Ben Tang | Studio Portfolio

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I N T R O D U C T I O N

‘This portfolio contains the early studies of Jørn Utzon’s Sydney Opera House and the progression of the performance space project. The exploration of the concourse beams and the original acoustic ceiling conveyed new interpretations and design thinking within the architecture. Like Utzon’s schema’s, they were used to provoke the strategy for the Opera House using a set of rules he created. My schema was developed consisting of points, lines and circles that would open up ideas to be explored further, applying these abstract means on to site and the development of the design. Each week was a progression of ideas that related back to the schema, with the help of architectural precedents and natural inspirations to help analyse it further. The prominent canopy that was seen in the early stages had been deeply followed in later discoveries. The imitation of the light canopy structure was investigated through material models like balloons, Styrofoam balls and the study of bubbles, these all help regulate the form and structure. The formative presentation in Week 9 had been intensely based on bubbles in the way of literal formations to discover new spatial qualities of intersecting spheres.

The progression of this had to be refined, embedding into the design was columns and how these merge between the ground and ceiling. The two main elements of columns and canopy was to connect and read together as one, creating ways of bringing light within the space and organisation for the lower ground floor. The canopy that dictates the undulating surfaces would reflect towards the rest of the floor, ceiling and walls of the architectural space. The intention of the design in context is a blend between the urban orthogonal site, the landscape of the Domain, and a sculpture for the City that goes well between the Art gallery and the Sydney Opera House.’

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2. INTRODUCTION 4 . UTZON STUDIES 6. BEAMS 8 . P H O T O M A N I P U L AT I O N O F B E A M S 10. BEAM STUDY 12. COLUMN BEAM 14. ACOUSTIC CEILING 16. ACOUSTIC STUDY DIAGRAMS 18. 3D ACOUSTIC GEOMETRY 20.

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E A R LY S C H E M A TRIANGUL AR SCHEMA R E C TA N G U L A R & S Q U A R E S S C H E M A CIRCLE SCHEMA MEANING WITH POINTS AND LINES

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PHASE 01 LONG SECTION SHORT SECTION LOBBY LOWER FLOOR PL AN CONTEXT STUDY E A R LY C A N O P Y L I G H T E X P L O R AT I O N E A R LY S P A C E D I V I S I O N C O N C E P T

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M AT E R I A L M O D E L S VA C U U M F O R M I N G F E AT H E R A S S K I N BALLOON STUDY B U B B L E E X P L O R AT I O N

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PHASE 02 SIMPLE 3D MASS MODEL BUBBLE STUDY LONG SECTION SHORT SECTION GROUND PLAN LOWER GR OUN D PL AN LONG SECTION RHINO WIREFRAME OF MODEL

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O N G O I N G E X P L O R AT I O N B U B B L E E X P L O R AT I O N FA B R I C A N D S T Y R O F O A M M O D E L STRUCTURAL CANOPY T H E R M A L B I M E TA L S E A R LY P I L L O W C A N O P Y

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M O C K - U P P R E S E N TAT I O N PROGRAM DIAGRAMS P E R F O R M A N C E S PAC E INSIDE CANOPY EXPLODE D A XO SC HEMA AN D FLOOR PL AN SHORT SECTION LONG SECTION

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F I N A L P R E S E N TAT I O N LONG SECTION SHORT SECTION 1 : 5 0 D E TA I L P E R F O R M A N C E S PAC E O F F I C E S PAC E INSIDE CANOPY REVISED SITE PLAN GROUND PLAN LOWER GR OUN D PL AN C U TAWAY CONTEXT REVISED 1:500 MASS MODEL

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U T Z O N S T U D I E S Early explorations of Utzon’s Sydney Opera House, from the beauty of the Concourse beams to the original acoustic ceiling. Both these components had been thoroughly studied to discover new means.

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B E A M S Utzon and ARUP worked together to create these unique beams for structural strengths, using multiple Beam sections and taking advantages of the properties from concrete by merging each section resulting in a more dynamic and interesting shape. These beams are then repeated across, not only is it designed to withheld the Opera house but an experience below.

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S Y D NSEYYD O N PE EY R OA P H EO RU A SHE O U S E

Each photo-manipulation gives another perspective to what the beam could be either a rib structure for light, A form of geometry representation using the beams or a column beam.

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S Y D N E Y SOY PDENREAY HOOP UE SR EA H O U S E

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Plateau b “This effe for the b wanted a ceiling o ribs are s express t structure -Jørn Utz

rked together ue beams for using ons and of properties ing each more ting shape.

en repeated designed to house but an

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Wide Members to Narrow

Like an arched bridge, the T beam is acting in tension and compression, while the wider supports are holding most of it's structural strengths on the ground.

Like an arched bridge, the T beam is acting in tension and compression, while the wider supports are holding most of it’s structural strengths on the ground.

SY DNEY OPERA HOUSE

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Plateau Beams Express Forces “This effect was also developed for the base or plateau... as I wanted an open area with a ceiling of structural ribs. These ribs are shaped so they elegantly express the forces within the structure.”

-Jørn Utzon

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Original Beam

Beam as Column Having looked at the structural integrity of this beam I had taken the section profiles and lofted them as a single geometry, copied this 3 more times and rotated so that it stands vertical to create the column beam.

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A C O U S T I C C E I L I N G The acoustic ceilings were from circular geometries - for which Utzon found analogies in waves, weather stone and the intricate folds of a carving. A single cylinder replaced the single sphere, rolled and variously translated in space it could generate a complex interior to match the acoustician’s ideal profile. Upon repetition of multiple 3d dimensional cylinders, creates a volume for perfect acoustic.

Powerhouse Museum, Architectural Model, Sydney Opera House, image, 2013, https:// maas.museum/app/uploads/sites/7/2013/01/00500760.jpg.

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Points of subject

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Points and Projection Lines

Intersecting Circles that represent cylinder volumes

Utzon’s original drawing Combined rules

3D Volume of acoustic ceiling

Abstracted geometry as continuous connection

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Just like the acoustic drawing, each circle represents an overlaying 3d geometry of cylinders

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The same rules can also be applied to spheres in order to generate another geometry with the intricate curves

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E A R LY S C H E M A S The schema was developed when looking at Utzon’s studies for the Opera House, many schemas were used to provide a set of rules to his architectural thinking.

These were a few of the ones I came up with, experimenting with different shapes but eventually settling on the circle schema.

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Intersecting shape for space division

Rotation to suggest structure

Extrusion and Volume

Intersecting Shapes to find geometry

Intersecting 3D Geometry to create shelter

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Intersecting shape for space division

Rotation to suggest structure

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Extrusion and Volume

Intersecting Shapes to find geometry

Intersecting 3D Geometry to create shelter

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Intersecting shape for space division

Extrusion and Volume

Intersecting Shapes to find geometry

These set of rules were used in the Phase 1 presentation in Week 5 and carried on through the design process.

Rotation to suggest structure

Intersecting 3D Geometry to create shelter

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Meaning with Points and Lines Each points is arrayed with a rotational copy of lines, when they intersect with one another they start to form an interesting pattern. This can be interpreted in structurally, geometry and placement.

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The early design stages of my performance space located on the Domain site. Exploring and using the set of rules of schema to produce the form and function. How each element suggest structurally and spatially.

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The Domain This structure is influenced among the trees on site, putting an out of ordinary building among the linear cityscape to provide a memorable and expressionist architecture for locals and tourist alongside the Hyde Park Barracks, The Mint and the Art Gallery of NSW.

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Exploring Light for the Canopy Looking at ways to provide light into the external performance space with intricate holes on the canopy structure. This will provide an additional experience within the space.

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Space Division Taking feedback from the Phase 1 presentation about having a relationship between the above canopy and below ground suggested a more curvaceous wall and space like a pod that intersects one another. Some ideas suggested would be to include light wells to penetrate light into some of the needed spaces like the galleries or the exhibition spaces.

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M A T E R I A L M O D E L S Early material models were to explore different skins, spaces and qualities of light.

Using variety of techniques such as stretching, overlapping, or blowing.

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Vacuum forming to explore different skin for the canopy structure.

Using different size cylinder tubes as a representation for volume and space. The bendable PETG sheet is used to create this geometry. The curving cut outs suggest entry points as you would on site, imagining the structure coming out of the terrain.

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Exploring Feather as Skin Using feathers as a form of light study with the overlapping technique, thicker means darker and thinner means lighter. Similarity seen in fish scales.

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Balloons as Canopy Using balloons as a way to explore the geometry of the canopy from different variations of height. Like Antoni Gaudí’s hanging arch, what is presented upside down could be structurally supported the right side up.

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Balloon Testing Using different iterations to explore form and height within the canopy, above and below.

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Bubbles as Structure The experiment was used to explore how bubbles form and how they act when they connect. The hexagon structure was visibly seen when they merge together.

This was one of the reasons why the hexagon shape was used for the structure due to its efficiency and how nature predicts this.

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P H A S E

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Phase 2 presentation was about exploring other possibilities of spaces based on bubble formation, letting nature predict what the architecture could be with the structures, just like the circle schema we can find similar behaviors in nature that we can learn from.

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Bubbles are known to naturally generate an efficient connection between the next bubble with variation of sizes, typically shaped with a spherical surface but when they intersect they become similar to a hexagonal pattern. Taking the hexagon creates the structure for the clear or translucent dome like canopy.

By using this method I could explore different spatial arrangements and possibilities with intersecting spaces similar to that of the bubbles. Each programs that share a similar program or needs connection between the open space would be intersected.

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Sectional Model Using Rhino to help contour the 3d geometry into 2d lines in layers as similarly represented in earlier Schema’s. The model was originally shown in layers of perspex where each layers were scored using laser-cutting.

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The continuing process from Phase 2 presentation, exploring the way bubbles form in plan and section. Taking the experiment in a clear box to see different angles to inspire new ideas.

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Bubble Formation Looking at how bubbles naturally form and embedding this into architecture, looking at it in plan view or section, flipping it upside down suggested a ceiling and Roof. Using these bubbles to help plan out the layout with columns around each of the circles to provide separation.

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Model translating into Architecture From the experimentation model of using Styrofoam balls and elastic fabric to create this undulating geometry. With studying the results of the fabric I tried to copy this back into Rhino and provided a structural integrity of Hexagons that I’ve learn from bubbles to make this canopy work with efficiently.

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Structural Canopy This was the result of the translation between the testing model.

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Thermal Bimetals Inspired by the architect Doris Kim Sung who came up with this architectural innovation of using Thermal Bimetals or also known as Breathable metal which react to real time weather conditions.

From a shading device to self ventilation without the need for electricity.

How it works Heat reacts to the Thermal bimetals and starts to open up and curl creating holes for ventilation.

Another system would be to allow the thermal bimetals to curl and shade when the sun hits them.

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P I L L O W

C A N O P Y

The next design direction with combination of ideas correlated in previous weeks to be implemented into the canopy or spaces.

Using columns as a way of space separation whilst providing open spaces under the canopy, connecting a similar language to the trees on Domain.

In the following weeks, major refinements to the columns and connections between spatial qualities had been improved.

Early Party Diagram

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Intersecting shape suggest form & structure

Lower Ground Floor (Business)

Ground Floor (Public)

The feedback suggested to get out of the regular forms of circles and provide coherency with the undulating canopy with more irregular curves. Looking at depth and resolving on the lower ground floor and how to use the columns to the best advantage to make it habitable underneath for the office space.

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L I G H T The name light represents both the interaction between sunlight and the visual illusion of a light canopy structure shaped similarly as a floating cloud. The inspiration of the canopy has been developed from studying the formation of a bubble structure and how this can be implemented back into architecture. The performance space is an addition to the Domain site and provide extra public attractions alongside the existing Mint, The Hyde Park Barracks and the Art Gallery of NSW. The design was to invite the public in with a sense of openness between the space and outdoor with the use of no or minimal walls for the popular functions. The experience you’ll get between levels are unique, as you spiral down into the basement floor the functions below houses the office,meeting spaces, exhibition and amenities where the public is less likely to visit. On ground floor as you approach up the stairs you will be invited into the external performance spaces surrounded by the semi external spaces of the exhibitions, cafe/bar, shop and reception area. Above the canopy is a whole new experience to provide more public promenade for seating and specially designed exhibitions, the ground and ceiling undulates as you walk around, as the ground is clear the thrill is provided as you look down onto the performance space. The canopy is held up by these slanting columns that are extrusions of the hexagons shaped from the frame to support it.

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The subtle changes to the structure for the top canopy allows people to look out towards the domain without obstruction. The connection members between the top and bottom suggest circulation and space.

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This drawing originally scaled at A1 (1:100) reveals the experience and narrative within the architecture by the placement and setting of the people including the sense of scale, each floor has a purpose correlated into similar functions, top and ground floor holds the main public spaces for exhibitions and performances while the basement is designed for workers, the cutaway reveals the depth and materiality situated into ground and above the site.

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STUDIO PORTFOLIO (BDES3027)- THIRD YEAR SEMESTER TWO 2016 B E N TA N G - ( 4 4 0 3 4 5 0 7 5 ) TUTOR: ROSS ANDER SON

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