Studio 30 Resonate - Brief 3 by kallipat

Studi o 30

R e s onate Architecture, Arts, and Acoustics

i nte r i m we e k s 6 - 1 0 j ou r n a l Kalliopi Patros 1066954

c ampi ng ame n it i e s

b as e ment

Br i mb an k Park From G o o g l e Maps , 2 0 2 0 ( http s : / / w w w. go o g l e. c om/maps/d/u/0/v ie wer?ie= UT F 8& o e= UT F 8& ms a =0 &m i d=1 5 - mW 7 W Fn 5 Q g i _ n ar zT k y M 1 f H 7 f Q & l l = -37.732017258637335% 2C144.84013395515623 & z =1 5 )

Fu r t h e r i nve s e t i g at i ng s ite s c a l e of t he qu ar r y to a c omp ar abl e s i z e d p ar k f ar mi l i ar to m e. A l s o s om e of t he w a l k i ng p at hs pre s e nt i n t he ab ove l e f t e x ampl e of Br i mb an k Par k c ou l d b e t r ans l ate d i nto t he qu ar r y reh abi l it at i on p ar k .

Hol c i m C ol a c Q u ar r y From G o o g l e Map s , 2 0 2 0 ( http s : / / w w w. go o g l e. com / m ap s / d / u / 0 / v ie we r ?ie =U T F 8 & o e =U T F 8 & m s a=0 & m id =1 5 - m W7 WFn5 Qg i_nar zT k y M1 fH 7 fQ& l l =- 3 8 . 3 4 6 5 4 4 5 5 0 1 6 9 6 5 %2 C1 4 3 . 6 0 5 3 8 7 2 7 2 4 9 1 4 4 & z=1 7 )

rehabi lit ation for nature

bui l d i ng a s ‘f i l l’

c on c re te + t i mb e r for te x tu re https://www.lushome.com/wp-content/uploads/2013/12/stone-house-design-green-rooftop-1.jpg

core concepts

https://i.pinimg.com/564x/f0/a0/dd/f0a0dd82979bab0ff64b9bc7bd892333.jpg

https://encrypted-tbn0.gstatic.com/images?q=tbn%3AANd9GcQZbrOIa7isU6zQI3CfGbwQco7Peu389te_jA&usqp=CAU

for m ge n e r at i ng & r u l e s S ome more res e arch into t he mater i al of bas a lt and it s rel at i ons h ip to t he s ite and for mat i on . T h e b a s a lt c omp o s it i on h a s t he che m i c a l m a ke - up char a c ter is t i s of a te t r a h e d ron t r i ang l e. S e e d i a g r am b el ow. This could b e a st ar ting of f p oint for t he for m ge n e r at i on , l o ok i ng and t r i angu l ar for ms and underst and how t h is could 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.

t he b as a lt tet r a he d ron

Tetrahedron characteristics:

for m concept

a platonic solid 3 triangles meet at each vertex (or corner) 4 Faces. 4 Vertices. 6 Edges.

B as a lt Tet r a h e d ron C omp o s it i on From Ins t r u c t ( http s : / / i ns t r u c t. uwo. c a / e ar t h - s c i / 2 0 0 a - 0 0 1 / 0 1 b a s te t . g i f ) C opy r i g ht by Ins t r u c t .

Q u ar r y m i n i ng of ro ck s . (https://bsmedia.business-st an d ard. c om / _ m e d i a / b s / i mg / ar t i cl e / 2 0 1 9 - 0 6 / 2 7 / f u l l / 1 5 6 1 6 5 8 7 6 4 - 3 8 1 7 . jp g )

s u r f a c e a c t ive St r uc tural System by Heino Engel From t he b o ok â&#x20AC;&#x2DC; Tragsysteme St r u c ture Sy stemsâ&#x20AC;&#x2122; 1997 - Heino Engel

s tr uc tur al s y s te m

Tr ying to get an underst anding of t he str uc tural s y s te ms t hat c ou l d b e appl i e d to t he d e s i g n . S e e ms a s t hou g h t he ang u l ar p an e l s h ap e c an b e m a d e p ossibl e i n a fe w w ay s . Mater i a l it y is st i l l i n c on templ at i on b et we e n c on c rete and t i mb e r or c ombi nat ion or b ot h.

ve c tor ac t ive

s tr uc tur al s y s te m

From t he b o ok â&#x20AC;&#x2DC; Tragsyste me St r u c ture Sy stemsâ&#x20AC;&#x2122; 1997 - Heino Engel

L o ok i ng i nto w hat t y p e of s t r u c tu r a l s y s te m w i l l b e appropr i ate for t he bu i l d i ng d e s i g n . C ons i d e r i ng t he fol d s and t r i ang u l ar n ature, Iâ&#x20AC;&#x2122;m l e an i ng more toward sur face ac tive as t he comp onents s e em to have more f lexibi lity in folding inward/ out w ard.

s u r f a c e a c t ive

concrete I want to underst and and le ar n t he acoustical prop er ties and b ehaviour of concrete. I have chos en t his mater i al a s I w ant to u s e t he c on c re te to c re ate te x tu r a l p atte r ns v i s u a l ly and phy s i c a l ly to n ot e n i re ly m i m i c , but re pre s e nt and resp ond back to t he concept of t he ro ck. Perhaps a ju x t ap o s it i on b e t we e n c on c re te te x tu re s c ou l d b e e x pl ore d as a design fe ature in reference to t he ro ck and its cor relat i on b etween t he n atu r a l and t he m an m a de.

B ook Ac ous t i c Ab s or b e rs and D i f f us e rs : T h e or y, D e s i g n and Appl i c at i on By Tre vor J. C ox, Peter Dâ&#x20AC;&#x2122;Antonio

What we he ar is f requenc y and s ound presure. L ow f re qu e n c y = more p ower dB/p ower to re ceive t he s ound Hig h f re qu e n c y = less p owe r /dB p ower. A shor ter time p er io d to re c i e ve it Hig her Her tz = hig her s ound f requenc y

mate r i a l re s e arch

The human e ar he ars f rom 20Hz to 20,000 Hz & sp eech range is 1 0 0 -8 0 0 0 Hz.

L ow f re qu e n c y = more p ower dB/p ower to re ceive t he s ound

bu i l d i ng on ro ck cl i f s 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?docID=698653. Created from unimelb on 2020-09-24 04:52:10.

ve r t i c a l s t r u c tu re

Research into structural support systems when building vertically on a rock face.

re s ourc e s + l e ar n ing

Mar t in Pe ck Modern Concrete Construction Manual Structural design MATERIAL PROPERTIES SUSTAINABILITY

re s ourc e s + l e ar n ing

Mar t in Pe ck Modern Concrete Construction Manual Structural design MATERIAL PROPERTIES SUSTAINABILITY

grasshopp er dilemmas

pre c e d e nt s

Night-time exterior showing Nakaya's “Fog Sculpture” and Robert Breer’s “Floats”, white domed sound sculptures moving slowing around the plaza (Photo: Shunk-Kender, © Roy Lichtenstein Foundation, courtesy E.A.T.)

Interesting precedent of folding architecture, taking more of a rounded dome form overall. The buildings structure could possibly be applied to the quarry design with a steel frame wrapping around the entirety of the building with cladding on top. The installation of this building as the ‘fog sculpture’ is also an interesting juxtaposition between lightness of fog and the solidity of the sculptural building.

c onst r u c t i on re s e arch

c ont i nu at i on of m ater i a l and c onst r u c t i on e x pl or at i on

Yokohama International Passenger Terminal / Foreign Office Architects (FOA) 1995

Construction of Precast Prestressed Folded Plate Structures in Honduras Li Zhen-qiang, Xavier Arguello-Carazo Published 1991 DOI:10.15554/PCIJ.01011991.46.61Corpus ID: 112219852 https://www.semanticscholar.org/paper/Construction-of-Precast-Prestressed-Folded-Plate-in-Zhen-qiang-Arguello-Carazo/367ddc8ef555120b689cf75fc1389e97815e151e

tet r a h e d ron a s d r iv i ng ge ome t 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 off point in order to assess if this concept can be applied.

mo del exploration

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

Location: Nimes, France Tetrarc Architects Year: 2012 Area: 5611 mÂ˛ Main hall seating: unknown

main profile folding plates

mo del exploration

flattened roof planes can be used as green roofs / camouflage of site as buildings are embedded into cul-de-sac

- slightly more developed form similar to a successful acoustic model from brief 1. -this is the model used as the concept basis to develop further

mo del exploration

‘u n fol d e d te t r a h e d ron’

s ur face d iv ision exploration

Modelling of surfaces boxes on surfaces divided into unfolded 4 face tetrahedron

mater i a l it y - concrete or ste el shel l

A l e x an d e r Gr a h am B el l ‘ Te t r a h e d r a l Towe r’, C an a d a , 1 9 0 7 .

Marcel Breuer ‘Abbey Church’ , St. John’s, United States, 1961

str uc tural system + mater i als

o c te t t r u s s space f rame tower re aching 22m heig ht, compr is e d of 3 legs. Tower us ed as a lo okout over an est ate.

A l s o wor ke d on te t r a h e d r a l k ite s 1 9 0 3 - 1 9 0 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.

p ar am e t r i c m o d e l l i ng

for m f i n d i ng e x pl or at i on

Grasshopp er s cr ipt attempt wit h using a graph mapp er as a way of cre ating a t r iangu l ate d sur face shel l. I fol lowe d an on line tutor i a l wit h t his. It was dif 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 s u r f a c e. Ke e pi ng t r a ck of t he d i f fe re nt g r aph t y p e s and p ar am e te re s i s a l s o dif f i c u lt using t h is met ho d.

l o c at i on f in d i ng

main st age + site

Explorat ion into or ient ation of main st age. The general are a is s et howe ver deciding on t he exac t are a. Init ially it was pl aced in t he lo cation of image 4. Howe ver, due to t he audience facing west it may caus e issues of comfor t b e c aus e of t he af te r no on su n . A lt hou g h t he st age w i l l a c t as s ome sha d i ng , it st i l l w i l l p o s e an issue. L e an i ng towards lo cation in image no. 1, nest led in b etween two mounds, most of t he wester n sun could b e blo cke d by t he l arge ro ck , and t he s u n wi l l not b e bl a si ng i nto t he aud i e n ce f a ce f i rst.

grasshopp er dilemmas script 1 intention: to mimic the folds or ‘unfolds’ of the tetrahedron or a triangulated surface

My f ar mi l i ar ity w it h R hi n o and Gra sshopp e r (GH ) a s pro g rams is limite d. I on ly b egan using R hino simplisit iclly last s emester (S1 2020) and t his studio is my f i rst to e ver us e Grasshopp er. I have watche d s er vera l on line tutor i a ls on ways to cre ate shel ls in GH and have had s ome success and s ome failure. I have manage d to est ablish t he intent for t he shel ls sur face desig n wit h folding p anels (in reference to t he tet r a he d ron). I have a l s o tr i e d ot he r for m f i n d i ng me t ho ds, howe ver I have foun d t his ge omet r y t hroug h ‘g raph m apping’in G H wit h a p aram et r ic sur face panel var i able. I was unable to f igure out how to cre ate a back ing in GH for t he ge ometr y t houg h.

p ar am e t r i c m o d e l l i ng

I wou l d l i ke to e x pl ore f u r t h e r h ow I c ou l d p ote nt i a l ly m e rge prof i l e s w it h t h i s fol d e d s u r f a c e p atte r n to c re ate a d e s i re d s h el l w it h a b a ck i ng .

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 i n d i ng e x pl or at i on

p ar am e t r i c m o d e l l i ng

intent: rigid and unsymmetrical profile to mimc rock

is there a way to merge the profile + surface?

for m f i n d i ng e x pl or at i on

C ont i nu at i on of t r i ang u l ate d s u r f a c e p ar am e t r i c m o d e l l i ng . D esired result f rom f reehand R hino mo delling bas e d on c ur ves.

p ar am e t r i c m o d e l l i ng

R e s u lt s f rom p ar am e t r i c t r i a l s - n ot t r i angu l ate d e n oug h

for m f i n d i ng t r i a l s

R hino and Gr asshopp er for m f i nding iterations and e x pl or at i on.

for m f i nding

As my prof icienc y in t hes e computer programs is limite d, I b egan doing basic for m f inding using lof ted c u r ve s to ge t an i de a . Th e pro bl e m i s tr y i ng to a d d a t r i angu l ate d s u r f a c e i n t he G H s cr ipt i n order to e xpre s s t he de s i g n i nte nt i on.

for m f i n d i ng t r i a l s

for m f i nding

C ont i nu at i on of G H s c r ipt and for m f i n d i ng exploration. Af ter watching a fe w tutor i als on line on t he nu mb e rous w ay s to c re ate t r i angu l ate d sur faces, I went t hroug h s ome exploration b ot h in le ar ning how to us e t he program and for m f inding. S ome of t he top iterations I f ind to b e t he le ast successf ul, it was dif f ic u lt to get an ang u l ar p an e l s u r f a c e. In t he m i d d l e c olu m n , t he s e ite r at i ons we re p ar t i c u l arly u ns u c c e s s f u l a s t he y c am e out f l at . . .

iterat ion 1

h dept y for

x for width variables adjusted on x & y axis points: 1 & 3 E a ch ite r at i on u s e d t he s am e ge n e r a l v at i abl e s , t he on ly t h i ng chang i ng i s t he p oi nt s and c ur ve shap e. Thes e cont rol p oints s e emed to achie ve t he most v ar i anc e i n for m f rom a l l t he ite r at i ons w it h on ly 2 p oints.

for m f i nding

G ett ing a â&#x20AC;&#x2DC;preâ&#x20AC;&#x2122; underst anding of t he cont rol p oints and how t he y e f fe c t t he c u r ve s i mu lat i on. The f indings f rom t hes e te sts help later on in deter mining t he var i ables for t he O c topus acoustic s i mu l at i on te s t s . Af ter re ceiving help f rom Mi ke yâ&#x20AC;&#x2122;s ne w s cr ipt to a s s i s t i n my p ar am e t r i c d e s i g n t roubl e s , I a djus te d t he varaible numb ers to acheive dif ferent results.

d e s i re d ove r a l l for m b a s e d on v i s u a l l o ok

iterat ion 2

y for

h dept

x for width

variables adjusted on x & y axis

for m f i nding

points: 2 & 3

iterat ion 3

y for

h dept

x for width

variables adjusted on x & y axis points: 0,1,2,3,4

for m f i nding

By u s i ng a l l c ont rol p oi nt s it c re ate d a d ive rs e s e t of for ms . s u r pr is i ng ly m any a s y m m e t r i c a l ite r at i ons .

p otent i a l ly t he a s y m m e t r y c ou l d wor k for t he s el e c te d s ite are a a s t he ro ck for mat ions w hich t he shel l w i l l sit in b et we en are not sy mmet r ic a l. This is quite a dramatic asymmetr y, howe ver a kind of folding sty le is desired for t he f ront. From Br ief 1 one of my most successf ul mo dels c am e f rom an a s y m m e t r i c a l for m . T h i s c ou l d b e i nte re s t i ng to e x pl ore.

iterat ion 4

h dept y for

x for width variables adjusted on x and y axis points: 1,2&3

for m f i nding

Many ite r at i on re s u lt s e x pl ore t he d e pt h wel l. T h e re are a l ot of w i d e y a x i s re s u lt s w h i ch s e e m to l o ok out of prop or t i on

iterat ion 5

h dept y for

x for width

variables adjusted on x & y axis

for m f i nding

points: 0, 2 & 4

for m f i nding

ite r at i on 5 - s e c t i on a l v i e w

iterat ion 6

y for

dept

x for width

variables adjusted x & y axis

for m f i nding

points: 2 & 3

iterat ion 7

y for

dept

x for width

variables adjusted x & y axis

for m f i nding

points: 2,3,8,9

iterat ion 8 variables adjusted x & y axis points: 1

Trial iterations based on the exact script Mikey wrote up to help acheive the desired parametric model (thanks Mikey).

curve 1 - Z height 1

-2

curve 1 - Z height 2

-1.5

1.5

curve 2 - Z height

-1.5

1.5

curve 3 - Z height

-1.5

1.5

panel division

for m f i nding

Ne w s et of cont rol var i ables including panel sur face division.

for m f i nding

iterat ion 9

z for height

ite r at i on 1 0

h dept y for

x for width

curve 1 - Z height 1

-2

curve 1 - Z height 2

-1.5

1.5

curve 2 - Z height

-1.5

1.5

curve 3 - Z height

-2

panel division

for m f i nding

Ne w s et of cont rol var i ables including panel s u r f a c e d iv i s i on . Int ro du c t i on of c ont rol p oi nt on z axis.

shel l explorat i on

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 shel l for m explorat i on

main st age

Form finding of how to connect the back of house and shell without the shell form being both an acoustic shell and back of house. Thinking of creating the back of house more as a separate form attached to the shell.

main st age + building

stage

ground floor plan

Contemplating the location of the shell - western facing audience will cause discomfort. Consideration of re-locating shell. Also the width of the shell. Not sure about having the whole back of house building touching both sides of the rock face, there may be an issue with ventilation and lighting. From research on plans etc a lot of the changing rooms donâ&#x20AC;&#x2122;t have access to a window as the rooms are generally located deep in the middle of the plan near the stage. It would be nice to find a way to improve this experience, providing some fresh outdoor air access if possible as well as thinking more about how vehicles and equiptment could access the back of stage area. In the sections also, the scale may need to be reconsidered. The back of house looks excessively large.

stage back of house

n 10

0 5

1f floor plan

stage

s tr uc tur al s y s te m

back of hosue

2f floor plan

15m

p ar am e t r i c m o d e l l i ng

c ont i nu at i on of for m f i n d i ng t h rou g h s e c t i on

â&#x20AC;&#x2DC;unrol l sur faceâ&#x20AC;&#x2122; of shel l to get an underst anding of t he comp onents of t he shel ls ma keup.

site pl anning of festival zone

sky restaurant camping amenities main stage open festival area

site ar range ment

path entrace to parklands

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

entry point

ng pi m ca

-private carpark for music school guests and staff (have their own accommodation â&#x20AC;&#x2DC;cul-de-sacâ&#x20AC;&#x2122;

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 range ment

+ 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

f l o or pl an ‘ l ayout f i n d i ng’ e x pl or at i on

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 e r for mance s cho ol

E x pl or at i on i nto s ch o ol l o c at i on . T h e au d itor iu m c ou l d b e n e s t l e d i nto t he c u l - d e - s a c w it h t he bu i l d i ng c ant i l ive re d or l o ok c ant i l ive re d of f t he ve r t i c a l ro ck f a c e. A d e s i g n rel at i ons h ip b e t we e n t he ver t i c a l ro ck f a c e and bui l d i ng c ou l d b e dif f ic u lt howe ver interesting to explore.

p e r for mance s cho ol

sketching and de velopment

p e r for mance s cho ol

sketching and de velopment

main st age

sketching and de velopment

accommo d at ion

main st age

sketching and de velopment

accommo d at ion ar rangement Accommodation considered as separate individual smaller buildings which are clustered into a village/neighbourhood scenario rather than a large building. This goes for both the staff on site housing and guest accommodation for students of the performance school. Festival guests will be encouraged to camp on site.

accommo d at ion

neighbourhood / village clusters of accommodation within the cul-de-sacs

for m f i nding Form finding for the school using and experimenting with the grasshopper scripts previously used for the shell.

f a c a d e e x pl or at i on

Aesthetically, I prefer the look of a larger triangulated facade.

Selected location for the school

computer mo delling initial site location studies for performance school. Cutting sections to understand the site and depths. Initial 3D modelling for form finding in Rhino to take place after.

b c a

site location

p e r for mance s cho ol

for m e x pl or at i on trying a new grasshopper script found online/reccommended by Sofia in the teams. This was for a project which used the script to create pre-fabricated timber panels to create the shell. on the right is my exploration through the script. this is the script used to form find for the schools building facade/roof design. https://www.food4rhino.com/app/timber-plate-structures-tps

p ar am e t r i c m o d e l l i ng

https://i.pinimg.com/736x/c8/f0/44/c8f04420d99f26e228b0208552c36c74.jpg

p e r for mance s cho ol

g round f l o or

Thereâ&#x20AC;&#x2122;s difficulty designing in plan and trying to create a relationship between the rock face and the building, so desigining with bot ha 3D view and plan enforces thought for all design deicions, highlighting relationships. circulation is important, as a key design aspect the rock face will play a large role in the interaction between occupant and building.

g roun d f l o or ite r at i on 1

school guest accommodation near the school for access and proximity reasons

vehicle access

20 00

school area

20 00

car park

auditorium seems too small entry

foyer wcâ&#x20AC;&#x2122;s

auditorium

p e r for mance s cho ol

trying to create two wings for the school. one for actors/performers and one for musicians offices offices offices

open area for landscaping

f irst f l o or

open parklands at the top of the rock. implementation of green roof on on buildings could be a way to integrate the buildings back into the landscape from the above visual plane.

classrooms

not sure if there is enough rooms for back of house in this location. because the building is nestled into the rock itâ&#x20AC;&#x2122;s restricted by the surrounds/dimensions.

p e r for mance s cho ol

can potentially extend the building or move it around to change the spatial layout. this area of the cul-de-sac is less restricting

g roun d f l o or ite r at i on 2

still feeling restricted with size of the auditorium in this cul-de-sac area. My intention is to avoid quarrying into the rock more than necessary as it doesnâ&#x20AC;&#x2122;t fit with the concept of filling in.

p e r for mance s cho ol

ms oo r ss cla

walk way up into building?

s e c t ion

p e r for mance s cho ol

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.

s ch o ol - c i rc u l at i on

https://static.dezeen.com/uploads/2014/01/ Hideg-House-by-Beres-Architects_dezeen_7.

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 Iâ&#x20AC;&#x2122;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, isnâ&#x20AC;&#x2122;t fire resisitant. In some of my further readings, Iâ&#x20AC;&#x2122;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 ch o ol - c i rc u l at i on

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

g roun d f l o or pl an

entry

classroom

classroom car park classroom

classroom

classroom entry boh common room / kitchen/dining entry

entry covered pavilion

auditorium

p e r for mance s cho ol

entry

g re e n 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 â&#x20AC;&#x2DC;building as fillâ&#x20AC;&#x2122; 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

e s d c ons i d e r at i ons

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

g lu e l am i n ate d t i mb e r ( g lu l am )

Exploration of timber / glue laminated construction Emmitt, Stephen. Barry’s Advanced Construction of Buildings, Wiley Blackwell, incorporated 2019. Thinking about how a glue-laminated tmber structure can be implemented in the facade design. Will this work with implementation of a green roof (for roof structure)?

In reference to pg 129. Figure 4.39 Glue-Laminated Timber Portal Frame https://www.hyne.com.au/Images/Ceres_1620.jpg

https://www.architectureanddesign.com.au/getmedia/f177e44d-2228-4d4e-87d2-812f96915009/Ceres- Scale of PLY / NOJI Architects. Image © Alice House-with-sustainable-timber-beams.aspx Clancy

Level Architekture Royd Clan’s House geelongs

mate r i a l re s e arch

Bridge House / LLAMA urban design. Image © A-Frame studio/ Ben Rahn

The glulam arches are supported on a series of columns with connections made by flitched steel plates. Rogers The glulam Stirk Harbour arches are + Partners supported on a series of columns with connections made by flitched steel plates. © Paul Raftery/VIEW

Freemen’s School Swimming Pool / Hawkins\Brown. Image © Jack Hobhouse

a c ou s t i c c omput at i on ana ly s i s 1

I began with doing the computation making the audience space larger, however my computer cannot handle the computation with a larger surface. It crashed a few times, and took an excessive amount of time to complete these results. Hence, in the later acoustic exploration the audience plane is smaller in size.

Form finding in Grasshopper I found to be quite difficult, trying to understand which variables need to be created in order to create the model. The following models are based upon a few scripts I found tutorials online for in an attempt to form find with a triangulation on the surface. Some are more successful than others in terms of aesthetic shape.

2 standard deviation

3.87

standard deviation

4.295

standard deviation

3.744

3.77

acoustic opt imis ation testing 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.

86.7

spl {0;0}

86.7

standard deviation

2.86

standard deviation

3.79

a c ou s t i c s i mu l at i on

spl {0;0}

Width is playing a role in the distribution of sound accross the audience plane. This could be considered a constant in the simulation due to the nature of the site lcoation.

spl {0;0}

85.7

standard deviation

3.5

var i abl e s

curve 1 - Z height 1

-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

control points 2 ,3, 4 and 5 for middle curve height of shell

c onst ants Previous grasshopper testing was done which examined the depths and widths of the control points. In the end for the final iteration for the interum submission, a decision on the depth and width parameters were:

curve 3 - Z height

-0.5

0.5

ac ous tic s imul at ion and for m f in ding

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 reflections and projection would be mostly determined by the varying heights and overhang of the shell.

panel division

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-

acoust i c opt i mi s ation testing - 1 Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 25 Results Optimized Deviation Sound Source Front: 3.65 Sound Source Back: 3.29

a c ou s t i c s i mu l at i on

the curves / shape is not desired. the acoustic results were not good, high or desireable. All models seemed relitively distant from the standard deviation and (0,0) axis which indicates acoustically these variables or more likely, the curves drawn to create the parametric model are not ideal. results are too widespeard.

acoust i c opt i mi s ation testing - 2 Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 18 Results Optimized Deviation Sound Source Front: 5.47 Sound Source Back: 5.02

a c ou s t i c s i mu l at i on

the standard deviation results are much higher in this simulation generally indicating better acoustic potential.

acou stic optimi s ation testing - 2 results - a Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 18

a c ou s t i c s i mu l at i on

Results Optimized Deviation Sound Source Front: 5.47 Sound Source Back: 5.02

Direct sound focusing at the front, there is a fair distribution of sound across the plane however uneven towards the back.

acou stic optimi s ation testing - 2 results - b Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 18

a c ou s t i c s i mu l at i on

Results Optimized Deviation Sound Source Front: 5.47 Sound Source Back: 5.02

acou stic optimi s ation testing - 2 results - c Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 18

a c ou s t i c s i mu l at i on

Results Optimized Deviation Sound Source Front: 5.47 Sound Source Back: 5.02

The results are slightly better with sound distribution to the back of the audience.

acou stic optimi s ation testing - 3 Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 49 Results Optimized Deviation Sound Source Front: 4.98 Sound Source Back: 4.34

a c ou s t i c s i mu l at i on

way too wide lateral curves and height. abrupt stopping of shell also impacted the sound distribution.

acou stic optimi s ation testing - 3 Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 49 Results Optimized Deviation Sound Source Front: 4.98 Sound Source Back: 4.34

Variables 1.5

curve 1 - Z height 1

1.5

curve 1 - Z height 2

curve 2 - Z height curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

It's evident the wider the shell is in front elevation and overhangs over the audience plane, the distribution becomes lengthier.

.2 8

acou stic optimi s ation testing - 3 Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 49 Results Optimized Deviation Sound Source Front: 4.98 Sound Source Back: 4.34

Variables 1.5

curve 1 - Z height 1

1.5

curve 1 - Z height 2

curve 2 - Z height curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

.2 8

Curve profiles trialled

acou stic optimi s ation testing - 5 a Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 24 Results Optimized Deviation Sound Source Front: 6.7 Sound Source Back: 2.6

a c ou s t i c s i mu l at i on

2.69

17.87

3.03

the most successful simulation

The uneven geometry with large panels swooping downward does not result in even sound distribution. Around the sides (lack of wideness) there is missing sound and also toward the back. The folds with very downward facing sides seem to project the sound up front into the front middle. This is the only area of direct sound.

acou stic optimi s ation testing - 5 b Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 24

a c ou s t i c s i mu l at i on

Results Optimized Deviation Sound Source Front: 6.7 Sound Source Back: 2.6

acou stic optimi s ation testing - 5 c Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 24 Results Optimized Deviation Sound Source Front: 6.7 Sound Source Back: 2.6

With a shell larger than the audience plane it showcases a more evenly distributed sound. The overhang creates a lot of direct sound at the front however the back still slightly lacking,

Variables -1

curve 1 - Z height 1 -2

curve 1 - Z height 2

curve 2 - Z height

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

acou stic optimi s ation testing - 5 d Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 24 Results Optimized Deviation Sound Source Front: 6.7 Sound Source Back: 2.6

Here, the wideness of the shells dimensions and height contribute to the extensive sound propagation. Shells with less surface panel division seem to project better and produce more even and widespread results. It seems that there is one folded panel downward which is making the sound distribute asymmetrically. This indicates the panels should be more evenly divided and or more symmetrical in its folding technique.

Variables curve 1 - Z height 1

curve 1 - Z height 2

0 1

curve 2 - Z height

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

acou stic optimi s ation testing - 6 Settings Reflection Order: 1 Number of Rays: 5000 Population Size: 50 Generations: 24

a c ou s t i c s i mu l at i on

Results Optimized Deviation Sound Source Front: 4.34 Sound Source Back: 4.33

acou stic g eometr y testing 1 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables curve 1 - Z height 1

curve 1 - Z height 2

curve 2 - Z height

-1 1

curve 3 - Z height panel division

a c ou s t i c s i mu l at i on

Folded panel inward/directed specifically toward one side is making the sound distribute unevenly. This shows how one simple panel can impact the sound distribution.

acou stic g eometr y testing 2 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 2

curve 1 - Z height 1 0

curve 1 - Z height 2 curve 2 - Z height

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

Wider and 'less folded' panels with some type of folded peak in the middle creating a more even distribution across the plane.

-1

acou stic g eometr y testing 3 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 2

curve 1 - Z height 1 1

curve 1 - Z height 2 curve 2 - Z height

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

The curve 1 z height of the two side points seem to not make too much of an impact on the sound distribution. The height and panel folds are creating the most varied results.

-1

acou stic g eometr y testing 4 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 1

curve 1 - Z height 1

curve 1 - Z height 2 curve 2 - Z height

-1 1

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

acou stic g eometr y testing 5 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables curve 1 - Z height 1

curve 1 - Z height 2

curve 2 - Z height

The back of the audience is missing. As mentioned previously the surface panel division makes a difference in how the sound distributes. The Z height of the top peak curve is also quite low compared to the others. The first curve should be higher than the second.

-1 1

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

acou stic g eometr y testing 6 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables curve 1 - Z height 1

curve 1 - Z height 2

curve 2 - Z height

Again, the smaller folded panels are creating a n asymmetrical sound distribution due to the sound reflecting off one side of the paneel onto the audience plane.

-1 1

panel division

a c ou s t i c s i mu l at i on

curve 3 - Z height

acou stic g eometr y testing 7 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables curve 1 - Z height 1

1 1

curve 1 - Z height 2 curve 2 - Z height

1 1

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

acou stic g eometr y testing 8 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 0

curve 1 - Z height 1 curve 1 - Z height 2

curve 2 - Z height

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

0 10

f inali st g eometr ies - 1 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables curve 1 - Z height 1

-2 -1

curve 1 - Z height 2

curve 2 - Z height curve 3 - Z height panel division

a c ou s t i c s i mu l at i on

spl: 95. 3

-1 10

f inali st g eometr 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

curve 1 - Z height 2 curve 2 - Z height

-2

curve 3 - Z height panel division

a c ou s t i c s i mu l at i on

spl: 102. 1

1 6

Although folded, the division is smaller resulting in larger folded panels. The top overhang assists with the reflections as well as the widening of the shell. Distribution is most extended in this iteration. Visually/aesthetically speaking it is more appealing than some of the others also.

f inali st g eometr ies - 3 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables curve 1 - Z height 1

curve 1 - Z height 2

curve 2 - Z height

curve 3 - Z height panel division

a c ou s t i c s i mu l at i on

spl: 93. 8

0 10

f inali st g eometr ies - 4 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 1

curve 1 - Z height 1

curve 1 - Z height 2 curve 2 - Z height

-2

curve 3 - Z height panel division

a c ou s t i c s i mu l at i on

spl: 101. 5

0 6

f inali st g eometr ies - 5 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 0

curve 1 - Z height 1 curve 1 - Z height 2

curve 2 - Z height

curve 3 - Z height panel division

a c ou s t i c s i mu l at i on

spl: 102. 32

0 10

This shell has also produced a good sound distribution with slightly more folds, however still projecting evenly.

f inali st g eometr ies - 6 ray tracing simulation based on brief 1 script. \\ using geometries formed from the octopus simulation no. 6.

Variables 1

curve 1 - Z height 1

curve 1 - Z height 2 curve 2 - Z height

-2

curve 3 - Z height

a c ou s t i c s i mu l at i on

panel division

0 6

s el ec ted g eometr y This geometry was selected based on both its acoustic performance and its visual aesthetics. Preference is for less divided surfaces with larger folding panels. A lot of direct sound hittin the front, however the sound is reflected quite well and evenly accross the surface plane,

spl 102.1 standard deviation 4.5 -volume -reflection -even sound -strong direct sound at front

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zone for accommodation on site. instead of having individual cabin type stays, creating a building similar to the school where itâ&#x20AC;&#x2122;s attached to one face which follows the natural cut out of the land.

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main st age 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.

spl 101.8

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.