Matthew Gabe_Y5 |Unit 14 | Bartlett School of Architecture

-

MATTHEW GABE YEAR 5

UNIT

Y5 MG

THE LONDON PHILHARMONIC HALL

@unit14_ucl

MATTHEW GABE YEAR 5 Y5 MG

mattgabe0@gmail.com @matt_g

T H E LO N D O N P H I L H A R M O N I C H A L L Southbank, London, UK

RESEARCH

F All work produced by Unit 14 Cover design by Charlie Harris www.bartlett.ucl.ac.uk/architecture Copyright 2019 The Bartlett School of Architecture, UCL All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

@unit14_ucl

rei Otto famously used soap bubbles to simulate minimal surface geometries, a principle which was essential in the design of his iconic tensile structures. Inspired by Otto, a methodology of simulation and discretisation has been developed, by which complex geometric surfaces can be rationalised into distinct pathways, informed by their spatial and structural performatic objectives. A series of fragments and canopies were designed to showcase the spatial possibilities of this approach to design. This research has formed the basis of an integrated design process which has been applied in the architectural proposal.

DESIGN

A

new Philharmonic Hall on London’s Southbank has been proposed, which brings the grandeur of a night at the opera to modern music, creating a high level performance venue on this deeply cultural site. A primary concert hall and external performance venue split the site, surrounded by public realm and covered by a timber canopy, which links the external and internal space.

The complex spatial conditions presented by the program and context have been integrated into the design, allowing the development of the each space to become multi objective in its resolution, drawing heavily on the methodology developed in the research, as they respond to spatial, structural and urbanistic conditions. The final design advances the typology of the concert hall, creating a performance space on the Southbank for a new generation of musical acts.

3

The London Philharmonic Hall

RESEARCH: PART 1

Matthew Gabe Unit 14

Bartlett School of Architecture 2018/19

Surface Simulations

4

5

GEOMETRY IN NATURE Nautilus Shell

Bubbles

Giant Amazonian Water Lily

The nautilus has remained unchanged for many millions of years. It is able to fully withdraw into its external shell. The nautilus shell presents one of the finest natural examples of a logarithmic spiral, although it is not a golden spiral.

Here bubbles are used to illustrate the efficient packing of space. Bubbles naturally arrange themselves into a homogeneous, continuous surface.

A stunning of biological stiffening, this water lily is able to grow up to 3 meters in diameter. Its stiffness is allowed for by its network of branching radial ribs.

FREI OTTO’S BIONIK Frei Otto’s experiments and models formed a key part of his architectural practice. His Bionik experiments with soap film, explored the concept of minimal surfaces.

Bubble Simulations Frei Otto famously used soap bubbles to simulate minimal surface geometries, a principle which was essential in the design of his iconic tensile structures. Through his research and experimentation, he was able to extract the principles of this natural phenomena to apply to his architectural proposals.

Giant Amazonian water lily

Microscopic bubbles

Nautlius shell

1.

2.

Logarithmic spiral

Simulated radial branching

Voronoi point field

3.

Bird Bone Structure

Hollow cavity Bird bones do not contain marrow, instead them have in internal cavity to save weight.

Material efficiency is key for birds, as a reduced weight is an advantage when flying. As such most birds have hollow bones which contain struts, called trabeculae, to strengthen the bones so that they do not break in flight.

4.

Lightweight internal structure.

Hollow bones with reinforcement allow for strength without added weight. The reinforcement is structured in a way that it is more dense in high stress areas.

5.

INTEGRATION OF STRUCTURE In their wings, bats create a fully integrated structural and service system, supplying each part with stability and nutrients. The bone structure can be observed to be similar to that of humans and birds.

Bubble Simulation Process Humerus Radius Ulna Carpals Metacarpals Movable rings deform the surface of the bubble.

Phalanges Human arm

Bat’s wing

Bat bone structure Edge piece provides a continuous support.

Dragonfly’s wings Primary structure

The dragonfly’s wings are designed to help it fly with maximum efficiency, the creature has been highly studied to try to recreate the mechanisms that give it such great manoeuvrability.

Point of inflection parabolic curve

on

Secondary structure Dragonfly’s wing

6

7

British Museum Fosters + Partners

Los Manantiales Felix Candela

Palazzetto dello sport Pier Luigi Nervi

A lightweight grid shell roof allows maximum light in and is designed to span the irregularly shaped gap above the Great Court.

An example of Candela’s mastery of thin concrete structures. Eight interlocking hyperbolic paraboloid shells create this stunning canopy. The depth of concrete is possible only because of the structural form.

Constructed for the 1960 summer Olympics, Nervi’s stadium is constructed with a ribbed concrete shell dome 61m in diameter, which is braced by concrete flying buttresses.

Positive bending moment Negative bending moment Resultant

Sanginatobel Bridge Robert Maillart Mailart’s design evolved through his clever use of materials, and simple but accurate calculation. The design is a very efficient shape, with the material following the forces, and is a valid point of study for its process of structural form finding.

Dead loads Maillart divided the arch every three meters and added point loads when discontinuity occurs due to the cross walls and the columns supporting the deck. For greater simplicity, he assumed the line of action of the weight to be at the middle of each segment.

Add the two plots together to get the total bending moment along the arch.

The bending at the hinge points is 0.

GRID SHELL SIMULATIONS Using computational simulation techniques, these complex geometrical forms can be generated with the application of simple structural principles, such as the catenary arch.

Where Otto’s investigation took the form of a physical simulation of minimal surfaces, now, using computational tools we can digitally recreate these experiments, offering exciting new opportunities in terms of precision, iteration and production.

Roof assembly

The Cathedral of St. Mary of the Assumption Pier Luigi Nervi The shape of Nervi’s church in San Francisco is based on that of a cross. Planes sweeping up the cupola emphasises the verticality and create dramatic space on the inside.

Dome structure allows a hole to be placed in the top.

Triangulated roof structure

The minimal structure of the roof is supported by a heavy concrete base which contains the functions of the church. This large concrete plinth touches the ground only in four places.

Structural components

The form of the sweeping plane is based on a minimal surface between two perpendicular lines. An exposed triangulated grid below supports the structure.

Palazzetto dello sport Pier Luigi Nervi Constructed for the 1960 summer Olympics, Nervi’s stadium is constructed with a ribbed concrete shell dome 61m in diameter, which is braced by concrete flying butresses.

Structural members create hole to allow for light.

Concrete flying buttresses support roof

Musmeci Bridge Sergio Musmeci Musmeci was known for his experimental design approach proposing structures which drawn their inspiration from nature. One of a kind and distinctive, this organically shaped bridge in Ponteza, Italy spans over the Basento river. It was designed my Sergio Musmeci in 1967 and built between 1971 and 1976. The form of this bridge can be simulated with either a bubble and frame, like the experiments of Frei Otto, or with a piece of cloth, not dissimilar to Gaudi’s chain methodology.

Deck

Forces

8

Structural System

Internal Space

A lightweight grid shell roof allows maxium light in and is designed to span the irregularly shaped gap above the Great Court.

A lightweight grid shell roof allows maxium light in and is designed to span the irregularly shaped gap above the Great Court.

The primary structure translates the forces from the deck of the bridge to the ground through its parabolically curved concrete form. Four point loads (2D, eight in 3D) per segment are carried back to four support points. The form of the concrete prodives a very efficient mechanism by which the load is carried to the supports

Primary structure

Foundations

9

Support conditions

Control

Stretch Resistance

Compression Resistance

Bending Resistance

Shear Resistance

Rigidity

Rest Length Scale

MINIMAL SURFACE MODIFIERS The resulting form of a minimal surface simulation depends on 3 main factors, the support conditions, the material and the geometrical properties of the surface. Show above is a taxonomy showing the effect of different factors on the result.

MINIMAL AREA/NCLOTH SIMULATION New technological advances in the field of computer technology allow us not just to imitate nature but to simulate it, distilling the underlying biological principles.

Spatial investigations performed using the principles of hanging parabolic curves and minimal surfaces. An exercise is form finding, these surfaces have been used to test geometrical ideas of space.

10

11

STACKED COMPONENTS To develop the minimal surface geometry into architectural space the logic of tessellation has been explored further. By introducing a greater level of input parameters on the methodology the resulting structures represent a more refined form of spatial exploration.

THE MINIMAL GYROID Minimal surfaces are mathematical models of soap film, which will always find the smallest surface area for a given set of input conditions. The gyroid shape is an infinitely connected, triply periodic minimal surface. It is a form that is found in the natural world, inside cells. It is formed by the relaxation of a 3 sided cube.

Component 1

Component 2

Component 3

Component 4

Interstitial Space The infinitely connected surface of the gyroid can be analysed in terms of its spatial properties. Walls, floors and ceilings become one as the surface fold over itself again and again. Although there are limited direct architectural applications of the gyroids form, the minimal surface methodology has the potential for greater spatial implications.

Generating Verticality The input condition that is modulated in this spatial exploration is that the structure must be multi-storey. The logic is tested in isolation and then simulated as a full stack of floor plates, so that the forces between floors are reacting to each other.

Integration of Floorplates

Basic Component

Manipulation of the minimal surfaces can be augmented by adding external forces such as gravity and inter-geometrical forces into the simulation. This allows more complex morphologies to be generated.

Force Network

In this example the minimal surface geometry is used to define the spatial organisation of the floor plates, stacking them and forming a tower where the external envelope is not a planar surface.

Tessellation A key process in the formation of a minimal surface geometry is the reflection and tessellation of a component. In this series of explorations the minimal geometry has been duplicated and repeated to create a complex spatial fragment.

Initial Plan

Intermediate Plan Section A

Iteration 1

Section B

Iteration 2

Iteration 3

Final Plan Surface Transformations

Fragment of the tessellated geometry

12

13

FLOOR PLATE TESTING Series of tests which experiment with the notion of connected floor plates and how they can be stacked to achieve different effects. Simulating them as an entire system gives a better idea about the real-world performance of the geometry.

Inhabitation From floor to wall to ceiling, the minimal surface geometry can create intriguing spaces to inhabit.

INCREASING COMPLEXITY The logic extracted from the minimal surface methodology has been applied on a larger scale to create an atrium space. Columns and floor plates fold together in this series of spatial interactions.

The entire space has been simulated as one allowing each surface to influence the other surfaces it is connected to. The atrium created has a variety of interesting spatial features which can be taken the next stage of analysis.

Attraction The logic of the simulation allow for the complex series of interactions between surfaces to be simplified into basic forces. Attraction between planes, mass, stretch resistance, material properties and external forces all have an effect on the output geometry.

Stress Density Plan of the atrium

Stacked plates

The atrium space created within the surfaces.

This system of floors has been analysed further to investigate how these surfaces perform structurally and how the structural forces can begin to inform the geometrical realisation of the design.

Geometrical Flow A fragment of the atrium has been extracted for further analysis, layers of information about the surface can be generated which can begin to influence the design resolution. Structural performance is the first objective that has been analysed.

Relief Topographical representations of the surface show the curvature and support points.

Level 0

14

Level 1

Level 2

Level 3

Stress density

Stress lines

Two planes attracted together at a point. A hole in the top plane allows light through.

Two planes attracted together at a point. A hole in the top plane allows light through.

Extracted fragment of the surfaces

15

Bone stress lines The stress lines in a bone can be seen in the X-ray. The grain of the bone is positioned to carry the stress in an optimal way. The same logic can be applied to shell structures to design the structural frame.

Compression Tension

Surface Simluation

Stress Line Analysis

Support conditions

Principle stress lines

Extraction of framing lines for framing pattern

RESEARCH: PART 2 Structural Resolution

Framing solution lines

STRESS ANALYSIS The realisation of these complex forms can be difficult, and combining structure into the form finding process the best design can be achieved. Structural frame design is shown below using the stress lines within the material when loaded with self weight only.

Frame example 1

16

Frame example 2

17

Stress density map

Level 1

Level 2

Level 3

Stress lines map Stress lines

Stress Pattern

Internal stresses Layers of structural data can be integrated into the design process to inform the geometrical layout of the framing for this structure.

Primary stress lines

Stress Density

Stress members u-direction

Resultant Geometry

Voronoi Variant

Delaunay Variant

Stress members v-direction

STRUCTURAL FRAMING The structural ribs, which grow from the floor below, are designed to follow the primary stress lines. This layer of data provides an internal logic to the system adding constraints and moving on the design towards resolution.

Stress configured structural system

FORCE-GEOMETRY RELATIONSHIP By calculating the internal forces of the surface under normal loading a geometry can be designed that responds to the need for material at specific locations in the surface

18

19

Force Map

FORCE MAPPINGS By mapping the location of the stress lines we can see the direction of the internal forces. Applied to the minimal surface geometry, which creates a continuous inherently structural morphology, similar to using a 3 dimensional catenary chain.

Initial form the input mesh for force map calculation

The force diagram shows that there are two ring beam structures forming around the supports which are joined by the lateral lines which link the bases.

Disciplined design of stress pattern on framing system Force map elevation

Force Map Disciplined geometry The designed force pattern draws heavily on the force map, ensuring that the ring-like elements are kept. The density of the map has also been taken into account when drawing these lines.

Initial form the input mesh for force map calculation

Raw stress map Force map elevation

20

Stress maps redesigned

Re-interpreted stress patterning

21

Catenary shell reductions

Minimal column reductions

ITERATIVE REDUCTIONS An iterative process of placing increasingly large voids in the surface and re-analysing the load paths shows how the tensile and compressive forces can be isolated through the discretisation of the surface. From this a frame can be designed.

iteration 0

iteration 1

iteration 2

Gatti wool factory, Nervi. 1951 Floor slab system following principle stress lines allowed for lightweight floor slabs in across the factory floor.

iteration 3

Three dimensional catenary structure Tension

Compression

Single surface, showing distinct separation of tension and compression forces.

Minimal surface column 1

STRESS SPECTRA Principle stress lines taken throughout the thickness of the analysed surface and overlayed to produce composite image of the active stresses under normal loading.

Top - Three dimensional catenary structure

22

Bottom - Minimal surface column 1

23

A

Element A

B

Lamination of timber dowels

1.

Element B

2.

3.

4.

Construction of bend in test 1

BUNDLED BEAMS Initial investigations into the bundling of timber dowels for the purposed of creating curved timber beams. Breaking a larger element into fibres allows for more flexibility and complex morphologies to be created along the profile of the beams. 3D printed elements are used to ensure the bundled sections retain their arrangement.

AB Element AB

200mm designed radius

150mm bent radius

Branching bundles test process photos

M2 127mm

M23

M3

165mm

165mm

165mm 165mm

102mm formwork required for curve

BENDING TEST 2 Double curved bending test which explores using precise 3D printed formwork pieces (fig 5.3) to create timber members from bundles of dowel which are bent out of plane. The three members are compsed of 3mm dowel bundles which are steam bent and placed into their formwork with glue, once the glue is dry and the members are set in place they joined together using separate formwork pieces (fig 5.4). The steel wire on the model shows the proposed tension members for the final structure.

Bending Test 2 members join on straight sections

The second bending test looks to achieve two objectives; bring three elements together at a nodal connection and test the possibility of using double curved members. Once all three members were shaped and dried, they were glued together into the final form of the node; smaller formwork pieces were used to hold the beams in place along the straight sections while they were glued into their final arrangement.

102mm

M13

M12 M1

1.

2.

3.

4.

5.

Dowel-forming process

24

Construction moulds

Bundling the beams

25

C3-4 C4-4

C2-6

C4-1 C2-5 C3-3

C4-3

C3-1 C4-2

C3-2

C2-1

C1

C2

C2-2

C3 C4

C2-4 C2-3

C1-4

C1-3

C1-5

Tension Cable Bundled dowel members C1-2

Plan 1:10 @ A3 C1-1

PARAMETRIC FORMWORK GENERATION The structure is composed of four individual members (C1-C4) which are each repeated four times, meaning one set of 19 formwork pairs could be printed for repeated use. Formwork is required where the members bend, each corner has been isolated and catalogued based on its position in the global network.

1500mm

C1-1

C1-2

C1-3

C1-4

C1-5

C2-1

C2-2

C2-3

C2-4

C2-5

C3-1

C3-2

C3-3

C3-4

C4-1

C4-2

C4-3

C4-4

560mm

Elevation 1:10 @ A3

DESIGN GEOMETRY

Bundled sections

The final design geometry is a 1:5 scale model of the full canopy seen on page 4. The initial design has had to be rationalised for production as material and constructional constraints are applied.

The cross section of each member C1-C4 is constant, with the number of dowels increasing in the lower members in line with the vertical load accumulation. As the members bundle together, different combinations of section are seen in the structure

C2-6

C2

C3

C1 C2

Curvature Analysis

C3

C22

Creation of the formwork elements requires specific knowledge of the curves in each member. To simplify construction, the members must join on straight sections. These straight sections also allow for splicing.

C4

C4

C12 C11

C12

C234

n = 44

C22

Curved section Straight section

26

n = 43

C234

C11 C1

n = 42

n = 36

27

C4 C3 C2 C2

C234

C3

C2

C22

C4

C12

C3

C1

C3

C4

C4

C11

il A

C1

C1

C1

C4

C1

C2

C2

Deta

Overall structure C2

C2-1

n = 21 C1

C2-1-B

The overall structure, modelled using all constructional information, including accurate member sizes and bundling.

Modelled by sweeping the cross sections of each member along the construction curves. This geometry will be used to generate to formworks necessary to bend the dowels.

C1

C2-1-A

80mm

C3

n=9

C1

C3-1-B

45mm Max.

C4

C2-2

C2

C3-1 C3-1-A

120mm

C2-2-B

C2

C3-2

C2-2-A

C3-2-B

C4

C3-2-A

n=6

102mm 123mm

C4-1-B

C2-3-A

C4-1-A

C2-3-B

C4-2

C2-3

C4-2-B

C4-1

C4

C3

C4-2-A

C1-3

138mm

C1-3-B

223mm

138mm

C1-3-A

63mm

206mm

C4

C4-3-A

C1-4

C1-2 C1-4-A

C1-4-B

C1-2-A

C2-4-A C2-4-B

C1-2-B

C3

C4-3-B

C3-3-A

C3-3-B

C4-3

C2-4

C4-4-A

C4-4

C3-3

C2-5-A

C2

68mm

C3

102mm

68mm

C2

C2-5-B 120mm

C1-5-B

C1-5-A

C1-1-A

C3-4-A

C3-4

45mm Max.

C1-1-B

C3-4-A

C2-5

C1-1

C1-5

C4

C4-4-B

123mm

80mm C2-6-A

C1 C1 CONSTRUCTION

28

1:5 @ A2

n = 22

C2-6 C2-6-B

C2 + C3 + C4 CONSTRUCTION

1:5 @ A2

29

THE COMPLETED STRUCTURE The design research that was conducted aims to investigate how the grain of the timber can be aligned to the force vectors present in a master surface, harnessing the directionality of the material. By manipulating bundles of circular dowels into a branching structure, making use of reusable, digitally created formwork pieces, a process has been developed by which, complex surface geometries can be rationalised into timber framing structures, which are informed by their loading and support conditions.

CONSTRUCTION SEQUENCE OVERVIEW After the design stage was complete construction could begin. The construction sequence is a refined version of the methodology developed during Test 2.

30

1

Steaming The dowels are put into the steamer to make them pliable. They are removed after 15-20 mins (rule of thumb is minimum one hour steaming per inch of thickness; approx. 7min for 3mm dowels).

2

Bending The steamed dowels are then bent into their formwork, clamped and allowed to cool.

3

Lamination The cluster of unglued lamella are removed from the formwork briefly and held in place at either end while the glue is applied, they are then put back into the formwork and left to dry overnight.

4

Trimming The laminated members are then removed from their formwork, and measured to size. The cut lines for the splice are marked on, and they are trimmed on a band saw to the correct length.

5

Splicing Connecting pieces are then glued together and clamped at the splice to form the full-length members.

6

Sanding The final members are sanded down to remove the excess glue from the outside. At this stage the individual members C1-C4 are complete.

7

Assembly The final structure is assembled by glueing and clamping the members at the bifurcation points. Assembly order is specified in Fig. 3.76.

8

Tension cable 3D printed gaskets are used to hold the tension cable in place as detailed in Section 3.3.5.

The tension cable gaskets are fixed in position using glue.

1.

2.

3.

4.

5.

31

REFINING THE FRAGMENT The force map diagrams have been used to understand the structural behaviour of the surface mesh before designing the support framing. These frames can be seen to flow along the primary stress lines of the surface.

Fragment of the minimal core structure

The floor plates of the minimal core connect through three levels

Force map resolution The organic shapes created using this process appear to mimic the logic of natural systems such as the banyan tree.

The geometry that is generated using the raw force map data leads to some complex and interesting geometries.

RESEARCH: PART 3 Spatial Applications

Force path detail one

Force path detail two

32

33

Force vector

Resultant section

Structural lines

Force data Analysis of the force data is a powerful tool into effects that the geometry has on itself. By understanding these effects on a small scale, the same logic can be applied to the design of larger systems.

Integration The inclusion of services inside the structural forms makes this a holistic design system.

Structural tectonic By using force density map to aid the design of the column the structure can be a visual representation of the underlying forces.

Stress lines

Discretised geometry Mesh

Force map

FANNED FRAGMENT A structural framing has been designed which responds to the architectural and structural objectives, by using the stress lines as indicators of idealised paths of material continuity, the primary framing structure can become a more efficient form which reflects how the surface is performing.

Stress density

Efficiency and purity of form combine here with a result that is both beautiful and performative. The formal language of the fragment begins to echo the logic of the Gothic fan vaults.

THE INFLUENCE OF FORCE ANALYSIS Initial attempts begin to echo effects which can be found in nature, such as on strangler trees. The members in this case are extracted directly from the force network.

Banyan trees showing branching structures

34

35

Elevation of Structure 1

Structure 1

Model no.1 - full stress structure Full, symmetric stress structure design, influenced by architectural and structural performative objectives.

Model no.2 - reduced stress structure Design which reduces the amount of tension members in order to decrease the amount of perpendicular connection between members.

SPATIAL OBJECTIVES Learning from the force maps allows holes to be cut into the original shapes, creating space for circulation and access to begin to be integrated into the design.

Model no.3 - branching only design Model three shows a design development which completely eliminated the crossing of perpendicular members, increasing buildability and minimising complicated connections.

BRANCHING DESIGN DEVELOPMENT The stress lines which are generated for the surface always come in perpendicular pairs, showing the primary and secondary principle forces.

This leads to complex connections between beams, when tensile and compressive members intersect. This development series begins to look at how the members could branch and bundle instead of intersecting.

36

Elevation

Section

Structural/Architectural Integration In this way the architectural and structural building systems become integrated in a way that allows the multi-objectivity of the systems - a more efficient design solution.

37

Plan view of node

Plan view of open node

URBAN RESPONSE The spatial response can begin to be simulated by placing this fragment into a complex urban environment. The Southbank has been used due to its interesting intersection of levels and urban conditions.

Skin

Structure

Circulation View looking along the river

STRUCTURALLY INFORMED DESIGN The internal stress maps of the surface can allow the architectural response to become informed by the structural logic through understanding and redesign of the stress raw line data.

Public space Using this geometrical logic to define a public space underneath a canopy which responds to a change in levels and creates a fully covered space.

This exercise begins to show the potential to create integrated morphologies which are multi-objective in their response, able to combine structure, skin, circulation and program.

Hierarchy of Integration

Servicing

Skin

Structure

Circulation

Program

Urban Fabric

View towards the national theatre

38

39

Circular fibres

Rectangular fibres

BRANCHING STRUCTURES Exploration of different techniques for bundling timber fibres together. Two different methods have been explored using two different cross sections of fibre.

The canopy which has been used to test the aesthetics of each design is a development of previous methodology, separating the tensile and compressive forces and informing the geometry with layers of structural and architectural objectives.

Example of branching bundles of timber

Branching of timber members

Rectangular bundling detail

Hexagonal packing of timber fibres to form a beam or column.

Surface explorations In this spatial fragment, the structural information has analysed for a surface, allowing a planar region to be designed which begins to generate spatial separators and integrate entrances and voids into the planar design.

Elevation 1:50 Branching bundles of timber is used to support the balcony above

BRANCHING BUNDLES Timber wall fragment showing two levels and an entrance in elevation

Initial wall surface geometry, before analysis

Section of the timber wall fragment

Stress lines map of the surface

Here a balcony can be seen to be supported by the stress structure below.

The use of timber allows for complex geometries to be manufactured by bundling multiple strands together in a way that supports the load efficiently.

Reduced stress lines, with possible voids shown

3D printed scale model of timber structure.

40

41

1 Decorative Facade Main entrance

5 Stage 1 Facade

2 Lobby 6 Backstage 3 Seating 4 Orchestra

7 Back of House

2 Grand entrance spaces Waiting areas Circulation to and from seats 3 Considerable volume of seats Unobstructed views Good acoustics

Backstage areas actors props scenery machinery

Large stage

4 Full orchestra

TYPOLOGICAL STUDY: OPERA HOUSE Initial programmatic exploration have been conducted into the typology of opera houses. The variation in spatial conditions, public nature and complex interaction of spaces, is such that the opera house would be a good testing ground from this design methodology that has been developed.

5 Large stage Supporting equipment and space

Full orchestra

6 Backstage areas Actors Props Scenery Machinery

Considerable volume of seats Unobstructed views Good acoustics

7 Back of house Rear entrance/stage door Loading, unloading Storage

Circulation to and from seats

Grand entrance spaces

Facade

1 Decorative Facade Main entrance 2 Grand entrance spaces Waiting areas Circulation to and from seats 3 Considerable volume of seats Unobstructed views Good acoustics 4 Full orchestra 5 Large stage Supporting equipment and space 6 Backstage areas Actors Props Scenery Machinery

Sydney Opera House, Sydney, Australia 7 Back of house John Urtzon Rear entrance/stage door 1973 Loading, unloading Storage 2679 seat main theatre

DESIGN DEVELOPMENT Program & Site

42

Guangzhou Opera House, Guangzhou, China Zaha Hadid Architects 2010 1800 seat main theatre

Oslo Opera House, Oslo, Norway Snøhetta 2007

Bord GĂĄis Energy Theatre, Dublin, Ireland Studio Libeskind 2010

1400 seat main theatre

2000 seat main theatre

Harbin Opera House, Harbin, China MAD Architects 2015

Copenhagen Opera House, Copenhagen, Denmark Henning Larsen 2004

1600 seat main theatre

1800 seat main theatre

43

TYPOLOGICAL STUDY: PHILHARMONIE The modern philharmonic hall is a sub-typology of theatres and music venues but becomes a completely new typology in itself. Modern concert hall are still built to cater to classical music, despite the low demand and ever increasing rise of electronically produced music. These halls are often seen as a symbol of status and grandeur for those that built and attend these venues.

Advertising/agenda dependant playlists

SPOTIFY HOME SCREEN Music discovery and personalised playlists inhabit the landing screen of the Spotify desktop and mobile apps. Designed to both push an agenda and advertise music that you would want to listen to.

‘Your’ music

Time dependant playlists Philharmonie de Paris Paris Jean Nouvel

Elbphilharmonie Hamburg Herzog & deMeuron

37,700 m2 2400 seats

23,000 m2 2100 seats

Personalised playlists

Music discovery Acoustic analysis

Acoustic analysis

What Spotify think you’ll like

Intelligent Recommendations

Berliner Philharmonie Berlin Hans Scharoun

Walt Disney Concert Hall Los Angeles Frank Gehry

26,000 m2 2440 seats

30,600 m2 2265 seats Acoustic analysis

The Spotify platform stores information about your listening habits, history, and preferences, and uses this information to find other music that is similar to your ‘taste profile’.

Mood alteration

New music

Acoustic analysis

Acoustic Arrangements

Mood alteration

The four most commonly seen concert hall shapes are the classical Shoebox, the operatic Fan, the modern Vineyard style and the expansive Arena. The spatial conditions for concert hall can be very complex and different arrangements can be used which balance the acoustic and architectural parameters for each space.

The modern vineyard style can be seen to have the acoustical performance of the classical shoebox style halls, while allowing 360o of seating, maximising sight lines and seat numbers. Most modern halls are built in the vineyard style.

The art of ‘personalised’ music Spotify learns which songs, artists, and playlists you don’t like based on the songs you skip often and uses this to improve their model.

What other people are listening to

Vineyard

Berliner Philharmonie Berlin

Elbphilharmonie Hamburg

Philharmonie de Paris

Fan

Walt Disney Concert Hall Los Angeles

They pick the music you listen to Philharmonie im Gasteig Munich

Carnegie Hall New York

Teatro alla Scala Milan

The Spotify machine learning algorithm ‘Echo Nest’ is able to predict what you want to listen to and when, weaving in the music that is popular, and shaping your taste in music. The Echo Nest software was developed to ‘fix how people were discovering music.’

Shoebox

Herkulessaal Munchen

Musikverein Vienna

Concertgebouw Amersterdam

Arena

Royal Albert Hall London

44

45

2

3

1

4 5 6

9

QUEEN’S WALK 10

11

8

7

10

11

14

12 13

9 8

15

12

7

13

6

14

4

16

5 3

17 18

19 19 N 2

1

17 2 10 11

15 Public Private The Queen’s Walk

14

13 17

1

County Hall

6

The National Theatre

11

Sea Containers House

2

The London Eye

7

Sampson House

12

River Court

3

Festival Hall

8

ITV

13

Dogget’s Coat and Badge

4

Queen Elizabeth Hall

9

Gabriel’s Wharf

14

Falcon Point

5

The Hayward Gallery

10

OXO

18

SURROUNDING CONTEXT SOUTHBANK Sitting just next to the London Eye, with County Hall to the south and Hungerford bridge and the Southbank centre to the north, this site sits in a prime location on the Southbank. It is the largest piece of land which remains unbuilt along this section of the river and would provide a prime location for a new large scale public building, which combines cultural functions with public space.

46

Festival of Britain, 1951, historically this site has hosted the Dome of Discovery and the tensegrity structure Skylon Tower.

The Jubilee Gardens site sits in a prominent location on the Southbank.

Hungerford Bridge and County hall enclose the site to the north and south respectively. Across Belvedere Road the Southbank Place development is nearing completion, bringing multiple residential and commercial high rise towers to the site which surrounds the Shell Tower.

Jubilee Gardens currently provides public amenity space in this central location and any potential development should be sensitive to the public profile of the site.

1. Whitehouse apartments

11. Belvedere Gardens

2. One Casson Squ.

12. Royal Festival Hall

3. Four Casson Squ.

13. Hungerford Rail Bridge

4. Two Southbank Pl.

14. Jubilee Gardens

5. One Southbank Pl.

15. County Hall

6. East Block, County Hall

16. Festival Riverside

7. Forum Magnum Sqr.

17. Queen’s Walk

8. South Block, County Hall

18. London Eye

9. The Belvedere

19. Golden Jubilee Bridges

10. Shell Tower

47

Minimal surface morphological explorations

JUBILEE WALK A series of fragments studying the response of the design to the Southbank.

The strong edge condition to the Southbank and Jubilee walk requires an edge condition that integrates with the public walkway and possibly even interacts with it at points, creating opportunities for public program.

The design language that has been developed previosly has been used to develop the geometry.

VECTOR FLOW The two large masses of the concert hall and public auditorium have been placed within these vector field analyses to simulate the spatial relationships and interactions between the forms. Different forces have been applied in each iteration - varying the force direction and spin of each attractor.

An internal edge Series of explorations into various level conditions where Queens walk meets the site. The catenary and minimal surface simulations have been used to define the design logic.

Concept plan of edge fragment

The river-front The Southbank has a very strong, double-leveled promenade facing onto Jubliee walk which creates a morphologically animated rivers edge. This edge presents an opportunity to play with the levels and routes along the river. Different options have been explored how the internal level can meet the edge of the pedestrian zone.

48

Elevation and axonometric view of a fragment of the Southbank

49

Side Entrance Canopy Landscaping

Queen’s Walk (Southbank)

Surface

Rationalisation

Stress lines

Framing

Stress line informed design process

INITIAL CANOPY DESIGN

THEATRE BALCONIES

The design of a canopy facing on to the Southbank promenade where the lanscape meets the building. The edge of the site is broken down, creating a steps for seating along the Southbank, the canopy provides shade above the seating and allows tables to be put alongside the buidlings edge.

Designed using the stress line analysis methodology previously developed, the internal space of the philharmonic hall becomes the most intense space, with structural members swirling round to hold the balconies and frame the stage.

The design of the canopy is informed by the stress line studies, integrating the structural objectives into the resolution of the inital surface.

50

51

Conceptual image of the internal philhamonic hall

DESIGN DEVELOPMENT

Synthesis

52 53

A

A

GA 001

54

SITE PLAN

1: 1250

GA 010

00 PLAN

1: 500

SITE AREA PLAN

0

4

8

12

16

20m

55

A

PUBLIC SOUNDGARDEN

B

The landscape of the Soundgarden is filled with canopies which flow with the curves of the garden. Seating is formed where the canopies hit the ground and land which activates the public space surrounding the building and creates a pleasant shaded environment where people are free to relax and able to watch performances on the outside stage. The tree-like canopies play music from the live performances in the hall and act as speakers for the external stage.

C

A Lighting integrated into the structure of the canopy B Speakers play music from inside the current act performing in the concert hall C Concrete footing becomes a seating in the public Soundgarden

Southbank

Concert Hall

Simulated Surface

Project curve network

Geometry

The entrance canopy to the main concert hall has been designed in the same way. A process of simulation and discretisation has been used to arrive at an efficient design.

56

57

8

10

9

7 3 4

2 1

12 6

11

5

SITE AREA PLAN

0

4

8

12

16

20m

1 Jubilee Walk 2 Sound garden 3 Podium 4 Entrance Lobby 5 Bar 6 Ticket hall 7 Mezzanine/Hall entrance 8 Viewing gallery 9 London viewpoint 10 Auditorium 11 Stage 12 Loading

GA 030

58

SECTION AA

1:200

59

Initial geometry

Stress map

Key stress paths

Initial Concert Hall Shell The initial shell of the concert hall has been analysed to identify primary paths of material continuity, which will inform the discretisation of the shell

Theatre backdrop structure

Balcony support beams

STRUCTURAL GEOMETRY Integration of structural objectives into the rationalisation of the philharmonic hall’s morphology. Primary stress pathways have been identified and isolated to support the balconies and back wall of the theatre.

60

Rationalised Shell 1

Rationalised Shell 2

Key members form the primary structure of the hall, which are informed by the stress line analysis. Secondary beams are evenly spaced in between to create a shell between the primary structure

This iteration shows secondary members which are informed by the stress line analysis, projecting radially from the ground.

CONCERT HALL MORPHOLOGICAL ITERATIONS Multiple iterations of the concert hall arrangement. The primary objectives during this part of the development process were the arrangement of the primary structure and and the circulation to all levels of seating within the hall, considering sight lines and over all shape.

61

J

K

D

I

A

H

C

E G

B

62

F

A

Rear entrance

G

Floor-level seating

B

Goods/vehicle lift

H

Sound/lighting desk

C

Backstage entrance to stage

I

Upper level seating

D

Gantry access to equipment rigs

J

Follow spot operation room

E

Stage

K

Public viewing gallery

F

Flexible under stage space

L

INTERNAL SPATIAL DESIGN After entering through the grand atrium, a corridor leads to the ranks of seating, which are nested inside the primary structure. The strong lines of the structure are broken down by the linear timber, which acts to reduce reverberations off the exposed concrete. The stage is framed by the large primary arched beams which land behind, it holding the stage equipment, speakers, screens, lights etc. in place.

63

A

Rebar Loops

B

Tension Cable

C

Primary Structure

A

B

C

A A

B

C D

A

Secondary Precast Panel

B

Tension Cable Connection

C

Primary Structure

D

Acoustic Finish

3. Tensioned connection To ensure the precast pieces form a continuous shell a tension cable in the middle of each primary member is used to post tension each element..

3

1. Structural Skin A system of post-tensioned, pre-cast panels fit into the primary members sections to form a diaphragmatic skin to the concert hall. A variable depth of pattern on the inside of the allows the concert hall to react to the acoustic requirements around the entire theatre space.

B C D E F G 1 H

2. Structural Assembly Individual structural members are broken down into sections which can be constructed off-site and then brought on site for assembly.

I

K J

2

A

B

C

D1 D1 @ 1:5

A

THE SPOTIFY PHILHARMONIC HALL

B

KEY

C

D

64

A

Precast Concrete Beam

B

Connection Detail

C

Seating Balcony

D

Concrete Footing

D

E

F

A

Timber Finish

B

Service Cavity

C

Acoustic Finish

D

Strip Lighting

E

Concrete Floor Support

F

Primary Concrete Structure

A

Primary Node

G Digital Screen

B

Acoustic Timber Panelling

H

C

Peripheral Screen

I

Speakers

D

Equipment Rig

J

Performers Entrance

E

Services

K

Stage

F

Flexible Stage Backdrop

Backstage / Access

The primary structure of the concert hall has been developed by tracing the optimal paths of material continuity found using the method of stress line analysis. By then developing circulation and service routes in conjunction with the structural design, a integrated system has been reached in which multiple objectives inform the architectural resolution of the design, from large scale structure to the detail design and construction methodology.

65

G

F

C

A

Timber Finish

B

Service Cavity

C

Acoustic Finish

D

Strip Lighting

E

Concrete Floor Support

F

Primary Concrete Structure

G Balcony seating

Acoustic envelope

D1 @ 1:5

A B C

D

E

F

INTEGRATION OF ACOUSTIC PANELLING The primary structure acts in a multi-objective way to carry the services around the concert hall and provide acoustic dampening to the hard concrete surfaces. A strategy of linear variable density timber elements has been developed to allow the reverberation to be precisely controlled throughout the hall.

THEATRE BALCONIES Variable reverberation panlling on the surface finishes

Petal-like balconies form the upper teirs of seating in the main concert hall. Precast conrete components come together to form the primary structure of the concert hall, integrating acoustic panelling to soften the harsh reverb from the exposed concrete, services, and circulation into their design.

Initial form finding investigations using ray tracing which analyse the high level layout of the philharmonic halls morphology. It was important to eliminate areas where the sound concentrates.

66

67

SOUTHBANK PODIUM ATRIUM CONCERT HALL BACKSTAGE

A CONCERT ON THE SOUTHBANK The concert hall is accessible from the Southbank via the podium level which sits at +2m from public footpath. This elevated level brings together streams of people from both the Southbank and Waterloos station side, where a timber canopy breaks the transition into the entrance atrium, and timber beams lead into the circulation space.

68

69

70

71

ATRIUM SPACE The atrium is accessed from either, under the canopy on the podium, or from the side entrance, facing the London Eye. The atrium serves as the primary circulation core in the building, where an intense space is created through the integration of structural objectives into the circulation. Curved timber beams support the staircases, tracing optimal force paths defined using stress line analysis, running in a fan-like patten from the concrete supporting beams on each floor.

Surface

The form finding process of the floor structural morphology draws heavily on the process which has been developed in the research section, where architectural and structural objectives are combined.

Stress lines

Rationalisation Entrance

Framing

Circulation routes 72

Stress line informed design process 73

74

75

76

77

78

79

80

81

82

83

APPENDIX All work produced by Unit 14 Unit book design by Charlie Harris www.bartlett.ucl.ac.uk/architecture Copyright 2019 The Bartlett School of Architecture, UCL All rights reserved.

No part of this publication may be reproduced or transmited in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retreival system without permission in writing from the publisher.

84

85

M O D E R N C O U R A G E

2019

A

t the center of Unit 14’s academic exploration lies Buckminster Fuller’s ideal of the ‘The Comprehensive Designer’, a master-builder that follows Renaissance principles and a holistic approach. Fuller referred to this ideal of the designer as somebody who is capable of comprehending the ‘integrateable significance’ of specialised findings and is able to realise and coordinate the commonwealth potentials of these discoveries while not disappearing into a career of expertise. Like Fuller, we are opportunists in search of new ideas and their benefits via architectural synthesis. As such Unit 14 is a test bed for exploration and innovation, examining the role of the architect in an environment of continuous change. We are in search of the new, leveraging technologies, workflows and modes of production seen in disciplines outside our own. We test ideas systematically by means of digital as well as physical drawings, models and prototypes. Our work evolves around technological speculation with a research-driven core, generating momentum through astute synthesis. Our propositions are ultimately made through the design of buildings and through the in-depth consideration of structural formation and tectonic constituents. This, coupled with a strong research ethos, will generate new and unprecedented, viable and spectacular proposals. They will be beautiful because of their intelligence - extraordinary findings and the artful integration of those into architecture.

UNIT

Inspired by the audacity of the modernist mind the unit’s work aspires to reinstate the designer’s engagement with all aspects of our profession.

Observation and re-examination of every aspect of current civilizatory development enables to project near future scenarios and positions the work as avant garde in the process of designing a comprehensive vision for the future.

Societical, technological, cultural, economic as well as political developments propel the investigations with a deep understanding of how they interlink to shape strategies and astute synthesis to determine a design approach.

We believe in the multi-objectivity of our design process, where the negotiation of the different objectives becomes a great source of architectural novelty and authorship. We will fight charlatanism with the aid of practical experimentation, scientific knowledge and technology. We find out about how human endeavour, deep desire and visionary thought interrelate as well as advance cultural and technological means while driving civilisation as a highly developed organisation. The underlying principle and observation of our investigations will be that futurist speculation inspires and ultimately brings about significant change. Supported by competent research the work is the search for modernist courage aiming to amplify found nuclei into imaginative tales with architectural visions fuelled by speculation.

@unit14_ucl

86

Thanks to: RSHP, Zaha Hadid Architects, DKFS Architects, Heatherwick Studio, Amanda Levete Architects, Seth Stein Architects, Cundal Engineering, DaeWha Kang Design, Uni Stuttgart ITKE

UNIT 14 @unit14_ucl

All work produced by Unit 14 Unit book design by Charlie Harris www.bartlett.ucl.ac.uk/architecture Copyright 2019 The Bartlett School of Architecture, UCL All rights reserved.

No part of this publication may be reproduced or transmited in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retreival system without permission in writing from the publisher.