Music for Bath John Tavener Memorial Hall
Portfolio Architecture & Environmental Engineering Joe Daw
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Design Statement To enable music to thrive in and around a building the music itself must be understood. Along with research into the needs of the users and performers listening to the music informed most of the choices throughout the project. This Brutalist proposal celebrates the creation and consumption of music through education and performance. Reflecting aspects of his life, the John Tavener Memorial Hall celebrates contemporary classical in modern Bath.
The education facilities have venues that will provide a unique teaching tool for the music college, as the music will be designed for the specific acoustics of each of the venues. The smaller venues will be designed with other uses such as pubs, bars and restaurants that will have the capability to put on more informal music events. The external public spaces will have the ability to host buskers and music performances. The two largest music venues will house a nightclub and a classical concert hall. These will be placed adjacent to one another and the buildings will be designed to fulfil the criteria of their specific music genre. The juxtaposition of these two genres will be highlighted by the typologies and thinking in designing them. Linking the two venues will be an internal egalitarian foyer.
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Contents Chapter 1
The Brief
Page 008
Chapter 11
The Site
Page 013
Chapter 111
Masterplanning
Page 024
Chapter 1V
Precedence
Page 036
Chapter V
The Building
Page 042
Chapter V1
Technical Substantiation
Page 071
Chapter V11
Construction Detailing
Page 085
Chapter V111
Building cost and weight
Page 098
Chapter 1X
Visualisation
Page 101
Chapter X
Short Conclusion
Page 113
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Contemporary Classical To enable music to thrive in and around a building the music itself must be understood. Along with research into the needs of the users and performers listening to the music informed most of the choices throughout the project. After reading Music and Architecture by Iannis Xenakis and researching La Tourette (Le Corbusier) it became apparent that the design for a concert hall in Bath would not benefit from having an aesthetic treatment using deconstructed music rhythms and dynamisms. Instead I chose to subtly and sometimes unconsciously inform the design of a concert hall by immersing myself into the music it is designed for: contemporary classical. Contemporary classical was chosen because I had no prior knowledge of the music and musicians and I was intrigued by it. A Short Ride in a Fast Machine by John Adams, an American composer, is a short triumphant fanfare and its fast pace and liveliness intrigued me. It was the first piece to capture my thoughts in the genre. I listened to more contemporary classical music including John Tavener’s, The Whale. After looking into the work and life of John Tavener it became clear that, this being the year after his death, a memorial hall would be appropriate.
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Chapter 1 - The Brief A music haven for Bath: The main focus of this scheme is acoustics. The site is to have a number of venues of varying sizes, ranging from a large classical concert hall to a small bar. These venues will all have varying acoustic properties that will allow for different styles and sounds of music on the site. The second use of the site is an extension the Bath College and is to be their music school. This music school will have the unique access to these varying venues. These venues will allow students to write and perform music to fit very specific acoustic properties. This means that the venues will mostly be design with a singular characteristic, rather than a modifiable venue that can be adapted to fit a range of uses. The other large venue to be on the site is a nightclub. Between these two venues is a wide range of genre. Smaller venues on-site and in the rest of Bath can be used to hone students skills into crafting music that works live. These music performances will bring a surge of people wanting to learn to play, write or perform themselves. To cater for these people, public access music facilities will allow for the growth of Baths musical future. The rest of the site will be given back to the local residents as an extension to green park. This will be a sports field, allowing children area to play. This will have to be situated in an overlooked area of the site to maintain a safe environment the play.
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Sir John Tavener The music of John Tavener was particularly intriguing for me. The contrasts of his musical styles and his life seemed to be deeper than other composers. Tavener’s music is influenced by other music cultures yet all has his style embedded in it. Indian and Arabic sounds can be heard entwined with eastern sounds of Russian Orthodox traditional music. Tavener believes that roots in tradition make the music sacred. Islamic, Hindu and Buddhist traditions are frequently used. A purpose of the music is to unit religions and people. John Tavener lived in the South West of Britain, in small village in north Dorset. Bath is one of the closest major cities to his home and the grandeur of the city is reflected in his life.
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Sir John Tavener’s music ranges from contemporary pieces such as The Whale through to choral pieces like The Lamb. The Whale is an orchestral piece that is intertwined with recorded and looped speech and sounds. Released on the Apple record label, of The Beatles’. This tells the storey of Jonah and the Wale. When listening to The Whale it is easy to imagine the composer to appropriate the work of Anton Webern and Elliott Carter. However when listening to The Lamb the contrast between that and The Whale is vast. This is due to finding deeper faith in Russian Orthodox Church. When composing music Tavener is creating music for God. Although he himself thinks this is naive yet the music can be heard with sublime ethereal deeply moving feelings.
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Chapter 11 The Site The site is situated in a very under utilised area of bath. Next to the river and surrounded by trees the site has pockets of secluded beauty. To escape the bustling tourist traps of the city centre all one has to do is step down to the river level on the site. The site is made up of three car parks. Although they are used they are very inefficient. The main structure on-site is the Brutalism concrete car park. This squat structure has a charm to it. It is so understated and overlooked that it is no longer a blot in Bath’s precious façade city as it once may have been. To honour this lowly structure the proposed ethic for the site is that of Brutalism.
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Surrounding Context The site is situated on the edge of a densely populated area of the centre of Bath. The diversity of the surrounding area could support a multitude of uses in the site. However, the immediately logical main use for the site was a concert hall. Due to the proximity of Bath College they could use the site very easily.
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Music School Bath’s universities have almost no direct spatial relationships to the site. Their campuses are scattered across the city. These universities have their own facilities and accommodation, and it is unlikely that the site could serve such purpose. As the Bath University has no music connections the site wont be particularly useful. Whereas Bath Spa has several music courses so could utilise the site. Due the proximity of Bath College this is the obvious choice for developing a music school as an extension to their buildings.
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Music Venues 1 - Bath Abby Has 1100 seats and can be used as a music venue and hosts exceptional music performed by the Bath Abby Choir. Three series of Organ Concerts take place at the Abbey throughout the year: a Summer lunchtime series (Jun-Aug), evening recitals during Autumn (Sept, Oct) and Spring ( Apr, May). Bath Abby would be a n ideal venue to perform John Taveners choral pieces. 2 - Bath Pavilion Is a multi-purpose 1400 standing capacity venue hosting concerts, charity and private functions. Worldwide famous artists whom have appeared includes, Led Zepellin, The Beatles, Jimi Hendrix, The Who, Adam Faith and the Rolling Stones. 3 - Komedia -Has a capacity of 783 and hosts a diverse arts and entertainment programme, featuring international and national performers. Musicians, both of upcoming and well established bands play at Komedia and has events 2 times a week. 4 - Moles -Is a 220 capacity venue which welcomes new artists from the UK and around the world. It also has fully equipped recording studio with band accommodation. The artists who have performed here are Damian Rice, Lovecraft and Sons and Oasis. Events occur often 6 times a week. Rondo Theatre Is a 105 capacity concert venue which provides dressing rooms, a backstage room, offices and a foyer at the front of the building. It is now one of England’s busiest and most atmospheric small theatres. Rondo welcomes nearly 80 different companies each year bringing a variety of theatre, music and performance 2 times a week. 5 - The Bath Assembly Rooms Is made up of three main spaces ranging from 120 500 capacity and hosts numerous events. The Bell Inn Offers live music 3times a week, open mic nights, Drum Circle Workshops and vinyl DJ nights. They have been announced winners of the Bath Chronicle Pub of the Year competition 2013. 6 - The Forum Has a capacity of 2000 seats and is a designated Grade II listed building. It used to be Bath City Church and was also used for concerts, performances and presentations. In 2013 The Forum was developed into a music venue and theatre for the city of Bath.
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Bath Music Culture Bath is host to many music events festivals. 16-26th May - Bath International Music Festival A festival of many styles of including classical, jazz an folk music. The festival also includes films, talks, multimedia events, music theatre, exhibitions and dance. The festival is spread over the city, including venues such as, The Forum and The Mission Theatre. 23rd May - 1st June - Bath Fringe A diverse mix of acoustic, folk, Cuban, Latin, hip hop and jazz concerts. Other activities include theatre, dance, visual arts, comedy, children’s festival, street theatre and circus. This occurs all over Bath including The Bell, Komedia and The Mission Theatre. 10-18th August - Bath Folk Festival A Festival run by and for musicians and dancers who are passionate about folk culture. The Bell Inn is the closest venue to the site. 19-20th October - Oxjam Bath A nationwide charity festival spanning most genre, including hip hop, jazz, alternative, indie, electronic and rock. With gigs in The Bell and Moles and other various bars and venues in Bath. 8-16th November - Bath Mozartfest Described as a glorious nine-day feast of classical music. It celebrates Mozart’s music, his contemporaries and those influenced by him. Spread over venues such as Bath Abbey, The Mission Theatre and he Assembly Rooms.
Site Music Venues All of these festivals would benefit from the introduction of more venues. The new venues will need to be scattered into the site to mirror the existing music venue locations. The site will add different types of venues, such as a large nightclub and classical concert hall. The venues in the site create new musical journeys through the city and fill gaps in between existing ones. The varied music culture and genre will be reflected in the venues and musical education on the site. The music school will create a larger output of talented musicians to create more need for venues throughout Bath, Therefore the venues on site will not detract from the existing stock but the site will benefit the city and the venues on site will benefit the music school.
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Sound Mapping
Existing Sound Map
New Sound Map - Comparison - Excluding Avon Street
The site is almost surrounded by a network of roads. The vehicles on these roads produce the largest percentage of noise heard on the streets of Bath, added to be the railway. To get a picture of the sound, two maps have been produced: one showing the existing scenario, with Green Park Road running between the site and the river (left), and one without (right). In these two scenarios the sound levels in the site can be seen to change dramatically.
Decibel (dB) Level Key
>65 >70 >75 >80 >85
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Totals
Motorcycles - 1447 Cycles - 2123 Bus ses &C oac hes - 70 3
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Information gathered from the traffic data is shown on this page. This data was used in the CadnaA model to produce a more realistic model than if benchmark traffic numbers for road type were used.
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In CadnaA all the building heights had to be inputted, along with all the heights of the contours and features, such as foliage, roads and the railway. The data was then added for all the roads, which included road width, speed limit and average car numbers over 18hrs. This model is then calculated and outputs the coloured sound map.
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od Go
In order to build a 3D model of the site in CadnaA a simple 2D CAD map was produced, only including single line roads, railways, building outlines, contour lines and areas of foliage. The building outlines had to be drawn as ‘closed’ polyline boxes in Auto CAD, then imported into CadnaA.
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The sound could have been mapped using recorded values from Bath. However, to get a fuller picture of the sound levels in and around the site, CadnaA was used to create a computer generated sound map. This enabled a variant of the map, without some roads, to be accurately produced. CadnaA uses traffic data of roads and railways to map how it is averagely heard over a modelled landscape
Cars & Ta xi
>35 >40 >45 >50 >55 >60
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Total Traffic per Year
What does it mean?
Real World Testing
To verify the results of CadnaA the actual decibel readings for various points over the city were recorded. These were each taken over an hour period to try to ensure average results. However to get a more accurate value readings would have to be taken for a longer period. In all the areas surrounded by roads these recordings confirmed the noise map.
Every 10dB the sound heard doubles:
A 1dB change can’t be distinguished. A 3dB noise difference is easily noticeable. People start to get annoyed at:
However, in the results in areas populated by people the actual values were higher than those mapped. This is because CadnaA does not take into account noise from people. So on any pedestrian areas of Bath the noise map will read a lower than actual value.
People get seriously annoyed at:
However it is accurate for the site because of the surrounding road network. The sound map without the road therefore shows the site without people, with only the noise from nearby roads.
Union Passage - 55dB
Outside Bath Abbey - 54dB
Inside Bath Abbey - 48dB
50dB 55dB Noise Output at 20mph: 62 dB
68 dB
73 dB
Kingsmead Square - 60dB
Riverside Walk - 53.7dB
Green Park Road - 74dB
78 dB
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A Tale of Murder in Bath Chapter 1 - The Boat Lonely Hearts The girl with green eyes, In the morning mist, Next to the water, I live on the boat, Please visit sometime. As she walked she thought. Picturing that moment, fleeting but perfect. The sound of the cars on the road above muffled by the trees mixed with the lap of the river. CRACK. The hatch of one of those house boats burst open diverting her lazy gaze sharply to his. They both stopped. He smiled and then ran away. Why did he run away, she thought? Was it even meant for her? What were the chances of a Lonely Hearts Add fitting that moment last week? What were the chances of her finding it? She felt like it was meant to be. As if. She turned walking back away from the river, retracing her steps to the old coach park cafe. Another coffee she thought. She liked it at the cafe, sheltered by the trees, watching the tourists come and go, to get a snap shot of Bath. The face of a city they take their postcard pictures of. How odd that you see deeper the longer you stay, the abandoned buildings, the needles on the floor, the stained
Writing 22
Workshop
dissolving stones of the once grand old buildings.
Natasha down into the boat.
Later when the sun was almost full, she stood looking at the water on the most familiar of walks. Looking, but the boat had gone. Well that proves it, the add wasn’t for her. Shame, she thought.
As her eyes became accustomed to the shadowed scene that confronted her she screamed. What was that over there? It can’t be. A body led still on the floor just a few feet from where she had fallen. The man grabbed her again, pulling her face close to his and hissed, “Why are you here?”
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One month later sitting outside the same cafe it suddenly dawned on Natasha, it was the same cold damp morning that she had seen that man. Crows cawing in the morning mist, that still blocking the direct morning sun, creating an ethereal glow from up river, which lit the dark water with a ripple of red. She stood up and crossed over to the top of the river bank. It was there. It was back. She walked quickly over the path down to the river side not taking her eyes off of the boat. She approached the boat slowly now, looking around as if what she was doing was criminal. Was it the same boat? She peered in through a small round window there was no one that she could she. Picking up courage she knocked on the large hollow shell of the cabin. The deep booming knock startled her and the inhabitants inside. After a scurrying inside a face appeared in the window, shockingly white against the dark interior. He jumped out the hatch as before and by grabbing the hood of her coat pulled
She now saw the fear and panic in his eyes his skin devoid of any colour. She tried to speak but no words came out. “Why are you here?” The man hissed again. “No,” she whispered. This wasn’t how this had gone in her head. She felt sick. What was this place that she now found herself? “Why are you here?” “To find you.” “No, this is all wrong.” The man said still holding her. “Why are you here?” It was slowly dawning on Natasha what was going on. She had interrupted the man, caught him, but she had seen, he will kill her too. She struggled and struggled pushing the man away kicking, scratching and screaming. She reached the door but it was locked she ran through a passageway into another room, no doors, no windows. She was trapped. She burst back into the room ready to fight through
the man, but was just sat where she pushed him, whimpering and crumpled. He cowered as she came through the door hands up around his face in defence. She stopped; this was not what she had expected. She stood over him tensed fighting her emotions that shouted RUN with every shaking beat of her heart, but she didn’t she just stood. She had seen this before; this wasn’t a killer this was a man with guilt and pain tearing through his body ripping at his every sense. She slumped to the floor looking at the pitiful wreck of a man. “I want to help,” she said shakily in her blunt Russian accent. She managed a thin smile to try and erasure him of her intentions.
He looked up, “I guess so,” he said. “Then we need to move. Is this where it happened? Does anyone know he is here?” “Yes. What have I done? Why are you helping me?” “Can you drive the boat? It will take your mind off it.” Why was she still here? She thought. What a mess she was already in and now this, of cause this would happen to her. Only her and he were going to bring normality into my life. How could she be so stupid?
“Why?” He asked, confusion now mixed into his harrowed face. “I can’t tell you why but I know how you feel,” more calmly this time, pausing she asked, “would you like a cup of tea?” They both sat at the small dining table at the edge of the kitchen. “What is your name?” She asked. “Kane,” he replied still looking down at the mug of steaming tea clutched in his shaking hands. “Natasha, I live in Bath. Will anyone be looking for the man?”
Chapter 2 - The Burial As the boat slid peacefully downstream, the events of their first meeting already forgotten, Natasha pieced together the drama that had occurred in Kane’s houseboat. It had all started with a stranger knocking on the window, a man, an imposter, a father. The man claimed to be his father and had been talking when he collapsed on the floor, a bullet hole splintering its way through another small window across the boat
Rapid On-Site Study - pencil, pen and watercolour
into a once smooth teak beam. This had happened approximately 20minutes before she had knocked on the door. That was why he was going to hurt her; he thought it was her that was bringing this horrible situation upon him. This was even worse than Natasha had first assumed. Someone else was involved. Someone highly skilled in the art of killing. Who was the target? Is this man who he says he is and is he telling the truth? All these trained questions going round in her head. They moored the boat in amongst some trees far down river, hidden to all but other river users. The river was a direct contrast to the city, only known to locals, calm, still and quiet. It felt as if there was more time here, more time for life. Not time for the father on the floor. As the sun set, painting the mottled clouds pink, they laid the body in the ground. It had taken the whole afternoon to dig the hole using the small coal shovel from the boat. Kane dug the hole relentlessly down deeper and deeper. This was a last stab at showing his respect for a man that could have been his father. The ceremony was short but sentimental, there weren’t many words spoken but how could there have been in a situation like this. They returned to the boat and started up the fire for heat and light. They both sat there in silence
watching the little flickering fame dance in the iron stove. “My car!” Said Natasha. “My car is still in the car park. The one next to the river. The ticket must have run out hours ago. I have to go back.” “Now?” Ask Kane. “Yes. It is the only thing connecting me to the river. But the boat can’t go back. How far is it to walk?” “Not far I will come with you.” *** The walk had taken them an hour, which meant the boat was roughly 3miles out of the city. Far enough thought Natasha. As they walked out of the park they tagged onto the back of a group of students on their way home to the station. They walked past where the boat had been moored not long before, into the dark cold car park. On the second floor sat her car, the only car in sight. She put the key into the lock but jumped back in alarm.
intently into the car. But she hadn’t seen anyone inside the car, it was a reflection. She knew that Kane would panic. She had to move fast. As she reached what she needed, it was all too late. She kicked back hard sending her attacker spinning backward but he was back to his feet almost before she was turned around. She whipped the gun that she had almost got to in time, already silenced the gun kicked twice, only just missing the man as he ran and jumped out off the car park. The screech of tires sounded his escape into the night, but for how long. She looked over at Kane a bewildered blooded face looked back. Kane had been attacked too, there were three men slumped around him all unconscious, their breath plumbing out into the night air. “Why the hell do you have a gun in your car?” “There is something I need to tell you, and probably something you need to tell me too,” she said looking down at the three men at his feet, “but we need to get out of here now.”
“I saw something move inside the car,” she said again peering into the car.
They moved the bodies into a corner of the car park and covered them with a rug from Natasha’s car before parking it on a nearby street. Neither of them said a work all the way to the boat. They sat down each holding a fresh mug of tea.
“There’s nothing there.” Kane was also peering
“Who should begin?” Asked Kane reluctantly.
After a pause Natasha replied, “I suppose I can.” Chapter 3 - Identity After three hours of talking the truth had almost unravelled itself. “How did you know who I was?” Natasha asked, “and you knew I would come on that day?” “No you weren’t meant to get mixed up in this but I did want to work with you. I heard about your job in Myanmar, you have a good taste in work. So here I am in Bath. Treading on peoples toes of course. When did you realise I wasn’t telling all of the truth?” “I knew the man you killed. He had just tracked me to Bath after three years of tracking me down. I would have had to kill him or pay him if it wasn’t for you. What are the chances of him going after one assassin only to bump into another he was supposed to kill!” “If I had known you knew we wouldn’t have had such a touching ceremony.” They both properly laughed for the first time since they met.
“One question, what gun did you shoot him with? He was shot from outside the boat, the bullet came through the glass through him and into the wall.” He smiled, “Those guys we had a little scrap with back at the car, I paid them to kill him, he would have got me first if I had tried to kill him. They panicked when you arrived, and are even more pissed off! I came to Bath to ask if you wanted to team up for a while, and seeing as we work so well as a team!” “Why not,” she replied, “I could do with someone watching my back.” “Nice, then you should know my real name is David.” “Nice to meet you David, I’m Margot,” She replied in a soft French accent. “This should be quite a journey. Where is the first stop to be?” “How about Rome.” He said, now broadly grinning.
The End
Writing Workshop Thoughts This story is based in Bath in and around the design site. Using writing as a creative tool is a foreign idea to me. However, after a protracted start I started deeply thinking about how people use the site. About what scenarios might play out on the streets of Bath unknown to the public travelling through. The feeling of a lonely, forgotten place that is well used but only ever fleetingly passed through, was portrayed whenever the story itself travelled through. At present the surroundings are key to the site, these can be harnessed into a scheme to blend with and enhance the 23 surrounding context of Bath.
Chapter 111 Masterplanning
How can a positive urban concept be created using such a negative term?
PRETENTIOUS
RESTOR
Flo
Unwarranted Importance Use of various architectural devices to induce a deep sense of claustrophobia.
,QÁDWHG Pseudo Flamboyant Pompous Ostentatious
CLAUSTROPHOBIC
Small Spaces Caves
Panic Attacks Tunnels
Speed Planning Using the words along the top of the page a group had a limited time to produce a masterplan for Bath.
DESIGN PROGRAM
COMPRESSION & RELEASE 24
In Se
Restriction
Feeling of compression from city realm to ‘Informal Grid’ is increased by implementation of ‘Claustrophobic Pinch Point’.
RECIPE FOR CLAUSTROPHOBIA
ACCESS
architectural uce a deep trophobia.
BIA
RESTORE WATER’S EDGE Flood Mitigation
SET DESIGN W.SHOP Student Accom. Self build
‘Informal frame’ provides basis for students to collectively construct their own accommodation for the commencing year.
Informal Settlement
DATA CENTRE
Construction Data Construction information and materials are the only things students are provided at the beginning of the academic year.
STUDENT ACCOMMODATION Construction Anarchy
ACCESS...
...SITE CONFIGURATION 25
RECIPE FOR CLAUSTROPHOBIA
increased by implementation of ‘Claustrophobic Pinch Point’.
Terracing
Formal Performance
Informal Performance
SECTIONS - 1:500
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Floodable Public Space (Basin)
ACCESS...
...SITE
RECIPE FOR CLAUSTROPHOBIA
increased by implementation of
U R A T I O N Pinch Point’. C O M P R E S S I O N & R E L E A.S. .ES I T E C O N F I G‘Claustrophobic
ACCESS... Speed Planning
Istanbul , Turkey
The words that were most poignant were claustrophobic, pretentious and restore waters edge.
Terracing
Kolwoon, Hong Kong: Walled city
Medellin, Columbia: Edge condition
Formal Performance
Claustrophobic was the most interesting word to explore. The use of claustrophobia was explored with regards to old cities such as Marrakesh. This lead to ideas of markets in small alleys. Compression and release was a tool that made the enjoyment of the final destination greater by making the journey uncomfortable before it. The conversation then led to how the future of Bath could look. As households increase the need for housing increases but due to the strict planning laws there is not enough being built. Due to the extremely high demand blocks are made on the site. These inhabited blocks then expand and multiply upwards and out into the city.
PRECEDENCE
Informal Performance
Floodable Public Space (Basin)
This almost dystopian world became an influence on the final group masterplan. Including the pretentious nature of the scale and contrast to the Bath norm and the pretence of the dual fronted city.
L 0V I S U A L I S A T I O N S E CCT O I ONNCSE P- T1U:A 50
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Site Location 1:5000
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Basic Masterplanning Strategic Moves
Green Park
<
Gr een
Co
rrid
or
>
Sports Park
Entertainme
Cinema
nt Venue Cir cuit
1:5000
Add to the Concentration of College Education Facilities Enough =( ) Shopping
Concert Hall
Musical Industries Green Pocket
Riv Acc er Fro n ess &U t se
Continuation of Mottled Pattern of Bars, Restaurants, Pubs and Cafe. = ( )
Bridge to City Redirecting residential footfall to shortest route, through the site
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Site Elements to be Removed
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Proposed Eduction Cluster
Entertainment and Formal Venue Route
Informal Venue Patchwork
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Master Plan City Strategic Moves
Mottled Pattern of Informal Venue Continuation
ue Ven ent
m ain ert
En t or
rrid
Co
Edu
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c atio
n C on ce ntra
ti o n
Site Proposal 1:5000â&#x20AC;&#x192;
The proposed buildings sit into the site using the street networks as a basic grid. The buildings fit with the un-rectilinear nature of Bath city centreâ&#x20AC;&#x2122;s streets. The density is similar to the rest of Bath so should feel familiar when walking through the site. The building orientation has been set out to maximise the possibility of a passive scheme.
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Site Entrances
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Created Public Spaces
Routes
Site Diagrams
Site Entrances
Created Public Spaces
Routes
Created Active Frontage
New Music Venues
Removed Roads and Proposed Bus Route
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Chapter 1V - Precedence
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Initial Precedent Study and Scale Test
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Zaha Hadid Cardiff Opera House Cardiff - Unbuilt -Concert hall is the jewel of the site -Protected by surrounding buildings -Facing and open to river
OMA Casa da Musica Porto - 2005
Percy Thomas Partnership Symphony Hall Birmingham - 1991 -Acoustically separated - â&#x20AC;&#x2122;Egg in a boxâ&#x20AC;&#x2122;
-Large auditorium surrounded by other music use
-Interior acoustic principles - form / materials
-Suspended Auditorium
-Scaled 2000 seats to 1000 seats
Concert Hall
Front of House
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Escape Core
Escape Core
Back Stage
The first obvious influence can be seen in the progression of form from the interim to the current design:
Interpreting the Music
Precedent Study Site Entrances
Created Public Spaces
Routes
Created Active Frontage
Interim Parti
Final Parti
More literal design choices include the inclusion of a chapel and the inclusion of religions motifs embedded into the design. The main difference is the way the building relates to the river. When listening to the Adams piece the layering of the sequences in and around the concert hall can be seen in the literal over laying of the spaces to create a more fragmented but still whole building. This fragmented while still whole nature can be seen in most of the contemporary music I was listening to at the time and although at the time I was unaware that I was letting the music unconsciously inform my design it clearly has.
The way the building relates to the river was directly informed by music, making the space between more included and used. This may have been due to Tavenerâ&#x20AC;&#x2122;s feeling to nature ethereal and calming references in his music and style, seen in the photoshopped model image opposite. When making the freehand sketches opposite I was listening to a number of pieces and imagining the story of the movement in and around my designs, this helped me visualise the story of the public spectator.
New Music Venues
Removed Roads and Proposed Bus Route
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Literature “Imagination augments the values of reality.” Neil Leach Rethinking Architecture Bachelard Poetics of Space 1958
“But decoration is not modern.” Reyner Banham Guide to Modern Architecture 1962
Brutalism – Interesting typology. Interested in ethics of social design: Designing buildings for the benefit to the everyday person. Béton Brut – Raw materials in found state - Maybe not concrete - Critically juxtapose with Bath’s ‘false fronted’ Georgian architecture. - Contrast with concert hall. Alison and Peter Smithson Without Rhetoric 1973
The Arts “constantly aspires towards the condition of music.” Architecture is frozen music. Music and architecture have shared qualities. “Architecture could reach its supreme condition once again and become its own particular kind of music.” Charles Jenks Architecture Becomes Music 2013
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Aesthetic Precedent
Aesthetic and Ideological Precedent
Aesthetic and Detail Precedent
Robin Gibson – Queensland Art Gallery – Brisbane – 1982
Walter Gropius –Bauhaus - Dessau – 1926
The Hepworth Wakefeild - David Chipperfield 2011
Functional Materiality Aesthetic Education
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Chapter V The Building
Schedule of Accommodation The main building uses and their needed areas are shown opposite.
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Concert Hall Foyer
Auditorium
Back Stage
Sub Total
7,100m
1,600m
2
2
2,300m2
Circulation
4,000m
G 1,000m2
Refreshment
2500m 2
450m2
Public WC
600m2
100m2
100m2
100m2
Circulation
300m
1st 150m2
2nd 75m 2
3rd 75m 2
Seating
850m2
450m2
200m2
200m2
Stage
450m2
270m2
180m2
Performersâ&#x20AC;&#x2122; Area
900m2
General
1,400m 2
2
2
1st 600m2
2nd 600m2
3rd 600m2
4th 600m2
5th 600m2
100m2
450m2
500m2
500m2
500m2
150m2
150m2
11,000m2
Public Music Facilities Circulation
600m2
Studio Space
15,000m 2
Recital and Practice Stage
1,600m 2
Sub Total
17,200m2
Total
28,200m 2
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Initial parti uses main routes into the site to create a public meeting space at the centre of the site. This creates individual journeys with a common destination depending on the direction of travel. The river is hidden and protected by the buildings, with limited routes to the river. The river appears suddenly only to those willing to explore the new urban landscape. College situated in the snaking building length has the best views. The concert hall is situated just off of the epicentre of the paths through the site.
44
The developed initial parti still utilises the main routes into the site to create a public meeting space at the centre of the site. The views to the centre are more limited, creating sense of secluded oasis rather than an open park. The concert hall in raised off of the ground to make the ground floor a different type of public space, with different uses. This could have a feel of the Southbank skate park in London. This is not the usual type of space in Bath as it isnâ&#x20AC;&#x2122;t in Southbank, yet could bring a lively diversity to the site.
The interim critique parti follows the general pattern of mass and routes yet opens the spaces up to produce vistas to the river and into the public squares.
The final parti utilises a lot of the feature that make the previous partiâ&#x20AC;&#x2122;s successful. However this final iteration is far more inclusive of the river than the previous.
The college has been consolidated into the two blocks and block at the back of the concert hall.
The night club in this parti is more of a statement, wrapping over the top of the concert hall utilising the views to the city and the extensive roof of the concert hall.
The foyer wraps three sides of the concert hall, linking the spaces to create an egalitarian space. The river is more accessible from the main public routes but is still concealed.
The building orientation follows the sun paths a lot better, creating a far lighter main public square than before.
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Symphony Hall Visit I
Symphony Hall Visit II
Visiting the Birmingham Symphony Hall allowed me to see first hand the side of the concert hall that I had no knowledge of: the back stage.
Having never been to a classical concert I decided to book myself in to see the San Francisco Symphony conducted by Michael Tilson Thomas.
From sitting on the stage and looking up into the stalls, to the conductorâ&#x20AC;&#x2122;s dressing room, and the access straight to the back. This visit informed the thinking behind the arrival of performers, instruments and the audience.
This opened my eyes fully to the dynamic, moving art form of contemporary classical music.
The tour of the hall was given by Andrew Jowett OBE, the chief executive of the hall. His knowledge and expertise on concert hall acoustics, music, facilities management and spacial arrangement was key to my understanding of concert halls and classical music.
The symphony orchestra played three pieces by: Charles Ives, John Adams and Hector Berlioz. The latter was so well composed that you could really feel the emotions in the story it was telling.
Musical Listening During the design process I tried to immerse myself in the music while I worked, listening to a number of pieces by highly regarded names in contemporary classical music. This can be seen opposite: (Please try to forgive my spelling and grammar in the pages to follow. All were written as I was feeling what the music was doing. I did not correct the spelling because I feel that it gives a clearer picture of my initial ignorance of the music typology and the spontaneous nature of my comments.)
I feel that the music is embedded deep inside my architecture. Most of this has happened unconsciously from listening to the music, and others are conscious design choices.
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Sir John Tavener 1944 - 2013
Chapple
Concert Hall Composer Love of Classical Music Classical Composer He composed classical music and would have been a performer if he didn’t suffer from stage fright.
Nightclub
Religion Isolation
Religion Much of Taveners creativity sprang from religious faith, which can often be heard and was reflected in his life (Stewart, 2013). Tavener sought to combine religious beliefs, classical music and creativity resulting in a individual sound (Stewart). Tavener converted to the Russian Orthodox Church in 1977 and was influenced by the religions texts and values. Tavener also combined other religions into his music which was often controversial. His hope was to unite religion, nations and cultures. Having a chapel in his garden, Tavener thinks that his music is deeply spiritual and that music is prayer. Essentially Tavener composes music for God, although he thinks of this as naive as the process becomes practical when designing for the human listeners and performers. (BBC)
Experimental Contrast Experimental The fusion of all his influences has aloud Tavener to build his own style and experiment. ‘My first love was always to improvise and compose on the piano’ (Tavener) Contrast As Tavener said, Ever since I was aged three until I became very ill over three years ago I have had what some consider a paradoxical interest in cars (Tavener). One comment on a YouTube clip of the BBC series: Sacred Music, Series 2, Searching Out the Sacred, Episode 4 of 4 - BBC Four, highlights the controversial nature of using religion as an influence, “You cannot be Orthodox and go chasing after other gods. He has repudiated Orthodoxy specifically and Christianity in general if he glorifies other gods His music is wonderful but his thinking is extremely woolly.” This shows that the message of bringing unity may not be clear to all. The contrast between pieces like The Wale, 1968, and The Protecting Veil, 1989, is vast and shows the varied experimentation.
The John Tavener memorial is justified by his devotion to classical music. The whole site can be seen to portray aspects of his life. Bath is an ideal location for the memorial as he lived in the South West and that Bath Orchestra and choirs have previously played Tavener. 47
AVON STREET
PRACTICE STAGE
BACK OF HOUSE
CORN STREET
COLLEGE WALKS
MISSION THEATRE
COURTYARD
PUBLIC MUSIC FACILITIES
CIRCULATION
CONCERT HALL
RESTAURANT BAR
NIGHTCLUB
MUSIC SCHOOL
CAFE & BAR
PUBLIC SQUARE
BUILDING CIRCULATION
PUBLIC MEETING AREA
PRACTICE ROOMS
BUILDING OUTLINE
KEY PROGRAM
EXISTING SPACE
FULLY PUBLIC SPACE
NEW EXTERNAL SPACE
SEMI-PRIVATE SPACE
OWNERSHIP AREAS
PRIVATE SPACE
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CYCLE PATH
RIVER FRONT
SOMERSET STREET
RESTAURANT & BAR
MUSIC SCHOOL
After the interim it was clear that the spatial relationships between the spaces was not resolved and had major flaws. After visiting Symphony Hall, Birmingham, the back stage tour informed a lot of the new layout to the designed Concert Hall and site.
Spacial Relationship Diagram AVON STREET
EXISTING COLLEGE
COLLEGE WALKS
MISSION THEATRE
CORN STREET
NIGHTCLUB PUBLIC MUSIC FACILITIES
PRACTICE ROOMS
CIRCULATION
PRACTICE STAGE
PUBLIC SQUARE
BACK OF HOUSE
BUILDING CIRCULATION
PUBLIC MEETING AREA
CONCERT HALL
CAFE & BAR
COURTYARD
MUSIC SCHOOL
SOMERSET STREET
CYCLE PATH
RESTAURANT BAR
RIVER FRONT
MUSIC SCHOOL
MUSIC SCHOOL
RESTAURANT & BAR
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Somerset Street
50
College Walks
Avon Street
Sports Field
Public Square
Roof Garden
51
1. 4. 9.
6. 2. 3. 5.
7.
8.
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Landscape Strategy As one moves though the site the landscape becomes softer before emerging into the more formal extension to Green Park, a flat grass sports field. 1- Sports Field The sports field is an attempted to make a space for the local residents to play informal sports. The plot is overlooked by the public music facilities but most importantly the flats to the north east of the site. This should create a safer environment for local children to play. The sports field is a more formal than Green Park so the landscaping can be seen to go from Baths existing Urban landscape, into the cobbled site with roof gardens through to the field and then the park. Each more natural. 2 - Proposed Bridge A Bridge is proposed to connect the south side of the river through the site. This will create a larger amount of footfall in the site making the spaces feel a lot likelier. 3 - Green Pocket At the loss of a car park a pocket of green space has been added to the opposite side of the river. This will be a space that can be used for events such as pop up coffee shops and small open air gigs., Utilising the footfall from the new bridge. 4 - Green Roves The usable green roves flow down in terraces to the Sports Field, tying both areas together. 5 - Riverside Public Space These terraces flow down to the river in a mixture of cobble stone, Corten steel and planting. These terraces are to be sat on and are orientated to capture the hot mid day sun. This can also be used for open air concert seating, with a stage on the opposite side of the river or floating on the river. The cobbling along the cycle track will be laid and pointed to leave a relatively smooth finish where as the rest will be more textures, more characterful. 6 - Intensive Roof Garden On top of the concert hall roof more acoustic absorbing mass is added through the inclusion of a garden. This brings and unexpected landscape to the statement nightclub that wraps over the roof of the concert hall. The roof garden is part of the rain water retention scheme on site to try to maximise surface water absorption as it is not left to run off. The green water collected off of the green roves and gardens is to be used for flushing toilets in the concert hall. 7 - Paved Roof 8-9 - Cobbled River-front Terrace & Square 53
54
The building to be designed is the concert hall building. This will be all designed in plan.
Small
Large
Chosen
500mm
750mm
700mm
The Building Development
The area for specific design consideration is the concert hall. This will be technically substantiated as it is the gem of the site and has the most interesting and challenging detailing.
600mm
600mm
400mm
260mm
800mm
500mm
0.38m2 per person
1.05m2 per person
0.7m2 per person
800 people = 304m2 1000 people = 380m2
800 people = 840m2 1000 people = 1050m2
800 people = 560m2 1000 people = 700m2
The connection between the external, the front of house circulation and the concert hall is the crucial part of the scheme to design as all else are common to this area. Concert Hall
Front of House 55
56
1:500 Massing Model
The massing model helped to get the form to work in 3D with the context. The massing model highlighted issues with the hight with regards to the immediate context. This led to reducing the hight of certain elements, and in turn helped the building itself look more proportioned to itself.
57
58
59
60
Ground
61
First
62
Second
63
Third
64
Fourth
65
Fifth
66
Sixth
All Plans - 1:500
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.
Main Entrance Feature Stair Café Small Shops Night Club Cloak Room Box Office Building Circulation Small Shops Performer Entrance Public Facility Entrance Public Facility Reception Public Music Facilities Music and Instrument Store Loading and Drop Off Bay New College Admin Wing Mission Theatre Meeting Square College (New Musical) Café/Bar Restaurant/Bar Meditation Chapel Redirected Tow Path Outdoor Performance Square Proposed Bridge Playing Fields Seating Stage Directors Booth Backstage Green Room and Chang Practice Stage Bar Extension Roof Terrace Large Recording Studio Plant Room Lighting Rig Services Riser
N
Exploded Axonometric = Services Riser
Chapter V1 Technical Substantiation
71
72
Structural Diagram
73
The structural strategy of the building is the utilisation of structural reinforced load bearing concrete. The loads are shown in the sections along with lines of vibration isolation
74
400x400mm in-situe concrete column.
400mm diameter in-situe round column.
General column including main atrium.
Cafe and public music facilities.
75
76
Materiality Exterior Concrete was chosen as the primary structural building material. Rather than disguising the material with a dishonest treatment or finish the structural material is celebrated. To celebrate the materials the principle of beton brut has been utilised over a lot of the site. Concrete was used over other structural constructions due to its high mass. This mass adds many useful properties such as thermal mass, acoustically reflective surfaces and the ability to be textured to diffuse sound but mainly to stop the transfer of sound through the building fabric. The Brutalism ideologies of raw, as found materials has been placed with materials which do not fit with this principle. These include the Corten steel cladding used for small areas of external cladding and the large aluminium windows. The Corten cladding is used in the landscape to create a terraced grass seating area and steps in front of the river. On the building the rust will run into the concrete creating natural but planned wear to the facade. The large windows are chosen to blur the internal end external environments. This will promote the use of the building as a through passage to the parts of the site. This will make the space feel more bustling and habited. The landscape scheme adds pockets of colour and nature into the site. As the buildings age and the planting grows they will seem to amalgamate into a blended seamless picture. The building will grow and age into the landscape of Bath as people become accustomed to the building and feel pride in the scheme. Over time nature will merge back into the cracks of the cobbles where they are less used by people in the site. This will create visible desire lines, that would otherwise be unseen in a harder urban landscape. This will add a different texture to the site that will mature slowly over time. The site will become softer as it ages, tying itself into the green corridor. The greens of nature will contrast with the reds in the Corten steel and add splashes of colour to a mostly grey built environment in the site.
77
Materiality Interior The interior material scheme is very simple and similar to the outside. Most walls are concrete as this is true to the material use. Inside the auditorium the floor will be wooden. As this wood will not be exposed to weather and sunlight it will keep its colour well. Furnishings such as hand rails and door finishes will have a wooden finish. This wood will age to become almost as grey as the concrete, especially if it gets direct sunlight. The majority of the floors and polished concrete. However the flooring of the immediate circulation the auditorium will be carpeted to reduce noise levels of footfall and to absorb some of other noise energy. The full hight glazing with recessed and slender flame capture a floor to floor view of the surrounding area of bath. The dark finish to the frames adds to the contrast between out and in.
78
Solar Orientation The building sits low on the west to allow for highlight to penetrate the public square that the buildings wrap around. However the College Street side of the main building is going to be heavily shadowed. However, the scale of the auditorium derived form the numbers of people inside. Further design calculation may show that some solar shading must be applied to the south facing glazing.
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80
Environmental Strategy
81
Fire Strategy Part B
Due to the high numbers of people in the John Tavener Memorial Hall the fire strategy is very important. B1 Means of Warning and Escape Automatic heat and smoke sensors are fitted throughout the building. The alarm system will be zoned into atrium, auditorium, nightclub, backstage and public music facility centre. This will mean that a fire wont set off a full evacuation of the building until the specific zone is deemed to be in danger. Areas like the cafe and restaurant will have different detection systems due to the heat and possible smoke produced in the processes of cooking. Alternative routes are places in appropriately sized fire-resistant cores placed around the building within the specified distances. Specifically 32m with multiple exits in seating; 18m in the atrium where only one exit could be reached; and disabled seating 9m away from safe core.
10m
24m
24m
25m
30m
All corridors are sized for the maximum numbers of people to be evacuated through them and the distances the cover. B2 Internal Fire Spread - Linings Due to the use of concrete for a lot of the interior and exterior surfaces the spread of fire will be due to the use of carpets and wood. The carpets used for acoustic dampening of hallways will be specified as fire retardant. The wooden flooring and railings may cause issues. As the flooring is fitted directly to the concrete there will be limited amounts of air to draw into a fire, like through underfloor voids.
35m
35m
21m 16m
16m
24m 20m 10m
25m
B3 Internal Fire Spread - Structural The concrete structure will perform well in a fire. Due to the lack of combustible materials in the building the fire is unlikely to get to high enough heats to damage the concrete structure. The concrete also adds to the time for the fire resistant walls. This also allows for an event where evacuating the building is taking a longer period of time than normal. B4 External Fire Spread The lack of any flammable materials on the external walls of the building will reduce the risk of fire affecting the building from the outside. All the other buildings are situated over 5m away. The issues could arise from the landscape scheme. Areas of planting on the roof and to the East of the building will have to be in constant upkeep to make sure a build up of dead vegetation does not build up. Site Access The bus route and open boulevards allow most of the building to be accessible by a fire truck. 82
Escape Route Escape Core
Access Part M
The John Tavener Memorial Hall has been designed with disabled users in mind. Landscape All the external public spaces can be accessed by wheel chair users and other disabled users. Due to the cobbled streets wheelchair users may not be able to access every part as easily as others. However to aid cyclists, pedestrians and wheelchair users move through the site areas of cobbles will be pointed flatter and others will have larger gaps between the cobbles to encourage plants to grow. Horizontal Routes With no changes of level on the main floor plate and minimum corridor widths of 1.8m the building is easily traversable. The doors to the auditorium will be manned by stewards during shows and as these are the only doors to manually open wheelchair users can easily access the whole of the atrium spaces. The public music facility centre has more doors for acoustic reasons yet these are mechanically opened by pressing a pad. Vertical Routes The main vertical rout in the atrium is the feature stair. All the stairs are to building regulations and typically have 280mm goings 150mm risers. However there are ample lifts for all users to access all floors. There are lifts placed at most stair cores. As well as a larger goods lift in the back stage areas. This is sized for musical instruments but can also be used by performers as there is more room than the standard passenger lift. WC Provisions In every WC block there is ample space allowances for WCâ&#x20AC;&#x2122;s for disabled persons including on the entrance floor in the cafe are.
1st Floor Plans Fall of Ground Lifts & Removable Seating Smooth Ground Entrances
83
Acoustics Part E
â&#x20AC;&#x2DC;Egg in a Boxâ&#x20AC;&#x2122; Analogy
Services Riser and Plant.
To produce an effective auditorium the noise levels have to be low. Detailing is one way to reduce noise transfer in buildings. General Strategy Like the Royal Festival Hall, London, and Symphony Hall, Birmingham, the John Tavener Hall sits like an egg in a box, isolated. The rounded concert hall sits in a box like structure that completely encapsulates it, protecting from vibrations. This box contains circulation to all the seating from the main atrium space, the backstage, and the escape cores. All the construction connections between the Auditorium and the box are separated by a resilient layer or neoprene layers. With the heavy mass per unit area of the concrete and the isolation limited noise and vibrations are transferred through the construction elements.
Main Ductwork Final Distribution Ductwork
The main noise ingress will be from the building services and through the doors into the auditorium. The services are chosen to have as minimal effect on the acoustics of the space. The doors specified are heavy mass with sealed edges to stop airborne noise. With further calculations it may be deemed necessary to provide double skinned door lobbies. Space for this has been allowed for. The ventilation and heating strategy for the hall is fully mechanical. These systems will run on a low velocity air movement and all the plant is situated outside of the box and isolated to reduce vibration transfer to the rest of the building. The two main ducts needed to supply the volumes of air needed for the auditorium are over 4mx2m and are placed in the ceiling void of the box then over the auditorium. The large ducts are needed to supply a low velocity of 1m/s to minimise airborne noise at diffusers and vibrations in ducts from turbulence. Simple material finishes in the circulation around the box reduce noise creation. An example is the use of carpets on the floors. This minimises impact noise along with a floating floor construction.
1:10 Basic Floor Detail Carpet and Underlay. Floating Layer concrete with heating and cooling. Resilient Layer neoprene rubber. Board Insulation thermal Floor Slab High mass reinforced in-situe concrete. Textured Bare Concrete Finish.
84
Roof Void Services
Chapter V11 Construction Detailing
85
1:1 Drawing
The section is taken through the roof structure and serviced ceiling void which span the auditorium and the nightclub. The Close up on this page shows the steel lattice beam connection. The early completion of this task allowed me to leave enough room between the concert hall ceiling and the roof garden when finalising the building design and building heights.
86
87
1:50 Perspective Section
1-
50x250mm powder coated aluminium frame with triple, low-e, glazing, coated glass 10mm, 20mm argon filled cavity
2-
Passive ventilation trickle vent, outlet
3-
Low profile lighting, cabling to be run on ceiling
4-
14mm concrete panel, textured rough finish
5-
25mm Air gap, small power routes
6-
14mm plaster board layer backed with vapour control layer (VCL)
7-
150mm board insulation backed with VCL
8-
200mm load bearing in-situe reinforced concrete
9-
Passive ventilation trickle vent, inlet
10 - 40mm steel structural connector, allowing for 50mm board insulation backed with VCL 11 - Raw in-situe textured ceiling 12 - Concrete panel, textured rough finish for diffusive acoustic properties 13 - Carpeted floor, fire retardant, reducing impact noise 14 - 100mm isolated floating floor, heating and cooling pipes, on 20mm resilient vibration reducing rubberised layer 15 - 100mm board insulation topped with VCL 16 - 250mm in-situe reinforced concrete floor slab 17 - 100mm board between slab and 14mm plasterboard ceiling surface 18 - 50x250mm powder coated aluminium frame 19 - 70mm triple, low-e, glazing, coated glass 10mm, 20mm argon filled cavity 20 - 200mm drainage grill over gravel to soil 20mm resilient vibration reducing rubberised 22 - layer Paving or cobbles on 150mm concrete slab 23 - only surrounding building 24 - Hard compacted soil and hardcore 250mm in-situe reinforced concrete deck on 25 - damp proof course (DPC) 88
26 - 100mm board insulation topped with VCL
1.
2.
3.
4.
5.
6.
7.
8.
9. 10.
11.
12.
13. 14. 15. 16. 17. 18.
19.
20. 21. 22. 23. 24. 25. 26.
91
1.
1-
50x100mm powder coated aluminium frame with triple, low-e, glazing, coated glass 10mm, 20mm argon filled cavity
2-
100mm isolated floating floor, heating and cooling pipes, on 20mm resilient vibration reducing rubberised layer
3-
100mm board insulation
4-
200mm board insulation
5-
400mm in-situe reinforced concrete slab
6-
2000mm deep lattice beam
7-
1900mm ceiling void, accessible for changing lighting, HVAC ductwork periodically running between lattice beams, feeding concert hall
8-
30mm removable steel deck damped with rubber connections to lattice beam
9-
20mm resilient layer under lattice beam, beams not connected down to the concert hall roof
2. 3. 4.
5.
6.
6.
10 11 -
7.
12 13 -
8. 6.
6. 10.
11.
13. 92
12.
9.
11.
10.
12.
11.
13.
Lighting fitted into concrete concert hall roof 300mm in-situe reinforced concrete concert hall ceiling Cast in aperture for lighting, adds texture to help diffuse the sound waves hitting the roof 300mm in-situe reinforced concrete integrated beam supporting the auditorium roof
1:20 Box to Concert Hall Junction
1.
01 - 200mm load bearing in-situe reinforced concrete concert hall wall
2.
02 - 400mm load bearing in-situe reinforced concrete concert hall integrated column 03 - Double glazed anti glare window with reflective coating
3.
04 - Lighting control booth 40mm resilient vibration reducing rubberised layer 05 - pad 06 - 30mm British hardwood floor on padded vibration reducing layer
4.
07 - 200mm in-situe reinforced concrete concert hall floor with steps cast in-situe 08 - 50mm air gap 09 - 300mm in-situe reinforced concrete outer leaf slab 10 - 300mm in-situe reinforced concrete integrated beam 11 - 100mm serviceable ceiling void 14mm plaster board finish on wooden battens
6. 5. 7.
12 - Open-able cafe glazed wall, powder coated aluminium frame 13 - 300mm in-situe reinforced concrete integrated beam
8. 10.
9.
11. 12.
13.
93
13.
10.
11.
14.
94
1:10 in Depth Close up Details 1-
50x250mm powder coated aluminium frame with triple, low-e, glazing, coated glass 10mm, 20mm argon filled cavity
23
Passive ventilation trickle vent, outlet and inlet, 200m wide, spaced on 1000mm centres to provide adequate air flow, automatically regulated for night purging, daytime cooling and minimum flow applications, automatic cut off in fire
4-
Low profile lighting, cabling to be run on ceiling, like the Zubtebel Lightfield luminaire
5-
14mm concrete panel, textured rough finish, to diffuse and dissipate sound, 14mm plaster board layer to provide a dense acoustic layer backed with vapour control layer (VCL)
6-
150mm board insulation backed with VCL
7-
200mm load bearing in-situe reinforced concrete wall, 100% cement for optimal structural qualities
8-
40mm steel structural connector, allowing for 50mm board insulation backed with continuation of VCL, spaced at 800mm centres and cast into structure in-situe
9-
Carpeted floor, fire retardant, reducing impact noise and absorb some airborne noise.
10 - 100mm isolated floating floor, heating and cooling pipes, on 20mm resilient vibration reducing rubberised layer such as neoprene, as not structural 50% cement replaced with GGBS producing a visually different tonal lighter grey, replacing with recycled cementitious substitutes reduces the concrete strengths but reduces the CO2 weight 11 - 100mm board insulation topped with VCL
5. 7.
6. 9. 10.
2. 11. 8.
12.
3.
4.
12 - 250mm in-situe reinforced concrete floor slab,100% cement for optimal structural qualities 13 - 70mm triple, low-e, glazing, coated glass 10mm, 20mm argon filled cavity for low U-Value and heat loss glazing 14 - 250mm in-situe reinforced concrete deck on damp proof course (DPC), 100% cement for optimal structural qualities
95
1:10 in Depth Close up Details
1.
3.
3.
2.
4. 5.
1-
200mm load bearing in-situe reinforced concrete concert hall wall, 100% cement for optimal structural qualities
2-
Void in reinforced structural concrete second tier balcony, 100% cement
3-
500mm load bearing in-situe reinforced concrete concert hall column, 100% cement for optimal structural qualities
4-
Carpeted floor, fire retardant, reducing impact noise and absorb some airborne noise.
5-
100mm isolated floating floor, heating and cooling pipes, on 20mm resilient vibration reducing rubberised layer such as neoprene, as not structural 50% cement replaced with GGBS producing a visually different tonal lighter grey, replacing with recycled cementitious substitutes reduces the concrete strengths but reduces the CO2 weight (tonal difference will be visible outside of the carpeted circulation box)
6-
100mm board insulation topped with VCL
7-
250mm in-situe reinforced concrete floor slab,100% cement for optimal structural qualities
8-
400mm in-situe reinforced concrete integrated beam, supporting the floor slab whilst also being isolated by using a rubberised resilient layer,100% cement for optimal structural qualities
9-
Heavyweight door to lighting and overview room, acoustic high mass with wide overlap and seal to allow minimal sound ingress
6.
7.
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8.
3.
3.
1.
9. 96
Construction Precedent
The main precedent for the construction detailing and typology is The Hepworth in Wakefeild by David Chipperfield in 2011. The structure of the floors are supported by steel connectors to the external structural concrete wall. This is done to minimise the cold bridging issue that this connection could have. The other solution would be to clad the whole interior with insulation, up to a distance of 1500mm. This was not chosen as the thicknessâ&#x20AC;&#x2122;s of the floors would have added too much hight to the building and thrown it out of proportion with itself and its context. Also as the interior wants to be as true to its materials as possible the use of further cladding would have gone to much against the principles. The glazing was also inspired from the The Hepworth in Wakefeild. The slender dark powder coated frames work extremely well with the grey harsh edge of the concrete. This can be seen in the material choice section. The thin dark frame make to apertures stand out and look deep even though the glazing is flush with the concrete. Whilst from the inside the full height and narrow but deep glazing captures the impressive views from the gallery, that are possibly comparable to the views of Bath and the river from the site. The principle of acoustic separation is used in Birmingham Symphony Hall. In Symphony Hall the use of neoprene rubber pads between the concert hall and the ground. This is to a higher standard than is necessary for the John Tavener memorial hall as in Birmingham there are train tunnels that run underneath the site. These vibrations are a lot greater than those in Bath so a simplified version is used. The resilient layer used is thinner than the neoprene and the void is also narrower. In Symphony Hall the walls and floors connected to the concert hall are broken with a rubber seal. This principle is also used in the Tavener hall. This should mean that the auditorium will be devoid of virtually all structural vibration caused noise.
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Area (m2)
Depth (m) Volume (m3)
Density (kg/m3)
kg of Material
Embodied Carbon (kgCO2/kg)
Total Embodied Carbon (kgCO2)
Cost of Construction (£/m3)
Cost (£)
Ground Floor Floor Slab Vibration Reduction Glazing
Reinforced Concrete Neoprene Aluminium Frame
2,000 40 150
0.300 0.150
600 6
2,400 1,400
1,440,000 8,400
0.159 2.660 195kg/m2
228,960 22,344 29,250
£180.30 £100.00 £65.80
£108,180.00 £600.00 £9,870.00
First Floor
Reinforced Concrete Timber
2,000 1,000
0.300 0.020
600 20
2,400 600
1,440,000 12,000
0.159 0.720
228,960 8,640
£187.84 £94.51
£112,704.00 £1,890.20
Second Floor Floor Slab First Tier Floor
Reinforced Concrete Timber
1,150 150
0.300 0.020
345 3
2,400 600
828,000 1,800
0.159 0.720
131,652 1,296
£187.84 £94.51
£64,804.80 £283.53
Third Floor
Reinforced Concrete Neoprene Aluminium Frame
1,150 40 140
0.300 0.050
345 2
2,400 1,400
828,000 2,800
0.159 2.660 195kg/m2
131,652 7,448
£187.84 £100.00 £65.80
£64,804.80 £200.00 £9,212.00
Fourth Floor Floor Slab Second Tier Floor
Reinforced Concrete Timber
1,000 100
0.300 0.020
300 2
2,400 600
720,000 1,200
0.159 0.720
114,480 864
£187.84 £94.51
£56,352.00 £189.02
Fifth Floor
Second Tier Upper Floor
Timber
250
0.020
5
600
3,000
0.720
2,160
£94.51
£472.55
Roof
Egg Roof Roof Span Roof Slab Green Roof Permeable Layer Green Roof
Reinforced Concrete Steel Lattice Reinforced Concrete Aggregate Soil
1,000 80 2000 1,500 1,500
0.500 0.600 0.800 0.400 1.000
500 48 1,600 600 1,500
2,400 7,800 2,400 2,240 1,200
1,200,000 374,400 3,840,000 1,344,000 1,800,000
0.159 1.420 0.159 0.005 0.004
190,800 531,648 610,560 6,451 7,200
£187.84 £1,984.21 £187.84 £34.53 £185.00
£93,920.00 £742,888.22 £300,544.00 £20,718.00 £277,500.00
Escape Core East Escape Core West
Reinforced Concrete Reinforced Concrete
900 1,200
0.300 0.300
270 360
2,400 2,400
648,000 864,000
0.159 0.159
103,032 137,376
£129.20 £129.20
£34,884.00 £46,512.00
100 300 300
0.300 0.080 0.020
30 24 6
7,800 2,000 700
234,000 48,000 4,200
1.420 0.200 0.720
332,280 9,600 3,024
£142.54 £30.08 £94.51
£4,276.20 £721.92 £567.06
Floor Slab Timber Floor Finish
Floor Slab Vibration Reduction Glazing
Lighting Rig Structure Covering
Steel Concrete Panels Timber
External Walls South West North East (Internal)
Reinforced Concrete Reinforced Concrete Reinforced Concrete Reinforced Concrete
860 1,050 960 930
0.350 0.350 0.350 0.250
301 368 336 233
2,400 2,400 2,400 2,400
722,400 882,000 806,400 558,000
0.159 0.159 0.159 0.159
114,862 140,238 128,218 88,722
£195.20 £195.20 £195.20 £195.20
£58,755.20 £71,736.00 £65,587.20 £45,384.00
Internal Walls:
Reinforced Concrete
3,300
0.200
660
2,400
1,584,000
0.159
251,856
£145.08
£95,752.80
2
Usable Floor Area (m )
5,650
Concert Hall Total (kg) Per Useable Floor Area (kg/m2) Concert Hall Total (Ton) Per Useable Floor Area (Ton/m2)
98
20,194,600 3,574 20,195 3.57
Concert Hall Total (kgCO2) 3,563,572 631 Per Useable Floor Area (kgCO2/m2)
Total Cost (£) £2,289,309.50 Per Useable Floor Area (£/m2) £405.19
Chapter V111 Building cost and weight
Total Building Cost Concert Hall Foyer Auditorium Back Stage
7,100m2 1,600m2 2,300m2
Sub Total
11,000m2
39,270Ton
6,941,000kgCO2
£4,457,090
Public Music Facilities Circulation Studio Space Recital and Practice Stage
600m2 15,000m2 1,600m2
Sub Total
17,200m2
61,404Ton 10,853,200kgCO2
£6,969,268
Total
28,200m2
100,674Ton 17,794,200kgCO2
£11,426,358
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100
Chapter 1X Visualisation
101
102
Atmospheric Sections
103
Atrium Stair View
104
Atrium View into Stairwell Void
Second Tier Row Three View
Nightclub Party
Band Practice in Public Music Room
Sunday Morning Dance Class in Larger Public Facilities Space
105
106
107
108
109
110
111
112
Chapter X Conclusions One of the most rewarding parts of this project was getting to know the music. With no prior knowledge of contemporary classical music it became my architectural life to work whilst listening to song after song, often finding myself immersed in the music and not in the architecture! The next phase of this project is to carry on the building services engineering exploration.
113