CIVIC
SANCTUARY
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“Living and moving within a space should be easy and fluid. The enjoyment of the inside and outside – the same. The furniture you use should supplement those experiences, not interfere 1.” - Mies van der Rohe
“If you give people nothingness, they can ponder what can be achieved from that nothingness 2.” - Tadao Ando
1.
M Rohe, Lessons from Ludwig Mies van der Rohe, https://rieke.com/lessons-mies-van-der-rohe/ accessed 16.11.19
2.
T Ando, quote featured in P. Jodidio’; Ando. Complete Works 1975-Today, 2019, p.g 24
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CONTEXT The site is situated at the intersection of the commercial precinct and the domain, tucked away on the less activated side of Macquarie Street. It is flanked by significant buildings of Sydney’s colonial history with a history of immigrants occupying the Sydney Eye Hospital, Hyde Park Barracks, and The Mint. Hence the proposal is inextricably grounded in its historic precinct, paying homage to historically significant social groups. The site mappings explore the notion of the individual journey on approach to the site and spatial intensities, exploring the link between past and present individual journeys.
CONCEPT The Civic Sanctuary is a public amenity that embodies peacefulness through the embracing of the modest design choices. The space looks into the interplay of the individual theatre of inner peace and the public theatre of communal gatherings, talks, and artistic performance. It is the idea of taking refuge from the frenzy of the commercial precinct but situating it in a public setting that lets individuals embark on their individual and public theatre. The individual theatre is performed through an individual’s progression through small, flowing interstitial spaces. Blade walls are located next to major circulation areas, providing a portrait of convicts, orphan Irish children and disadvantaged women associated with the neighbouring Hyde Park Barracks. It is also a canvas for current stories of social groups that use the Civic Sanctuary, embedding a sense of community into the scheme. Threshold focused spaces facilitates rich small spaces, whilst flowing space allows for the discovery and rediscovery of architectural elements from new perspectives. The public theatre is performed through conventional theatre spaces, enclosed by an operable translucent wall and roof louvres. The operability of the public theatre controls light and privacy, playing into the relationship between the individual and public theatre. Hence individuals in the public theatre transition between the public and private realm, depending on the needs of the performance.
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PROJECT The genesis of this proposal arose from the idea of intimate flowing spaces that created dynamic threshold spaces that creates a spatial community of its own. The scheme’s dominant primary spatial setting is sunken one level below the ground floor, providing a sense of refuge and minimizing the project’s visual impact on its surroundings. Blade walls are each composed in their own right to frame the vision of users for various spatial intentions, catering to the dualism of the individual and private theatre. The ground floor roof is positioned flush with the western boundary of the site, fenced by lower ground blade walls and balustrades. This creates another area of circulation for users passing through the site and also visual opportunities from the roof overlooking the lower ground floor performance spaces. Secondary spaces are tucked away to the western boundary, enclosed by the ground floor roof, allowing the public theatre spaces to be open to the view of the domain. The proposal as a whole encourages a peaceful individual and public performance space. The manifestation of minimalistic design maneuvers results in a monastic-like place of spiritual contemplation, a Civic Sanctuary.
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UTZON STUDIES
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SITE MAPPINGS
20
DEVELOPMENT
24
DESIGN
40
VISUALS
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UTZON STUDIES & SITE MAPPINGS
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MODULE CREATION PROCESS FROM THE SQUARE
THESE FORM STUDIES BREAK DOWN UTZON’S LOGIC OF SUCCESSFULLY CREATING DESIGNED PAVILION SPACES OF DIFFERENT LIVING FUNCTIONS, ALTERING THEM TO ALLOW PROGRAMS TO FLOURISH.
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UTZON STUDIES: CAN LIS MALLORCA
FURHER DESIGN CONSIDERATION THROUGH ROTATION, ROOF & ENCLOSURE
EXPANSION
DISPERSE
MANIPULATE
DEVIATE
THESE THRESHOLD IN PLAN STUDIES EXPLORE THE DESIGN MANOEUVRES UTZON DEPLOYS IN CAN LIS MALLORCA. IT OPENS UP THE DIALOGUE OF PURPOSEFUL THRESHOLD MOMENTS THAT RELATE TO THE PAVILION SPACE IT IS SITUATED IN.
THRESHOLD STUDIES IN PLAN: DESIGNING SPATIAL EXPERIENCES
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GRIDDED CIRCULATION
RELATIONSHIP OF BODY TO CEILING HEIGHT IN SECTION
THRESHOLD MOMENTS IN ISOMETRIC VIEW
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PAVILION ANALYSIS: UNPACKING SPATIAL LOGIC
INDIVIDUAL EXPERIENCE
PUBLIC EXPERIENCE
DETACHED PAVILION
DINING PAVILION
PUBLIC EXPERIENCE
LIVING PAVILION
INDIVIDUAL EXPERIENCE
SLEEPING PAVILION
INDIVIDUAL EXPERIENCE
GUEST PAVILION
THE USE OF GEOMETRIC ANALYSIS ON THE HORIZONTAL AND VERTICAL PLANE HELPS TO DISECT UTZON’S USE OF THE THRESHOLD IN PLAN AND SECTION.
PAVILION ANALYSIS: UNPACKING SPATIAL LOGIC
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UTZON ANALYSIS: UNDERSTANDING KEY TRANSITIONAL MOMENTS
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1. ENTRANCE TO DETACHED PAVILION IS OBSCURED BY FRAMED VIEW
4. ENTRANCE TO DINING PAVILION IS ENCOURAGED THROUGH FLOOD OF SOUTHERLY LIGHT.
2. CRESCENT MOON MOTIF SUBTLELY POINTS IN DIRECTION OF SLEEPING SPACES
5. GUIDING PAVILIONS DEMARCATE SPACE BETWEEN THRESHOLD AND LIVING
3. FRAMED VIEW PROVIDES GLIMPSE INTO GARDEN THRESHOLD SPACE BUT NOT EXIT
6. REVEAL OF EXIT AND ENTRANCE OF NEXT PAVILION
UTZON’S TRANSITIONAL SPACE BETWEEN COURTYARDS IS DELIBERATE AND SUCCESSFUL IN MOVING THE INDIVIDUAL FROM ONE SPACE TO ANOTHER ON BOTH A PHYSICAL AND PSYCHOLOGICAL LEVEL.
UTZON ANALYSIS: UNDERSTANDING KEY TRANSITIONAL MOMENTS
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PERSPECTIVAL STUDIES PROVIDE INSIGHT INTO ENTRY PLACEMENT AND ENTRY DESIGN, VOLUME OF CIRCULATION FROM CERTAIN ENTRANCES AND USER SCENOGRAPHY
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SITE MAPPING: THE DOMAIN AND MACQUARIE STREET
WEST ENTRANCE HAS RETAINING WALL AND GRADUAL PROMENADE TO SITE
SECOND WEST ENTRANCE HAS SLIGHT VIEW OF DOMAIN, FRAMED BY HISTORICAL HERITAGE BUILDINGS OF THE MINT & THE EYE HOSPITAL
SOUTH ENTRANCE HAS LARGE TREE BLOCKING THE SITE, SITE WILL EMERGE VISUALLY TO THE USER IN A SUDDEN WAY AFTER PASSING THE TREE
INTERSECTION AT DOMAIN PATHWAYS HAS VIEW OF SITE LARGELY OBSCURED
NORTH ENTRANCE HAS GRADUAL PROMENADE, VIEW OF LAYERED TREES OBSCURING THE SITE
INTERSECTION OF THE PATHWAYS ON THE DOMAIN HAVE THE SITE LARGELY OBSCURED
PERSPECTIVAL VISIONS ON ENTRANCE TO SITE: UNDERSTANDING USER EXPERIENCE
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SOUTH ENTRY
THE ANALYSIS OF TREE FOLIAGE SIZE, DEPTH & ARRANGEMENT UPON APPROACHING THE SITE FROM DIFFERENT ENTRY POINTS. MOVEMENT OF DOTTED LINE TO THE LEFT INDICATE LEFT TURNS, MOVEMENT TO THE RIGHT INDICATE RIGHT TURNS FOR THE INDIVIDUAL.
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SITE MAPPING: FOLIAGE ANALYSIS UPON APPROACH
WEST ENTRY
NORTH ENTRY
TOP LEFT POSITION
MIDDLE LEFT POSITION
BOTTOM LEFT POSITION
TOP RIGHT POSITION
MIDDLE RIGHT POSITION
BOTTOM LEFT POSITION
THE DRAWINGS ANALYSE VISION CONES WHEN THE INDIVIDUAL IS SITUATED ON THE SITE. SURROUNDING BUILDINGS & TREES CREATE FEELING OF ENCLOSURE, SITE LINES AND PERSONAL COMFORT.
SITE MAPPING: MOMENTS OF INTENSITY
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DEVELOPMENTS
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“FLOWING SPACE” IS USED TO ALLOW SEAMLESS TRANSITION BETWEEN INSIDE AND OUTSIDE. BOUNDING SURFACES OPENS UNOBSTRUCTED ONTO THE NEXT, MAKING IT POSSIBLE TO SEE AND MOVE FREELY BETWEEN THEM. IT CREATES AN EXPERIENCE THAT IS CONTEMPLATIVE. IT IS DERIVED FROM UTZON’S IDEA OF THE THRESHOLD AND HOW HE CARVES VIEWS OUT OF TRANSITIONS BETWEEN CAN LIS’S THRESHOLDS. THE IDEA BEHIND THE BUILDING IS TO CREATE A DEMOCRATIC SPACE FOR INDIVIDUALS AND DANCERS, A WAY OF LETTING USERS ENGAGE ACTIVELY WITH A LARGE GOVERNMENT OWNEDINSTITUION.
INITIAL EXPLORATION SHOWS THE IMPLEMENTATION OF “FLOWING SPACE”, AN OVERLAY OF WALLS IN PERSPECTIVE, CREATING A SENSE OF ENDLESSNESS. CAREFUL CONSIDERATION WAS PAID TO THRESHOLD SPACES AND AN OVERLAYING OF FORM THROUGH THE ROOF. SCHEME ENCOURAGES INDIVIDUALS TO WALK THROUGH SPACES, TO DISCOVER AND REDISCOVER AS THEY TRAVERSE THROUGH THE SITE.
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INTERIM GROUND FLOOR PLAN
1:200
EAMLESS TRANSITION BETWEEN INSIDE AND OUTSIDE. BOUNDING SURFACES OPENS UNOBSTRUCTED ONTO THE NEXT, MAKING IT POSSIBLE TO SEE AND MOVE FREELY BETWEEN THEM. IT CREATES AN EXPERIENCE THAT IS CONTEMPLATIVE. IT IS DERIVED FROM UTZON’S IDEA OF THE THRESHOLD AND HOW HE CARVES VIEWS OUT OF TRANSITIONS BETWEEN CAN LIS’S THRESHOLDS.
THE IDEA BEHIND THE BUILDING IS TO CREATE A DEMOCRATIC SPACE FOR INDIVIDUALS AND DANCERS, A WAY OF LETTING USERS ENGAGE ACTIVELY WITH A LARGE GOVERNMENT OWNEDINSTITUION. CAREFUL CONSIDERATION WAS PAID TO THRESHOLD SPACES AND AN OVERLAYING OF FORM THROUGH THE ROOF.
INTERIM ROOF PLAN
1:200 & MODEL
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DESIGN
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NSW LAND REGISTRY SERVICES
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EAST ELEVATION
HYDE PARK BARRACKS
PROPOSAL
SYDNEY EYE HOSPITAL
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PLAN
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LOWER GROUND FLOOR PLAN
1:400
EXHIBITION STORAGE & RECEPTION
EXHIBITION SPACE
TOILETS OFFICE & STORAGE SPACE
CORNER THEATRE BOOKSTORE GARDEN THEATRE
AMPITHEATRE
SUNKEN RESTING SPACE
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ROOF PLAN
A
A
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GROUND FLOOR PLAN 1:400
GRASSED AREA
GRASSED AREA CIRCULATION PATHWAY
TIMBER FLOORBOARDS
SECTION A 1:400
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LAYERED WALLS
GUIDING WALL, CONCAVE L-SHAPED WALL AND GAP
INSERTION OF A WALL FROM THE SIDE
-SHAPED WALL BETWEEN LAYERED DIRECTING WALLS
APPEARANCE OF A NEW GUIDING WALL
GUIDING WALL BECOMES FREESTSANDING WALL
CONCAVE L-SHAPED WALL AND GUIDING WALL
DIRECTING WALL, GUIDING WALL AND DESTINATION WALL
ROOM CELL WITH OPEN CORNERS
GUIDING WALLS AS ROW OF PILLARS AND DIRECTING WALLS
VIEW BACK: L-SHAPED WALL INTERLEAVING WITH L-SHAPED WALL
GUIDING WALLS AND DIRECTING WALLS IN A LONGITUDINAL SPACE
WALL ENDS AND CORNERS CONCEALED FROM VIEW
GUIDING WALLS AND DESTINATION WALL
DIRECTING WALL AND L-SHAPED WALL
GUIDING WALL, DIRECTING WALL AND DESTINATION WALLS
THE SIMULATENOUS OPENING AND CLOSING OF SPACES CREATES SPATIAL TENSION, MANIPULATING USERS TO WALK IN A CERTAIN DIRECTION FOR VARIOUS VIEWS AND EXPERIENCES. IT AVOIDS A STATIC CONFIGURATION OF SPACE, WALLS ACT AS DIFFERENT ROLES DEPENDING ON THE USER.
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FLOWING SPACE DIAGRAMS
A FLEXIBLE PARTITION SYSTEM WAS CONCEIVED TO ACCOMODATE THE IDEA OF THE SIMULATENOUS PUBLIC AND PRIVATE THEATRE. TRANSLUCENT WALL CAN BE USED TO CREATE ENCLOSURE AND PRIVACY FOR THE PUBLIC THEATRE. WHEN TRANSLUCENT WALL IS NOT BEING USED, SCHEME IS MORE VISUALLY OPEN TO USERS.
DETAIL DRAWING
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PARALINE DRAWING
1:800
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ISOMETRIC DRAWING
1:400
BLADE WALLS SHOWING HISTORICAL STORIES
ISOMETRIC DRAWING
1:400
AMPITHEATRE
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ISOMETRIC DRAWING
1:400
GARDEN THEATRE
ISOMETRIC DRAWING
1:400
EXHIBITION SPACE
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VISUALS
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EAST ENTRY PERSPECTIVE
USERS ARE MET WITH THE BLADE WALL, ARISING OUT OF THE GROUND UPON APPROACHING THE SITE. USERS WALK DOWN STEPS, DIRECTLY NEXT TO THE HISTORICAL STORIES OF HYDE PARK. VIEWS ARE FRAMED TO INCLUDE HISTORICAL SURROUNDING BUILDINGS.
EAST ENTRY PERSPECTIVE
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1:200 MODEL PHOTO
GENEROUS AMOUNT OF PUBLIC SPACE, THRESHOLDS AND SEATING AREAS ARE AVAILABLE TO THE PUBLIC, AN EXTENSION OF THE PUBLIC DOMAIN.
OUTDOOR PERSPECTIVE
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1:200 MODEL PHOTO
AN UNDEFINED SPATIAL CONTAINMENT ALLOWS FOR USERS TO WALK FREELY ACROSS THE PROPOSAL, WITH EACH VIEW AND SPACE AS OPEN AS THE LAST.
GARDEN THEATRE INTERIOR PERSPECTIVE
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1:500 MODEL PHOTO
EXHIBITION SPACE GROUNDS PROJECT IN THE AMBITIONS FOR CREATING A COMMUNAL SPACE. VIEW TO PUBLIC OPEN SPACE IS PRIORITIZED, EMBEDDING THE USER IN THE PUBLIC DOMAIN.
INTERIOR EXHIBITION PERSPECTIVE
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ELEVATION RENDER
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EXTERIOR PERSPECTIVE
PRECEDENTS USED
LUDWIG MIES VAN DER ROHE, COUNTRY HOUSE JMD DESIGN, PADDINGTON RESERVOIR, SYDNEY, AUSTRALIA, 2009 SATASHI OKADA ARCHITECTS, CHABOHIBA HALL, TOKYO, JAPAN, 2015 MAYA LIN, VIETNAM VETERANS MEMORIAL, WASHINGTON DC, UNITED STATES, 1982 LOUIS KAHN, SALK INSTITUTE, LA JOLLA, UNITED STATES, 1960 RENZO PIANO, MENIL COLLECTION, TEXAS, UNITED STATES,1987 JORN UTZON, CAN LIS, MALLORCA, SPAIN, 1973 JORN UTZON, BAGSVAERD CHURCH, BAGSVAERD, DENMARK,1976
EXTERIOR PERSPECTIVE
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