Bengaluru Convention Centre

language and space Space and Narrative Design Charette Shreya Mehta PSD Level 3

case studies Space and Narrative Shreya Mehta PSD Level 3

Busan Cinema Center

case study

“The result is a responsive and changing space of flows acting as an urban catalyst for cultural exchange and transformation.”

Location: Busan, South Korea Year of Construction: 2012 Architects: Coop Himmelb(l)au Components: Urban Valley Red Carpet Zone Walk of Fame BIFF Canal Park Memorial Court Cinema Mountain BIFF Hill Materials: Steel Stone Concrete Area: 32100 m 2

Shreya Mehta Language and Space: Space and Narratives, Level 3

Busan Cinema Center

case study About: In 2005, the Busan International Architectural Culture Festival in South Korea organized a design competition for a new Busan Cinema Center that would be home to the Busan International Film Festival (BIFF). Austrian firm Coop Himmelb(l)au’s radical design received first place and construction began in late 2008, finishing four years later in 2012. In its very short history, the building has already won the International Architecture Award and the Chicago Athenaeum in 2007 as well as a Guinness World Record for the “longest cantilever roof” in the world.

Philosophy: According to Wolf D. Prix, the firm’s Design Principal, the basic concept of this project was the discourse about the overlapping of open and closed spaces and of public and private areas. The design aims to provide a new intersection between public space, cultural programs, entertainment, technology and architecture, creating a vibrant landmark within the urban landscape. Media, technology, entertainment and leisure are merged in an openarchitecture of changeable and tailored event experiences. The result is a responsive and changing space of flows acting as an urban catalyst for cultural exchange and transformation.

The Roof Keeping in mind these powerful reinterpretations of the roof as an integral architectural element, Coop Himmelb(l)au developed the roofs of the Busan Cinema Center as a column-free covering of space that comes closest to the idea of a “flying” roof - further differentiated by its three-dimensionally articulated ceiling.

LED saturated outdoor roof elements acting as a virtual sky connect building-objects and plaza-zones into a continuous, multifunctional public urban space.

Shreya Mehta Language and Space: Space and Narratives, Level 3

Asakusa Culture and Tourism Center

case study

“The result is a responsive and changing space of flows acting as an urban catalyst for cultural exchange and transformation.”

Location: Tokyo, Japan Year of Construction: 2012 Architects: Kengo Kuma & Associates Components: Tourist information center Conference room Multi-purpose hall Exhibition space.

Materials: Facade: Double glazing glass curtain wall, Wooden Louver Roof: Galvalume steel sheet Area: 234.13 m2

Shreya Mehta Language and Space: Space and Narratives, Level 3

Asakusa Culture and Tourism Center

case study

About: In the corner premise of just 326 m2 across Kaminari-mon Gate, the building was required to accommodate plural programs such as tourist information center, conference room, multi-purpose hall and an exhibition space.

Philosophy: Play of Roofs: The center extends Asakusa’s lively neighborhood vertically and piles up roofs that wrap different activities underneath, creating a “new section” which had not existed in conventional layered architecture. Equipments are stored in the diagonally shaped spaces born between the roof and the floor, and by this treatment we could secure large air volume despite its just average height for high-and medium-rise buildings. Furthermore, the roofs not only divide the structure into 8 one-storied houses but also determine the role of each floor. First and second floor has an atrium and in-door stairs, creating a sequence from which you can feel the slope of the two roofs. On 6th floor, taking advantage of the slanted roof, they were able to set up a terraced floor with which the entire room can function as a theater. As angles of the roofs inclined toward Kaminari-mon and the heights from the ground vary from floor to floor, each floor relates differently to the outside, giving a unique character to each space.

Shreya Mehta Language and Space: Space and Narratives, Level 3

House of world cultures

case study

“In Stubbins view, the roof upheld the promise that there would be no restrictions on the freedom of intellectual work.”

Location: Berlin, Germany Year of Construction: 1957 Architects: KlingStubbins Components: Auditorium Exhibition Hall (2) Foyer Conference Room (3) Hirschfeld Bar Restaurant Roof Terrace Outside the Building Upper Foyer Vortragssaal Materials: Concrete Wood Glass

Shreya Mehta Language and Space: Space and Narratives, Level 3

House of world cultures

case study

About: The House of World Cultures works in a building of great architectural and historical interest. It was the USA’s contribution to the INTERBAU 1957 building exhibition in Berlin.

Philosophy: Stubbins described the symbolic value of his architectural design as ‘completely free’. The form of the curved roof bore a striking resemblance to that of wings. In Stubbins view, the roof upheld the promise that there would be no restrictions on the freedom of intellectual work – a political vision shared by the Benjamin Franklin Foundation, which commissioned the building. The artistic programme of the opening ceremony reflected the Congress Hall’s future programme: combining theatre, symposia and concerts, it brought together prominent artists, scientists and politicians engaged in an international dialogue between the New and Old Worlds.

Sculpture: Even before visitors enter the Haus der Kulturen der Welt, they will be welcomed by Henry Moore’s majestic “Butterfly”.

Weighing in at over eight-tons, and yet seeming to hover weightlessly over the surface of the reflecting pool, the sculpture was erected in 1987 for the reopening of the Haus during Berlin’s 750th anniversary.

Shreya Mehta Language and Space: Space and Narratives, Level 3

Observations

case study

Usage of Space: The three case studies, each deal with a range of available space. To manage different scales, whilst still not compromising on the requirements is something that each of the designers has dealt with very differently. Despite their differences, none of the spaces are constrained by their boundaries.

Treatment of Roofs: Each of the case studies have shown a very varied approach to roofs. The House of Cultures’ roof is inspired by wings and pertains to the structure’ s underlying philosophy of freedom. The Cinema Centre from Busan has a roof which revolves around the idea of a ‘floating’ roof. The centre in Tokyo uses roof in a constrained form and hence, the usage of a roof is extended beyond just covering the rest of the building.

Symbolism: Each of the case studies also have a strong underlying philosophy which has led their conception and construction.

The House of Cultures has a very open message of freedom, relevant to the time it was established in, during the era of divided Germany. The Cinema Centre ‘about the overlapping of open and closed spaces and of public and private areas’. The Tokyo centre is a statement in how a limited space does not equate to a compromise in public services.

Shreya Mehta Language and Space: Space and Narratives, Level 3

Design proposal Space and Narrative Shreya Mehta PSD Level 3

design proposal

Situation We are at a phase in our collective history, where more and more attention is being paid to our public spaces, and the experiences they provide. Convention centers have been at the core of this, with many cities now opting to build them as public spaces, which can also have a heavy monetary value.

A convention center can add heavily to the urban landscape and can truly become a symbol for the city and its people. What is at the core of a convention center, is the combination of utility with form and aesthetics, which would guide its users to create their own interventions whilst it itself serves as a subtle backdrop.

Complication While the existing convention centers in Bangalore aim to reach international standards, they often lack the roots which tie them to the place they are built in. The way these structures are built, there is nothing unique to them. They could have just as easily been made in any other part of the world. The quality of being irreplaceable is what sets iconic buildings apart from the others, and this is what needs to be kept in mind if one wants to create a derivation of the same.

Along with the philosophy, there is also the environmental responsibility that such a huge public space has to cater to. One has to be extremely conscious about their systems and their footprint on the planet. This requires mindful decision making on the part of the builders.

Question The question that I want to explore is: ‘Can I create a convention center with international appeal and facilities but which is also rooted in the context where it is based in?’’, ‘Can it showcase the best work of its users as well as its environment?’ and ‘Can the center become an example of an environmentally conscious space?’

Shreya Mehta Language and Space: Space and Narratives, Level 3

key objectives

• Locally Rooted The structure should be relavant to the context it is based in, both in terms of aesthetics as well as technicalities.

• Closed Loop Systems The site should be an example in sustainability by encouraging on site collection and processing of waste material.

• The Roof The roof should be treated as an important, aesthetically element of the structure, rather than just a covering for the same.

• Open Space The site should not hinder in the events taking place by being physically constrictive and inaccessible.

• Intervention Triggers The site should have various triggers, like different levels, vantage points, foliage, which would trigger the designers who intervene in the site and accordingly design the space for their requirements.

Shreya Mehta Language and Space: Space and Narratives, Level 3

Area Requirements Main Building CafeArea- 196 m2 People- 68- 100 KitchenArea- 65 m2 People- 10 GalleryArea- 501.7 m2 People- 100-200 ToiletsArea- 106 m2 Toilets No.18

Urinals 10

Amphitheatre Area- 245.437 m2 People- 400 ParkingArea- 960 m2 Spaces- 140 Shreya Mehta Language and Space: Space and Narratives, Level 3

iterations Space and Narrative Shreya Mehta PSD Level 3

exploration

ideation

Shreya Mehta Language and Space: Space and Narratives, Level 3

exploration

ideation

Shreya Mehta Language and Space: Space and Narratives, Level 3

exploration

ideation

Shreya Mehta Language and Space: Space and Narratives, Level 3

iteration- 1

ideation

Shreya Mehta Language and Space: Space and Narratives, Level 3

iteration- 2

ideation

Shreya Mehta Language and Space: Space and Narratives, Level 3

site analysis Space and Narrative Shreya Mehta PSD Level 3

site plan

site analysis

Shreya Mehta Language and Space: Space and Narratives, Level 3

kings court

site analysis

Shreya Mehta Language and Space: Space and Narratives, Level 3

2d drawings Space and Narrative Shreya Mehta PSD Level 3

2d drawings

Shreya Mehta Language and Space: Space and Narratives, Level 3

2d drawings

Shreya Mehta Language and Space: Space and Narratives, Level 3

2d drawings

Shreya Mehta Language and Space: Space and Narratives, Level 3

2d drawings

Shreya Mehta Language and Space: Space and Narratives, Level 3

3d views Space and Narrative Shreya Mehta PSD Level 3

Overview of the site

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

View of the Entrance from the parking area 3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

Closer View of the Entrance

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

reception area

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

gallery space

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

View of the building from the amphitheatre

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

view of the site from the eastern end

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

restaurant and kitchen

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

View of the building from the lower level

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

view of the building from the higher level

3d views

Shreya Mehta Language and Space: Space and Narratives, Level 3

systems of the site Space and Narrative Shreya Mehta PSD Level 3

Systems Ventilation

The major system of the site is the ventilation system, which is managed by the huge jali wall on all sides of the building. They facilitate the entry of wind and light due to their angle. The individual walls within the building are not more than 3m, thus the entire building has one common system which is easier to manage by natural means. The thermal comfort of the space is also maintained by the green roof overhead, which reduces the effect of the built environment.

Water

The water system of the space is a closed loop system. The water is collected from the roofs of the parking, which is then used on site.

The water collected from the sewage drain pipes is then treated on site and reused to water the landscape.

Energy The energy of the site is presented by dual axis solar panels.

Materials

The materials used on site are all locally sourced and hence, have very little embodied energy. The nature of the materials used themselves facilitates the thermal comfort in the space, without putting too much pressure on the environment.

Roofing: Filler Slabs+ Green Roof

Walls: Laterite Blocks + Brick Jali

Flooring: Black Mud Flooring Shreya Mehta Language and Space: Space and Narratives, Level 3