Theater of Invisible City/ USYD Design Studio 3B 2021 by Lillian Liao

' There is still one of which you never speak. ' Marco Polo bowed his head. ' Venice,' the Khan said. Marco smiled. 'What else do you believe I have been talking to you about?' The emperor did not turn a hair. 'And yet I have never heard you mention that name.' And Polo said: 'Every time I describe a city I am saying something about Venice.'

— Italo Calvino, Invisible Cities1

a water theater for underwater dancers

Produced by

LILLIAN LIAO Tutored by

THOMAS STROMBERG

SYDNEY, AUSTRALIA

Introduction

03 From narrative to

I-II

technology

01 Architectural Brief The Theater of Invisible City will move to different locations along the Sydney Harbour. This section will outline a relationship among site, architecture and performance along with the architectural brief. 1-5

Assignment 2 panels Program Concept Transformation Research

02 Territory

20 22 24 26

Response to the Site Sydney Harbour is one of the most astonishing sightseeing in Australia. The theater will move to an appropriate site for the underwater show along the harbour. There are four anchor points at this stage with comparing the context with the book Invisible Cities by Italo Calvino. This section will explain why these locations are selected and what has been designed in different sites with different elements. 6-17

The narrative has driven the project to a technical aspect of transformation. Based on the research and the studies into technology on transformation, these "tentacles" would act transform between the viewing bridges and auditoriums using the existing technology via creative ways. 18-39

architecture 04 Site, and performance

Bibliography 06 Notes, and Precedents

Reflective Design Process and development Plan Elevation Sectional perspective Navigation Structure Decisive Detail

48 50 54 56 62 65

The "tentacles' gather the visitors to the centre of the theater, while the other programs are layout vertically. These structures will connect the site, architecture and finally provide a space for performance. When the theater fully submerges into the sea, each level will become a viewing platform to enjoy the undersea view. 40-65

Notes Bibliography Precedents Images

05 Appendix

Reflective Interim Design and initial thinking Assignment 1 panels

Acknowledge 68

There is a great change from the phase one design to the phase two design. This section traced some valuable initial ideas including the concept collage and the typology study in this phase. 68-79

80 82 83 84

Introduction The wildly popular short f ilm Ama is a memorable dance of 2018 performed and directed by Julie Gautier, Filmed in the world’s deepest pool located in Venice, Italy. It follows Gautier’s graceful underwater movements. "Ama is a silent film. It tells a story everyone can interpret in their own way, based on their own experience. There is no imposition, only suggestions. I wanted to share my biggest pain in this life with this film. For this is not too crude, I covered it with grace. To make it not too heavy, I plunged it into the water. I dedicate this film to all the women of the world." — Julie Gautier, Ama(2018)2

Julie Gautier, Ama, 2018

Invisible Cities is a book by Italian writer Italo Calvino, which tells a story between Marco Polo, an Italian explorer and elderly busy emperor Kublai Khan in the Yuan dynasty in China.3 The fifty-five cities described by Marco Polo, are the allegory of human experience in the city as a habitation. Even though Polo did not say where are the cities, people could always find some similarities with Venice. As Polo said: 'Every time I describe a city I am saying something about Venice.

Italo Calvino, Invisible Cities, 1974

Introduction

Conceptual framework

heater of Invisible City is a water theater designed for underwater performance. The theater is trying to connect the site along the Sydney Harbour with the underwater performance theater. Inspired by the book Invisible Cities by Italo Calvino, the same city could be described in fifties different ways. 4 It is always the same city, but different interpretations. What is the meaning of the city and who creates the city? As Aldo Rossi criticized, the understanding of the city need to be pushed further through researching what has happened in the past in our " collective memory". 5 If we think about Venice, the urbane waterways would come into our mind. In the same way, if we think about Sydney, the Sydney Harbour along with the Sydney Harbour Bridge, Sydney Opera House, and the beautiful natural coastal line would become the iconic impression to the visitors. Even though the same buildings could be everywhere in the world or even every building could be located in Sydney, what makes Sydney special is the collective memory behind the architecture, the land and nature. In this case, compared with Isaura, the city described in the Invisible Cities, there is an "invisible city" hidden in the city of Sydney. This project explored the possibility of connecting the city, architecture and performance through a portable way and how to provide an invisible underwater performance with the light under the water.

Transformation of the building There are two essential problems in transforming the building to realize the movement along the Sydney Harbor: the underwater movement and the water-proof flexible joints. The study on the jellyfish along with the waterbomb origami form provide a possible way to move under the water. 6 The study on flexible joints such as articulated bus joints draw a poetic imagination on visitors entering the building along with the movement of the wave. Poetic Experience under and above the sea Besides the poetic retractable technical aspects, the building would sail to four anchoring points for boarding. The bridges along the site have responded to the particular elements in the city. They attempt to provide a small installation for reinforcing the impression city to the visitors. The structure and its mobility are determined by the site. The building would be transported to the place where it could be fully contracted in Sydney Harbour. The performers would dance in the deepest area in Sydney Harbour surrounded by beautiful underwater views. While the underwater performance is invisible onshore, people would see the back of the stage lighten up above the sea. In general, there are six chapters in this design book to explain the process of the design from the narrative to technology, the design among site, architecture and the performance, and some initial ideas as inspiration. These will trace how the project was imagined as an apparatus for interpreting the Invisible Cities with different sites, architecture and performance throughout this semester.

Chapter 1

Response to Architectural Brief performance, site and architecture

Chapter 1 Response to the Architectural Brief

' The project for Architecture Studio 3B is a theater, but not an ordinary one; it takes its cues from the Italian architect Aldo Rossi’s Teatro del Mundo – a temporary floating theater designed and built for the ‘theater and architecture’ section of the 1980 Venice Biennale. Rossi himself said of his remarkable theater that it was “situated between the house of infancy and the house of death as a place that is purely for performances, and memory and foreboding belong to it.” This Sydney Harbour Drama House project is the sweep of watery expanse that this project adopts as its territory in place of the typical demarcated site for an architectural project that is a plot of land unmoving and bound. Students are to decide for themselves where in the harbour their theater for an audience of 250 is to dwell. They are to take serious account of the specific topographical and environmental conditions of their chosen location. For both the performers and audience the theater might be an island of insulated calm, or it might revel in its unsettling exposure to the come-what-may of its maritime conditions. And how do people get there? If by boat or ferry, is the water deep enough for the vessels to dock, or will a jetty that reaches out into deeper water be required? And as much as the concerns are to do with the experience of the audience being out on the water, there will be implications for those who remain on shore. It might be dedicated to one genre of performance or even one playwright, or it might attempt to provide a stage for a kind of theater yet to come.'

— 2021 BDES3027 Studio 3B Outline7

Aldo Rossi, Teatro del Mondo, Venice, Italy, 1981.

Chapter 1

Response to the Architectural Brief performance, site and architecture

Response to the Architectural Brief

heater of Invisible City is a water theater designed for the underwater performance. Underwater performance is usually filmed. The theater of Invisible City is trying to provide a possible way for audiences to watch the live performance under the sea. It was imagined as an apparatus for interpreting the Invisible Cities with different performance, sites, and architecture.

P erformance The underwater performance will be in the Theater of Invisible City. It was a place for the pure performances with the movement of the water, and with the beautiful undersea view in which is usually invisible from our daily life. The underwater performance will be silent, in which tell stories everyone can interpret in their way, based on their own experience. There is no imposition, only suggestions. This type of performance provides a great opportunity for creating a panorama stage to fully enjoy the art between the water and the human body. In the underwater film Ama, Julie danced in the world deepest swimming pool Y40 at that time in Venice. Unlike the traditional theater with a large seating step, the challenge of designing this type of stage is the height of the stage. This inspired theater's mobility along the Sydney Harbour to locate itself to the appropriate space to have the performance. Light from the sea. Collage by Lillian Liao,2021

At the same time, another challenge in this performance is the darkness of the sea. The water will not be as clear as the underwater performances from the film. However, the dark sea has become the natural canvas that allows for designing the light to the stage under the sea.

Chapter 1

This is the first underwater live performance in the Theater of Invisible City along the spectacular Sydney Harbour!

Response to the Architectural Brief

After audiences get into the theater through the bridges. We would control the form of the theater after audiences have sat with their seatbelt. The stage would appear in the centre. The show is starting...

As a performer, I would dance under the sea. The stage in the middle is surrounded by audiences sitting in the modules. I would fully be immersive with the silent undersea scenes and dance with the movement of the water.

There is a ticket box at every anchoring point. We could get tickets and see the preview of the show when we scan the code.

The theater would flow along the Sydney Harbour. We could see the performers behind the show along the shore.

Chapter 1

S ites

This project is derived from analysing Invisible Cities by Italo Calvino and its similarities with the Sydney Harbour trying to reflect the interpretation of the city. There are four locations carefully selected corresponding to the city Isaura from Invisible Cities at this stage including The Gap, South Head, Clifton Garden and Bradleys Head. At each anchoring point, the bridges were designed along with the history and the site elements. They are like the keyholes waiting for the coming theater to unlock the invisible city under the sea. To contract the building, the theater will transport to the deepest area of Sydney Harbour before the show is starting. As much as the experience under the water, there will be implications for those who remain onshore. The top of the theater would be glowing while the performers' scene on the back of the stage. This unveils the invisible stories behind the scenes. In this case, the building will be a moving theatre floating on the harbour, its organic form harmonizing with its surroundings.

The preview of the show https://vimeo.com/643444488

Response to the Architectural Brief

Sydney Harbour as one of the most attractive icons of Sydney contains a large amount of power and stories behind it. The crumpled shoreline of coves and points, bays and headlands all meet together along the long coastal line. It recorded the history of aboriginal culture, the development of the city and the change of the environment.

Architecture The portable architecture combines the mechanical structure into the concept design of the architecture. Inspired by the movement of jellyfish and waterbomb origami, the transformable theater was arranged to complete the process of boarding to leaving the theater. Gathering the information about submarine principles, the project provides a possible way to control the up and down movement of the building. The joint between each bridge module was inspired by the artificial bus joints. There provide a possible way on the dynamic movement following the sea waves. During the show, visitors will sit on the retractable seating around the cylindrical structure with a maximum view.In the end, audiences will fully immerse into the water theatre with only the light, the movement of the water, and the emotion from the performers. After the performance, the water theater would continue to move to the next location and becomes an apparatus for interpreting the Invisible City with different sites, architecture and performance.

Chapter 2

Territory Response to the Site 08 10 12 14

Invisible City of Sydney Location Plan Site Analysis Site Bridge Design

Invisible City of Sydney Chapter 2 Response to the Site

From Invisible City by Italo Calvino, Polo did not say where the cities were. However, people could always find some similarities with Venice. In some way, Sydney Harbour could be seen as Invisible City of Isaura. The sunlight, the vertical elements, aboriginal culture and nonaboriginal culture, and so on It is always the same city but has different fragments by individual interpretation.

Chapter 2

Response to the Site

Chapter 2 Response to the Site

The water theater is a traveller to reflect the city they live in. At this stage, it only opens in four locations throughout the year near the Sydney Harbour.

The Gap is the sandstone cliff located at South Head. There is a wave-cut extending below. Since the beginning of the European settlement, The Gap has been a popular destination for tourists. Now there is a viewing platform on the edge of the cliff.8 South Head marks the entrance to Port Jackson. It has a long history of aboriginal culture. After the settlement of Europeans, there is a lookout established as the signal for the ships. Nowadays the red and white lighthouse became a landmark of Sydney.9 Clifton Garden is a bay located in the suburb of Mosman in which is surrounded by residential buildings. It was also home to several beaches and wharves. Bradleys Head has the most prominent natural feature along the Sydney Harbour. Covered with large trees and thick bushes, Bradleys Head is a great place for enjoying nature. On the shore, we could see the outline of the Sydney. This place could be seen as a connection with nature and the city skyline.

Location Plan (Right figure)

We acknowledge the Gadigal people who are the traditional custodians of this land. We pay our respect to elders past, present and emerging of the Eora Nation and extend the respect to other Aboriginals present.

Chapter 2

Left figure Sydney Harbour nourished the aboriginal culture in history. On the left figure, we could see partial aboriginal place locations.

Response to the Site

Considering the varieties of the views and the natural undersea conditions, the four locations with aboriginal backgrounds were selected. These also reflect on the text from Invisible Cities. Bottom figure The four locations are the potential anchor points allowing visitors to board the theater. After that, the theater would float in the areas with a depth over 60 metres to start the performance. The theater becomes a traveller sailing along the harbour.

Site Analysis The location responds to the elements in the city of Isaura with their special elements. Chapter 2

To provide a connection between the sites and the architecture. There would be special bridges designed with the analysis provided below.

South South Head Head

Clifton Clifton Garden Garden

Response to the Site

TheThe GapGap

Bradleys Bradleys Head Head

Site Analysis

Consequently, Consequently, two forms two forms of religion of religion exist in exist Isaura. in Isaura. " "

History

" Isaura, " Isaura, city ofcity theof thousand the thousand wells,wells, is saidistosaid risetoover riseaover a deep,deep, subterranean subterranean lake. On lake. all On sides, all sides, wherever wherever the inhabitthe inhabitants dig ants long digvertical long vertical holes holes in the in ground, the ground, they succeed they succeed in in drawing drawing up water, up water, as far as far theas city the extends, city extends, and noand father. no father. Its Its greengreen border border repeats repeats the dark theoutline dark outline of theof buried the buried lake; an lake; an invisible invisible landscape landscape conditions conditions the visible the visible one; everything one; everything that moves that moves in the in sunlight the sunlight is driven is driven by theby lapping the lapping wave wave enclosed enclosed beneath beneath the rock's the rock's calcareous calcareous sky. sky.

History

Invisible Invisible City of City Sydney of Sydney

-Italo Calvino. -Italo Calvino. "Thin City "Thin1"City Invisible 1" Invisible Cities.Cities. [1st ed.]. [1st ed.]. (New York: (NewHarcourt York: Harcourt Brace Brace Jovanovich, Jovanovich, 1974). 1974).

Natural Element

The GapThe wasGap inhabited was inhabited by by the Birrabirragal the Birrabirragal Aboriginal Aboriginal clan clan

Sea & Clift Sea & Clift

Depth of Sea

viewingviewing platformplatform Seabirds Seabirds use the use theEucalypts Eucalypts cliﬀ for nesting cliﬀ for nesting sites sites

Woo-la-ra Woo-la-ra or Tarralbe or Tarralbe (Outer South (OuterHead) South Head) Burra-wa-ra Burra-wa-ra or Barraory or Barraory (Inner South (InnerHead) South Head)

The Aboriginal The Aboriginal name for name the bay for the wasbay Koree, was Koree, and Chowder and Chowder Head was Head known wasas known Gurugal. as Gurugal.

Large and Large small and small Stones Stones

Sandstone Sandstone Lighthouse Lighthouse Eucalypts Eucalypts

The original The Aboriginal original Aboriginal inhabitants inhabitants belonged belonged to the Borogegal to the Borogegal clan of the clanEora of the nation Eora nation known as known Borogegy, as Borogegy, Booraghee, Booraghee, BooragyBooragy or or Burrogy.Burrogy.

Hills and Hills Trees and Trees

Ship

Ship Wharf bridge Wharf bridge Eucalypts Eucalypts

Amphitheatre Amphitheatre & Trees & Trees

City

City Amphitheatre Amphitheatre Lighthouse Lighthouse

9m 11m 11m

21m 21m

31m 31m

Chapter 2

A. THE GAP

Response to the Site

The Gap is embraced with the cliff with a viewing platform. The bridge is the continuation of the viewing platform.

Ticket box

21m

Chapter 2

B. SOUTH HEAD

Response to the Site

The South head is the opening of the Sydney Harbour. The bridge is the continuation of the lighthouse.

Ticket box

24m

Chapter 2

C. CLIFTON GARDEN

Response to the Site

Clifton Garden is near a residential area. It was a popular space for diving. The bridge is the reinforcement of t h e ex i s t i n g w h a r f a n d also provide shelter for the swimming pool.

Ticket box

30m

Chapter 2

D. BRADLEYS HEAD

Response to the Site

Bradleys Head is near the city. The existing amphitheatre i s p o p u l a r fo r t h e s p e c i a l ceremony. The bridge would frame the City skyline.

Ticket box

35m

Chapter 3

From narrative to technology Reflective Design Process on technical researh 20 22 24 26

Assignment 2 panels Program Concept Transformation Research

ASSIGNMENT 2 Chapter 3

Going, There, and Back Again

From narrative to technology

Phase 2 design has changed the design into a different form, but keep the original concept from phase 1 ( See Appendix for phase 1 design). In phase 2, the design relied on technical and conceptual quality as the main driver. The programs usage and the operating concept was further developed to respond to a different site along the Sydney harbour.

top left top right bottom left bottom middle bottom right

Design Process Site Plan and Elevation Plan and elevation Sectional Perspective and Rendering Decisive Detail and operation

After the phase 2 presentation, there are several problems has been raised and further explored in this Design Book: The clarification of the performing areas, (Chapter 2) The theater would sail out and curl up to the areas where over 60 meters along the Sydney Harbour. Transformation Study (Chapter 3) There are more researches on the existing technology on the retractable form and the water-proof flexible joints. These would provide additional support for the design in a buildable aspect.

D eve l o p m e n t o n a n c i l l a r y s p a c e s (Chapter 4) Even though the layout of the space is relatively conventional and vertically, some additional ideas could be developed further in Chapter 4. The entrance level would have a different variation of the levels in which is not only a gathering hall but a viewing machine for both inside and outside. Additionally, the height of the cafe will be higher that allowing the guests to enjoy the beautiful underwater scene while they are eating. Although interior design has not been the focus of this project, there are some potential ideas illustrated in the rendering s in this book.

Chapter 3

From narrative to technology

Chapter 3 From narrative to technology

Revision and Consolidation Program usage

The usage of the programs was analyzed further in corresponding with the periods and user mode. The diagram on the right also suggests whether the programs are under the water or above the water. Back of stage, stage and auditorium are more instantaneous in the underwater performance. Therefore, these programs only appear when the show is happening. The following design was based on the usage mode of each program which the layout of the space is vertically from public to private. The contraction and expansion, the moving up and down and the transformation of the theater is a big challenge to achieve the operation of the programs in this project and would be discussed in the following pages,

Chapter 3

BACK OF STAGE

WORKING

GIFTSHOP

SHOPPING

EATING

CAFE/BAR

ENTRY

PREPARING

(In C.R).

STAFF FACILITIES

From narrative to technology

ENTERING

STAGE AND AUDITORIUM

PERFORMING Water level Instantaneous use Continuous use

24-hour Program Usage

Chapter 3 From narrative to technology

Before show

On board to the theater

Operation Concept

PUBLIC FACILITY

Ballast tank

ENTRY Ballast tank

Dome: During the contraction, the back of the stage would be lifted up and expanded for more light into the space. In this case, people on the bank could see the glowing from the shore.

STAFF FACILITY

wharf entry

Ballast tank

Ballast tanks:The ballast tanks would fill in with more water that would control the vertical movement of the whole building.

BACK OF STAGE

Ballast tank

The operation of the theater was based on program usage. There are three aspects of the transformation:

Bridges to Auditoriums: 1. Before the show audiences enter the theater through the wharf bridge. 2. The theater started to sink and contract to the vertical form. 3. Finally, the stage will appear in the middle of the auditoriums. 4. After the show, the bridges transform to a horizontal form for exiting the theater. Leaving the theater The back of stage is folded before the show. Audiences would enter the theater through different bridges.

Chapter 3 From narrative to technology

Before the opening

On show

Contract the 'Tentacles'

The stage appeared in the middle

expand BACK OF STAGE STAFF FACILITY

expand

PUBLIC FACILITY

BACK OF STAGE STAFF FACILITY PUBLIC FACILITY

contract

sink

Ballast tank

ENTRY Ballast tank

Ballast tank

sink

Ballast tank

ENTRY

contract

STAGE

AUDITORIUM AUDITORIUM

Before leaving

After show

The back of stage would gradually expand during the contraction process

The stage will appear in the middle of the auditoriums

The 'tentacles' turn from viewing bridges to auditoriums. Ballast tanks would fill with more water.

The back of stage will expand to provide enough vertical space for the performers

People could see the back of stage on the shore.

Chapter 3

Transformation Research Technical Concept

From narrative to technology

he operation of the theater of Invisible city is one of T the most crucial concepts in this project. To achieve the contraction and expansion of the transformation, the following research: "Tentacle" movement, Waterbomb Origami and Water-proof flexible joints lead the project in realistic and practical aspects. The most common knowledge of the movement of the objects under the sea was submarine. After understanding the basic principle of the submarine system, the ballast tanks are required to control the water of the buildings. Consequently, vertical and horizontal movement is possible in the operation concept.10 Furthermore, jellyfish, as one of the most flexible creatures in the sea, could be learned to consider the transformation of the whole buildings. The structure and the sequence of the movement were analyzed to achieve the submarine principle in an aesthetic way. In addition to the movement of the whole buildings, the main dome of the structure needs to light up and be viewed onshore. Therefore, the traditional waterbomb origami indicate a possibility of how the dome could be built structurally. Finally, the transformation of the bridges to auditoriums are the most crucial element. The joints between each module was borrowing the existing technique on waterproof flexible joints like artificial bus joints. These contribute to the dynamic experience of walking through the bridge to the main theater. It became a tunnel to invite audiences to gradually feel the waves of the water, the attraction of the sea, before fully into the centre. Annotation on Submarine design and development page 121. Sketch by Lillian Liao,2021

Chapter 3

"Tentacle" movement research

Bell

From narrative to technology

Oral arms with stinging cells

he structure of the jellyfish includes a bell, oral arms and tentacles. The bell, as the centre, controls the whole movement. The tentacles, as the ancillary parts, contribute the water into the bells. In this case, the process of the water in and out leads to the expansion and contraction of the jellyfish. These come about the two essential questions of the theater in a biological perspective: How the main part (the bell) could expand and contract? How the bridges (tentacles) could move with the flow of the water?

Tentacles

Jellyfish Analysis. Sketch by Lillian Liao,2021

Expansion and Contraction of the jellyfish

Jellyfish movement sequence Overlay

Waterbomb Origami

How the main part (the bell) could expand and contract? Waterbomb origami is one of the most complex forms of symmetry. When the two are motif is repeated across the plane. a complex and extraordinarily flexible surface is created. 11 The concept model on the next page indicates how this structure could support the idea of expansion and contraction similarly with the jellyfish's bell. In this project, the dome was inspired by the waterbomb origami. The steel structure is retractable as the crease of the paper. The triangular surface was imagined to be a PVC membrane in this project. This stretchable material also contributes to controlling the light in the space. As illustrated in the previous page, the back of the stage was placed on the top of the building, While the dome expand, the back of the stage will lift and lighten up. Since the expansion allows large gaps between the membrane fabric, the glowing from the top could be seen by the people onshore. This provides another aspect of what the activities behind the scenes would be shown onshore.

Chapter 3 From narrative to technology

Concept model：Imitation the retractable movement of Jellyfish with origami

Water-proof flexible joints Articulated bus joint & waterproof material ow the bridges (tentacles) could move with the flow of H the water? Inspired by the joint of the articulated bus, the mechanical connection with the rubber surface outside would be applied to the design.12 These allow the module to move horizontally and vertically with vibration. It also creates a scene for audiences to experience the sea waves before fully erose into the underwater performance. The bridges with articulated joints become the tentacles of the whole building. The joint between each bridge module should be flexible that allows the module to move with the movement of the wave. Moving with the water, audiences would see what happen underwater during the transformation process. Since the 'tentacles would be mostly under the water, the articulated joint would be made with waterproof rubber (Figure 4 on page 55). It not only provides a waterproof function but also is stretchable for the folding process.

Chapter 3 From narrative to technology

Articulated bus

1 Articulated joints detail 2 Articulated bus 3 Articulated joints interior 4 Strechable water-proof rubber

Chapter 3 From narrative to technology

Based on the research and the studies into the transformation, the 'tentacles' act both as viewing bridges that allow to walk, and the unfolded auditoriums for sitting during the show, This section is an additional process model on the structure. The flexible joints in between provide a possible way of moving with the wave of the water. In the following pages, there will be a detailed design on the module design in the aspect of materiality, structure and the why to operate it. This is one of the most essential parts of the design.

Chapter 3 From narrative to technology

1 Process model: Walking bridge front view 2 Process model: The seats inside of each module 3 Process model: two modules for auditoriums with clear glass

Chapter 3 From narrative to technology Folding door

Glass

Folding seats

Folding joint between each bridge module. Model by Lillian Liao,2021

Entry level

Chapter 3

Auditorium module

STAGE

Auditorium module

Ballast tank

Rotate

Auditorium module Bridge Transformation Process

'Tentacles' transformation The articulated joints allow the vibration of the 'tentacles' during the transformation. All the materials require waterproof finishes. The seats inside each module are folded at the beginning. It will open and lift before the show. While everyone sits with their seatbelts, the modules start to rotate to the vertical forms. The seats will automatically keep at a horizon level to provide a comfortable transforming experience for the audience. Finally, the 'tentacles' would adjust vertically to the most appropriate location for viewing the stage.

From narrative to technology

Ballast tank

Lift up

Rotate

Ballast tank

Entry level

Chapter 3 From narrative to technology

Seats

Moving joint between each bridge module. Model by Lillian Liao,2021

3 100mm*100mm Steel truss structure

4 Rubber joint with steel fram inside detail refer to engineering

From narrative to technology

1 50mm Aluminium roof with waterproof painting

Chapter 3

5 100mm Vinyl Flooring with waterproof

2 3000mm Four slides Aluminium folding door with waterproof finished 6 90mm Double Glass Wall

7 100mm Steel Panels with waterproof finished

7 6

8 500mm Retractable soft seats folded 7

9 90mm Double Glass Frame

SCALE BAR 0

Module axonometric detail

1 50mm Aluminium roof with waterproof painting 2 3000mm Four slides Aluminium folding door with waterproof finished 3 100mm*100mm Steel truss structure 4 Rubber joint with steel frame inside detail refer to engineering 5 100mm Vinyl Flooring with waterproof 6 90mm Double Glass Wall 7 100mm Steel Panels with waterproof finished 8 500mm Retractable soft seats folded 9 90mm Double Glass Frame

37 1

Chapter 3 From narrative to technology

Lightin

g seat

Foldin

Expanding joint between each bridge module. Model by Lillian Liao,2021

Chapter 3 From narrative to technology

Individual Module transformation

Walking bridge

The seats lift up

The folding doors put down

+ 3.5 3m

+ 0.0 - 1.6

On show

The modules' doors closed and audiences fasten their seatbelts

+ 3.5

- 1.6

Before the opening

The seats lift up and people enter the modules

+ 0.0

Before show

On board to the theater

On show

The stage appeared in the middle

Chapter 4

Site, architecture and performance Reflective Design Process and development 48 50 54 56 62 65

Plan Elevation Sectional perspective Navigation Structure Decisive Detail

Chapter 4 Site, architecture and performance

Front of House

The external perspective of the building showed the relationship between the cliff at the South Head, the extension of the lighthouse as the bridge, and the expanded building. Visitors gradually go down to the theater and enter the building through the floating bridges. A sculptural dome roof gives the building an organic profile, while the stretchable PVC membrane enhances the flexibility of the light into the space. The material of glass and nautical grade stainless steel ensures the durability of a home as it is timeless. It could be seen as a 'jellyfish' bouncing out from the sea to invite the visitors into the invisible city under the water.

Left Figure: External rendering at South Head. Model by Lillian Liao,2021

Chapter 4

Long Elevation Site, architecture and performance

You are here

The theater would float in the areas with a depth over 60 metres to start the performance.

60-100m 100-200m Over 200m Scale Bar 0 1

Chapter 4 Site, architecture and performance

The external perspective of the building showed the threshold moment during the transformation.

in the centre, The light in each module becomes the lighting facility for the stage in the middle.

Most buildings are under the water in which are ballast tanks and the auditoriums around the cylindrical stage. The 'tentacles are moving with the wave of the water with the water-proof rubber joint in between.

Above the water, the connection between the wharf and the theater disappear. People onshore will enjoy the view in the back of the stage in which is another aspect of the show.

Undersea is usually pretty dark. The fairy light along the bridges provides s u b t l e l i g h t fo r t h e a u d i e n c e . While the bridges turn vertical, the audience could enjoy the view outside. Finally, the stage is formed 46

It was the invisible underwater performance for the people onshore; the invisible back of the stage for the audiences under the water. The invisible and visible are shifting between the scenes above and under the water.

Left Figure Right Figure

Viewing Bridge External rendering during transforming at Clifton Garden

Chapter 4

Site, architecture and performance

Chapter 4

Plan 1:200 Site, architecture and performance

Roof

Level 4

Level 3

Level 2 Level 1

Level 0 Program layout

Water Public space

Auditorium/ Cafe/Bar/Gift Shop

Private space

Staff Facility Space / Public toilet

Foldable Back of Stage Staircase Roof membrane Vistor circulation Staff circulation Scale Bar 1:200 0

LEVEL 0 Auditorium

LEVEL 1 Entry level

LEVEL 3 Staff Facility

LEVEL 4 Back of stage

-45.00m to -0.00m

+7.00m

±0.00m

+11.00m

LEVEL 2 Cafe / Bar / Gift Shop

+3.50m

ROOF Foldable roof

Pitch: +18.50m (Expand)/ +22.20M(Conctraction) 49

Chapter 4

Expansion Elevation Site, architecture and performance Elevation View

Public space

Auditorium/ Cafe/Bar/Gift Shop

Private space

Staff Facility Space / Public toilet

Staircase

Scale Bar 0

Chapter 4

Contraction Elevation Site, architecture and performance

The theater will anchor to the four bridges for letting the audience in. After that, it will float to the place in which has a depth over 60 meters shown below and start to curl up to a vertical form for the show.

Depth of the sea in the Sydney Harbour (Partial)

Chapter 4 Site, architecture and performance

The'Tentacles' have a length from 21 meters to 42 meters. There are two kinds of tentacles: modules include 3-4 modules with 9 seats inside and 4-5 module ballast tanks. The theater will move to the area to curl up and sink into the sea that the level0- level 3 are fully submerged,

Scale Bar 0

Chapter 4

Sectional Perspective Site, architecture and performance

The performers would prepare at the back of the stage (Level 4 ), and dive into the water to the centre of the stage.

The light from each module would be the lighting facilities for the stage in the middle.

Chapter 4 Site, architecture and performance

The ballast tanks control the vertical movement of the theater by filling in different volume of water. The proposal imagines some potential breathing facilities for the underwater performers outside of the 'tentacles', Therefore, the performers do not have to go up and down for breathing.

Scale Bar 0

Chapter 4

Stage

Site, architecture and performance

You are here

Level 0 Auditorium A-H Stage Ballast Tank

Performers would dance in the middle of the stage, while the audience would sit around. The theater would allow a maximum of 252 audiences to enjoy the show at the same time. The ballast tanks are helping with controlling the balance and the height of the building under the water. During the show, there is no lines, no talking. Only the light, the movement of the water, and the emotional feeling.

The light from each module would be the lighting facilities for the stage in the middle. Light from the module

Stage

Chapter 4

Cafe and Bar

Site, architecture and performance

Level 1 Entry Hall Cafe seating space View Platform

Nursery Toilet

In order to active the ancillary space from the conventional layout. There are some potential ideas illustrated in the plan. The entrance level would have a different variation of the levels in which is not only a gathering hall but a viewing machine for both inside and outside. Additionally, the height of the cafe will be higher allowing the guests to enjoy the beautiful underwater scene while they are eating. The light from the centre, the reflection of the water on the wall and floor provide an amazing experience as an undersea cafe.

You are here

Level 2 Cafe

Bar

Gift Shop

Cafe

Chapter 4

Back of Stage

Site, architecture and performance

Level 3 Storage

Staff office Staff meeting room Staff amenity

Changing room

The back of the stage could be seen as the ' brain' of the whole building. The busy but interesting back of the stage is usually veiled behind the scene. This project is trying to provide a possible way for letting the back of the stage become part of the performance. While the building curl up, the dome on the top would lift up for activating the back of the stage. The PVC membrane would be stretched for more light in and out of the space. The people onshore would see the glowing from the top of the building. This unveiled the story behind the performance.

You are here

Level 4 Back of stage

(only open during the show)

Back of Stage

Chapter 4 Site, architecture and performance Paul Lewis, Marc Tsurumaki and David Lewis, "United States Pavilion at Expo ’67," in Manual of Section (New York: Princeton Architectural Press, 2016),138-139.

People's Architecture Office, Tricolor Trilogy Pavilions, Suzhou, China, 2020

Back of House: Structure and Construction

the Tricolor Trilogy Pavilions designed by the People's Architecture Office used the PVC membrane as the fabric of the installation. This material is not only stretchable but also transparent which allow the people to vaguely see the view behind the fabric. Additionally, the level of transparency could be adjusted by improving the density of the material.

Site, architecture and performance

Since the dome would be retractable for controlling the light into the space, this needs the stretchable materials applied to the surface of the dome structure. For instance,

Chapter 4

Inspiring by the United States Pavilion at Expo ’67, which assemble the sphere with the shape of a pentagon. It was a combination of glass and steel with some shading devices on the specific area. The program's layout is individually inside of the building. In the same way, the dome in this project act in the same role that contains the back of the stage inside of it. However, following the study of waterbomb origami, the singular module would be triangles instead of the pentagon to make the construction easier.

There are three circulations in the buildings: one for visitors to access level 1 and level 2; one for staff to access the whole building; finally, one staircase for shared usage. The bridges structure has been explained in Chapter 3. In general, the main structure for each level would be steel, concrete, terrazzo and glass connecting to the 'tentacles 'below.

300mm Glass with Steel structure engineering finished Aluminium Structure with waterproof finished

Strechable PVC with waterproof

500mm Concrete Floor with waterproof finished

300mm Terrazzo Wall

Chapter 4

Site, architecture and performance

Viewing Bridge to enjoy the city

The Decisive Detail

The connection among the site, the architecture and the main building represent the response among these three aspects in joints, materiality and forms. The theater becomes an apparatus to trigger the Invisible city along the Sydney Harbour and the invisible theater under the sea.

Aluminium Structure with waterproof finished Strechable PVC with waterproof

300mm Terrazzo Wall 50mm Aluminium roof with waterproof finished

3000mm Four slides Aluminium folding door with waterproof finished White PVC for shading

300mm Glass with Steel structure engineering finished 100mm*100mm Steel truss structure Steel staircase 90mm Double Glass Wall

Rubber joint with steel fram inside detail refer to engineering

100mm Steel columns

Rust steel entry panel 100mm Vinyl Flooring with waterproof Connecting Bridge 200mm Concrete floor

100mm Steel Barriers

Steel Joint Engineering Specific 90mm Double Glass Wall

500mm Retractable soft seats folded 100mm*100mm Steel truss structure

65 Floating Ballast Tank

Chapter 5

Appendix Reflective Interim Design and initial thinking 68

Assignment 1 panels

ASSIGNMENT 1 Chapter 5

Initial Inspiration "Inspired by Invisible City by Italo Calvino, the city has not changed but the way to interpret creating the new meaning.

Appendix

The water theatre along the harbour would be an apparatus to trigger the interpretation of the location wherever it goes. It would randomly appear in four locations throughout the year near the Sydney Harbour. It would be like a submarine system that goes up and down to response different locations. It might be mostly above the water surrounding by the cliff (South head) or mostly immerse into the water facing to the City (Bradleys Head). People could go straightly from the exiting bridge (Clifton Garden) or have to take a boat to the place (the gap). The arrangements would change with the difference in the site. However, the theatre is always the theatre. The stage of the water theatre was placed underneath the water. The underwater performance will be silent, in which tell stories everyone can interpret in their way, based on their own experience. There is no imposition, only suggestions. Visitors will sit on the retractable seating around the cylindrical structure enjoy the performers diving and dance with no lines or talking. Finally, audiences will fully immerse into the water theatre with only the light, the movement of the water, and the emotion from the performers." -Design statement at Phase 1

Although there is a great change from phase 1 to phase 2, we could still trace some valuable inspiration from both successful parts and unsuccessful aspects that pushed the final design. In phase 1, the narrative between the Invisible Cities and the underwater performance has been analyzed strongly and poetically. The building has become an apparatus that trigger different locations' interpretation through moving up and down. The usage of the programs and some initial research on the underwater architecture has some initial ideas at this stage in which has already largely influenced the final design in phase 2. However, there is a lot of potential at this stage: the conventional volumes inside of the space; the reasonably incorporate principles of physics on how the theater would move under the water; finally supportive reason why the theater should move to different locations. These all, especially the technical aspects along with the operating concept have been researched, reflected and developed in the phase 2 design.

Chapter 5

Appendix

Chapter 5 Appendix

Charting The Territory Above And Below The most critical elements for this project are site and context. Inspired by the similarities of Invisible Cities by Italo Calvino and the Sydney Harbour, the descriptions in the book was further analyzed trying to figure out the invisible city of Sydney. This week, I carefully looked through Sydney Harbour trying to find the potential locations for the theater. The initial idea was to find the location to connect the city centre and the invisible city under the sea. The selection of the locations has finally developed to four locations as the anchor points. The theater will be floating to an area that has a depth of over 40 meters. (Details refer to Chapter 3) The selection of the location reflects the ideas from Invisible Cities: It is always the same theater, but different interpretation because of the different location. The theater played as an apparatus travelling around the Sydney Harbour as an invisible theater under the sea.

Chapter 5 Appendix

Annotation of Isarua from Invisible Cities by Italo Calvino. Sketch by Lillian Liao,2021

Collage of the Sydney Harbour view

Chapter 5 Appendix

Assembling a Narrative

With the influence of Nils-Ole Lund’s Collage Architecture (1990), the collage was trying to propose the potential spaces in the coming projects.13

Travelling along the harbour. Collage by Lillian Liao,2021

Chapter 5 Appendix

Light from the sea. Collage by Lillian Liao,2021

Chapter 5 Appendix

Composing the Plan

Public & Private Arrangement of the space

Bubble Diagram of the space arrangement. Collage by Lillian Liao,2021

Dome/Cylindrical study Architecture

Light

Plan and Section

Form

Floor

Point Light

Light

Pantheon, Romee

Florence Cathedral, Italy Arnolfo di Cambio

Trajan, Hadrian

Rings Windows Columns/Walls Villa Capra "La Rotonda" Andrea Palladio

Linear Light Dome

Hagia Sophia

Transparent Dome

Window

Isidore of Miletus and Anthemius of Tralles

Balcony

Cenotaph for newton Étienne-Louis Boullée

Columns/Walls

Perforated Roof

night sky during day

Surface Light

Appendix

Linear Light

The Reichstag Dome, Berlin, Germany

Chapter 5

Point

The way to watch the underwater performance is similar to Shakespeare's Globe in that audiences sit around the stage. In this case, there was a series of studies on the dome and cylindrical study in phase 1. At this stage, the study was focusing on the lighting conditions and the form arrangement of the precedents including Pantheon, Hagia Sophia and St. Paul's Cathedral.

Dome Window

St. Paul's Cathedral

Panopticon Jeremy Bentham

Balcony Columns/Walls Monument to the Third International Vladimir Tatlin iron, glass and steel shadow among structure

In Phase 2, the aim of the project turns to operational aspects. The layout of the space was arranged in a way like the prototypes in phase 1. From the bottom to the top, the spaces are laid from public to private. The level of the auditoriums would be transformed when the show is happening.

Program layout Phase 1

Prototype

Formation

Program layout Phase 2 75

Chapter 5 Appendix

That Which Came Before

Theater & Underwater architecture precedent study

T h e a t e r, a s o n e o f t h e m o s t functional oriented architecture types, has a clear circulation and arrangement for the visitors. Shakespeare's Globe is a timber globe structure theater specifically fo r S h a ke s p e a re p l ay. It h a s three stories and an open-air amphitheatre approximately 100 feet (30 m) in diameter that could house up to 3,000 spectators. The form of it creates an immersive experience that provides at least 270 degrees view for the audience. This cylindrical form inspired my project to create an immersive panoramic atmosphere.14

built on a barge as a concrete tube shell twenty meters from the site: The windows were installed before the submersion.

The target play of this project is for underwater performance. In this case, the project Under designed by Snøhetta was analyzed from both narrative and structural perspectives.15 Located at the southernmost point of the Norwegian coastline, where the sea storms from the north and south meet, the project is situated at a unique confluence. Under was

The structure of Under mainly influenced the structure and the operation for Phase 1 design. The final design has more research on the submarine and submerging study in Phase 2.

During submersion, the structure floated on its own and was delicately m ove d to i t s f i n a l l o c a t i o n by a separate crane and tugboats. Following the submersion, structural work was completed, and the building was bolted to a concrete slab anchored to the bedrock beneath the seabed. After ensuring that all bolts were fully tightened, the water was drained away, allowing the interior work to begin.

Floating Architecture Precedent

Chapter 5

Theater Precedent

Appendix

The Lord Chamberlain's Man, Shakespeare's Globe, London, The United Kingdom, 1599

Snøhetta, Under, Lindesnes, Norway, 2019

Chapter 6

Notes, Bibliography and Precedents 80 82 83 84

Notes Bibliography Precedents Images

Notes

Chapter 6

Italo Calvino. Invisible Cities. [1st ed.]. (New York: Harcourt Brace Jovanovich, 1974),86..

Paul Jackson. Folding Techniques for Designers : from Sheet to Form 1st edition. (London: Laurence King, 2011), 40-42.

Notes, Bibliography and Precedents

Ama, directed by Julie Gautier (Spark Seeker/Les Films Engloutis, 2018), 00:06:36, https://www.youtube.com/ watch?v=bdBuDg7mrT8.

"Folding bellows," Jointech Vehicle System, accessed November 18, 2021, http://www.auto-jointech.com/en/ product/pingbiti/pingbiti/

Italo Calvino. Invisible Cities. [1st ed.]. (New York: Harcourt Brace Jovanovich, 1974). 4

Ibid.

Aldo Rossi and Peter Eisenman. The Architecture of the City (Cambridge, Mass: MIT Press, 1982), 130-132. 6

"Folding bellows," Jointech Vehicle System, accessed November 18, 2021, http://www.auto-jointech.com/en/ product/pingbiti/pingbiti/

"The Future of Architecture and other Collages by Nils-Ole Lund," Socks, last modified August 5, 2012, https://socksstudio.com/2012/08/05/the-future-of-architecture-and-othercollages-by-nils-ole-lund/. 14

"Shakespeare's Globe," D k f i n d o u t , a c c e s s e d O c t o b e r 18, 2021, https://www.dkfindout.com/us/music-art-andliterature/shakespeares-globe/ 15

"Under (Underwater Restaurant) / Snohetta,"ArchDaily, last modified Mar 22, 2019, https://www.archdaily.com/913575/ under-snohetta.

Ross Anderson, BDES3027 Architectural Studio 3B. Unit outline, University of Sydney, Sydney, Australia, November 15, 2021. 8

"The Gap,"The Dictionary of Sydney, accessed November 21, 2021, https://dictionaryofsydney.org/entry/the_gap. 9

"South Head,"The Dictionary of Sydney, accessed November 21, 2021, https://dictionaryofsydney.org/entry/south_head. 10

Norman Friedman. Submarine Design and Development (London: Conway Maritime Press, 1984), 121.

Bibliography

Chapter 6 Notes, Bibliography and Precedents

Anderson, Ross. “Unit outline,” BDES3027 Architectural Studio 3B (class unit outline, University of Sydney, Sydney, Australia, November 15, 2021).

Lewis, Paul, Marc Tsurumaki, and David J. Lewis. Manual of Section First edition, 138-139. New York: Princeton Architectural Press, 2016.

ArchDaily. "Under (Underwater Restaurant) / Snohetta." Last modified Mar 22, 2019, https://www.archdaily.com/913575/ under-snohetta.

Ray, Mary-Ann. Seven Partly Underground Rooms for Water Ice and Midgets. New York: Princeton Architectural Press, 1997.

Calvino, Italo. Invisible Cities. [1st ed.]. New York: Harcourt Brace Jovanovich, 1974.

Rossi, Aldo. A Scientific Autobiography, 30-45. Cambridge, Mass: MIT Press, 1981.

Dkfindout. "Shakespeare's Globe." Accessed October 18, 2021, https://www.dkfindout.com/us/music-art-and-literature/ shakespeares-globe/

Rossi, Aldo, and Peter Eisenman. The Architecture of the City Cambridge, Mass: MIT Press, 1982.

Friedman, Norman. Submarine Design and Development London: Conway Maritime Press, 1984. Gautier, Julie, director. Ama. Spark Seeker/Les Films Engloutis, 2018. 6 min. https://www.youtube.com/watch?v=bdBuDg7mrT8. Jackson, Paul. Folding Techniques for Designers : from Sheet to Form 1st edition. London: Laurence King, 2011. Jointech Vehicle System. "Folding bellows." Accessed November 18, 2021, http://www.auto-jointech.com/en/ product/pingbiti/pingbiti/. Kronenburg, Robert, “Chapter 9: Portable architecture applications,’ In Architecture in Motion: The History and Development of Portable Building,240-279. London: Routledge, 2014. Web.

Socks. "The Future of Architecture and other Collages by NilsOle Lund." Last modified August 5, 2012. https://socks-studio.com/2012/08/05/the-future-of-architecture-and-othercollages-by-nils-ole-lund/ S t i rl i n g, Ja m e . “A xo n o m e t r i c D raw i n g s D ow n l o a d Axonometric Drawings” in “The Architecture of James Stirling 1964-1992,” OASE 79 (2009): 17–30. The Dictionary of Sydney. “The Gap.” Accessed November 21, 2021, https://dictionaryofsydney.org/entry/the_gap. The Dictionary of Sydney. “South Head.” Accessed November 21, 2021, https://dictionaryofsydney.org/entry/south_ head. Wylson, Anthony. Aquatecture : Architecture and Water London: Architectural Press, 1986.

Precedents

Chapter 6

Jacques Rougerie Architect, the SeaOrbiter, Unbuilt, 2012. Mikael Genberg, Utter Inn, Västerås, Sweden, 2000. Snøhetta, Under, Lindesnes, Norway, 2019.

the SeaOrbiter

Utter Inn

Under

Parc de la Villette

Hagia Sophia

St.Paul’s Cathedral

Shakespeare’s Globe

Pantheon

Total Theater

United state pavilion Expo

Driftwood

Tricolor Trilogy Pavilions

Notes, Bibliography and Precedents

Underwater Architecture

Typology on dome and theater Bernard Tschumi, Parc de la Villette, Paris, France, 1987. Isidore of Miletus and Anthemius of Tralles, Hagia Sophia, Istanbul, Turkey, 1484 years ago. Sir Christopher Wren Surveyor of the Fabric of St Paul’s Cathedral, St.Paul’s Cathedral, London, United Kingdom, 1675-1710. The Lord Chamberlain’s Man, Shakespeare’s Globe, London, The United Kingdom, 1599. Trajan, Hadrian, Pantheon, Rome, Italy, 113–125 AD. Walter Gropius, Total Theater,Unbuilt, 1927.

Structure Buckminster Fuller, United state pavilion Expo, Montreal, Canada, 1967. Ellen Kriedemann, Driftwood, Unbuilt, 2019. People’s Architecture Office, Tricolor Trilogy Pavilions, Suzhou, China, 2020.

Image

Chapter 6

Introdunction: Julie Gautier, Ama (2018) Ama, directed by Julie Gautier (Spark Seeker/Les Films Engloutis, 2018), 00:06:36, https://www.youtube.com/watch?v=bdBuDg7mrT8. Italo Calvino, Invisible Cities (1974) Italo Calvino. Invisible Cities. [1st ed.]. (New York: Harcourt Brace Jovanovich, 1974), cover and back page.

Notes, Bibliography and Precedents

Pg. 02 Aldo Rossi, Teatro del Mondo, Venice, Italy, 1981. “The World Theater,” Architectuul, accessed November 21, 2021, http://architectuul.com/ architecture/the-world-theater Pg. 03/73 Light from the sea. Collage by Lillian Liao,2021. The images have been used are listed below: "AD Classics: Roman Pantheon / Emperor Ha d r i a n , " A rc h Da i ly, l a s t m o d i f i e d December 26, 2016, https://www.archdaily. com/802201/ad-classics-roman-pantheonemperor-hadrian "Four Amazing Caribbean Underwater Sculpture Parks," Tropixtraveler, accessed September 21, 2021, http://tropixtraveler. com/caribbean/four-amazing-caribbeanunderwater-sculpture-parks/ " G o n e f i s h i n g ' " P i n t e r e s t , a cce s s e d September 21, 2021, https://www.pinterest. com.au/pin/708683691370937081/ “The world’s finest underwater photography in the Through Your L ens photo contest,” Pinterest, accessed September 21, 2021, https://www.pinterest.com.au/ pin/433330795392155708/ Wallace Polsom, Presume Not God to Scan (2012), paper collage, 11.5 x 16.9 cm | shop.

Pg. 03/73 (Continued) "Weeki Wachee, Florida,"Vintage travel postcards, accessed September 21, 2021, http://vintagetravelpostcards.blogspot. com/2009/11/weeki-wachee-florida_24.html "You can snorkel with Jesus in the Florida Keys this Easter,"Usatoday, accessed September 21, 2021, https://www.usatoday. com/story/travel/destinations/2019/04/11/ john-pennekamp-state-park-snorkelingflorida-keys/3423485002/\ Pg. 04 The image on the right corner is inspired by the rendering of Ø House by Mark Hunter. “Ø House,”Yinjispace, accessed November 21, 2021, https://yinjispace.com/article/ Mark-Hunter-O-House.html Pg. 8-9/13/71 Aerial View of Sydney Harbour Bridge “Aerial View Of Sydney Harbour Bridge Art Print,” Lighthousebay, Photos by Getty Images, accessed November 11, 2021, https:// photos.com/featured/aerial-view-of-sydney-harbour-bridge-lighthousebay.html?product=art-print Italo Calvino, Invisible Cities (1974) Italo Calvino. Invisible Cities. [1st ed.]. (New York: Harcourt Brace Jovanovich, 1974), 20. Pg. 26 Annotation on Submarine design and development page 121. Sketch by Lillian Liao,2021 Norman Friedman. Submarine Design and Development (London: Conway Maritime Press, 1984), 121.

Pg. 31 Articulated joints detail/ Articulated bus/ Articulated joints interior "Folding bellows," Jointech Vehicle System, accessed November 18, 2021, http://www. auto-jointech.com/en/product/pingbiti/ pingbiti/ Strechable water-proof rubber " T h e S o f t , F l e x i b l e a n d S t re tc h a b l e Rubber Keyboard," Wearable Style News, accessed November 20, 2021, https:// wearablestylenews.com/2015/12/11/softflexible-stretchable-rubber-keyboard/. Pg. 42 External perspective at South Head The site image is from: “Hornby Lighthouse," NSW National Parks and Wildlife Service,accessed November 20, 2021, https://www.nationalparks.nsw.gov. au/things-to-do/historic-buildings-places/ hornby-lighthouse Pg. 57 Stage rendering The images have been used for photoshop are listed below: “ H e n r i k S o r e n s e n p h o t o g r a p h y ”, O n e e ye l a n d , a cce s s e d Nove m b e r 0 8 , 2021, https://oneeyeland.com/gallery/ u n d e r w a t e r / 6 1 1 5 3 / h e n r i k- s o r e n s e n photography-underwater-ballet Pg. 59 Cafe rendering The images have been used for photoshop are listed below: “Under-water restaurant,” Artstation, accessed September 19, 2021, https://www. artstation.com/artwork/aYgv6q “ H e n r i k S o r e n s e n p h o t o g r a p h y ”, O n e e ye l a n d , a cce s s e d Nove m b e r 0 8 , 2021, https://oneeyeland.com/gallery/ u n d e r w a t e r / 6 1 1 5 3 / h e n r i k- s o r e n s e n photography-underwater-ballet

Image (Continue)

Pg. 62 United States Pavilion at Expo ’67 Paul Lewis, Marc Tsurumaki and David Lewis, "United States Pavilion at Expo ’67," in Manual of Section (New York: Princeton Architectural Press, 2016),138-139. People’s Architecture Office, Tricolor Trilogy Pavilions, Suzhou, China, 2020 “Tricolor Trilogy Pavilions / People’s Architecture Office,” ArchDaily, last modified March 25, 2021, https://www.archdaily. com/958866/tricolor-trilogy-peoples-architecture-office?ad_medium=gallery Pg. 64 View on the bridge rendering The images have been used for photoshop are listed below: The Quality of Lithe by Patrick Demarchelier, May 1983 “Jamie Perry - CODA Gallery,” Pinterest, accessed November 08, 2021, https://www. pinterest.com.au/pin/708683691368338182/

“The Interval At The Theater,” Fineartamerica, accessed September 21, 2021, https:// fineartamerica.com/featured/the-intervalat-the-theater-charles-henry-tenre.html “Underwater,” Adobe Stock,accessed September 21, 2021, https://stock.adobe. com/hk/search?k=underwater “ B l u e Mo u n t a i n s ,” Syd n e y, a cce s s e d September 21, 2021, https://int.sydney.com/ destinations/blue-mountains "AD Classics: Roman Pantheon / Emperor H a d r i a n , " A r c h D a i l y, l a s t m o d i f i e d December 26, 2016, https://www.archdaily. com/802201/ad-classics-roman-pantheonemperor-hadrian "Greek Architecture; The Parthenon : Athens; Longitudinal section (restored)" Historic Illustrations of Art and Architecture, accessed September 21, 2021, https://quod.lib.umich.edu/

Pg. 75 The Pantheon, Rome, Italy. 125 CE. "The Pantheon, Rome," World History Encyclopedia,last modified June 11, 2013, https://www.worldhistory.org/image/1273/ the-pantheon-rome/ Hagia Sophia, Istanbul, Turkey. 532 – 537 AD. "A section and plan of the Hagia Sophia (Aya Sophia) in Constantinople (Istanbul, Turkey)." Flickr, accessed September 21, 2021, https://www.f lickr.com/photos/ quadralectics/4313684908 St Paul’s Cathedral, London, The UK.1711. "St Paul's Cathedral, City of London: plans, sections and elevation," RIBApix,accessed September 21, 2021, https://www.ribapix. com/st-pauls-cathedral-city-of-londonplans-sections-and-elevation_riba100972 Pg.77 Analysis on Shakespeare’s Globe “Shakespeare’s Globe,” Dkfindout, accessed October 18, 2021, https://www.dkfindout. com/us/music-art-and-literature/shakespeares-globe/ Analysis on Under by Snøhetta “Under (Underwater Restaurant) / Snohetta,”ArchDaily, last modified Mar 22, 2019, https://www.archdaily.com/913575/under-snohetta.

All other images are illlustrated,collaged, scanned and photographed by Lillian Liao

Notes, Bibliography and Precedents

“Zener: A Book on Beautiful Photorealism (10 photos),” Mymodernmet, accessed November 08, 2021, https://mymodernmet. com/zener-a-book-on-beautiful/

Pg. 72 Travelling along the harbour. Collage by Lillian Liao,2021. The images have been used are listed below: Caspar David Friedrich,“Wanderer Above the Sea of Fog,” 1818. Oil on canvas, 98.4 cm × 74.8 cm (37.3 in × 29.4 in), Kunsthalle Hamburg, Hamburg, Germany.

Chapter 6

Pg. 61 Back of Stage rendering The images have been used for photoshop are listed below: The Quality of Lithe by Patrick Demarchelier, May 1983

Acknowledgements

A special thank you must go to my cousin Shawn Liao, who is a big fan of free-diving and introduced the underwater film Ama (2018) to me. This is the beginning of this project. Further debts of gratitude are owed to my tutor Thomas Stromberg who always inspired me and push me further during the design process. Thanks also to my little sister Angel Liao, who became my hand model and was always generous to share her opinions; and finally to all of my family, my friends and my employers who gave me continual support in the past few years of my architecture study.