Creative Grounds by Joshua Christian

Creative Grounds ARC80002 | Design Research Studio C Mosaics of Music

Joshua Christian | 102859903 Master of Architecture | Semester 1,

2021, Swinburne University of Technology

Studio Leader | Dr. Pantea Alambeigi Unit Convenor | Dr. Ian Woodcock, Course Director Architecture and Urban Design

Acknowledgment I acknowledge the Traditional Custodians of country throughout Australia and their connections to land, sea and community. I pay my respect to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander peoples today.

Sunset

01 02 03 04 05 06 Winter

S AB

T AC R T

E SI T

SIS Y AL AN

E NC E D CE IES E PR STUD

M RIU O DI T U A

SI U M

T EN C C

ION S U CL N CO ii

If Architecture is frozen music, then music must be liquid architecture -Quincy Jones-

ABSTRACT Chapter 01 02

INTRODUCTION Architecture is experienced through senses. Commonly seen, touched, and even smelled. It is uncommon however, architecture is heard. The relationship between architecture and sound is sometimes overlook, although critical. Throughout history, Architecture and sound, particularly music has an intimate relationship. Loud spaces are scrutinised, and sound leak is unfavourable. Sound affects how one perceive space. In Modern era, architects were finding ways to visualise sound. One notable method of visualising sound was done by Henri Nouveau, by transcribing the musical

note musical notes from E Flat Minor Fugue by J. S. Bach into a sculpture. As close as it is to visualise sound, one must note that this sculpture is yet to be experienced architecturally and spatially. How then architecture spatialised sound? This project book proposes how form, not represents sound, but how it changes sound behaviour and movement in a space. This project aims to design an auditorium that has an excellent acoustic quality with only manipulating forms of architectural elements without any additional acoustic fixtures and fittings.

How can architecture manipulate sound behaviour within a space?

Sculptural Representation (Stereometric view) of Bars 52–55 of E Flat Minor Fugue by J. S. Bach, by Henri Nouveau. (Langerbartes, 2014) 04

SITE ANALYSIS Chapter 02 06

SITE CONTEXT ZONING LIAN TRA AUS LET BAL TRE CEN

E AT ST E TH

48dB

RE AT

The site sits within the Arts Centre of Melbourne. However, the site is also connected to City Road, a busy mixed commercial/residential space. The site has a potential as a bridging space between City Road commercial sector and the Arts Centre, since both are seperated by levels, disconnecting both zones. Furthermore, it has a potential to be the cultural hub which extended from the Arts Centre down to the commercial sector of City Road. A concern within the site is the noise. Since City Road has a high number of traffic, it creates noise pollution to the site. At the moment, vegetations are the only barrier which filters the sound, but in the future, this requires design considerations. Another concern is that the surrounding area has residential buildings. Designing a recital hall in this site may create potential issue of noise pollution to the surrounding residential spaces.

42dB

58dB HAMER HALL

Site Noise Level

LIAN TRA AUS LET BAL TRE CEN

E AT ST E TH RE AT HAMER HALL

Testing Grounds, currently used as arts event 07

City Road Traffic causes noise pollution

Vegetation

LEGEND Multi Residential

Melbourne State Theatre

Offices

Australian Ballet Centre

Religious Mixed-use Commercial

Eureka Tower

National Gallery of Victoria

TESTING GROUNDS 1 City Road, South Melbourne

Southbank Promenade

Hamer Hall

Cultural

Melb ourn

e CB D

SITE SECTION

Mantra Hotel 31 City Road

Testing Grounds 1 City Road, South Melbourne

The section highlights the critical issue of separation from the Arts Precinct through level difference

Sturt Street

Richard Pratt Garden

Hamer Hall

Alexandra Avenue Underpass

Ro ad Cit y

St. K i

Ale Avexand nue er

lda

Swa n

ston

Stre

Underpass to Alexander Avenue

CIRCULATION Currently, there are several access to the site. From City Road, it is accessible by either private vehicle or by walking. Another is from the Arts Centre, in which one must traverse behind the State Theatre to find a stair which descend to the site. Another pathway is beside the Hamer Hall, which has small ramps that goes downward to the site. Public transport such as tram exist only from the Arts Precinct side, on St. Kilda Road which connects to the Melbourne CBD Swanston Street. However, accessing the site from Arts Precinct is an issue since it is quite secluded. Thus this creates the existing issue that the site is disconnected from the larger Arts Precinct. New connection between the two spaces needs to be considered in the new proposal

At the moment, there are 3 main entrances to the site, which is shown as below. The entrances are also quite secluded, hidden by vegetations, although each entrance is fitted with proper signage.

C it

t ur St

LIAN TRA AUS LET BAL TRE CEN

yR oa d

View of the site from State Theatre stair

et re St

E AT ST E TH

RE AT

2 HAMER HALL

3 12

ENVIRONMENTAL Wind Rise

8m/s

Building cluster acts as a barrier to northern winter wind, avoiding unwanted cold wind in the vicinity

Summer

Winter

13m/s

Summer 13

10m/s

Inaccessible sunlight due to overshadowing in the afternoon. This is an opportunity to reduce heat gain from afternoon sun which commonly has higher temperature

Sun Path Adequate morning - noon sun. Sunlight before 2pm is desirable due to lower heat gain

Sunset

Summer

Sunrise

Winter

PRECEDENTS STUDIES Chapter 03 16

PRECEDENTS ELBPHILHARMONIE, HAMBURG Herzog & DeMeuron (2017)

One notable example where a music hall has minimum variety of materials is the Elbphilharmonie by Herzog and DeMeuron in 2017. The Hamburg concert hall utilised forms, textures through computation design to create an acoustically optimum concert hall. Most of the ceilings and wall surfaces in the concert hall are textured with gypsum fibreboard, which has been milled computationally to create a parabloid form. These small parabolic forms acts as an acoustic enhancer to the whole space. As such, minimum absorptive materials are used to prevent echoing. This strategy is also used in the smaller recital hall, which fits a quarter of the concert hall. Intriguingly, the form used in the main hall is different from the recital hall. The recital hall is designed in a typical shoebox/ straight form, whereas the concert hall is designed in an arena form, where the seating surrounds the stage. This exemplifies how the strategy is efficient and adaptable in different hall typologies.

[Main Concert Hall] (Hamburg news, 2020). The hall provides 2100 seats

Furthermore, the concert hall and the recital hall fits within a building which also has other programs. This is a very useful precedence to study how the spaces are organised within the building with other functions since the project in 1 City Road will also need to be organised as such. Additionally, the building consists residential spaces which juxtaposes with the concert hall. This shows how the correct sound treatment to the concert will not disturb the surrounding residential spaces. This will be found useful for 1 City Road project where the site is also surrounded by residential buildings. 17

[Recital Hall Space] (Elbphilharmonie, c.2018). The space provides 550 seats

Hotel - Westin Recital Hall - Common Hamburg Hotel which shoebox typology hall accommodates 20 rooms with 550 seatings

Concert Hall Arena typology hall with 2100 seatings

Apartment - 45 apartment accommodations provided with a view to Elbe River

Restaurants

Harbour views

Building Program

Plaza - Public plaza serves as a viewing platform

"The Tube" - 82m curved escalator stretched from the entrance, ended with a view to the harbour

Kaistudios Elbphilharmonie's music education program 18

[Paraboloid panel]. (Botschaft, 2017). Paraboloid textured surfaces from gypsum fibreboard as an acoustic enhancer in both the main Concert Hall and the Recital Hall.

Diffused Sound

Direct Sound

Elbphilharmonie Concert Hall Section Diagram, showing sound distribution throughout the space 19

The site form for Elbphilharmonie is challenging since it is on an angle, creating a trapezoid like form. This site reflects 1 City Road, where the site also has trapezoid form. Elbphilharmonie provides information how spaces can be organised in such a challenging site.

Legend Stage Seating

Elbphilharmonie Floor Plan

ELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE ARM Architects (2009)

Another example which uses texture treatment on the surface rather than absorptive material is Elisabeth Murdoch Hall in Melbourne Recital Centre by Ahston Raggatt McDougall Architects. The hall is in a typical shoebox typology, with a proscenium. Textured timber with staggered panels and irregular placement creates a natural sound diffuser and disperser from only the form. The hall accommodates 1000 seatings with balcony seatings at the back.

[Recital Hall floor plan] (Ticketek, n.d.) The form is a typical Shoebox (straight) typology

[Elisabeth Murdoch Hall] (Richard Wagner Society, n.d.) 22

MRC Elisabeth Murdoch Hall balcony (Gollings, c.2009). Textured wall diffuses and disperses sound distribution, creating an even sound spreading throughout the hall

Textured walls and irregular surfaces diffuses the sound reflection. This means the sound will be spreaded consistently throughout the space. The diagram on the left exemplify how sound is diffused.

Regular Wall Reflection 23

Textured Wall diffusion

Diffused Sound

Direct Sound

Section Diagram - Sound distribution throughout the space 24

AUDITORIUM Chapter 04 26

STANDARDS RESEARCH SEATING ARRANGEMENT Researching the standards are required to create a design parameter in which the hall is design. This helps to find the minimum design standards on how the space is able to be used efficiently, without disrupting the guests. The diagrams shown in the 2 pages are to show optimum seating arrangement of a concert hall. The brief requires the hall to accommodate approximately 600-800 seatings. According to Chiarra & Callender (1983) the optimum area/seating in a concert hall is 0.7 sqm/seating, including the aisle area, which results in the area floor plan of 420sqm-560sqm not including the stage area. The stage area will accommodate 25-40 musicians (Neufert, 2012). Furthermore, according to Neufert (2012), Gewandhaus, Liepzig has 180sqm stage which accommodates up to 300 chorus (Gewandhaus, n.d.). Since the project recital hall may not require such area, the stage is designed to have 150sqm.

Minimum Spacing for various floor conditions (Chiarra & Callender, 1983) 27

Seating Row rule of thumb (Chiarra & Callender, 1983)

Aisle direction (Chiarra & Callender, 1983) 28

Typical seating dimensions and clearance (Chiarra & Callender, 1983) 29

1500 min

1700

The figures in the subsequent pages show the seating arrangement for wheelchairs based on the AS1428.1:2009. Row spacing is 950mm as shown in the standards and will be applied in the design

800

Aisle 1000 min

950

The first scheme shown in the page exhibits a wheelchair seating spaces in auditoria approached from the rear, particularly in the back row. 1500mm clearance for the crossovers and a minimum of 1000mm clear aisle is required to allow wheelchair movement. This scheme potentially be applicable in the auditorium design especially when the entrance is located at the back row.

1500 min

950 1250 min

1200 min

Wheelchair seating spaces in auditoria with aisles and crossovers (rear approach) 30

1700

800

330 min

2450 min Aisle 1200 min

1200 min

This scheme shown in the page exhibits a wheelchair seating spaces in auditoria approached from the front, particularly in the back row. 1500mm clearance for the crossovers and a minimum of 1000mm clear aisle is required to allow wheelchair movement. This scheme is applicable in the auditorium design when the seatings in the back row are to be closed onto the walls. However, more circulation space is required for wheelchair movement, and it is more convenient for the users to arrive at the disabled seating if the previous scheme is used.

330 min

2450 min Wheelchair seating spaces in auditoria with aisles and crossovers (front approach) 31

1850 min

This scheme shown in the page exhibits a wheelchair seating spaces in auditoria with continental seating (side entrance). 1900 min 950 min

This scheme is applicable in the auditorium design when the entrance are not located at the highest or the lowest slope of the gradient, but in the middle. This would require another entrance to either the back or the front, since the small circulation space is seemingly dedicated to the wheelchair user without any crossovers, and therefore would create traffic. Moreover, this scheme only allows for 1 disabled seating space in the area

950 min 1900 min

Wheelchair seating spaces in auditoria with continental seating (no aisles or crossover) 32

2700 min

Seat Seat Circulation 850 min 850 min 1000 min

2450 min 33

This scheme shown in the page exhibits a wheelchair seating spaces in auditoria with paired continental seating (side entrance). 2450 min

Similar to the previous one, this scheme is applicable in the auditorium design when the entrance are not located at the highest or the lowest slope of the gradient, but in the middle. Although this scheme allows more seating compare to the previous, the same issue of congestions and still require another exits since there is no crossover.

Paired wheelchair seating spaces in auditoria with continental seating or where there are no crossovers

1700

800

330 min

This scheme shown in the page exhibits a wheelchair seating spaces in auditoria at the front row, approached from the front.

2450 min Aisle 1000 min

1200 min

This scheme is applicable in the front row of the auditorium. The spaces needed for wheelchair circulation and clearance between the seating and the stage apron or balustrade can be seen in the diagram on the left.

330 min

2450

Wheelchair seating spaces in auditoria front row (front approach) 34

Seating arrangement guides are critical to ensure maximum user experience of the space. The diagrams on these pages show the optimum seating arrangement to allow maximum sight lines from the guests to the stage. The information in the following page, which mentioned 30° max limit on lateral view angle will be critical to some plan form such as ampitheatre and fan-shaped. Stage is raised by 1m (approx 33") to avoid neck craning at front rows

1 7.48 Stage Details (Egan, 2007) 35

950mm

Auditorium Slope Gradient

5" (127mm)

Seating Arrangement and view lines (Egan, 2007)

From the guides and regulations, it can be concluded that the seating arrangement requires 5" (127mm) incremental increase in row height, with 950mm row spacing. This allows a 1:7.5 gradient slope in the auditorium, however it is insufficient for wheelchairs and therefore disabled seating at front row needs to be accessible from the front.

Plan View - seating view lines (Egan, 2007)

VOLUMETRIC The standards of calculating required volume can be found in table 1. The brief indicates the future space is a recital hall. This is closely related to two functions in the table, which is concert halls and multipurpose hall. As such, the average optimum is taken to be the metrics of the required volume. The number taken then is 7.5m3/seat. With 600-800 audiences, then the minimum volume needed is 4500-6000m3.

Auditorium Type

Min.

Opt.

Max.

Speech

2.3

3.1

4.3

The diagram in the next page shows how the volumes are to be calculated. Different from the previous seating area, volume requires the stage to also be calculated.

Concert Halls

6.2

7.8

10.8

Opera Houses

4.5

5.7

7.4

Catholic Churches

5.7

8.5

Other Churches

5.1

7.2

9.1

Multipurpose halls

5.1

7.1

8.5

Cinemas

2.8

3.5

5.6

Recommended Volume/Seat (m3)

Table 1 - Recommended Vol/Seat (Egen,1983 as cited in Gou & Lau 2017)

How spatial volume is calculated (Egan, 2007) 38

ACOUSTICAL STANDARDS The optimum Reverberation time for the Recital Hall is 1.4-1.9s (Gou & Lau, 2017; Egan, 2007). In the Diagram on the following page, the equivalent will be the Multipurpose Auditoriums, which has an optimum RT between 1.6s-2.1s and volume range between 280028300m3. The optimum volume for RT 1.7s is 5500m3. The aim then is to create the form which sits with the range of the optimum RT, however, since the intention is to research the relationship between form and acoustic quality, then the form will be developed to reach 1.7s, or as closely as possible

2.4 n

Reverberation Time (s)

2.1s 1.7s

ga Or

2.0

s Mu

alls

H ert

Co se

rpo

tipu Mul

oriu

it Aud

1.6

1.2

atre

The 0.8

0.4 10,000

Classroom

100,000 2800m3 approx

5500m approx

8 1,000,000 28300m3 approx

Volume (ft3) Optimum reverberation times at mid-frequencies (average of reverberation at 500 and 1000 Hz) for auditoriums (Egan, 2007) 40

FORM FINDING PARAMETERS In the test, 5 common plan typologies for recital hall is selected. According to Neufert (2012) and Chiarra & Callender (1983), most common typologies are Straight (Shoebox), Compound, Horseshoe, Fan-Shaped, and Arena (the test will conduce a hexagon form). For comparison, in the first test the volume will be kept consistent at 4500m3 which is sufficient for 600 people. The proposed 4500m3 sits within the optimum Reverberation Time range, in the previous page and the optimum 5500m3 for 1.7s RT sits within the brief requirement. However, the acoustic test will be conducted using the minimum required space, and each change in the RT will be analysed. The reason is to push the idea of form manipulation to create optimum RT using the minimum rather than the optimum parameter. This acts as a contingency, considering the space of 1 City Road is quite limited. The seating area will be kept at 420sqm, and stage at 150. The height of the space will be different for each typology, depending on the requirement to reach the desired volume.

Straight

Compound

Horsehoe

Legend Stage Seating

Fan-Shaped

Arena (Hexagon) 42

PROGRESS MATRIX

Form Finding - Typology Research Straight

Weighted Sound Pressure Level (SPLA)

Early Decay Time (EDT)

Reverberation Time (RT30)

Compound

Horsehoe

Fan-Shaped

Arena

SELECTION CRITERIA - - -

Pachyderm Parameters

RT closest to 1.7s. Even sound distribution. Mid to high EDT.

One must note that the initial analysis was performed to find the best typology that would serve the optimum acoustics based on the standards. Material selections to improve the quality of sound is disregard in this test. High number of RT represents reflective materials are chosen in this test, which is plasterboard. The iteration aims to manipulate the form to create an optimum RT. Fan shaped is the desired typology, which has the lowest RT, and a decent sound distribution

Ceiling: Schroeder Diffuser Ground: Occupied Walls: Plaster Ray Tracing Cycles: 10000 Cut Off Time: 1000 Speaker Source: Speech Sound source to be at the centre of stage (rectangular stage, 5m off back wall and centred to side walls except for Arena typology)

SPLA(dB) 49.51

Average Value Straight

Compound

Horsehoe

Fan-Shaped

Arena

SPLA(dB)

42.66

42.59

42.56

41.93

43.07

EDT(s)

3.63

3.62

3.57

3.74

3.66

RT30(s)

2.71

2.62

2.58

2.76

40.31

EDT(s) 4.39

RT30(s) 3.45

1.52

1.78 44

PROGRESS MATRIX Form Finding - Plan Variation

Proscenium

Weighted Sound Pressure Level (SPLA)

Early Decay Time (EDT)

Reverberation Time (RT30)

Thrust (30° Fan)

Thrust (60° Fan)

Thrust (90° Fan)

SELECTION CRITERIA - - -

Pachyderm Parameters

RT closest to 1.7s. Even sound distribution. Mid to high EDT.

The next iteration is to see plan variation, in which the stage is extended into the performing area (Egan, 1983). As the result, the thrust with 30 degree opening provides the best result. It achieves a quite low RT value, in which needed to achieve 1.7s, and it has consistent spreading of the sound, which can be seen front he graph.

The 60 degree opening thrust comes second due to its high RT and uneven distribution of sound quality in the RT graph. SPLA(dB) 49.51

Average Value Proscenium

Thrust (30° Fan)

Thrust (60° Fan)

Thrust (90° Fan)

SPLA(dB)

42.66

42.48

42.56

42.16

EDT(s)

3.63

3.65

3.57

3.77

RT30(s)

2.71

2.68

2.62

2.89

40.31

EDT(s) 4.39

RT30(s) 3.45

1.52

1.78 46

PROGRESS MATRIX Form Finding - Height

Weighted Sound Pressure Level (SPLA)

Early Decay Time (EDT)

Reverberation Time (RT30)

-3.0m

-1.5m

7.5m (initial)

+1.5m

+3.0m

SELECTION CRITERIA - - -

Pachyderm Parameters

RT closest to 1.7s. Even sound distribution. Mid to high EDT.

Although increasing the height may reach the optimum 5500m3 volume, as it can be seen on the graph map, by lowering the ceiling hight by a little, the RT may be higher by a fraction, but it provides a more even distribution. Moreover, reducing the ceiling height increases the SPLA by a bit, which will be useful in future testing since it will be affected by other factors.

SPLA(dB) 49.51

Average Value -3.0m

-1.5m

7.5m (initial)

+1.5m

+3.0m

SPLA(dB)

42.81

42.78

42.48

42.39

42.29

EDT(s)

3.55

3.57

3.65

3.68

3.91

RT30(s)

2.74

2.72

2.68

2.62

2.65

40.31

EDT(s) 4.39

RT30(s) 3.45

1.52

1.78 48

PROGRESS MATRIX Form Finding - Ceiling Angle 0°

Weighted Sound Pressure Level (SPLA)

Early Decay Time (EDT)

Reverberation Time (RT30)

+5°

+10°

+15°

+20°

SELECTION CRITERIA - - -

Pachyderm Parameters

RT closest to 1.7s. Even sound distribution. Mid to high EDT.

The change in ceiling angle proves to be the best strategy in reducing the RT value. As seen from the table below, changing the ceiling angle by a fraction reduces the RT value drastically. Theoretically, this is most probably caused by reducing the amount of sound reflection required for the sound to travel to the receiver. As such, sound is quicker to be received (or absorbed) rather than reflected. Furthermore, the SPLA is also reduced, although only by a fraction. Therefore by increasing the angle by 5 degree, the form provides a balance between lower RT and maintaining the SPLA value, and also consistent sound spreading throughout the space. Average Value 0° (initial)

+5°

+10°

+15°

+20°

SPLA(dB)

42.78

42.23

41.98

41.81

41.59

EDT(s)

3.57

2.76

2.53

2.46

RT30(s)

2.72

2.18

2.19

2.16

2.13

SPLA(dB) 49.51

40.31

EDT(s) 4.39

RT30(s) 3.45

1.52

1.78 50

PROGRESS MATRIX

Form Finding - Back Wall Angle Straight Wall

Weighted Sound Pressure Level (SPLA)

Early Decay Time (EDT)

Reverberation Time (RT30)

+15°

+30°

+45°

+60°

SELECTION CRITERIA - - -

Pachyderm Parameters

RT closest to 1.7s. Even sound distribution. Mid to high EDT.

By changing the wall angle, it also can be seen that the RT value reduces once again close to the optimum value. By tapering the angle as shown in the selected outcome, sound travels quicker to the receiver, hence reducing the amount of RT, since it is absorbed quicker by the receiver.

Theoretically from the previous test, to reduce the RT is to change the wall angle, ensuring the first sound reflection is immediately absorbed by the receiver rather than being reflected throughout the space. SPLA(dB) 49.51

Average Value Straight

+15°

+30°

+45°

+60°

SPLA(dB)

42.23

42.38

42.10

42.23

EDT(s)

2.76

2.99

2.63

2.85

2.98

RT30(s)

2.18

2.56

2.76

2.54

2.66

40.31

EDT(s) 4.39

RT30(s) 3.45

1.52

1.78 52

PROGRESS MATRIX

Form Finding Optimisation - Ceiling Form Ray Tracing Diagram Accordion

Bulging

Convex

Crystal

Jagged

In optimising the final output, ceiling forms are designed based on the base angle, to create a surface which reflects the sound directly to the area where the sound pressure level is low. The diagram above indicates sound rays being traced from the source to the receiver. The jagged form, which is a parametrically controlled rotated surfaces, has the best result since each reflective surface is calculated to ensure sound is being reflected. One must note upon seeing this diagram, sound rays must be green to yellow to be deemed as satisfaction. Orange to red coloured lines imply echo and late reflection, which is undesirable

WALL FORM

Jagged Ceiling

Final 3D Form

Using the same principal of a controlled rotated surfaces, wall segments are designed to create a reflective surface, to reflect the sound to the ground. As a result, the following image shows the final form for the auditorium seen from the outside. Final analysis of the acoustic quality is required, and the podium form is included to provide a more accurate result.

SOUND REFLECTION The result of creating jagged walls and ceiling can be seen in the subsequent pages. The diagrams shows how the wall and ceiling treatment has successfully directed the first reflection to the back row seating, where sound is lacking due to distance. The angled walls reflect the sound downwards to reduce any potential of secondary reflection. It can be seen even in some occurances, the early reflection shows yellow, which denotes take smaller than 50ms for the sound to reach the audience. As such no echo is produced Early Reflection Time Echo Max 50ms

Clear 56

Ray Tracing Section View The section shows how each ceiling panel reflects the sound directly to the audiences. In the diagram, it is shown that the first reflection is focused on the back row where sound is lacking due to distance. Furthermore, the reflection does not produce echo, since all early reflections travel time are below 50ms.

4 Early Reflection Time Echo (>50ms) Max 50ms

Clear (30ms) 58

ANALYSIS RESULT In the final result, it can be seen that in both EDT and RT30 the numbers have decreased in comparison with the first test done with the shoe box typology. Although lower, it is close to the ideal value of 1.7s reverberation time. Thus, the design reduces the possibility of echoes. The SPLA is drastically lower due to a higher number of absorbent in the final simulation compare to the initial one. However, the mapping (new) has an even sound pressure distribution throughout the building through the ceiling and wall form. One must note that the low value is also contributed by the sound source being a speech level, which is not as loud as in a concert. SPLA map is changed due to the low value, which would show only blue.

Pachyderm Materials Ceiling: Ground: Seating: Walls: Ray Tracing Cycles: Cut Off Time: Speaker Source:

Schroeder Diffuser Polished Concrete Occupied (human + seating absorbent) Plaster 10000 1000 Speech

Sound source to be at the centre of stage (5m off back wall and centred to side walls)

STAGE

SPLA(dB)

EDT(s)

RT30(s)

Average Value 40.42

4.39

3.45

Avg. 37.31

34.21 *New SPLA Map

Avg.

1.56

1.81

1.52 1.78 **Original EDT and RT30 Map

DESIGN OUTCOME FLOOR PLAN

STAGE

The design outcome can be seen in the subsequent pages. The hall accommodates 605 seats including 12 wheelchair spots at the back and front row. 4 entrances are provided, a pair of 1800 wide egress opening at the front and a pair of 2100 wide egress opening at the back. All entrances are also used as a emergency exit. The stage comprises a circular segment with 157m2 which is able to accommodate approximately 30 musicians. Hall Capacity Capacity:

605 seats

Accessibility:

12 wheelchair spots

Egress:

4 (2100mm and 1800mm opening)

Stage area:

157m2 (±30 musicians)

Materials: Rough Plaster Polished Concrete Light toned Timber Cushioned Chair (Absorbent)

Floor Plan 1:100 @A2 61

MATERIALITY In terms of materiality, the materials chosen are to reflect an idea of the original site. Testing Grounds are the place for experimenting interdisciplinary practices such as arts, design and performances (Testing Grounds, n.d.). As such, first and foremost, polished concrete is chosen as the base ground material to reflect an idea of a blank canvas in its artistic sense. Furthermore, the hard surface also has a sound reflective quality. Rough textured plasterboard is used for the walls and timber diffuser for the ceiling. Both are hard surfaces and would reflect sound well. The rough plasterboard would also provide micro diffusing capability since it is textured. All colours are muted and textured to complement the concrete, creating a warm off white ambient.

View Render 1

The seating material is chosen to be sound absorptive, to reduce sound reflections that could create echoes. The seating is coloured to be in contrast with the surrounding, with the shade of timber that would connect the fixture with the whole interior design intent.

View Render 2

SECTIONS Rough Plasterboard wall to scatter the sound reflection on micro level. Angled wall to reflect the sound directly to the receiver.

Section Perspective 1 - S01

Stage wall reflector with recessed lighting in the perimeter

Timber ceiling diffuser

Polished concrete to reflect sound. Its simplicity reflects the nature of Testing Grounds being a blank canvas

Back wall sound reflector

Section Perspective 2 - S02

Sloping to provide view lines in on the back rows

Jagged Roof where each panel is rotated to accurately reflect the sound to the desired space

Seating Materials to provide netural contrast and a mix of acoustic reflective and absortbtive material

This Section is done collaboratively. Credits to: Antony Gutkin | Colin Luk | Joshua Christian 65

MUSIC CENTER Chapter 05 66

NARRATIVE The intent of this proposal is to enhance the current character of Testing Grounds. The existing place is being used as an experimentation of ideas, which is usually used for concerts, discussions, speech, bazaar that are related to culture and arts. It reflects a Greek Agora, where ideas are discussed and transferred between the public realm. In other words, the place is being used as a dialectical process of ideation and creativity. The area functions as such due to its awkward location on City Road, but still being a part of Melbourne Arts Precinct. Therefore, the small land lot that is secluded from the rest of the functions are used for the experimentation of ideas, hence the name Testing Grounds were born. It could be said that the area acts as an unpainted blank canvas. This reflects a notion of ideation, process, creation, rather than void or a tabula rasa. In this proposal, musical auditorium being the centre of 67

the space, however it does not denounce other arts and cultural forms that have the same significance. Thus the project name is the Creative Grounds of Melbourne. The place acts as an extension to the current Melbourne Arts precinct while keeping the experimental nature of Testing Grounds. Creative Grounds aim to support the process of cultural and artistic ideologies through various form of function such as recording studios, classrooms, musical performance, galleries, theoretical, and public performance. The new proposal also provides entertainment to the public. Restaurants and leisure area at higher levels are provided, allowing people to enjoy meals, beverages and other entertainment while also receiving the knowledge received from other functions.

BACKGROUND

NGV Contemporary - gallery dedicated to contemporary art & Design 69

Proposed Center for Creativity on 1 City Road

New connections and improved access into and through the precinct

New 18,000 sqm Public Garden

YARRA

RIVER

ST K ILDA

ALEXA

NDRE

AVE

STURT ST

CIT

G ST

The government proposal provides opportunities for the Music Centre, especially the new public park. This envisions a direct connection from the garden to the music centre and diminishes the awkward entrance on City Road.

FANNIN

STURT ST

CIT

In 2019, the government of Victoria appointed Hassell Architects and SO-IL to redevelop the current Melbourne Arts Precinct. The new $1 billion redevelopment will include elevated park, gardens and other pedestrian spaces that will link Southbank's 40 galleries, theatres and arts organisations with the new NGV Contemporary, the revamped Arts Centre and its new Performing Arts Museum. The project was projected to start in 2020 but was postponed due to COVID-19 pandemic.

ANK BL

ILDA RD

Proposed Arts Precinct Development. Courtesey of Colin Luk

ST K

SOUTHB

Site Melbourne Arts Precinct NGV Contemporary Public Green Space 70

PRECEDENT STUDIES KAOHSIUNG PORT TERMINAL, TAIPEI, TAIWAN Reiser + Umemoto (2014)

The new music centre is designed to be iconic, and the path which is taken is to experiment with the avant garde parametric design architecture. This includes fluid forms which moves away from conventional geometry. The first precedent is Kaohsiung Port Terminal by Jesse Reiser and Nanako Umemoto. The Port includes a 3 dimensional Public access which connects Ground-first-second floor and port for ships to dock. The building also has a semi tower for other functions. The precedent provides information in creating a woven public space, but also exhibiting a parametric form as a shell that connects all spaces. However what is lacking in this precedent is colour. In the context of 1 City Road, the surrounding buildings are monotonous grey. Adopting this aesthetic in 1 City Road will blend the architecture to the surrounding context not in a desirable way. The new music centre needs to be contrast enough, but not aggressively bold.

[Kaohsiung Port Terminal] (Reiser + Umemoto, 2010)

[Kaohsiung Port Terminal Section] (Reiser + Umemoto, 2010) 71

Precedents Analysis. Courtesey of Colin Luk

PRECEDENT STUDIES YAMAHA GINZA, TOKYO, JAPAN Nikken Sekkei (2010)

The second precedent studies focus on the facade treatment of the proposed music centre. Extending from the narrative of a blank canvas, the process of ideation is reflected through the aesthetics of mosaic. Mosaic is an artistic form that compiles various pieces of colours, textures, and materials into a greater form. Each mosaic piece has the same importance to another, which is to build the whole art form which is symbolic to Testing Grounds. The pattern colour would compliment the parametric form of the skin which is lacking in the previous Kaohsiung Port precedent. Yamaha Ginza provides the example of a mosaic facade that has the closest direction of the auditorium building design. The metallic mosaic shape which is used as a skin facade creates a gloss during the day, but glows up during the night when the internal lighting is turned on. Furthermore, the material of the facade is visible from the internal space, connecting the metallic shade from outside to inside. The combination of metal panels and glass creates undulating transparency and gloss, with warm autumn-like colour palette. The facade creates an impression of a metallic gloss facade, but also functions as a skin where glazing is required to allow sunlight in the building. [Yamaha Ginza Facade] (Suzuki, 2011)

Metallic gloss on the facade during daytime

[Facade Day] (Suzuki, 2011)

Translucent glow during the night

[Facade Night] (Suzuki, 2011)

Facade visible from inside.

[Facade from inside] (Suzuki, 2011)

PRECEDENT STUDIES AULA MEDICA, SOLNA, SWEDEN Wingårdh Arkitektkontor (2013)

The third precedent that is analysed is Aula Medica by Wingårdh Arkitektkontor in 2013. The architecture is a triangular mass with a curved overhang at the back and triangulated facade. The facade consists of reflective and metallic materials, expressing a warm shine to the building. The overhang and the filleted corners are the key inspiration for the new musical centre. This provides a new canopy, especially in the new garden area, while keeping the elements non-binarical. The overhang would act as a skin for the internal space, but also a canopy for the external area.

[Aula Medica] (Lindell, 2013)

1 2 Precedents Analysis. Courtesey of Colin Luk

PRECEDENT STUDIES TAO ZHU YIN YUAN APARTMENT, TAIPEI, TAIWAN Vincent Callebaut (2018)

The fourth precedent is Tao Zhu Yin Yuan Apartment. This precedent provides an example how to treat a twisting form in architecture. With small building footprint allowance in 1 City Road, a twist form would only be profound if the twist is vertical rather than horizontal. The precedent provides an example of this twist treatment and the possibility of creating a space through this kind of form manipulation. Twisting allows overhangs with views, but also creating an effect of a layered balcony. Moreover, as exemplified in the diagrams on the next page, the balcony allows intricate spaces such as void to open up the volume possible. In the new music centre, the twist form will be useful in creating voids and such spaces that would impact on the poetic of the internal volume.

[Tao Zhu Yin Yuan Twisting Apartment] (Vincent Caullebaut Architects, 2020) 77

Precedents Analysis. Courtesey of Colin Luk 78

Site plan, NTS. Courtesey of Colin Luk 79

SITE IMPLEMENTATION Within the site, some existing conditions are to be considered as the base parameter of the design. 3 notable themes are selected, which are Access and Entrance, Noise, and Sun Access.

Sunset

As previously mentioned, the access to the site is secluded from the rest of the Arts precinct due to level difference. With the new Garden, the connection to the Arts precinct can be re-established. This would diminish the separation and simplify the connection between the Arts Precinct and Testing Grounds. Second is Noise, particularly in City Road. This will be an issue since noise can disrupt the experience of the internal space of the Music Centre. This needs to be considered in the design.

Winter

Sun Studies

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Lastly Sun access. This will impact the planning of the internal spaces since the sun will only be accessible from the north.

Summer

Sunrise

Ro ad

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t ur St

LIAN TRA AUS LET BAL TRE CEN

42dB

et re St

E TH

RE AT

HAMER HALL

Entrance

St. K ilda

58dB

Noise

Access

Ale Avexand nue er

E AT ST

48dB

Swan

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Stree t

FORM FINDING

1 Base Form

2 New garden connection

3 Volume

4 Tapering, reducing visual bulk

5 Twisting connection

6 City Road undercroft

The process resonates between bottom-up and top-down to create a design that includes all parameters. As a result, the architecture is iconic, contextual, but also functional. Starting of from a base rectangular form, which is extruded to create a connection to the new garden. Then, extending the volume vertically to create volume and also responding to the spire of the Arts precinct. Tapering the solid to reduce visual bulk in City Road, which is already prominent in the area due to the surrounding high rises. The form is then twisted to create a connection between City Road, the New Garden, and Testing Ground. Undercroft public space is created at City Road by lifting up the bottom volume of the building. The final geometry will include the main entrance from Garden area, and a twist form that resembles a woman's gown in a Waltz facing the City Road area.

7 Final Geometry

The twist provides two-fold functions: artistically, and spatially. It creates a geometry which evolves from one form to another without having separated entities, and also spatially connects the secluded City Road to the Arts Precinct 82

PROGRAM Level 12 Entertainment

Rock Climbing feature at the top of the building for entertainment. Lift Core and Fire Stair. Back of house are located surrounding the service core

Levels 10-11 Restaurant

Levels 07-09 Offices, 40 people Conference Room Levels 05-06 Classrooms and Studios Levels 03-04 Auditorium & back of House Levels 01-02 Arts Gallery & Library Ground Floor Garden Entrance, Tickets, Cafe Lower Ground City Road, Undercroft Outdoor Public Space Basement 01-02 Car Park Program Diagram. Courtesey of Antony Gutkin. Base 3D model is done collaboratively 83

Floating Stair Atrium that connects GF to Level 03 altogether Curved Stair that directly connects City Road to Garden Precinct

LEISURE

RESTAURANT

CONFERENCE

OFFICES CLASSROOM WORKLIFTS & STUDIO SHOP STAIRS

AUDITORIUM GUEST LOUNGE

Entertainment 300 Capacity restaurant 10 Offices + 40 people conference room Productivity

600 Capacity Auditorium

LIBRARY

GALLERY/EXHIBITION

TICKET COFFEE ENTRY / FOYER OFFICE LIFTS &

PARKING STAIRS Spatial Organisation. Courtesey of Antony Gutkin

Public Spaces

250 Capacity Parking Lot 84

FACADE As previously mentioned in the Yamaha Ginza precedent, aesthetic of a mosaic is adopted in the facade treatment due to its similarities with the character of Testing Grounds The facade is a single skinned triangulated panels, with a parametric design glazing. 5 materials on the side are chosen and randomly applied to create a neutral colour palette in a mosaic pattern. Using their natural properties, it would create a soft contrast with the surrounding. The metallic properties of aluminium, brass, copper and corten would give a gloss impression to the building. Bluestone is also chosen as a background colour, blending in with other buildings while still having its uniqueness of a Melbourne character. Corten and copper are selected to provide a time dimension since both materials change their colours overtime. The materials are hard surfaces because they reflect sound. It is more desirable to reflect external sound rather than absorbing the sound, since absorption has the possibility of transmission that would result in noise leakage to the internal space. In a context of auditorium, that is to be avoided to create a maximum acoustic quality internally. Thus the facade would act as a noise reflector, especially on City Road side where it bustling with cars. The openings are selected based on the panels that have a direct relation to the internal spaces that needs sun access. The openings are mainly at the north due to its requirement for direct sun access. Furthermore, the size of the openings are determined by the importance of light required within the space, creating a mosaic transparent effect. 85

Aluminium

Bluestone

Brass

Copper

Corten

Glass

Window Glazing

Mosaic facade effect

Glazing Diagram. Courtesey of Colin Luk

RENDERS

External Render 1

Courtesey of Joshua Christian 87

External Render 2

Courtesey of Joshua Christian 88

External Render 3

Courtesey of Joshua Christian 89

External Render 4 - Entry Courtesey of Joshua Christian

Facade View Looking Up Courtesey of Joshua Christian 91

City Road - Undercroft Courtesey of Joshua Christian

City Road Side -viewed from Fanning Street Courtesey of Joshua Christian 93

City Road - Undercroft Courtesey of Joshua Christian

Interior View 1 - Entry Courtesey of Joshua Christian 95

Interior View 2

Courtesey of Joshua Christian 96

Interior View 3

Courtesey of Joshua Christian 97

Interior View 4 - Stair Atrium Courtesey of Joshua Christian

Interior View 5

Courtesey of Joshua Christian 99

Interior View 6

Courtesey of Joshua Christian 100

FLOOR PLANS - KEY SPACES Lower Ground Floor Plan - City Road LEGENDS: 1. 2. 3. 4. 5. 6.

Public space Rest area General lifts Emergency stairs Utility lifts Escalator to Basement

ITY

3 3 3

1 4 5

2 6 Plan Courtesey of Antony Gutkin 101

Ground Floor Plan - Garden Precinct Entrance LEGENDS: 1. Reception 2. Ticket kiosk 3. Lifts 4. Utility lifts 5. Emergency stairs 6. Cafe 7. Cafe seating 8. Cafe kitchen 9. Male toilet 10. Female toilet 11. Office 12. Storage

GARDEN PRECINCT

10 9 8

Plan Courtesey of Antony Gutkin 102

Level 03 Floor Plan - Auditorium LEGENDS: 1. Auditorium foyer 2. Auditorium 3. General lifts 4. Emergency stairs 5. Utility lift 6. Storage 7. Rehearsal area 8. Change room 1 9. Change room 2 10. Female toilets 1 11. Male toilets 1 12. Office 13. Female toilet 2 14. Male toilet 2 15. Disable toilet 1 16. Disable toilet 2

15 6

4 5

2 3

8 9

Plan Courtesey of Antony Gutkin 103

16 3 14

Level 10 Floor Plan - Restaurant LEGENDS: 1. Bar dining area 2. Dine in area 3. General lifts 4. Emergency stairs 5. Kitchen 6. Storage 7. Storage 2 8. Male toilet 9. Female toilet 10. Disable toilet

5 10 6

Plan Courtesey of Antony Gutkin 104

SECTIONS - KEY SPACES

Section 1

Courtesey of Joshua Christian 105

Section 2

Courtesey of Joshua Christian 106

Section 3

Courtesey of Joshua Christian 107

Section 4

Courtesey of Joshua Christian 108

Section 5

Courtesey of Joshua Christian 109

Section 6

Courtesey of Joshua Christian 110

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CONCLUSION/ BIBLIOGRAPHY Chapter 06 112

CONCLUSION REFLECTION The architecture has reflected the intent to elevate the current Testing Grounds. Programmatically, the building has allowed several educational, art and cultural spaces to contribute in the process of ideation and creation. The final design proposal in this journal is one of many possibilities in designing the music centre to be an iconic building. Sketches and ideas that were not implemented into the final design are yet to be experimented and applied to define what does it mean by iconic. To know such possibilities is frightening, yet exciting and humbling. It could be said for the least, this project on its own is the Testing Ground.

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BIBLIOGRAPHY Chiara, J. D., Callender, J., 1987, Time-Saver Standards for Building Types, 2nd edition, McGraw-Hill Book, Singapore National Printers, Singapore Egan, M. D., 2007, Architectural Acoustics, J. Ross Publishing, FL. Gewandhaus Orchester, n.d., Great Hall, Viewed on 21 march 2021, Accessible from < https://www.gewandhausorchester.de/en/gewandhaus/house/great-hall/> Gou, Z., Lau, S., 2017, Acoustic Design for an Auditorium Project; Using Building Performance Simulation to Enhance Architectural Quality, Back to the Future: The Next 50 Years, pp. 167–176. Neufert, E., Neufert, P., 2012, Architect's Data, 4th edition, Wiley-Blackwell, Chichester, West Sussex Vehviläinen, S., Näveri, N., Möller, H., 2018, The Acoustic Design of a Multipurpose Hall, Proceedings of the Institute of Acoustics, Vol 40, Pt. 3. Testing Grounds, n.d., Testing Grounds, Viewed on 14 April 2021, Accessible from < https://www.testing-grounds.com.au/>

ACKNOWLEDGEMENT Unless otherwise noted, all graphical works are done collaboratively with all group members during the commencement of the project prior to the final presentation. Credit to members: Antony Gutkin | Colin Luk | Joshua Christian

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IMAGE BIBLIOGRAPHY ‘[Elisabeth Murdoch Hall]’ [image] in Melboune Recital Hall (n.d.), The Richard Wagner Society (Victoria), viewed on 10 March 2021, <https:// wagnermelb.org.au/wp-content/uploads/2016/11/Melbourne-RecitalCentre-Elisabeth-Murdoch-Hall.jpg> Suzuki, K, (2011), '[Facade Day]' [image] in Yamaha Ginza / Nikken Sekkei, (2011), ArchDaily, viewed on 30 May 2021, <https://images.adsttc.com/ media/images/5007/705e/28ba/0d41/4800/23b4/slideshow/stringio. jpg?1414451766> Suzuki, K, (2011), '[Facade from Inside]' [image] in Yamaha Ginza / Nikken Sekkei, (2011), ArchDaily, viewed on 30 May 2021, <https://images.adsttc.com/ media/images/5007/7077/28ba/0d41/4800/23ba/slideshow/stringio. jpg?1414451787> Suzuki, K, (2011), '[Facade Night]' [image] in Yamaha Ginza / Nikken Sekkei, (2011), ArchDaily, viewed on 30 May 2021, <https://images.adsttc.com/ media/images/5007/7062/28ba/0d41/4800/23b5/slideshow/stringio. jpg?1414451769> Suzuki, K, (2011), '[Yamaha Ginza Facade]' [image] in Yamaha Ginza / Nikken Sekkei, (2011), ArchDaily, viewed on 30 May 2021, <https://images. adsttc.com/media/images/5007/7073/28ba/0d41/4800/23b9/ slideshow/stringio.jpg?1414451775> Gollings, J. (2009). ‘MRC Elisabeth Murdoch Hall balcony’ [image], in Carnick, A. (2009), ARM: Avant Garde Architecture in Melbourne, Anna Carnick, viewed on 10 March 2021, <http://www.annacarnick.com/wp-content/ uploads/2009/07/081103_7477-MRC-Elisabeth-Murdoch-Hallbalcony_2-Gollings2.jpg> Langebartels, Rolf. (2014). ’Sculptural Representation (Stereometric view) of Bars 52–55 of E Flat Minor Fugue by J. S. Bach’ [image], in Oron, A, (2016), Bach in Arts: Bach Statues, Monuments, Memorials & Plaques, Bach Cantatas Website, viewed on 10 March 2021, <http://www.bachcantatas.com/Pic-Memo-BIG/1658-03.jpg> Lindell, P., (2013), ‘[Aula Medica]’ [image] in Aula Medica / Wingårdh Arkitektkontor, (2014), ArchDaily, viewed on 29 May 2021, <https://

images.adsttc.com/media/images/52cd/b6d5/e8e4/4e1b/c800/019a/ slideshow/Lindell_Wingardh_KI_Aula_01.jpg?1389213390> ‘[Paraboloid Panel]’ [image], in Botschaft, (2017), The Elbphilharmonie Concert Hall and the Algorithm, Archive: Germany – Land of Innovation, viewed on 10 March 2021, <https://germanylandofinnovation.files.wordpress. com/2017/01/algorithm-1500px.jpg?w=2000&h=1500&crop=1> ‘[Recital Hall Floor Plan]’ [image], in Melbourne Recital Centre (n.d.), Ticketek, viewed on 11 March 2021, <https://d35kvm5iuwjt9t.cloudfront.net/ dbimages/sfx68445.gif> ‘[Recital Hall Space]’ [image], in The Halls, (c.2) Elbphilharmonie, viewed on 10 March 2021, < https://d3c80vss50ue25.cloudfront.net/static/images/ das-haus/infographics-kleiner-saal.2266bde5e608.jpg> Reiser + Umemoto, (2010), ‘[Kaohsiung Port Terminal Section]’ [image] in Kaohsiung Port Terminal / Reiser + Umemoto, (2010), ArchDaily, viewed on 01 May 2021, <https://images.adsttc.com/media/ images/55e8/9d9e/e258/46a8/1e00/00fc/slideshow/kaohsiung_port_ terminal_reiser_umemoto_7.jpg?1441308055> Reiser + Umemoto, (2010), ‘[Kaohsiung Port Terminal]’ [image] in Kaohsiung Port Terminal / Reiser + Umemoto, (2010), ArchDaily, viewed on 01 May 2021, <https://images.adsttc.com/media/images/55e8/9d76/ e258/46a8/1e00/00f8/slideshow/kaohsiung_port_terminal_reiser_ umemoto_1.jpg?1441308014> Shulz, M. (n.d.) ‘[Main Concert Hall]’ [image], in Elbphilharmonie Launches 2020/21 Concert Season, (2020), Hamburg News, viewed on 10 March 2021, <https://hamburg-news.hamburg/sites/default/files/2020-08/ Elbphilharmonie%20l%20maxim_schulz1.jpg> Vincent Callebaut Architects, (2020), ‘[Tao Zhu Yin yuan Twisting Apartment]’, [image], in Tao Zhu Yin Yuan Apartment Building / Vincent Callebaut Architectures, (2021), ArchDaily, <https://images.adsttc.com/media/ images/6012/c4ad/f91c/8196/0900/0164/slideshow/011_-_VCA_-_ TAO_ZHU_YIN_YUAN.jpg?1611842724> 116