Thesis monograph

THE PORTLAND OPERA & CONCERT HALL ISAIAH KENT

THESIS STUDIO - SPRING 2015

PROJECT ABSTRACT

The Portland Opera and Concert hall aspires to become a catalyst for renewal and revitalization for Portland’s east side industrial zone along the Willamette river. Portland is a city in transition, experiencing significant growth that is expected to continue exponentially in the coming years. As Portland grows so does the opportunity, as well as need, for civic amenities to provide culture, as well as develop relationships with, the community.

Sitting along the Willamette rivers east edge, just south of the new Tilikum crossing, the Opera serves as a primary location for waterfront access for the central city. With this location, the project aims to resolve several key issues. The first is a lack of much needed public space where people can enjoy waterfront activity. Another important project goal is introducing a civic amenities district to transition the surrounding site for future growth focused on pedestrian activity. While there are many important goals necessary to achieve in order to create a successful project, the most important is that the building itself to be a place of gathering where people come for more than just music.

The Portland Opera is intended to be more than just a place for occasionally performances, but rather it is a place to meet. This Opera house is a place to have new experiences. It is a place where people can set aside time away from their daily lives around them and appreciate the natural flow of the river and the music that surrounds them.

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SITE LOCATION

The site is located at the end of Division, just south of the new Tilikum crossing bridge, adjacent to the current Portland Opera. The location was chosen due to its close proximity to public transit, as well as being an area that is currently lacking in public space.

Throughout Portland, the east river bank has very little public access to the water. This location, with its ease of access, would be a prime opportunity to create a soft waterfront that would give the riverfront back to the public.

The Portland Opera and Concert hall aspires to become a catalyst for renewal and revitalization for Portland’s east river industrial zone. Portland is a city in transition, experiencing significant growth that is expected to continue exponentially in the coming years. As Portland grows so does the opportunity, as well as need, for civic amenities to provide culture, as well as develop relationships with, the community.

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MASTER PLAN

The opportunity for creating civic infrastructure to meet the demands of an increasing population is crucial to the introduction of the civic amenities district. This district would include the current surrounding destinations such as OMSI and the rail museum with new projects like the Opera and a water research laboratory as well as introducing medium density mixed-use housing and creative office space. A focus on street level activity is a definitive part of this design process in that there is specific thought given to how each street interacts with the buildings around it and how these buildings respond back to the street. This district is located centrally with access to all major forms of public transit and would become a major center for shopping, entertainment and learning.

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MASTER PLAN

The project aims to resolve the issue of a lack of much needed public space where people can enjoy waterfront activity. The location of the Opera in the civic amenities district is an important part of development of the district, as well as being part of the plan for Portland’s future growth. Sitting along the Willamette rivers east edge, just south of the new Tilikum crossing, the Opera serves as a primary location for waterfront access for the central city. This access is unique in Portland because the entire site is focused on the goal of creating an approachable soft waterfront. This ease of access allows for a greater relationship with the river and improves the use of the site by the community.

The community integration with the project is important not just in terms of waterfront activity, but also in terms of the how visitors engage with the Opera itself. A guiding design goal of the project is to create engaging, active space with opportunities viewing galleries, eating food and engaging with others. The Opera is both functional as well as flexible in terms of its use and integration as destination within the community.

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FUTURE PHASING DIAGRAMS The process of redeveloping the Tilikum district is a 30 year process that would be phased over time. Each phase focuses on the removal of industrial elements and introduction of housing, cleanup and retail opportunities. These phases would end with the removal of many warehouses and industry and a significant addition of creative office, living and opportunities for small businesses and civic amenities.

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STREET TYPOLOGIES SIDEWALK

TWO LANE ALLEY

HIGHWAY VIADUCT

PEDESTRIAN ALLEY

SIDEWALK

PEDESTRIAN STREET

SIDEWALK

PEDESTRIAN VIADUCT

SOFTSCAPE

PATH

SOFTSCAPE

SIDEWALK

ON STREET PARKING

TWO LANE STREET

STORMWATER SWALE

TWO WAY BIKE LANE

SIDEWALK

MIXED-CORRIDOR BLOCK-INTERIOR

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PRELIMINARY MASSING

The preliminary massing studies took an outside in approach to the design process looking at how to create an iconic sculptural building. This approach was done with the intent of creating a formal expression to the building that would be able to become an identifiable part of Portland's waterfront. These studies were an important part of the process even as they did not end up becoming the form of the building. As the process of creating the interior developed it was critical to consider the previous iterations of the exterior form in order to create a unique interpretation of the Opera’s response to the river and land.

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INITIAL DESIGN SCHEME

The initial design for the midterm focused on exterior form and separating itself from the surroundings. A focus on being an object was placed rather than responding to context. The design suffered from a lack of cohesion of connecting spaces in the floor plan and was to linear focused along an extended hallway. While the formal expression was unique it also lacked a sense of place and response to the conditions around it.

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PROJECT DESCRIPTION

The Portland Opera and Concert hall aspires to become a catalyst for renewal and revitalization for Portland’s east river industrial zone. Portland is a city in transition, experiencing significant growth that is expected to continue exponentially in the coming years. As Portland grows so does the opportunity, as well as need, for civic amenities to provide culture, as well as develop relationships with, the community.

The opportunity for creating civic infrastructure to meet the demands of an increasing population is crucial to the introduction of the civic amenities district. This district would include the current surrounding destinations such as OMSI and the rail museum with new projects like the Opera and a water research laboratory as well as introducing medium density mixed-use housing and creative office space. A focus on street level activity is a definitive part of this design process in that there is specific thought given to how each street interacts with the buildings around it and how these buildings respond back to the street. This district is located centrally with access to all major forms of public transit and would become a major center for shopping, entertainment and learning.

The project aims to resolve the issue of a lack of much needed public space where people can enjoy waterfront activity. The location of the Opera in the civic amenities district is an important part of development of the district, as well as being part of the plan for Portland’s future growth. Sitting along the Willamette rivers east edge, just south of the new Tilikum crossing, the Opera serves as a primary location for waterfront access for the central city. This access is unique in Portland because the entire site is focused on the goal of creating an approachable soft waterfront.

This ease of access allows for a greater relationship with the river and improves the use

of the site by the community.

The community integration with the project is important not just in terms of waterfront activity, but also in terms of the how visitors engage with the Opera itself. A guiding design goal of the project is to create engaging, active space with opportunities viewing galleries, eating food and engaging with others. The Opera is both functional as well as flexible in terms of its use and integration as destination within the community.

Due to its scale and abstracted form, the Opera separates itself from the surrounding buildings in the area. The buildings form is visible from a great distance due to its size and location along the rivers edge. There is no clear primary public face of the Opera as there is an approach from all directions. The opera can be reached from the north by the Max and streetcar lines where visitors will walk past the display rehearsal rooms They can enter from the west by bike and water taxi where the Opera’s angular form towers over visitors with articulated and varied forms. People visiting from the east approach along Division where dedicated pedestrian pathways create a unique experience lined with shops and restaurants. This opportunity for varying approaches allows for an ability experience the Opera in many different ways.

Separated from the community integration is where the behind the scenes activity takes place. The administration, production, sales, development and artistic operations is separated from the public eye.

There is an immense amount of work that goes into a performance, and this work must take place in space that is able to change and transform with varying needs as well as remaining functional to the every day uses. The back of house work is critical to the success of the performances that are hosted at the Opera.

The materials that were chosen as part of the design are critical to the success of the project. The material choices that are made help to define the architectural moves by enhancing the level of detail and articulation of the project.

There are four primary materials used that give the project the unique makeup that it has.

Limestone from local quarries gives it a mass and weight that give it a heavy and imposing feel.

The zinc roof allows for longevity as well as an interesting roof form that will be visible from the nearby Tilikum crossing. The glazing that wraps the river facing facade is patterned with three sets of grids following the angles of the facades form as well as giving the appearance of movement through the glazing. The wood found in the mullions is a reference to the history of the pacific northwest and a response to integrating local sourced elements to the design.

The material choice for the interior of the opera is similar to the exterior, but integrates several other materials as well. Continuing the goal of using locally sourced materials, polished concrete is used for the flooring and wood is integrated into the walls. The type of wood used plays an important role in the acoustics of the hall and can determine the resonance and tonal quality of the performances. The interior materials are intended to compliment those on the exterior, while also creating a much more personal environment than felt on the exterior.

The Portland Opera is intended to be more than just a place for occasionally performances, but rather it is a place to meet.

This Opera house is a place to have new experiences. It is a place where people can set aside time away from their daily lives around them and appreciate the natural flow of the river and the music that surrounds them.

SITE PLAN/GROUND FLOOR PLAN 0

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200

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SECOND FLOOR PLAN 0

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THIRD FLOOR PLAN 0

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200

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FOURTH FLOOR PLAN 0

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200

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PERFORMANCE HALLS

TECTONIC SECTION MODEL

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CROSS-SECTION 0

10

20

30

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FIRST BALCONY VIEW OF OPERA HALL

OPERA SIGHTLINESS DIAGRAM 41 | 42

ACTIVITY NODES

BACK OF HOUSE/ADMINISTRATION

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LONGITUDINAL SECTION 0

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PUBLIC MOVEMENT

FOURTH FLOOR ATRIUM 47 | 48

MATERIALS

The materials that were chosen as part of the design are critical to the success of the project. The material choices that are made help to define the architectural moves by enhancing the level of detail and articulation of the project. There are four primary materials used that give the project the unique makeup that it has. Limestone from local quarries gives it a mass and weight that give it a heavy and imposing feel. The zinc roof allows for longevity as well as an interesting roof form that will be visible from the nearby Tilikum crossing. The glazing that wraps the river facing facade is patterned with three sets of grids following the angles of the facades form as well as giving the appearance of movement through the glazing. The wood found in the mullions is a reference to the history of the pacific northwest and a response to integrating local sourced elements to the design.

The material choice for the interior of the opera is similar to the exterior, but integrates several other materials as well. Continuing the goal of using locally sourced materials, polished concrete is used for the flooring and wood is integrated into the walls. The type of wood used plays an important role in the acoustics of the hall and can determine the resonance and tonal quality of the performances. The interior materials are intended to compliment those on the exterior, while also creating a much more personal environment than felt on the exterior.

POLISHED CONCRETE Metal Panel

Steel

Dark Wood OAK WOOD

Marble LIMESTONE

ZINC

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FORM

Due to its scale and abstracted form, the Opera separates itself from the surrounding buildings in the area. The buildings form is visible from a great distance due to its size and location along the rivers edge.

There is no clear primary public face of the Opera as there is an approach from all directions. The opera can be reached from the north by the Max and streetcar lines where visitors will walk past the display rehearsal rooms They can enter from the west by bike and water taxi where the Opera’s angular form towers over visitors with articulated and varied forms. People visiting from the east approach along Division where dedicated pedestrian pathways create a unique experience lined with shops and restaurants. This opportunity for varying approaches allows for an ability experience the Opera in many different ways.

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The design of this elevation was done to respond to street level activity.

The facade is more regulated and rectilinear in order to respond to the more traditional buildings around it. The hight steps down to two and three levels facing the street in order to present a more human scale on the approach. The heavy use of glazing allows for natural light to be allowed to enter the workspaces that line the edge of the facade and allow passersby to view in and see the activity occurring within.

EAST ELEVATION - (STREET ELEVATION) 0

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WEST ELEVATION - (RIVER ELEVATION) 0

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The facade facing the river was designed with the intent that it would become a sculptural and iconic part of the riverfront in Portland. The angular pattern that wraps around the facade becomes a gradient that fades and disappears towards the back. This angular form over the river makes it stand out among the surrounding buildings and gives it a feeling of importance.

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TECTONIC SECTION MODEL

TECTONIC SECTION MODEL

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The Portland Opera is intended to be more than just a place for occasionally performances, but rather it is a place to meet. This Opera house is a place to have new experiences. It is a place where people can set aside time away from their daily lives around them and appreciate the natural flow of the river and the music that surrounds them.

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APPENDIX A Project Preparation

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Preliminary Thesis Statement Music is one of the most universally loved aspect of life. It would be nearly impossible to find someone who didn’t enjoy it in some form. Music brings people as a community together in a way not found elsewhere. Music can be spiritual, it can affect emotions, it can bring people together and it has been a constant throughout human history. We have songs that were written 300 years ago by Bach that people continue to listen to today that will influence the music written tomorrow. This expression through music is one of the most rewarding pleasures as well. So many people enjoy music because of the creative expression it allows. It also gives people a healthy outlet for their emotions. Music is universally loved and is lacking in Portland as there are very few places for the public to enjoy it. For this reason an Opera house and concert hall music would be a strong addition to the community.

An Opera house and concert hall on the banks of the Willamette that would bring together the inhabitants of the city. This however, is just one element to the project as a

whole. As cities grow and redevelop areas that are seen as less desirable it has the byproduct that often ends up pushing the arts from the city center.

This is due to a variety of reasons, and it is no different in Portland. This Opera and concert hall would would have the benefit of fostering a sense of community among the people who come to enjoy the performances there.

This connection to the city through community interaction will likely the most important aspect of this project. This connection can be achieved through a focus on the interaction between the site and the people who will be using it. Vibrant pedestrian activity is critical to the success of this ideal, and the setting of being on the waterfront allows for an opportunity to create a destination to draw people in.

Portland’s current Opera is located at the Hampton Opera Center, which originally was the home of the local Fox 12 news. The current location is not optimal for expansion and was not designed around the needs of the Opera. A new place

Willamette River Context designed around the needs of the user and patrons would improve the experience and likely draw more people in. Creating an engaging landscape blending the river, building and city will also improve the experience and draw more people in as they interact with the surrounding space.

The site is located at the end of Division, just south of the new Tilikum crossing bridge, adjacent to the current Portland Opera. The location was chosen due to its close proximity to public transit, as well as being an area that is currently lacking in public space. Throughout Portland, the east river bank has very little public access to the water. This location, with its

ease of access, would be a prime opportunity to create a soft waterfront that would give the riverfront back to the public.

The hope with this project is to create a successful blending of city, architecture and river. This goal is not to create a building with a great park around it, but rather to create a space where park and building blend, interact and intersect. While the building itself may not be used at all times, the goal is to design a place with vibrant activity even when the building may not be active through a successful exterior presence. The plan is to create an interaction between the interior, exterior and the water. This location has the potential to become the primary waterfront access on the east side as well as one of the most

active parks in the city.

The concept for the building itself is to create an iconic riverfront building that could lead the way on a transition to redevelop Portland’s waterfront. This redevelopment of the waterfront would deal primarily with the waterfronts ecological restoration.

This restoration would be an attempt to return the riverfront to a more pristine soft waterfront that is more accessible with its surroundings and context. There is also an opportunity being located near the Tilikum crossing to compliment its design style and create an interesting design connection between the two.

In conclusion, while the goal is to look at a broad range of issues in this project, most of what is planned to address can be broken down into several primary areas of consideration. These areas of primary focus are; urban planning, pedestrian activity, connection to the water, transition and gradient, interaction, connectivity, and sustainability. The combination of these eight primary areas of focus will to work together to design a space that has a strong sense of community.

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Site Location

The site is located at the end of Division, just south of the new Tilikum crossing bridge, adjacent to the current Portland Opera. The location was chosen due to its close proximity to public transit, as well as being an area that is currently lacking in public space.

Throughout Portland, the east river bank has very little public access to the water. This location, with its ease of access, would be a prime opportunity to create a soft waterfront that would give the riverfront back to the public.

The hope is to use the site to create a successful blending of city, architecture and river. The goal is not to create a building with a great park around it, but rather to create a space where park and building blend, interact and intersect. While the building itself may not be used at all times, the goal is to design a place with vibrant activity even when the building may not be active through a successful exterior presence. The plan is to create an interaction between the interior, exterior and the water. Hopefully, this location would become the primary waterfront access on the east side as well as one of the most active parks in the city.

Site

Portland Opera

OMSI

Site Photos

Current Site -Warehouse Space -Portland Spirit OfďŹ ce -Maker Spaces -Lumber Yard -Parking Lots -Overgrown Green space -Appendix A for site photos

Site

Surrounding Area

Locomotive Museum

Ross Island Sand & Gravel

New Tilikum Crossing

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Site Analysis: Central Reach Development Plan The area covered by the Central Reach Development plan runs along the water and is highly urban in nature, with the waterfront serving as the city's main civic space. The Central Reach Plan focuses on increasing and improving access to the river and waterfront, a clean and healthy river, and connections to other parts of the Central City.

There are a number of key elements to the plan that are important to planners for how the area around the river is used. 1) Promote the identity of the Willamette River Central Reach as the Central City’s and region’s major gathering place. 2) Develop the Willamette River Central Reaches sense of place. 3) Preserve current commercial and recreational uses and promote new ones. 4) Expand commercial boating in the Central Reach. 5) Support recreational boating. 6) ReďŹ ne and streamline regulations and permitting to allow more commerce in the Central Reach.

There is an importance in this district on the state of the river with both an interest in its economy and health as well as the vitality and vibrancy of the river district. This plan is focused on how to integrate the river with the urban environment and seamlessly blend the two. To be successful the plan requires easy access to the water and creating soft-scape along the river edge to foster strong green space and wildlife growth.

Key goals: 1. Make the riverfront a vibrant place year- round.

2. Better connect the river to the downtown.

3. Promote and celebrate the riverfront as a public space and resource.

Site Analysis: Hosford-Abernethy Neighborhood Located along the east side of the Willamette River, this neighborhood is diverse with a wide variety of residence and businesses. This neighborhood was recently ranked as the most bike friendly area in the nation in regards to having the highest proportion of bike trips in the area with 25.9 percent.

With the introduction of the new Portland-Milwaukie light rail to the area spurring further growth the area is in a transitional period.

There is a focus of public space in this neighborhood and this was rewarded by being placed on the National Register of historic paces in 1988 and Ladds Addition being named as one of the “Top 10 Great Neighborhoods” in 2009.

The focus on pedestrians in this neighborhood has made this a walkers paradise with a walk score of 90 out of 100 according to the popular walkscore.com. This focus on pedestrian traffic makes for a close knit community and one that is proud of its principles. There is, however, room for improvement in the area of live music and arts.

Walkability Bikability Schools Parks Restaurants & Bars Coffee Shops Live Music Brewpubs Theaters Arts

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Building Program Administrative: The behind the scenes activity that supports the public front. The administrative portion of the program relates to the business and preparation part of the project. While it may be less glamorous than many of the other programmatic elements, it will play an important role in the success or failure of the project. Without these elements, much of what makes a successful business run would be missing.

Opera Theatre: The most important element of the buildings success is the performances. The Opera theatre is one of two spaces where these performances occur, and as such is critical to the success of the project Every part of the building is working together to create a successful and enjoyable performance and the success of that performance is entirely upon the success of the design of the performance space. It is critical to create an acoustically pleasing, visually stimulating and enjoyable atmosphere that allows for people to feel comfortable and able to fully appreciate the performance.

Concert Hall: Similar to the Opera Theatre, it is critical that this space be inviting and engaging with the audience. This space differs from the Opera space in that it is both smaller and for a different type of music. These two differences mean that the design of the space will be focus on a different type of acoustics and spatial organization as well as layout. It will be important to understand the type of musical performances that will be occurring in this space to provide the optimal experience for those coming to enjoy the performances. In order to accomplish this it will be important to create an acoustically enjoyable, visual visually engaging and spatially dynamic concert hall.

Shared Space: The shared space is where the activity that is used by both Opera and Concert hall takes place. Weather it be grabbing food at the intermission, waiting in the gallery to enter an event, or rehearsal space, the shared space is used by the guests and staff of both the Opera and the concert hall as a way to maximize efďŹ ciency of space.

Program Chart

23%

21%

8%

20% 18%

Administrative Concert Hall Courtyard

10% Opera Theatre Shared Space Circulation

Concourse/Courtyard/Promenade Extra activity more focused on interacting with the community and landscape is the focus of this part of the program. The goal is to create a open restaurant, stores and park areas to draw people in even who are not involved in the performances. This integration with th community will by a key part of the overall design.

Building Program Administrative -Offices Management Sales Administration Outreach -Meeting Rooms -Ticket Office -Staff Area Break Room Work Rooms Lockers -Cloakrooms and WC -Storage -Staff Entrance

Opera Theatre -Entry Foyer -Auditorium Seating Stage Backstage Stage Storage -VIP Room -Audio Control Room -Lighting Control Room -Electrical Room -Dressing Rooms -Locker room -Green Room

4 @ 400 2 @ 300 5 @ 300 1 @ 300 2 @ 800 1 @ 500 1,000 2 @ 500 2 @ 500 4 @ 400 4 @ 500 1 @ 200

1 @ 2,000 3,000 Seats 1 @ 2,500 1 @ 1,000 1 @ 1,000 1 @ 1,500 1 @ 400 1 @ 400 1 @ 400 2 @ 800 2 @ 600 2 @ 300

Concert Hall -Entry Foyer -Auditorium Seating Stage Backstage Stage Storage -Audio Control Room -Lighting Control Room -Electrical Room -Green rooms -Conductor’s Suites

1 @ 1,000 2000 Seats 1 @ 1,500 1 @ 1,000 1 @ 750 1 @ 400 1 @ 400 1 @ 400 2 @ 300 1 @ 300

Shared Space -Lounge/Promenade 1 @ 600 -Gallery 1 @ 1,500 -Recital & Reception Room 1 @ 1,500 -Theatre Restaurant 1 @ 800 -Bar area 1 @ 300 -Rehearsal Hall 1 @ 2,500 -Exhibition hall 1 @ 1,500 -Rehearsal Rooms 5 @ 600 -Service Corridors Concourse/Courtyard/Promenade -Main Restaurant 1 @ 1,500 Kitchen 1 @ 400 Cafe 1 @ 300 Dinning Area 1 @ 800 -Stores 2 @ 750 -Gift Shop 1 @ 600

Square Footage 50,000 + 30% circulation Total Square Footage 65,000 69 | 70

Program Diagram

The spatial arrangement of the programmatic elements will be critical to a successful design. Each element has a primary function that it must accomplish, but it must also work together with every other part in a unique way from the others. The shared workspace must be positioned in such a way as to beneďŹ t all three other primary functions of the Opera, Concert hall and administrative. The Opera must be of a higher importance and hierarchy as it is the dominant point of interest for the project. This hierarchy should not overpower the rest of the program however, it must blend seamlessly with every other element. The interaction of each of these elements is a also key to the blending of architecture with the surrounding site. The way in which one enters and moves from element to element will be important as there should be a blending that occurs, while still maintaining a level of separation. This balance of blending elements will play a part in determining the success of the project overall.

Program Diagram

Courtyard/Promenade

Restaurant/ Stores

Shared Space

Opera Theatre

Administrative

Concert Hall

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Key Design Issues Acoustics As with any musical performance space, the most important part of the entire project is the sound. A poor quality of sound can ruin a performance, and since the success of this project will be based on performances, the quality of sound is critical to creating an enjoyable experience for the listener. In order to do that a great deal of research and understanding of how sound travels is important. It is also key to know the best methods that have been developed and used in the past by acoustician to best meet and deal with the issues that sound presents in performance spaces such as these. The issues that acoustics present are very specific to this type of project and will be important to understand in order to fully develop a successful space.

Spatial Organization The organization of how all of the programmatic elements of the project relate to one another, work together and interact will be an interesting design challenge. In order to successfully unify all the individual parts of the project it will be key to have successful in-between spaces that allow for a blending and merging of people. A simple flow of spaces will help move people and enhance the interaction that they have with their surroundings. Weather it be via moving from entry, to gallery, to concert hall; the flow of movement and spaces will be important to create a comfortable experience that people visiting will be able to enjoy.

Connection to environment The concept of the soft waterfront is a primary part of this studio, but it is only one aspect of how this project will hopefully connect with its surroundings. Becoming a waterfront destination for the city will hopefully create better public space for the entire city, but more specifically for the east river bank that is currently lacking.

This connection to the environment would focus on returning much of the site to its natural habitat that currently belongs to a paved parking lot, overgrown weeds and an empty warehouse. This site along the riverfront is prime with opportunity, but as it currently stands lacks any real connection to either the river or nature.

By returning it to a more natural state it would provide a place for people to come, relax and enjoy the natural beauty of the riverfront.

Community Connection It will be important to create spaces for activity even when performances are not occurring. Creating a space that is part of the community is largely what has lead to its current site location. The hope is to use the site to create a successful blending of city, architecture and river. The goal is not to create a building with a great park around it, but rather to create a space where park and building blend, interact and intersect where the community can come and interact with one another. While the building itself may not be used at all times, the goal is to design a place with vibrant activity even when the building may not be active through a successful exterior presence. The plan is to create an interaction between the interior, exterior and the water. Hopefully, this location would become the primary waterfront access on the east side as well as one of the most active parks in the city.

Building Form As seen in all the upcoming precedents, the form of Opera houses and concert halls largely come through some form of inspiration. The complex shapes and masses that become famous for their sculptural shapes all have their basis in some more simplistic and ordinary geometry.

Many of these forms come from nature such as orange slices and the curving arches on the Sydney Opera house.

These forms may also be from something more abstract such as the angular body of a ďŹ ghter jet and the Tempe Center for the Arts. Whatever the inspiration for the form of the structure it will be important to develop some outside element that is important to the project somehow to guide the shape is it begins to take form.

Meeting neighborhood and Central Reach plan goals The information laid out within the Central Reach Development plan as well as the plan for the Hosfrord-Abernethy Neighborhood has lead to an understanding of the direction as well as the current makeup of the site and its existing conditions. It is clear that the neighborhood has successfully created a strong community already, but it is lacking in several key areas where this project could help, namely the arts, live music, theaters, parks and brewpubs. Many if not all of these categories could be improved by this project.

The Central Reach plan would also be involved in the design process of the project in that it could potentially guide the direction of the connection to the environment, speciďŹ cally toward the waterfront. The plan lays out a strong framework within which can be used to guide the planning and design process towards a successful approach to dealing with the waterfront.

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Norway Opera and Ballet Oslo, Norway

This Opera house and Ballet was designed by Snøhetta in 2008 with the goal of blending land and water, interior and exterior. Covering 414,000 sq ft with 1,100 rooms and three stages, the Norway Opera and Ballet puts on 300 performances a year and performs to 250,000 visitors per year. The form is modeled after that of an iceberg floating in the water and each aspect of its design was detailed to perfection. The materiality of every part of the structure is specific for a purpose weather it be for its acoustical properties or for the organic forms that can be created with these materials. Open space and the public promenade is critical to the project as it blends the interior and exterior worlds as well as creating a merging of water and land.

The line that divides the ground and the water is seen as both a physical and as a figurative gateway.

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Sydney Opera House Sydney, Australia

Designed by Jørn Utzon, and likely the most famous Opera house and concert hall in the world, this iconic performance space is home to over 1,500 events a year to 1.2 million people. Along with the performance spaces there is also a recording studio, cafes, restaurants, bars and retail outlets within the project.

The iconic roof arches were inspired by segmented oranges and modeled after a parabola and was one of the first to make use of computers during the design process. The project was completed in 1973, and in the end cost $102 million dollars. Today, this Opera house is widely considered one of the great architecture works in the world, drawing many visitors each year to appreciate its work.

“There is no doubt that the Sydney Opera House is his masterpiece. It is one of the great iconic buildings of the 20th century, an image of great beauty that has become known throughout the world – a symbol for not only a city, but a whole country and continent.” - Pritzker Prize citation

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Tempe Center for the Arts Tempe Arizona

Sitting on the banks of the Salt river in Tempe Arizona sits this gorgeous arts center designed by Tempe Arizona’s Architekton. This building is significantly smaller than many others of its type with a 600 seat primary theatre a 200 seat studio theater, a 3,500 sf gallery and a multi-purpose lakeside room with a total square footage of only 90,000 feet. This size is due to the scale of the community it serves of only 168,000 people, although when the surrounding area of Phoenix is included that number grows significantly up 1.5 million.

An interesting characteristic of this theatre is the openness to the community. The primary lobby is open to the public without the need to purchase a ticket for entry. This allows for the space to become a community gathering point and were also designed to be focused on views out to the surrounding area tying back to the community as well.

The concept image for the design was that of an angular fighter jet. There was great care taken in the design to ensure that there was a sculptural quality to the form from any perspective in all directions looking at the exterior so as to ensure its place as a landmark with an iconic form

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Astana Concert Hall Astana, Kazakhstan

The Astana Concert hall, also known as the Kazakhstan Central Concert Hall, is evocative of a ower opening up to the sky. The form wraps around an interior public square that is made up of a unique structure of concrete with blueblack painted glass panels cladding it. This public square with its protective wall rises 100 feet into the air.

Within these barriers is three unique musical halls, shops, bars and restaurants.

The primary of the three music halls seats 3,500 people and is one of the largest in the world. The events hosted here a wide and varied ranging from everything from Ballet to pop music to classical performances. This ability to host such a wide variety of musical types is due primarily to its acoustical design in its curtain and ceiling which absorbs a large percentage of the acoustical reverberation. The two secondary stages seat 400 and 200 and are also design around the idea of exible performance types, but also are capable of hosting movies and conferences within them.

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Appendix 2 Site Imagery

Site Imagery Current Site Conditions Warehouse Space

Current Site Conditions Parking lot

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Appendix 3 Site Analysis Climate Information

Site Analysis: Primary Riverfront Bike & Pedestrian Lanes

Site

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Site Analysis: Walkability

Portland Climate Info

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Portland Climate Info

Bibliography

Drew, Philip. Sydney Opera House: Jørn Utzon. London: Phaidon, 1995. Print.

Steele, James. Theatre Builders. London: Academy Editions, 1996. Print.

Beranek, Leo L., and Leo L. Beranek. Concert Halls and Opera Houses: Music, Acoustics, and Architecture. New York, NY: Springer, 2004. Print.

Friedrich, Jörg, Ivana Paonessa, and Dirk Baecker. Theaters. Berlin: Jovis, 2012. Print.

Snøhetta Works. Baden, Switzerland: Lars Müller, 2009. Print.

City Planners Listened to presentation on the direction the city is planning to take in regards to the general center city and waterfront regions.

Site Visit Walked the site to get an understanding of the current site makeup and function and what type of things could be done to improve Portland Opera Tour Talked with representative and discussed their needs and expansion opportunities

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