Issuu on Google+


CHIASMA ON QUAY ELEANOR GLENTON

LOCATION PLAN - AUCKLAND CENTRAL NTS


SOUND

(+)

transitional space CHIASMA ON QUAY Questioning the paradigm of performance from separated, staged environments to an informal engagement on an interactive platform of sound and response. Instead of designed environments for listening to music, such as concert halls, music venues, this project looks at how music and sound can be drawn out of static, bound environments. In this way music can be used to enrich transitional “between” spaces. The focal point for this idea is a reverberation void that stretches in a web-like network through the tower complex, infiltrating and exposing closed environments into the public domain. Perpetually engaging with multiple sources of input, between a dialogue with the external city, live music, digitally generated sound and human-generated noise, the reverberation void acts as a nodal point of interaction using a mode of communication that isn’t focused on sight. As architects, our design is predominated by visual interactions and “eye candy” architecture. Textural qualities, materiality, and light are common architectural techniques, but in the same manner sound is equally important to a user’s perceived experience of a space. This proposal delves into a greater emphasis on the acoustics of architecture during the design process.


STIMULATE (pod)

STIMULATE (pod)

LIMITED

(user type)

PLAY (pod)

PLAY (pod)

(+)

(+)

RELAX (pod)

RELAX (pod) FAMILY

(user type)

CREATE (pod)

CREATE (pod)

YOUTH

(user type)

JAZZ GARDEN

RELAX (pod)

(intimate performance space)

programme grouping

sound node

(+) INCUBATORS

STRATEGIES

(live performance) (music)

CIVIC SPACE

(a gathering place)

STIMULATE (pod)

SOUND IN THE SKY

BURIED YOUTH

CREATE (pod)

(spatial element)

STIMULATE (pod)

(elevated amphiteatre)

SOUND IN THE SKY

(spatial element)

(elevated amphiteatre)

VERTICAL RECREATION

sound node

sound node

(submerged music venue) OFFICE / ADMIN (spatial element) RELAXATION CENTRE (spatial element)

programme grouping

(social space)

sound node

(spatial element)

LIMITED

(+)

PLAY (pod)

(local identity)

(spatial element) MUSIC LIBRARY / STORE

JAZZ GARDEN

(intimate performance space)

OUTDOOR AMPITHEATRE

PLAY (pod) programme grouping

(+)

sound node

(intimate performance space)

(spatial element) REHEARSAL / EDITING

sound node

RELAX (pod)

(open-air ampitheatre)

(garden city) (city threshold recognition)

(user type)

PLAY (pod)

JAZZ GARDEN

(cultural public realm)

LIMITED

VERTICAL PLAYGROUND

(user type)

BASS IN THE BASIN

(transitional amphiteatre)

sound node

sound node

FAMILY

BASS IN THE BASIN

(user type) (spatial element) RECORDING

HORIZONTAL RECREATION

(user type)

(submerged performance space)

(submerged performance space)

CREATE (pod)

FAMILY

sound node

BURIED YOUTH

BURIED YOUTH

(+)

(spatial element) SERVICES

(transitional amphiteatre)

(spatial element)

sound node

CREATE (pod)

sound node

(spatial element) GROTTO

SOUND IN THE SKY

STIMULATE (pod)

YOUTH

(user type)

YOUTH

(user type)

(elevated amphiteatre)

programme grouping

sound node

solution enrichment

urban environment solution

DEVELOPMENT OF PROGRAMME SEQUENCING AND INTERACTIONS FIG 1. (left) DIAGRAM SUMMARISING DESIGN STRATEGIES IDENTIFIED AS INTEGRAL TO THE POLITICS OF THE SITE AND CITY FIG 2. (above) DEVELOPMENT OF FLUIDITY OF MOVEMENT AND CONCENTRATION OF PROGRAMMATIC “PODS” ACCORDING TO SOUND NODE DISTRIBUTION AND USER MOVEMENT


“...facilitating shared experiences and social engagement through music and sound...”

SKY SOUNDS

RELAXATION CENTRE

VERTICAL RECREATION

OFFICE/ INCUBATORS

PROGRAMMATIC IDENTIFICATION

AND CONSEQUENT DESIGN JAZZ GARDEN

The mixed importance for the site on a social scale was important from both an international ‘threshold’ perspective and as a hub for local culture. It should be adaptable to the city to provide an engaging addition to the public realm whilst balancing profitability for the developer.

TRANSITIONAL AMPHITHEATRE

The development of a complex centred around music, particularly local music, to provide a creative centre and showcase for the fledgling NZ music industry, was an answer to the city ‘gateway’ and ‘gathering place’ while also responding the local criteria of identity, local culture, ascertic needs for the city’s public realm and possibility of exposure on the international platform.

VERTICAL PLAYGROUND

BURIED YOUTH MUSIC VENUE

1

Copy of Diagrams 1 : 50

THE VAULT COVERED PUBLIC SPACE

DEVELOPMENT OF PROGRAMME SEQUENCING AND INTERACTIONS FIG 3. CONCEPTUAL TRANSLATION FROM INDEFINITE WRITTEN SPATIAL INVESTIGATION TO CREATIVE VISUALISATIONS OF SPATIAL POSSIBILITIES


PROGRAMMATIC ELEMENTS

SOUND NODE

Stimulate Pod Office Space (Incubators)

Sky Theatre

Conference Centre Meeting Rooms Create Pod Store / Cafe Admin / Business

Submerged Music Venue

Rehearsal Editing Recording Music Library Play Pod Horizontal Recreation (Plaza)

Open-air Amphitheatre

Vertical Playground

Relax Pod Relaxation Centre

Jazz Garden

Services Grotto

PROGRAMMATIC DISTRIBUTION FIG 4. SECTION AA - SHORT SECTION

PROGRAMMATIC DISTRIBUTION FIG 5. SECTION BB - LONG SECTION


AA

DN

3.

1.

1. ATRIUM

5. 5.

2. PLAZA

ISOMETRIC NTS

BB

5.

GROUND FLOOR PLAN PEDESTRIAN ZONE & TOWER ATRIUM

3. TRANSITIONAL SPACE 2.

4. LISTENING ROOM 5. RETAIL ALBERT ST

6. UP

6. HSBC 7. ZURICH HOUSE

QUAY ST

CUSTOMS ST

4. 7.

QUEEN ST

SITE PLAN 1:2000

1:500

N


AA

8.

FIRST FLOOR PLAN JAZZ GARDEN & GALLERY

6.

5.

7. 9.

1. GALLERY

3.

BB

2. JAZZ GARDEN 3. BELOW STAGE ACCESS/STORAGE ISOMETRIC NTS

4. REHEARSAL ROOM

4.

8. 4.

5. DRESSING

8.

DN

1.

6. STORAGE

11.

7. ATRIUM VOID 8. RETAIL UP

9. RESTAURANT 10.

HSBC

11.

ZURICH HOUSE

2. 10.

1:500

N


AA

4.

3RD FLOOR PLAN TOP OF PODIUM PLAZA

2.

BB

1. PLAZA

ISOMETRIC NTS

2. OPEN-AIR AMPHITHEATRE 3.

RELAXATION CENTRE

1.

5.

4. RETAIL 5. MUSIC STORE / CAFE

7.

6. HSBC 7. ZURICH HOUSE DN

3. 6.

1:500

N


AA

1.

TOP FLOOR - LEVEL 18 SKY THEATRE 1. SKY THEATRE

ISOMETRIC NTS

BB

6. 3.

2. BAR/CAFE 3. TICKET

5.

4. LOUNGE

4.

2.

6.

7.

5. STORAGE 6. WC 7. REVERBERATION VOID

“Do you remember what Darwin says about music? He claims that the power of producing and appreciating it existed among the human race long before the power of speech was arrived at. Perhaps that is why we are so subtly influenced by it. There are vague memories in our souls of those misty centuries when the world was in its childhood.”

1:500

N

- Arthur Conan Doyle, A Study in Scarlet


SUBMERGED

AA

BELOW GROUND (-2) SUBMERGED MUSIC VENUE

1. ENTRY

7.

3. 4.

2. COAT CHECK/ TICKET

6.

3. BAR ISOMETRIC NTS

2.

1.

10.

BB

5. 8.

4. KITCHEN / STORAGE

9.

5. VIP ROOM 6. STAGE & MAIN FLOOR 7. BOOTHS 8. BACKSTAGE 9. REHEARSAL 10.

DRESSING

“If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outre results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable.”

1:500

N

- Arthur Conan Doyle, The Complete Adventures of Sherlock Holmes


“...When we start thinking not just of individual modalities –

beautiful spaces and nice music – but of the music enhancing the space, and the space that encompasses the music, then we design across modalities, toward experiences...”

CALLOUT 1.50

-UPALI NANDA

LONG SECTION BB 1:1000

SHORT SECTION AA 1:500


ARCHITECTURAL CONCEPT

2.

Exploring the elasticity of the human perception of space and environment, through the engagement with external stimuli and subsequent interactions with the architecture. Human senses are limited, and naturally filter the excess of stimuli in their surroundings as there are too many to process at the same time. This results in a ‘selection’ of stimuli, and can result in illusory perceptions of space; effectively ghost architecture. Stretching the traditional delineation of architectural boundaries from concrete ‘pods’ of logically sequential but effectively separate spaces to interdependent environments by proposing atypical spatial linkages through the enrichment of sound stimuli existing in the “inbetween” spaces. Due to this ‘filtering’ of stimuli, an individual experience of a space determines the internal construction of architecture through the subconscious distortion true spatial geometry. These ‘ghost’ perceptions will form memories of the space, and thus are crucially defining in an architectural composition.

1.

PUBLIC SOUND INTERACTION TECHNIQUES FIG 6. (above left) SOUND TRANSFER THROUGH REFLECTIVE HOLLOW TUBES - UTILISED IN EXTERNAL FACADE SYSTEM AND INTERNAL REVERBERATION VOID

3.

FIG 7. (above right) DISLOCATION OF SOUND THROUGH OVERLAID SOUNDSCAPES FROM DISASSOCIATED ELEMENTS OF THE SITE FIG 8. (left) STRUCTURAL SOUND TRANSFER UTILISED AS A PHYSICAL VIBRATION INTERACTION


KEY Primary Sound Paths Dead space (accessible space with deadening) Live space (accessible space with reverberance) Secondary Sound Diffusion Dead space (accessible space with deadening)

KEY

PRIMARY SOUND PATHS live space dead space SECONDARY SOUND PATHS secondary diffusion space

REVERBERATION VOID MANIPULATED SOUND/SPATIAL ENVIRONMENT FIG 9. DIAGRAM OF PRIMARY/SECONDARY SOUND PATHS AND INTENTIONAL LIVE/ DEAD SOUND SPACES

KEY

BETH

JIM

in the “PRESS PLAY” reverb room, trying new tracks, is heard by a boy taking a shortcut through the tower atrium

can hear sound filtering from the generative sound circulation area, several floors above

AARON electronically projected music from the editing studios reflects down through to the

retail spaces in the Gallery

Beth. Works at the sound studio. Hears the faint strands from the strings rehearsing several levels below. Steve. hears Beth laughing to herself, and smiles to hear the cheer ful aspect

REVERBERATION VOID MANIPULATED SOUND/SPATIAL ENVIRONMENT FIG 10. DIAGRAM OF POSSIBLE INTERACTIONS - ILLUSTRATING MULTIPLE SOURCES & RECIPIENTS OF INTERACTIVITY


ELEVATOR / CIRCULATION AREA waiting becomes pro-active generative sound zone; availability of impromptu ‘performance’ resources - Secondary Diffusion Zone Acoustic damping and insulation provided by composite combination of barrier materials (ie gib / New Zealand Scoria ) and porous absorbers of varying textural qualities (ie New Zealand wool)

KALEIDOSCOPE CIRCULATION secondary circulation stems up from atrium through myriad of varying resonant surfaces

CITYSCAPE ENVIRONMENT: sound dialogue with external conditions - Primary Sound Path

- Secondary Diffusion Zone

MUSIC NODE: sky theatre; direct sound or digital projection - Primary Sound Path

BUSINESS HUB CAFE: sanctuary “time out” zone - Secondary Diffusion Zone

MUSIC STORE “PRESS PLAY”: reverb room - Primary Sound Path

DIRECTED RETAIL: varying horizontal sound path - Secondary Diffusion Zone

TOWER ATRIUM: concentrated incidental noise - Primary Sound Path Reverberation materials generally metallic with varying finishes (ie polished steel, textured aluminum)

KALEIDOSCOPIC MATERIALITY OF REVERBERATION VOID FIG 11. USING VARYING MATERIALS TO INFLUENCE SOUND QUALITIES

SOUND SPATIAL ENVIRONMENTS FIG 12. POSSIBLE VIGNETTES OF THE SOUND ENVIRONMENT ASSOCIATED WITH THE REVERBERATION VOID

MUSIC STORE CAFE/RESTAURANT: insulated environment - diffusion strands from open-air amphitheatre in plaza - Insulated from reverbation void


CALLOUT OF REVERBERATION VOID SECTION 1.50 FIG 13. ARCHITECTURAL DETAILING OF SPACE

DETAIL OF REVERBERATION VOID PANELLING SYSTEM 1.20 FIG 14. ARCHITECTURAL DETAILING OF SPACE


CNR QUEEN ST/QUAY ST Lights glow in the garden space elevated above the ground, and the brassy notes of a saxophone drift mellow across the intersection. Wind your way through the ground plane garden space to scale the incline to the jazz garden, or pause in the listening room while waiting for public transport, and be transported in an urban soundscape to serene landscape. A knee-height podium offers an impromptu gathering or stage area, currently occupied by dance group rhythmically moving to the stereo by their feet.

SOUNDSCAPE DISLOCATION PUBLIC TRANSPORT WAITING/LISTENING ROOMS


CNR ALBERT ST/CUSTOMS ST WEST Gaze unimpeded out to the harbour down Albert Street, framed in a tall vertical slice. The bright tinted, partially revealed reverberation void glints suggestively out to the grey streets. Curiousity draws one into the gentle embrace of the tower. Down past the tower, towards the harbour, the emerald colours of a city park scape wave merrily from the shelter of the podium. Descend below the tower to disappear down the rabbit hole into another world of performance and music.

STRUCTURAL SOUND TRANSFER UNDERGROUND MUSIC VENUE TO TRANSITIONAL SPACE ABOVE


TOWER ATRIUM Stand beneath the captivating sound space that floats over the tower atrium, bathed in a myriad of musical conversations. The gentle intertwined cacophonies tempt and tease, irresistably beckoning up the wide stairs to the Gallery, and further up through the kaleidoscopic surfaces in a winding, unexpected exploration of texture and sound. Dappled light falls through the interspersed glazing in the void facade, so that you stand mired within viscous reflections of resonating interactions and gleaming faceted surfaces.


JAZZ GARDEN

AND COVERED PUBLIC SPACE

Rain thrums softly outside as pedestrians scatter, rushing for shelter. Ascend the wide, gently sloping ramp to a richly hued, cavernous public enclosure, alight with orange lights burning against the greyness of the day. A cafe bar nestles amongst thin foliage on a raised platform, silheoutted against the historic face of Britomart. Pop-up stalls improvise little temporary creative spaces. Through thedark, wrought framing of the curtain wall the Gallery awaits.


OPEN-AIR AMPHITHEATRE AND PUBLIC PLAZA

The sunwarmed grain of the plaza presses against the soles of their feet as people stroll across the elevated plaza. A busker strums his guitar gently against the blue backdrop of the harbour. Faint strands of his melody weave through the rustling leaves of trees. A child giggles with delight as he runs across the grassed plane, while his mother lounges back against the raised setting, a coffee close at hand.


SOUND IN THE SKY Thrusting an amphitheatre into the sky, generating a unique music venue and view from the amphitheatre and lounge bar in the space adjacent. As the sun goes down, casting red rays across the bowl and people party on the edge of the horizon, looking out across the harbour.


CCMP green links EXTEND shared space on Albert St to

RE-ORIENTATE main square to take advan-

LINK creative quarters. This should connect

FREEDOM of movement offering con-

improve street-edge culture, and integrate

tage of the natural sun path, now raised as

the Aotea area and the waterfront to make

vergence of pedestrian links and free

garden plaza into the edge of the CCMP

a sun-lit plaza space while the suspended

a more cohesive area, and if possible ex-

space on the ground plane. Detaching the

proposed green network. Public space

podium offers shelter off the exposed

tend up to Karangahape Road. The CRL will

below-ground train link encourages surface

extends from the ground plane up through

street.

also offer a K Rd connection, as could the

foot traffic to revitalise the public spaces.

the Jazz Garden through to the plaza on top of the podium.

proposed light rail along Queen Street.


“...and those that were seen dancing were thought to be mad by those who could not hear the music...�

-NIETZSCHE

REFLECTION Addressing major architectural pathways of thinking in terms of linear visual design process, this design seeks to create a resilient and engaging architectural hub through the use of designed sound, usually something that is a by-product of the architectural build at the finish. The design process has been generative of deeper architectural thinking than simply an enthralling building within context. The design process revealed ideas that could have been developed in far greater detail had time constraints allowed. Using writing as an additional process to iterative design work enabled the development of an urban environment solution to the context, and continued to propell the design into a direction that I could not have foreseen from the beginning. Utilising the idea of the inbetween instead of original programme concentrations as the focal nodes for the design work in the resultant architecture.

PUBLIC-PRIVATE FIG 15. JAZZ GARDEN REMAINS 24HR ACCESSIBLE TO PROVIDE LINK TO TOP OF PODIUM PLAZA, WHILE TOWER AND GALLERY CAN BE LOCKED DOWN SEPERATELY


BOOK + MATERIALITY MODEL


Eleanor