.

2.

EXTERIOR DIMENSIONS ARE FROM EXTERIOR FACE OF SHEATHING OR FURTHEST EXPOSED STRUCTURAL SURFACE

3.

SEE INTERIOR DESIGN DRAWINGS FOR ALL INTERIOR FINISHES AND DETAILS.

4.

PROVIDE UNIFORMLY DISTRIBUTED UNOBSTRUCTED VENTILATION @ FLAT ROOF - MIN 1/150 OF INSULATED CEILING AREA (NOT APPLICABLE WHERE INSULATION IS LOCATED ABOVE ROOF STRUCTURE)

5.

PROVIDE FIRE SEPARATIONS CONTINUOUS TO UNDERSIDE OF ROOF SHEATHING AT ALL COMPARTMENT AND EXIT STAIR & SHAFT LOCATIONS. NO FRAMING MEMBERS ARE TO PENETRATE FIRE SEPARATION.

6.

REFER TO THE LANDSCAPE CONSULTANT DRAWINGS FOR FINAL EXTERIOR GRADING AND LAYOUT OF ANY RETAINING WALLS, SIDEWALKS, GRADE PLANTERS AND FENCING.

7.

REFER TO CIVIL CONSULTANT DRAWINGS FOR ALL ROADS, CURBS, GUTTER, DRIVEWAYS, SLOPES, AND THE DESIGN OF MUNICIPAL STREETS WITHIN THE PROPERTY OR OUTSIDE OF THE PROPERTY.

8.

REFER TO CODE CONSULTANT REPORT FOR THE ALTERNATIVE BUILDING SOLUTIONS TO THE REYKJAVIK BUILDING CODE.

9.

REFER TO ACOUSTICAL REPORT FOR THE SPECIFICATIONS FOR WINDOW & WALL DESIGN

10.

PROVIDE MIN. 2% SLOPE AT BALCONIES AND ROOFS

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MUSIC LIBRARY & LOUNGE

SKY BRIDGE CONNECTION

A

B

C

D

E

20.000 5.000

G

H

1 A-302

I

J

K

L

5.000 5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

4

3

A-302

A-302

2.1

MUSIC LIBRARY & LOUNGE

1 6.650 13.300

2.2

MUSIC LIBRARY & LOUNGE

DN 16R

A-301

UP 27R

DN 16R

5.000

F

2 A-302

TOTAL FLOOR AREA: 1,710.19 m2

ADMIN SPACE

DN 16R

6.650

FLOOR AREA: 56.5 m2

UP 27R DN

2.3

SECOND FLOOR

96

4

3

A-302

A-302

2

1

A-302

A-302

PERFORMANCE THEATRE

M

N

CAFE BARRIN VENUE

3

2

A-301

A-301

O

P

Q

R

S

T

U

V

W

X

90.000 5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

COOLER

3.250

1.1 STOR.

1.2

KITCHEN

6.750

STORAGE

REHEARSAL THEATRE

RESTAURANT

20.000

DN

DN

BAR

PATIO

1.3 1

6.750

WC

WC

STAGE

1.4 3.250

DN 16R

UP 27R

DN

DN

A-301

WC

1.5 7.525

7.525

21R

1.6

3

2

A-301

A-301

GENERAL NOTES: 1.

REFER TO STRUCTURAL CONSULTANT DRAWINGS FOR LOCATION OF ALL LOAD-BEARING PARTITIONS AND SHEAR WALLS.

2.

EXTERIOR DIMENSIONS ARE FROM EXTERIOR FACE OF SHEATHING OR FURTHEST EXPOSED STRUCTURAL SURFACE

3.

SEE INTERIOR DESIGN DRAWINGS FOR ALL INTERIOR FINISHES AND DETAILS.

4.

PROVIDE UNIFORMLY DISTRIBUTED UNOBSTRUCTED VENTILATION @ FLAT ROOF - MIN 1/150 OF INSULATED CEILING AREA (NOT APPLICABLE WHERE INSULATION IS LOCATED ABOVE ROOF STRUCTURE)

5.

PROVIDE FIRE SEPARATIONS CONTINUOUS TO UNDERSIDE OF ROOF SHEATHING AT ALL COMPARTMENT AND EXIT STAIR & SHAFT LOCATIONS. NO FRAMING MEMBERS ARE TO PENETRATE FIRE SEPARATION.

6.

REFER TO THE LANDSCAPE CONSULTANT DRAWINGS FOR FINAL EXTERIOR GRADING AND LAYOUT OF ANY RETAINING WALLS, SIDEWALKS, GRADE PLANTERS AND FENCING.

7.

REFER TO CIVIL CONSULTANT DRAWINGS FOR ALL ROADS, CURBS, GUTTER, DRIVEWAYS, SLOPES, AND THE DESIGN OF MUNICIPAL STREETS WITHIN THE PROPERTY OR OUTSIDE OF THE PROPERTY.

8.

REFER TO CODE CONSULTANT REPORT FOR THE ALTERNATIVE BUILDING SOLUTIONS TO THE REYKJAVIK BUILDING CODE.

9.

REFER TO ACOUSTICAL REPORT FOR THE SPECIFICATIONS FOR WINDOW & WALL DESIGN

10.

PROVIDE MIN. 2% SLOPE AT BALCONIES AND ROOFS

97

INSTRUMENT LIBRARY

A

B

C

D

E

20.000 5.000

G

H

1 A-302

I

J

K

L

5.000 5.000

5.000

4

3

A-302

A-302

5.000

5.000

5.000

5.000

5.000

5.000

5.000

DN 27R

5.000

F

2 A-302

PRACTICE ROOM

2.1 1

13.300

INSTRUMENT LIBRARY

TOTAL FLOOR AREA: 930.33 m2

6.650

2.2

DN 27R

6.650

A-301

DN UP 22R

2.3

4

3

A-302

A-302

2

1

A-302

A-302

VERTICAL CORE

THIRD FLOOR

98

REHEARSAL ROOMS

M

N

RECITAL HALL

3

2

A-301

A-301

O

P

Q

R

S

T

U

V

W

X

90.000 5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

3.250

1.1 1.2 PRACTICE ROOM PRACTICE ROOM

6.750

PRACTICE ROOM PRACTICE ROOM

1.3

RECITAL ROOM

1 A-301 6.750 27.525

PRACTICE ROOM

PRACTICE ROOM

1.4 3.250

STRG

UP 22R

PRACTICE ROOM

DN 27R

PRACTICE ROOM

1.5 7.525

27R

1.6

3

2

A-301

A-301

GENERAL NOTES: 1.

REFER TO STRUCTURAL CONSULTANT DRAWINGS FOR LOCATION OF ALL LOAD-BEARING PARTITIONS AND SHEAR WALLS.

2.

EXTERIOR DIMENSIONS ARE FROM EXTERIOR FACE OF SHEATHING OR FURTHEST EXPOSED STRUCTURAL SURFACE

3.

SEE INTERIOR DESIGN DRAWINGS FOR ALL INTERIOR FINISHES AND DETAILS.

4.

PROVIDE UNIFORMLY DISTRIBUTED UNOBSTRUCTED VENTILATION @ FLAT ROOF - MIN 1/150 OF INSULATED CEILING AREA (NOT APPLICABLE WHERE INSULATION IS LOCATED ABOVE ROOF STRUCTURE)

5.

PROVIDE FIRE SEPARATIONS CONTINUOUS TO UNDERSIDE OF ROOF SHEATHING AT ALL COMPARTMENT AND EXIT STAIR & SHAFT LOCATIONS. NO FRAMING MEMBERS ARE TO PENETRATE FIRE SEPARATION.

6.

REFER TO THE LANDSCAPE CONSULTANT DRAWINGS FOR FINAL EXTERIOR GRADING AND LAYOUT OF ANY RETAINING WALLS, SIDEWALKS, GRADE PLANTERS AND FENCING.

7.

REFER TO CIVIL CONSULTANT DRAWINGS FOR ALL ROADS, CURBS, GUTTER, DRIVEWAYS, SLOPES, AND THE DESIGN OF MUNICIPAL STREETS WITHIN THE PROPERTY OR OUTSIDE OF THE PROPERTY.

8.

REFER TO CODE CONSULTANT REPORT FOR THE ALTERNATIVE BUILDING SOLUTIONS TO THE REYKJAVIK BUILDING CODE.

9.

REFER TO ACOUSTICAL REPORT FOR THE SPECIFICATIONS FOR WINDOW & WALL DESIGN

10.

PROVIDE MIN. 2% SLOPE AT BALCONIES AND ROOFS

99

RECO

A

B

C

D

E

20.000 5.000

5.000

F

G

H

2

1

A-302

A-302

I

J

K

L

5.000 5.000

5.000

4

3

A-302

A-302

5.000

5.000

5.000

5.000

5.000

5.000

5.000

PRACTICE ROOM

2.1 1

TOTAL FLOOR AREA: 589.35 m2

6.650

2.2

13.300

6.650

A-301

UP 23R DN

2.3

4

3

A-302

A-302

2

1

A-302

A-302

VERTICAL CORE

THIRD FLOOR

100

ORDING STUDIO

M

N

REHEARSAL ROOMS

3

2

A-301

A-301

O

P

Q

R

S

T

U

V

W

X

90.000 5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

5.000

3.250

1.1 1.2 PRACTICE ROOM PRACTICE ROOM

6.750

PRACTICE ROOM PRACTICE ROOM

1.3 1 A-301 DN 22R

PRACTICE ROOM

6.750 27.525

PRACTICE ROOM PRACTICE ROOM

3.250

1.4 1.5 7.525

22R

1.6

3

2

A-301

A-301

GENERAL NOTES: 1.

REFER TO STRUCTURAL CONSULTANT DRAWINGS FOR LOCATION OF ALL LOAD-BEARING PARTITIONS AND SHEAR WALLS.

2.

EXTERIOR DIMENSIONS ARE FROM EXTERIOR FACE OF SHEATHING OR FURTHEST EXPOSED STRUCTURAL SURFACE

3.

SEE INTERIOR DESIGN DRAWINGS FOR ALL INTERIOR FINISHES AND DETAILS.

4.

PROVIDE UNIFORMLY DISTRIBUTED UNOBSTRUCTED VENTILATION @ FLAT ROOF - MIN 1/150 OF INSULATED CEILING AREA (NOT APPLICABLE WHERE INSULATION IS LOCATED ABOVE ROOF STRUCTURE)

5.

PROVIDE FIRE SEPARATIONS CONTINUOUS TO UNDERSIDE OF ROOF SHEATHING AT ALL COMPARTMENT AND EXIT STAIR & SHAFT LOCATIONS. NO FRAMING MEMBERS ARE TO PENETRATE FIRE SEPARATION.

6.

REFER TO THE LANDSCAPE CONSULTANT DRAWINGS FOR FINAL EXTERIOR GRADING AND LAYOUT OF ANY RETAINING WALLS, SIDEWALKS, GRADE PLANTERS AND FENCING.

7.

REFER TO CIVIL CONSULTANT DRAWINGS FOR ALL ROADS, CURBS, GUTTER, DRIVEWAYS, SLOPES, AND THE DESIGN OF MUNICIPAL STREETS WITHIN THE PROPERTY OR OUTSIDE OF THE PROPERTY.

8.

REFER TO CODE CONSULTANT REPORT FOR THE ALTERNATIVE BUILDING SOLUTIONS TO THE REYKJAVIK BUILDING CODE.

9.

REFER TO ACOUSTICAL REPORT FOR THE SPECIFICATIONS FOR WINDOW & WALL DESIGN

10.

PROVIDE MIN. 2% SLOPE AT BALCONIES AND ROOFS

101

A

B

C

5.000

5.000

D 5.000

E 5.000

F 5.000

G 5.000

H 5.000

I 5.000

J 5.000

K 5.000

5.00

2 A-302

#Lay

4

3

A-302

A-302

SECOND FLOOR 7.15

4.450

SUSPENDED PATH 4.45

2.700

4.248

TOP OF ROOF 11.40

FIRST FLOOR 0.00

1

Building Section 0

SCALE: 1:200

5m

1.6

10m

1.5 7.525

1.4 3.250

1.3 6.750

1.2 6.750

1.1 3.250

1

BUILDING SECTION

05 #LayID

7.148

TOP OF ROOF 19.05

THIRD FLOOR 11.90

102

4.750

Monday, April 27, 2020

A-301

SECOND FLOOR

M 5.000

N 5.000

O 5.000

P 5.000

Q 5.000

R 5.000

S 5.000

T 5.000

U 5.000

V 5.000

W 5.000

X 5.000

4.000

TOP OF ROOF 34.42

3

2

A-301

A-301

SIXTH FLOOR 26.42 4.000

1 A-302

4.000

SIXTH FLOOR MEZZ. 30.42

FIFTH FLOOR 22.42 4.000

00

L

yID

3.500

FOURTH FLOOR 18.42

SECOND FLOOR 10.17 SUSPENDED PATH 7.72

4.700

2.450

4.750

THIRD FLOOR 14.92

FIRST FLOOR 3.02

1.6

1.5 7.525

TOP OF ROOF 31.40

1.4 3.250

1.3 6.750

1.2 6.750

1.1 3.250

4.000

1 A-301

4.000

SIXTH FLOOR MEZZ. 27.40

4.000

SIXTH FLOOR 23.40

01 A-303

4.000

FIFTH FLOOR 19.40

3.500

FOURTH FLOOR 15.40

4.750

THIRD FLOOR 11.90

SECOND FLOOR

103

4.700

1.6

1.5 7.525

1.4 3.250

1.3 6.750

TOP OF ROOF 31.40

1.2 6.750

1.1 3.250

4.000

1 A-301

4.000

SIXTH FLOOR MEZZ. 27.40

SIXTH FLOOR 23.40 4.000

01 A-303

4.000

FIFTH FLOOR 19.40

3.500

FOURTH FLOOR 15.40

SECOND FLOOR 7.15

4.700

SUSPENDED PATH 4.70

2.450

4.750

THIRD FLOOR 11.90

FIRST FLOOR 0.00

3

Building Section SCALE: 1:200

BUILDING SECTION

104

0

5m

10m

1.2

1.1

07 A-501 3.250

TOP OF UPPER ROOF

1.648

20.55

TOP OF ROOF

3.500

18.90

08 A-501

FOURTH FLOOR

3.500

15.40

09 A-501

THIRD FLOOR

20.548

11.90

4.750

83°

SECOND FLOOR

2.450

SUSPENDED PATH

THIRD FLOOR

4.70

11.90

10 A-501 29° 4.700

Document.pln 7:28 PM Monday, April 27, 2020

7.15

FIRST FLOOR

SECOND FLOOR

0.00

7.15

105

SUSPENDED PATH

106

final design

evening illumination The vertical rhythm of the facade allows for views inward to selectively percolate, while light pools outwards.

107

108

A concrete bench extends from a foundation perimeter wall of the building. A public long-table to be used for the function of the cafe or anyone passing by.

The physical connection to the building is meant to symbolize the public ownership of the building.

109

110

The entry cafe acts as an introduction to the material language of the building.

A durable concrete exterior is softened on the inside with accents of wood and an industrial tinge of steel. The use of wood shows another parallel to ship construction where a durable exterior is unexpectedly softened by a comfortable wood interior.

The platform stage offers opportunity to showcase local talent.

final design

entry cafe interior

111

final design

entry cafe

112

113

final design

entry cafe interior

114

115

final design

music library & forum

116

117

final design

music library & forum

118

119

final design

instrument library

120

121

final design

instrument library

122

123

final design

performance theatre

124

125

final design

performance theatre

126

127

final design

performance theatre

128

129

final design

concourse passage

130

131

final design

cafe barrin venue

132

133

final design

cafe barrin venue

134

135

final design

pier level

136

137

final design

rehearsal room hallways 3rd & 4th floor

138

139

final design

4th floor rehearsal / room

140

141

April 21st 10am

final design

recital hall

142

April 21st 7pm

143

final design

viewing tower

144

145

146

preliminary studies

Ă?S An interactive sound installation inspired by the volatility of Icelandic landscapes.

147

ZONE III

ZONE II

ZONE I

- WATER

- SLUSH

- ICE

3.1 3.2 3.3

60' ROLL?

CLIMAX: BREAK THROUGH

Zone 3 _ Water

107

107

CLIMAX: FLOOD

Layout

Title

Project ENTRY 150' ROLL?

Sound Installation

287 158

70

253 107

107

Zone 2 _ Slush

EXIT

148

Dwg. No.

2.1 2.2

1.2

Zone 1 _ Ice

GSEducationalVersion

2020-01-19

Date Scale:

2.3

1.1 1.3

1:25, 1:100

505

330

175

287

158

457

253

280

In collaboration with: University of Manitoba Faculty of Architecture Herbert Enns Studio 6 Laurie Aftanas Jony Bailes Tali Budman Lucas Druet Mackenzie Hammond Emily Jones Andria Langi Mackenzie Skoczylas Desautels Faculty of Music Composition Master’s Students Örjan Sandred Ross Bugden Nolan Hildebrand Jesse Aaron Krause

All Images and graphics by Lucas Druet

149

150

151

152

153

154

155

156

157

158