Ways of Listening to the Past_Interior Design Thesis Book_by Junyu Cao by junyu.amber

CONTENT Abstract 6 Program 12 Case Study 26 Site Study 32 Precedents 62 Methodology 80 Project Design 100 Bibliography 126

Illustrated Preserved Historical Buildings in Shanghai

This thesis will explore ways of creating dialogues between the past and the present using existing historical architecture as a vehicle for the expression of contemporary life. It will also discuss how different degrees of remodeling can enrich the diversity of the urban context, achieving timelessness and continuity. Through the adaptation of a historical slaughterhouse in Shanghai into a promenade music venue, the design attempts to manipulate the language of casting and sound, which represent the past, to tell the story of the building to the contemporary.

CONCEPT ABSTRACT

Relics of Shanghai

WHAT TO PRESERVE? WHAT TO ALTER?

In many developing countries like Chi-

ings is one of the methods to con-

na, plenty of historical buildings are

serve a cityâ&#x20AC;&#x2122;s history and tradition. The

being demolished to give space to the

preservation of an old building was

rapidly expanding city. Along with the

not only urged for historic or cultural

demolition and development happen-

reasons, but also for city sustainability.

ing, various voices came to attention.

On the other hand, city planners would

Historians would claim that nothing

argue that new buildings with more

could exist or evolve without the past.

capability for occupancy and up to

History is the reference for the future, the

current standards is necessary to solve

mirror and the means to preserve tradi-

problems of population expansion,

tion, with which we identify ourselves.

economic growth, social welfare and

And the preservation of historic build-

more appropriate for contemporary life.

Background

SPECTRUM OF PRESERVATION + ADAPTATION (Brooker) old

new

RESTORATION

PRESERVATION

RENOVATION

ADAPTATION REMODELING

“The process of returning the condition of the building to its original state and this often involves using materials and techniques of the original period to ensure that the building appears as though it has just been constructed”

“Maintains the building in the found state, whether ruinous or not. The building is made safe and any further decay prevented; the ruined condition is important to the historical understanding of the place”

“The process of renewing and updating a building; a palace or large mansion might be adapted for 21st century living but not substantially changes”

“The process of wholeheartedly altering a building. The function is the most obvious change, but other alterations may be made to the building itself such as the circulation route, the orientation, the relationships between spaces; additions maybe built and other areas may be demolished. This process is sometimes referred to as adaptive reuse, especially in the USA, or as reworking, adaptation, interior architecture or even interior design”

Brooker, Graeme, and Sally Stone. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises, 2004. Print.

CONCEPT ABSTRACT

And the discussion about preserva-

One voice came from Rem Koolhaas, as

20 years ago. And none of any kinds

tion and renovation continues among

he claimed, “preservation is overtaking

of buildings, including any monumental

the designer group in both social

us” (Koolhaas), not everything old is good

ones, were designed for infinite useful

and aesthetic spheres. Based on the

or worth to be preserved. He believes

lives. He questioned what to preserve

spectrum spans from complete res-

that we are at the moment that “pres-

and if there is certain authentic criteria to

toration to entire renovation, design-

ervation is no longer a retroactive activ-

determine what to preserve. And this

ers discussed what stands should we

ity but becomes a prospective activity”

caused the discussion not only about

take on that spectrum, and whether

(Koolhaas.) We are not only satisfied with

what to preserve, what to demolish but

there is a universal conclusion of our

only preserving buildings built 2000 years

also about how old buildings would be

attitudes towards historical buildings.

ago, but also 200 years ago, or even

preserved or adapted for new demands.

Koolhaas, Rem. “Preservation Is Overtaking Us.” Future Anterior 2nd ser. 1 (2004): n. pag. Web. 3 May 2015.

Rem Koolhaas

TIMELESSNESS The renovation from one period of time, in

what has contributed to the building as

the past not only belongs to the 1960s,

some sense, is the representation of how

appeared right now, what is happening

but is also a classical way of reading

people from that period of time under-

in the contemporary era and what effect

history, which was to use the past as a

stand of the past and their interpretation

that the current renovation would bring to

reference for the future.

of the past. People from another period

the building. Reading and understanding

But just like Charles Bloszies stated in

of time might interpret the past differently.

the past is critical to what we are doing

the book Old Buildings, New Designs,

Designers, understanding this capricious

in the present and visioning the future in

â&#x20AC;&#x153;Whether an old building is restored

condition, are in charge of the question

terms of creating a space which does not

following the strictest preservation guide-

about what kind of remodeling or what

only belong to the era it was constructed

lines or retained as an artistic fragment

strategies would make a timeless build-

or contemporary period, but also belongs

fused to a new form, the energy expend-

ing, which could satisfy demands and

to the future.

ed to build it in the first place has not

stand any questioning from different

The re-modeling of Castelvecchio in

been squandered. Architectural diversity,

periods of time. As a designer for a spe-

Verona, Italy by Carlo Scarpa is a perfect

a crucial component of a livable city, is

cific renovation or preservation project,

example of reading the past, which would

enriched by the resulting mixture of old

it is important to understand what has

be explained more in detail in the follow-

and newâ&#x20AC;? (Bloszies.)

happened in the past about the building,

ing section. Scarpaâ&#x20AC;&#x2122;s understanding of

Define Timelessness 1) The fact that an architecture or space is

has a strong feature of its contemporary

not restricted to its contemporary features

but still been appreciated by other eras.

(i.e. ornament, style or time fashionable

3) The fact that an architecture or space

features) While its city context and ethos

possesses diversity and integrity.

keeps changing, the building itself could

4) The fact after renovation or remodeling,

always blend with its context while still be-

an existing architecture does not only be-

ing independent.

long to its era of building, but also belongs

2) The fact that an architecture or space

to the contemporary age and the future.

Bloszies, Charles. Old Buildings, New Designs: Architectural Transformations. New York: Princeton Architectural, 2012. Print.

CONCEPT ABSTRACT

Timeless Design, Le Grande Louvre / I.M. Pei

Within the music venue, the audience is allowed to walk around the whole space, meander among sections of musicians playing classical music. This experience provide individual audience members with very different experience, one to the other, and encourage various perspectives of the performance and the space.

The term “Promenade Concert”, as de-

providing music since 1667, and became

Symphony Orchestra held every summer

fined by the Oxford Dictionary, means “a

the important entertainment place in 1732.

in the Ozawa Hall in Tanglewood, where

concert of classical music at which a part

The first indoor promenade concert hall or

the outdoor casual seating were provided

of the audience stands in an area that has

music room opened in London in 1742,

along with formal indoor seating.

no seating, for which tickets are sold at

the Rotunda at Ranelagh Garden, and

The promenade concerts were held in var-

a reduced price.” The history of prome-

sometimes, formal seating was installed.

ious ways. The most original one would be

nade concert can be traced back to 18th

The most famous promenade concert

the BBC Proms in London, in which many

century London, referred to the concerts

during present days is the BBC Proms,

performances still take place in a concert

held in the pleasure gardens, where the

founded in 1895 by Robert Newman and

hall. But its descendants such as the Tan-

audience could stroll during performances.

the conductor Henry Wood.

glewood concerts and the Concerts in the

The most famous pleasure garden is

Another remarkable precedent would be

Parks by the New York Philharmonic every

probably the Vauxhall in London, started

the Tanglewood concerts by Boston

summer adopt an even more casual way.

BBC PROMS founded in 1895 by Robert Newman and the conductor Henry Wood an eight-week summer season of daily orchestral classical music concerts and other events held annually

The Great Room at Vauxhall, with the gallery leading to the gardens beyond.

The Rotunda at Ranelagn Garden, opened in 1742; the public could promenade around the enormous building while the concerts were in progress.

PROGRAM

Started in 18th century London Pleasure Gardens

Seiji Ozawa Hall Tanglewood

PROGRAM PRECEDENTS

Karlheinz Stockhausen Distribute the Sections of Orchestra, listen to music as walking in a gallery

Karlheinz Stockhausen Musik fur ein Haus, 1968 “Music House” Jeita-Grotto

Layout for positioning the instrumentalists in his Fresco Musik fur die Beethovenhalle, 1971

Fresco (“wall sounds for meditation”) is an orchestral composition written in 1969 by the German composer Karlheinz Stockhausen as foyer music for an evening-long retrospective program of his music presented simultaneously in three auditoriums of the Beethovenhalle in Bonn. It is Nr. 29 in his catalogue of works, The programs in each of the three auditoriums were performed in the usual way, only the seats were removed and the audience was seated on the floor on rugs and mats. These programs were carefully timed so that the intermissions would coincide, at which point the members of the au-

dience were free to move to one of the other halls for the next segment. “The idea was that my music should be experienced like exhibits in a museum” (Stockhausen 1989, 151– 52). Conceptually, “instead of the usual chatter, the whole house, from cloakroom to auditorium seat right up until the entrance of the conductor, could already be filled with sound, so that the listener could begin listening, if he wanted, from the moment of entry, making his own selection from a timetable placed at the entrance giving details of the three programs to take place simultaneously in the three auditoriums”

Stockhausen, Karlheinz. 1971. "Musik für die Beethovenhalle". In his Texte zur Musik 3, edited by Dieter Schnebel, 143–52. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg

PROGRAM

Iannis Xenakis Time and Sequence of Music, Linear? Music and the Space

Terretektorh, 1966 Diagram Showing relationship of Musicians and the Public introduced spatialization by dispersing musicians among the audience.

Metastaseis was inspired by the combination of an Einsteinian view of time and Xenakisâ&#x20AC;&#x2122; memory of the sounds of warfare, and structured on mathematical ideas by Le Corbusier. The work requires an orchestra of 61 players with no two performers playing the same part.

Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. Among his most important works are Metastaseis (1953â&#x20AC;&#x201C;54) for orchestra, which introduced independent parts for every musician of the orchestra; compositions that introduced spatialization by dispersing musicians among the audience, such as Terretektorh (1966)

Xenakis, Iannis. 2001. Formalized Music: Thought and Mathematics in Composition (Harmonologia Series No.6). Hillsdale, NY: Pendragon Press.

David Byrne Music and Architecture. Architecture Sounds. Compose music for the space

Sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure â&#x20AC;&#x201D; to the metal beams and pillars, the heating pipes, the water pipes â&#x20AC;&#x201D; and are used to make these things produce sound. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument. Playing the Building 2012

"DavidByrne.com - Art - Playing the Building." DavidByrne.com - Art - Playing the Building. Web. 15 May 2016.

PROGRAM

Bernhard Leitner Sound and Body

Sound Space

"Bernhard Leitner: Sound Spaces." ArchDaily. 2011. Web. 15 May 2016.

Since the late 1960s, Bernhard Leitner has been working in the realm between architecture, sculpture, and music, conceiving of sounds as constructive material, as architectural elements that allow a space to emerge. Sounds move with various speeds through a space, they rise and fall, resonate back and forth, and bridge dynamic, constantly changing spatial bodies within the

static limits of the architectural framework. Idiosyncratic spaces emerge that cannot be fixed visually and are impossible to survey from the outside, audible spaces that can be felt with the entire body. Leitner speaks of â&#x20AC;&#x153;corporealâ&#x20AC;? hearing, whereby acoustic perception not only takes place by way of the ears, but through the entire body, and each part of the body can hear differently.

Charles Ives

Susan Philipsz

Music and Nature, within Context

Music within Context

Universe Symphony (unfin-

spiritual eternities, from the great

Philipsz predominantly creates sound

ished, 1911-1928) According

unknown to the great unknown.”

installations using recordings of her own

to his notes on a sketch of the

Ives envisioned the work being

Universe Symphony, Ives was

performed by multiple orchestras

“striving to ... paint the creation,

located in valleys, on hillsides

the mysterious beginnings of all

and mountains, with the music

things known through God and

mimicking “the eternal pulse ...

man, to trace with tonal imprints

the planetary motion of the earth

the vastness, the evolution of

... the soaring lines of mountains

three bridges over the River Clyde in

all life, in nature, of humanity

and cliffs ... deep ravines, sharp

Glasgow - George V Bridge, the Caledo-

from the great roots of life to the

jagged edges of rock.”

voice that are played in specific geographical sites to “heighten the visitor’s engagement with their surroundings while inspiring thoughtful introspection.” “Lowlands”, was three versions of what she called a 16th-century Scottish lament, “Lowlands Away”. It was played under

nian Railway Bridge, and Glasgow Bridge. Lowlands 2010

John Kirkpatrick (1980). "Charles E. Ives". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians ix (1 ed.). London: Macmillan. pp. 414–429. J. Peter Burkholder. "Charles Ives", Grove Music Online, ed. L. Macy (accessed May 1, 2005), grovemusic.com “Susan Philipsz: Biography”; tanyabonakdargallery.com; retrieved 11 April 2014.

PROGRAM

Transformable Sound Space

Jesse H Jones Hall, Houston by Caudill, Rowlett and Scott Left: Theatre Mode

Institute de Recherche et Coordination Acoustique / Musique 1978

Transformable Ceiling Right: Concert Hall Mode

Rotatable wall panels for acoustic purpose

After rotation

PROMENADE CONCERT

Musicians

Audience

Re-interpretation of Classical Symphony Along with the study of the site building and the operation of the slaughterhouse, the music venue inherits the spirit of the slaughterhouseâ&#x20AC;&#x2122; streamline and the idea of sectioning. In each of the four types of performance illustrated on this page, musicians are separated and located in different places. While either in searching for musicians or following the movement of musicians, the audience is encouraged to discover the beauty of the original building while experiencing the transition between separation and integrity both visually and acoustically. Depends on different paths taken by the audience, each individual audience member would have various experience. Not any individualâ&#x20AC;&#x2122;s experience are the same. 20

Type A

Type B

Musicians divided into sections, separated and

Musicians divided into sections, separated in

hide in different locations, playing the same

different locations, playing the same piece.

piece. Audience in search of musicians.

Audience attracted by lighting spots on sections, light dim from time to time, audience move among sections as light goes on and off.

PROGRAM

Type C

Type D

Musicians divided into sections, separated different locations,

Musicians divided into sections, separated in different locations, playing the

playing different works (different works of one musician or

same piece. As performance goes on, one musician from each section move to

works from multiple musicians living in the same era) Audience

another section, and gradually each performance location would contain musi-

in search of musicians.

cians from different sections. At the end, the entire orchestra gather. Audience are free to either stay with on section of musican or walk around the space with the movement of musicians.

PROGRAM SURVEY

OVERVIEW OF USER GROUPS

The most influential factor while choosing a concert to go

In the present days, similar music festivals happened not only in countries with classical music traditions, but also in those with classical music amateurs. In the city of Shanghai, a similar summer music festival was held every summer as well, Music in the Summer Air started in 2009. Whereas, all the concerts still took place in a formal way, which does not feature the semi-casual spirit of a summer music season. The proposal of

How Important is Seating

promenade concert in Shanghai is aimed to provide people an alternative way of enjoying and interpreting classical music. The major user group would still be classical music audience. This group of people is still, at least in Shanghai, China, dominated by middle-class middle-aged. But by introducing promenade concert, it aims to attract more younger people as well.

STUDIES OF CONVENTIONAL CONCERT HALL PROGRAMS

PROGRAM

Box Office Department Front of House Staff BoxDepartment Office Manager Box Office Assistants Box Office Manager Receptionist Assistants Receptionist Performance Group/Artist ConductorGroup/Artist Performance Orchestra members Conductor Orchestra members

MASTER LIST OF SPACES

Audience Audience Master List of Spaces Administration Master List of Spaces Administration Office Administration Board Room (committee meeting 12-20 peopel) 600SF Administration Office Office Room (committee meeting 12-20 peopel) 2, 000SF Board 600SF Production 500SF Office Office (10 people, 40SF/PER) 2, 000SF Staff Restroom (each floor) 200SF Production Office (10 gender people, /40SF/PER) 500SF Storage SF Staff Restroom (each gender / floor) 200SF Performance StorageGroup/Artist SF Stage Group/Artist 2400SF Performance Backstage/waiting area Stage 2400SFSF Green Rooms X 2 area 600SF Backstage/waiting SF Dressing Rooms Green Rooms X 2for sections of musicians 600SF (up to 15 Rooms personsfor each) X 6 of musicians 450SF Dressing sections Maestro 150 SF (up to 15Suite persons each) X 6 450SF RehearsalSuite / Practice Rooms 2400SF Maestro 150 SF Staff Restroom (eachRooms gender / floor) 200SF Rehearsal / Practice 2400SF Shower (each gender) Staff Restroom (each gender / floor) 200SF Stage Door SF Shower (each gender) 200SF Audience Stage Door SF Auditorium (350 CF/person) Audience Standing (during performance) SF Auditorium (350Area CF/person) Seating SF StandingArea Area(during (duringperformance) performance) Front Seating of House Area (during performance) SF 3250SF Front Foyer of House Foyer 3250SF Hospitality Lounge 1600SF Café and Catering 3250SF Store 800SF Box Office 800SF Information/Reception SF Coat Check (1SF/Coat. 25%-35% of audience size) SF Restrooms (each gender / floor) 800SF Other Security Office

PROGRAM

Convenient + Adjacency Minor Relationship

ADJACENCY DIAGRAM

30 Lafayette Avenue, Brooklyn, NY Built: 1908 Howard Gilman Opera House: 2,109 Lepercq Space:350 Harvey Theater: 874 Fishman Space: 250

CASE STUDY

MEZZANINE AND BALCONY

DELIVERY ADMIN + STAFF ORCHESTRA

AUDIENCE

ST. FELIX ST

ASHLAND PL

CASE STUDY

STAGE LEVEL PLAN

ST. FELIX ST

LAFAYETTE AVE

1ST FLOOR PLAN

LOBBY LEVEL FLOOR PLAN

M1 FLOOR PLAN

CASE STUDY

LAFAYETTE AVE

ST. FELIX ST

5 FLOOR: ADMIN 4 FLOOR: ADMIN 3 FLOOR: ADMIN M2 LEVEL FLOOR PLAN

M3 FLOOR PLAN

Built: 1933 Architect: (unknown) Previous Use: Slaughterhouse Last Restoration: 2006 Location: Shanghai

SITE

LOCATION

NYC-SH

SHANGHAI

HONGKOU DISTRICT

1933 BLOCK

1933

CONTEXT

SITE

Looking from East towards South West

Looking from North West towards South East

SITE

PERFORMANCESPACE

DEMOGRAPHIC (PER/SKM) 40,000-50,000

20,000-40,000

10,000-5,000

6,000-1,000

10,000-20,000

Lack of performance space in the dense population area

Existing Performance Space + Riadiation Based on the Capability 1933 Performance Space + Riadiation Based on the Capability

RIVERS

COMMUNITY River

SITE

TRANSPORTATION General Transportation Subway Station

Music Venue Entrance relocated for the adjacency to the most accessible street

Population Density in the International Settlement 1935 (people/SKM) 101-200

51-100

21-50

>20

Expansion of the International Settlement 1846-1943 1846-1848

1848-1863

1863-1899

1899-1943

1943 Aug End of International Settlement

Initially built by the Municipal of the International Settlement to supply meat for the expansion during 1899-1943

SITE

The distribution of factories in 1947 and Creative Clusters in Shanghai 2016 Urban District 1945-1949

Hydrography

Industrial Concerns

Creative Industry 2016

One of the many abandoned factory buildings in the center of Shanghai along with the re-planning of the city after 1980 Turned into a creative cluster in 2006 as many other factory buildings

PERSERVED HISTORICAL BUILDINGS IN SHANGHAI 2015

A BRIEF HISTORY OF THE SLAUGHTERHOUSE

193 3SL AU GH TER HO US E

Original Plans and Sections in 1933 1

2/3/4

1st Floor Plan (P1-C1-CM)

Mezzanine Floor Plan (CM)

Partial Section Tunnel for fur and organs

2nd Floor Plan (P2-C2)

3rd Floor (Core) 4th floor (Perimeter) Plan (P4-C3)

Roof Floor Plan (P5-C4)

SITE

West Facade (North West Corner)

West Facade (South West Corner)

Core Slaughter Place Tracks and Hooks + Tunnel for fur and organs

West Facade (South West Corner)

Core Slaughter Place Tracks and Hooks

West Facade (South West Corner)

Perimeter Barn View

Perimeter Freezer

RM AC E

IC A

LF AC TO RY

Plans and Sections Missing (Plans from 2006 for reference)

10 12/13 11

14/15

17 18

P1-C1

10 11

Core Wall (removed in 2006)

P3-C3

Core Wall (removed in 2006) 14

Core Wall ,Core Stairs preserved in 2006 Only one pair of tunnels preserved for the pharmaceutical factory

P4-C4

Exterior View of Core

West Facade (South West Corner) Painted Orange West Facade (North West Corner)

South West Entrance

Between Perimeter and Core

Core top floor

16 C

19 C

SITE

EA TIV

LU S

TER

Plans and Sections after 2006 Restoration

P1-C1

P2-C2

PM-ENS

P3-C3

P4-C4

18 19 12

Section

C4: add glass stage, remove handrails

Core Wall removed in 2016, Stairs preserved

21 16

22 17

SITE

West Facade restored to the original design

Left Page 8

15 7w 7e D

LEVE L P4-C C4:2100 4 0 SF

LEVE L P3-C C3:1900 3 0 SF

PM - E

LEVE L P2-C C2:1900 2 0 SF LEVE

L CM

:690

0 SF

LEVE L P1-C C1:6400 1 SF

LEVE

L CB

:690

0 SF

ORNAMENT STUDY

West Facade Peforated Wall (for ventilation)

SITE

Detail

Narthex

South West Entrance

Peforated Wall Filter Light in Perimeter Buildings Umbrella Columns

Umbrella Column

Distribution of Umbrella Columns

VERTICAL CIRCULATION

CM-C2

SITE Distribution of Vertical Circulation (C1+C2+C3)

Core Stairs Complex

South East Complex Stairs+Ramps+Elevator

North East Complex Stairs+Ramps+Elevator

Core Central Stair Complex

LIGHTING STUDY

SITE

SLAUGHTERHOUSE STREAMLINE AND OPERATION

1st Floor Transaction

2nd 3rd 4th Floor Human Being

Animal Circulation

Barn and Stable

5th Floor Animal Hanging

Slaughter Area

Animal Circulation Direction

EXISTING RCP

Unoccupiable Activity Hospitality Cultural Office Retail

C2 RCP

C3 RCP

PROGRAMS OF PERIMETER BUILDING

RETAIL OFFICE CULTURE HOSPITALITY ACTIVITY UNOCCUPIABLE

SITE

RELICS + SCAR

At the east of the slaughterhouse, the

residential area

built during the 30s has endured layers of renovation as the residents came and left. In 2015, the local government started relocateing the residents and demolishing the residential buildings as many

1920s

2000s

1990s

2000s

2000s 1920s

other similar areas in Shanghai. Different from the historical slaughterhouse next to

1970s

them, which has been cleaned and restored, these lower-elevation buildings for lower-in-

1990s

come people are complex of hodgepodge motives , but left intersting relisc of times.

SITE MODELS

Scale: 1/64”=1’-0”

SITE

Scale: 3/32”=1’-0”

In the book Rereadings: Interior Architecture and the Design Principles of Remodeling Existing Buildings, Graeme Brooker and Sally Stone categorized some strategies used by contemporary architects and interior designers to remodel existing buildings â&#x20AC;&#x153;according to the intimacy of the relationship between the old and the new.â&#x20AC;? (Brooker) This section includes two examples of the categories, and introduce another manner manipulated by architect Wang Shu in his Ningbo Historic Museum.

PRECEDENT ANALYSIS

Intervention “Intervention is a procedure that activate the potential or repressed meaning of a specific place. It only truly works when the architectural response of the modifications draw all their cues from the existing building. The architect will regard the building as a narrative, a story to be discovered and retold and, through a process of uncovering, clarification and interpretation will reveal and reactivate the place” (Brooker).

Insertion “Insertion is a practice that establishes an intense relationship between the original building and the remodeling and yet allows the character of each to exist in a strong and independent manner. […] is the introduction of a new element into, between or beside an existing structure. The inserted object can often be seen as independent and confrontational” (Brooker.) “A new autonomous element, the dimensions of which are completely dictated by those of the existing, that is, it is built to fit, is place within the confines of the existing” (Brooker.)

Incorporation The strategy that utilize the materials from the past to create a completely new space or architecture. The newly built structure gives the overall impression, while the old part no longer exists in its original looking or manner. Instead, it was given completely new connotation by the new, but its continuation gives spirit to the new, and in some sense dictate the new.

Brooker, Graeme, and Sally Stone. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises, 2004. Print.

The building complex was transformed several times since it was built. During the Roman Empire, it was a part of the Roman wall. And during the 12th century, it became the commune wall of the Republic of Verona. And in the 14th century, when the Scaligeri family governed the city of Verona, the castel was used as the home the Scaligeri family and the military defense. During 19th century, when the French governed the city, it was reconstructed into a military barracks, and continued The

Castelvecchio

museum

was this function until 1920s, when Antonio

once a military barracks, a castle, Avena, the museum director, turn it and was turn into a gallery during the into a gallery. The long history of the 1920s by architect Ferdinando Foriati. building

gave

layers

residues

Carlo Scarpa was commissioned to and marks to the building, which remodel the space during 1960s. This Carlo Scarpa used the strategy of remodeling later became the classical juxtaposition to reveal. of such approach for Scarpa’s revo-

INTERVENTION CASTELVECCHIO Location: Verona, Italy Former Function: Fortress Built: 1354-1376 New Function: Gallery Remodelled: 1960s Architect: Carlo Scarpa 64

lutionary attitudes and interpretation of the existing building. As claimed in Re-reading, “Carlo Scarpa’s approach to remodeling was base upon an interpretation of the meaning of the original building. He endeavored to understand the historical and contextual qualities of the place and then to apply a new contemporary layer of value and consequence to the building.”

Brooker, Graeme, and Sally Stone. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises, 2004. Print.

PRECEDENT ANALYSIS

after Foriati & Scarpa

French military addition (1802)

One architectural remodeling was the faรงade. The original faรงade was transformed during the 1920s renovation; the windows were transformed from geometric barrack masculine shape to Gothic organic lines. Here Scarpa juxtaposed another layer of wall behind the original, and designed the window frames in geometric shape as a representative of contemporary modernism.

Scarpa

Foriati

He also changed the entrance from the middle of the faĂ§ade to the east corner to create a linear circulation among enfilade galleries and prepared audience to the Statue of Congrande, which is a very dominant piece among the collection of the museum. The Congrande is the representative of the Scaligeri family, who once governed the city of Verona.It was once placed at the east corner of the courtyard before Scarpaâ&#x20AC;&#x2122;s renovation.

previous display

display after Scarpa 66

By changing the placement of the

the west wing and the east wing, and

statue, the audience would be able

pass the Statue of Congrande from

to preserve the statue in a com-

its front, where the statue was inten-

pletely different way; they would see

tionally placed facing the audience

the statue from a distance when

route. This arrangement creates the

they first entered the courtyard, and

encounter moment of the audience

after walking through all the enfilade

and the Congrande, which could be

galleries in the east wing, they would

read as a metaphor of the history of

enter a small outdoor courtyard and

the building. Scarpa also designed

be able to see the congrande from

the roof above the Congrande statue.

its bottom. Then, the narrow route

He added a layer of bronze roof un-

would force them to enter the castle

der the original tile roof, and revealed

and go upstairs to the second floor.

a part of the beam under the roof as a

After walking through the galleries on

representative of the layers of history

the second floor of the west wing,

of the building.

PRECEDENT ANALYSIS

3rd floor plan

2nd floor plan

1st floor plan

they would pass a bridge between

G G

F I

section

note: the circulation section was analyzed and drew by Yi Li

Scarpa

Besides, he used the language of intervention in smaller scale as well. The

Foriati

gesture of a concrete panel with metal trim inserting into the entrance and the insertion of a box shape shrine into one of the galleries of east wing are detailed scale remodeling of the existing, by which Scarpa was able to juxtapose the current with the layers of past and intertwine the now and then.

B 68

PRECEDENT ANALYSIS

D C

D A

D B

INSERTION MUSEO CANOVIANO Location: Possagno, Italy Former Function: Gallery

Built: early 19th century New Function: Gallery

Remodelled: 1955 Architect: Carlo Scarpa

Different from the strategy used in Castelvecchio Museum, Carlo Scarpa used another

strategy of insertion---as defined by Brooker---for the extension of Museo Canoviano

to commemorate the two hundredths anniversary of the birth of Antonio Canova. The

original basilica gallery was designed by Guiseppe Segusini in 1836. And Scarpa’s inser-

tion “counterpoints the monumental unity of

m g

h p

the hall [Gipsoteca, the former gallery]… It respects and understands it, reworks some

of the ideas and yet provides a gentle contrast” (Brooker). In comparison with Castelvecchio, Scarpa’s renovation of Museo Canoviano is larger in scale, more clearly differentiated from the existing, yet still reso-

b a

nates with the existing in details. 70

Brooker, Graeme, and Sally Stone. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises, 2004. Print.

PRECEDENT ANALYSIS

The importance of the sculpture was also addressed by the cascading floor and roof level. From the gallery that connects the basilica gallery and the Scarpa gallery, the floor and roof level descend, and at the point of the Three Graces, become a pond, creating soft lighting for the sculpture as stated above. Besides, it contrasts with the even leveling basilica, resonates with the hilly site and defines the boundary between the old and the new. cascading floor and roof level

basilica skylight

For example, the practice of using light. In the original basilica gallery, there is a skylight at the end of the gallery, bringing soft and appropriate light for sculpture display. In his insertion space, Scarpa manipulated the language of light massively, illustrated by those signature corner skylights and the manipulation of water reflection at the far end of the new gallery, illuminated the masterpiece sculpture of Canova, The Three Graces. 72

light on The Three Grace

corner window and skylignt in Scarpa gallery

INCORPORATION NINGBO MUSEUM

PRECEDENT ANALYSIS

Location: Ningbo, China Built: 2008 Architect: Wang Shu

The Ningbo Museum, also known as the Ningbo Historic Museum, is a very unique architectural approach in contemporary China. The architect, Wang Shu, interpreted the museum as a representative of the history of Ningbo. The museum is located in Ying Zhou district, after a mass demolishment of the local villages .

the origin of Wa Pan

The most unique part of this project is

nology itself was about to build a wall by

its

manipulat-

layering tiles and bricks. But here, Wang

ed the local and historical technology of

gave it a cultural significance by utilizing

Wa Pan to compose a faรงade with stack-

bricks and tiles from locally demolished

ing stones and tiles collected from local

village houses. In this manner, this build-

demolished villages. This traditional tech-

ing is not only sustainable, but also an

nology was invented and used by local

introspection towards the demolished past

residents for thousands of years, but was

and the rapid development of contemporary

barely used in contemporary era. The tech-

China.

faรงade

treatment.

Wang

component of Wa Pan

PRECEDENT ANALYSIS

Also for some other walls, bamboos grown locally were used for concrete casting, and contrast with the Wa Pan wall.

INTERVENTION AND INSERTION IN CONTEMPORARY CHINA WATERHOUSE Location: South Bund of Shanghai, China Former Function: Military Headquaters Built: 1930s New Function: Hotel Remodelled: 2010 Architect: Neri & Hu In the newly finished project, Neri&Hu altered the previous military headquarters to a modern hotel. Adapting its original industrial atmosphere, they used similar materials as steel and raw wood while also using materials with great contrast, such as white plaster, clear glass to create the sense of insertion. From its faรงade view, it looks like the new structure was inserted and juxtaposed with the original, but the utilizing of industrial materials ties the new structure with the old. From the faรงade view, the big corten steel juxtaposed with the original concrete faรงade, while the newly added glazed windows fit to the original window frame and the two giant eye-looking rectangular windows on the top floor contrast the industrial materials with modernism appearance. The great juxtaposition and the independency of each material are very similar to what Carlo Scarpa did in Museo Canoviano, known as insertion defined by the Brooker. 76

PRECEDENT ANALYSIS

east elevation

south elevation

Neri & Hu south east facade north east facade

east facade

On the other hand, the new and the old intertwined more in the lobby area. A big portion of the original building and wall treatment was maintained as what it was when found. By adding the white catwalk, the white chanderlier and detailed furniture, which create great contrast with the existing materials, Neri & Hu intervened the new elements with the old. But some newly added elements, such as the rough floor, concrete looking reception desk, the wood bench close to the entrance and the massive application of corten steel, associate the new with the old. The boundary between the new and the old is blurred, Lobby: Intervention Neri & Hu

and respond to the language that Carlo Scarpa used in Castelvecchio.

PRECEDENT ANALYSIS

courtyard south elevation

The courtyard was painted all white, giving a modernism image. The window shades, however, were covered with raw wood; operate in a traditional Shanghai-sh way. When opened, the mirror courtyard north elevation

on the inner side of the shades reflect the view of the courtyard. 79

The methodology was derived from the idea of reading and referencing the original buildingâ&#x20AC;&#x2122;s geometry and operation.

The 1933 Shanghai slaughterhouse, as a historical building, is famous for its complex geometry, many of which was designed for the function of a slaughterhouse. But along with the transition of its ownership and operation, architectural changes were made and left with many details that seems arbitrary but beautiful. By casting those geometry, the beauty was referenced into the new design. And by sectioning the cast, the operation of slaughtering was inherited. Moreover, not only the cast was slaughtered to become stages, part of the sectioned cast cuts through the floor plate, creating connection among floors; it is a reminder of the demolished pipes which were used for collecting fur and organs.

PRECEDENTS

Gordon Matta-Clark Section the Architecture Revealing Interior

â&#x20AC;&#x153;Gordon Matta-Clark straddles art and architecture to produce work on the threshold of interior and exterior. His full-scale architectural cuttings provide an interior perspective that is seldom seen in the discourse of interiors. Site matters, especially with programs that rely on interiors as gathering spaces. Splitting reveal historical usage of the interior surfaces through orthographic cuts.â&#x20AC;? (Weinthal) Splitting

Circus or the Carribean Orange

Weinthal, Lois. Toward a New Interior: An Anthology of Interior Design Theory. New York: Princeton Architectural, 2011. Print.

DESIGN STRATEGY

Rachel Whiteread Casting The Negative Space

Many of Whiteread’s works are casts of ordinary domestic objects and, in numerous cases, their so-called negative space. For example, she is known for making solid casts of the open space in and around pieces of furniture such as tables and chairs, architectural details and even entire rooms and buildings. She says the casts carry “the residue of years and years of use”. Whiteread mainly focuses on the line and the form for her pieces. Uncrated: The Hidden Lives of Artworks

Ghost House

Untitled (Library)

Manchester, Elizabeth. "Rachel Whiteread, 'Untitled (Nine Tables)' 1998." Tate. Tate, Mar. 2005. Web. 15 May 2016.

CONCEPTUAL MODELS

DESIGN STRATEGY

SITE GEOMETRY STUDY AND CASTING Cast the space around the staircases between CM and C2 level

UP UP

PLAN C1+CM

Cast A

DESIGN STRATEGY Cast the space around the staircases between CM and C2 level

UP UP

PLAN C1+CM

Cast B

Cast the space around the staircases between CM and C2 level

UP UP

PLAN C1+CM

Cast C

DESIGN STRATEGY Cast the space around the staircases between CM and C2 level

UP UP

PLAN C1+CM

Cast D

Cast the space over the central staircase

PLAN C2

Cast E

DESIGN STRATEGY Cast the space around the outdoor south-east staircases

PLAN C3

Cast F

Cast the space between the perimeter buildings and the scope

UP UP

PLAN C2

PLAN C4

PLAN C3

Cast G

DESIGN STRATEGY Cast the space on C2 level

UP UP

PLAN C2

Cast H

Cast the perforated facade pattern

Cast I

Cast the outline of the umbrella column

Cast J

DESIGN STRATEGY

SECTION THE CAST

Entrance Acoustic Fixture

SECTION THE CAST: STUDIES Section Cast A

Original Cast

Section Type 1

Section Type 2

Section Type 3: Become Stage A

Sectioned Geometry Cut Through Floor Plate

DESIGN STRATEGY Section Cast B

Sectioned Geometry Cut Through Floor Plate

Original Cast

Section Type 1

Section Type 2

Section Type 3: Become Stage B

Section Cast C

Original Cast

Section Type 1

Section Type 2

Section Type 3: Become Stage C

Sectioned Geometry Cut Through Floor Plate

DESIGN STRATEGY Section Cast D

Original Cast

Section Type 1

Section Type 2

Section Type 3: Become Stage D

Sectioned Geometry Cut Through Floor Plate

The configuration illustrated in this chapter is based on performance Type D (see Program chapter), but along with the transformation of certain parts (stages and seatings), the design could accommodate all other types of performance.

EXPLODED AXON

102

PROJECT DESIGN

103

104

PROJECT DESIGN

105

106

PROJECT DESIGN

107

CIRCULATION SECTION

Audience Circulation Audience Circulation in Section Performers Circulation Sections of Orchestra

SCALE: 1/16”=1’-0”

C1 - Connecting the Street - Introduction to The Music Venue

VISION

---

Green Room A

DN UP

Loading Deck

UP UP

Green Room B

---

DN UP UP

UP UP

-1' - 0"

Coat Check + Ticket Box

Foyer UP

0' - 0"

---

1 A

PLAN LEVEL C1

108

Entrance

Light of Rectangle Tube Reference

PROJECT DESIGN

C1 - From Foyer to CM

Transform of Orchestra

SOUND

---

Green Room A

DN UP

Loading Deck

UP UP

Green Room B

---

5 A

DN UP UP

UP UP

-1' - 0"

Coat Check + Ticket Box

Foyer UP

Foyer

Speaker Location and Sound Diffusion Light Source

---

0' - 0"

5' - 7"

CM - 1ST Movement Geometry Penetrating Ceiling Giving Hint of C2

109 1 A

CM - 1ST Movement Geometry Penetrating Ceiling Giving Hint of C2

Orchestra Located on C2, Grouped by Sections Allow Audience Using Existing Stairs to the Center

VISION

UP UP

Brass Rehearsal

9 A

7 A

8 A

Woodwind Rehearsal

5 A

UP 5

Percussion Rehearsal

String Rehearsal

5' - 7"

PLAN LEVEL CM

PLAN LEVEL C2

110

LEVEL CM

LEVEL C2

PROJECT DESIGN

C2 - 2ND Movement - Orchestra Grouped by Sections

Thick Wall Isolates Sound and Creates Dark Stage

Transform of Orchestra

SOUND

UP UP

Brass Rehearsal 9 A

7 A

DN 6 A

8 A

Woodwind Rehearsal

UP 5

Percussion Rehearsal

String Rehearsal

C2 Lighting Reference

Stages Material Reference Plates: Solid Resin, Penetrating Part: Glass

Lighting Along Floor Cut-Out

C2 - 2ND Movement - Orchestra Divided Into Sections

111

Part of Stage Gesture Connects to C3

Musicians Start to Move From C2 to C3

VISION

UP UP

12 A

DN 10

DN UP UP

Brass Rehearsal

7 A

DN DN

DN 6 A

Woodwind Rehearsal

Percussion Rehearsal

Comprehensive Rehearsal

Comprehensive Rehearsal 13 A

String Rehearsal

DN DN

UP UP

PLAN LEVEL C2

PLAN LEVEL C3

LEVEL C2

LEVEL C3 Track System of Felt Seating UP

112

PROJECT DESIGN

C3 - 3RD Movement, Members of Sections Relocate on C3, Musicians Merge But Play in Small Groups

Hanging Seating: Involve Audience to The Performance

Transform of Orchestra

SOUND

12 A

9 A

8 A

14 DN

5 A DN

Comprehensive Rehearsal

Comprehensive Rehearsal 13 A

C2 to C3:Â Hanging Seating Involve Audience to Discover the Geometry of The Site

C3 Before Audience Arrive UP

C3 After Audience Arrive and Taking Hanging Felt Seating

113

C4 - 4TH Movement - Orchestra Play as a Whole - Reverse Location of Audience and Performers

C3-C4 - Musicians Start to Use Central Stair to C4

VISION

12 12

Men's Restroom

Maestro Suite

8 A

5 A DN

Comprehensive Rehearsal 13 A

Production Office

DN DN

Women's Restroom UP

PLAN LEVEL C3

114

PLAN LEVEL C4

Stair C3-C4

PROJECT DESIGN

Transform of Orchestra

SOUND

12 A

Men's Restroom

Maestro Suite

15 A UP

Production Office

Women's Restroom

Stair Model

Glass Steps Penetrating into Cast

C4 - 4TH Movement - Orchestra Play as a Whole Reverse Location of Audience and Performers UP

115

C4 To C5 - In order to arrive C5, Audience have to leave the circular building, use the circulation path among the perimeter buildings - Introduce geometric space between the circular building and the perimeter buildings.

12 A

Men's Restroom

Maestro Suite

15 A UP

16 A

Production Office

Committee Conference

Women's Restroom

PLAN LEVEL C4

116

PLAN LEVEL C5

PROJECT DESIGN

117

OLD AND NEW

118

PROJECT DESIGN

New Structure Existing Structure

119

EAST-WEST SECTION SCALE 1/32”=1’-0”

NORTH-SOUTH SECTION SCALE 1/32”=1’-0”

120

---

Green Room A

DN UP

Loading Deck

UP UP

Green Room B

---

5 A

DN UP UP

UP UP

-1' - 0"

Coat Check + Ticket Box

Foyer UP

0' - 0"

5' - 7"

---

1 A

PLAN LEVEL C1-CM

UP UP

Brass Rehearsal 9 A

7 A

DN 6 A

8 A

Woodwind Rehearsal

UP 5

Percussion Rehearsal

String Rehearsal

PLAN LEVEL C2

122

PROJECT DESIGN

12 A

9 A

8 A

14 DN

5 A DN

Comprehensive Rehearsal 13 A

DN DN

PLAN LEVEL C3

123

12 A

Men's Restroom

Maestro Suite

15 A UP

Production Office

Women's Restroom

PLAN LEVEL C4

124

PROJECT DESIGN

16 A

Committee Conference

PLAN LEVEL C5

125

BIBLIOGRAPHY Berger, Markus, Liliane Wong, Damian F. White, and Ernesto Aparicio. Resilience and Adaptability. Basel: Birkhauser Va, 2014. Print. Berger, Markus, Heinrich Hermann, and Liliane Wong. Adapting Industrial Structures. Print. “Bernhard Leitner: Sound Spaces.” ArchDaily. 2011. Web. 15 May 2016. Bloszies, Charles. Old Buildings, New Designs: Architectural Transformations. New York: Princeton Architectural, 2012. Print. Brooker, Graeme, and Sally Stone. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings. London: RIBA Enterprises, 2004. Print. Byrne, David. How Music Works. San Francisco: McSweeney’s, 2012. Print. Bryant, Richard. Carlo Scarpa, Gipsoteca Canoviana, Possagno. Stuttgart: Edition Axel Menges, 2003. Print. “DavidByrne.com - Art - Playing the Building.” DavidByrne.com - Art - Playing the Building. Web. 15 May 2016. Difficult Memories: Reconciling Meaning. Providence, RI: Department of Interior Architecture, Rhode Island School of Design, 2013. Print. Fitch, James Marston. Historic Preservation: Curatorial Management of the Built World. New York: McGraw-Hill, 1982. Print. Forsyth, Michael. Buildings for Music: The Architect, the Musician, and the Listener from the Seventeenth Century to the Present Day. Cambridge, MA: MIT, 1985. Print. John Kirkpatrick (1980). “Charles E. Ives”. In Sadie, Stanley. The New Grove Dictionary of Music and Musicians ix (1 ed.). London: Macmillan. pp. 414–429. J. Peter Burkholder. “Charles Ives”, Grove Music Online, ed. L. Macy (accessed May 1, 2005), grovemusic.com Koolhaas, Rem. “Preservation Is Overtaking Us.” Future Anterior 2nd ser. 1 (2004): n. pag. Web. 3 May 2015. Manchester, Elizabeth. “Rachel Whiteread, ‘Untitled (Nine Tables)’ 1998.” Tate. Tate, Mar. 2005. Web. 15 May 2016. Stockhausen, Karlheinz. 1971. “Musik für die Beethovenhalle”. In his Texte zur Musik 3, edited by Dieter Schnebel, 143–52. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg “Susan Philipsz: Biography”; tanyabonakdargallery.com; retrieved 11 April 2014. Xenakis, Iannis. 2001. Formalized Music: Thought and Mathematics in Composition (Harmonologia Series No.6). Hillsdale, NY: Pendragon Press. Weinthal, Lois. Toward a New Interior: An Anthology of Interior Design Theory. New York: Princeton Architectural, 2011. Print.