SYNERGY COVE (USYD BDES3027 Portfolio)

SYNERGY COVE

Tutor: Alia Nehme | Group 7 Minh Thuy Anh Nguyen | 510226587

THE UNIVERSITY OF SYDNEY Sydney School of Architecture, Design, and Planning BDES3027 ARCHITECTURE STUDIO 3B Semester 2, 2023

SYNERGY COVE

Sydney Harbour Drama House (SDHH)

MINH THUY ANH NGUYEN

Editor

ROSS ANDERSON

Unit Coordinator

ALIA NEHME

Tutor

Group 7

0 1 2

3

OPENING Project Brief

5

Project Statement

6

PRE-DESIGN Precedents Study

10

SITE RESPONSE Site Location

22

Unchosen Sites

24

Final Site Selection

28

Site Sitting

34

Tide Response

36

Brief Response

38

PHASE I Floor Plans

44

Sectional Perspective

46

Initial 1 : 200 Building Model

50

Renders

56

4 5

PHASE II Design Iterations

62

Floor Plans

68

Space Organisation Diagrams

74

Sectional Perspective

84

Other Supporting Drawings

86

Renders

94

PHASE II MODELS 1 : 1000 Site Model

100

1 : 200 Building Model

102

6

END OF THE JOURNEY Closing words

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Reference

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PROJECT BRIEF Within the unit BDES3027 Architecture Studio 3B, students were to select a site within the Sydney Harbour where the proposed design for a theater in response to the chosen location, its surrounding context, and human interactions would sit. The design process was an iteration journey that ran for 14 weeks.

The theater may be permanent or temporal, meaning it can be there or installed at a point of the year.

It may be stationary or be able to drift freely.

It should engage with water.

It should accommodate 250 guests, distributed to one or many auditoriums.

It should include an entry, cafe/bar, kitchen, a book/gift shop, bathrooms,

- accessible, male, female staff supports, - staff offices, staff meeting room, staff amenities a storage stage backstage,

- changing rooms, bathrooms, storage and auxillary facilities needed to support the operation of the theater.

“Drama was exposure, it was confrontation, it was contradiction and it led to analysis, involvement, recognition and, eventually, to an awakening of understanding.”

- in The Empty Space by Peter Brook (multiple-Emmy-Awards-winning theater director) -

Inspired by the quote from the well-recognised theater director, Synergy Cove and its architecture are designed as instruments for the dramas and performances that reflect on the present, past, and future, emphasizing on the sensory of light, dark, and hope.

The theater sits at Mrs. Macquarie’s Point, where the Yurong cave once existed and Mrs. Macquarie’s chair still lays. The chair is a stone carved by the governer Lachalan Macquarie as a gift for his loving wife to relax and embrace the harbour view. They saw a great future city in a harbour that was then still rural. Beneath the stone laid the previous Yurong cave and Yurong midden, where Aborginal people had lived in, produced art on, and went fishing at.

The theater celebrates the modern Sydney – cosmopolitan, visionary, and prosperous – going up with Lachlan Macquarie and Mrs. Macquarie’s then vision of the Sydney cityscape while acknowledging the Eora Nation and the dark colonial history beneath the flourishing present. Its experience does not end with just recognition and anxiousness, rather, with concession and hope – senses for the future of a merge of the light and dark, past and present, the erased and the existing, the indigenous cultures and the modern perceptions.

Time is the first sensory for the theater experience where the audience travels from the West side of the point – the city view – to the North water side. Going from sunset, it starts with illuminating spectations upon the Sydney Harbour and the modern city to travel into an underwater auditorium that mimics the feeling of a cave, using the hearing and visual sensory. This first auditorium holds kitchen-sink realism - the realistic type of drama that is harsh and tackles upon social and political issues.

The performance ends; the backstage widely opens, leading the audience to follow along with the performers as a whole collective to the second auditorium. They ascend to an open semi-transparent space that embraces the sceneries and naturality of the site. The arches and the transparency of this space mimics hopeful and enlightening moments, supporting the performance that narrates the merged future. This auditorium hosts melodramas - exciting and sensational plays interpersed with songs to accompany actions and interactions with the audience.

Cafe, bookstore, giftshop, and the gallery responds to the sitting of each space along with the site. Each of the spaces connect with a point of the harbour view, elevating their guests’ experience. The cafe outlooks toward the Sydney city scape; the giftshop looks back to Mrs. Macquarie’s point; the bookstore looks towards the harbour with the similar view with Mrs. Macquarie’s chair; the gallery looks towards Fort Denison.

This portfolio summarises and shows a selection of the design thinking and iteration progress behind Synergy Cove.

1 PRE - DESIGN

Domaine de Baysson Theatre

10

Rotterdam Floating Office

Pre-Design

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Precedent Study Domaine de Baysson Theatre Plan

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12

0m

10 m

20 m

Before starting to design the drama house, I have looked into two precedents: the Domaine de Baysson Theatre and the Rotterdam Floating Office - a theater and a floating building. This investigation was a lever to drive my design, its spacial organisation, and its building material.

The Domaine de Baysson Theatre can be classified as a traditional-funtioning theater with unconventional exterior. The theater has two auditoriums. serving different types and scales of theater performances. Yet, they both hold an exterior of a circus tent - an element that strongly connected with Beziers.

Area: 4500 m2 Location: Beziers, France

The design plunges into Gallo-Roman period which contributed strongly to Beziers’s identity.

Designed for performing arts, events, and culture, complementing the estate’s historical significance Not fixed to an embarkment in the style of its predecessors from ancient Greece

Seating was designed to be retractable, as per the need of the hour Seating capacity: 965 Standing capacity: 1440 1

Dressing rooms placed towards the courtyard side

Pre-Design

13

Precedent Study Domaine de Baysson Theatre Section

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5

4

2

3

0m

14

10 m

20 m

2

Middle tent functions as the reception

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Timber facade for exterior Replicates circus architecture with permanent structures Materials emphasizes on the lightness of the circus Most naturally linked to the rural context and its componentssuch as trees, wild grasses, and stones, from neighbouring examples of vernacular architecture.

4

Largely constructed with concrete For acoustic purposes, massive stones were headed for the initial design but time limitation and short operation drove them to choose concrete as the next best alternative Matte black roof with triangular motifs

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Metal frameworks

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Has supporting facilities that reduce the influence of works to facilitate scenographic installation; economically suitable

Pre-Design

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Precedent Study Floating Office Rotterdam Plan

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0m

10 m

20 m

The Rotterdam Floating Office is currently the world largest floating office. I believed this is a good precedent to look at because it was designed in the city with great professions in boats and floating architecture.

The large mass is able to float and be drifted on water with an ease with only a simple mechanism using concrete pontoons.

Area: 4500 m2 Location: Rotterdam, Netherland The Netherlands has a very rich history of building ships, which were for a long time made of wood. Woods exposed to water need maintenance. Thus, the Structure needs to be able to be demounted and reused.

Rotterdam is a city that embraces the problem of rising sea level into its architecture rather than trying to resist it. The city has vast homes, buildings, and structures that float on water. It is one of the city with great expereince with floating architecture.

The water in the Rijnhaven port is 8 meters deep.

The building is designed to float and deal with climate change - rising sea level. It will float and rise along the water level. Its shape is connected strongly with the port’s history Movable magnetic walls - allows flexible uses of space Connected with the shore by a pipe in the water Symmetrical shape is the key to balance, allowing uniform distribution of weight.

Organisation and structure were based on a 6 x 6 meter grid.

Repeatable elements and standardized details were designed and constructed based on this grid.

Pre-Design

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Precedent Study Floating Office Rotterdam Section

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1

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0m

10 m

20 m

The structure is mainly composed of modular timber elements, working like a giant building kit. All elements fit together easily and can be demounted and reused for maintenance.

The structures and the construction process are simple and effective. Timber elements were constructed offsite and towed to the site.

Using wood reduces the building’s weight and its carbon footprint.

1

Floating foundation – concrete pontoon \Made of 15 concrete barges that are pre-tensioned and conntected with tension cables.

Concrete parts were constructed offsite at three separate locations. Then, they were put together and finally towed through the bridge leading to the site.

Floating mechanism: using a container with enough volume inside.

Heavy bottom allows more stability and less maintenance.

2

Two vertical pipes; one on each end Allow the structure to move up and down, ensuring that it stays at its position rather than drifting with the water.

3

Pitched roof; half is the green roof; the other half is for solar panels

4

Cross-laminated timber (CLT) overhanging floor slabs; provide shades for the window facades.

Pre-Design

19

2 SITE RESPONSE

To finalize the site selection for the Sydney Harbour Drama House, I began with three site locations on the harbour where each has its own beauty and story.

1. Lavender Bay 2. Mrs.Macquarie’s Point 3. Hermit Bay Each of this location with their distinct context can lead to different concepts for my theater design.

Site 2 - Mrs.Macquarie’s Point - would be the chose site for my theater.

1

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0m

1600 m

3200 m

2

3

Site Response

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Unchosen Site: 1 - Lavender Bay Dispite its present joyful and busy atmosphere due to the wharf and the Lunar Park, this site location’s history bound strongly with air raids preparation during the World War II and the Cold War. The site was an ideal location for airplanes defense and air raid shelters.

The large amount of boats and low depth of water made it difficult to develope an on-water-theater that interacts distinctly and well with the water. Thus, the addition of a theater may disrupt the whard view towards the harbour and the Harbour Bridge, bringing the site context down instead of improving it.

Photos taken during site visit on August 15, 2023.

Site Response

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Unchosen Site: 3 - Hermit Bay Hermit Bay is popularly known as the Milk Beach. This site focuses more on a cultural emphasis, engaging with the pure beauty of the harbour, the rocks, the water, and the walks on the coastlines. Its location can be considered as a ‘wealthy area’ and as a gateway entering the Sydney Harbour.

I did not choose this site because I found site 2 to have a stronger story with more potentials to be developed into a concept for my theater.

Photos taken from Google Map

Site Response

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28

Site Map 1 : 7000 0m

350 m

700 m

Chosen Site: 2 - Mrs. Macquarie’s Point This chosen site holds a strong present position and past historical stories. It sits in the center of the Sydney Harbour, being next to the Sydney cityscape and viewing towards the Eastern gate of the harbour. It has contrasting histories - the romance behind Mrs. Macquarie’s chair and the hardship of the Yurong caves buried beneath it.

With these strong elements, the site became the final site for the proposed Sydney Harbour Drama.

Site Response

29

Site Plan 1 : 1000

This plan shows a more detailed view plan of the chosen site, along with the proposed reception area that will be shown with further details later in this portfolio. The black dotted lines show the path taken to arrive and exit the wharf that leads guests to the theater.

2

4

Numbers 1, 2, and 3 labelled are where site photos were taken. The photos will be shown on the next page.

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0m

25 m

50 m

1

COMMON WIND DIRECTIONS

3

Site Response

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1

2

3

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4

Photos taken during site visit on August 15, 2023.

Car Parking & Main Transportation Relaxation & Site Viewing Walking No Event / Action Commonly has hosted events

1

The site’s terrain has a strong slope going from the parking area down to the water edges. This photo was taken at the center point of the site witht the slope slanting down to Mrs. Macquarie’s chair and the water-edge-path. This area of the site often has temporary installations for galleries, exhibitions, runways, or shows. It is also a common spot for people to host communal events, gathering picnics, or meet ups to see the fireworks. It is an ideal spot for the proposed theater’s reception.

2

This photo captures an existing small wharf with rough edges that leads people out from land to water. This would be an ideal element to be used into the arriving journey of the theater.

3

While one side of the bay looks into the city, the other side looks to the navy facilities and ships. It has a small sense of connection as both Laclan Macquarie and his wiife had a strong bind with the navy during their period.

Site Response

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34

Site Sitting - Option 1

Site Sitting - Option 2

The theater would be too closed to the shore, blocking the harbour view from the walking path along the edges of the point. It is also too short for boats to be used; thus, there would be no journey for the celebration of the cityscape.

The theater would be too closed to the shore for the using of boats to be justified. There would rather be a path walking from the East side of the shore to reach the theater. The journey of the boat would also not provide the view to the cityscape to amend the story and concept of the theater.

Site Sitting - Option 3

Site Sitting - Final Location

The theater would not accommodate with Mrs. Macquarie’s chair.

It would not be able to view the navy side and the East side of the Sydney Harbour.

The distance between the theater and shore justifies the uses of boat and its journey celebrating the cityscape. The position is in between the point, the cityscape, the navy side, Fort Denison, and the rest of the harbour, embracing the true beaty of the Harbour.

The theater is also far enough to not block the views looking from walkpaths on shore.

Site Response

35

Average Weekly Tidal Diagram The tide at Mrs. Macquarie’s Point rises and goes down with a predictable pattern. However, the highest tide and the lowest tide are not constant for everyday of the week. Thus, within the same period of time, the tide will be different on each day. This means that the different height of water needs to be considered for the design of the theater.

Average Tide Variation: Low Tide - 0.5 m | High Tide - 1.5 m Extreme Tide Variation: Low Tide - 0.2 m | Hide Tide - 2.2 m

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High Tide

Low Tide Tide Response

With low tide, the highlighted area will be revealed. The boat will not be able to go in. The two auditorium will be used separately.

With high tide, the highlighted area will be covered with water. Row boats will be able to go in.

Guests can enter from both the from entry and the second auditorium’s entry. Thus, both auditoriums will be used at the same time.

Site Response

37

38

Initial Concept Collage

The collage was produced in week 3 to briefly explain the concept of the proposed Sydney Harbour Drama House. The initial idea centralised an enlightening and distinct theater in the harbour, embraced by Mrs. Macquarie’s Point contextual elements.

The concept acknowledged the cityscape and the navy side in the background while centralising upon Mrs. Macquarie’s vision.

The entry point was defined as ‘hopping’ off the rocks of the shore’s edges to arrive on a boat that was to be rowed to the theater in the middle of the water. The time frame was defined to occur at sunset, ending in late evening. Elements shown above the water surface would be designed with materials that would be light and hopeful.

Site Response

39

STAFF

STORAGE

TOILET

BACK STAGE

CAFE

EXIT

CHANGING ROOM

AUDIENCE’S ENTRY

STAGE 1

STAGE 2

KITCHEN

BACK STAGE

GIFT CHANGING ROOM

1

Y-PLANE

STAFF

CAFE

KITCHEN

STAGE 2

STAFF

CAFE GIFT SHOP

BACK STAGE

STORAGE

TOILET X-PLANE

AUDIENCE’S ENTRY

BACK STAGE CHANGING ROOM

EXIT

STAGE 1

2 40

Initial Space Organisation 1 Diagram 1 shows the space organisation in plan view. The spaces are organised according to the journey given and the theater experience. it starts with the entry point, then stage 1, stage 2, backstage, supporting facilities, and arrives at the exit point. The idea was to have everyone, both the audience and the performers, to exit through the backstage together as a whole community.

2 Diagram 2 shows the space organisation in ‘section’ view. y=0, which is the x-plane line, shows where the water surface would be. Any program under the line is to be defined as under water; any program above the line is to be defined as above water; any program in the middle is to be defined as partially submerged.

Site Response

41

3 PHASE I

Above Water Plan 1 : 500

The above-water theater is built with series of arches that support each other, holding the partially-enclosed roof. The whole auditorium is considered as a large interactive stage for the performers. The elevated wings on the two sides and the straight audience-seating arrangement accommodates the melodramas, allowing performers to go around the stages and interact with their audiences.

Post-performance facilities, including the backstage, staff area, cafe, bathrooms, kitchen, and giftshops are put in a their own area that reaches the exit. These spaces needed to be reorganized since the public and private spaces were being randomly merged together. The area of unused spaces was also too large.

There are different entrances for the staff.

However, these staff entrances and the exit seem to be more dominant than the main theater entrance.

Backstage facilities included changing rooms, preparation rooms, staff bathroom, and storage.

The entry point had potentions of water flowing into them.

0m

44

10 m

20 m

1. Staff Room 2. Male Bathroom 3. Exit 4. Cafe 5. Storage 6. Kitchen 7. Stage 2 8. Female Bathroom 9. Staff Bathoom 10. Changing Room 11. Entry 12. Backstage 13. Stage 1 14. Performer’s Bathroom

Below Water Plan 1 : 500

Going down the stairs of the main entry point, the audiences would reach a ‘room’ with an opening on the roof to connect with the outside environment. Before actually arriving into the first auditorium, they would walk pass a hallway with thick walls to prevent any noises coming noises.

When the audiences entered the first auditorium, they would immediately sense the noise of the water running behind the walls.

This was designed to be generated by a double-layered wall that allowed small water streams to run through it. The slight sound of the running water, along with the thick stone walls, created a space that mimiced that of a cave. This theater represented the buried Yurong Cave and related cultural activities.

Here, kitchen-sink dramas and those similar would be hosted.

When the performance ended, both the audiences and the performers would go through the small hall in the backstage to reach to an opened-up space that led to the upper second auditorium in the previous plan.

Backstage facilities included facility rooms, changing rooms, and bathrooms.

The half of the theater that held both auditoriums would be fixed to the bottom while the supporting half for post-performance facilities would be floating.

0m

10 m

20 m

Phase I

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Phase I Sectional Perspective

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Phase I

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Arrivine at the parking area of Mrs. Macquarie’s point, there would be a reception a cafe.

The reception was designed to be attached with other staff facilities, such as the staff room, kitchen, and bathroom. The cafe was designed for audiences to reflax, embrace the site, and wait for the boat to arrive.

This cafe was larger than the stages in area.

The design also ended up with two cafes.

These were not justifided for the concept and design of the theater.

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0m

10 m

20 m

1. Staff Room 4. Cafe 6. Kitchen 14. Performer’s Bathroom

Circulation Axonemtric

Supporting Circulation Upper Circulation Staff Circulation Main Circulation (Audience)

Phase I

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Interior Render Underwater Auditorium

Model Elevation Views 1:200

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Phase I

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Initial Model Interior Views 1:200

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Phase I

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Initial Model | Post-performance facilities front

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Initial Model | View from exit point

Initial Model | View into the above-water auditorium

Initial Model | View from staff’s entrance

Phase I

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Phase I Exterior Render Above-water Auditorium

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Phase I

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Interior Render | Above-water Auditorium

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The first phase of the design was completed in Week 6 of the design progress.

Phase I Statement The theater sits at Mrs. Macquarie’s Point, where the Yurong cave once existed and Mrs. Macquarie’s chair still lays, celebrating the modern Sydney – cosmopolitan, visionary, and prosperous – going up with Lachlan Macquarie and Mrs. Macquarie’s then vision of the Sydney cityscape while acknowledging and reminding of Eora Nation and the dark history of the colony beneath the flourishing present. Its experience does not end with just recognition and anxiousness, rather, with concession and hope – senses for the future of a merge of the light and dark, past and present, the erased and the existing, the indigenous cultures and the modern perceptions.

Time is the first sensory for the theater experience where the audience travels from the West side of the point – the city view – to the North water side. Going from sunset It starts with illuminating performances upon the Sydney Harbour and the modern city to travel to an underwater theater that mimics the feeling of a cave, using the hearing and visual sensory. Special elements are used to lightly bring the sound of moving water, similar to those of small cave streams, into the underwater auditorium. The performance ends; a small light opens, leading the audience to follow along with the performers as a whole collective to the second auditorium. They ascend to an open semi transparent space that embraces the sceneries and naturality of the site. The arches and the transparency of this space mimics hopeful and enlightening moments, supporting the performance that narrates the merged future.

The two auditoriums can be used together or separately with two different atmospheres and essences. They are to host various performances, such as cultural performances or romantic dramas. For the rest of the time, the open auditorium and supporting areas can be used by the public as a gathering pavilion or for other events, such as ceremonies or runways – similar to those of the existing events that were hosted at Mrs. Macquarie’s point.

Phase I

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4 PHASE II

Initial Above-water Theater Arch Structures Heavy on the top; structures are not light and do not go well with the concept.

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Final Above-water Theater Arch Structures Only keep the ‘bone’ of the structures; the structures are light and go well with the concept.

Phase III

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4 Woman Sitting

Sandhill or Cloud

Woman

Man

Woomerang

Boomerang

Kangaroo Tracks

Final Arch Structures

Digging Sticks

Hunting Boomerang

Final Arch Structures

Person

Behind the Arches Eora Nation people have their own form of writings and symbols. Some of the common ones are shown above. There is a pattern of round curves and fluidity in their writings and symbols.

The main feature of Synergy Cove - arches - are inspired from these, carrying the Aborginal curves into the architecture at the site.

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Phase III

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Symbolized Structure The site location was once a fishing site for the Eora Nation people; the proposed drama house embraced this historical period into its architectural structures as one of the key symbols. There are metal rods running along exterior of the arches and on the roof structure of the above-water theater. These metals rods are connected together by metal strings, mimicing the shape and form of a fishing rod and the outrigger canoe that the Aboriginal people had used to do their fishing. (The image above shows two men fishing with an outrigger canoe) Functionally, the metal rods and strings can pick up sounds from the harbour’s breeze, wind, and waves. These subtle sounds would travel throughout the whole upper theater, covering the theater with contextual sounds.

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Phase III

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Above Water Plan 1:200

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2.

3.

4.

5.

6.

7.

8.

9.

0m

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Stage 2 Pavillion / Gallery Book Shop Cafe Kitchen Giftshop / Galllery Female Bathroom Male Bathroom Disabled Bathoom 10 m

20 m

The entry point is raised up and added with steps to respond to tidal differences. A platform is added between the main entry and the abovve-water auditorium to justify the changes in stages’ operations. This was mentioned earlier in the portfolio as a response to the tides. The above-water audtium is redesigned, in terms of their materials and structures which will be shown clearer in sections and elevations.

Post-performance facilities are reorganised where the ground floor serves the public and the first floor serves the staff. The area includes a gallery, a cafe, a gift shop, and a bookstore, each of which has their own view orientation and site context-embracement. Unused spaces are reduced and restricted to guide audiences through the theater, programmes, and to the exit.

First Floor Plan 1:200

14. Staff Kitchen 15. Staff Meeting 16. Staff Office

Phase III

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70

Below Water Plan 1:200

The double-layered wall is redesigned into one thick single layer wall. The backstage hallway is expanded larger to accommodate 150+ people exitting the stage. The sliding door that was used to open up the backstage is changed into a larger alternative - moving wall-like panels. These changes will make the exit more visible and grand to the audiences, preventing them from going back from where they came in.

Two backstages are merged into one large one on this floor level. This mergence include the relocation of the storage from above water to underwater. The floating half of the proposal is also changed to a permanent structure with large supporting arch columns.

9. Disabled Bathoom 10. Stage 1 11. Backstage 12. Storage 13. Staff Bathoom 0m

10 m

20 m

Phase III

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On-land Plan 1:200

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0m

Site Section

100 m

200 m

The on-land cafe is reduced to be seating areas with inversed arches similar to those of the cafe on the theater. The reception and bathroom are kept to accomodate the staff and audience when needed.

Pavements guide visitors to the reception and towards the boat entry point. To reach the boat entry point, guests are to walk down the renovated existing path to reach the existing rock wharf point. The pink dash line shows the potential movement of the audience to arrive to the wharf and arrive back to the reception from the wharf.

1.

2.

3.

4.

5.

0m

Reception Seating area Existing stairs going down to the wharf Existing pavillion viewing the harbour Existing parking area 10 m

20 m

Phase III

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Above-water Auditorium The two diagrams show the movement and interaction of the performer when the melodrama is carried out on the above-water auditorium. The pink lines and dashes represent the performers’ movement. Performers are to be moving freely with the large area of spaces, going through the columns for different sensations and up the elevated wings for visual scenes. As the performers move around the stage, audiences are to passively interact by looking, seeking, and turning.

Phase III

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Book Shop As a combination of commercial and intellectual elements, the book shop will find its best to be in the position that orientates to the ‘gateway’ of the Sydney Harbour. The view is wide and infinite, similarly to the fact that there are unlimited amount of knowledge for one to read and learn in their life.

The book store is an open space under the private staff amenities and next to the pavillion/ gallery. It is in the best position for guests to visit after experiencing the gallery and in control in a way where it is “under the staff.” It is also opposite to the cafe, where one can sit, read, and enjoy the view of the city scape.

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Phase III

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Pavillion / Gallery The pavillion holds a similar concept to that of the theaters. It starts with an enclosed and compact atmosphere and ends with a opening and viewful one; this emphasizes on the concept of have hope in downfalls. The pavillion also looks towards the Fort Denison, which holds strong and negative historical events, in relations to convicts executions, including the punishment of an Aboriginal character - Muttewai.

The pavillion can function as an area for sight viewing or a small gallery for small artwork and sculptures. With either functions, guests have opportunities to gasp Fort Denison while experiencing the pavillion itself.

It is positioned as the first space to arrive to after the final performance. Both paths coming from the theater leads audiences to this pavillion. However, it is not too welcoming and embracing, subtly inviting guests to take a peak or visit it.

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Phase III

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Cafe and Kitchen Cafe and kitchen go together for the best efficiency. Both the guests and kitchen staff have access to the view celebrating the city scape. The kitchen is positioned to separate the giftshop and the cafe, splitting the facilities into their own zones and spaces.

The cafe’s position and size allows its to be the first space to be spotted after the performances end. Seatings are designed as inversed arches that work as structures to hold the roof up.

It is designed for guests to take-away their food or have short rests rather than long sittings like casual cafes.

In contrast to its kitchen - enclosed and private, the cafe is very open and available for both the public and private. It is exposed to the activities, the breeze, and the views of the harbour.

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Phase III

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Gift Shop and Exit The gift shop is an important program to set at the end of the journey. This is the space where one reflects upon their theater experience and seeks to return to where they arrived from. With this motion, the proposed Sydney Harbour Drama House has its giftshop orientated to the first arrival site - Mrs. Macquarie’s Point.

The gift shop allows guests to shop and enjoy the view looking back to the land and the bay, specifically where they started their journey from. A short walk is provided at the outer rear of the gift shop for guests to highly engage with the view looking back to Mrs. Macquarie’s Point before exiting the theater and going on the boat back to the land.

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Phase III

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Phase II Sectional Perspective

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Phase III

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Structural Isonemetric

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High tide

Low tide

When the tide is high, the water rises and cover the arch structures that support the theater from the bottom.

When the tide is low, the water goes down and reveals the arch structures that support the theater from the bottom.

Phase III

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West Elevation 1 : 300

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South Elevation 1 : 300

Phase III

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East Elevation 1 : 300

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North Elevation 1 : 300

Phase III

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Phase II Interior Render Above-water Auditorium

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Phase III

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Phase II Exterior Render Arrival Point

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Phase III

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5 FINAL MODELS

Site Model 1:1000

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Final Models

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100

Building Model 1:200

Final Models

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Building Model 1:200

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Final Models

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Building Model 1:200

Final Models

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6 END OF THE JOURNEY

Potential Evolution

Although the columns were proved to have no setbacks on the performers’ movement and interactions, a few of them could potentially be removed to loosen the movement flow. The proposed removed columns are labeled in red.

The main entries can also be rised up to be more assured with tidal buffer. Two step are added to each of the entry. The proposed added steps are labeled as dash lines in blue.

Sectional Axonometric

The designing process of Synergy Cove is an iterative process that allowed me to develop new sets of thinking and experience. Such experience includes my improvement in model making, textured drawings, and renders. In terms of the thinking, I got to consider design principles and organisations as the ‘back-bones’ that hold the individual programs and stages together as a whole strong conceptual drama house.

During the iterations, I got opportunities to investigate into different stories and historical events of each of the three considered sites and deeper into the chosen site - Mrs. Macquarie’s Point. I gained knowledge about different types of performances and forms of theaters to accommodate them while finalizing melodramas and kitchen-sink realisms for my proposal.

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Precedents: Powerhouse Company, Rotterdam Floating Office, Rotterdam, Netherland, 2022 K architectures Sigwalt Herman, Domaine de Baysson Theatre, Bezier, France, 2021

Bachelor of Design in Architecture - University of Sydney BDES3027 - Architecture Studio 3B

SYNERGY COVE Minh Thuy Anh Nguyen 510226587 Tutor: Alia Nehme