Stud io 3 0
R es onate Architecture, Arts, and Acoustics
Kalliopi Patros 1066954
contents Int ro duc t ion 1 Br ief 01. Amplif y your Smar tphone D ep end encies b et we en Archite c ture, L ig ht ing and Acoust ic D esig n O bs er v ing Music D esig ning t he Inv isible
2 Br ief 02. C ol ac Q u ar r y D esig n Br ief & Master pl an, Main St age, Ongoing Prog ram Q u ar r y R ehabi lit at ion, Acoust ics and Sp ace
3 Mid s emester Iterat ion 4 Inter im Iterat ion 5 App end ix Pre ce d ents, sketches, acoust ic simu l at ions, res e arch etc.
int ro duc t ion Quarry rehabilitation has been known to be readapted into parklands with re-conditioning of grasslands and other uses such as farm grounds and natural grounds for wild life. Thus, completely transforming the site into a new natural haven, unrecognisable from its past. The concept of ‘remenants’ is to maintain the essence and abstractions of the quarried site by immersing the architectural outcomes amidst its remaining condition and using fragmentation as an architectural framework. The relationship between the quarry walls or rock faces and the buildings was an important aspect of the overall design intent. Set from week 6, a series of ‘rules’ were established to give structure to the conceptual ideas. 1. all design impacts were to occur within the ‘ cul-de-sac’s of the quarry 2. each building must maintain a relationship to at least one rock face or topographical surface The overall concept can be described as a ‘building as fill’ approach to the quarried site. This is a juxtaposed take on the traditional ‘soil as fill’ approach to rehabilitating quarried land. There are several layers to the project including a seasonal program of the main acoustic stage with a back of house building and other programs including a festival zone, sky restaurant/bar, camping area, acommodation and a performance school. The performance school has a big design impact on the site, and is burried within its own cul-de-sac away from the festival area. The intention is for the school to not only be used by the schools and residents in the surrounding Colac area, but to also act as a ‘destination’ performance school for performers/classes. More than 50% of the total site has been dedicated to revegitation and turned into natural park lands with walking trails. There is also a designated camping area both above ground and within the quarry.
for m generat ing & r u les S ome more res e arch into t he mater i a l of b as a lt and its rel at ionship to t he site and for mat ion. The b as a lt comp osit ion has t he chemic a l ma ke-up charac ter ist is of a tet ra he d ron t r i ang le. S e e d i ag ram b elow. This was us e d as a ge omet r ic a l st ar t ing of f p oint for t he concept and for m generat ion, lo ok ing at t r i angu l ar for ms to und erst and how t his cou ld b e implemente d into t he site for t he for ms of t he s cho ol, main st age and accommo d at ion . The f ina l desig n was lo os ely b as e d on t his, t a k ing t he t r i angu l at ion was a core archite c tura l l angu age. Howe ver, due to l ack of sk i l ls using R hino/Grasshopp er, it was dif f ic u lt to f u l ly implement t hes e id e as prop erly i nto t he for m generat ion pro cess.
t he b as a lt tet ra he d ron s oi l as ‘f i l l’
Q u ar r y mining of ro cks. (https:/ /bsme di a.business-st and ard.com/_me di a/bs/img/ar t icle/201 9-06/27/f u l l /15 6165 8764-38 17.jpg)
bui ld ing as ‘f i l l’ Tetrahedron characteristics:
core concepts
a platonic solid 3 triangles meet at each vertex (or corner) 4 Faces. 4 Vertices. 6 Edges.
1 Brief 01. Amplify your smartphone. Dependencies (Research & Prototyping)
Observing Music 3 s ongs were s ele c te d, obs er ve d and ana lys e d in d et ai l in ord er to get a d e ep underst and ing of t he music. Thes e t hre e s ongs were us e d to test t he ge omet r ies of t he mo dels mad e.
Raw Listening Phone Speakers facing towards listener @ 500mm
1 Black Betty Ram Jam, 1977 Style: Hard Rock, Blues Rock
Fast (forte) tempo with rhythmic patterns which are shifting from rapid (guitar riff ) back to 4/4 tempo. Note lengths are generally strident and coherent in relation to the melody with some lagging snare/cymbal sounds following the melody.
2 Lacrimosa Zbigniew Preisner, 2009 Style: Classical, Orchestral
Texture Layered with instruments. Monophonic in the singing, then evolving with voice overlays of the same phrase. Could be Homophonic? Orchestration changes from 3 prominent sounds/instruments: Guitar, drums and cymbals, then withdraws back to drums and male bass/ tenor voice.
s ongs
Expression / Dynamics Ascending scale progression on the guitar. The crescendo of that phrase is mostly noticeable at the end of the phrase (loudest). Mild crescendo. The Bass felt like the least prominent element of the music during solo guitar. Became most noticeable when rhythm returned to 4/4.
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City of Stars Ryan Gosling & Justin Hurwitz, 2016
Time 1:36 - 2:06
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Style: Ballad
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Melody Tune in a Minor key (B) with a lively melodic contour through the prominent guitar solo.
Time 3:08 - 3:38
3
Time 0:47 - 1:17
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Dependencies between Architecture Lighting & Acoustic Design For m f ind ing and acoust ic test ing as an int ro duc t ion to acoust ics. E ach d esig n pres ente d d if fer ing resu ls w hich, in t he f ina l d esig n, it c an b e note d s ome of t he elements f rom t he le ar ning t asks of br ief 1 have b e en implemente d. The mo d els were us e d to â&#x20AC;&#x2DC;amplif yâ&#x20AC;&#x2122; smar tphone s ounds/music B elow are t he iterat ions of ge omet r y f ind ing 1.
mo d els
Design 1
Design 2
Design 3
Design 4
Design 5
Using t he mo dels mad e and music s ele c te d a pre-test and p ost test assumpt ions test was conduc te d. This was to ana lys e t he ge omet r ies against e ach ot her w it h t he pre and p ost test f indings
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Designing the invisible - water waves investigation with models
lig ht + music
Light investigations with models !
Design 1
Design 1.1
lig ht + music
Design 2
Design 3
Grasshopper - Computational Pachyderm Acoustic Simulations and analysis Acoustic analysis of selected geometries based on previous lighting tests and observations
Iteration 1.1.3
spl {0;0}
102.810
° µ ¾ À
standard deviation
4.398
This iteration was the most successful in terms of direct sound distribution accross the width of the whole audience. There is also an even reverberation and overall highest coverage of the audience area. The wideness of the opening and placement of sound source is imperative.
É µ ° Ì µ Ñ µ ÒÓ µ
5000 2500
2500
Omni directional at 1.2m ht
Above: Iteration 1.1.3 Taking the hand made models shown previously into Rhino and Grasshopper to complete computation analysis. This iteration showing an example of one of the most succesful models.
3500
5000
d ig it a l desig n
10000
4000
5000
14000
1500
1000
4000
Acoustic analysis - no shell
Comparison of acoustic conditions with no shell
Models of successful iterations
1
2
Time: 0.005 m/s increments Sound sources: x4 Observations: As expected there is some slight sound loss due to the geometry lacking full lateral enclosure. However, this does not show that the shell is performing very poorly. The form is indicating that depending on the angle of which is the placed in plan, when observing the geometry in the lighting test, there is less sound loss/lack of reflection in the back as there is only one corner. The less folds mean less corners and more surface area for the sound to propogate and reflect.
3
4
The acoustic analysis showed a similar behaviour of sound distribution as presented in initial foil lighting test. However, there looks to be some lateral sound loss in the simulation right.
successf u l iterat ions
Decent scattered reverberation towawrd back of audience.
Reflection of successful iterations & final listening test All three songs were re-listened to in the ‘final’ geometric iterations and summarised.
1
2
-There is a noticable amplification and body to the music which is distinct -Vocals are again prominent and elevated with the treble standing out vividly -Opera vocals and symphony seem to project well without blending and sounding like muffled vibrations -No lagging bass vibrations with upbeat songs leaving for quite a smooth bass -Both bass and treble are coherent and illuminating working together to create a balance -Warm intimacy to the music which stems from the clarity and balance of both bass and treble
-Clarity and articulation in vocals, however not overly projected or amplified. Works well with opera vocals and instrumental -Elimination of any ‘muffled vibration’ present in the bass creating a bright beat and accompaniment -Due to no muffle and echo, there is a distinction in instruments where they can be understood clearly without getting lost within another overpowering instrument -Overall, the music sounded balanced with a articulate and warm texture which sounds intimate and pleasant to the ear
successf u l iterat ions
3
4
-Clear and distinct melody -Previous ‘muffled vibrations’ are less prominent and sound dim compared to other iterations -Texture of the instruments such as the guitar are strongly articulated and sharp -Vocals are clear however, not as clear as (right). One downfall of this is the ‘tinny’ quality that comes when opera style vocals are performed. This creates a blended gesture to the sound which is noticable. -Strongly differentiates instruments individually
-Melody is very clear -Slight ‘muffled’ vibration occuring with elongated notes particularly with hi hat instruments -The orchestral balance and blend sounds like a ‘muffled vibration’. The reverberance is open, however there is still a strngth to the underlying beats -Prominent beat and distinction which creates a fullness -Works well presenting a strong clarity and vocal projection, particularly for a solo vocalist. Proximity of vocals also sounds intimate and bright -This form works excellently with treble projection. Bass is lively, however further exploration into prevention of ‘muffle’ for bass instruments is to be had.
SUMMARY
1
AMPLIFICATION
2
SOFTNESS
3
DESIRED RESULT
VOCAL AND MELODIC CLARITY
BASS AMPLIFICATION AND PROJECTION
ECHO
CLARITY
FOCUS ON QUANDRANT 2-3 OF AMPLIFICATION AND CLARITY OF MUSIC.
effect and echo reflection amplification 4
omni-direction focusing
Through this assignment I have slowly began to understand the basics of acoustic analysis and a general understanding of geometries which produce certain types of acoustic behaviours. From the initial model music testing, I was able to learn to observe certain aspects of the music and think critically with the data and understand how the song will perform in this acoustic shell in an outdoor environment.
p ers ona l ref le c t ion
For understanding the general basis of acoustics, it took some time to really solidify the concepts. Iâ&#x20AC;&#x2122;m still learning to understand exactly the meaning of sound pressure levels and distribution and relating it to a specific area of the geometry. As these elements are effected by the geometry directly, I have realised that one singluar form can be morphed into an enormous list of iterations. This process is long, however even observing micro changes shows the way in which sound can be easily manipulated based on its provided shell. Furthermore, the sound itself once trialled in any given geometry creates a unique result which can be interpreted differently depending on the circumstance in which the music is to be played. For example factors such as how large is audience is, width of the shell opening, height of the shell, angular roof and surface panels for reflecting the sound can be dictated by the geometry.
Moving forward, I wish to gain a more solidified understanding of what the designs are doing to dictate the sound. For example, pin pointing the effect of sound pressure levels to a certain aspect of the design and then developing it. I wish to explore melodic and vocal clarity and bass amplification as an acoustic base point. In relation to music listening, I hope to deepen my observation skills in linking the music analysis (eg. clarity, echo, amplification, reverberation etc.) back to the geometry. I feel that I have some more observation and learning of the â&#x20AC;&#x2DC;finalâ&#x20AC;&#x2122; designs to do to solidify this. However, based on the findings, I feel that I have a well rounded idea about the forms that will inform my future design to produce the desired outcome. Height, width and depth all have an effect on the sound projection. From my findings, I have come to realise height has made a dramatic difference in reflecting sound. Aspects such as openings have also proven to have some great effect on the sound propogation. I wish to explore this further by understanding why it does not produce direct sound loss and still propogates outward.
2 Brief 02. Design brief, masterplan, main stage, ongoing program, quarry rehabilitation, acoustics and space
c ubism
Unknown, Andrew Nawroski 2015
Act of quarrying
col l age
‘chipping into the land rock’
mont age putting together
f rag ments
ab st rac t ion music Pablo Picasso - Violon et raisins, 1912
Pablo Picasso The Reservoir, Horta de Ebro Horta de Sant Joan, summer 1909
sto cc ato
concept exploration and mind mapping
remnants of a qu ar r y concept Quarry rehabilitation has been known to be readapted into parklands with re-conditioning of grasslands and other uses such as farm grounds and natural grounds for wild life. Thus, completely transforming the site into a new natural haven, unrecognisable from its past. Depending on its scale and material quarries can remain open for decades. My concept of ‘remenants’ is to maintain the essence and abstractions of the quarried site in its newly built areas. Aside from the programmed locations, camping grounds and festival areas, much of the site will be rehabilitated into natural parklands to reutrn the land back to its natural residents.
music f rag ment at ion
comp osit ion
Juan-Gris-Portrait-of-Pablo-Picasso Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm, Museum of Modern Art, New York
‘div ision of music a l ide a’
“re duc t ion of a l arge s c a le music a l ide a to its ess ent i a l for m”
A melodic phrase
Br ief 01
mot if -
Guitar and Fruit Bowl by Juan Gris
abstraction drawn from a whole
rep et it ion de const r uc t iv ism? stere otomy?
prog ram
accommo d at ion
S e as ona l
Ye ar long
main st age
p er for mance s cho ol
c amping g rounds
st af f liv ing fest iva l fo o d & b e verage
ro ck climbing workshop amenit ies
rehabi lit at ion of qu ar r y res e arch Hor nsby Q u ar r y, NSW Blue metal used to cover rail lines (volcanic breccia) quarried from site for 100 years. ‘v.e.n.m.’ for virgin excavated natural materials from another site near by used to fill hole by being trucked to the site. Filling the hole with dirt by using conveyor belt to be compacted. Extra, unstable land which had previously caused rock/land slides used to fill up the rest of the quarry.
https://www.quarrymagazine.com/wp-content/uploads/2019/10/62451.png
D erbyshire L imestone Q u ar r y, UK 3 Limestone quarries on one site, to be rehabilitated into grasslands and divided into individual fields for sheep grazing etc. Designated areas for nature conservation to take place as well as areas for farming.
https://www.bgs.ac.uk/discoveringGeology/geologyOfBritain/limestoneLandscapes/resourcesConflictsSustainability/images/geograph-2941546-by-GrahamHogg.jpg
https://www.bgs.ac.uk/discoveringGeology/geologyOfBritain/limestoneLandscapes/resourcesConflictsSustainability/images/geograph-2584427-by-TimHeaton.jpg
C hek ka Q u ar y, L eb anon
qu ar r y rehabi lit at ion
As part of their rehabilitation strategy they categorised the site into four areas: high-land, cliff-land, low-land and core-land. Eg. Cliff-land: identified wild plantings which host a variety of wildlife such as birds. Local plant species were used to re-populate the site which were found around the planted areas of the quarry ie. surrounding grasslands.
https://earthresources.vic.gov. au/legislation-and-regulations/ guidelines-and-codes-ofpractice/code-of-practice-forsmall-quarries
http://epbcnotices.environment.gov.au/_entity/annotation/9c263aa8-452f-e911-be 2c-00505684324c/a71d58ad4cba-48b6-8dab-f3091fc31cd5?t=1594339200363
https://www.holcim.com.lb/sites/lebanon/files/images/csm_lowland-before_ d70267106e.jpg
https://www.holcim.com.lb/sites/lebanon/files/images/csm_Lowland-after_712cbaf97e.jpg
rehabi lit at ion of qu ar r y Hor nsby Q u ar r y, NS W
C hek ka Q u ar y, L eb anon
Quarry rehabilitation seems to be a lot of cut and ďŹ ll - hiding what has previously been done to the site. This, leaving the quarry almost unrecognisable from its previous use.
qu ar r y rehabi lit at ion
Mt C o ot-t ha Q u ar r y, Q ue ensl and
site invest igat ion
c utt ing t hroug h site
main st age site lo c at ion explorat ion
1
2
3
keyw wrods
music f rag ment at ion
col l age
f rag ments
mot if -
comp osit ion
rep et it ion
mo del explorat ion
Cut and fill may be seen as an issue, however, it could be seen as a small expense to the site for a permanent outcome. Once the ampitheatre has been shaped the surrounding topography will be manipulated in such a way that the soil can be re-purposed to assist the ampitheatre. More flat land area for festival seems appropriate for many guests and accomodating food trucks, seating and circulation. This area must be accessible for all.
4
Quarried area not deep enough to create entire ampitheatre to accomodate 15,000 seats. Total height is 4m from ground/road which roughly accomodates 8 rows of seating with the natural topography. This area will need to be excavated / cut and filled in some areas to create maximal seating.
tet ra he d ron as d r iv ing ge omet r y Starting out with physical moderl making using the base of a tetrahedron (4 sides = 4 triangles) and manipulating the folding surfaces in order to generate shapes. This is the initial starting oďŹ&#x20AC; point in order to assess if this concept can be applied.
mo del explorat ion
reminicent of â&#x20AC;&#x2DC;rockâ&#x20AC;&#x2122; typology. could be used as basis for connecting back of house building to the acoustic shell.
-method of folding to create surfaces for shell and back of house building - the unfolding tetrahedron as a driving geometric design decision -looking at the dividing surfaces and how its relationship to the surrounding topography will merge -want to avoid too many sharp formations for the design aesthetic, however there will be pointing edges perhaps muted down to integrate more seamlessly with the site context
-outing the geometric surfaces to understand how the shapes will connect together to form the folding plates
g rasshopp er d i lemmas script 1 intention: to mimic the folds or ‘unfolds’ of the tetrahedron or a triangulated surface
My far mi li ar it y w it h R hino and Grasshopp er (GH) as prog rams is limite d. I on ly b egan using R hino simpl isit icl ly l ast s emester ( S1 20 20 ) and t his studio is my f irst to e ver us e Grasshopp er. I have watche d s er vera l on line tutor i a ls on way s to cre ate shel ls in GH and have had s ome success and s ome fai lure. I have manage d to est ablish t he intent for t he shel ls sur face d esig n w it h fold ing p anels (in reference to t he tet ra he dron ). I have a ls o t r ie d ot her for m f ind ing met ho ds, howe ver I have found t his ge omet r y t hroug h ‘g raph mapping’in G H w it h a p aramet r ic sur face p anel var i able. I was unable to f igure out how to cre ate a b ack ing in GH for t he ge omet r y t houg h.
p aramet r ic mo del ling
I wou ld li ke to explore f ur t her how I cou ld p otent i a l ly merge prof i les w it h t his folde d sur face p atter n to cre ate a desire d shel l w it h a b ack ing .
parametric model selected as one of the more ‘successful’ designs based on visual appearance. acoustic analysis yet to be complete. a backing is also required for the geometry.
for m f ind ing explorat ion
p aramet r ic mo del ling
intent: rigid and unsymmetrical proďŹ le to mimc rock
is there a way to merge the proďŹ le + surface?
l o c at ion f inding
main st age + site
E xplorat ion into or ient at ion of main st age. The genera l are a is s et howe ver de ciding on t he exac t are a. Init i a l ly it was pl ace d in t he lo c at ion of image 4. Howe ver, due to t he audience facing west it may c aus e issues of comfor t b e c aus e of t he af ter no on sun . A lt houg h t he st age w i l l ac t as s ome shading , it st i l l w i l l p os e an issue. L e aning towards lo c at ion in image no. 1, nest le d in b et we en t wo mounds, most of t he wester n sun cou ld b e blo cke d by t he l arge ro ck, and t he sun w i l l not b e bl asing into t he aud ience face f irst.
n
var i ables
curve 1 - Z height 1
-2
2
-2.5
-1.5
control point 3 for top height of shell
curve 1 - Z height 2
control points 2, 4 and 5 for side height of shell
pl an prof i l e
curve 2 - Z height
-1
f ront prof i le
2
control points 2 ,3, 4 and 5 for middle curve height of shell
const ants Previous grasshopper testing was done which examined the depths and widths of the control points. In the end for the ďŹ nal iteration for the interum submission, a decision on the depth and width parameters were:
curve 3 - Z height
-0.5
0.5
acoust ic simu l at ion and for m f inding
control points 2 and 5 for back height of shell Depth was a constant parameter set at 10m. This was decided after brief 1â&#x20AC;&#x2122;s acoustic test results that the most reďŹ&#x201A;ections and projection would be mostly determined by the varying heights and overhang of the shell.
panel division
4
division of curve loft surface, determining the amount of triangulation
16 Width was also a constant parameter set from control points 0 and 6. This was decided due to the nature of the shell and its placement on the site. The design concept of the stage nestled within the rock and loca-
f inali st geometr ies - 2 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.
Variables -1
curve 1 - Z height 1
2
curve 1 - Z height 2 curve 2 - Z height
-2
curve 3 - Z height panel division
acoust ic simu l at ion
spl: 102.1
1 6
main st age - ‘f ina l’ ge omet r y
Final acoustic shell iteration for interim. An even distribution upon the audience plane with reflections coming from the sides of the cliff face. I was unable to include a simulation of the rock face reflections due to the computer programs crashing during computation of the multiple surfaces. This geometry was used and slightly iterated upon to acheive the final week 12 design.
acoust ic simu l at ion
spl 88.6
revisiting the masterplan to make some adjustments there will still be 3 key built zones + parklands 1. school zone + staff accom 2. main stage/festival zone 3. accomodation zone + open parklands -total revegitation of park lands with a few walking trails near water. the purpose is to give as much natural land back as possible and make design impact relevant in the already heavily impacted quarry area 1
3 2
performing arts school
- 2.6x 4.9m car spot dimensions -3.6m width one way road for bus/truck. 8m wide two way traffic roads m co ac
entry point
ng pi m ca
-private carpark for music school guests and staff (have their own accommodation ‘cul-de-sac’
vehicle circulation
+
-performing arts school nestled in between west facing rock in order for the building to be east facing / block as much western sun as possible. -vehicle access and parking is available -workshop connected to the performing arts shcool with an auditorium also -guest accommodation located nestled against north eastern wall in order to be closer to the school. having the accommodation located in another area was too far from the shared dining/kitchen. also disturbance during peak season may occur with festivals taking place, therefore giving students/guests staying more privacy
performing arts school
site ar rangement
+ festival main stage staff
main stage -160m approx for seating / stage area -80x30m approx for main stage building - east facing stage - west facing seats? might need to move to prevent uncomfortable afternoon sun for audience viewing -building and stage nestled in between two quarry boulders with back of house private entry/vehicle access from back. This includes vehicle access into festival area for food trucks/event trucks etc. -generous flexible festival space easily accommodates 15,000 people.
vehicle circulation
p er for mance s cho ol Exploration into building systems and methods of construction. Performance school to be built against the rock face forming a relationship between the existing and new.
p er for mance s cho ol
s e c t ion
Wrap House, 2015 APOLLO Architects & Associates
Left - Cabin Knapphullet by Lund Hagem https://images.adsttc.com/media/ images/56b4/1a3b/e58e/cee7/ e100/09f8/large_jpg/05_630_Knapphullet_Kim_M%C3%BCller_14-09-
Right- Hideg Houe by Beres Architects, Hungary. https://static.dezeen.com/uploads/2014/01/ Hideg-House-by-Beres-Architects_dezeen_7.
rock face as a ‘way finding’ device.
s cho ol - circ u l at ion
this design features has been implemeneted in both the main shell and school.
circulation
Reading on how building on vertical sites work and the potential connection between the floor and rock faces structurally. The front half of the building will be self supporting/supported by the ground and its own structure however the back half connected to the rock face will need some kind of structural relationship with the rock in order for it to become an indoor wall. Upon reading Form and Forces: Designing Efficient, Expressive Structures, there are a few things I’ve learned to help inform the structural design process for the building. -First thinking of using glulam as a structural timber material for the facade and any beams/columns required. However, in the book highlighting that timber although easy to fabricate, isn’t fire resisitant. In some of my further readings, I’ve read that glulam has fairly good fire properties from www.hyne.com.au/ glue-laminated. This material could be left for the facade and roof structure. - For the floor, steel framing seems to be an appropriate solution to embed into the rock for structural stability. Steel also has good fire ratings with a fire proof spray coating. -The examples given in the book explain the various supporting including: hinge + link, hinges, hinge, link and diagonal brace. These examples are for a cantilivered building off a cliff face. The support to the rock face can be adoped for the flooring structure in the buildings design. Rock face to floor connection: Possibility 1: with steel possibility 2: with glulam - hinged steel plates which are anchored into the rock face by cutting out a portion of the rock to fit it in. - reinforcement is required and put into the cut out for stability - this is set in place with grout - the force from the button heads on the anchor plate are transferred back into the reinforcement bars and into the rock face - thermal expansion is avoided by using hinges which can contract
s cho ol - circ u l at ion
Allen, Edward and Waclaw Zalewski. Form and Forces: Designing Efficient, Expressive Structures, John Wiley & Sons, incorporated, 2009. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/unimelb/detail.action
p ers ona l ref le c t ion
Through this assignment it has been difficult to manage the different design iterations for the site. I have learned slightly more about grasshopper and rhino as a tool for form finding. The design of the shell has gone through many geometric iterations. Acoustically, I was able to conduct enough analysis to select an appropriate form for the site based on both visual aesthetics and aucoustical performance. In the future, i believe there is still some acoustic analysis to do. As I was having trouble with running the simulations on my computer, I was able to only get a select fiew results. Perhaps slightly manipulating the variables of depth and side width may produce a different result. However, based on my previous findings on sound projection I found that height played the largest role in generating dramatic reflections from the models. Hence my thinking in keeping the width and depth at a constant value and using the z axis for height and overhand variables. Structurally speaking, I am still slightly confused as to the construction of the triangulated buildings Iâ&#x20AC;&#x2122;ve designed. This will need more exploration and thought. In my previous experience, I have generally kept to designing rectarlinear forms. This geometric exploration is also a new design experience for me. After modeling it in grasshopper and rhino, it has made me aware of the difficulty in creating these forms in relation to the cliff face. The building envelope needs to be thought about in more depth and perhaps creating a simplified version with the illusion of triangulation with the performance school could also work.
3 Mid Sem Iteration
master pl an
main st age + fest iv a l are a
1. ent r y 2. st af f liv ing 3. accommo d at ion 4. c amping g rounds 5. ro ck climbing 6. p ark ing 7. b ox of f ice 8. main st age 9. main st age b ack of hous e 10. workshop 11. inst a l l at ions 12. amenit ies 13. sky b ar & rest aurant 14. p er for mance s cho ol
g round f irst
15
14
11
10 9 9
7 8 11
4
7 13
6
4 12
4
5
6
5
4 5
4
6 2
1
3
7 2 3
4 3
1
1
14
20m 0
11
3
12
9
20 m 0
1. Audience 2. Stage 3. Orchestral pit 4. Stage hand & store 5. Equipment 6. Wcâ&#x20AC;&#x2122;s 7. Showers 8. Makeup 9. Dressing 10. Warm up 11. Entry 12. Lockers & foyer 13. Store 14. Private parking 15. Box office
11 10 7
60m 40m
60 m 40 m
1. Public path 2. Public lobby 3. Wcâ&#x20AC;&#x2122;s 4. Offices 5. Store 6. Staff room 7. Stage equiptment (double height)
8 13
6
12
12
1 2 4
6 8 5
8
6
7
5
1
2 4
3
15m
5m 0
120m
40m 0
80m
160m
1. 2. 3. 4. 5. 6. 7. 8.
Stage Stage equiptment Orchestral pit Showers Offices Conference rooms Store Path
10m
20 m
p er for mance s cho ol
sky b ar & rest aurant
g round
b as ement
6
8
6
6 6 6 11
3
7
5
3
7
8 11
8
3
2 9
8
5
9
3 4
9
1 3 3 9 10 10
8
3
0
3
1. 2. 3. 4. 5. 6. 7. 8.
1 12
9
9
8 8
10 m
Amenities Entry pos Cloak / store Fridge Kitchen Bar Lookout
9 9
9 9
15m
5m 0
25m
10m
3 1
1. Entry / lobby 2. Reception 3. Wcâ&#x20AC;&#x2122;s 4. Auditorium 5. Stage 6. Makeup / Costume etc. 7. Stagehand 8. Store 9. Classroom 10. Staff 11. Under auditorium & stage 12. Kitchenette / Lockers 15 m
5m 0
3
4
5
1. 2. 3. 4. 5. 6.
4
4
6
3
4
15m 10m
Auditorium stage Makeup / dressing Store Studio / classroom Double volume void Foyer
4
1
5m 0
2
5
1. 2. 3. 4. 5.
4
25m
2
15 m
5m
8 9
3
9
3
1 7
9 9
9
4
6
9 11 2
4
Entry / pos Dining Bar Lookout Festival area
10 m
20 m
4
25 m
amenit ies blo ck
2
1
2
2m
4m
1 3
1. 2. 3. 4. 5.
2m
1. 2. 3. 4. 5.
4m
Wc’s Showers dda Supplies store Parents
accommo d at ion
2m
1. 2. 3. 4. 5.
Wc’s Showers dda Supplies store Parents
4m
Wc’s Showers dda Supplies store Parents
5 4
4 Interim Iteration
main st age + fest iva l are a
main st age + fest iva l are a
g round a
19
20
15 16
17
18
1
back of shell
front of shell
3 2
5
4
f i rst 13
6
6 7
a
b 9
b
9
9 8
10
5m
1
15m 10m
0
12
20m
11
1. Audience 2. Stage 3. Orchestral pit 4. Stage hand / equiptment entry/foyer 5. Equipment 6. Wc’s 7. Showers 8. Makeup 9. Dressing 10. Warm up 11. Entry 12. Lockers & foyer 13. Store 14. Private parking 15. Box office (under audience) 16. Ramp up to cliff 17. Viewing landing 18. Cliff seating/viewing 19. Path to sky restaurant 20. Open festival area
a
14
7
1 8
2
s e c t ion a-a
2
1:20 section 1 3 5
3
5
b
4
b 4
4
12
8
5
11
5
10
5
7
9
4
9
6
6
4
2
4
4
1
13
15
4
14
3
a
15m
5m 0
10m
1. Stage 2. Stage equiptment 3. Orchestral pit 4. Showers / wc’s 5. Offices 6. Conference room 7. Store 8. Back of house entry 9. Changing room 10. Makeup room 11. Warm up room 12. Staff room 13. Audience 14. Ramp/walk way 15. Box office and wc’s under seating
5m 20m
0
15 m 10 m
1. kitchenette 2. open foyer connected to multipurpose conference room 3. Wc’s 4. offices 5. store 6. staff room 7. double height equiptment store 8. void 9. ramp landing 10. open cliff top seating
20 m
10
main st age + fest iva l are a
1:20 main st age s e c t ion 1
reinforced precast concrete folded panel shell 200mm
concrete folded panel attached to rock top surface
i josts as stage prop on concrete slab, cantilievered over orchestral pit
orchestral pit
concrete footings
concrete retaining wall 1 0
3 2
4m
main st age + fest iva l are a
main st age + fest iva l are a 15
1
a
3
2
back of shell
front of shell
4
5
6
4
black and white shadow study 13
6
7 b
b
9
triangulated timber facade
green roof 9
1:100 s e c t ion b-b 1:20 section 2
8
10
floor grouted into rock face
2.5 0
12
11
a
7.5 5
timber frame connected to rock face at one end
10m 1. Audience 2. Stage 3. Orchestral pit 4. Stage hand / equiptment entry/foyer 5. Equipment 6. Wcâ&#x20AC;&#x2122;s 7. Showers 8. Makeup 9. Dressing 10. Warm up 11. Entry 12. Lockers & foyer 13. Store 14. Private parking 15. Box office (under audience)
concrete footings & slab
2. 5 0
7. 5 5
10m
1:2 0 s e c t ion 2 green roof
hinged steel plate roof anchored into rock
hinged steel plates anchored into rock with reinforcement and cemented in place force from button heads to transfer load back into the rock face thermal expansion avoided by use of hinges which contract
concrete footings & slab
1 0
3 2
4m
p er for mance s cho ol
p er for mance s cho ol
s e c t ion a-a
performance school 19
19
9
9
16 10
9
9
13
17 14
9
workshop 15m
5m 0
20m
10m
1
11
11
9
10
a
9
10
a 10 9
10
9
10 12
10
9 10
9
10
10
1
10 9
7
14
8
14
14
8 8
10
6
10
15
15
10
7
14
13
9
8
14
2
9
1
9 13
8
5
1
3
11
10 1
8 7
18
4 16
1 7
16
a
a
15m
5m 0
10m 15m
5m 0
1. entry / exit 2. pond & landscaping 3. reception 4. kitchen / catering walkway / servery bar 5. communal kitchen 6. communal dining 7. seating / foyer 8. wcâ&#x20AC;&#x2122;s 9. classroom 10. store 11. staff / offices 12. outdoor 13. stage 14. dressing rooms 15. stagehand 16. auditorium 17. workshop for installations
10m
1. entry / exit 2. pond & landscaping 3. reception 4. kitchen / catering walkway / servery bar 5. communal kitchen 6. communal dining 7. seating / foyer 8. wcâ&#x20AC;&#x2122;s 9. classroom 10. store 11. staff / offices 12. outdoor 13. stage 14. dressing rooms 15. stagehand 16. auditorium 17. workshop for installations 18. outdoor deck / circulation
sky rest aurant
pl an
a
5
6 4
7
3 8
2
a
1
15 m
5m 0
1. 2. 3. 4. 5. 6. 7. 8.
10 m
path entry front desk open bar kitchen fridge room wc seating with view of stage
s e c t ion a-a
5 1 2
3
15 m
5m 0 1. 2. 3. 4. 5.
10 m seating with stage view kitchen box office ramp up to cliff main stage
4
5
appendix
concer t hous e
pre ce d ents
01 -undulating piazza shape reminiscent of quarry ‘cul-de-sacs’ -separaing ‘cubes’ or stereotomy in plan reminiscent of ‘chipping’ or ‘digging’ away in relation to quarry -small however, floor plan seems to have good spatial planning between front and back of house -minimal but clever use of colour in the facade elements without being overdone. Bringing back a ‘fun’ element -could be considered too internalised for quarry site, however some interesting concepts observed from this precedent which could be explored as a starting off point
Pa l ace for Mexic an Music Location: Mexico Alejandro Medina Arquitectura, Munoz arquitectos, Quensel arquitectos, Reyes Rios + Larrain arquitectos Year: 2018 Area: 8840 m² Main hall seating: 450
1:10,000
pre ce d ents
music venue
02
-outdoor and felxible spaces for performances/practice -well organised back of house spatial planning for reference -externally the architecture is quite bold, reminicent of stone quarry -form is interesting, could be interpereted as a ‘rock’ situated within its site - precedent for ‘school’ program -siginficantly smaller seating numbers
Foro B o c a Location: Mexico Rojkind Arquitectos Year: 2017 Area: 5410 m² Main hall seating: 1000 Rehersal seating: 150
1:10,000
pre ce d ents
1933 drawing by architect
music venue
03
-connection/ relation to the site -the architecture itself looks as if it could be one with the rock formations -somehwat comparable seating numbers -idea of a journey through the site / park to arrive at the venue -materiality relates to the site well
R e d R o cks Amph it he at re Location: Colorado USA Burnham Hoyt Year: 1906 & 1941 Area: unknown m² Main hall seating: 9525 1:10,000
music venue
04
-despite this being a nightclub, the central ‘dome’ is reminicent of an acoustic shell -interesting patterning and use of light as cladding / ornament on the shell -lighting as one with the architecture could be a way to enhance the experience with the music performances -scale incomparable
Nig ht Flig ht Location: Sofia, Bulgaria Studio MODE Year: 2014 Area: 1000 m² Main hall seating: xx 1:10,000
pre ce d ents
music venue
05
-dynamic floor plan and forms -building seems lively with the use of colours through lighting, materiality and paint -generous outdoor area, could be a reference for festival area/public piazza and connection to the landscape -building floor plan seems to have good organisation and circulation routes which can be referenced for the school and acoustic shell building
Pa loma Location: Nimes, France Tetrarc Architects Year: 2012 Area: 5611 m² Main hall seating: unknown 1:10,000
concer t hous e
pre ce d ents
06
-interesting tectonics with the structural framework and sheet/veil for shell -scale is not comparable, however the central or even inward facing/looking form could be interesting to explore -materiality is freeflowing and would respond to site conditions such as wind -interesting use of light to transform the shell at night to create a different atmosphere
Pav i lion and Workshops ?
Location: Sigulda, Latvia DJA Year: 2014 Area: 150 m² Main hall seating: unknown 1:10,000
pre ce d ents
ha l l/t he at re
07
-scale comparable to site/brief -interesting repetition within shell as a focal interest for the audience -classic amphitheatre arrangement -organisation of seating rows -not the same site, however similar in that it appears to be in a secluded area surrounded by landscape and a natural setting
The Hol ly wo o d b ow l Location: California, USA Hodgetts + Fung Design and Architecture Year: 1922-2004 Area: unknown m² Main hall seating: 17,500 1:10,000
Analysing Music
Design 2
Design 1
1 Black Betty Ram Jam, 1977 Style: Hard Rock, Blues Rock
Listen test 1
Listen test 2
Inward - Bottom Speakers facing inward @ 500mm
Outward - Bottom Speakers facing outward @ 500mm
° µ ¾
Listen test 1
¾
Design 3 Listen test 2
Listen test 1
Listen test 2
Ò
À É Ô
Time 3:08 - 3:38
2 Lacrimosa Zbigniew Preisner, 2009 Style: Classical, Orchestral
À É
Ñ
Ò
À É Ò
Ì
Ó
É
Time 1:36 - 2:06
3 City of Stars Ryan Gosling & Justin Hurwitz, 2016 Style: Ballad
Time 0:47 - 1:17
Ñ ¾
Design 5
Design 4 Listen test 1
Listen test 2
Listen test 1
Listen test 2
° µ
Initial light investigation Initial water investigtion
ence
https://lh3.googleusercontent.com/proxy/KN3Nkjc9PELf09KL1C_Xrs276IgMTsv7rHLj8fmQrem-EkL3IjyI3ARlKU3pwUi-HvIgvkYWzQk5TB0tV1ntOaThpEbJ5yNmHpNQYd0Dule1KmDxnKjAB3t4HnCW8OnAFQXARi3gkw
Water 1
angle of incid
angle of refl ection
! "
#$ " % " #& " ' ! #( ! "
vehicle circulation -central water body as connection between main stage building and music school
- 2.6x 4.9m car spot dimensions -3.6m width one way road for bus/truck. 8m wide two way traffic roads
parking
-‘central’ inward site arrangement g pin cam
away from main bodies of water/key areas which wildlife are found
amenities
-walking path from car park to main stage with pathways to amenities and camping ground
public circulation ‘activities hub’ -walking trails which lead to various areas of the quarry /look out installations, lighting displays and wildlife viewing platforms
+ festival
main stage amenities
-walking path from carpark to music school
+ accom
parking
main stage
performing arts school
performance school -100 x 50m approx buildng area with external plaza / connection to central activities hub
-access to public car park from road into existing road onto site
site ar rangement
vehicle circulation paths to building connection between buildings public circulation
ping cam
-‘private’ vehicle access for trucks and busses for main stage
-buildings away from largest water body with carpark and camping ground as a buffer to protect / ‘avoid’ disturbance to wildlife and birds which occupy the small islands within the water
installation
-no dead end circulation, always leading back somewhere
-public carpark for music school guests and staff
-160m approx for seating / stage area -80x30m approx for main stage building - least annual wind patterns
-gravel car park with walking trail along water bank onto existing quarry roads which lead to the main stage and festival/ activity area -camping access also from this path
amenities
sketching and d e velopment
sketching and d e velopment
‘unfold e d tet ra he d ron’
sur face div ision explorat ion
Modelling of surfaces boxes on surfaces divided into unfolded 4 face tetrahedron
mater i a lit y - concrete or ste el shel l
A lexand er Gra ham B el l ‘ Tet ra he dra l Tower’, C anad a, 1907.
Marcel Breuer ‘Abbey Church’ , St. John’s, United States, 1961
st r uc tura l sy stem + mater i a ls
o c tet t r uss spacef rame tower re aching 22m heig ht, compr is e d of 3 legs. Tower us e d as a lo okout over an est ate.
A ls o worke d on tet ra he d ra l k ites 1903-190 9
Exploration of construction methods which relate to the overall design concept of a folded shell + buildings. The Abbey Church example of concrete is ideal, however in my design i’m targeting a slightly more sporadic folding approach, not entirely based on repetition.
shel l explorat ion
Exploration into how the shell will adapt onto the site, nestled in between the rocks to give the illusion of ‘built from’ or ‘emerging’ from the rock faces. Brief exploration into how the seating arrangement will go. The intention is for the seats to also be planted next to the rock so the entire experience is an emmersion of the quarry and the existing site.
shel l + site
Stage itself seems too wide - however this could work for instances where a large band or orchestra will be playing.
main st age
long s e c t ion
p aramet r ic mo del ling
for m f ind ing explorat ion
Grasshopp er s cr ipt attempt w it h using a g raph mapp er as a way of cre at ing a t r i angu l ate d sur face shel l. I fol lowe d an on line tutor i a l w it h t his. It was d if f ic u lt for me to le ar n and f ind res ources on how to exac t ly cre ate t he sur face. Ke eping t rack of t he dif ferent g raph t y p es and p arameteres is a ls o d if f ic u lt using t his met ho d.
f lo or pl an ‘ l ayout f ind ing’ explorat ion
Exploration of plan layout finding within an unfolded trianguilar grid as a ‘form finding’ or ‘plan finding’ method as a starting off point. The plan/building will have some direct relationship with the rock. Consideration of where the parking will be needs to be done - either the building footprint is too large or consideration of plan location should be rethought. After this, the plan doesn’t necessarily have to follow a grid of triangulation. I think as a starting off point it was good for ideation. One thing I will carry on is the way the plan sweeps accross the rock face on one side.
p er for mance s cho ol
E xplorat ion into s cho ol lo c at ion. The auditor ium cou ld b e nest le d into t he c u l-de-s ac w it h t he bui lding c ant i livere d or lo ok c ant i livere d of f t he ver t ic a l ro ck face. A d esig n rel at ionship b et we en t he ver t ic a l ro ck face and bui lding cou ld b e d if f ic u lt howe ver interest ing to explore.
g re en ro ofs Completing some initial ray tracing analysis with some of the geometries from the form finding iterations. Testing to understand what variables should be used for the octopus simulation and understand what is successful and not.
In an attempt to give back to the landscape with the concept of ‘building as fill’ in mind, the seamlessness of grassland comes to mind. A relationship between the top of rock/hill natural grass and the top of the roof can be formed by connecting the two on the roof plane. The roof is just about heigh enough so it may reach back onto the top of the rock or close enough so in arial view or standing view off the cliff you may see a horizontal plane of grass. There are two main types of green roofs: extensive and intensive. Furthermore as one of the buildings is west facing due to the site location, this could help with potential thermal insulation is concrete is used. Also, as a small way to give back to the land the green roofs may add to the biodiversity on a micro scale to the site. Native plant selections will be made tailored specifically to the site/area of Colac.
Benefits of Green Roof: - Increase the biodiversity of the landscape (conserving and enhancing) - reduction in heating/cooling needs - reuction in stormwater run-off - can rid of some pollutants in the air - can elongate roofs lifespan - good sound insulation
OA+ Architects, Colombia https://static.dezeen.com/uploads/2020/08/casa-carmen-house-oa-envigado-colombia_de-
Downton, Paul. Your Home, Australian Government, 2013. https://www.yourhome.gov.au/materials/ green-roofs-and-walls
es d consid erat ions
Glasgow Vet School Small Animal Hospital, Bearsden
Green Roofs - Your Home Au. https://www.yourhome.gov.au/sites/default/ files/M-GRW-IntensiveGreenRoofCS_fmt.png
Green Roof vs Conventional Roof temperature comparison. https://images.adsttc.com/media/images/5859/6409/e58e/cee0/9d00/0042/slideshow/003b-2.jpg?1482253312
p er for mance s cho ol
sketching and d e velopment
p er for mance s cho ol
sketching and d e velopment
main st age
sketching and d e velopment
accommo d at ion
main st age
sketching and d e velopment
vehicle circulation -central water body as connection between main stage building and music school
- 2.6x 4.9m car spot dimensions -3.6m width one way road for bus/truck. 8m wide two way traffic roads
parking
-‘central’ inward site arrangement g pin cam
away from main bodies of water/key areas which wildlife are found
amenities
-walking path from car park to main stage with pathways to amenities and camping ground
public circulation ‘activities hub’ -walking trails which lead to various areas of the quarry /look out installations, lighting displays and wildlife viewing platforms
+ festival
main stage amenities
-walking path from carpark to music school
+ accom
parking
main stage
performing arts school
performance school -100 x 50m approx buildng area with external plaza / connection to central activities hub
-access to public car park from road into existing road onto site
site ar rangement
vehicle circulation paths to building connection between buildings public circulation
ping cam
-‘private’ vehicle access for trucks and busses for main stage
-buildings away from largest water body with carpark and camping ground as a buffer to protect / ‘avoid’ disturbance to wildlife and birds which occupy the small islands within the water
installation
-no dead end circulation, always leading back somewhere
-public carpark for music school guests and staff
-160m approx for seating / stage area -80x30m approx for main stage building - least annual wind patterns
-gravel car park with walking trail along water bank onto existing quarry roads which lead to the main stage and festival/ activity area -camping access also from this path
amenities
Personal reflection Through this assignment it has been difficult to manage the different design iterations for the site. I have learned slightly more about grasshopper and rhino as a tool for form finding. The design of the shell has gone through many geometric iterations. Acoustically, I was able to conduct enough analysis to select an appropriate form for the site based on both visual aesthetics and aucoustical performance. In the future, i believe there is still some acoustic analysis to do. As I was having trouble with running the simulations on my computer, I was able to only get a select fiew results. Perhaps slightly manipulating the variables of depth and side width may produce a different result. However, based on my previous findings on sound projection I found that height played the largest role in generating dramatic reflections from the models. Hence my thinking in keeping the width and depth at a constant value and using the z axis for height and overhand variables. Structurally speaking, I am still slightly confused as to the construction of the triangulated buildings Iâ&#x20AC;&#x2122;ve designed. This will need more exploration and thought. In my previous experience, I have generally kept to designing rectarlinear forms. This geometric exploration is also a new design experience for me. After modeling it in grasshopper and rhino, it has made me aware of the difficulty in creating these forms in relation to the cliff face. The building envelope needs to be thought about in more depth and perhaps creating a simplified version with the illusion of triangulation with the performance school could also work.
acou stic geometr y de velopment 1 Taking the ďŹ nal geometry from the interim submission and adjusting it accordingly to create a smore symmertrically shaped shell and make any adjustments to the height and overhang values.
spl
acoust ic simu l at ion
standard deviation
95.52 3.84
acou stic geometr y de velopment 1.1 Adjusting the geometry to try and get some more reďŹ&#x201A;ections from the top by closing oďŹ&#x20AC; part of the top as shown below
98.2
standard deviation
3.23
acoust ic simu l at ion
spl
acou stic geometr y de velopment 1.2 Extension of the overhang upon audience plane
94.72
standard deviation
3.40
acoust ic simu l at ion
spl
acou stic geometr y de velopment 1.3 xxxxxx
94.5
standard deviation
3.71
acoust ic simu l at ion
spl
acou stic geometr y de velopment 1.4 xxxxxx
92.6
standard deviation
3.17
acoust ic simu l at ion
spl
acou stic geometr y de velopment 1.5 xxxxxx
96.47
standard deviation
3.28
acoust ic simu l at ion
spl
prog ram
ds 2 g groun campin
festival zone
sky restaurant ing mp ca
festival zone
open grass seating car parking
festival zone / food trucks main stage
site pl ann ing
car parking
1
sky bar
ds un gro
installation wcâ&#x20AC;&#x2122;s
per for mance s chool - indoor auditor ium exploration of acoustic panels for auditorium walls. the design intention is to relate back to the overall archtectural concepts with folding triangular geometries.
acoust ic simu l at ion
acoustic simulation in auditrium with ‘acoustic walls’ without an acoustic panel ceiling
acoustic simulation in auditrium with ‘acoustic walls’ withan acoustic panel ceiling
f ina l acoust ic shel l d esig n
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p ers ona l ref le c t ion
Resonate Studio 30 has been one of the most challenging studios I have undertaken. The overlap and exploration between various architectural facets of acoustics, tectonics, lighting, master planning, and architectural concepts has been very in depth for one semester. My skillset has broadened not only in an architectural learning sense, but also in technical and computer skills. Pressure was felt at the beginning due to my limited knowledge in Rhino and no experience with Grasshopper. However, the tasks were broken up accordingly to prevent a confusing overlap with clear learning outcomes. This structure helped greatly in my knowledge of acoustics and expanded my understanding through the various iterations. I found Brief 1 to be the most fun and interesting task of the acoustic learning outcomes. Particularly model making and lighting/ water tests. These were the tasks which solidified acoustic basics in my learning and truly helped me understand the way sound propagates and why geometry plays a part in affecting sound. Understanding the ‘back to basics’ way of acoustics with the hand made models was also useful in the end as I was unable to conduct Pachyderm (GH) analysis of the final shell within the context of the site. By going back to model making and using lighting foil tests, I was able to still conduct some form of ‘acoustic’ analysis using light as an indicator for reflections. One difficult aspect of the studio was managing the different programs on site and designing them accordingly amidst the technical tutorials and learning. The balance between technical exploration and design iteration was challenging because of this. Reflecting on the final submission, I felt there were some missed design opportunities within each program building design due to time constraints. Particularly between the interior/exterior architecture and the rock face relationships. The design is quite ‘vertically’ focussed with less attention to the horizontal relationships within its context. These ideas and reflections have expanded my thinking between concept and design translation into architecture. Overall, my personal learning outcomes for this studio have been the most expansive to date. I have not undertaken a studio that is focused on many aspects of architecture (concept, tectonics, acoustics, design) at once. I felt this approach is like what would be expected in an industry setting, back and forth between stages. This gave my learning outcomes a sense of rationale and depth.