LUCID. Isabella Harris
Acknowledgments I would like to express my very great appreciation to Jason Dibbs for his valuable insight and constructive feedback during the planning and development of this project. I would like to thank Justin Penney of Penney Constructions, for sharing his expertise of rammed earth, his patience and accommodation to help me understand the process of creating this material, through an authentic making opportunity. I am extremely grateful to all those who have contributed to and supported my journey thus far, most specifically: The Katrina Dawson Foundation and the Dawson family for their continuous support of me throughout my studies. Lizzy Cox for sharing her wisdom and championing me to believe in and question my thinking. Agustin from Newtown Print, for taking me under his wing to teach me about the craft of designing for print, sharing his knowledge and expertise and always accommodating the girl from Mudgee. Jim Disher for technical advice and scrutiny in challenging me to look at design with an engineering lens and Barry Neaverson-Smith for providing the tools to help me along this journey. My mum, Kate and my partner, Nathan, for their unwavering love and support.
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Figure 1
Preface This Studio project created an opportunity for me to reflect on and position my continuous thinking around the ideologies of German philosopher and cultural theorist, Peter Sloterdijk, specifically his reference to “women as ‘architectural units’, implying that all that is needed for living, is within the womb.”1 In his “Spheres Trilogy, in particular his first book Bubbles, Sloterdijk explores the concept of microspheres as the incubators of experiences and relationships, ’dyadic, triadic and/ or multi-polar structures,’ which are temporal moments of isolation, insulation and coexistence.”2 This sublime ‘bubble’, of the womb, “provides isolation/insulation (shelter and immunity) and coexistence (relationship and nourishment) through a triadic structure. Here, Space is both a relational and ontological force… that translates, “being with-and being-in,” as essential for all forms of Being; the womb is, therefore, within the beauty of the female form, a ‘machine for living’”3 -providing all that is needed to flourish. ‘The nuance therefore lies between The Womb as an archetype and space as relational; a connection between psychological, cultural and social experiences and constructs’.4 My formulation of the spheres of coexistence, nourishment and function, became the principles and framed the thinking and process for the development of this design schema.
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A dynamic, diverse and inclusive theatre experience.
CONTENTS
RESEARCH & ANALYSIS Utzon Mapping 10 Context and Site 23
INITIAL DESIGN Concept 45 Schema 50
PROPOSED DESIGN Concept 73 Schema 78
FUTURE DIRECTIONS 182 APPENDIX 184
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RESEARCH & ANALYSIS Utzon Mapping
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Utzon’s Can Lis in Mallorca, was the precedent of study for this project. Built between 1971-73, Can Lis was named after Utzon’s wife and built as the family summer house. Perched along a cliff face, Can Lis is composed of five pavilions, all orientated differently to frame the views and use light, with a strong connection to the surrounding landscape. The fragmentation of each space is brought together through their relationship with the built and natural environment; a conversation of function and organic materiality, of geometrical form and the journey between.
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Figure 2
Figure 3
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Figure 4 12
Figure 5
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Figure 6
Four rules of design from the analysis of Can Lis 1) Function: The five pavilions are light filled and are defined as public, semi-private and private spaces. 2) Framing of Views & Light: Each pavilion is on its own axis, framing the views throughout each structure and connecting with the surroundings, providing abundant light. 3) Fragmentation & Relationship: Each pavilion in situ, is an independent volume. The relationship of each is built through form and function. The courtyards and open air living connect with the natural landscape. The relationship of each pavilion, as fragments, creates the whole vision. 4) Geometrical Form: The pavilions are rectilinear in form and portray simple and clean lines. Juxtaposition of curved form is evident in the motif of crescent moon shapes and semi circles throughout the design. The four rules create a narrative of journeying: Linear placement of the pavilions and movement between the spaces follows a horizontal axis; a journeying across the site. The mapping of Can Lis further explored the circular geometry, as a juxtaposition to the linear forms by focusing on the intersection of axis across the site; the rule of journeying. This process unveils the distinct correlation of all principle rules in the design.
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1. Function
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2. Framing Views & Light
3. Relationship
4. Geometrical Form
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Plan: Journeying through fragmentation
Mapping of the rules from Utzon’s design of Can Lis Each pavilion is situated on a horizontal axis with its own vertical axis/orientation to optimise the relationship with views and light. The mapping of Can Lis further explored the circular geometry, as a juxtaposition to the linear forms, by focusing on the intersection of axis across the site; the rule of journeying. This intersecting point defined the centre of the circular geometry. The areas which show a greater density of circles, represent the spaces that frame views and create light.
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Plan: The process of mapping as a whole
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Section: Journeying through fragmentation
Section: The process of mapping as a whole
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RESEARCH & ANALYSIS Context and Site
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The context analysis looks broadly within and beyond the site. “Aboriginal sites around Mrs Macquarie’s Chair in the Outer Domain show that Aboriginal people used the area before the arrival of Europeans to fish and camp.”5 “In the first half of the 19th century, Aboriginal people camped at different points in and around The Domain, and particularly in the forested Outer Domain.”6 “After the 1850s there are no further records of Aboriginal people living in The Domain, but other settlements in nearby areas like Rushcutters Bay, Double Bay and Rose Bay were in use, so it is likely they were also using The Domain.” 7 “Once it was no longer relied upon for food production, Governor Phillip converted this large area of trees, scrub, open grasslands, sandy foreshores and rocky headlands into his private ‘demesne’ or Governor’s Domain.”8 “Soon after his arrival in 1809, Governor Macquarie had the Government House gardens and grounds of the Domain enclosed in a continuous stone wall, to restrict access and define the town’s eastern outskirts, which now stretched along the newly laid Macquarie Street.” 9 “By 1817, Macquarie’s Domain was completely enclosed; however, unlike his predecessors, Macquarie was happy for townsfolk (of a suitable class) to stroll about and make use of his tasteful improvements, like the Gothic stables and fortifications overlooking the harbour.” 10 “Macquarie’s combined interest in picturesque landscapes, town planning and impressive architecture was fully realised in the creation of Macquarie Street, Hyde Park and the Domain precinct. Two centuries later, the Domain, in particular, has retained its original function as land for cultural, government and public use, with Macquarie’s General Hospital, convict barracks and government stables surviving on its western boundaries. Elsewhere were latterly delineated zones such as the new Government House (1843) and developments around St Mary’s church (1821).” 11 Besides the lofty buildings of government power, art and culture, the Domain has an ongoing role as a ‘people’s place’ – somewhere to play sport, picnic, and attend ceremonies, parades, shows and gala spectacles like ‘balloon ascents’ and royal commemorations. In the 1850s, the first Intercolonial Cricket Match between Victoria and New South Wales was staged in the Domain, and a century later, in 1954, the newly crowned Queen Elizabeth commenced her Australian tour after stepping ashore here. 12 As Sydney’s well-used ‘backyard’, the Domain has been a site of fiery protest, political debate, and mass entertainment. In times of economic hardship, the trees have shaded sprawling encampments of homeless people. In more prosperous times, crowds of screaming fans have danced and raged before cacophonous rock bands or the more sedate spectacle of a symphony in the park.13 Its history shows a diverse and dynamic range of purposes and experiences, where inclusivity has been challenged and at times, through historical moments, realised.
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Public Transport
Dining
Education
Commercial
Shopping
Health
Arts
Public Domain Private Domain
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Wind- Frequency & Strength Gale/Near Gale (74.9-50 km/h): 0.0763% Strong (50-38.9 km/h): 0.84% Fresh (38.9-28.8): 4.85% Moderate (28.8-19.8): 24.28% Gentle (19.8-12.6): 35.87% Light (12.6-1.1): 33.16% Average: 15.1 km/h Strongest: 103.7km/h, 18th February 2020 Temperature: 2020Average: 18 degrees Celsius Lowest:6.2 degrees Celsius, 6th August Highest: 43.7 degrees Celsius, 23rd January 2010-presentAverage: 18.9 degrees Celsius Average Low: 14.7 degrees Celsius Average High: 23.9 degrees Celsius Rain: 2020Total Rainfall: 1196.2mm Daily Average: 4.8mm Wettest Day: 162.2mm, 10 February 2010-presentAnnual Average: 1088.4mm Monthly Average: 96.7mm Daily Average: 3.2mm Wettest Day: 162.2mm, 10 February 26
Northerly 18.56%
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9:00 16:00
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Sunset Westerly 40.8%
Winter Solstice June 21 Easterly 22.27%
Surise
16:00 12:00
Equinox September 22
16:00 Sunset
9:00
Surise
Summer Solstice Decemeber 21
Surise
Sunset
Southerly 17.4%
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Circulation Vehicular Movement Congregation Density
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Mapping of The Project Site The mapping of the project site looks beyond the parameters, to draw on a wide geographical and historical context of the natural and built surroundings. Landmarks scoped include prominent places and buildings across site history, such as Sydney Cove, The Mint, The Art Gallery, The Barracks, Supreme Court and St Mary’s Cathedral. Employing the learning from the Can Lis mapping and Utzon’s principle of journeying, the axis from each site was mapped to the building envelope to create an anchor point. The main focal point and anchor was the Opera House, as a contemporary structure of European influence. It stands on ancient land; a place of gathering, dancing, singing and exchanging knowledge and narrative. A place of belonging by the Gadigal People, known as Bennelong Point. The Opera House itself represents the continued embodiment of celebration and culture over time and sits on a direct axis to the project site, whereby the design thinking aims to further enrich all who use the space through nourishment, coexistence and function.
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Mapping the surrounding buildings with a focus on fragments to whole
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Bennelong Point is a peninsula named in honour of Bennelong, a significant Aboriginal elder who became an interlocutor between the Eora people and British colonists. This place has retained its significance as a gathering place for Aboriginal people and now holds the space of The Sydney Opera House, a visionary work of 20th century architecture by Jorn Utzon. This site has been realised in having a significant relationship with the project site.
Located on Art Gallery Road in The Domain, the Art Gallery of NSW stands as one of the many distinguished buildings surrounding the site. The facade and old wing were built between 1896 and 1909, the architecture “reflecting 19th century ideas about the cultural role of a gallery as a temple to art and civilizing values”14.The function of the Art Gallery was to “promote fine arts through lecture, art classes and regular exhibitions”.15 Over time, the Art Gallery has grown with additional spaces, such as, the Yiribana Gallery (1994), added to acknowledge and celebrate the traditional custodians of the land, and the art and culture of Aboriginal and Torres Strait Islander people. In 2003, the new Asian gallery was also opened, providing an opportunity to represent the multicultural population Australia has embraced.
The Mint reflects not only temporal moments of historical significance and changing socio-political times, but the adaptable and diverse nature of early architecture, within this context. Originally The Rum Hospital (1811-1816), the building has retained most of its early facade, representative of the early colonial style. The curtilage of The Mint had four original buildings throughout history. In addition to functioning as a hospital and Mint, the buildings have housed early army buildings and The Coining Factory. It is the oldest extant building in Sydney.
The Hyde Park Barracks are located in Queens Square, on the corner of Macquarie Street and Prince Albert Road. This site is an active archaeological record of our convict history and early immigration, most significantly the accommodation and living conditions of the male convict populace from 1819-1848. Designed by Francis Greenway, at the request of Governor Macquarie to improve the moral disposition and therefore productivity of the men, The Hyde Park Barracks were constructed by convicts between 1817-1819.
The Law Courts Building is situated on Queens Square in Macquarie Street. Built in 1976, it is a significant 20th century structure within the site context, primarily for its function and cardinal relationship of justice and impartial deliberation. The “modular nature of the original external fabric of the Queen’s Square Law Courts enabled the introduction of new glazed panels to provide outlook and natural light to the courtrooms and public spaces – while readily maintaining the integrity of the 1970s design”.18
St Mary’s Cathedral is the site of the first land grant given by Governor Macquarie to the Catholic Church in Australia. It is the “oldest site in Australia to maintain its purpose as a place of worship for the Catholic community.”16 The form of Gothic style connects to the early ancestry of Europe. Constructed of dressed Sydney sandstone, St Mary’s stretches 107 metres in length and the central tower rises to 46 metres. When the spires were built in 2000, the Cathedral soared to 75 metres.17 Its residency within the context unites past and present through design and spiritual nourishment.
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The Opera House, Bennelong Point, a present performance space, built on ancient gathering country, connects our narrative past to the future project site.
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Buildings
Mapping the site as a whole
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Pathways and Roads
Green Space
Contours
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Mapping process in linear form The mapping draws on the relationships between the anchor points of past, present and future - the axis representative of the journey and the narrative created.
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Axis/ Orientation
Intersecting Axis
Anchor point of intersection
Circular to Linear Relationship: Circle placed at anchor
Layering of circles and Journey between anchors: past and present
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Axis/Orientation
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Intersecting Axis
Anchor Point of Intersection
Circular to Linear Relationship: Circle placed at anchor
Layering of circles and Journey between anchors: past and present 39
Axis/Orientation
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Intersecting Axis
Anchor Point of Intersection
Circular to Linear Relationship: Circle placed at anchor
Layering of circles and Journey between anchors: past and present 41
COEXISTENCE
NOURISHMENT
FUNCTION
Intersecting
Anchor
Axis
RELATIONSHIP AND JOURNEY
Principles of the Design Schema
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INITIAL DESIGN Concept and Schema
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Experimentation of geometry from the mapping, linear and circular, informed the concept models. This geometry juxtaposes the rectilinear forms of the surrounding buildings. The interdependence of these forms within each concept model, represents the conversation of relationship, through journeying. This journey between past structures and spaces and the building envelope, is represented along each axis (lines), their intersection providing the anchor points (circles), from one place to another. This correlation enriches the journey and therefore the narrative of our significant past and its relevance for the present.
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Concept Models49
Just as the design thinking for the concept models came from the study of Can Lis, Utzon’s design rules and the mapping, so does this initial design. Consisting of five fragmented, curved and linear pavilions, each with its own purpose, the relationship of elements and participants in the space creates cohesion with a focus on cultural engagement, coexistence, nourishment and functionality, through the journeying across all pavilions.
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Framing of Views and Function
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Light Filled Space
Relationship to Nature
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Ground Floor: Indoor Performance Space, Exhibition Space, Foyer/Bar, Bookshop, Bathrooms, Public Domain/Green-space
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First Floor: Staff Rooms, Meeting Rooms, Restaurant, Kitchen
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Second Floor: Bar/Lounge
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Third Level: Open Air Performance Space
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Basement: Back of House, Under Stage, Dressing Rooms
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Paraline
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PAVILIONS 1 & 2
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PAVILION 1
The Domed Pavilion: This structure functions as the main theatre, its purpose hidden until within. The main performance space is an embedded sphere (on the z axis), with an expansive roof volume, creating a sense of awe within the space. The theatre design follows the line and form of traditional amphitheatres, naturally supporting adaptable seating configurations and placing the performers at the centre, within a 360 degree view of the audience, nourishing through engagement.
PAVILION 2
The Resting Hemisphere: This structure functions as foyer, administration, bar and pre theatre gathering space. It provides circulation between and within the pavilions. A mezzanine level houses staff facilities and offices. The domed and hemisphere pavilions connect in a conversation of coexistence and functionality, providing these same experiences for participants.
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Long Section
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PAVILION 3
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PAVILION 3
The Cylindrical Pavilion: This structure is multi-purposed, consisting of four levels, encompassing public, semi private and private space. Ground Level: Bookshop and walk in coffeehouse with a relationship to courtyards First Floor: Fine dining restaurant providing a space that nourishes through conversation and contemplation of the framed views. Second Floor: Bar/Nightclub, an adaptable area, creating a place for gathering. It may house live music performances and function into the late hours. Third Floor: The ‘open air’ theatre is a multifunctional and multi disciplinary, inclusive space providing opportunity to engage with the surrounding natural and built environments. All spaces frame the views across the site and beyond, into The Domain. Each level is easily accessed and is light filled, either through the use of expansive glass windows or exposed natural sun-light.
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Short Section
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PAVILIONS 4 & 5
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PAVILION 4
The Semi Circular and Rectilinear Prism: This structure follows the curve of the domed pavilion and functions as an exhibition space. The rectilinear prism is sympathetic to the surrounding buildings and functions as an installation area for larger exhibits or private function space. The form is deliberately placed on the site to ensure separate access to the gallery, as well as circulation between and within the site. It captures passing pedestrians and like the dome, creates curiosity from the streetscape about its function. Its design allows the space to grow as needed or be partitioned into two gallery spaces, with entrances at either end.
PAVILION 5
The Multi Level Semi Circular Pavilion and Tunnel (z axis): This structure imitates Pavilion 4 and bestows balance to the site. This building provides amenity (bathrooms) to the staff and public. An underground tunnel provides accessibility and journeying of the staff across the site, contributing to the seen and unseen theme. The tunnel is circulation between Pavilions 1, 2 and 5 and from Pavilion 5, arrives at the ‘back of house’ (change rooms/ green rooms / temporary prop space), situated below the main performance space.
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Long Section 0m 1
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PROPOSED DESIGN Concept and Schema
A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured. - Louis Kahn
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The second phase of design was approached by reflecting on feedback and rules extracted from Utzon’s Can Lis- framing, fragmentation, light, geometric form and journeying. Given that Sydney has many theatre spaces in its reach and within close proximity to the site, the project called for a dynamic and inclusive space, providing diverse and engaging experiences for all stakeholders.
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1:200 Model
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Coexistence
Nourishment
Function
Experience Dynamic Inclusive
Critical in ensuring the evolution of the project, from both a theoretical and design base, required realignment of my principles with the intent. The narrative of relationship and journey was reconfigured as dynamic and inclusive experiences, based on the intersection of the design principles- coexistence, nourishment and function. It is at this intersecting point, ultimate design for all, is realised and which became the goal of the proposed design. Drawing on what was KNOWN about the context of place, structure and theory, it became apparent that in order to achieve an authentic design, further research to KNOW and build insight was required; anticipating how to create spaces which will bring to fruition the ultimate design. Authentic, dynamic and inclusive experiences for all. Further research and ethnographic surveys were conducted to build perspective. (See Appendix) The final design traverses the triad of axes, (x,y,z), connecting programs through thresholds and passages of journeying. The schema positions itself to achieve engaging experiences of coexistence, nourishment and function for all, through diversity and inclusion in form, function, space and detail. Four designated theatre spaces spread across the pavilions providing opportunity for diverse genres of performance. Atmospheric and acoustic enhancement is created through the materiality and design, ensuring social programs are distanced from the theatre spaces.
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PLAN GROUND GROUND: Gallery/Exhibition Space (Pavilion 4), The Pill (Pavilion 2), The Resting Hemisphere (Pavilion 1), Bookshop Cylindrical Pavilion (Pavilion 3) , Amenity (Pavilion 5), Access to underground car park and deliveries
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PLAN LEVEL 1 The Pill (Pavilion 2), The Resting Hemisphere (Pavilion 1), Staff Room/Meeting Room (Cylindrical Pavilion, Pavilion 3)
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PLAN LEVEL 2 The Pill (Pavilion 2), The Resting Hemisphere (Pavilion 1), Restaurant (Cylindrical Pavilion, Pavilion 3)
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PLAN LEVEL 3 The Pill (Pavilion 2), The Resting Hemisphere (Pavilion 1), Bar (Cylindrical Pavilion, Pavilion 3)
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PLAN LEVEL 4 Open Air Theatre (Cylindrical Pavilion, Pavilion 3)
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1:200 Model91
PAVILION 1
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PAVILION 1
The Resting Hemisphere This pavilion functions as a gathering or meeting space and is inclusive of the Box Office and pre performance bar, providing shelter and nourishment in its function. The experience on arrival within this space is one of welcome, excitement and refuge. It facilitates leveled circulation between and within the pavilions, enhancing the accessibility and relationships across the site through the use of apertures and wide doorways, which frame the views. The large forecourt ensures crowds can congregate and disperse without impact to the surrounding environment. Movable seating and bar furniture allows for adaptability within the space, to accommodate all. This co-dependent form captures the essence of relationship/coexistence in its physical conversation with Pavilion 2. The structure commands attention across and beyond the site; it draws an audience and therefore is a symbolic marker of the space and functions as a welcoming point.
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1:500 Model
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1:50 Model
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PAVILION 2
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PAVILION 2
The Pill (Spherocylinder) Pavilion Pavilion 2 splits and shifts the lower part of the structure, highlighting part and whole through fragmentation. This bifurcate form encompasses theatres, cloakroom, bar and lounge, amenities, stage facilities, green rooms, orchestra pit, control rooms, storage, performance amenities, service room, stage and stage hydraulics, across ground level and subterranean levels. The interplay of this mathematical volume, provides diversity in form and scale as well as alignment to the surrounding pavilions. The initial experience within this space is one of awe, the beauty of its scale and simple but rich materiality, sublime to all participants. This is mirrored within the theatre spaces, through juxtaposing atmospheres; light and expansive, to intimate and cavernous. Participants are stimulated through modes which engage varied senses and ignite individual but distinct responses. Glass framing imparts opportunities for glimpses from The Domain at ground level, enticing the public to the experience. The aura of the space at ground level, transforms based on the time of day. Duality in function, as a transient space of collaborative journeying, rest and contemplation, this pavilion imparts apertures to view the built and natural environments through glass framing. Operable, open skylights draw natural light into the expanse and connect participants with the natural environment, also through framed views. This pavilion is integral in the circulation created with all programs in Pavilion 1. It is a place of gathering during theatre performances, public addresses or as a facility for public and private events; building social and economic stability within the site. This space may be experienced by all, not just those attending the theatre. As a continuation of the foyer, it draws an inherent audience, creating opportunities to embrace impromptu or intimate performances and public addresses, as a pop up theatre (Theatre 1). Cloak rooms and bathroom amenities are located on this level. The space is enhanced by the consistent temperature and acoustic values of the rammed earth.
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Pill 2 as a theatre space 103
BASEMENT 1 This space functions as The Bar and Lounge area and is accessed via the lift or staircase on ground level. As a threshold of journey between the seen and the unseen, the generous staircase enhances circulation, whilst the opulent use of copper in balustrades and detail, nourishes participants. This space creates a bridging experience of refuge to that experienced in the intimate space of the theatres below. It is a point of assemblage prior to, during and after theatre performances. Opportunity to engage with others and the space is realised here. The design features are minimalist, building a focus on the relationships and engagement between users, as central to function.
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BASEMENT 1: Car park (1), Prop Lift (2), Gallery Lift (3), Bar/Lounge (4)
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5 Sectional Perspective: Pavilion 2 and 5
BASEMENT 2 This cavernous space houses Theatre 2 as the main performance space across the schema. Theatre 2 follows the line and form of traditional amphitheatres and campfires where intimacy, immediacy and audience cohesion is paramount. Enclosure and envelopment is achieved through adaptability and the juxtaposition of the seating as traditional (clustering groups for social distancing), and stage as contemporary; having the ability to be configured to the required atmosphere. This engagement is paramount to creating a two way transference of energy; nourishing the relationships, whilst also provoking thought and emotion relative to the audience. A lift provides additional access to the theatre space from Ground Level. Basement 2 also houses the control room, dressing rooms and a prop lift. Tunnel access to these spaces creates streamed circulation for staff, performers and service providers between the car park, loading docks and staff amenities. Consideration of performers has been given in the design of their shared space; private and collaborative. Here again, the theme of seen and unseen is delivered.
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BASEMENT 2: Theatre Two (1), Control Room (2), Prop Lift (3), Change Rooms/Back Stage and Storage (4)
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Theatre 2
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Stage lift movement
Central to Basements 2-5 is a stackable, extendable, multi- platformed hydraulic stage (Precedent: Cirque Du Soleil,design by Parker Hannifin) which modifies the function as required. Each platform has adaptable usage as a stage, orchestra pit, storage, and set holds. These may be moved vertically to all levels and stacked down. Engineering specifications to support the structure have been considered, as per the Cirque Du Soleil precedent. Movement of the stage allows the space to transform: - Raising the stage creates stalls to the audience below - The stage fixed just below eye line and seat level creates a dress circle - Dropping the stage further below the eye line creates an upper circle or balcony or gallery - Extending and retracting platforms generates intimate and distant engagement The adaptability of the stage and resulting ambiance creates diverse experiences for participants to draw personal connections. Engineering specifications for the construction of the underground spaces have been considered, such as secant piling hard to hard. A prop lift provides direct access to Levels 2-4 from the loading dock. This consideration was given to improve staff/service access, reduce complexities in the work environment around the movement of stage sets through circulation, whilst contributing to the theme of seen and unseen.
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Stroke Cylinders
Stackable stage
Pumps
Bored Piles
Diagram: Stage Lift and Gantry Crane based of precedent
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1:200 Model
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BASEMENT 3 This space houses and provides access to the orchestra pit, prop lift and service room. Access to Pavilion 5 through a tunnel ensures a direct route to this area. The Service Room stores IT servers and data-bases which harvests energy to heat the pavilions. This innovation is modeled on a community pool in Paris, Butte-aux-Caille which was invented by the green start up Stimergy. “Digital boilers,� would be placed in the Service Room and in turn, the energy would be transferred to these boilers to heat the spaces. The site is within close proximity to facilities that have great IT server activity, such as public facilities, government and commercial buildings. Therefore, this proposed method of heating the spaces captures and communicates the coexistence between environmental and social responsibility.
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BASEMENT 3: Orchestra Pit (1), Prop Lift, (2) Storage (Energy Harvesting Room and Storage Space) (3)
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HEATING THE PAVILIONS These “Digital Boilers,” are current technology and research shows that “There are more than 500,000 data centers in the world and they are thought to account for around 2% of global CO2 emissions. While the centers are increasingly energy efficient and even environmentally friendly thanks to the use of renewable energies, they are expected to increase in number by 5 to 10% annually in the next few years.” 19 “In terms of carbon footprint, this means that this system is reducing about 45 tons of CO2 and saving 250 MWh of energy a year.” 20 The two community pools in Paris, Butte-aux-Cailles remain successfully heated at 27 degrees Celsius from Stimergys data boilers. This method of heating the spaces across the site is not only innovative and successful, but also environmentally sustainable.
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Web searches, applications etc from surrounding areas
Searching energy via the Internet
Internet
Servers at the site in plant room
Internet energy transfered to servers
Pavilions
Heat transfered from servers to Pavilions
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BASEMENT 4 Basement 4 is predominantly a storage space for all users of the site. It can also be used as a rehearsal space for performers. It is accessed by the prop lift and tunnel to Pavilion 5.
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BASEMENT 4: Storage, Prop Lift
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BASEMENT 5 Theatre 3 is created on this level, which is situated at the lowest point of the spherocylinder. As a contemporary theatre space, it juxtaposes the traditional theatre on Basement 2. Both theatres create a reciprocal relationship, through the emulating atmosphere of the womb; an intimate, insulating and transforming experience. Additionally, when the stage is lowered to Basement 5, participants in Theatre 2 can engage with performances below visually, looking down into the void and /or aurally- presenting an inclusive exhilarating experience. Netting creates a transparent yet safe barrier for viewers. When used as an exhibition space, it is accessed via the hydraulic stage, which also acts as a 360 degree viewing platform, delivering a unique and surreal experience. Here the stage is surrounded by water, furthermore amplifying the authentic experience of pre natal state. This experience intends to enhance a calmness where auditory and visual senses are intensified. Exhibited works may be hung or projected onto the walls and viewing therefore is created through immersion. The hydraulic system for the stage is contained on this level, underneath the stage housing.
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BASEMENT 5: Theatre Three
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BASEMENT 5: Theatre 3/Exhibition Space
UNDERGROUND CONSTRUCTION: SECANT PILING METHOD The secant piling method, hard to hard construction, is employed in the development of all underground tunnels, theatres and performance amenity spaces across the site, due to the unstable soil infill and sandstone rock below. Advantages of secant piling hard/hard: “a) Increased construction alignment flexibility. b) Increased wall stiffness compared to sheet piles. c) Can be installed in difficult ground (cobbles/boulders). d) Less noisy construction. Hard/hard wall construction is very similar to a hard/firm wall but in this case, the primary piles are constructed in higher strength concrete and may be reinforced. Heavy duty rotary piling rigs, using tools fitted with specially designed cutting heads, are necessary to cut the secondary piles. The end product provides a fully concreted face and can be an effective alternative to diaphragm wall construction. “21 A guide wall is set on the surface to position the pile wall. A crane drives a hammer into the ground to create an opening for firstly, primary and then secondary piles. Concrete is poured into the primary pile opening and then reinforced with a steel cage. The same steps are repeated for the secondary piles - these intersect with the primary piles (female and male) The remaining soil and infill is excavated to continue the construction.
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Diagram of prinary and secondary piles
Secondary Pile
Primary Pile After the primary pile holes are completed and casted with concrete, the procces occurs again with the secondary piling.
Crane that drives hammer into the ground to create space for both seecondary and primary piles
For the secondary piling between the primary piles, an auger cuts and removes soil and infill. The secondary pile holes insect the primary pile holes
A crane lifts and places a steel cage into the secondary pile hole and then concrete is poured into it.
Guide wall to set out the position of the secant pile wall
Diagram of prinary and secondary piles method
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PAVILION THREE
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PAVILION 3 The Cylindrical Pavilion This pavilion consists of five levels providing private through to public spaces as well as social and work spaces. It encompasses a public bookshop and coffeehouse, office space and amenities, restaurant, bar and open theatre. Each level has lift access. The use of glass as the materiality in the lift ensures participants an alternate journey experience to their destination, with views across and beyond the site and The Domain. Internally stairs weave in a juxtaposition between inside and outside. Participants are able to engage with both the interior and exterior design elements, capturing dynamic moments created by time, materiality and inclusion. Here opportunity to engage with spaces is granted as an observer and user. All spaces are light filled, either through the use of expansive glass windows ( which also harness energy) or direct sun-light. This pavilion remained sympathetic to the initial design, with small amendments to the open air theatre and addition of staff offices and amenities. The facilities within this pavilion build social and economic stability of the schema.
BOOKSHOP & COFFEE HOUSE This space houses the public bookshop and walk-in coffeehouse. The function of this space is crucial in engaging passing pedestrians and visitors to the site. Its direct relationship with the courtyards and forecourt ensures that everyone can establish a connection to the indoor/outdoor environment. The interior architecture invites participants to nooks, in which to read and has close proximity to staff areas.
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Ground: Bookshop & coffeehouse
Plan: Ground- Bookshop & coffeehouse
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LEVEL 1: OFFICES & ADMINISTRATION This space is dedicated to staff. It provides a private and light filled office and administration area. Facilities include meeting rooms for collaborative engagement, bathrooms and kitchenette amenity. Expansive, filtered glass creates a natural, light filled working environment, complemented with views to the natural surrounding context. These conditions are conducive to mental health and wellbeing in the work setting. Parking has been added for administration staff at Basement 1, to ensure the journey to work for those who drive is seamless and without stress. Spaces are limited to encourage stewardship through carpooling or use of public transport.
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Level One:Offices
Plan: Level One- Offices & Administration 133
Level One:Offices
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LEVEL 2: FINE DINING RESTAURANT This space houses the Fine Dining Restaurant, providing a space that nourishes through conversation and contemplation of the framed views. Intimate moments are captured throughout the restaurant and group spaces are easily adapted through movable furniture. Outdoor seating and verandahs create a greater physical proximity to the environment. Visual and auditory experiences are also enhanced in this space. Copper details throughout amplify the experience and promote good health. Windows have been added to the kitchen to provide staff with a vista, natural light and connection to the cityscape- conducive to mental health and well being in the workplace.
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Level Two:Fine Dining Restaurant
Plan: Level Two-Fine Dining Restaurant
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LEVEL 3: THE BAR & LOUNGE This space is an adaptable area, housing The Bar and Lounge. This facility may be used by theatre participants or the general public. Whilst accessible during performances, it also functions outside of production times and provides a social setting beyond the operational limitations of other areas within the schema. The atmosphere here is dynamic. Outdoor access to verandah spaces juxtaposes the ambiance created within the internal areas. Here, the ambiance is achieved through lighting, obscuring of views and copper details in finishes. Accessible to the central business district, this space is conveniently located for a broad audience.
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Level Three: Bar & Lounge
Plan: Level Three- Bar & Lounge
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LEVEL 4: OPEN AIR THEATRE This space houses Theatre 4, as an Open Air Theatre. It is a multifunctional, inclusive space providing opportunity to engage with the surrounding natural and built environments. It juxtaposes the intimacy of the main theatre spaces. Fragmentation is replicated with an opening for viewing and connecting with the Domain. The geometrical form extruded, has then been used as the base of the stage area- visualising part to whole. Experiences in this space are limitless, as like Pavilion 2 it may be used specifically as a performance space, gathering space or public facility. All experiences are enhanced by seasons and time of day, providing free access to performances. The space also welcomes local artisans to promote creative talent, as did the Art Gallery in its inception. The atmosphere is relaxed and upbeat, promoting social engagement of all.
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Level Four:Open Air Theatre
Plan: Level Four- Open Air Theatre
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FLOOR CONSTRUCTION PAVILION 3 TECHNICAL DRAWINGS
20mm, Reinforcement, steel, both ways, galvanised 1700 x 1000 x 3000mm, Reinforced concrete column/wall, polished
20mm, Reinforcement, steel, both ways, galvanised
Reinforced suspended concrete slab, polished
1:20 Detail First, Second, Third Floor and column
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Positive water proofing membrane, GRIPSET Two Part Cementitious Membrane Reinforced suspended concrete slab, polished 20mm, Reinforcement, steel, both ways, galvanised
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Negative water proofing membrane, vapour barrier, cloaking full bonded geofabric and liquid rubber
20mm, Reinforcement, steel, both ways, galvanised
Reinforced suspended concrete slab, polished
1:20 Detail First, Second, Third Floor and column
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Positive water proofing membrane, GRIPSET Two Part Cementitious Membrane Reinforced suspended concrete slab, polished 20mm, Reinforcement, steel, both ways, galvanised
Negative water proofing membrane, vapour barrier, cloaking full bonded geofabric and liquid rubber 900 x 900 round, reinforced concrete piles, piled into infill 1:20 Detail Underground Tunnel Floor
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1:200 Model
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PAVILION FOUR Gallery and Exhibition Space
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PAVILION 4
Gallery and Exhibition Space Functioning as a gallery and exhibition space, its materiality whilst complimentary, distinguishes individual character. Its form and copper detailing captures passing pedestrians, creating curiosity from the streetscape. The copper has been chosen as it ages beautifully developing shades of a green patina over time. The placement of this pavilion ensures multiple accesses from the East and West of the site, as well as circulation between and within the site. Its design allows the space to grow as needed or be partitioned into two gallery spaces. The curved form brings cohesion to the site. It can function as an installation area for larger exhibits or private function. A service lift from Basement 1 ensures exhibiting material is delivered/transported with relative ease, continuing the theme of seen and unseen, across the schema.
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1:200 Model
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PAVILION FIVE Gallery and Exhibition Space
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PAVILION 5 & TUNNELING These spaces and forms provide amenity and circulation. The form of this pavilion imitates Pavilion Number 4 and instills balance to the site. Amenities are found here for staff and public. The theme of the seen and unseen is enhanced through a tunnel system which creates accessibility for staff as they journey across the site between Pavilions 2, 4 and 5. This circulation is seamless, granting access between loading docks, car park, theatre spaces, ‘ back of house’ (change rooms/ green rooms / temporary prop space), and maintenance facilities.
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1:200 Model
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0m 1
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Paraline
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MATERIALITY Predominantly, materiality rests with the natural resources of rammed earth, copper, leather and timber. Each has a compelling relationship with the site. Collectively these materials are durable, sustainable, low maintenance and have structural integrity; engaging participants through haptic and proprioceptive sensory experiences within each space. Details across the site connect to sensory values, engaging all users at a personal level.
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Materiality Schedule
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Rammed earth is a construction technique where varying proportions of earth, road base, sand, cement and crusher dust is compacted into rigid form work in 200mm layers until the desired height is reached. Properties of Rammed Earth - Natural: drawn from the earth, the material is non toxic providing a safer option for those inhabiting and creating the structures. - Sustainability: the low embodied energy results in a low carbon footprint. Rammed earth is sourced locally, therefore transport costs and production emissions are reduced. Rammed earth is also 100 % recyclable after use. - Energy efficiency: rammed earth walls will absorb all the heat from the sun and slowly release that energy over 12 hours; known as thermal lag. “Rammed earth has a high energy rating, much higher than concrete or stone. As a result, temperatures across day and night become more even. The material also regulates humidity and exchanges air through the walls. Acoustic Value: - High sound acoustic rating - Structural Integrity: Rammed earth walls are load bearing - Noise reduction: The thickness of the walls ensures noise within and between spaces is reduced. - Durable & Termite Proof: Weather resistant and durable once built and sealed. Termites are unable to penetrate the rammed earth mass. - Compatible: As a raw material rammed earth is compatible with other natural materials and is malleable; achieving desired form. - Visual aesthetics: a range of colours and finishes makes rammed earth a suitable material to compliment colour palettes and tones. It is versatile in form, easily used to create circular lines and shapes, as demonstrated in this project. - Fire Proof: earth does not burn and therefore this material provides added security. CSIRO rates a 250mm thick wall as having a 4 hour fire resistance rate.
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1:5 Model
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Copper is used throughout the schema in detailing, such as lighting, hardware, balustrades and roof capping. Its direct link to the manufacture of early coins and the site context of The Mint, as the first coining factory, was a considered factor in its use; bringing past to future. A natural resource copper, compliments the materiality schema of this project. Properties of Copper: - Natural resource which is non toxic, solid and organic - Sustainability: copper may be recycled - Durability-when exposed to elements it protects itself by forming a beautiful green patina, which reforms itself when damaged , in a natural healing process. - Maintenance: a low maintenance material, which requires little cleaning and acts as an algaecide and fungicide, keeping lichen at bay. - Lightweight and pliable; easy to work with and bends to create required forms. - Compatible: with a range of materials including rammed earth, glass, timber , stone. - Economical: whilst initially more expensive than other comparable materials, long term it is more cost effective over the life of the product. - Aesthetics: the range of patinas developed are sympathetic to other materials and the environment. It doesn’t compete with opposing materiality, rather, it ages beautifully like the surrounding earth and stone buildings.
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Copper Patina Gradient
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A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured. - Louis Kahn
This final schema speaks to how the design processes moved from linear, to layered, to circular; fragmentation to whole. It connects back to the strength of the original geometric forms and communicates that dynamic and inclusive experiences are limitless and evolving, each built through the constructs of coexistence, nourishment and function. How each individual engages in a relationship with the space in part or whole is the narrative of their personal journey. This is a design which brings together all aspects of context (history/ built environment/ space and users). A space which acknowledges and celebrates past, aligns it to present, whilst anticipating the future. Throughout the process, insightful consideration has been given to what is known and what we know, in order to prepare for what may be, as a socio-ethical response to design.
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FUTURE CONSIDERATIONS “As an architect you design for the present with an awareness of the past, for the future, which is essentially unknown.� Norman Foster The current landscape of COVID 19 has highlighted a greater awareness that coexistence through relationships to others, nature and space is vital for future considerations for all humanity. The principle constructs of this design, coexistence, nourishment and function, provide architects insight to limitless design opportunities, enhanced by technology and stewardship. The pedagogy of design is challenged to create spaces of neutrality in which individuals may forge security and nourishment, specific to their needs in their own narrative journey. Our urban life is based on social engagement and social stability which focuses on fluid integration. In anticipating possible challenges of the future, architects will perhaps need to seize this transformational moment in history, looking back in order to look forward, to know where we came from (the Womb) with a vision for organic, adaptable spaces which value all life and our global resources. Without this clarity and anticipation for what lies ahead, architecture may simply become structure without life.
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APPENDIX Theatre Ethnography Click here Additional Details of The Theatre Space Performance genres-across the site 1.Public Space ( street performance)-open allows for groups to congregate/circus arts/ceremonial dance 2.The Pill: - reflective /opera singers/ public speaking addresses/poetry recitals 3.Underground Theatre-all theatre traditional/contemporary/exploratory/interactive and improvisational Amphitheatre Wrapping stage Drop down view stage moves down 4.Open air theatre-public space free entertainment- new and upcoming musicians/drama/puppetry/stand up comedy/circus and circus arts Acoustic Considerations Acoustic separation has been utilised-noise generating areas have been kept away from quieter areas to reduce the need for expensive acoustic isolation Techniques. Main public areas are separated from theatre spaces Bar above & stairs act as an acoustic lobby /separation All areas can be used simultaneously as a result Mechanical and Electrical Inclusions of the Project Site Ventilation & Heating Comfortable conditions Air delivered at low velocities Air vents in the floor to cool Plenum voids under seats-cooling Rammed earth -thermal mass Architectural lighting & Production lighting moods/day and night Lighting and illuminated signage projected into the external and internal walls to allow for adaptability. Production lighting (integrated for aesthetics ) Access to maintenance lighting Emergency Lighting Sound and communications Data Rooms Plant rooms-heat harvests (large items will be held in off site storage) Safety Fire exits and access Passive fire protection Exits that close off automatically at set temperatures for containment Fire rated walls and varied zones Materiality to for increased fire rating: rammed earth
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Disabled Access & Vision/Hearing Enhancement Inclusivity-integrated manner Passively: refuge areas/lifts/ramps Active systems: visual and sensory devices Aassistance/direction: circulation Wheel chair access Lifts Designated spaces for wheelchairs in performances Open space in foyers - minimal stair access Backstage performers are given the same accessibility Visually impaired Colour contrast A Theatre developed app to guide as navigation across the site. Users may enter designated theatre into the app and seat/session allocation (if applicable). The app will give directions to the space and send a reminder prior to the performance start . IT Tracking built into floor materials, to assist vision impaired - connects to personal devices to guide through circulation and warning of congestion/ diversions, obstacles. Hearing disabilities Sound enhanced technology, accessed through theatre bluetooth systems and delivered through personal headphones . Sustainability Designed from a holistic standpoint-collaborative process Renewable materials (rammed earth/timber/cooper) Energy efficiency ( heat banks, ventilation, glass, thermal mass of product, cross ventilation) Travel- public transport -draw links to public transport Water treatment and water harvesting Equip buildings to manage climate change Low energy lighting-lighting to underground
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ENDNOTES 1 Isabella Harris, This is Utopia, (Canvas: ARCH4007, 2020) page 2 2 Isabella Harris, This is Utopia, (Canvas: ARCH4007, 2020) page 4 3 Isabella Harris, This is Utopia, (Canvas: ARCH4007, 2020) page 3 4 Isabella Harris, This is Utopia, (Canvas: ARCH4007, 2020) page 9 5 Paul Irish, The Domain and The Botanic Gardens, (Barani, Sydney’s Aboriginal History) Accessed September 1 2020, https://www.sydneybarani.com.au/sites/the-domain-and-royal-botanic-gardens/ 6 Paul Irish, The Domain and The Botanic Gardens, (Barani, Sydney’s Aboriginal History) Accessed September 1 2020, https://www.sydneybarani.com.au/sites/the-domain-and-royal-botanic-gardens/ 7 Paul Irish, The Domain and The Botanic Gardens, (Barani, Sydney’s Aboriginal History) Accessed September 1 2020, https://www.sydneybarani.com.au/sites/the-domain-and-royal-botanic-gardens/ 8 Sydney Living Museums, The Govenor’s Domain, (Sydney Living Museums, 2017) Accessed September 1 2020, https://sydneylivingmuseums.com.au/convict-sydney/governors-domain 9 Sydney Living Museums, The Govenor’s Domain, (Sydney Living Museums, 2017) Accessed September 1 2020, https://sydneylivingmuseums.com.au/convict-sydney/governors-domain 10 Sydney Living Museums, The Govenor’s Domain, (Sydney Living Museums, 2017) Accessed September 1 2020, https://sydneylivingmuseums.com.au/convict-sydney/governors-domain 11 Sydney Living Museums, The Govenor’s Domain, (Sydney Living Museums, 2017) Accessed September 1 2020, https://sydneylivingmuseums.com.au/convict-sydney/governors-domain 12 Sydney Living Museums, The Govenor’s Domain, (Sydney Living Museums, 2017) Accessed September 1 2020, https://sydneylivingmuseums.com.au/convict-sydney/governors-domain 13 Sydney Living Museums, The Govenor’s Domain, (Sydney Living Museums, 2017) Accessed September 1 2020, https://sydneylivingmuseums.com.au/convict-sydney/governors-domain 14 Art Gallery of NSW, History of the building, (Art Gallery of NSW) Accessed 19 November 2020, https://www.artgallery.nsw.gov.au/about-us/history/history-of-the-building/ 15 Art Gallery of NSW, History, (Art Gallery of NSW) Accessed 19 November 2020, https://www.artgallery.nsw.gov.au/about-us/history/ 16 Heritage Division, “Archeological Team- St Mary’s Cathedral Site,” (Office of Environment and Heritage), Accessed 19 November 2020, https://www.environment.nsw.gov.au/ heritageapp/ViewHeritageItemDetails.aspx?ID=2425014 17 St Mary’s Cathedral Sydney, “Architecture- A Church to Impress,” (St Mary’s Cathedral Sydney, Parish Collection Notice) Accessed 19 November 2020, https://www.stmaryscathedral.org.au/history-art/architecture/ 18 Architecture Australia, “Historic Courts,” (Architecture Australia, September 2009) Accessed 19 November 2020, https://architectureau.com/articles/historic-courts/ 19 Living Circular, “Data Centres; hot water from cold air,” (Living Circular, March 2014) Accessed, October 21 2020, https://www.livingcircular.veolia.com/en/industry/data-centers-hot-water-cold-air 20 Ana Galán Herranz, “These Parisians Are Splashing Into Water Heated by Servers,” (Reset: Digital For Good, October 2017) Accessed October 21 2020 https://en.reset.org/ blog/these-parisians-are-splashing-water-heated-servers-10032017 21 Rail System, “Secant Pile Wall Construction,” (Rail System Net, 2015) Accessed June 14 2020, http://www.railsystem.net/secant-pile-walls/
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IMAGE REFERENCING Figure 1: “Studies Embryos,” 1510-1513, Drawing by Leonardo da Vinci, Photography by Luc Viatour, Edited B & W by Isabella Harris, Accessed April 20 2020, https://en.wikipedia.org/wiki/File:Da_Vinci_Studies_of_Embryos_Luc_Viatour.jpg Figure 2: “Can Lis,” Photograph, Terence Chin Photography, date unknown, Edited B & W by Isabella Harris, Accessed September 2 2020, https://www.designboom.com/architecture/jorn-utzon-can-lis-family-home-mallorca-08-02-2019/ Figure 3: “Can Lis,” Photograph, Terence Chin Photography, date unknown, Edited B & W by Isabella Harris, Accessed September 2 2020, https://www.designboom.com/architecture/jorn-utzon-can-lis-family-home-mallorca-08-02-2019/ Figure 4: “250-bred.png,” Drawing by Jorn Utzon, Utzon Archives / Aalborg University & Utzon Center, Accessed September 2 2020, https://utzon-archives.aau.dk/drawings/ can-lis-mallorca/250-bred.png.html Figure 5: “A-90-bred.png” Drawing by Jorn Utzon, Utzon Archives / Aalborg University & Utzon Center, Accessed September 2 2020, https://utzon-archives.aau.dk/drawings/ can-lis-mallorca/A-90-bred.png.html Figure 6: “Fugle.png” Drawing by Jorn Utzon, Utzon Archives / Aalborg University & Utzon Center, Accessed September 2 2020, https://utzon-archives.aau.dk/drawings/ can-lis-mallorca/Fugle.png.html
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