Studio 30: Resonate - Reflective Journal

MArch Studio CDEE

STUDIO 30:

RESONATE (Nothing But) Flowers

Alice Woods 1019963

1

2

Contents Introduction

4

Masterplanning + Early Research

6

Mid-Semester Reflections

20

Further Concept Development

38

Interum Reflections and Development

52

Final Comments

68

Appendix

78

3

Introduction Studio Resonate has focused on a number of elements over the course of the semester.

The project, which centres around a outdoor performance venue encompasses a festival program, an off-season/year round program and revitalisation project on an ex-industrial quarry site in Colac, Victoria.

Throughout the studio, the scope of the project has provided me with the opportunity to explore a vast conceptual framework which encompasses all aspects of the program, and unfolds across the massive site. The opportunity to be able to employ a concept not only to multiple buildings but also to the landscaping and rehabilitation of a site has been extremely rewarding, and allowed for an in depth exploration of all aspects of the program.

4

5

MASTERPLANNING 3

Brief 2

12

2

Early Concept Development and Research 5

6

4

14

12

RESIDENT STAFF ONLY AREA

11

10

9

13 5

7

R

Resid (Up to

Music School

The Gadda Da Vidda Parkland B (Nature Reserve)

Voodoo Lounge Permanent Restaurant/Bar Event Village Main Street (Dining Piazza)

Solisbury Hill

Main Stage

General Event Parking (Capacity Approx 1050 vehicles)

Bus and Truck Zone

Alloted Areas for Temporary Facilities (Event Days) Food, Beverage, Retail and Outdoor Dining

8

Toilets DJ Tents and Small Stages

ur s /To itie use Facil Ho of rking k c Ba ck Pa Tru

Rock Garden Arts Pa Parkland A

Staff Village Program and Arrangement Each Unit Houses 4 Individuals Village Accomodates No More than 40 Staff Members

Unit 2

Resident Staff Parking (Capacity 48 Vehicles)

Unit 1 Parking

(Capacity 48 Vehicles)

Unit 3

RESIDENT STAFF ONLY AREA

Unit 4 Common Facilities and Lounge

Unit 5

Audio dential Staff Village o 40 Occupants) Lab Production

Unit 6

Unit 7

Audio Production Lab

Basketball Half Court and Tennis Wall

Unit 8 Unit 9

Unit 10

Bicycle Cage

Staff village as a distribution of units is good but the arrangement of units across the landscape feels too arbitrary at this stage. I probably need to ascertain a better way of utilising the topography and/or the lake itself.

Consider the specifics of the two types of parkland, usage/users and tailor the program to suit.

ark

9

To Wetlands (Parkland B) and Music School

Potters Road

WC

Stage Entrance

Road Extension

WC

To Rock Garden Arts (Parkland A)

0

10

100m

EVENT MAP (Circulation and General Zoning) Vehicle Access In (General)

Event Village

Vehicle Access Out (General) VIP/Backstage (Restricted Access) Vehicle Access (Service) Vehicle Access (Bus) Parking (General - Capacity approx 1020) Parking (Bus) Parking (Stage Service) Drop Off/Pick Up (Carpool) Drop Off/Pick Up (Buses) Pedestrian (General) Pedestrian (Staff Only)

Mosh A Mosh B Mosh C Mosh D Reserved Seating A Reserved Seating B Re-Greening/Parkland Backstage Parking Guest Amenities Main Stage

Park

At this stage figuring out methods of people arriving on the site feels important since it is going to be difficult if not impossible to cater for the amount of vehicles involved with 15,000 arriving on the site. Shuttle buses and benefits for carpooling feel apt at this time, following the model utilised by the “day on the green� festival.

11

B Seating Entry

Music School

BS

ing

eat

AS

Stage Entry Through Cliff Tunnel

ing

eat

Common Area

Group Learning

Performance Hall

Dance Studio Individual Practice Room

Individual Practice Room

Individual Practice Room

Individual Practice Room

Individual Practice Room

Group Learning Individual Practice Room

WC

Individual Practice Room

WC

Group Learning

Store

Group Learning

Cafe Mixing Room

Foyer

Mixing Room

Audio Production Lab

Common Area

Audio Production Lab

N

Main Stage

WC

Music School Programming

Group Learning

Performance Hall (Lowered)

Group Learning

Store

WC

Practice Rooms

WC

Foyer

12 Music School

Common Room Dance Studio

WC

Not unhappy with this as a baseline, but need to create more space, also the basement level feels a bit small and not particularly well utilised other than the lowered concert hall. Should consider what program would be suited to being partially or wholly underground to better utilise that area.

2 1 2 2 1 Foyer

1: Audio Production Labs 2: Mixing Rooms

WC

13

Mosh Entry B Mosh Entry C

B Seating Entry

g

C

tin Sea

BOH Located in B Seating East Wing

A Seating Entry Located in B Seating West Wing

BS

ing

eat

sh

Mo

Mosh Entry A B Seating Entry g

g

BS

Main Stage

14

in eat

AS

in eat

Stage Entry Through Cliff Tunnel

For these plans, the round seating plan is a bit awkward. Either find a way to utilise the ‘B’ seating more effectively - perhaps with better sight lines somehow, or a secondary performance space in the centre, or reconsider the seating arrangement for a more traditional style

TOTAL CAPACITY: 10 000 Mosh Capacity: 8000 A Seating Capacity: 300 B Seating Capacity: 1100 C Seating Capacity: 600

15

2 4

3 3

4 1

5

0

1. Performer Lounge 2. Administration and Stage Monitoring 3. Dressing Room 4. Storage 5. Stage 6. Stage Entry 7. Bar/Merch 16

Not convinced that the BOH is working well taking into consideration how much space is lost due to ceiling height. Probably need to consider a different way forward for the location of BOH services

10

A Seating (Capacity 750)

A Entry Flow

Seating and Crowd Circulation

B Seating (Capacity 2950)

B Entry Flow

Main Stage Capacity: 13116

C Seating (Capacity 1416)

C Entry Flow

Mosh (Capacity 8000)

Mosh Entry Flow

0

10

17

5

9 11

6

6/7 6 10

2

2

2

2

2

2

1

2

2

8

3

13

1

Basement Plan

Ground Floor Plan

10

0

10

0

12

5 2

2

2

2

1

12

12

12

3

6 11 1

Section AA

4 3 4

4 12

12

12

12

5

13

First Floor Plan

0

10

1. Foyer 2. Practice Room 3. Dance Studio 4. Computer Lab 5. Common Area 6. Group Learning 7. Green Room 8. Cafe 9. Store 10. Events Food and Beverage/Box Office 11. Recital Hall 12. Mixing Room 13. Cleaners Storage

18

NW Isometric Massing

0

10

This form is likely too boxy, doesnt sit with the landscape in the way I want it too.

Reconsider also the dimensions of the concert hall because it feels quite narrow.

Also at the moment it feels like a slightly awkward compromise between something more orthogonal and something which is breaking out of that mode of form.

19

Mid-Semester Crit Drawings and Reflections on further Development

The Masterplan at this stage is still slightly abstract but the framework for how the site will work is beginning to develop. At this stage the programs are fairly distinct from one another with the nature reserve in the top right, the arts park on the bottom left, the festival site, the academy, accomodation and the staff village. I would like to develop this further, and find a way to make the site programming more cohesive.

12

14

12

12

7

8

BUS AND TRUCK ZONE

Walking Trails The Garden of Earthly Delights

The Land Down Under (500m Eden Trail (1km, 15 Mins) Only Sky (1.4 kms, 20 Mins)

20

The Gadda Da Vidda

Harvest Moon (1.2kms, 20 M Waterloo Sunset Trail (1.6km Orinoco Flow (2.8kms, 35 Min

FESTIVAL GROUNDS, PARKLAND AND MUSIC ACADEMY MUSIC

RESIDENT STAFF ONLY AREA

The Garden Stage (Main Stage)

2

Music and Performing Arts Academy

NATURE

11

3

1

3

The Gadda Da Vidda Wetlands Rehabilitation

13

Walk Start: The Gadda Da Vidda

14

Walk Start: Elysium Fields

10

2

ART 4 9

The Garden of Earthly Delights Arts Park

7

Solisbury Hill Arts and Entertainment Village

5 13

FOOD

12

4

6 12

12 12

5

Voodoo Lounge Restaurant and Bar

6

Downtown Lights Food and Art Market

12

1

LIVING 9

4 STAFF ONLY AREA

Music School Accomodation (Groundhog Village)

10

Music School Accomodation (Lake Village)

11

On Site Staff Village and Recreation Centre

TRUCK PARKING ZONE

m, 10 Mins)

Mins) ms, 25 Mins) ns)

0

Event Circulation Village Circulation Main Stage Entry and Exit Flow

Year Round Program Staff Circulation

50

AMENITY 8

Events Car Park

To Academy (6 Mins) To Voodoo Lounge (7 Mins)

Accomodation to Academy

12

Restrooms

From Groundhog Village (5 Mins) From Lake Village (2.5 Mins)

21

BUS AND TRUCK ENTRY

Circulation is still under development, and as per feedback from mid-semester crit I will have to reconsider how I have approached parking on the site, since the way it exists now it imposes far too heavily on the program, and also becomes a negative experience for those who are entering the festival.

GENERAL ENTRY

The festival site, has a small village for food and merchandising with the idea being that aside from music acts, part of the experience would be dining, and a market at one end, which then flows into the main stage. This village would become the base camp of the festival experience, while the stage is the centre, the village, just off to the side provides amenities for atendees.

22

FOOD AND ARTS MARKET ISO

0

50

To Gadda Da Vidda

EVENTS MAP

WC WC

Bar Tent

Shipping Container Food Square WC

Marquee Market

WC

Food Truck Parking WC

To The Garden Of Earthly Delights

STAFF ONLY AREA

DOWNTOWN LIGHTS FOOD AND ARTS MARKET

WC

Mosh Acoustic Shell Reserved Seating Vehicle Access (General) Vehicle Access (Service) Vehicle Access (Bus) Parking (General - Capacity approx 1020) Parking (Bus) Parking (Stage Service) Drop Off/Pick Up (Carpool) Drop Off/Pick Up (Buses) Pedestrian (General) Pedestrian (Main Stage Entry/Exit Flow) Stage Access Staff Food Truck Parking Shipping Container Market Marquee Market (Temporary) Bar Tent

23

STAFF VILLAGE

The points of circulation for the main stage flow directly into this area here which I have marked as a site for art installations called the Garden of Earthly Delights after the medieval triptych by Hieronymous Bosch which depicts these three states: paradise, hell and in the centre either the Earthly plane or a state of hedonism. Something I’m interested in with this project is the idea of the site being something like an afterlife for a place that has been killed, and so thematically in my programming and also in my designs I’m curious how I could implement mythologies of the afterlife, and broadly speaking apocalyptic themes, in terms of reclaimation by nature as basically structural format for their organisation and their form. This is something I’ve started to explore to a certain extent with how I’ve programmed this arts park which has three parts, which blend into each other. The first being Paradise, the Second being the middle place and the last being the underworld.

Because the focus for this area of my parkland is experiential the proposition here is that it will only be partially rehabilitated with the greener parts of it at this end giving way to a more dead, rocky landscape as you move further along the walks which I’ve set out through the zone.

The accomodation is still very much under development, though at this stage I propose three ‘villages’, two which serve the academy and one which serves on-site staff members.

24

The Garden Of Ear Hieronymus Bosch

ACADEMY ACCOMODATION

Four Bedroom Units

6 Bedroom Units

Village Accomodates 40 Staff

Groundhog Village Accomodates 24

Located 7 Minutes From Academy and Restaurant

Lake Village Accomodates 36

Staff Provided With Bicycles to Navigate Site

Located 2 Minutes Walk From the Academy

1

WC

WC

WC

2

3

4

rthly Delights

0

50

THE GARDEN OF EARTHLY DELIGHTS ARTS PARK Paradise

1

Big Ticket Installations

2

Sculpture Garden Permanent Installations

3

Smaller Installation Works

4

Sculpture Garden Rotating Installations

The Middle Place

The Underworld

The Land Down Under (500m, 10 Mins)

Eden Trail (1km, 15 Mins)

Only Sky (1.4 kms, 20 Mins)

25

Big Ticket Installations

The slightly different programming for the sculpture park allows for a degree of novelty around festival season, when big ticket installations would be in place, but also for the Garden to be accessable and enjoyable in the off season where it features permanent collections.

6 Bedroom Units

Groundhog Village Accomodates 24 Lake Village Accomodates 36

Located 2 Minutes Walk From the Academy

Secondary Install Sites

In and

26

Permanent Scuplture Garden 1

2

Install Site

Sculpture Walk

0

20

0

20

Rotating Scuplture Garden

s

4

3

Sculpture Walk A

nstall Sites d Cliff Walk Sculpture Walk B

Sculpture Walk C

27 0

20

0

20

The second parkland is much more about genuine rehabilitation than the Garden of Earthly Delight. The Gadda Da Vidda which refers directly to the garden of Eden is designed specifically to be a place of new growth for the site which I’ve dispersed with a sparse program, allowing for visitors to traverse it without in this case disturbing the flora and fauna by placing a series of things along specified walking tracks of different lengths to accommodate different types of usage, for the lake I’m interested in this idea of artificial island ecosystems as part of the landscape which are these incredible floating island ecosystems that are often used for lake and wetland rehabilitation and help encourage biodiversity and treat the water and I also marked out a site for a bird hide/viewing platform/pavilion as a place of reflection in this garden to encourage a sensitivity to the local environment. These are more directed toward year round use than festival and accompany best the music school and the restaurant on the site.

However, following mid-semester feedback, I likely need to rethink this clause and find a way to integrate human interaction more directly with the park, since imposing a degree of separation is converse to my desire to use this end of the park as a learning tool for visitors.

0

20

Pavillio Educat

Encour Local E

28

THE GADDA DA V A Post-Industrial Afterlife

Walking Trails Allows Visitors to Experience the Rehabilitation Site Without Causing Disturbance to Wildlife

on and Viewing Platforms te Visitors about Local Wildlife

Harvest Moon (1.2kms, 20 Mins) Waterloo Sunset Trail (1.6kms, 25 Mins) Orinoco Flow (2.8kms, 35 Mins)

rage Sensitivity and Awareness of Environments and their Inhabitants

Constructed Bird Habitats and Roosting Places Encourage Wildlife to Return to the Site Contribute to the Biodiversity and Ecological Balance of the Lake and its Surrounds Floating Island Ecosystems Helps to Encourage Biodiversity Provides New Habitats Protects Shorelines Natural Water Treatment Facility Reduces Harmful Mineral Loads

29

VIDDA WETLANDS REHABILITATION The Dream Henri Rousseau

MUSIC AND PERFORMING ARTS ACADEMY

5

9 11

6

6/7 6 10

25m

A

A

45m

45m

2

2

2

2

2

2

2

2

63m

1

8

3

13 WC WC 1

20m

20m 40m

50m 70m

Basement Plan

Ground Floor Plan

10

0

10

0

22m 34m 52m

4 3

14m

4

4

A

24m

12

12

12

A

12

19m

5 13

NW Isometric Mass

First Floor Plan

0

10

1. Foyer 2. Practice Room 3. Dance Studio 4. Computer Lab 5. Common Area 6. Group Learning 7. Green Room 8. Cafe 9. Store 10. Events Food and Beverage/Box Office 11. Recital Hall 12. Mixing Room 13. Cleaners Storage

3.6m

3.6m

12

5

4m

3m

2

2

12

12

12

3

7.6m 2

2

1

11 1

30

52m 40m 70m

Section AA

0

10

11.6m

6

4m

8m

A

the music school is situated within the Gadda da Vidda on the edge, for the form I wanted to reflect the knobbly scarification of the landscape and so I employed several half levels to reflect the cragginess of the surrounding topography, so there are several double height ceilings and half floors, most notably in the recital hall which is partially buried in the cliff face which also serves an acoustic purpose to help deaden surrounding sound. Doing this also gave me the opportunity to have some windows close to the ceiling where they won’t affect the sound as much but will give some natural light to the space. Much of the form came from pulling at these layers and creating limb-like wings to give more access to sunlight throughout the building.

I do think however, as stated on the most recent iteration of this building before mid-semester that this form remains too orthogonal to really interact with the landscape in a way I am happy with. To remedy this I will perhaps need to develop a design strategy which allows for a more direct translation of the building’s surrounds into the architecture.

sing

31

A 115m

15m

B

46m

THE GARDEN STAGE: MAIN STAGE A Main Stage Plan 0

20

32 125m

Section AA 0

20

For my acoustic shell, in terms of utilising the site, I chose this position which is a nice natural enclosure for the shell and the audience, and for the design what I’m working towards is something that is kind of both parts imposing and also of the landscape. This end of the site in particular is marred by this scarring which is artificial but also gives the impression that it is some natural phenomenon. So for the design of the shell and of the ampitheatre I had this idea that the form could be something which kind of erupts from this scar tissue. The seating juts out of the ground plane like the knobbly stone rises around it, and the shell itself I wanted to be kind of erupting from the rock faces here like a growth on a tree trunk which I think can be seen more easily in the section and the isometric view here where you can see the shell kind of pulls out of the rock.

38m

125m

The seating in particular however, doesnt feel like it achieves this end at the stage, and looks and feels very imposing on the the site. As per feedback comments, I will look into a less symetrical form to try to address this.

40m

B

25m

2m

6m

4m

33

A 115m

15m

38m

71m

125m

28m

7.4m

B

20m

Seating and Crowd Circulation

A 0

20

Main Stage Capacity: 13419

A Seating (Capacity 1332) B Seating (Capacity 935) C Seating (Capacity 3152) Mosh (Capacity 8000)

A Entry Flow B Entry Flow

34

C Entry Flow Mosh Entry Flow

NE Isometric Ma

assing

The shell and seating can be accessed from both the village and the Garden of Earthly Delights, allowing more freedom for patrons to move between attractions on the site during the festival, catering to different desires for use - for example the village provides the opportunity to eat, drink or shop before or after an act performs, but the park lead in allows for the more adventurous to explore the site without having to stray too far from the main event.

A 12m

12m 3m

5m

5m

5

5 4

4

10m

B 3

2

1

B

B

9

8

8

8

9

8

8

8

6

7

B

4

11m

11

18m

21m

10

48m 11m 23m

Main Stage Plan Basement

15m

A

20

0

1. Stage 2. Audience Seating A/B 3. Mosh Pit 4. Storage 5. Bar/Merch Stand 6. Performer Lounge 7. Personal Storage, Performers 8. Dressing Room 9. WC 10. Admin and Stage Monitoring 11. Recital Hall

25m

6

8

8

11

8

4

4m

48m

Section BB 0

9

20

35

FINAL REFLECTIONS ON MID-SEMESTER ASSESSMENT Moving forward from mid-semester based on feedback I would like to find a way to allow the more pragmatic elements to align more elegantly with the conceptual aspects of the project. A significant issue at this stage is the parking lot, which needs a considerable amount of rethinking. The outdoor seating and mosh areas for the acoustic shell are also a problem area which at the moment don’t align with the conceptual and architectural outcomes I want to achieve.

36

37

FURTHER CONCEPT DEV

Brief 2

Concept Development and Further Design Iterations

38 62

VELOPMENT

s

39 63

Henri Rousseau

Rousseau’s paintings are a good example of the kinds of formal relationships and language I am trying to develop between the architecture on the site and both the landscape, and the history of the site - eg - the human intervention that has shaped that particular piece of land. The jagged forms of the plants and lush greens are often in stark contrast to any human intervention in Rousseau’s work.

These two paintings are interesting to compare when you consider how the human form is encapsulated by the jungle as opposed to the tiger and wilderbeest. The woman is a stark constrast to her surrounds, not only by use of colour but also her shape and posture. The tiger on the other hand follows the same sloping lines as the leaves, tapering down into the ground plane through the wilderbeest. These types of relationships to surroundings are useful in both cases and I am interested in finding a way to translate these sorts of lines into both the architecture and also the planning and circulation on the site.

https://www.rawpixel.com/board/1054552/henri-rousseau-original-public-domain-paintings

40

https://www.rawpixel.com/board/1054552/henri-rousseau-original-public-domain-paintings

41

Hieronymous Bosch The Garden of Earthly Delights

42

Eden

Earth

Timber

Blend

http://www.stardustcoyote.com/journal/2016/11/18/art-history-the-garden-of-earthly-delights-hieronymus-bosch

h

The Garden of Earthly Delights, as referenced in the mid-semester portion is interesting in its distinct layouts that are starkly different between panels but which blend together perfectly into a seamless narrative

Hell Rock Concrete Masonary

43

https://www.archdaily.com/412639/paramount-alma-plasma-studio

https://www.archdaily.com/11957/esker-house-plasma-studio/ 500f12a528ba0d0cc7001963-esker-house-plasma-studio-image

Plasma Studio Speak the language of the landscape

Plasma studio’s folding forms, and the relationships they develop between built form and the ground it rests on 44

https://www.shoparc.com/projects/

Dunescape SHoP

https://www.architectmagazine.com/project-gallery/dunescape-at-moma-ps1_o

Dunescape is particularly influential for my development of the terraces, and the railings which I am designing as complimentary to interaction with human bodies. These images, especially the collage below are an excellent expression of the type of dynamism I want to achieve with static objects, creating forms that feel alive and thus emulate growth to a degree.

/dunescape/

https://www.shoparc.com/projects/dunescape/

45

Caspar David Friedrich

https://ar.pinterest.com/pin/850758185828322290/

Caspar David Friedrich’s paintings have been useful to me in orienting the formal relationships I wish to generate between the ground and my architecture. The jagged, rugged forms which dominate his paintings are the types of forms and posses the kind of visual rhythm which I want to be identifiable within my project. The dynamic nature of these paintings, as well as the sense of awe they evoke is relient on the understanding that these formal gestures are best achieved by emulating nature.

46

https://www.sothebys.com/en/articles/21-facts-about-caspar-david-friedrich

47 https://www.dailyartmagazine.com/10-facts-about-caspar-david-friedrich-you-should-know/

Movement and dynamism transla of circulation and occupation. Sp choreography as the basis for dia design.

https://www.moma.org/collection/works/62

Bernard Tschumi : Manhattan Transcripts

The Event, A

http://socks-studio.com/2015/10/13/the-set-and-the-script-in-architecture-the-manhattan-transcripts-1976-1981-by-bernard-tschumi/

Reductive moving im ments - se of choreog cesses.

48

https://www.moma.org/collection/works/56

Brian Eno : Video Paintings

ating to a scale pecifically agrams informing

Architecturally

experimental video works, reducing mage to slow motion, simplistic moveegmentally. The generating a new kind graphy through destructive editing pro49

50

https://www.youtube.com/watch?v=5IsSpAOD6K8&list=PLcSz2oXp0OebDKXcsa_ZCj56ojbJgFIzK

In my exploration of the fairly primal relationships people have with landscape, which came out of many of the paintings which I have referenced so far, I became interested in how this type of subject matter translates at the scale of the human body. Given that the site is being developed as the site of a music festival - inspired by the types of diagrams Bernard Tschumi developed for the Manhattan Transcripts I started to collect images and generate diagram exploring the gestures of dance.

Alongside the garden of Eden, and the biblical references of Hieryonymous Bosch I feel that dance, an instinctive human behaviour ties in with the themes I was already researching, but focuses them on generating architecture from how humans move through space.

To splice these two ideas, the design outcomes from these diagrams are beginning to blend these human gestures with my earlier ideas about growth, and the architecture ‘growing’ from the scarred landscape, only now, this gains a new level, where the growth from the damaged landscape becomes another human gesture, only in this case it is based on rhythm, music and the instinct to dance, rather than in industry.

51

The most important amendment to the master plan at this stage is the beginnings of a solution to the issue of parking which was probably the most glaring issue in my mid-semester masterplan. At this stage, it is undeveloped but the notion is to take the parking and envelope it in one of the landscape based gestures I have been populating the site with, not only streamlining it with the program of the site better but also encompassing it within the conceptual framework I have been developing.

12

14 15 12

12

7

8

BUS AND TRUCK ZONE

Walking Trails The Garden of Earthly Delights The Land Down Under (500m, Eden Trail (1km, 15 Mins) Only Sky (1.4 kms, 20 Mins)

52

The Gadda Da Vidda

Harvest Moon (1.2kms, 20 Min Waterloo Sunset Trail (1.6kms, Orinoco Flow (2.8kms, 35 Mins

FESTIVAL GROUNDS, PARKLAND AND MUSIC ACADEMY MUSIC

RESIDENT STAFF ONLY AREA

The Garden Stage (Main Stage)

2

Music and Performing Arts Academy

NATURE

11

3

1

3

The Gadda Da Vidda Wetlands Rehabilitation

13

Walk Start: The Gadda Da Vidda

14

Walk Start: Elysium Fields

10

2

ART 4 9

The Garden of Earthly Delights Arts Park

7

Solisbury Hill Arts and Entertainment Village

5

15

13

Undercover Winter Entertainment Precinct

12

FOOD 6 12

12

5

Voodoo Lounge Restaurant and Bar

6

Downtown Lights Food and Art Market

12

12

1

LIVING

4

9 STAFF ONLY AREA

TRUCK PARKING ZONE

0

Event Circulation 10 Mins)

ns) , 25 Mins) s)

Village Circulation Main Stage Entry and Exit Flow

Year Round Program

Music School Accomodation (Groundhog Village)

10

Music School Accomodation (Lake Village)

11

On Site Staff Village and Recreation Centre

50

N

AMENITY

Staff Circulation To Academy (6 Mins) To Voodoo Lounge (7 Mins)

Accomodation to Academy From Groundhog Village (5 Mins) From Lake Village (2.5 Mins)

8 12

Events Car Park

Restrooms

53

Service Entry

Parking 3 Parking 2

Parking 1

Carpool Entry

The event plan shows this amendment in a little bit more detail, and also expands upon it to include an undercover area in the event village - a continuation of, but separate from - the parking area which can serve as a Winter precinct for the site, providing an area for undercover markets or small performances in the off-season.

54

FOOD AND ARTS MARKET ISO

0

50

N

To Gadda Da Vidda

EVENTS MAP

WC WC

Bar Tent

Shipping Container Food Square WC

Marquee Market

WC

Food Truck Parking WC

To The Garden Of Earthly Delights

STAFF ONLY AREA

DOWNTOWN LIGHTS FOOD AND ARTS MARKET

WC

Vehicle Access (General) Vehicle Access (Drop Off) Vehicle Access (Service) Vehicle Access (Bus) Parking (General - Capacity approx 1020) Parking (Bus) Parking (Stage Service) Drop Off/Pick Up (Carpool) Drop Off/Pick Up (Buses) Pedestrian (To/From Parking) Pedestrian (General) Pedestrian (Main Stage Entry/Exit Flow) Stage Access Staff Food Truck Parking Shipping Container Market Marquee Market (Temporary) Bar Tent Undercover Winter Precinct

55

A

3

4

5

3

4 WC

WC

2 1 2

3

Basement Plan 0

A

N

5 5

20

N

5

5 8

8

8

8

8

8

8

8 8

WC

8

WC

7

7

First Floor Plan

N

A

MUSIC AND PERFORMING ARTS ACADEMY

56

0

20

N

A

7

7

Academy NW Isometric 1:500 5

5

5

WC

WC

6 6

3

WC

Section AA Ground Floor Plan

A

0

20

0

20

1. Concert Hall 2. Rehearsal/Green Rooms 3. Storage 4. Change Rooms 5. Group Learning 6. Foyer 7. Dance Studio 8. Practice Rooms 9. Mixing Rooms 10. Computer Labs

10

9

9

9

9

9

9

9

9

10

10

10

Second Floor Plan

A

0

20

I am fairly pleased with how the overall form of the academy is coming together at this stage but at the juncture the planning is still quite awkward, I think in some ways it is a similar issue to what was occuring at the start of semester where orthogonal and non-orthongal parts of the building are fighting too hard against one another, my next iteration I think will require some more leaning into this angles within the planning for it to work the way i would like it to 57

Welcome to the CRYSTALISED EVENT the END TIMES,

amongst CREATION damnation and salvation here they reside together, WITH YOU in a GARDEN of flowers

Dancing Men: Tharia Cave Paintings Balochistan, Pakistan

Uffington White Horse Oxfordshire, England

STRANGE OVERTONES:

Form, Dance, Apocalyptic Pop Music GESTURE

as spatial parameter

Sky was all

PURPLE

there were people running everywhere!

Pink and White Terraces Bay of Plenty, New Zealand

The diagram developed from the dance gestures have come together quite well, at this stage I have only translated this into the built elements on the site and not to any arrangement or landscaping, but that will be the next step and will hopefully lead to the site feeling more cohesive between programs if they are all connected by this relationship with gesture.

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Housing

Academy

Restaurant

You may find yourSELF Living in a SHOTGUN SHACK!

Bird Hides

GESTURE as landscape

I was in another world, a world of Caspar David Friedrich Sea of Ice

20,000 girls and

MILK and

RECTANGLES

to an optomistrist!

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https://www.traveller.com.au/pink-and-white-terraces-new-zealand-scientists-confirm-location-of-lost-natural-wonderh18kb7

The white horse of Uffington is one of the largest geoglyphs in the world. Practically ancient landscape graffiti, the massive sweeping, abstract nature of the form of hill figures is relevant to the type of actions that I intend to undertake on the site, either by emulating form through building arrangement, or through a more literal intervention and landscaping within the program of the parks.

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To elaborate on the images featured on the diagram board, the terrace standing/seating area was in part inspired by images of the pink and white terraces in New Zealand, a massive natural super structure that was lost in a volcanic eruption in the 19th century, this relationship appealed mostly for its connection with the renewal and remaking of things that have been lost, tying the terraces lightly with the fundamental ideas driving the program of the Gadda Da Vidda portion of the site.

https://en.wikipedia.org/wiki/Uffington_White_Horse#/media/File:Uffington-White-Horse-sat.jpg

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2

NW Isometric View

1 3 Timber Plate Shells Anchored to Rock Face at Ascending Levels Internal Form Carved out of Cliff Face Consistent with Shell Form

1. GA Standing (Mosh) Capacity Approx 3500 2. GA Standing (Terraces) Capacity Approx 3200

Overall Plan

Mosh GA Entry Flow Terrace GA Entry Flow

N

8

0

1

20

Reserve Seating Entry Flow

Rock Garden: Main Stage

The acoustic shell now sits opposite the terrace seating, another intervention on the landscape of the site which attempts to blur the boundaries between natural and artificially generated form. The terraces are integrated with railings made from timber which haphazardly engulf the precipices as through growing from the rock face, acting as both barrier and also as seating.

At the stage also the shell structure has changed to be in three parts which are fixed at ascending heights up the cliff face, with the rest of the volume carved out beneath them, allowing the rock of the site to be exposed within the cavernous shell.

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1. Stage 2. Performer Lounge/Green Room 3. Bar 4. Dressing Rooms (VIP) 5. Offices/Staff Area 6. Storage 7. Dressing Rooms (General) 8. Circulation Way/Performer Overflow Reserve Seating A (451 Seats) Reserve Seating B (756 Seats) Reserve Seating C (330 Seats)

Stage and BOH Plan 0

N

10

1 4

4

4

Terrace Detail

The terraces incorporate timber guard rails, which unfold from the artifical topography, mimicking growth

4

4

4

4

7

7

4

4

4

4

4

8 2

5 3

6 WC

Overall Section 0

WC

20

This aspect of the program is now much more in line with my conceptual ideas, and breaking away from the rigidity of symetrical seating has served the project well, the shell itself still requires development in terms of structure but overall this element of the program is sitting a lot better with the rest of the site than it was at mid-semester.

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GIMME SHELTER!

No Optimisation

Acoustic Shell Optimisation Processes Gen_0 Sound Source A

1 Cavern Vault Width

2

Gen_0 Sound Source B

Cavern Mouth Scale

3 Cavern Base Width

Gen_0 Shell Variables

Gen_5 0

5

Var_01: 2.581 Var_02: 1.021 Var_03: 2.488

Gen_5 Sound Source A SPL Standard Mean Deviance: 2.04

Gen_5 Sound Source B SPL Standard Mean Deviance: 2.37

0

30

Initial Population of 100 Randomly Generated

Through the optimisation process the shell has actually become more enclosed than I had originally envisioned, with a smaller entry at the front.

This is positive in terms of creating a space which feels cavernous, even cave like, which was my intention going in when I decided to embed the shell in the cliff Importantly too, by use of pachyderm and octopus, it can be seen that having the audience encompassed within the shell itself is acoustically effective and there is no especially bad areas for sound focusing, which was a concern up until this point.

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Gen_10

Var_01: 1.793 Var_02: 1.025 Var_03: 2.345

Gen_10 Sound Source A

SPL Deviance Graph

SPL Standard Mean Deviance: 2.43 SPL Deviance Graph

SPL Standard Mean Deviance: 2.8 Gen_10 Sound Source B SPL Standard Mean Deviance: 2.95

Octopus Generation Analylis

Optimised Shell

SPL Deviance Graph

Octopus Generation Analylis

0

5

65

Following on from advice I received at mid-semester I have incorporated more signifiant (though still small, subtle) architectural interventions within the Gadda Da Vidda rehablitation zone. The three forms, a jetty, some bird roosts on one of the lake’s islands and a pair of bird hides for use along the trails, integrate with the site and in turn allow the user to do so, observing and participating in the rehabilitation of the site through engagement with wildlife and with landscape along the walking trails.

Observation Jetty 0

20

Bird Hides

THE GADDA DA VIDDA A Post-Industrial Afterlife

The park consists of guarded architectural creating opportunities for engagement and recovering landscape.

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0

Pavillion and Viewing Platforms Educate Visitors about Local Wildlife Encourage Sensitivity and Awareness of Local Environments and their Inhabitants

N

Constructed Bird Habitats and Roosting Places Encourage Wildlife to Return to the Site Contribute to the Biodiversity and Ecological Balance of the Lake and its Surrounds

Roosting Places 0

20

N

Walking Trails Allows Visitors to Experience the Rehabilitation Site Without Causing Disturbance to Wildlife

0

20

Harvest Moon (1.2kms, 20 Mins) Waterloo Sunset Trail (1.6kms, 25 Mins) Orinoco Flow (2.8kms, 35 Mins)

N

A WETLANDS REHABILITATION

intervententions, d enjoyment of the

Floating Island Ecosystems Helps to Encourage Biodiversity Provides New Habitats Protects Shorelines

The Dream Henri Rousseau

Natural Water Treatment Facility Reduces Harmful Mineral Loads

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Trails (Circulation)

Final Comments: Masterplanning For the final iteration of the masterplan, all the conceptual material has been applied across the site to all the programs, hopefully tying them together in a cohesive, co-operative way. By applying the gestural action that informed the built designs to the landscape as well, in the case of the carpark, winter precinct and parts of the Garden of Earthly Delights, the intention is for those ideas to unfold across the site, and draw the elements together, in this way this final iteration hopefully a more precise realisation of the projects concepts at the scale of the entire site.

Landings (Programmed)

Underground Parking/Artificial hill Obscuring Road from Main Stage and Event Village Areas

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Downtown Lights Event Village Map/Program

9 3

8

FESTIVAL GROUNDS, PARKLAND AND PERFORMING ARTS ACADEMY

11

3

N

2

10

9

13 12

A

5

7 6

12

12 12

14

Carpool Drop Off

8

F 12

15

1

12

Bus Drop Off Zone

Circulation Trails

Bus and Truck Parking Zone

L

4

69 0

50

Final Comments: Main Stage The main stage was certainly the most challenging element of the brief and received the most drastic redesigning over the course of the semester.

In part this was contributed to by the acoustic optimisation process which helped to refine the form, and the way that the shell interacted with the site. The modular version of the structure would have caused interference with the optimised interior volume and so the shell was diverted to rest on the ground, and the optimisation process actually restrained the opening, width and height of the shell, which led to it becoming quite cave like in relation to its surrounds.

The addition of the terraces was also a turning point for this part of the program and I believe that the interaction between the shell, cliff and terraces is what makes this aspect of the program adhere to my conceptual framework by generating unexpected relationships between interior and exterior spaces.

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THE ROCK GARDEN MAIN STAGE

5

A

4

4 2

3

1

1 Acoustic Shell 2 Terraces 3 Mosh 4 Merchandise and Bar Tent Plots 5 Portable Toilets

0

20m

N

A

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Final Comments: Academy The academy became the most direct, and possibly the most succesful translation of the gestural diagrams into built form, since the resulting form lent itself to its integration with the sloping topography quite comfortably. For the interior, allowing the form to guide the planning also removed the awkwardness of some earlier iterations of the plans. Although the underground concert hall was also subject to some negotiations and compromise in relation to the building as a whole, I believe that element also managed to integrate quite well and generated the slightly hapharzard internal levels which I was aiming for from the start without being too difficult to navigate.

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73

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Final Comments: Complementary Programs (Accomodation and Restaurant) For both of these elements, I was interested mostly in how they interacted with the primary programs on the site. In both cases I wanted them to be situated within a short distance of the major program they served, but also to uphold the kind of interaction with the landscape which I had curated with the other buildings. In the case of the accomodation this became an opportunity to translate the gestural diagrams directly onto the masterplan, overlaying the arrangement of houses in the village to correspond with similar forms to those seen in the buildings populating the site, including the houses themselves.

The restaurant was slightly simpler, but the intention was primarily to create something non-invasive which could be discovered as part of an exploration of the site, the reward being dining areas which follow the cliff face down towards the water, inviting patrons down the back of the building.

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Final Comments: Gadda Da Vidda and Garden of Earthly Delights By separating the regreening zones into two distinct parks, both of these programs became opportunities to explore the conceptual framework of the project in a more abstract way than any of the buildings allowed for, but also in ways that were distinct from one another. Where in the Gadda Da Vidda my intention was to tread as lightly as I could with the architecture, the nature of the sculpture park allowed for exploration in the complete opposite direction, where essentially I was integrating the gestural diagrams with the park as a sculptural landscaping element. This polar relationship between the parks is in part a call back to what I was exploring around mid semester in relation to the Garden of Earthly Delights painting, where it takes distinct elements but integrates them with one another to generate a narrative, and in this case, it was a sort of narrative about the site, and human intervention, but also about regeneration which now takes place across the masterplan.

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APPENDIX

7878

79 79

Day On the Green: Rochford Wines, Yarra Valley

Event Precedents •Single Stage •Utilises permanent facilities at the vineyard (bathrooms, restaurants etc) as well as temporary facilities added for event days (portable toilets, temporary bars, merch stands etc) •Attendees encouraged to utilise bus services from multiple hubs (Melbourne CBD, Lilydale) organised specifically for the event (reduced parking available). Bus arrival times allow for access perks and shorter line times for entry.

https://www.adayonthegreen.com.au/imagegallery/ attr/form_name/view_album/aid/179

Willie Smith Mid-Winter Fest: The Apple Shed, Huon Valley •Rural Site •Occupies most of a small farm

https://www.huonvalleymidwinterfest.com. au/home/big-willie-friday-hvmwf18-natalie-mendham-photographer-60-kr/

•Existing Restaurant functions as well as large areas for guest restaurants to set up outdoors (undercover) •Big group experiences, bonfires, effigy burning.

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https://www.huonvalleymidwinterfest.com. au/home/big-willie-friday-hvmwf18-natalie-mendham-photographer-60-kr/

Dark Park/Dark Path: Macquarie Point, Hobart RTBG, Hobart •Sprawling Site •Multi-Event (Music, Art, Food, Walking Experiences) https://www.themercury.com.au/subscribe/news/1/?sourceCode=TMWEB_WRE170_a_GGL&dest=https%3A%2F%2Fwww.themercury. com.au%2Fentertainment%2Ftv-crime-series-the-gloaming-trumps-da rk-park-at-mac-point%2Fnews-story%2Fce66ab45d9708dd00613ad256e26c789&memtype=anonymous&mode=premium&nk=1bca8f696f8596d50d0f4448c997d2e2-1604829784

•Dark Park - occupies a large ex-industrial site, utilises warehouses as well as temporary structures and installations to house music, large art installations and themed food and beverage facilities • Dark Path - Very large site. Sprawls over a large portion of Hobart’s waterfront and Botanical Gardens.

- Circulation is a big part of the experience

https://hobartobserver.com.au/?p=3619

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https://northwesttasmania.com.au/stories/the-unconformity-venture-outside-the-norm-in-tasmania/v

Uncomformity Festival Queenstown, Tasmania Uses quarries and industrial sites as a space for contemporary art installation and performance.

This festival is an excellent example of the appeal of places like this and how they can be utilised as part of the core concpetual framework of an event https://neonjungle.studio/case-studies/unconformity/

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Kingo Houses

Housing Precedent

https://divisare.com/projects/386055-jorn-utzon-august-fischer-kingo-houses

https://mapio.net/wiki/Q3428102-en/

https://metrhispanic.com/2013/03/19/housing-1-kingo-houses/

Utzon’s Kingo houses are deeply informed by the landscape and I am very interesting in emulating this technique of distribution for the staff accomodation on the site.

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Large Scale Installation Precedents

https://www.newyorker.com/magazine/2016/08/29/michael-heizers-city

•Part landscaping, part super-large permanant art installation •Architectural scale installations •Utilises barren landscape as something of a blank canvas

https://www.nytimes.com/2015/05/17/arts/design/michael-heizersbig-work-and-long-view.html

Michael Heizer City https://corvusfugit.com/2017/11/12/2020-city/

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•Manipulation of the landscape creates a surreal experience at human scale, and an artistic compositional work at architectural scale.

•Monumental, but sensitive to its context

https://holtsmithsonfoundation.org/

Robert Smithson Spiral Jetty These types of land artists are interesting to consider at this stage because they provide a framework for how formal concept and information can be laid out across massive spaces.

•Simple but large scale intervention •Transforms the way the environment is experienced

Antony Gormley Another Place

https://www.antonygormley.com/projects/item-view/id/230

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ZONING ITERATION 1 86

0

100m

ZONING ITERATION 2

0

100m

Parking

Re-Greening/Parkland

Guest Amenities

Backstage

Year Round Program

Main Stage

Staff Facilties

87

ZONING ITERATION 3 88

0

100m

ZONING ITERATION 4

0

100m

Parking

Re-Greening/Parkland

Guest Amenities

Backstage

Year Round Program

Main Stage

Staff Facilties

89

Scoping out and Scaling the Site

The following pages are a short exploration of the actual scale of the site to assist in visualising the type of landscape and also the possiible dominance (or not) of the architecture as a part of that. The spaces examined are those under consideration for the position of the main stage/acoustic shell.

1800mm 5’11

Jonas Brothers

90

1780mm 5’10

Louboutins

1600mm 5’3

SadCore

1905mm 6’3

IPA

91

Main Stage Position 1

92

93 0

25m

Main Stage Position 2

94

95 0

25m

Main Stage Position 3

96

97 0

25m

Main Stage Position 4

98

99 0

25m

ZONING ITERATION 5

100

0

100m

- Sense of drama - Impressive as a view and less so as viewed -Elevated view would preside nicely over the water

- Rockwall forms a strong backdrop landscape of the quarry - Sense of shelter and compartmentalisation from the rest of the site

- Natural circualtion route - Gives a strong, dramatic the landscape from a human scale.

Parking

Re-Greening/Parkland

Guest Amenities

Backstage

Year Round Program

Main Stage

Staff Facilties

101

https://www.blumberg-engineers.com/ en/ecotechnologies/more-ecotechnologies/floating-islands`

Artificial Island Ecosystems Water Rehabilitation Mineral Reduction Artificial Habitat

https://spectralcodex.com/collections/taiwan-tourist-attractions/

102

Possible Site Interventions for Rehabilitation Zon

ne

Bird Hides/Nature Pavillions Public Engagement with Nature Park Landmarks within the Walk Zones Educational Facilities

https://www.floornature.com/ blog/bird-watching-in-scotland-award-winning-projectby-icosis-architects-8416/

https://www.pinterest. com.au/pin/39286 8767474732717/`

Icosis Architects https://www.dezeen. com/2016/05/16/bird-watching-pavilions-plant-architect-perforated-weathering-steel-corten-architecture-toronto-canada/

Plant Architect https://www.archdaily.com/529915/ designing-invisible-architecture-bird-hides-by-biotope

Biotope

103

Optimisation Processes

Following my interum submission I was curious to test how a simpler shell than my current model would function acoustically after an optimisation process. The script below was both an attempt to test what would happen in this instance and also to tr and see if I could run the optimisation software more efficiently with a simpler mode The results however were disappointing - far worse than the results I achieved with m model from interum assessment, and so I abandoned this script as an alternatve

Grass

104 Unoptimised Model

ry el. my

shopper script for parametric model

SPL Deviance: Sound Source 1: 6.88dB Sound Source 2: 3.19dB

Generation 15 Optimised Model

105

In addition to this I also wrote but failed to be able to run a number of close alternative scripts to my original optimisation model from interum submission. Following these attempts, I reverted to the original model and optimised shell, since I wasn’t unhappy with the results I had initially acheived but had wanted to try some alternatives anyway. Some example of these scripts are on the following pages.

106

Alt Script 1

107

Model

108

Alt Script 2

Pachyderm Script Same as Previous Page

109

Working Script

110

The following model is the one included in the project which ran for a limited number of generations through octopus, but resulted in quite a satisfactory acoustic outcome for the shell.

111

112

113