First Design Research Studio by ManishaNupurShah

MOSAIC OF MUSIC

Manisha Nupur Shah, 103402719 Design Research Studio A Master of Architecture Semester 1, 2021, Studio Journal Studio Leader: Dr. Pantea Alambeigi Course Convenor: Dr. Ian Woodcock 1

This studio will focus on designing a music centre with a minimum of one mid capacity auditorium and allied facilities like, but not limited to, restaurants, offices, meeting rooms.

Phase 1: Project 1- Individual Work The first project will be focused on designing a mid capacity music auditorium adhering to the acoustical and architectural standards. The projects aims at understanding the basics of acosutics science mainly gathering knowledge for the Reverberation Time (Refereed as RT 30 in the report) and the Sound Pressure Level (Referred as SPLA in the report)

The entire studio is planned to be done in two phase. The first half of semester will be the individial projects and the second half as a group work.

Phase 2 : Project 2- Group Work The second phase will focus on designing the music centre. The project aims at using one or more auditorium from the first project along with other spaces like restaurant, gallery, offices developing an arrangement. This will focus on form development of the centre and develop a spaital relationship in accordance to the site’s limitations and potentials.

8-11

05 04

02 01

INTRODUCTION Project Overview About Me

STUDIO PROGRESS

12-43

Prescedent Study (Multi Purpose Theatre, Opera House, Concert Hall)

DESIGN DEVELOPMENT

88-111

Project Overview Site Analysis

STUDIO PROGRAM

114-139

Standard Study Spatial Diagrams Form prescednt study Form Development

44-85

Architectural and Acoustical Standard Study

INTRODUCTION TO SITE

Sound Simulation Matrices Section Development- Ray Visualisation- Ceiling Profile Material Iterations

DESIGN DEVELOPMENT

140- 153

Architectural Drawings Rendered Views

Plan Development Final Drawings and Simulation

The Melbourne Arts Precinct, a cultural hub in the city, is planned to get a new look and feel transformed into a city landmark. The current Testing Ground is foresighted to be changed as a centre of creativity, linking the surrounding. (Development Victoria, 2019) A mid-capacity (600-800) auditorium for music is a need of the location, and this project presents a framework of actions to work towards achieving the structure which will not only be linking the surrounding but also research an essential aspect of the building science “Acoustics.” The design approach to the problem will focus on using technology to research through calculations and visualisation. Doing so will achieve the best geometry for the structure’s excellent acoustic property. Post which further refinement can be achieved using the acoustic treatment and materials in consultation with acoustician. Fig 1 Lozada, C. 2015(Image)

INTRODUCING ME

A former faculty with the Architecture Department of Dayananda Sagar College of Engineering in Bangalore, India, where apart from teaching, had the opportunity to research various technological innovations and materials. Was involved in presenting a research paper at National Conferences. An individual involved in upgrading skill set by pursuing short courses like sustainable interior design, new design software like Revit, Rhino, etc, from various platform. Throughout the experience, have been involved in peer mentoring and training and deeply committed to the teaching learning process and gained a special interest and passion for teaching. In a nutshell a designer and architect from India, a zentangle enthusiastic, poetry enthusiastic, co author for anthology book, passionate academician and a forever learner.

A bachelor’s degree holder in architecture with an experience of 11+ years in the domain. Have been in various design and academic roles. Working with architectural firms and companies since 2008, had the opportunity to lead diverse projects like individual residences and developments, hospitality, commercial, salon and spas, etc and work on design problems, together with specialists from multiple fields like the building structure team, services team, etc. Worked as design associate with a retail Multinational Corporation and has a deep experience in planning space strategically. special interest and passion for teaching.

Fig 2. KVC. Apoova, 2014 (Photograph)

UNIT 2.1 : PRESECDENT STUDY

This unit will take you through an example of a cultural centre with five avenues. As apart of the studio program I would be atudying three of the buildings namely: A multipurpose theatre An Opera house and A concert hall. The exmaple selected by me is STRAIT CULTURE AND ART CENTRE, Fuzhou, China.

PRESCEDENT STUDY: CONTEXT

STRAIT CULTURE AND ART CENTRE, Fuzhou, China Designed and developed by Helsinki and Shanghai based studio, PES-Architects is a landmark project in Mawei New Town, Fuzhou, China for Fuzhou New Town Development Investment Group Co.,Ltd. A site housing an Opera house(1600 capacity), a Concert hall( 1000 capacity), Multi-functional Theatre (700 capacity), Art Exhibition hall and a Cinema Center. Having a gross area of 153.000m2 each of the program is a different building connected by a concourse as well a public terrace. This creates a balance between solid and void and gives the strcuture a better human scale. (PES- Architects, 2018) River Minjiang City Scape Soft Scape Building in Study Building in Study

River Minjiang

Fig 3. Goodwin, Mark 2018

Fig 4. Goodwin, Mark 2018

PRESCEDENT STUDY: CONCEPT

STRAIT CULTURE AND ART CENTRE, Fuzhou, China

PRESCEDENT STUDY: SITE ORGANISATION

STRAIT CULTURE AND ART CENTRE, Fuzhou, China

Main Driveway

PRESCEDENT STUDY: DRAWINGS

STRAIT CULTURE AND ART CENTRE, Fuzhou, china

PRESCEDENT STUDY: MULTI FUNCTIONAL THEATRE

STRAIT CULTURE AND ART CENTRE, Fuzhou, China

PRESCEDENT STUDY: CONCERT HALL

STRAIT CULTURE AND ART CENTRE, Fuzhou, China

PRESCEDENT STUDY: OPERA HOUSE

STRAIT CULTURE AND ART CENTRE, Fuzhou, China

UNIT 2.2 : ARCHITECTURAL AND ACOUSTICAL STANDARDS

This unit dwels into the understanding of the architectural standards that help us to design the structure. The various books refered are Time Saver Standards edition 5 and Neuferts edition 4. The main topics looked into are area requirements, various shapes for plans, parts and progession of the auditorium planning. The second part of this unit looks into the acosutical standards for designing auditorium mainly the RT 30 values in seconds and the volume reqyuiremnet. A study on how the ceiling, side walls, rear walls can be planned to achive the best acoustical preformance,

ARCHITECTURAL STANDARDS: PARTS

Parts of Auditorium, Sketch

Area in Sq. Mt. Requirement per Seat Without Considering Aisle and circulation Minimum 0.5 Optimum 0.52- 0.6 With Considering Aisle and circulation Optimum 0.55- 0.9

Fig 35 ,Neufert, Neufert and Kister, 2019, P390

Fig 34, Table for area required per seat Chiara, Joseph De & Crosbie, Michael J, P 728 Neufert, Neufert and Kister, 2019, P390 Fig 33 Parts of Auditorium, Sketch Chaira, Joseph De and Crosbie. Michael, J, 2001,P 718

Doeile, Leslie,L, Optimum Reverbeation time for Rooms with various volume and function, Januay 1965, P. 199-205

Fig 37. (Zpy adlı kullanıcının Architectural drawings . Layouts . Portfolio panosundaki Pin | Mimari sunum, Tiyatro, Uzay çatı, n.d.), Plan Image

RECTANGULAR SHAPE 1. Cross reflection- fullness of tone 2. Chances of flutter echo

HOUSE

STAGE

HOUSE

STAGE

Varoius Shapes for Musical Auditorium: 1. Rectangular( Shoe Box) 2. Fan shape 3. Irregular Shape 4. Horse Shoe Shape 5. Circular 6. Combination of foregoin Shapes

STAGE

ARCHITECTURAL STANDARDS: SHAPES

HOUSE

Fig 36. Uostamiescio projektas, 2015, Plan Image

Fig 38. Abramovitz, Moses, 1962, Image

CIRCULAR SHAPE 1. Associated with dome Roof 2. Echoes, long delayed reflection, sound concentration 3. Not an ideal floor shape if used without any acostical treatment

COMBINATION SHAPE 1. Acostical advantages blended of various plan shape

HOUSE

STAGE

HOUSE

STAGE

ARCHITECTURAL STANDARDS: SHAPES

STAGE

Fig 40. Pol Sathea, n,d, Image

Fig 39.Hans Scharoun, 1957-63, Image

FAN SHAPE 1. Audience closer to sound source 2. Provision for balcony Construction rear curved fall can cause echoe, sound contentration and long delayed reflection

IRREGULAR SHAPE: 1. Acoustical Intimacy, brilliance, defination 2. Unexpolred acoustical advantages

Fig 41. (Oslo Opera House - Data, Photos & Plans - WikiArquitectura, 2005)

HORSE SHOE SHAPE Relative Short R.T.

ACOUSTICAL STANDARDS: RT VALUES

Fig 43, Doeile, Leslie,L, Recmmended Reverbeation time, Januay 1965, P. 275

DESIRABLE RT VALUE: 1.5- 2.0 Fig 42 Doeile, Leslie,L, Optimum Reverbeation time for Rooms with various volume and function, Januay 1965, P. 136

ACOUSTICAL STANDARDS: SIGHT LINES

ACOUSTICAL STANDARDS: CEILING

0.125 M SIGHTLINETO HEAD TOP

Concave Surface- Focused reflection SIGHTLINE HEIGHT

Flat Surface- Spead reflection

Convesx Surface- Wdely spead or diffused refletion

Straggered Seating For Better Uninterupted View

Fig 44, 45,46(Egan, 2007)

ACOUSTICAL STANDARDS: REAR WALL

Patch of Echo: Rear wall can produce echo

Fig 47-50(Egan, 2007)

ACOUSTICAL STANDARDS: REARWALL

Sound Absorbing Treatment

Splayed Surface to drect sound downward and the flor wit capet to minimise echo 40

Large scale rregularities or modulation to provide sound diffusion 41

ACOUSTICAL STANDARDS: SIDE WALLS

ACOUSTICAL STANDARDS: BALCONY D<H

Sound Source

Poor sound distribution

Sound Source

The restriction of the depth in relaton to height enables revebrant sound reaches listeners in the last rows.

Sound focus

Slopped Soffit Sound Source

Side wall parallel to centreline provide lateral reflection

Converging side wall provide better strength of lateral reflection

Sound Source

Fig 55 (Egan, 2007) Fig 51-54(Egan, 2007)

UNIT 3.1 : RT 30 AND SPLA SIMULATIOS Testing various geometry, height, ceiling angle and wall angles for RT values and SPLA values to find the best enclosure. Parameter 1: Floor shape with Constant Volume(6400 cu. mt) and constant height- 16 mt. Parameter 2: The best result to be tried with varied heights. Constant Floor Shape Parameter 3: Varied ceiling angles for the result from parameter 2. Parameter 4: Varied Wall Angles for the result from Parameter 3.

SPLA Values: Low values to high

RT 30 Values: Low values to high

Selection Criteria: Uniform SPLA in units dB RT 30 in standards Rangle: 1.5 sec -2.0 sec

Presntation in form of Matrices of geometries and SPLA and RT 30. 44

ACOUSTIC MATRICES: PARAMETER GEOMETRY

Volume: 6400 cubic meter Height: 16 meter

Horse Shoe

Circular

Trapezium

Fan Shape

Irregular

SPLA : 36- 55 Uniform value through the area

SPLA : 39.3- 56 Varied values though out the area

SPLA : 39.8- 53.6 Varied values though out the area

SPLA : 35.7- 56 Quite Uniform values though out the area

SPLA : 33-51 Quite Uniform values though out the area

SPLA : 38-51 Quite Uniform values though out the area

RT: 1.68-3.0 The lower limit within standards

RT: 1.9-3.44 The lower limit just in range

RT: 1.9-3.2 The lower limit just in range

RT: 1.8-3.3 The lower limit just in range

RT: 1.88-3.4 The lower limit just in range

RT: 2.04-3.5 RT values out of the standard rangle

RT 30 VALUES

SPLA VALUES

GEOMETRY

Rectangular

ACOUSTIC MATRICES: PARAMATER HEIGHT 13 METERS

12 METERS

10 METERS

SPLA : 36- 55 Uniform value through the area

SPLA :

36.24- 51.52

SPLA :

35.16-55

Uniform values though out the area

35.16-55

Uniform values though out the area

37-55

Very Uniform values though out the area

RT: 1.7-3.0 The lower limit within standards

RT: 1.9-3.44 The lower limit just in range

RT: 1.9-3.2 The lower limit just in range

RT: 1.84-3.37 The lower limit just in range

RT: 1.8-3.32 The lower limit in range

Nearly uniform values though out the area

SPLA VALUES

14 METERS

RT 30 VALUES

16 METERS

HEIGHTS

Geometry: Rectangle Area: 400 sq. mt.

Rectangu Almost all the geometry has the upper limit of RT 30 higher tha the standard. The considerable lower limit of RT 30 value is achievd in 16 mt and 10 mt height however the SPLA is more uniformy distributed in 10 Mt height enclosure.

ACOUSTIC MATRICES: PARAMETER CEILING ANGLE 7 DEGREE

10 DEGREE

29 DEGREE 11 DEGREE

16 DEGREE 6 DEGREE

MULTIPLE INCLINATION

CEILING ANGLE

SPLA : 36- 55

SPLA : 34- 55

SPLA : 36- 55

SPLA : 35- 55

SPLA VALUES

RT: 1.9- 2.8 The lower limit just in range

RT: 1.92- 3.2 The lower limit just in range

RT: 1.55- 2.9 The lower limit is in range

RT: 1.64- 3.17 The lower limit is in range

RT: 1.45- 3.55 The lower limit is in range

RT 30 VALUES

Height: 10 Meters Area: 400 sq. mt.

Almost all the geometry has the upper limit of RT 30 higher thaN the standard. The considerable lower limit of RT 30 value is achievd in Bboth side inclination ormultiple inclinations The SPLA distribution is more o less uniform n all te enclosures. Steep inclinatin towards sound source has better RT30 value range.

ACOUSTIC MATRICES: PARAMETER WALL ANGLE IN SCETION 10 DEGREE OUTWARD

5 DEGREE OUTWARD

5 DEGREE INWARD

10 DEGREE INWARD

SPLA : 38- 53

SPLA : 37- 53

SPLA : 38- 53

SPLA : 36- 53

RT: 1.7- 3.3 The lower limit just in range

RT: 1.7- 2.5 The lower limit just in range

RT: 1.7- 2.7 The lower limit just in range

RT: 1.7- 2.6 The lower limit just in range

RT 30 VALUES

SPLA VALUES

WALL ANGLE

CONVEX 10 DEGREE

With wall inclination the RT 30 value is coming closer to the standard range. However from the previousmatrices the geometry with straight wall had the better results

The matric will check the wall angles in the plan

STAGGERED

REVERSE FAN

STAGGERED WITH REVRSE FAN

SPLA : 36- 55

SPLA : 41.3952

SPLA : 41.3752.1

SPLA :42.3952.2

SPLA VALUES

RT: 1.55- 2.9 The lower limit is in range

RT: 1.92- 3.06 The lower limt is just about standards

RT: 1.9- 3.13 The lower limt is just about standards

RT: 2.04- 3.2 RT 30 Valuenot in he standard range

RT: 1.5- 2.06 RT 30 Value as per the standards

WALL ANGLE

STRAIGHT

RT 30 VALUES

ACOUSTIC MATRICES: Parameter Wall Angle in Plan With all the iterations: The Geometry I would work further on is the revese fan with stagered wall.

UNIT 3.2 : RAY VISALISATION FOR THE CHOOSEN GEOMETRY

Testing various section profiles for the choosen geometry to visualise the ray bouncing from the ceiling and side walls.

Color Definationb: Desirable to Echo

Desirable

Acceptable

To obtain geometry with more sacttred rays and minimal echo

To be avoided

Echo: not accepted

ACOUSTIC MATRICES: Ray Visualisation: Ceiling Reflections

UNIT 3.3 : MATERIAL ITERATIONS

SPLA Values: Low values to high

Testing various materials for the ceiling, floor, side walls, stage walls to get an optimum RT30 Value and a uniform SPLA value.

RT 30 Values: Low values to high

Presentation in form of Matrices of various material applied on the final geometry and SPLA and RT 30.

ACOUSTIC MATRICES: Material Exploration: Floor

ACOUSTIC MATRICES: Material Exploration: Side Walls

SPLA: 39- 54

SPLA: 38- 54

SPLA: 39- 54

SPLA: 35- 54

SPLA: 35.454

SPLA: 38- 54

RT: 1.9-3.13

RT: 1.98-3.41

RT: 2.1-3.41

RT: 1.96-3.36

RT: 2-3.24

RT: 1.8- 2.39

RT: 1.4- 2.61

RT: 1.18-2.11

RT: 1.96-3.36

RT: 1.41 -4.24

Chairs with heavy apholstery

Carpet

Audience on heavy apholstery

Cloth Upholstery Seat

Audience on wooden seat

3/8 Plywood

Acoustic Paster

Drapes heavy

Plaster Board 13 mm

1 cm Ply Panelling

ACOUSTIC MATRICES: Material Exploration: Rear Wall

ACOUSTIC MATRICES: Material Exploration: Stage Walls

SPLA: 38- 54

SPLA: 37- 54

SPLA: 38- 54

SPLA: 38-54

RT: 1.73- 2.34

RT: 1.69- 2.1

RT:1.58-2.1

RT: 1.62- 2.1

RT: 1.7-2.2

RT: 1.58-2

RT: 1.59-1.97

RT: 1.6-2.1

30 % Asorption

40 % Asorption

50 % Asorption

70 % Asorption

Drapes

3/8 Plywood

Plaster Board 13 mm

1 cm Ply Panelling

ACOUSTIC MATRICES: Material Exploration: Ceiling

ACOUSTIC MATRICES: Conclusions

SPLA: 37-54

SPLA: 38-54

SPLA: 37-54

SPLA: 38-54

RT: 1.56- 2.18

RT: 1.57- 2.08

RT: 1.65- 2.13

RT: 1.5- 2.2

RT: 1.58-2

3/8Plywood

2 mm Gypsum Board

50 mm wool

Acoustic Plaster

Plaster Board 13 mm thick

The Final Geomery to be developed is a Reverse Fan with staggered wall. The saggerd wall provides lateal reflections and the reverse fan shape greater length of wall contributing ateral reflections.

ACOUSTIC MATRICES: Conclusions

Rear Wall- Deep Absorption Glass Fiber Blanket Ceiling: Plaster Board

Balcony Flooring: Carpet

Absorptive

Heavy Apholstery Seats Flooring Carpet

Reflective

Staggered Side Wall- 3/8 Plywood with linear lights in the niche

Stage Stage Wal-3/8 Plywood 68

ACOUSTIC MATRICES: Conclusions

ACOUSTIC MATRICES: Final Simulations

Niche with linear lights Staggered Side Wall: Refletive Surface with Groves The Niche between the stagerring asabsorbing cavity Grooves

SPLA VALUE: 37-43

RT 30 VALUE: 1.4- 1.9

RT 30 VALUE: 1.5- 2.0

UNIT 3.4 : DESIGN DEVELOPMENT

Based on the matrices and ray visulations the design developed further to achieve the required Rt 30 vlue and a uniform SPLA. The unit shows the developed architectural floor plan, sections, 3D views, Isometric Sections and the final simulations.

Design Develpment: Plan

Design Develpment: Section Longitudinal

Design Develpment: Sectional Perspective Longitudinal

Design Develpment: Sectional Perspective Transverse

Design Develpment: Interior Perspective

Design Develpment:

Interior Perspective

Design Develpment: FINAL SIMULATIONS- MAIN SEATING

RT 30 VALUE: 1.5 sec - 1.9 sec

SPLA VALUE: 38-55

Design Develpment: FINAL SIMULATIONS- BALCONY

RT 30 VALUE: 1.4 sec - 1.8 sec

SPLA VALUE: 38-55

Design Develpment: FINAL RAY VISUALISATION

Design Develpment: Final Ray Visualisation

Scattered distribution of Sound Rays from ceiling

Distribution of Sound Rays from walls 82

Design Develpment: MATERIALS Bamboo Cladding

Bamboo cladding for side and stage walls:

Carpet Flooring

- A high rate of moisture and heat resistance - Soundproofing - Aesthetic

Carpet for flooring:

Fig 56 (Bamboo / Wood Panel, Exterior Wall / Ceiling / Decking Decoration –Eco Architectural Cladding real-time quotes, last-sale prices -Okorder.com, n.d.)

- Quiet - Sound absorber - Aesthetic - Comforatble

Fig 57 (Simple Carpet Designs - Food Ideas, n.d.)

Plasterboard for ceiling:

Plaster Board Ceiling

- Sound proofing - Versatile - Easy to finish

Fig 58 (suspended ceiling tiles | eBay, n.d.)

Considering the designed auditorium from stage one , other spaces are included to form a cohesive program. A music centre is developed keeping in mind the “The Melbourne Art Precint”proposal by the government. The design approach to the problem will focus on a form development. The geometry should respond to the spatial ralationship of the program and the site limitations. This project will be worked in group of three students. The various programs to be considered in the music centre are: 1. Minimum one auditorium from satge one 2. Allied spaces for the auditorium. 3. Restaurant for 300 capacity. 4. Office space with meeting room for 40 5. Parking only blocls for 100 cars Other progarms can be included if required like workshop, music class, gallery, library. 88

UNIT 4.1 : SITE ANALYSIS

This unit covers the site study and its analysis through various diagrams explaning site conditions, its limitatiosn and oppurtunity.

SITE ANALYSIS: Proposed Site

SITE ANALYSIS: Proposed Site SITE INFORMATION: LOCATION: 1 CITY ROAD, SOUTH BANK, 3006 Surrounded by streets and roads on three sides the site is a prime location and has a good connectivity to the city.

PROPOSED SITE

NORTH Arial Map of the Proposed Site Fig 59. 1 City Road, Melbourne, Vic 3006 2021[image], Nearmaps,viewed 2ndMarch 2021

SITE ANALYSIS: CULTURAL HISTORY

1877: First Circus

Fig 61. Development Victoria, n.d (Image)

1906: The Glacarium ice skating rink opens on City Road

Fig 63. Development Victoria, n.d (Image)

1926: The Olympia is converted into the Green Mill dance hall

Fig 64. The Green Mill Dance Mall, ca 1941

1960: Architect Roy Grounds’ master plan for the Victorian Arts Centre

1973: The Victorian College of the Arts is established

1984: Arts Centre Melbourne theatres building opens

Fig 66. Development Victoris, n.d (Image)

1946: Wirths Park reserved for cultural purposes

Fig 60. Skyscrapercity.com. n.d (Image)

1907: Wirth’s Circus

1901: Olympia Circus

Fig 62. Development Victoris, n.d (Image)

Fig 65. Development Victoris, n.d (Image)

1968: NGV opens.

Fig 67. (NGV International, Attraction, Melbourne, Victoria, Australia, n.d)

1982: Melbourne Concert Hall opens

Fig 68. architecturemedia.net. n.d

1988 Australian Ballet House opens Fig 69. Thompson, Lillie, 2018

SITE ANALYSIS: CULTURAL HISTORY 1990: Playbox Theatre is renamed Malthouse Theatre after its new home on Sturt Street

1994: ABC Southbank Centre opens. Fig 72. ABC Southbank - George Fethers, ca 1995)

Fig 70. Kinross, Charlie, 2019

1990: Southbank Promenade opens

Fig 71. Development Victoris, n.d (Image)

1992: Southbank footbridge opens (now Evan Walker Bridge). (Fig 73. Perth Now, 2015)

2002: The Australian Centre for Contemporary Art opens on Sturt Street Fig 74. (Australian Centre for Contemporary Art, Attraction, Melbourne, Victoria, Australia, n.d.)

1996: New Arts Centre Melbourne spire completed

2003: NGV International reopens after a three-year redevelopment Fig 75. (NGV International, Attraction, Melbourne, Victoria, Australia, n.d)

2009: Melbourne Recital Centre and Southbank Theatre open Fig 76. (MTC ,2019)

2013: Testing Grounds opens The Project Site

2014: The Melbourne Arts Precinct Blueprint is released, identifying key Southbank sites for potential development including the Victoria Police stables, the CUB/ Fosters building and 1 City Road.

2020: Phase One of the Melbourne Arts Precinct Transformation, including a new NGV Contemporary gallery and 18,000 square metre public garden

2018: The Victoria Police stables reopen as 170 studios and flexible exhibition spaces for VCA students Buxton Contemporary opens The Victorian Government announces plans for the transformation of the Melbourne Arts Precinct

(Fig 77. Driscoll, 2016)

CITY R OAD

SITE ANALYSIS: Proposed Site and Surrounding

STR UT

STR

EET

NORTH

The Poposed Site: Testing Grounds Located in a culturaly rich surrounding the site holds a great potential to be designed as a link to the surrounding.

ST KILDA ROAD Rendered 3D view of the Site

SITE ANALYSIS: Surrounding

Site Section

100

101

SITE ANALYSIS: SOLID AND VOIDS

SITE ANALYSIS: BUILDING HEIGHTS

STRUT ST RE E T

D OA R Y

The Site is surrounded by tall bildings. Mostly on the city road side the structures are high ris wit heights more than 75 meters. The immediate building is the Australian Ballet Centre which is 26 meter high.

ILD

ST K

The Site is surrounded by tall bilding structues and overall have a good ratio between the covered part and the open space. The open space includes roads, pathways, greensape and paved areas.

PROPOSED SITE BUILT FORM

NORTH NORTH

Site Plan showing the open and built form ratio

102

Fig 4b. Site Plan showing building heights

103

SITE ANALYSIS: ROADS

SITE ANALYSIS: PARK AND GREEN SPACES The Site is surrounded by roads on three sides. It is sited in a busy traffic area.

NORTH

CITY ROAD

Towards the St. Kilda road there is lot more green space and have garden and parks.

Fig 5a. Site Plan showing the road circuation

FANNING STRUT STREET STREET

ST KILDA ROAD

NORTH 104

Fig 5a. Site Plan showing green space and vegetation near the propoed site

105

SITE ANALYSIS: TOPOGRAPHY

SITE ANALYSIS: SUN PATH AND WIND DIRECTION The Site is more or less flat.

NORTH

Fig 6a. Site Plan showing the topography

106

Fig 5a. Site Plan showin the sun path and wind directions.

107

SITE ANALYSIS: SITE FEATURES

SITE ANALYSIS: NOISE MAPPING STRENGTH - Centrally Located - Easily accessible - Surrounding Cultural buildings

AUSTRALIAN BALLET CENTRE

WEEKNESS - Adjoining roads Noise - Heavy Traffic

64.3dBa

58.3dBa 66.5 dBa

56.3dBa

47.2 dBa

OPPORTUNITY - Being Surrounded by cultural buildings the site has potential to develop like a cultural hub linking the heritage

SITE SURROUNDING

NORTH

Being a corner site we find roads on three ends and one end has a blank 26 meter high wall. The existance of the wall defines a boundary and is a challenge as well as a oppurtunity to deal with. Adjacent to roads makes the site noisy.

61.8 dBa

50.1 dBa

Threats - Heavy Traffic - Even thugh in a prime location the site appers to be isolated especially during off hours

54.6 dBa

21.7 dBa

Site Plan showing the noise levels at 21.30 Hours

Site Plan showing the noise levels at 12 Noon - 13:00 Hours

SWOT Analysis

SITE BOUNDARY and SITE FEATURES Mostly fence and has a thick layer of intentional edge plantation. The presence of which helps in reducing noise level inside the site 26 metre high concrete wall on one side. The site used as a TESTING GROUND has temporary installations at the moment. 108

109

SITE ANALYSIS: THE POPOSED TRANSFORMATION As a part of the cultural infrastructure project in Australia, the multi-faceted Melbourne Arts Precinct Transformation the site currently as Testing Grounds will be develped as “A New Centre for Creativity”

NGV Contemporary

Centre for Creativity Fig 80 (cheng, 2018)

18000 sq mt Garden with outdoor performance area

Vehicular Movement through the City Road Proposed entry from St Kilda road. Pedestrinising the strech from new entrance to the 18000 sq mt garden.

Fig 79 (Melbourne Arts Precinct - Development Victoria, n.d.)

Fig 78 City Road, Melbourne, Vic 3006 2021[image], Nearmaps,viewed 2ndMarch 2021

Fig 82 (Melbourne Arts Precinct - Development Victoria, n.d.)

110

Fig 81 (cheng, 2018)

111

UNIT 5.1 : ARCHITECTURAL STANDARDS

This unit dwels into the understanding of the architectural standards that help us to develop spaces. The various books and docments we refered are Time Saver Standards Edition 5 and Neuferts Edition 4 and the NCC. The main topics looked we looked into are area requirements for restaurants, meting rooms, offices and the number of toilets.

112

113

ARCHITECTURAL STANDARDS: AUDITORIUM OTHER AREAS Foyer

ARCHITECTURAL STANDARDS: AUDITORIUM TOILETS

Back of House

Toilets: Spectator

Dressing Rooms: To accomodate 2,4, 8 people Green Rooms: Formal space for meet and greet

1 WC per 1-10 female user 2 WC per 11-50 female user Addition 1 WC per 60 after 51 users 1 Wash Basin per 1-80 female user 2 Wash Basin per 81-250 female user 3 Wash Basin per 251-430 female user Additional 1 Wash Basin per 200 after 430 users

Min: 1.1 - 1.4 sq mt per person Optimum: 1.7-2.0 sq mt per person

Toilets: Performer

1 Sq mt Per person for green room and dressing room

1 WC per 10 female user 1 Wash Basin per 10 female user

114

Toilets: Spectator 1 WC per 1-250 male user 2 WC per 251-500 male user 1 Urinal per 1-100 male user Additional 1 urinal per 100 after 100 users 1 Wash Basin per 1-150 male user 1 additional Wash Basin per 150 after 150 users

Toilets: Performer 1 WC per 1-20 male user 1 Urinal per 1-10 male user 1 Wash Basin per 10 male user 115

ARCHITECTURAL STANDARDS: RESTAURANT Dining Area

60 % Dining

ARCHITECTURAL STANDARDS: Offce Space Toilets

40 % Kitchen

Circulation space between two tables 450 mm - 500 mm

Work Space

Meeting Room

Toilets

1 WC per 25 female user 1 Wash Basin per 50 female user

1 WC per 15 female user 1 Wash Basin per 30 female user

1 WC per 100 male user 1 Urinal per 50 male user 1 Wash Basin per 100 male user

1 WC per 20 male user 1 Urinal per 25 male user 1 Wash Basin per 30 male user

Office area requirement (including corridor, circulation, furniture): 10 sq mt per person Meeting room area: 2.5 sq mt per person

Full service restaurant dining: 1.4 - 1.8 sq mt per person 116

117

ARCHITECTURAL STANDARDS: OTHER Gallery Space

ARCHITECTURAL STANDARDS: OTHER Workshop

Rehersal Room

Class Room /Practice

Area per person: 1.8 - 2.3 sq mt

Area per person: 1.6 - 1.8 sq mt

Area per person: 4 sq mt

All standards referred from TSS, Neufert and NCC 118

119

UNIT 5.2 : SPATIAL DIAGRAM

The main aim of this unit is develop spatial diagram to form a cohesive scheme of the project. The site limitations and oppurtnity to be considered. As a group of three we worked on various options for the zonig both horizontal and vertical and finalised on one which was most appropriate.

120

121

SPATIAL DIAGRAM: SITE ZONING

City Road

Proposed Garden Public Plaza Pedestrian Movement Public Spaces/Interactive/ Open- Semi open spaces: connect to the proposed garden.

Possible Pedestrian Entry

Formal Spaces: vehicular entry from city road, formal spaces like foyer Possible Vehicular Entry

Services/ Back of House: service oriented spaces can be zoned to this end. The blank high wall facillitates such program spaces. 122

123

SPATIAL DIAGRAM: SITE ZONING PEDESTRIAN ENTRY

Attempt to link thepropsed gaden to the city road through site. The public plaza extended and spaces organised to facilitate the same

VEHICULAR ENTRY

T CI

AD O R

PROPOSED GADEN

T CI

AD O R

124

125

SPATIAL DIAGRAM: BUBBLE DIAGRAM

126

127

SPATIAL DIAGRAM: VERTICAL ZONING

128

129

UNIT 5.3 : FORM DEVELOPMENT

The main aim of this unit is develop a form by refering similar typology building. Experimenting with various shapes to come up to a form that suits the site and context.

130

131

INSPIRATION BOARD

Triangulat surfaces divided through out the building. Offset adds to the heigharchy of position.

An interesting use of triangulat yet planar surface. Play with use of materials. Tinted glass adds to the chaaracter of the building. Optical illusion of site spilittingcreated by use of different materials. Fig 83 (Aurora Arquitectos – House of Arts & Culture, n.d.)

Pattern by triangles. Big forms are subdivided by smaller frames. Fig 84 (New Wave Architecture, n.d.)

132

Fig 85 (perfil, 2011)

Fig 86 (Rezk, n.d.)

133

DESIGN PROCESS

Site Context

Playing around with solid and glazed by filling the frames

Linking the propsed garden to city road

Glazed and solid facade possibility Model Credit: Dunstan. Kate

Extruding the structure

Tinted glazing option 134

Bridging the two building blocks

Adding the building skin frame

Final alternatibe after all the steps Model Credit: Dunstan. Kate

135

FORM ITERATION

Model Credit: Dunstun, Kate

Based on the various design process we tried geometries that revolved around our concept of linking the city road and the prposed garden. We experimented with solid and voids to come up to the final structure.

136

Model Credit: Dunstun, Kate

137

VERTICAL CIRCULATONS

VIEW DIAGRAM

ELEVATOR

STAIRS

138

Sketch Credit: Samimi, Mehrnoosh

139

UNIT 6.1 : ARCHITECTURAL DRAWINGS

The main aim of this unit is to develop architecutal drawings for the resultant geometry of the previous unit.

140

141

SITE PLAN

Rendered Model Credit: Dunstan, Kate

SITE ELEVATION

142

Rendered Model Credit: Dunstan, Kate

143

ARCHITECTURAL DRAWINGS: Ground Floor Plan

ARCHITECTURAL DRAWINGS: First and Second Floor Plan

First Floor Plan Plan Credit: Samimi, Mehrnoosh, Shah Manisha Nupur Model Credit: Dunstun, Kate

144

Plan Credit: Samimi, Mehrnoosh, Shah Manisha Nupur Model Credit: Dunstun, Kate

Second Floor Plan

145

ARCHITECTURAL DRAWINGS: Third and Fourth Floor Plan

Third Floor Plan

Plan Credit: Samimi, Mehrnoosh, Shah Manisha Nupur Model Credit: Dunstun, Kate

ARCHITECTURAL DRAWINGS: Fifth Floor Plan

Fourth Floor Plan

146

Plan Credit: Samimi, Mehrnoosh, Shah Manisha Nupur Model Credit: Dunstun, Kate

147

ARCHITECTURAL DRAWINGS: Sections

FIFTH FL + 25.0

FOURTH FL + 19.0

THIRD FL + 13.0 SECOND FL + 7.0 FIRST FL + 5.0

GROUND FL +/- 0.0

Rendered Model Credit: Dunstan, Kate

GROUND FL +/- 0.0

148

Rendered Model Credit: Dunstan, Kate

149

ELEVATION

EXTERIOR RENDERS: FINAL DESIGN

Rendered Model Credit: Dunstan, Kate

150

Rendered Model Credit: Dunstan, Kate

151

EXTERIOR RENDERS: CITY ROAD VIEW

INTERIOR RENDERS: ART TUNNEL VIEW

Rendered Model Credit: Dunstan, Kate

152

153

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