Sydney School of Architecture, Design and Planning The University of Sydney
“In every walk with nature, one receives far more than he seeks.”
John Muir
The Orbis project is a concert hall designed to harmonize with the natural and historical richness of Nielsen Park in Sydney Harbour. Inspired by the Latin word orbis, meaning “circle,” the design emphasizes inclusivity and harmony, reflecting how diverse elements converge to form a unified experience. This circular motif underpins both the architectural form and spatial layout, symbolizing the boundless connection between people and nature.
Orbis is structured in three main sections: a concert hall and viewing platform extending over the water, a shoreline entrance area with a restaurant and bookstore, and a connecting walkway that offers panoramic views. Each circular space serves both functional and symbolic roles, promoting a balanced dialogue with the surrounding environment. The concentric layout of the concert hall ensures immersive viewing and listening experiences from all angles, reinforcing the theme of inclusivity. Through layered spatial transitions, the Orbis project transforms architecture into an interactive platform that connects humanity with the landscape and heritage of Sydney Harbour.
Genesis of Vision
Exploring the origins of the design concept through site analysis, in situ study, and early inspirations to clarify the core values that will guide the project. This stage distills the historical, cultural, and ecological layers of the site, establishing a foundation for development.
Conceptual Foundation
The Broader Context
The Specific Locale
Concept Generating
The Sydney Harbour Drama House project envisions a floating theatre that harmonizes with the harbour’s natural and urban landscapes, responding to tides, breezes, and shifting reflections. This dynamic setting invites an architecture that engages audiences on water and shore, forming an ever-evolving “stage.”
My initial inspiration stemmed from Clarence Glacken’s work, Traces on the Rhodian Shore, which explores how nature shapes human society and civilization. This led me to reflect on our relationship with the ecúmene (the inhabited world), and how, as beings capable of altering the world’s landscape, we engage with nature. This interplay between humanity and nature became the foundation of my design project.
The left image is the frontispiece of David Gregory’s edition of Euclid’s Opera, as well as Traces on the Rhodian Shore, depicting a scene from Vitruvius’ De architectura. It shows Aristippus, who, upon finding geometric shapes in the sand on Rhodes, exclaimed, “Let us rejoice, for I see traces of humanity!” Here I use this image again to echo my project’s reflection on humanity’s imprint on nature, which is, in essence, the ultimate nature of this architectural project, and of all architectures. ●
II. The Broader Context
Sydney Harbour’s geological history dates back to the Triassic and Jurassic periods, around 220-200 million years ago, when the region was a vast plain filled with rivers and lakes. Over time, large deposits of sandstone and shale accumulated, forming the bedrock of the area. These layers were uplifted during the Jurassic period due to tectonic activity, which also created fractures in the earth’s crust. Molten lava rose through these cracks, cooling into basalt dykes and adding a volcanic layer to the landscape’s history.
Sydney Harbour itself is a drowned river valley, or ria, shaped by millions of years of erosion and river flow that carved valleys and peaks into the sandstone and shale. As sea levels rose around 17,000 years ago at the end of the last ice age, these valleys flooded, creating the distinctive, deeply indented coastline we see today. This geological formation also created islands from the peaks of submerged hills, giving Sydney Harbour its iconic treelike, dendritic outline.
The eastern parts of the harbour are dominated by Hawkesbury sandstone, a hard rock that forms dramatic cliffs and rugged shorelines, characterized by large blocks and boulders that have broken away over time. This unique geology has supported diverse ecosystems, from mangroves and salt marshes to coral reefs and forests, enriching the harbour’s biodiversity and making it a natural haven within an urban setting.
Sydney Harbour, with its ancient geological origins dating back over 200 million years, has long held a significant role as a natural gateway to the world. Formed through epochs of sedimentation, tectonic uplift, volcanic activity, and rising sea levels, this iconic landscape
evolved from a prehistoric river valley into today’s unique, rugged coastline. Since its early days as a natural harbor, Sydney Harbour has attracted diverse communities and facilitated global connections, serving as a crucial port for trade, cultural exchange, and migration. Its
storied past as both a natural wonder and a center of international interaction cements Sydney Harbour’s status as a historical and modern gateway to the world.
Geological structure of Sydney Basin bioregion, adapted from Geoscience Australia data
Sydney
Permian Triassic Pre-Permian basemen
The connection to the human culture started from admiration of Aboriginal art. Australian Aboriginal culture lacks a written language, relying instead on oral traditions and symbolic patterns. These symbols have become integral to their cultural expression.
Circular symbols in Aboriginal art often signify connection and gathering, revealing relationships with the land, community gatherings, and spiritual connections woven into everyday life.. I found these meanings aligned beautifully with my vision for the theatre, embodying themes of inclusivity and coexistence. This inspired me to make the circle a guiding symbol throughout my design, reflecting the space’s purpose as a place of gathering and cultural exchange. ●
Gorualgal
Cammeraigal
Birrabirragal
Cadigal
Wangal
Wallumattagal
Rockhole / Meeting Place / Ceremonial Place
Men around a Meeting Place
Travel Lines between Rockholes Waterway between Rockholes
around
III. The Specific Locale
Nielsen Park was chosen for its uniquely rich tapestry of geological, ecological, and cultural heritage, making it integral to this project. Ancient basalt dykes and resilient Hawkesbury sandstone connect the site to a distant past, while native habitats—including the endangered Nielsen Park Sheoak— highlight its ecological value. Together, these elements create a gathering space shaped by Aboriginal, historical, and natural narratives, an intersection of landscape and architecture where people connect and engage with the land’s layered meanings.
Nielsen Park holds a rich geological history, preserving ancient natural formations, with basalt dykes dating back to the Jurassic period. It has also witnessed human civilization from the Stone Age to the present, with Aboriginal cave art still visible on its rock walls.
Through modern historical developments, Nielsen Park gradually transformed into a public site, becoming a cherished recreational area and one of Sydney Harbour’s key natural landmarks.
Formation of Sydney Basin Basalt dykes formed in Jurrasic Period
people inhabit the land
colonization began
Nielse Park Hitsory Timeline
Wentworth family acquired estate
reserve
William Charles Wentworth Beach scene
Corroboree on the Murray River
Harbour’s defences
IV. Concept Generating
In this final section, the design concept reaches its full articulation, shaped by insights and ideas distilled from each preceding phase.
Sydney Harbour, as a global crossroads, boasts an ancient geological history, diverse ecological environment, and rich cultural heritage. From the convergence of diverse ethnicities and Indigenous cultures to the interplay between nature and humanity, and ultimately, the connection between humankind and the world, the harbour symbolizes a space of unity and resonance. This unique landscape offers a timeless meeting ground where histories, environments, and cultures intertwine, forming a foundation that continually inspires our understanding of coexistence and universal connection.
The concert hall will serve as a point of convergence on the water’s surface, extending outward from nature to create an intermediary space that fosters a sense of harmony.
commonality, situated on the waters of Sydney Harbour in the form of an archipelago. Extending from the natural environment, it serves as a fluid intermediary space, inviting an interaction between culture and nature, and fostering a harmonious coexistence. ●
Contours of Space
Focusing on the transition from two-dimensional ideas to three-dimensional forms, gradually building spatial strategies and structural frameworks. Examines volume, structure, and the relationship between enclosed and open spaces to set the groundwork for spatial expansion.
Precedent Study
Massing Volume
Spatial Framework Vista
Fantasia in G
The Berlin Philharmonic has inspired the thematic design in the early stage, with its concentric auditorium layout and seamless circulation paths. ●
The axiality of the auditorium is clearly expressed in its interior, only the upper tiers of the ‘vineyard’ on both long sides are arranged differently on each side.
The Backstage Areas
Connected to various rehearsal rooms, dressing rooms, and other facilities essential for the performers. The layout ensures that performers can move seamlessly from preparation to performance spaces.
Auditorium Layout
The main auditorium is known for its vineyard-style seating arrangement, where the audience surrounds the central stage, enhancing both acoustic quality and intimacy. This layout differs markedly from traditional, frontal concert halls and aims to involve the audience in the musical experience more directly.
Performer Stage Access
Performers access the centrally located stage through efficiently designed backstage areas connected to essential facilities, facilitating a seamless transition from preparation to performance. They typically enter from underneath or from the sides via routes that are not visible to the audience, maintaining the focus on the stage.
Audience Acess
Corridors and foyers twist and turn, creating a sequence of spaces that lead visitors on an almost cinematic journey towards the main auditorium
Acoustic Innovation
The interior surfaces, including the angled and draped ceiling, are meticulously designed to enhance sound reflection and absorption, ensuring rich and balanced acoustics throughout the auditorium. This setup allows the sound to be amplified naturally and filtered evenly, creating an immersive auditory experience for every seat.
Architectural Form
The expressive interior is matched by an equally dynamic exterior. The building features a tent-like, undulating roof that mimics the landscape of the nearby Tiergarten, with facades that reflect the angular, organic forms of the interior, contributing to a seamless integration of form and function
Spatial Concepts
The building’s spatial design is described as “post-Baroque,” reminiscent of Piranesi’s visions with complex, continuous, and interminable space. This is especially evident in the foyer’s design, which includes interminable spaces and staircases leading to seemingly distant parts of the building.
Material and Color
Externally, the building uses a yellow-hued metal that not only complements the natural greens of the Tiergarten but also integrates the building into its urban fabric through thoughtful color balance and material usage
The integrated layout of various essential facilities ensures that performers can move seamlessly from preparation to performance spaces.
Drawing inspiration from Indigenous art, the design begins with three circular forms—one positioned onshore, linking the structure to the park, while the other two float on the water. A sweeping, arched bridge gracefully connects these three points, embodying the circular motif that allows for panoramic views. The circular shapes, rooted in Indigenous symbolism, frame an expansive perspective, inviting a harmonious connection between land and water. ●
III. Spatial Framework
The Commercial Building is located on the shore, serving as the entrance to the entire structure. The space is divided into two parts: a two-story restaurant and a gift shop. The area between these two spaces functions as a passageway, transitioning to the pedestrian bridge over the water.
The Main Building is arranged in a radial pattern of concentric circles, segmenting the space into distinct areas. Spaces requiring enclosed boundaries are positioned along the outer ring to minimize the impact of curved edges on their borders. The central fluid space serves as the backstage, connecting surrounding functional areas.
Circulation on this level is divided, directing visitors, performers, and staff along separate pathways, ensureing an orderly and seamless experience throughout the space.
The green room is located on a mezzanine level between the audience seating and the ground level, seamlessly connected to the backstage area on the ground floor to facilitate a smooth preparation-to-performance flow.
The audience seating is arranged around a central stage, with a circular pathway on this level allowing convenient access from multiple entrances, facilitating an easy flow for patrons to reach their seats. ●
A key feature of the project’s location is its 360-degree panoramic views, encompassing Sydney’s city center, ocean vistas, and the park itself. The circular design enhances this connection with the surrounding scenery, integrating these views as a vital part of the spatial experience.
By integrating panoramic vista spaces into the existing spatial framework—and even making them part of the circulation path—the design effectively embodies this interaction with the environment.
The spatial framework reaches its full form as each element aligns with the core concept, creating a cohesive structure that balances functionality with an immersive connection to the environment. The circulation path and viewing spaces together establish a dynamic flow, seamlessly weaving the architectural experience with the surrounding landscape.
vista space negative space
Landscapes of Form
Emphasizing the refinement of spatial organization and the integration of functional zones, exploring circulation, site adaptability, and technical requirements. Defines functional and formal aspects to create a cohesive spatial arrangement that aligns with the site.
Fugue in A minor
The adjacent walkway curves around the coast, leading directly to the lower-level restaurant. It not only provides a more convenient access route but also integrates a scenic experience along the way.
The space between the restaurant and bookstore forms a threshold, serving as the entrance to the entire structure.
The restaurant is located in a sunken space, bringing diners closer to the natural landscape and water surface, offering a unique viewing perspective.
Green room connecting directly to the stage.
Observation platform and amphitheare.
Perimetre walkway leading up to the rooftop
Office
Backstage connecting to the green room via staircases
II. Spatial Dynamics
The circulation strategy is designed to create distinct pathways for visitors, performers, and staff, optimizing both functionality and user experience by minimizing overlap and congestion. Each route is carefully mapped to provide a seamless and intuitive flow, guiding users through the space with minimal disruption.
Viewing spaces are strategically integrated along these paths, allowing users to pause and engage with the surrounding landscape. This approach transforms circulation into an experiential journey, where functional movement is enhanced by moments of scenic interaction, blending practical access with aesthetic engagement throughout the building.
The viewing spaces integrated can be categorized into two types: Guiding and Inviting, each encouraging different modes of engagement with the surrounding landscape.
The Guiding Vista connect the visitors’ main paths with key destinations, serving as the primary circulation routes. These spaces are designed not only to facilitate movement but also indirectly guide visitors’ gaze and the views they encounter by consciously integrating the path with the surrounding environment.
The Inviting Vista spaces offer a more spontaneous and flexible interaction with the surroundings, designed to draw visitors in through visual cues or open layouts, rather than being part of the main circulation path. They encourage exploration and lingering, inviting visitors to engage with the landscape at their own pace. ●
Guiding Vista
• Primary Circulation Path
• Integrated Sightlines
• Controlled Flow
• Subtle Wayfinding
• Structured Views
Inviting Vista
• Secondary Circulation Space
• Open Layout
• Flexible Interaction
• Scenic Overlooks
• Visual Attraction Points
Guiding Vista
Inviting Vista
III. Decisive Details
The material palette embodies durability, sustainability, and regional significance. Spotted Gum and Grey Ironbark provide warmth in cladding and decking, connecting with the local landscape, while recycled steel adds robust, eco-friendly structural support. Bronze accents introduce a timeless finish to interior and exterior details, and Hawkesbury Sandstone grounds the design in Sydney’s heritage, adding a layer of cultural resonance. Bluestone ensures stable, textured surfaces for outdoor areas, while marine-grade and fiber-reinforced concrete deliver strength and longevity in coastal, load-bearing applications. This selection harmonizes sustainability, resilience, and local character. ●
Rooftop
Perimeter walkway
Auditorium
Foyer
Green room
Grey Ironbark
Hawkesbury Sandstone
Spotted Gum
Bluestone
Recycled Steel
Marine-Grade Concrete
The Final Harmony
This chapter encapsulates the fully realized design, where each element aligns to create a cohesive vision. Here, the project’s concepts and materials come together in their finished form, integrating spatial dynamics, environmental connections, and cultural references into a unified architectural experience.
Physical Visualisation
Renderings
Key Moments
Sonata in
Reflection
Reflecting on the current design, there are several areas identified for potential refinement and enhancement to create a more cohesive and immersive experience. One key aspect is the structural relationship to the water. Currently, the supporting structure sits at a substantial height above the water, which limits the connection with the surrounding marine environment. Introducing additional spaces, similar to the restaurant’s lower level, could help bridge this gap, bringing visitors closer to the water and enhancing their sensory experience.
Additionally, while some viewing spaces are positioned to capture key perspectives, the level of detail in these spaces could be further refined. The framing of views and integration with circulation paths would benefit from a more deliberate, layered approach, allowing each viewing point to serve as a distinct moment within the journey.
Circulation design also warrants closer attention, particularly regarding path width and spatial richness. Expanding the width of certain pathways will not only improve accessibility but also provide opportunities for dynamic interactions with the architecture and landscape. Enhancing the detail and variety within these circulation spaces can foster a more engaging experience, encouraging visitors to explore at their own pace.
Overall, these reflections suggest that greater attention to proximity, detail, and circulation design can elevate the project, bringing it closer to the intended vision of seamless interaction between architecture, nature, and human experience. ●
Reference
Frontispiece of Euclidis quae supersunt omnia. 1703. Engraved by Michael Burghers. In Euclidis quae supersunt omnia, edited by David Gregory. Oxford: Sheldonian Theatre. (MAA)
Gale, S. J. “The Age and Origin of Sydney Harbour and the Parramatta River: The Cenozoic History of the Coastal Rivers of Central New South Wales.” Australian Journal of Earth Sciences 70, no. 1 (2022): 1–17. https://doi.org/10.1080/08120099.2022.2117243.
“Aboriginal Art Symbols - Iconography.” Kate Owen Gallery. Accessed November 11, 2024. https://www.kateowengallery.com/page/Aboriginal-Art-Symbols.
Carr, Paul F., and Brian G. Jones. “The Influence of Palaeoenvironment and Lava Flux on the Emplacement of Submarine, Near-Shore Late Permian Basalt Lavas, Sydney Basin (Australia).” Journal of Volcanology and Geothermal Research 112, no. 1–4 (2001): 247–66. https://doi. org/10.1016/S0377-0273(01)00244-X.
Brubaker, C. B. Basalt Dyke and Arch on Lake Superior. Burton Historical Collection, Detroit Public Library. Date unknown. Marquette, Michigan. Physical rights retained by the Detroit Public Library.
Krefft, Gerard. Corroboree on the Murray River, New South Wales, 1858. Watercolour. State Library of New South Wales, DG XV/1. 1865–75.
Bradley, William. “Sydney Cove, Port Jackson 1788 with First Union Flag near Site of First Government House.” Sydney Town, circa 1790.
Dalton’s Royal Photographic Gallery. “Studio Portrait of William Charles Wentworth, Explorer, Author, Barrister, Landowner, and Statesman.” 1861–62. State Library of New South Wales, P1/1934.
Agriculture and Stock Department, Publicity Branch. “Beach Scene, Sandgate.” December 1937. Queensland State Archives, Digital Image ID 2127.
Adam.J.W.C. “Middle Head Fort in Mosman, New South Wales.” Photograph. November 22, 2008.
“Nielsen Park.” Sydney.com. Accessed November 11, 2024. https://www.sydney.com/destinations/sydney/sydney-east/watsons-bay/attractions/nielsen-park.
Berlin Philharmonic, 1960–63, Designed by Hans Scharoun, Floor Plan and Section.
