Lucas Hartman - Integrated Project Design Studio FA20 by Cummings School of Architecture

Vilnius, Lithuania

To See and to Be Seen

Lucas Hartman

Professor Roberto Viola Ochoa / Arch 513.01 Integrated Project Design Studio/ Fall 2020

Table of Contents

Site Analysis 6 7 8 9 10 12 14 16 18 20 21 22 24 26 28

Introduction to Vilnius Country History of Lithuania City History of Vilnius Map of Vilnius Urban Evolution Neighborhoods and Districts Buildings Vernacular Architecture Park System and Native Vegetation Environmental Analysis Site Introduction History of the Site Views of the Site/Surrounding Uses Site Map and Vegetation Topography Analysis Wind Analysis

Conceptual Framework 32 33 34 36 38 40 41 42 44 52

The Program General Concerns on Acoustics Types of Concert Halls Site Strategies Building Strategies Precedents and References Design Evolution Site Plan Current Iteration Initial Passive Strategies

Appendix Technical Development 58 60 61 62 66 69 70 71 72 75 76 78 80 82 84 85 86 87

Structure Structural Axonometric Structural Plans Sizing Envelope Wall Assembly Composite Wall Assembly Axonometric Envelope Analysis Passive Strategies Climate Analysis by Season Building Passive Strategies Sefaira Analysis Active Strategies System Selection System Sizing Mechanical Axonometric Distribution Mechanical Plans

Black and White Set Scaled to Fit Booklet A44 Assignment 1 Site Analysis Envelope Studies A68 Assignment 2 Site Strategies Acoustics Study Program Analysis Compositional Study Building Strategies A118 Assignment 3 Preliminary Design Framework A130 Assignment 4 Structure A166 Assignment 5 Envelope A184 Assignment 6 Passive Strategies Active Systems

Site Analysis

Regional, City, and Surrounding Context

Every good architectural exploration begins with a thorough and well documented analysis of the site and the surrounding context. This project is no exception and began with a deep dive into the country of Lithuania, city of Vilnius, and site of Tauras Hill. All of these investigations are imperative to understanding and being able to design for, the context that the project is within. This is not just as simple as climate charts and maps. A deep historical dive needed to be made to better understand the history of Lithuania and how that has made an impact on the practice of Architecture in the area. All of this analysis ultimately helps make stronger and more direct design decisions in how to make a project that is truly integrated with the city it will become known to represent.

Section Contents 6 7 8 9 10 12 14 16 18 20 21 22 24 26 28

Vilnius, Lithuania

Despite centuries of political struggles and transformation, Lithuania has emerged a powerful economic power, rich with history hidden away during many years of Soviet leadership. In stiff competition with Western European countries, Lithuania has high standards of living, and is a hub for innovation in the eastern half of the continent. Like many cities in Eastern Europe, Vilnius has been working over the last decades to rebuild itself as the capital city of a now internationally recognized country. Situated at the meeting point of the Neris and Vilnia Rivers, with a population of 580,000, it is the second largest city in the Baltic States. Vilnius is known for its historic architecture from the beginnings of the city and their mix with centuries of Soviet intervention to form a city made of many separate cities. On one side of the river is the Old Town, a UNESCO World Heritage Site comprised of architecture that has withstood years of Lithuania’s war torn past. At one point, this area was one of the largest Jewish centers in Europe. Outside the former city walls, a New Town was formed, bringing with it new forms of architecture. The other side of the river is home to the New City Center, a collection of modern skyscrapers, a strong competitor to many western European cities. It has been centuries of back and forth creating this city known today, a city still developing, and constantly looking to form a stronger national cultural identity.

History of Lithuania

The Kingdom of Lithuania was originally created in 1253 by uniting many of the Baltic tribes living on the shores east of the Baltic Sea. As this evolved over the next 200 years, the Grand Duchy of Lithuania became the largest county in Europe. During this time Vilnius was the capital city. As other counties in Western Europe continued to grow and gain power, the Grand Duchy of Lithuania and the Kingdom of Poland united to form a united PolishLithuanian Commonwealth. This relationship was created many years earlier through royal marriages, but ultimately after another 200 years in this union, the relationships began to dissolve as the commonwealth began to struggle. During the late 1700’s surrounding countries began to pick apart the Polish-Lithuanian Commonwealth. 1795 became an important year in the history of Lithuania as it first

Vilnius: Old Town

Vilnius: New Town

Vilnius: New City Center

Bird’s-Eye View, via JayWay Travel

Gediminas Avenue, Vilnius, ©David Iliff, via Wikimedia Commons

New City Skyline and River Neris, Vilnius, ©Grahame and Gretchen Benvie

1920

Poland Takes Vilnius by Force, Capital Moves to Kaunas

1941

1918

Nazi Germany Captures Lithuania

Lithuania Declares Independence

1569

1316

Gediminas becomes Grand Duke of Lithuania 1300

1915

Lithuania and Poland Form Commonwealth

1400

1500

1600

1700

1323

Greenland (DENMARK)

1944

Germans Occupy Lithuania during World War I 1800

1900

1795

First Men�on of the City of Vilnius

Soviet Union Recaptures Lithuania 2000

1991

Russia Takes Over Control of Lithuania

Lithuania Declares Independence and Joins UN, Capital Returns to Vilnius

Regional Context

2004

Lithuania Joins NATO and EU

Timeline

Reykjavík

ICELAND

NORWAY

RUSSIA

Sventoji Palanga

Moscow

Minsk

RUSSIA

BELARUS

Paris

LUX.

GERMANY

LIECH.

Bern

Vaduz

Vienna AUSTRIA

SWITZ.

FRANCE Lyon

SLOVENIA

Rome

PORTUGAL Lisbon

Madrid

ki y

Su sv

Pagegiai

Smalininkai

Seredzius

BOSNIA AND HERZEGOVINA

Barcelona

SPAIN

Location of Lithuania in Eastern Europe

P r eg

RUSSIAN

ol ya

FEDERATION

ROMANIA

Kudirkos Naumies�s

Chernyakhovsk

Vilkaviskis

Kaunas Garliava Prienai Marijampole

Jieznas

Dusia

Podgorica Tirana

Pris�na KOS.

Lazdijai

BULGARIA Soﬁa

Suwalki

Skopje

P O L A N D

MACE.

ALB.

Svedasai

Zarasai

Ner

Merkine

Ozero Drisvyaty

Moletai

Postavy

Svencionys

Pabrade

Kaisiadorys

l iya

Naujoji Vilnia

Liutavariskes ky

Varena

Lithuania is a country of rolling hills, many rivers, streams, and lakes as well as many forests. Lithuania has more than 700 rivers and creeks crisscrossing the country. The Nemunas, one the largest rivers, was considered a strategically important shipping route through the country. There are a lot of lakes, especially in eastern Lithuania where the Aukstaitija National Park is located. This area is also the place where Ignalina nuclear power plants are located which they also export electricity to other countries in Europe. Its principal natural resource is agricultural land. Its fertile plains are divided by hilly uplands that are ancient glacial deposits.

Visaginas

Utena

i oj

Alytus

Bucharest

SERBIA

Subacius

Ziezmariai

Kalvarija

Belgrade

Daugavpils

Kupiskis

Panevezys

Jonava

Sakiai

Kaliningrad

L evuo

Kedainiai Ukmerge

Gaure

Sovetsk

MOLDOVA

HUNGARY

MONT.

ITALY

Chis¸inau

Bra�slava Budapest

Sarajevo

ANDORRA

SLOVAKIA

Ljubljana Zagreb

CROATIA Andorra la Vella

Raseiniai

Taurage

Rokiskis

Kavarskas

Prague CZECH REPUBLIC

Luxembourg

k rs Ku

Lyduvenai Skaudvile

Ne m

BEL.

UKRAINE

(

Brussels

POLAND

NETH.

London

Kyiv

Nem un a s

Berlin

Amsterdam

Warsaw

Silute

by Du

KINGDOM

BALTIC SEA liv

Vilnius

Kelme

DENMARK Copenhagen

Lukstas

Vabalninkas

Radviliskis

Rietavas

Priekule

LITHUANIA

Dublin

IRELAND

Klaipeda

Suvainiskis

Linkuva

Siauliai Rekyva

J ur

UNITED

Giruliai

LATVIA

Riga ¯

Plunge

Likenai

Pasvi�nys Musa

Meskuiciai

Telsiai

Kre�nga

Joniskis

Papile Ve nta

ESTONIA

Darbenai

Zagare

Vieksniai

Seda

ni j a

Tallinn

Stockholm

Mazeikiai

D a ug a

Oslo

r ta

Vilnius s

Me r

Helsinki

N evezi s

Papes Ezers

ci a

Nica

(DENMARK)

r vy

SWEDEN

Faroe Islands

L A T V I A

S ve

Tórshavn

Pampali

Liepajas Ezers

S ve nt

Liepaja

FINLAND

became a piece of the Russian Empire. The Russian Empire eventually began to fall apart and at the end of World War I Lithuania, for the first of multiple times, declared independence. This proved to be short-lived for the city of Vilnius and the eastern side of the country as Poland took them over by force in 1920. Then during World War II, the Soviet Union ultimately occupied the full Lithuanian territory. This then was replaced by Nazi Germany, but was returned to the Soviet Union towards the end of the war. Soviet influence can be seen throughout the country, especially in urban planning and architecture. As referenced before, this up and down cycle was finally ended for the time being as Lithuania once again declared independence and in 1991 became its own country.

BELARUS

Eisiskes

us un

TURKEY GREECE Athens

Hrodna

Location of Vilnius in Southeast Lithuania

Neris River in Vilnius, ©Beny Shlevich, via Wikimedia Commons

History of Vilnius

Throughout the rollercoaster of power sweeping through Lithuania over the years, Vilnius was often at the forefront of these struggles. A capital city holds a unique position among cities in a country, and the architecture often reflects this. The first mentions of the city of Vilnius was in 1323 in letters from the Grand Duke Gediminas that were sent to Germany inviting people to settle in this new city. It was during this time that much of the Old Town was developed and constructed. This included the Lower Vilnius Castle and the Vilnius Cathedral, which were ultimately rebuilt in the neoclassical style in the 18th century.

During the period of the Polish-Lithuanian Commonwealth, Vilnius still remained as one of the capital cities and saw steady development. This however changed in 1795 as the Russian Empire took over control of Lithuania and hence downgraded Vilnius to just an administrative center. This will prove to be a large challenge for the city as when it comes time to return to being a capital city, there is little in terms of buildings to house the functions of government. The Russians were also quite destructive to the work of early city planners. The Grand Dukes’ Palace was destroyed, as well as the City Wall. Important to the project site to be discussed below, it was during this time that the Russians also laid out the Avenue of Saint George, a new axis from the Vilnius Cathedral out to the Neris River. This axis directed a lot of the development of the western side of the city, outside the former Old Town wall. This street would now be more commonly known as the Avenue of Gediminas and it is where many of the government functions of Lithuania are located. As the Russian empire crumbled and Lithuania broke free, there were great plans in Vilnius to revive the city and return it to a respected capital city. One of these plans included the construction of a House of the Nation to architecturally and symbolically represent the full country on Tauras Hill west of the current city. Unfortunately this time of independence was short-lived for Vilnius as Poland overtook the city and the eastern part of the country meaning this project was never completed. This would once again prove to be a challenge for the

Vilnius 1530

Vilnius City Wall

The Vilnius Castle Complex, 1530, ©Garrett Van Reed, via Local-Life

Vilnius City Wall in the 16th Century, ©A. Bumblauskas, via Wikimedia Commons

architecture of the city, as over the next 25 years, Kaunas would be developed as the new capital of the Lithuania territory, further setting Vilnius behind. During World War II much of the architecture of Vilnius was able to survive the destruction, unfortunately many of the people did not. Due to the earlier ties to Poland, a large portion of the population were Jewish or Polish and either fled the city, or were unfortunately killed. These Jewish and Polish members of the community made up a large portion of the Old Town and as the Soviets worked to rebuild the city, they predominantly covered up all this history. This Soviet era had a major effect on the urban planning of Vilnius, as it did for many Eastern European cities. This era fueled much of the suburban development of Vilnius but ultimately came to an end in 1991 as Lithuania once again gained independence.

Gediminas Avenue Master Plan NEW CITY CENTER

OLD TOWN NEW TOWN

Growth of the City of Vilnius

Vilnius

Urban Evolution

Many of the earliest forms of urban structure for Vilnius were shared by many medieval Central European capital cities. This was the creation of two city centers. One center for the sovereigns and one for the townspeople. This is apparent in the separation between the castle complex and the original town hall. This two city theme developed further when the Russians took over control of the city. One of their first steps was to demolish the medieval walls. As they had little interest in the tight, winding street of wooden houses in the Old Town, they expanded the city, using a rather regular orthogonal grid. During the Soviet area, much of the development of the city was suburban. Here they built Soviet Microdistricts, almost like miniature towns on the edges of the city. The microdistricts included many identical housing towers centered around service buildings to provide Soviet education and healthcare. After Lithuania's independence the city center developed a second counterpart as well, as the New City Center of glass skyscrapers across the river has seen much development. 10

Gedm inas Ave.

Bas ana viči aus St.

Gediminas Avenue

Soviet Era Planning Diagram

Old Town Cobblestone Roads

Road and Transportation Diagram

Growth of the City

Vilnius Districts and Neighborhoods

Simplified tentative structure of city functional region, via Annales Geographical

Neris River in Vilnius

Street in UNESCO World Heritage District

Old Town

The Old Town area of Vilnius (Senamiestis) is the heart of the city. It features narrow streets and countless churches of all different walks of faith. The heart of this area is Gediminas Hill which is crowned by the Upper Castle, built in the 14th-15th centuries. A single red tower has been rebuilt and is a popular space for great views of the city. Located at the base of the hill is Cathedral Square at the end of Gediminas Avenue. The nearby green area consists of two separate parks; the Bernardine Garden and Kalnų (Hill) park. The Old Town itself lies to the west of these religious buildings. It includes many other elaborate churches with the baroque style of 1600s-1700s being the most prevalent. To the north and west is the former Jewish ghetto, where the local Jews lived until Nazi Germany forced them out. South of the Town Hall square is the Gate of Dawn, the last remaining gate from the former city wall. Vilnius University, one of the oldest continuously operating universities in Eastern Europe is also located within the Old Town. All of these spaces discussed are located within the UNESCO world heritage area. Užupis is widely regarded to be a separate neighborhood. This 19th-century district beyond the river Vilnia is alongside the former road to Polotsk city (today in Belarus).

New Town

New Town (Naujamiestis) formed during the 19thcentury expansion of the city. Compared to many Western European cities, this expansion in Vilnius was much more minor. Gediminas Avenue which was laid out in the 19th century and took over as the main street of the city. Most of Lithuanian ministries, government, and parliament buildings are located along this street. This in addition to the National Theatre, central post office, and courts of law. The Courts building located at Lukiškės square was used to serve as HQ for both Gestapo and KGB. Basanavičiaus Street plays an important role in the Tauras Hill area providing access to the south side of the hill. The central bus station and train station are located at the southern end of the New Town, with the railroad tracks forming its southernmost border.

Vilnius Old Town, via A Dangerous Business

Vilnius. ©anjun/Shutterstock, via culture trip

Šnipi�k�s (New City Center)

-Šnipiškės is regarded as a “Village inside a city” -They are almost entirely dominated by wooden private homes. Most of them are heated by burning wood in stoves and many don't have tap water and sewerage (public water outlets are used). -Some of the streets are not yet paved. -Southern Šnipiškės is a different. It was designated to be the new city center in the 1980s it saw its old homes replaced by 22 story Hotel Lietuva, planetarium and the largest department store in Soviet Vilnius. - In the 2000s this trend continued with the first skyscraper district in Lithuania hugging the modern Konstitucijos (Constitution) Avenue and the new Europos (Europe) Square. Several mid-sized shopping malls and many offices are here next to Neris river

Zverynas

-Žvėrynas name means “Land of the Beasts” -In 1990s Žvėrynas became a prestigious neighborhood. It is within a very easy reach from all main districts of Vilnius -Next to the greenery of Vingis park and its treelined streets are never overcrowded. Therefore, many new multistory apartment buildings were built while numerous old houses were repaired.

Zirmunai

-Žirmūnai is a largely rebuilt borough. -Tuskulėnai Peace Park. -The Soviet brutalist Palace of Concerts and Sports -The North Town area spent the 19th century as an Imperial Russian military base, which housed a Soviet garrison after World War 2. Around the year 2000 it was heavily redeveloped and now there is a modern district of new apartments, offices, and retail.

Soviet Microdistricts

-The 1960s Soviet urban philosophy went from the expansion of natural city centers to the construction of new “micro-districts”. Each micro-district would have a shop, a kindergarten, and many apartment blocks. Each apartment block would be built according to a similar design as the rest of them. Every micro-district would be separated from most other micro-districts by grasslands or small forests. The areas between apartment blocks would also be open spaces that are now filled by cars. o Lazdynai, o Karoliniškės o Viršuliškės o Baltupiai o Santariškės o Šeškinė o Justiniškės o Fabijoniškės o Pašilaičia o Pilaitė

Suburbs of Vilnius

The suburbs of Vilnius are as diverse as is the city itself. Depending on which side you will leave Vilnius you may encounter luxurious manors built by once-powerful families, Muslim, and Polish villages, unique art projects, dull Soviet “proletarian” homes, and factories, “private castles” of the 1990s nouveau-riche, modern credit-funded suburbia, genocide memorials, protected nature and wooden huts where the time (seemingly) stands still.

Vernacular Architecture

At the turn of the 20th Century, Vilnius was faced with modernization. In an attempt to do so, the city established metal bridges, steam power, street lighting, and electric power. Prior to 1940, most of the buildings were constructed out of wood, which was viewed by the Soviets as inferior. Any imagery of the country was censored to shun this wooden architecture. The Soviet occupation also brought upon the creation of microdistricts, selfsustaining towers of residential and public services. These places mimicked the radical change brought on by the republic, with monolithic construction, poor quality, straight line design and a distinct grey color. Any vernacular architecture that was created to naturally respond to the environment and climate of the city was replaced with structures that could be placed anywhere in the world, with no regards to the region or climate.

Church of St. Anne, Vilnius, via itinari

Palace of the Grand Dukes of Lithuania, via Walkable Vilnius

Vilnius: Church of St. Peter and St. Paul. ©zug55, via Flickr

Vilnius Cathedral Basilica of St. Stanislaus and St. Vladislaus, via City of Divine Mercy

St. Anne's Church, interior, via World Travel Images

The Palace of the Grand Dukes of Lithuania, interior, via Visit Lithuania

St. Peter and St. Paul's Church 3, Vilnius, Lithuania, via Wikipedia

The interior of Vilnius Cathedral, via CheeseWeb

Church of St. Anne

Late Gothic Roman Catholic Church built in 1500, in Vilnius’ Old Town on the right bank of the Vilnia River. It is built out of thirty-three different kinds of clay bricks and painted in red.

Palace of the Grand Dukes of Lithuania

Originally constructed in the 15th Century for the rulers of the Grand Duchy of Lithuania and the future Kings of Poland. In 1801, the palace was demolished. It was then rebuilt in the Renaissance style to match the Cathedral of Vilnius.

Church of St. Peter and St. Paul

Built in 1701, this Roman Catholic church is home to over two thousand stucco figures, a masterpiece of the PolishLithuanian Commonwealth Baroque.

Vilnius Cathedral

Also known as the Cathedral Basilica of St. Stanislaus and St. Ladislause of Vilnius, this church was built in 1783 in the Classical style. During the Soviet regime is was converted to a warehouse; it wasn’t until 1989, that it regained status as a cathedral.

Residential Detached Homes

Richer noble families had manors made completely out of brick. Poorer families houses were then constructed out of wood.

Stelmu�� Village Church and Belfry, 1713

One of the oldest surviving wooden buildings in Lithuania (not in Vilnius).

Anna Dobrocheyeva Villa, 1907

Single family house with a stable, coach house, ice house, and a well. The symmetrical one-story building with a mezzanine, resembles a traditional suburban home.

Residential detached homes in Snipiškės borough, Vilnius. ©Augustinas Žemaitis, via TrueLithuanian

Stelmużė village church and belfry. ©Augustinas Žemaitis, via TrueLithuanian

Anna Dobrocheyeva Villa. ©LAPAS Publishing House, via issuu

Palace of Weddings, 1974

Vertical structural elements, meant to resemble tree trunks with a textured plaster finish mke up this striking building. High vertical and closed off spaces contrast the open horizontal foyer.

Polish Land Bank (BGK), 1938

Two rectangular volumes made of reinforced concrete make up this building which is one of few Functionalist architecture buildings.

Flower Shop, 1968

Also under the category of Functionalist architecture, this building is made of a series of hexagons joined together. It is made from steel, glass, and concrete. The design was meant to exhibit flowers in a modern way.

Vilnius: Church of St. Peter and St. Paul. ©zug55, via Flickr

Polish Land Bank (BGK). ©LAPAS Publishing House, via issuu

Flower shop. ©LAPAS Publishing House, via issuu

National Center for Physical Sciences & Technology, 2011

This building houses he largest science center in the Baltic states. The facade is an exploration on crystalline structures, bringing a molecular aesthetic throughout the structure.

Rupert Art & Education Center, 2011

Like a nod to the past, the thermally treated pine wood finish on the exterior, helps the building blend into the forest around it. The building is meant to express modernization and precision.

Green Hall 2, Administrative Building

This is just one example of a modern office building in the New City Center. Modernization, post war, is a big ideal for the city.

National Centre of Physical and Technological Sciences. ©ALUCOBOND, via Facebook

Rupert Art and Education Centre. ©Audrius Ambrasas Architects, via DIVISARE

Green Hall 2. ©Bendrovės archyvas, via Delfi.en

Regional Landscape Structure

Cities often evolve, and the process of that includes both, expansion and transformation of their space. These transformations usually happen not in empty spaces but as rural areas transform into urban ones. Urban regions tend to occur where the urban and rural structures coexist together. The places that are more impacted by city development even in cases when territories of cities do not expand there are territories surrounding the cities. During the last decades a lot of post soviet cities and Vilnius have suffered a fast transformation on their physical and social structure. These transformations are mostly caused by political and economic changes in respective countries and they can be seen mostly in the urban space. As a result of these transformations Vilnius suffered a huge change in the urban region, which can be divided into two: 1) changes of old urban structure and 2) city expansion meaning that some of the rural areas have turned into urban ones.

©Augustinas Žemaitis, via TrueLithuanian

Bernardinu Sodas in Kalnu Park

Networks of Parks and Public Spaces 16

In 2009 Vilnius was recognized by a survey as the greenest capital in Eastern Europe. Vilnius is also considered to have the cleanest air of all European cities. This was possible to achieve since during the city expansion, urban planners left many natural areas remain untouched. These areas are considered “parks” although some of them are actually considered urban forests. Most of them are used for walking, enjoying picnics, dog walking, strolling and many other activities. One of these areas is located next to the Cathedral and the Castle. It is known as Sereikiškių Park and the Hill Park (Kalnų parkas) it consists of many hills with good city views. Among them, the Pilies (Castle) Hill, the Hill of Three Crosses (Trijų kryžių) and the Gediminas kapo (Gediminas Grave) Hill. Another popular park is the 162 ha Vingis park. It is mostly used for summer festivals, a rugby stadium and a WW1 German cemetery. The park forms a part of the north-south chain of green zones. Even though the park is developed, much of it is just similar to a countryside forest if one walks a few hundred of meters from the residential zone. Going further from downtown two regional parks within Vilnius city limits are mostly used for recreation as they break up the dense urban grid.

Kalnu Park

Vilnius Mountain Park, ©Sigismund Gedvila, via 15min.

Vingio Park

The revolution continues, via Straipsiai.lt Vingis, via VilniusGO Vingis Park, via Made in Vilnius

City Guide, via ©Orange Smile

TAURAS HILL (Tauro kalnas) CVIRKA SQUARE (Cvirkos aikštė) VINGIS PARK (Vingio parkas)

Parkbelt Connecting Old Town to Vingis Park

Pavilniai regionalpark, via Walkable Vilnius

Vegetation

Shrub Catalog

Tree Catalog

Lithuania has more than 26 types of trees as well as more than 31 types of bushes growing naturally within its boundaries. However, only a few of these are essential to establish a forest. During the Soviet occupation, deforestation for agricultural purposes happened leaving Lithuania with a 20% of forest cover in 1948 but increased about 30% by 1990 when Lithuania recovered its independence. Since that event Lithuania has been stable and has a forest cover of 33%. Around 5% of Lithuania is also covered by wetlands with a few main types of vegetation. Peat bogs as the main category includes, Scheuchzeria palustris, Eriophorum (cotton-grass), sundew, cloudberry, cranberry species, and Andromeda polifolia. Lithuania is full of variety when it comes to vegetation. On the two top images it can be seen some of the main types of trees and shrub that are more common in the country and in the city of Vilnius.

Symbolism of Rue in Lithuania

Rue is a typical plant of Lithuania. It has a very strong and heavy odor as well as a bitter taste. It is often found in almost every Lithuanian garden. The rue flower is seen as the embodiment of Lithuanian culture. During the 20th century when Lithuania was dominantly agrarian. The rue flower was used for important events and ceremonies, such as baptism, first communions, marriages and sometimes funerals. The rue flower also symbolizes purity and the rites of passage in a young person’s life. Veronika Povilioniene, Lithuania’s most famous folk singers said that the true significance of the rue flower is love and eroticism and is incorporated in many of folk songs. It is also known as the herb of grace but even though is considered as the flower of purity it was used as a primitive means of birth control. Lithuanian residents believed that the flower will be a protection of a girl from unwanted consequences of trampling a rue garden.

Rue, via Amkha Seed

Rue Herb

Ruda Plant Common Rue, via USA Garden Shop

Rue Flower

Environmental Analysis

The environment of Lithuania is typically a colder climate, temperatures range from 30 degrees Fahrenheit to 60 degrees Fahrenheit on average. Although in summertime Lithuania does reach temperatures of over 80 degrees Fahrenheit this is mostly a colder climate than the yearly average temperature in the low 40s. Most months in Lithuania the average temperature is far below the Comfort temperature of 70 and above degrees. This is because Lithuania does not get solar heat. Lithuania on average does not get the amount of solar radiation as the average for the year direct number for mites was 500 btu/sq.ft. This is expected since Lithuania is a higher altitude country, with one of its neighbors being Russia. That being said, the relative humidity in Lithuania is actually quite High. Through all the winter months and some of the Fall months the relative humidity is far above the comfort zone. However because it is such a cold climate the humidity often turns into precipitation like rain and snow. 18

Overall with Lithuania’s it becomes hard to keep Comfort levels stable, but it is not just the weather that is a factor. People tend to spend on average 50% of their income on Heating during the winter. Two factors that play into this fact are that Soviet Built Homes do not have proper insulation, either because they are old buildings or expensive to properly insulate. The second Factor is that gas prices in this area are very high because the putative Russian gas companies have a monopoly on Lithuania. Many I found these factors and try to improve on them: Some have renovated their homes While others I’ve taken to planning Construction Agnew gas terminals that give the country energetic independence from Russia. This solution could help many people Public Central Heating without any possibility to regulate their Heating or choose another supplier nevermind disconnecting all together. Even still some people I’ve taken to a more labor-intensive option burning wood there make their house warm. approximately 21% of people in Lithuania use this method. If we were to look at the psychrometric chart from Lithuania we would find that a lot of Passive strategies do not work well here.

https://www.responsiblevacation.com/vacations/Lithuania

Colorful fall in Vilnius, via Daiva Repečkaitė

Many have identified these factors and try to improve on them: Some have renovated their homes while others have taken to planning the construction of new gas terminals that would give the country energetic independence from Russia. This solution could help many people that have public central heating without any possibility to regulate their heating or choose another supplier and cannot disconnect all together. Even still some people have taken to a more labor-intensive option of burning wood to make their house warm; approximately 21% of people in Lithuania use this method.

Introduction to the Project Site

The site for this project is Tauras Hill, located west of the Old Town section of Vilnius, and south of the current development of the New City Center. It has always held an important place in the eyes of the city, first as a scenic spot for a panoramic view of the medieval city, and then as an open green space secluded within a quickly developing city. As the city grew, more opinions were given in regards to what to do with the hill, also known as Pamėnkalnis. The naming of the hill is often disputed. Some argue that this is where Grand Duke Gediminas hunted a buffalo and after this hunt dreamed a dream to establish Vilnius. Others believe it is named after a former owner. Some of the earliest plans for the site involved the building the Nation House mentioned earlier. This was during the two brief years that Lithuania was a free state in 1938-1940. This building built on top of Tauras Hill would have represented the new independence of all the people of the country of Lithuania. Funds were raised for its construction, but unfortunately Vilnius was overtaken by Poland in 1940 and that was the end of that project. After the war, the preservation of the undeveloped hillside a part of an important belt of parks that connected Cvirka Square in the center of Vilnius with Vingis Park across the river. After the war at the base of the hill, Lukiškės Square was laid out by the Soviets, originally known as Lenin Square. This created an important axis for Tauras Hill with Gediminas Avenue (then known as the Stalin Avenue, and thereafter Lenin Avenue) and

View of Vilnius from Project Site

View of Project Site from Base of Hill (Building No Longer Remains)

Lukiškės (Lenin) Square. With the completion of this project, the Soviets turned their eyes upon Tauras Hill. Due to the prominence of the city, a large monument to a Soviet soldier was planned on an axis with the adjacent square. Due to the large amount of Soviet spending on security and repression measures, there was no money for this plan and the hill remained undeveloped green space. It was not until 1956 that the site came back into popularity. It was decided that the city needed a venue to be able to hold 1,000 people, most likely for large Soviet propaganda events. This problem needed to be resolved quickly and inexpensively, so the chief architect of the city Vladislav Mikučiani got to work. He looked over many different catalogs and books of previous projects looking for a project with an assembly hall similar in size to the one required. Once one was found it was selected, even though the design was outdated at the point, actually even banned. Modifications were made and the building was completed.

Members of the Lithuanian Scientific Society on Boufal Hill, 1911, ©Aleksandras Jurasaitis via NeakivaizdinisVilnius

Trade Union Palace Burning Down in Vilnius, ©ELTA, via Delfi

Gediminas a, Vilnius, ©David Iliff, via Wikimedia Commons

Entrance to Soviet Bunker, ©D. Labutis/ELTA, via Kauno diena

Originally named the Vilnius Palace of Culture, it was the first major structure to be built so prominently on the site. It originally stood next to old Lutheran and Reformed cemeteries, but in 1973 the Soviets came in and demolished the Lutheran chapel and cemetery, using the tombstones to building the steps up to the top of the hill. Over the years, the building would become the Trade Union Palace and would preserve many of these functions after Lithuania declared independence. In theater located on the western side of the building was home to many different alternative music festivals. In 2004, the western half of the building caught on fire, destroying that half of the building beyond repair. The other side was preserved and continued to be used. The site then started to become an eyesore for the city, as the many functions had to more out leaving it mostly abandoned. In 2015, M-City graffiti covered the front like a face tattoo. It was ultimately decided that it was time for the Soviet area building to go and for a new structure to replace it on Tauras Hill. The old building was demolished, but remnants of Soviet rule still remain, an abandoned bunker was found underneath and is being left. In an international architecture competition, the city of Vilnius began accepting proposals for a new National Concert Hall to crown the city and to represent the city, as well as the nation.

Views of the Site and Surroundings

1/Lithuania Academy of Music & Theatre

2/Municipal Department OF Tourism

3/Museum of Occupation/Freedom Flights

4/Local Pub

B 6

5/Santa Salonas - Wedding Store 6/Ping Pong Professional Club 7/Medicinos Bank

8/Ukraine Embassy 9/Baltas Medis - Food Processing Co. 10/Guest House Taurus Vilnius - Hotel

10 D

11/Aurochs Mountain 12/V. Mykolaičio-Putino Mem. Museum

13/Vilnius Memorial Museums Directory

14/Registry Centras - Corporate Office

G 15

15/Government Office

16 17 19

16/Holocaust Exhibition 17/ERA Esthetic - Laser Dermatology 18/KOA - Clinic Dental Academy

18 20

22 23

19/EMSI HQ - Oil & Natural Gas Co. 20/SAVY - Financial Instition 21/Ministry of Culture Lithuanian Film 22/United States Embassy 23/Taurus Mountain Park

Site Summary

Tauras Hill, Vilnius, Lithuania Former Home of the Palace for Trade Unions

General Challenges

Topography: The site is located on a natural hill overlooking the city. Over years of development at the base of the hill, this slope has increased. Access to the site is limited due to the severe incline of the northern side of the hill. Lack of Surrounding Context: Tauras Hill has always been an independent piece of the Vilnius urban grid. The city originally grew around the hill. Towards the base of the hill is Lukiškės Square, which was originally designed by the Soviets to include a connecting monument on the hill, completing the connection, physically and visually. This was never completed however and few would see how the site correlates to the city grid created by Gedminas Avenue.

65’-5

”

377’-2”

818’-1”

20.1 ACRES

1’-

5”

Historical Context: This is not the first time a project has been attempted on Tauras Hill. All of them attempted to use the prominence of the site to celebrate an important movement or event. Most of these could never come to fruition, and the one that did also managed to not be completed fully and left residents with bad memories of a previous time and is now destroyed.

663’-2”

’-10

146

”

140’-11”

196’-4”

309’-

3”

’-7

460’-

5” 140

’-7”

” 100’ -4”

-7”

’-0”

106

164

193 ’

BUS STOP

Site Vegetation

There is a wide variety of different vegetation on our site and it changes with the topography. The vegetation to the south of the site, where the cemetery was, are full grown trees that have been there a long time and have witnessed the evolution of the site. The most seen tree is the Hoary Alder, these trees really cover this part of the site and provide a high canopy. The north side of the site does not have as many trees because of the terrain being so sloped, but the lowest part has a bit of vegetation. This area of growth, we can presume, was cut back during the soviet occupation to insert Lukiškės Square. In the west most part of the site the vegetation is quite new, there are small tree saplings that are just starting to take root. Perhaps because of renewed interest in the site these new bits of vegetation are now allowed to grow in this area. In the east there are a plethora of full-grown Hoary Alders, European Aspen and English Oak trees that line one of the roads into the site.

The Rue Plant

Topography Analysis

The topography of the site poses an interesting challenge for access to the site. Although composed mostly of slopes below 10% there are moments where the slope increases dramatically for a short portion and can reach slopes of up to 74%. The flatter slopes are Dispersed In between the steeper slopes going from north south, and along the border of the site, on the west and east, The slope increases to a dangerous level or even pedestrians Will have a hard time moving through it. Overall, the site is bordered on the west and east side with high slopes that act as a barrier and from north to south there is a terracing slope. It is this terracing that makes access to the site very difficult. The main access to the site with cars happens at the southern point of the site where the old church and cemetery were. There are pedestrian Walkways that move up the hill however the hill itself is too terraced for people in wheelchairs or people who are disabled to climb. This limits these people to the car and the southern entrance that cars take. The sharp Hills on the West and East also limit access for pedestrians entirely as well as cars. This difficult train which limits access to the site will be a challenging obstacle to overcome when designing on the site. However, at the top of the hill it is mostly flat, this spot is, in a way, a pedestal to look out upon the rest of the city as it is one of the only hills in the area. A beacon of green in a bustling city, connected to other smaller parks and overlooks the history of Vilnius.

Section A

Section B

460 ft +/-

360 ft +/-

Wind Analysis

Lithuania has an interesting wind pattern in that the winter months give more wind from the southwest while in the summer months the northwest receives more gusts of wind. Even still, Throughout all months wind from the East is minimal no matter what month or season it is. It is found that the highest speed of winds occurs during the winter and comes from the southwest.

Soil Analysis

Lithuanian soil has a vast range of different soils. It ranges from sands to heavy clays. About onefourth of the county is made up of sandy soils including the southeast, which is blanketed mainly by woodlands. In general Lithuania is about 51% flat, 21% highlands, and about 29% plateaus. Soil is a main natural resource for the country, which makes their agricultural a very import contributor to their GNP. The country has records on their soil that dates all the way back to the 1600. Some of the glacial deposits where morainic, glaciofluvial, limnoglacial, alluvial, Eolian and organic deposits. All these different deposits make for a very complicated soil cover in Lithuania. However, there is much pollution of heavy metals and in Vilnius there are spots of erosion as well as Vilnius reporting one of the lowest amount of fertile crops in the country.

Conceptual Framework

Strategies and Design Evolution

Most architectural ideas are not developed out of thin air, and often times the process of coming up with the architectural intentions is more time consuming and often more fun than the representation and presentation of the final project. I believe that there truly is no final project, hence why this section includes a section titled Current Iteration. While for the sake of this course it is a final, it does not mean that there is not another potential iteration coming its way afterward. Architecture is very often about the process and this section lays out the full conceptual framework of how the project made it from a blank slate to where it is today. This includes further analysis into the program for the project, A Concert Hall based on a competition created by the city of Vilnius in 2019, as well as how acoustic concerns may begin to affect the project. This project required many iterations, sometimes setting other components of the project back, but were all required in the quest for a civic building to represent the city of Vilnius and to explore the relationship between Seeing the City and Being Seen by the City. 31

Section Contents 32 33 34 36 38 40 41 42 44 52

The Program General Concerns on Acoustics Types of Concert Halls Site Strategies Building Strategies Precedents and References Design Evolution Site Plan Current Iteration Initial Passive Strategies

A Concert Hall The project brief calls for a building to serve as a music performance venue for the city, as well as serve as a symbol of the nation of Lithuania and the cultural identity of the country and city itself. This brief is quite similar to the architectural design competition that was created by the city of Vilnius in 2019. This project however is centered around only a 1600-person concert hall. The program does also call for rehearsal spaces, offices, dressing rooms, in addition to a restaurant and café. This all totals around 56,000 net square feet, and with circulation and mechanical space easily requires over 90,000. An important component of this building is remembering that it is more than just a concert hall, but a civic building for the people of Vilnius and all of surrounding Lithuania.

Public Functions Entrance/Lobby Reception/Info Center Security Station Cloakroom First Aid Station Restaurant/Cafe Bar Kitchen Kitchen Storage Concert Hall Main Hall Stage Management Staff Entrance Offices Meeting Rooms Staff Closet Break Room

sqft 8,000 350 250 800 150 2,330 350 400 80

VILNIUS HALL PROGRAM

ZONE PUBLIC FUNCTIONS

PROGRAM

QUANTITY

MANAGEMENT

60 3,000 900 150 400

MAINTENANCE

Backstage Area Main Hall Backstage Area 1,500 Audio, Production, Lighting Storage20 Dressing Rooms 4,000 Rehearsal Rooms 4,500 500 Recording Studio Stage Manager Room 150 Instrument/Equipment Storage 1,500 Maintenance 200 Staff Entrance Security 150 Loading Bay 1,000 Delivery, Packaging, Box Storage 1,000 Prep Room and Warehouse 2,500 Workshop 1,250 Workshop Storage 400 Workshop Office 250 Furniture and Prop Storage 500 Waste Room 200 IT Room 1,000

NET 15

GROSS

OCCUPANTS

COEFFICIENT FOR EGRESS

DOORS PER ROOM 10.9

8000

13333

A-3

533

350

583

150

0.1

security station

250

417

150

0.1

cloakroom

800

1333

150

0.2

first aid station

150

250

150

0.0

restaurant/café

1500

2500

A-2

100

2.0

350

583

A-2

1.0

kitchen

400

667

A-2

200

0.1

kitchen storage

133

A-2

300

0.0

1600

32.7

200

4.1

main hall

16000

26667

A-1

stage

3000

5000

A-1

staff entrance

meeting rooms

BACKSTAGE AREA

OCCUPANCY TYPE

entrance/lobby

offices

16,000 3,000

COEFFICIENT

GROSS SQFT

reception/info center

bar

MAIN HALL

AREA NET SQFT

100

150

0.0

3000

5000

150

0.7

900

1500

150

0.2

staff closet

150

250

150

0.0

coffee room/staff room

400

667

150

0.1 0.5

1500

2500

F-1

100

audio, production, lighting storage

hall backstage areas 1

200

333

S-1

300

0.0

dressing rooms, lockers, bathrooms for performers

4000

6667

A-3

1 133

2.7

rehearsal rooms

4500

7500

A-3

recording studio

500

833

15 150

300

6.1

0.1

stage manager room

150

250

150

0.0

instrument/equipment storage

1500

2500

S-1

300

0.3

staff entrance

200

333

150

0.0

security

150

250

150

0.0

loading bay

1000

1667

F-1

100

0.3

delivery, packaging, box storage

1000

1667

F-1

100

0.3

prep room and warehouse

2500

4167

F-1

100

0.9

workshops

1250

2083

F-1

100

0.4

workshop storage

400

667

S-1

300

0.1

workshop office

250

417

150

0.1

furniture and prop storage

500

833

S-1

300

0.1

waste room

200

333

S-1

300

0.0

it room

1000

1667

S-1

300

0.2

TOTAL NET AREA

TOTAL OCCUPANCY

56190

3144

*Less than 1 = 1 Door

TOTAL GROSS AREA 93650

FIXTURE COUNT CALCULATIONS ZONE

60% EFFICIENCY

WATER CLOSETS

OCCUPANCY BY ZONE

COEFFICIENT

# REQUIRED

LAVATORIES

DRINKING FOUNTAINS

COEFFICIENT # REQUIRED

COEFFICIENT

# REQUIRED 5

HALL & LOBBY (A-1/A-3)

2133

1 per 200

1 per 500

Male

1067

M:1 per 125

Female

1067

F:1 per 65

RESTAURANT (A-2)

154

1 per 75

1 per 200

1 per 500

BUSINESS (B)

1 per 25, 1 per 50

1 per 40, 1 per 80

1 per 100

BACKSTAGE (A-3)

633

1 per 200

1 per 500

Male

317

M:1 per 125

Female

317

F:1 per 65

INDUSTRIAL (I/S)

142

1 per 100

1 per 400

TOTAL

3144

General Concerns on Acoustics

1.7 - 2.1 Seconds

60%

Absorption

400 ft3

2,500

Ideal Reverberation Time

Ideal Absorptive Materials in Audience Area

Ideal Coefficient for Volume of the Performance Hall

Maximum Recommended Capacity

Space Planning is Important, Use Storage and Office as Buffers

Rooms with Two Matching Dimensions Should Be Avoided

Offset Doors to Not Be Across from Each Other

Sound Isolation Needed Between Spaces

Mechanical Spaces in Basement, Preferably on Grade

Duct Work Needs Acoustically Treated and Individual Branches

per Seat

Operable Windows Allow Too Much Ambient Noise

People

Risers Help Performers Hear Others and Themselves

Performer - Audience

Audience - Performer

Performer - Performer

Audience - Audience

- Intimate, but Not Enough to Inhibit Projection and Higher Dynamics - Multiple Levels of Audience Help Performers Not See an Amorphous Sea of Faces - Operating Theater is Not Appropriate

- Intimate, but Without being Exposed - Some Distance Required - Attentiveness and Interaction over Luxurious Comfort - Both Want House to Feel Full Even When It is Not - Front Stage Height (Around 42')

- Enough Space on Stage - Can Performers Hear Each Other - Risers Needed to Separate Performers - Risers Help the Stage Feel Smaller

- Aisle Spacing - Row Spacing - How Many Toilets in the Restroom

Relationships

Acoustics is often one of the most challenging components to master in a project, which leads to there usually being an acoustical consultant for major projects. Concert halls and opera houses are at the peak of this complexity. Here the acoustics are everything. The acoustics in the main performance hall will be judged against thousands of other halls, trying to become the new favorite. If the quality of the sound in the space is not perfectly resolved, the orchestra or opera performers will not want to perform there, and all of this planning and money goes to waste. There are many things to be cognizant of while trying to design a space that will be used for music. One of the main ones, particularly in how it applies to the architect is reverberation time. This is one of the most concrete methods of judging the overall sound quality of a space. The ideal reverberation time is between 1.7 and 2.1 seconds. This means that there is just enough of a muffle that every single imperfection can not be heard, but not too long that there begins to be bad echoes and muffled speech. The way to accomplish this is through a balance of absorptive materials and the volume of the space, both things an architect can control. The ideal volume of a performance hall is 400 ft^3 per audience member. Ultimately, space planning and the removal of ambient noise also fall in the lap of the architect. Ideally, mechanical spaces will be underground and on grade, far from the performance spaces. There are truly not all that many different formats for concert halls. The shapes of the spaces stay the same, often materials are the major changes. These materials still aim to achieve the same level of reflection and absorption of the predecessors that have come before them. One of the challenges of designing a mixed use, concert hall/opera house, is that both performances require different acoustic design strategies. In order to combine these into one, some element of quality has to be compromised, as well as adjustable elements need to be added to the program. These include openable baffles that act as reverberation chambers to adjust for different levels of sound, as well as different qualities of people in the audience.

Types of Theaters

Types of Rehearsal Rooms For a concert hall/opera house there are three main types of rehearsal spaces. It is important that each has their own space as the requires for each are not shared. The first of these is the instrumental practice areas. This often requires the most space, as well as the most volume. It is important that these spaces are separated from other rehearsal rooms to avoid interference as well as have a large number of absorptive surfaces to dampen some of the volume that comes from a large orchestra. Choral rehearsal spaces have the ability to be a bit smaller in area and volume, as well as have slightly more flexibility with room finishes. Ballet rehearsal spaces are completely different and can not truly serve as music practice spaces.

Audience

Audience Audience

Audience

Vineyard

Stage

Audience Stage

Audience

Audience Audience

AudienceAudience Audience Audience Audience

Audience Audience Audience Audience Audience

Balcony Balcony AudienceAudience

Audience Audience AudienceAudience

Orchestra Orchestra

Audience Audience

Stage

Audience AudienceAudience

Stage

Audience Audience

Audience Stage

Audience

Balcony Audience Balcony Audience

Audience

Audience Orchestra Orchestra

Stage

Audience

Stage

Orchestra Audience Audience Orchestra

Audience

Orchestra Orchestra

Audience

Audience Audience

The two main types of theater halls are Vineyard and Shoebox. Vineyard halls are a fairly modern idea; here the audience is seated in terraces reminiscent to a vineyard. The seating may either partially or completely circle the stage. The classic hall, Shoebox, has a rectangular shape and the rough proportions of a tennis-shoe box. High volume, narrow width, and multiple levels of audience are key characteristics. Shoebox halls are actually superior to Vineyard halls in terms of envelopment, source strength, and minimal seat variation. Rectangular halls provide early sound reflections with narrow and parallel side walls that envelop listeners and increase clarity. Wall surfaces do not need to be smooth; it is actually better to have highly diffusive walls that scatter the sound. The best halls have gently sloping or flat floors and elevated orchestra platforms. Standard theaters and auditoriums have raked seating for better sightlines, though in the case of opera and concert halls, it is best to have the orchestra platform at or above the height on the last row of seats. This ensures that clear sound can reach the back of a room, rather than getting trapped in the pit. The orchestra has to be able to hear themselves, reflective surfaces are a must. Since the stage in Shoebox halls is located at one end of the space, right up against a highly reflective surface, sound is confined to a 90-degree lateral angle. Compared to Vineyard halls where the orchestra is in the middle and sound radiates into the full 360-degree space, the sound strength is higher in Shoebox halls.

Audience

Shoebox

Two Main Types of Theaters Instrumental

Choral

Ballet

30 ft2 per Person 400 ft3 per Person 20 ft Ceiling Heights Never Carpeted Absorptive Panels on Front and Rear Walls

15 ft2 per Person 300 ft3 per Person 15 ft Ceiling Heights Carpet Not Recommended Absorptive Panels on Front and Rear Walls

100 ft2 per Person 15-20 ft Ceiling Heights Wood Floors Mirrors on Walls Make Music Rehearsal Not Possible A Flat Floor with No Risers

Notes on Noise Tolerances Ambient Noise Tolerances

Rectangular Shape

Stage

Narrow, Less Than 75’

D<H

Balcony

□ Flat or Gently Sloped Floors □ Elevated Orchestra Pla�orms □ Significant Side Wall Diffusion □ Limit 2200-2400 Seats □ Height Greater Than 50’

Concert Hall D < 2H Ѳ < 25°

Opera House

Characteristics of the "Best" Hall

Guidelines for Balcony Dimensions

Ѳ < 45°

Music Activity Space Recording Studio Performance Hall Instrumental Rehearsal Choral Rehearsal Music Classroom Ensemble Practice Music Listening Circulation/Lounges

Criterion C. 10 15 25 25 25 30 35 40

Maximum HVAC Velocities Criterion Curve 10 15 20 25 30 35 40

Supply (fpm) 200 250 300 350 425 500 575

dBA 20 25 35 35 35 38 42 47

Return (fpm) 250 300 350 425 500 575 650

Space Recording S. Main Hall Instrumental Choral R. Organ Prac. Music Class. Music Listen. Individual P. Ensemble P. Elec. Music Office/Studio Circulation

Recording S. Main Hall Instrumental Choral R. Organ Prac. Music Class. Music Listen. Individual P. Ensemble P. Elec. Music Office/Studio Circulation

Recommended Minimum Noise Isolation Class for Separating Wall/Floor/Ceiling Construction

57 74 80 77 77 77 77 80 77 85 85 80 52 69 75 72 72 72 72 75 72 80 80 42 67 67 67 63 63 70 67 70 70 42 59 65 62 62 62 62 65 62 39 62 62 62 59 59 65 62 42 59 65 62 62 62 62 35 59 59 59 55 55 35 59 59 59 55 39 59 62 59 39 62 62 39 56 30

*Adjacencies Boxed in Require Isolation Construction that Prevent Them from Being Placed Next to Each Other.

Shoebox

Vineyard

Initial Explorations

Site Strategies Since the site is over 20 acres there is quite a lot of space to decide on where to integrate the building into the landscape. Here, three options became apparent. The first of which was to utilize the topography and prominence of the site by looking at the top of the hill as the location of the building. This would maximize the ability to be able to take advantage of and frame views of the city, something this site has been known for hundreds of years. This also allows the building to be best seen throughout many points in the city.

The second option was to integrate the structure into the urban fabric utilizing the lower portion of the hill and truly connecting it with the city. This allows the green space of the hill to be undisturbed and for the concert hall to serve as a gateway to this upper portion of the hill. Here the best views of the city are actually not from the building, but from the site created by looking it at the base. One of the thoughts on this option however was that this seemed to be a wasted opportunity to utilize the hill of the site itself, potentially allowing some other program to come in later and utilize it.

Collage of Prominence on the Site

The third option was to intervene on the site by trying to restore it to some of its original form. Likely during the Russian or Soviet periods of the city’s past, the site was badly sculpted and terraced, almost in anticipation of a grand master plan that must have never come to fruition. This strategy would take the building and lower it into the site itself, allowing for the visible portions, specifically the roof, to act as the symbol of the previous, natural topography. This option however also seemed to be a missed opportunity of utilizing the prominence of the site. It became clear that the upper site was the best candidate for this project to explore an intervention that could best represent Vilnius and Lithuania.

Framing the View

Site Strategy 1

Site Strategy 2

Site Strategy 3

View of Site from Across the River

Returning the Hill to the People

Disturbed Natural Topography

Building Strategies

This is where the project begins to explore how a concert hall can begin to support and create a relationship with the city and country that it is tasked with representing. Once again, multiple options were explored as potential ways to proceed with the project. By selecting the upper site, a major theme of the project became the idea of Seeing and Being Seen. This involves defining points where users of the building or site can take advantage of the amazing views of the city of Vilnius, but it also involves making sure the building can be seen from many points within the city. One of the powerful elements of the previous building was its ability to be seen from so many points in the city. This new structure needs to act as an anchor and be seen throughout. The idea of a civic building also begins to rise in importance. As evident in the period after the independence in 1991, Vilnius has been forced to continually build civic structures that had been moved or demolished before the previous years of political override. This concert hall also serves this purpose. The first exploration looks at the idea of prominence is the sense of a long, horizontal structure that opens up at the base to allow for people and the spirit of the green space to seamlessly travel from one side to the other, uninterrupted like it is currently. This frames the views of the city, as well as provides the maximum views from inside along the longest face of the building. The vertical ascension into the space adds to the experiential vantage points of the city. Private and public spaces are divided by the grid as well as the circulation of the space. The second exploration focuses on the idea of verticality. This is a derivative of the to See and to Be Seen approach by raising the building as high as possible to take advantage of the views of the city that could be best appreciated from above the trees, overlooking all directions of the city. In this iteration, a vineyard theater plan is utilized, giving the form to the massing of the building. Since each level underneath does not require the same amount of space as the theater above, the building slowly tapers. Every other level frames the views of the New City Center to the north and the older, more rural parts of the city to the south. It was ultimately decided that a more vertical approach such as this, better utilized and developed the visual connections necessary between the site and the city.

Program Strategy 1

Site Plan

Program Strategy 2

Site Plan

Compositional Diagram

Collage of the Courtyard

Upper Lobby

Lower Lobby

Collage of Arrival at the Climax

Compositional Diagram

Precedents and References Many different precedents were used throughout the evolution of the project. This began with the exploration of a selection of houses to better understand the compositional strategies that were used in their creation. This was primarily the Stone House by Emilio Tunon. As this compositional strategy was not the one explored in this project, a further discussion of this house can be found in the appendix. Two houses that did have more of an impact on this project are the House Without Qualities by O.M. Ungers and the Turegano House by Alberto Campo Baeza. The grid like modulation and location of the vertical circulation/service of the House Without Qualities were originally used as a means to organize similar features of this project. The Turegano House's influence can be seem more in section as the varying floor heights begin to alternative and offset to create dynamic light filled spaces.

Outside of the compositional strategy study a couple of different structures truly helped to clarify some thought in terms of challenges that were being encountered. One of those challenges was in going vertical. By going in this direction to try and take advantage of the views of the city, unique circulation and structural concerns became apparent. The MAS Museum by Neutelings Riedij explores what it means to vertically ascend by means of a journey. It would have been very simple for this concert hall project to just have a series of elevators to take concert goers up to the theater lobby, but what is truly gained in that experience. Getting to and from the concert hall is half the experience of going out to the theater. The MAS Museum uses a system of hallways and stairs that wrap around the perimeter of the building to provide views of Antwerp while also allowing patrons to get to the destination that need. La Coruna Center for the Arts by aceboxalonso was also used throughout many stages of the project. It will be seen again in the envelope discussion, but was mainly used in the beginning as a way to organize and create places, more than just a series of rooms supporting a concert hall, but places where people would want to be and to gather, talk with some friends after a concert and have a good time.

House Without Qualities, O.M Ungers

La Coruña Center for the Arts, aceboxalonso

Turegano House, Alberto Campo Baeza

La Coruña Center for the Arts, aceboxalonso

Stone House, Emilio Tuñón, Compositional Strategies, Organizational Axon

MAS Museum, Neutelings Riedij

Design Evolution

Iteration 2

Iteration 4

Iteration 5

The manifestation of this design has been challenging to say the least. It was decided very early on that the concert hall needed to be at the top of the building, as an ending point for the vertical journey. With this however came many different challenges. One of these is the competition for the perimeter. In a building that needs to take advantage of the views of the surrounding city, it would make sense that the circulation and gathering spaces would be located on the perimeter. This is however convoluted by placing the theater at the top. By doing this, a large amount of egress and mechanical space is required. In a normal vertical building these services would be placed in a central core, or two at either end. Since the theater is at the center of the upper levels, this is not so simple. Putting the cores on the outer ends blocks many of the major views of the city. Much experimentation has occurred in trying to find an appropriate location for these services. Currently, placing them along the longer lengths of both sides is working the best. This allows the circulation to then occupy the perimeter. While the interior space would ideally enjoy the natural light as well, many of these spaces are not well suited for windows anyway, and attempts are made to bring light into the office spaces from the outer façade. As the project has evolved through its many iterations, the form of vertical circulation has evolved into a 1:20 sloped ramp system that slowly brings the patron around the building. Most of the dimensions of the building are dictated by the required length of this ramp, or the width of the theater itself. Providing access to all the landings and theater also added to the struggle. Ultimately after eight different iterations, an organization and clarity began to come over the project as the balance for circulation, height, access, and function all began to come together. The final steps were evaluating an envelope for the facade. This also took some trial and error, but have led the project to where it is today, or as I like to call it, the current iteration.

Iteration 6

Iteration 7

Iteration 8

Site Plan and Section

Looking at the site plan and section, the prominence of the site begins to come into play. Placed on the top of Tauras Hill and standing at over 150' tall, the building has the ability to be seen throughout many points within the city. One of those in particular is Lukiskes Square, which has axially oriented the site for over 200 years. By selecting the site of the previous building it is important to note that this new contribution is not a nod to the previous Soviet era planning and construction, but more of a rejection of the previous building style. From a site standpoint, this did not mean rejecting the location of the old building, but instead embracing it as one of the most proven prominent points in the city. The building is ultimately four sided allowing for 360 degree views of the city. It would be easy to focus mainly on the historic Old Town or straight ahead to the New City skyscrapers, but the city of Vilnius and the surrounding countryside of Lithuania surround the building on all four sides. By placing the building at the top of the hill it also leaves the sloping parts of the hill itself to the people of the city, to come gather and have a picnic or to watch the sunset of the Vingis Park to the west. This site is more than just a host to a concert hall, but to a civic center overlooking a thriving city and being viewed upon by the world.

View of Project from Lukiškės Square

Site Section

Site Plan

Current Iteration

To See and to Be Seen, that is truly the heart of this project. All iterations have been made in a search for continued clarity and focus on the main idea. Before even arriving at the site, the visitor can see their destination off in the distance overlooking the city of Vilnius. On foot or by car, a climb has to be made up to the top. The main entrance is on the south side as the building shields the spectacular views that are about to come. On the exterior the three-story ramping structure can be seen, and people fill the landings. The transparent façade allows for views of the city, but also for people to view the art and culture that happens inside. Entering the building can occur in two ways. The first is through the main entry doors that lead to a grand four-story lobby space. Natural light and views of the city poor in on three sides. People can be seen talking and gathering on each landing of the ramp. A grand escalator is front and center to transport those here for the concert up to the concert hall. The building is more than just a space for hold a concert hall, but a space that be used as a heart of culture and civic pride for the city, with areas for taken in the city, impromptu concerts, and even a café. The entrance to the café serves as the other way to enter the building. The first sequence of the ramp is outside and leads up to a grand terrace overlooking the city. From here patrons can enter the café and have a cup of coffee and take in the views of the city, even when the rest of the building is closed.

Main Hall

Lobby

Rehearsal Support Tower

Ramp

Oﬃces Lobby

Support

Ver�cal Circula�on

Service

Plan Diagram

Section Diagram

The building is organized into three components, interconnected by a series of vertical circulation and service cores. At the top of this is the concert hall itself, a terminal on the vertical journey that every building user must take. Making up the base is the lobby on the western side and a support tower on the east. These floors house the offices, rehearsal rooms, and meetings spaces that help make the building and performances function. Down underground are workshop and warehouse spaces in addition to all the mechanical equipment.

West Elevation

South Elevation

East Elevation

North Elevation

The Ramp

A main focal point within the building is the ribbon of ramp that wraps around the perimeter of the building and allows for continuous views of the city throughout its journey. Sloped at 1:20, it gently rises one floor level per side, providing a connection between all the levels of the building, interconnecting them together. While there is a natural tendency to think of the ramp as ascending, it became apparent throughout the design process that its true potential is in the descend after the concert. The central escalator in a much more effective means of transporting patrons up towards the concert hall. It was decided that this would terminate two levels short of the concert hall however. This would allow all concert goers to make one pass around the building, taking in a 360-degree view of the city before their concert begins. As it would be understood that many people would be in a rush to get up to the theater before their show starts, the descending action has more potential. Here it can be seen how the art of the building, the music begins to change people. People are in a different state of mind than when they entered. Instead of rushing down to the bottom, the slowly wind their way down, talking with friends or gathering on the landings. The pace is different. The mindset is different. Eventually the patron makes it back down to the city, this time with a slightly different perspective and view of the city the inhabit.

Roge Willia Unive

Collage on Ramp

Circulation Diagram

School of Fall 2020 ARCH 513 Integrated Prof. Robe

Luc

To Se To Be

Concert H Tauras Hil Vilnius, Lit

B C D Section: Ramp

A B C D

Ramp to Upper View Platform Ramp to Theater Ramp for Encore Exterior Ramp

Date 12 Scale 1 8"

Lucas Hartman

To See and To Be Seen

First Floor Level

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

1 3 4

5 Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Date 12/13/2020 Prof. Roberto Viola Ochoa Scale 1 8" = 1'-0"

1 2 3 4 5 6 7 8 9

Public Lobby Security Vestibule Under Ramp Restrooms Offices Cloakroom Front Office Ticket/Info Outdoor Ramp Entrance

Lucas Hartman

First

To See and Floor Plan To Be Seen

14 13

15 17

Second Floor Level

A1.1

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

16 17 Date 12/13/2020 Scale 1 8" = 1'-0"

Second

10 11 12 13 14 15 16 17

Landing for Cafe Outdoor Terrace Music Offices Mechanical Room (on Each Level) Meeting Rooms Kitchen Restaurant Restrooms (on Each Level)

The Landings

The landings of the ramp, which happen on each north and south side of the building begin to activate the ramp and make it more than just circulation. The first landing is technically at the base of the building and serves as the main entry area. Unfortunately, due to the nature of our world, this would also be where the security checkpoint would be. Due to the nature of the ramps, the landings alternate between north and south on each level that they go up. On the second level, the landing is on the north side and overlooks the great views of the city. This landing serves as café and dining space for people to get a bite to eat in the building, even when there is not a concert. The third-floor landing is back on the south side and is the musicians landing. This level connects with the rehearsal rooms and musicians can expand outward and use the landings to fill the lobby with space. With all of the landings and ramps surrounding the lobby, it becomes almost like a second theater with all the people that can gather in the space. The fourth-floor landing serves as a transition from the escalator to the final ramp loop to the theater lobby. This area would be quite busy on concert nights. Finally the sixth floor houses the concert hall and here the landing expands to form the entry into the grand hall itself.

Section: Support Spaces

Roge Willia Unive

School of Fall 2020 ARCH 513 Integrated Prof. Robe

Collage on Landing

Luc

To Se To Be

A B C D E F G H J K L M N O P Q

Backstage Stage Main Hall Balcony Theater Lobby Rehearsal Rooms Recording Studio Rehearsal Room Offices Meeting Room Kitchen Restaurant Restroom Workshop Mechanical Warehouse

D A

Concert H Tauras Hil Vilnius, Lit

E F

H J

H K

J O

H K

L N

M N Q

Date 12 Scale 1 8"

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

1 2 3 4 5 6 7 8

Third Floor Level

Landing for Musicians Mechanical Room (on Every Level) Mechanical Room (on Every Level) Recording Studio Control Room Rehearsal Room Instrument Storage Lounge

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Date 12/13/2020 Prof. Roberto Viola Ochoa Scale 1 8" = 1'-0"

Lucas Hartman

Third

To See and Floor Plan To Be Seen

9 10

Fourth Floor Level

A1.3

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

9 Landing for Gathering 10 Open to Recording Studio Below 11 Open to Rehearsal Rooms Below

Date 12/13/2020 Scale 1 8" = 1'-0"

Fourth

The Theater At the theater level, the best views of the city can be seen. This is truly the climax of the journey, right before the patron enters into the hall itself. The journey begins and ends at this very lobby overlooking the city. Designing a concert hall could be a studio project within itself and due to the nature of this course, there was just little opportunity to do a deep dive into what this concert hall would look like. Two things are known, however. The first is the quality of the main hall to truly be a jewel within a box so to speak. With all the glass wrapping the building and concrete supporting it, the main hall truly serves as a warm wooden clad object nestled within the shell. This can be seen in the many concert hall types studied for context. Also known is the importance that the verticality be continued inside, with a main sloping level in addition to two upper balconies. Not completely necessary for a concert hall for 1600 people, but important to strengthen the importance of seeing things from a new perspective.

Roge Willia Unive

Teatro alla Scala, Height

EMPAC-RPI, Grimshaw Architects, "Jewel in Box"

School of Fall 2020 ARCH 513 Integrated Prof. Robe

Luc

To Se To Be

Section: Lobby and Theater

A B C D E F G H J K L M N O P Q

Backstage Stage Main Hall Balcony Theater Lobby Rehearsal Rooms Landing: Musicians Lobby Ramp Behind Landing: Transition Kitchen Restaurant Elevator Lobby Workshop Mechanical Warehouse

D A

Concert H Tauras Hil Vilnius, Lit

E F

L N

Date 12 Scale 1 8"

Lucas Hartman

To See and To Be Seen

Theater Floor Level

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

7 8

1 2 3 4 5 6

Backstage Stage Dressing Rooms Under Stage Main Hall Stairs to Balconies Landing for Theater

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Date 12/13/2020 Prof. Roberto Viola Ochoa Scale 1 8" = 1'-0"

Lucas Hartman

Sixth To See and Floor Plan To Be Seen

10 7 8

A1.6

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

7 8 9 10

Balcony Arms Upper Balcony Control Room Equipment Storage

7 10 Date 12/13/2020 Scale 1 8" = 1'-0"

Seventh

Balcony Floor Level

Passive Strategies

As mentioned multiple times above, the passive strategies for this project stem from the architectural intention to have an all glass façade and how best to address some of the negative consequences that come with this. Multiple strategies were looked at try and mitigate some of these. The first was through shading fins, looking at a project in England by SAMYN and Partners. This is the textbook application of a lot of passive strategies. Unfortunately, with the climate in Vilnius, shading devices are not necessarily the most effective strategy, as there are few months where the light from the sun is too warm to be comfortable. It is more often the opposite, where the cold air up against the glass requires large active systems to combat this. With the double skin façade on the building, four passive strategies where looked at and how they relate to the season that they work within. The first is in the summer. Here the height of the building helps to draw the hot air upwards and out. In the winter, the double skin can best be described as a layer of insulation. Instead of the cold air blowing up against the glass, it is filtered through the space in between where the sun has the opportunity to warm it. This decreases the amount of energy it will take on the inside to warm this glass up. When it comes to natural ventilation, the door can be opened, especially during the evenings after everyone has left from a concert, and this natural ventilation can help assist the standard active systems with cooling the building and putting in fresh air. The final passive strategy that relates to this system is actually about what is behind it. Both that ramp and the core walls are concrete and act as a thermal mass when they are warmed by the sun. This would be especially effective in the fall and spring.

AGC Glass Europe, SAMYN and PARTNERS, Double Skin Shading Facade

Inner Envelope

The Tower at PNC Plaza, Gensler, Double Skin Curtain Wall Facade

Natural Ventilation Opening Mechanism

Outer Envelope

Summer Mode: Heat Flushing Mode

Winter Mode: Thermal Buffer, Insulating Space

Night Mode: Natural Ventilation Assists in Moving Air Within Building

Materials inside Glass are Concrete and Act as Thermal Mass to Absorb Heat

Sefaira Analysis

Sefaira is a powerful tool to help analyze a project, in this case, for daylighting and energy usage in response to that. It is important to note however that due to the complexity of the building with the double skin façade, perimeter ramp ribbon, and deep, multi-height interior spaces, that looking at some of this analysis it is clear that in reality the building would not perform exactly as mapped. In particular how light would make it to the center of the building would be much less. Regardless, this study was still very informative and eye-opening. Unfortunately, it was completed at the end of the project, as if it were completed earlier one major change would have been made in response. This is the materiality of the center wall dividing the lobby and office/support spaces in the base of the building. It has always been thought that this wall should be solid to provide a strong separation between the spaces and the lobby, but this study points out that the majority of the natural light that would be making it into those spaces would be coming from the south, and therefore needs to come through a more transparent surface. Relying solely on light from between the cores on the east wall will not cut it. As would be expected, the building is heat dominated. One factor that Sefaira did not look at however was the impact on having 1600 plus people in the building at a given time, as this would begin to have an effect on that. Also not unexpected, one of the largest impacts on heating is glazing conduction. It is not known how well Sefaira can simulate the effects of the double skin façade however.

Technical Development

Structural, Envelope, Mechanical

An important component of this course is to integrate the design and implementation of technical systems into the process of design. This is accomplished in three components, structure, envelope, and passive/active strategies. All projects must represent a level of understanding for each of these sections. It is important to note however that most architects or designers will never in their careers go to the level that some of these assignments have asked, but it is imperative for all designers to have an understanding of how all the elements work and how they need to be integrated together. For a vertical building such as this, if space for mechanical systems was not thought of and prioritized at the beginning of the project, it would have been impossible to implement a heating and cooling system. Figuring out the structural system of the envelope was a necessary step in the architectural design of the envelope as well. All of the stages of the process work together towards one goal of a fully integrated project. At times one or two of the components may have been behind, but constantly looking over everything at once, they all and get caught up quite quickly.

Section Contents 58 60 61 62 66 69 70 71 72 75 76 78 80 82 84 85 86 87

Structural

The structural system for the building was selected by initially looking at two alternative materials. The vertical nature of the building and placing of the concert hall at the top creates some unique challenges when it comes to structure. It was known that any columns would have to be pretty significant and have a major effect on the layout of the support spaces below. Concrete and steel were both looked but a concrete structural system was selected due to the need to keep the floor package a small as possible. This was necessary due to the ramp. Any additional floor to floor height additions meant the ramp would need to be extended, often a significant amount. In terms of acoustics, concrete also has better qualities. This led to a full concrete system with a two-way flat slab to further reduce the floor system. All of this will be sized in the following pages. The other decisions that had to be made was the location of the structural system. La Kursaal, a concert hall by Rafael Moneo utilized a unique structural system that separated the concert hall from the rest of the building. Unfortunately, this project was the inverse of this and would have required the concert hall to be suspended above the support spaces below and it was decided that this was not necessary to convey the meaning behind the design. Other precedents were looked at for better understanding how to structurally treat an architectural object or “jewel” within the surrounding system.

15’-0”

30’-0”

15’-0”

30’-0”

15’-0”

15’-0” 20’-0”

30’-0”

15’-0”

30’-0”

20’-0” 15’-0”

La Kursaal, Rafael Moneo

Plan Modulation

15’-0”

30’-0”

18’-0”

The modulation for the project in plan is predominantly based on a 30’ by 30’ grid system. This is cut in half wherever there is a central component of vertical circulation, either the ramp or the escalator. The other variation to this in within the structural cores, four to be exact, that are located on the corners. This was an early organizational decision to make sure that adequate egress and service could be maintained. These are 20’ wide. In section, the building is based on a 12’ floor to floor height modulation on the levels up to the theater. At this point it transitions to 18’ floor to floor to accommodate the balconies.

18’-0” 18’-0” 18’-0” 12’-0” 24’-0” 12’-0” 12’-0” 24’-0”

Bicentenary Cultural Center /Ministry of Federal Planning, Estudio Bares

Section Modulation

Structural Breakdown Breaking the structure down into components, the first in the base structure. These columns and floors support and frame in all of the service and support spaces as well as create a base for the theater above. Second is the structure for said theater. Here the frequent columns are replaced with a large open space framed at the top by steel trusses. The whole building is laterally braced by the four core structures that be seen here as well. The third and final component is the structure for the envelope and ramp structure. These steel columns support the gravity loads of the façade as well as the outer portion of the ramp. The ramp is used to tie the double skin façade by to the concrete walls of the core for lateral support.

Base Structure

Theater and Core Structure

Envelope and Ramp Structure

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 30'-0"

30'-0"

15'-0"

Structural Foundation Plan

To See and To Be Seen

3'-0"

15'-0"

5'-0"

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Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

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145'-0"

30'-0"

20'-0"

Roger Williams University

15'-0"

Date 12/13/2020 1 "Architecture School of Scale 8 = 1'-0" Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Foundation Structural Plan

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

S1.0

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

10'-0"

30'-0"

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145'-0"

30'-0"

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Date 12/13/2020 Scale 1 8" = 1'-0"

Basement

Structural Basement Plan

Member Sizing The first element sized was the concrete columns. Due to the height of the building, these columns qualified for the tall column chart in the Architect’s Studio Companion. While the floor-to-floor height is predominantly 12’, there are instances where this is doubled to 24’. An unbraced height of 24’ was therefore used the minimum value and a 20” column was selected. As mentioned previously, a two-way concrete slab was the ideal floor system for acoustics separation and space efficiency. The largest span distance for this slab is 30’ which led to the selection of a 12” floor slab. This is only the structural portion, as additional sound insulation and topcoat are added to this for another 4”. Since the connection between the column and floor slab is so small relatively speaking, a drop panel needed to be sized in order to make this connection stronger. The depth of this panel needed to be 1/3 of the depth of the slab, therefore 4”. This same 1/3 coefficient was used in the long direction making each drop panel 10’ square. 62

Column Sizing, 20" Square

Drop Panel Sizing, 10'-0" x 0'-4"

Concrete Slab Sizing, 12"

Two-Way Concrete Slab Diagram

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

Structural Typical Support Plan

To See and To Be Seen

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

10'-0" 10'-0"

10'-0"

20'-0"

10'-0"

EDGE OF SLAB

30'-0"

EDGE OF SLAB

10'-0"

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EDGE OF SLAB

5'-10"

EDGE OF SLAB

30'-0"

5'-10"

EDGE OF SLAB

5'-10"

10'-0"

EDGE OF SLAB

10'-0"

20'-0"

10'-0"

145'-0"

Roger Williams University

15'-0"

EDGE OF SLAB

15'-0" TYP.

Date 12/13/2020 1 "Architecture School of Scale 8 = 1'-0" Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Typical First-Fourth Lucas Hartman Structural Plan

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

S1.2

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

10'-0"

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145'-0"

10'-0"

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Date 12/13/2020 Scale 1 8" = 1'-0"

Theater

Structural Theater Plan

Critical Sections A

This section most clearly shows the delineation between the structure of the lower levels and that of the theater. This section also highlights an area of the lobby where horizontal cross bracing needed to be used as the unbraced length exceeded the 24’ sized. A large column could have been used, but it was decided that the bracing was a better option. The structure for the envelope can also be seen in this section. Supported by a concrete beam tied back to the structural cores, the ramp spans 15’ would to a HSS beam supported by columns every 15’. Outside of this, the double skin façade is attached. MAIN HALL 602

REHEARSAL ROOM 303

LOBBY 101

OFFICE 205

OFFICE 107

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

Structural Balcony Plan

To See and To Be Seen

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

7'-6" TYP.

EDGE OF SLAB

30'-0"

EDGE OF SLAB

15'-0"

145'-0"

30'-0"

EDGE OF SLAB

20'-0"

Roger Williams University

15'-0"

Date 12/13/2020 1 "Architecture School of Scale 8 = 1'-0" Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Balcony Structural Plan

Lucas Hartman

270'-0" 15'-0"

15'-0"

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30'-0"

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To See and To Be Seen

S1.4

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

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Date 12/13/2020 Scale 1 8" = 1'-0"

Roof

Structural Roof Plan

Envelope

The envelope was one of the most challenging parts of the project to design. By this point in the project it was known that the envelope would play a central role in communicating the main idea of being seen and being able to see. This would therefore require a large amount of glazing along the ramp and perimeter of the building. Three possible choices were believed to be options. The first is a full exterior wall of glass and nothing else. Completly connected with the city on all four sides. In climate like the one in Vilnius however this seemed like a rather irresponsible move as the insulating value of even the best glass would require a massive amount of energy to overcome Lithuanian winters. This left two options, a full wall of glass with a double skin to provide some protection, or to be selective in window placement. Initially two different case studies were looked at. The first of which is the Skolkovo University by Herzog and DeMeuron. Here the building was clad in some vertical slats of wood, becoming less dense in areas where windows were located. The historic wooden vernacular architecture of Vilnius seemed to make a strong case for this type of materiality. When this was attempted to be integrated into the Vilnius project it became apparent that there were a few issues that would make it a more challenging application. Since the programmatic portions of the building were pulled back from the perimeter, it was rather difficult to come up with a strategy for choosing the location of the slats. A similar issue came up after looking at the second case study, La Coruna by aceboxalonso. Here the double skin façade is quite effective in managing environmental impacts but has major impacts on the visibility outward. In order to facilitate this, windows would have to be placed so frequently it would make this strategy rather ineffective.

Skolkovo University, Herzog and Demeuron, Wood Slats

Roger Williams University

Envelope Study 1

School of Architecture Fall 2020 ARCH 513 Sec�on 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Concept 1

Lucas Hartman

Be�er Wear Walking Shoes Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

Date 11/13/2020 Scale NTS

La Coruña Center for the Arts, aceboxalonso, Double Skin Facade

Envelope Study 2

Envelope Axonometrics

Concept 2

The Tower at PNC Plaza, Double Skin Facade, Visibility Retained

La Coruña Center for the Arts, aceboxalonso, Lack of Visibility

Rendering of South Face of Envelope

Envelope Components Ultimately a third precedent was looked at, this time in Pittsburgh PA, an area with a rather similar climate. The Tower at PNC Plaza was worked on by a powerful team of designers and engineers headed by Gensler. This building has a double skin façade that allows great visibility as well as passive strategies for colder climates. This envelope was modified and adapted for use on this concert hall in Vilnius. There are two main components. The first is the inner envelope. This is a sealed layer with triple pane, passive low-e glass. It is specifically engineered to improve insulating values in colder climates. It has a nighttime U-Value of 0.32 and has a visible light transmittance of 76%. Located within this layer are mechanically operated ventilation dampers. These boxes open and close to allow the outside air to enter the spaces and provide natural ventilation. Because of the outer envelope discussed next, this air that comes through these units is already much calmer than the true ambient air would be. Additional comments on this are discussed in the passive strategies section. 68

Structure and Lateral Bracing

Inner Envelope, Sealed

Outer Envelope, with Openings

The outer envelope is what would be seen from throughout the city. This is an unsealed clear glass that allows small amounts of air to enter into the cavity between the two layers. As not all points on the journey throughout the building require completely unobstructed views, more translucent panels are substituted and provide a rhythm to the façade.

Inner Envelope

Outer Envelope

Sungate 400 Glass

Starphire Ultra-Clear Glass

Passive Low-E Glass Engineered to Improve Insulating Values in Heating-Dominated Climates Winter Nighttime U-Value of 0.32 Visible Light Transmittance of 76% Solar Gain of 0.60

Low-Iron Glass, Most Transparent Commercially Available Architectural Glass Standard 1-Inch IGU with Clear Glass Visible Light Transmittance of 84%

Roger Inner Envelope Williams University Working from the inside outward, the main structural

1 1" STARPHIRE ULTRA-CLEAR GLASS WITH 2" SPACING 4"x6" STRUCTURAL MULLIONS 2' METAL CATWALK FOR MAINTENANCE AND CLEANING SUPPORT BRACKET FOR CATWALK AND LATERAL BRACING 1

DUCT FOR HEATING AND MOISTURE CONTROL ON GLASS 4"X12" THERMALLY BROKEN CURTAIN WALL MULLIONS

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SUNGATE 400 TRIPLE PLY WINDOWS (SEALED LAYER)

6"X12" HSS STEEL COLUMN

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RAMP LANDING AUTOMATED VENT OPENING WITH INSULATED DOOR 8" RAMP SLAB, THERMALLY BROKEN

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EXTERIOR

Wall Assembly Elevation Scale: 12" = 1'-0"

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Wall Assembly Section Scale: 12" = 1'-0"

MATERIAL KEY

1 ROOF ASSEMBLY -MECHANICALLY FASTENED MEMBRANE ROOFING -1/2" PROTECTION BOARD -7" RIGID INSULATION (SLOPED AT 12" PER FOOT) -CONTINUOUS AVWB -1/2" EXTERIOR SHEATHING -12" CONCRETE SLAB

2 CONCRETE PANEL WALL ASSEMBLY -EQUITONE FIBRE CEMENT FACADE PANELS -EQUITONE UNI-RIVET CONNECTORS -VERTICAL ATTACHMENT TRACK SYSTEM -GALV. STEEL Z-GIRT -3" CONTINUOUS MINERAL WOOL INSULATION -CONTINUOUS AVWB -CAST IN PLACE CONCRETE WALL

3 BELOW GRADE WALL ASSEMBLY -1/2" DRAINAGE BOARD -3" RIGID FOAM INSULATION -CONTINUOUS AVWB -CAST IN PLACE CONCRETE WALL

4 SLAB ON GRADE ASSEMBLY -COMPACTED GRAVEL -2" RIGID INSULATION -CONTINUOUS AVWB -12" SLAB ON GRADE

Date 12/9/2020 Scale 1 2 " = 1'-0"

Foundation to Cornice Section 3 Scale: 16 " = 1'-0"

1'-0"

Typical Wall Assembly 2'-0"

5 DOUBLE SKIN GLASS FACADE ASSEMBLY -1" STARPHIRE ULTRA-CLEAR GLASS WITH 2" GAPS -4"x6" STRUCTURAL MULLIONS -2' METAL CATWALK FOR MAINTENANCE AND CLEANING -SUPPORT BRACKET FOR CATWALK AND LATERAL BRACING -SUNGATE 400 TRIPLE PLY WINDOWS (SEALED LAYER) -4"X12" THERMALLY BROKEN CURTAIN WALL MULLIONS -AUTOMATED VENT OPENING WITH INSULATED DOOR -8" RAMP SLAB, THERMALLY BROKEN -6"X12" HSS STEEL COLUMN -DUCT FOR HEATING AND MOISTURE CONTROL ON GLASS

Within the ramp area, a precast concrete ramp slab Concert Hall and Civic Center Tauras Hill ties the outer structure back to the core. In this Vilnius, Lithuania space is a supply heating duct that wraps around the complete perimeter of the building. This is necessary to prevent the downdraft of cold air that would inevitably occur in the winter with a curtain wall of this size. A steel column and beam system is used to support the ramp and curtain walls. This next layer is the sealed inner envelope. Due to the height of the windows, a significant sized mullion has to be used. This mullion is connected to the edge of the slab and is thermally broken. At the base of this window is the natural ventilation control box with an insulated door than can be opened and closed to allow air to enter the space. Outside of this is a 2’ space for cleaning and servicing. A catwalk is supported by a bracket at each mullion. These support the catwalk as well as the outer glass panel which has gaps between the panels to allow air to circulate.

14'-8"

15'-0"

framework of the building is concrete, and is discussed School of Architecture Fall 2020 inARCH more detail in the structure section. This wall 513 Section 01 Integrated Project Studio the structural core. On the assembly cutsDesign through Prof. Roberto Viola Ochoa interior this is left exposed, but above and below to rampLucas system this needs some additional layers. First Hartman is an AVWB layer to protect the concrete. Outside of this a small layer of mineral wool insulation. Due ToisSee and toTo theBe depth of the concrete not much is needed. Seen A horizontal z-girt system holds this insulation and supports the fiberglass concrete panels.

Wall Assembly Plan Scale: 12" = 1'-0"

A3.0

Full Wall Assembly Axonometric

Double Skin Detail

Envelope Analysis To analyze the wall assembly four components will be looked at: structure, energy, waterproofing/ moisture, and insulation. For the structure, the gravity loads are carried by the concrete wall and the steel column. The ramp ties these elements together and provides the lateral bracing for the envelope. One of the main reasons for selecting this double skin system was positive effects it could have on energy consumption. More detail can be found on the next pages of the passive strategies, but simply the double layers help to insulate the inner spaces from the extreme outdoor temperatures and winds by providing a buffer zone. Waterproofing and moisture control run outside the concrete walls and run up into the mullion of the curtain wall system which has systems in place to manage those factors. The perimeter HVAC system also helps to defrost if any issues arise. Finally, is insulation. Even the best glass can not compete with insulation so there will always be some level of compromise here. All of the components of the ramp area are insulated. Even the door on the natural ventilation control box is insulated to prevent unwanted air to enter.

Structure

Energy

Waterproofing/Moisture

Insulation

Passive Strategies In order to understand the need and effectiveness of any passive strategies, the climate first needs to be analyzed. As noted previously, Vilnius is a four-season environment and has to have systems, passive or active, to combat each of these. As can be seen from the Psychrometric Chart from Climate Consultant, without active heating systems, it is only possible to be within the comfort zone for less than 30% of the year. Vilnius is predominantly a heating climate, so this makes sense. There are a few strategies however, especially in the summer months, that can have major effects. Integrating natural ventilation has the ability to reduce the amount of air-conditioning that would need to be required, since the need was so small anyway. One of the largest percentages for passive strategies is heat gain. This is where concrete and wall will hopefully assist with some of the heating demand that is required in the winter.

Psychrometric Chart, Full Year , No Active Heating

Yearly Temperature Chart

Vilnius in Summer

Sun Charts, Winter and Summer

Vilnius in Winter

Vernacular Architecture

The multicultural heritage of Vilnius gave the city a broad range of architectural styles and types of construction. Many historic buildings are Gothic, Renaissance, Baroque, and Classical styles. Each has their own distinct appearance, including compositional elements and finishes, which often have been modified from their Western European counterparts. Several of these places withstood the test of time and war, and still stand today. Others were lost during the war but were rebuilt in an attempt to bring back the lost cultural heritage. This challenge is still something that Vilnius is working through as it tries to build its own architectural identity post 1991. At the turn of the 20th Century, Vilnius was faced with modernization. In an attempt to do so, the city established metal bridges, steam power, street lighting, and electric power. Prior to 1940, most of the buildings were constructed out of wood, which was viewed by the Soviets as inferior. Any imagery of the country was censored to shun this wooden architecture. The Soviet occupation also brought upon the creation of microdistricts, self-sustaining towers of residential and public services. These places mimicked the radical change brought on by the republic, with monolithic construction, poor quality, straight line design and a distinct grey color. Any vernacular architecture that was created to naturally respond to the environment and climate of the city was replaced with structures that could be placed anywhere in the world, with no regards to the region or climate.

Residential Wood Houses

Church of St. Anne, 1713

Vilnius Cathedral, 1783

Palace of Weddings, 1974

Polish Land Bank (BGK), 1938

Palace of Concerts and Sports, 1971

National Center for Sciences&Technology, 2011

Rupert Art&Education Center, 2011

Green Hall 2, 2015

Psychrometric Chart, Winter

Psychrometric Chart, Spring

Chart by Season

Psychrometric Chart, Summer

Psychrometric Chart, Fall

Passive Strategies

As mentioned multiple times above, the passive strategies for this project stem from the architectural intention to have an all glass façade and how best to address some of the negative consequences that come with this. Multiple strategies were looked at try and mitigate some of these. The first was through shading fins, looking at a project in England by SAMYN and Partners. This is the textbook application of a lot of passive strategies. Unfortunately, with the climate in Vilnius, shading devices are not necessarily the most effective strategy, as there are few months where the light from the sun is too warm to be comfortable. It is more often the opposite, where the cold air up against the glass requires large active systems to combat this. With the double skin façade on the building, four passive strategies where looked at and how they relate to the season that they work within. The first is in the summer. Here the height of the building helps to draw the hot air upwards and out<> In the winter, the double skin can best be described as a layer of insulation. Instead of the cold air blowing up against the glass, it is filtered through the space in between where the sun has the opportunity to warm it. This decreases the amount of energy it will take on the inside to warm this glass up. When it comes to natural ventilation, the door can be opened, especially during the evenings after everyone has left from a concert, and this natural ventilation can help assist the standard active systems with cooling the building and putting in fresh air. The final passive strategy that relates to this system is actually about what is behind it. Both that ramp and the core walls are concrete and act as a thermal mass when they are warmed by the sun. This would be especially effective in the fall and spring.

AGC Glass Europe, SAMYN and PARTNERS, Double Skin Shading Facade

Inner Envelope

The Tower at PNC Plaza, Gensler, Double Skin Curtain Wall Facade

Natural Ventilation Opening Mechanism

Outer Envelope

Summer Mode: Heat Flushing Mode

Winter Mode: Thermal Buffer, Insulating Space

Night Mode: Natural Ventilation Assists in Moving Air Within Building

Materials inside Glass are Concrete and Act as Thermal Mass to Absorb Heat

Sefaira Analysis

Active Strategies

When is comes to active strategies for heating and cooling, this building has a large demand, and some unique qualities that make this more difficult. To start the building was divided up into zones. The first zone is the theater itself. Located at the top of the building, this proved to be a positive and a negative. One of the concerns with a concert hall is to separate the mechanical equipment acoustically and physically from the performance space. The best strategy is to have the mechanical equipment in the basement as well as this reduces the vibrations in the structure. This however meant that large vertical shafts would be needed to run the ductwork up to the concert hall. A conventional cooling tower is quite noisy as well, so any opportunity to move away from this would be a positive. Geothermal was evaluated as an alternative source to this. One of the key characteristics to selecting a geothermal system is that both heating and cooling must be used in order to offset the changes in temperature that are being pumped into the ground. Since the theater and atrium spaces are both spaces with large numbers of occupant loads, a moderate amount of cooling can be expected even on colder days. These means geothermal is a fitting application for both of these spaces. Speaking of the atrium spaces, this is another zone within the building. Here the main concern is to address the glazing conditions around the perimeter. The major concern here if for the potential of downdraft as the air falls in front of the window, getting colder, before moving into the space. Having perimeter distribution is essential to combating this. Both the service and support spaces also require their own systems as well and need to have their own zones.

Main Hall

Rehearsal

Ramp

Oﬃces Lobby

Support

Service

Zone Diagram

Vertical/Acoustic Concerns

Curtain Wall Downdraft Concerns

Geothermal Energy Source

Zone Requirements

Heating

Cooling

Zone 1 Theater

Zone 2 Support Tower

Users Will Put Off Large Amounts of Body Heat

Area Will Need Adequate Heat with Individualized Control

Zone Will Benefit from Heat Gain from all the Glass

Heat Will Likely Only Be Needed During Down Times

Ceiling Height is at a Premium

Glass Also Can Never be as Efficient as Other Means, Requiring Heating at the Perimeter to Make Up for the Heat Loss

Will Require High Cooling Loads Due to Large Amounts of People in the Spaces

Natural Ventilation and the Conditioning of the Space Surrounding the Support Spaces will Help Cooling

Due to the Large Number of People using the Space, Some Cooling will be Required

Cooling Has to Be Quick Responding as Well

Ventilation

Zone Will Require High Amounts of Ventilation Due to the Number of People in the Space

Zone 3 Atrium/Lobby

Some Small Amounts May Be Used

Natural Ventilation will Help with This Though

May Require More Than Natural Ventilation

Height of Space Will Allow for Natural Ventilation

Ceiling Height is at a Premium

Due to Large Number of People in the Space, This Will Need to Be Supplemented

Zone 4 Service Will Require Heat but Can Be at a Lower Temperature/Comfort Level than the Rest of the Building Zone is Located Near Mechanical Equipment

Little to No Cooling Would Be Required Underground

Large Amounts of Ventilation Will Be Required Due to Trucks, Equipment, and the Type of Work Performed

System Analysis

Positive

Negative

Conv. HVAC Air

Less Noisy w/ AHU in Basement Has Ventilation Included

Space for Ducts Pollution from Boiler and Cooling Towers if Used

Conv. HVAC Water

Less Space is Required with Pipes than Ducts

Noisier with Mini AHU in Each Space or Radiator/ Fan Box No Ventilation

Geothermal Closed Loop

Replaces Noisy Boiler and Cooling Towers Lower Level of Pollution

Costly to Install Still Requires Energy to Run Pumps

Geothermal Open Web

More Consistent Water Temperature

Not An Option on this Site

Radiant System

Smallest Profile in Floor/Ceiling Heating and Cooling is Possible

No Ventilation Not Good for Large Spaces with Many People

ERV

Helps Provide Ventilation with Minimal Ductwork

May Be Quite Noisy in Space

System Selection

System

Rationale

Components

Zone 1 Theater

Zone 2 Support Tower

Zone 3 Atrium/Lobby

Zone 4 Service

Geothermal HVAC Air System

Radiant Floor Heating with ERV

Geothermal HVAC Air System with Natural Ventilation

Geothermal HVAC Air System

Forced Air System is Required to Meet Needs of Ventilation

Low Floor to Floor Heights Make Ductwork a Challenge

Will Require Limited Heating During Rehearsals but will Also Require Cooling During Performances, Making

Surrounding Atrium will Dampen a Large Amount of the Heat Meaning Minimal Cooling

Geothermal Tubes Under Building Heat Pump Potentially Powered by Solar Air Handling Unit Ductwork

High Efficiency Boiler Potentially Powered by Solar Heat Pump Manifolds Coils ERV in Each Area

Forced Air System is Required to Move Enough Air for the Number of Potential People in the Space

Since the System is Already in Place in Most of the Building, It Can Be Expanded for This Space

The Double Skin Facade will Assist with Cooling and Ventilation During Non-Peak Hours

Primarily Used for Large Amounts of Ventilation and Heat

Geothermal Tubes Under Building Heat Pump Potentially Powered by Solar Air Handling Unit Ductwork

System Sizing

In sizing the equipment, The Architect’s Studio Companion was used to base the calculation off of the square footage of each zone. These charts lead to a series of numbers and sizes of required equipment. It is also important to note that in additional to square footage, the sizing and selection of the equipment is relative to the number of occupants in that space, which in this case can often be quite large. The atrium will require the largest system with the theater not far behind. Using this process, all of the duct work can also be sized for distribution throughout the building. The one zone that has a different system is the support tower. Due to the lower number of occupants, and being completely surrounded by conditioned space, a radiant system of selected as a way for users to have individualized control over their space. Ventilation was still required however. Instead of using multiple ERV units, a zone wide unit was placed in the basement. Since this system would not be responsible for cooling, it was allowed to be sized at 25% the numbers received from the charts above. The geothermal system needs to be quite substantial for this building. Placed underneath the building it requires 94 boreholes to be drilled to a depth of 600’. These are spaced 21’ apart and divided up into zones that correspond to the three spaces that use HVAC systems. The radiant system was also sized. Here only 400 square feet can be cover by a coil, requiring many different coils to be connected back to a manifold on each floor before connecting down to a high efficiency boiler in the basement. The boiler also assists with heating for the service zone, as the lack of need for cooling will make the geothermal less efficient. The boiler is vented through a chimney up through the roof.

Component Sizes and Quantities

Distribution

The distribution of the system is centered around the location of the eight vertical chases that run throughout the building. Without these, it is not sure if any of this would be possible. The shafts in the four corners provide distribution for the perimeter system. Each side of the building is controlled separately as different times of the day will require different amounts of heating/cooling on different sides of the building. Four vertical ducts travel upward and branch out at each level of the ramp. The return main is right next to this, but instead of the vents being located at the perimeter, they are located in the wall of the core. The two largest ducts are connected to the theater. The theater has a floor based distribution system that allows for slow and quiet distribution of the air right where it is needed most. The return is placed up in the ceiling, pulling the air upward and removing the hot, stale air at the top. Ventilation ducts for the support tower are also run on the east side of the building in the two other shafts that are not utilized by the theater ducts. These also branch out at the three levels of the base. All of the mechanical equipment itself in located in the basement. All three Air Handling Units, the ERV, and high efficiency boiler fill the lower space. It goes without saying that there are many potential errors on how the distribution is laid out on this lowest level, but it should be effective enough to communicate the complexity of connecting ducts from their respective unit to their specific shaft location.

Main Hall

Rehearsal

Ramp

Oﬃces Lobby

Support

Service

Zone Diagram

Basement Mechanical Room

Supply Diagram

Return Diagram

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

Basement Mechanical Plan

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1 A2.1

30'-0"

AHU-ZONE 3-ATRIUM/LOBBY 40,000 CFM 50'-0" X 10'-3" X 8'-11"

15'-0"

A2.6

A2.8

145'-0"

30'-0"

AHU-ZONE 1-CONCERT HALL 45,000 CFM 45'-0" X 8'-3" X 8'-11" AHU-ZONE 4-SERVICE 40'-0" X 8'-1" X 8'-7"

HIGH EFFICENCY BOILER ZONE 2-SUPPORT TOWER

S2 A2.2

20'-0"

Roger Williams University

ERV-ZONE 2-SUPPORT TOWER 40'-0" X 8'-1" X 8'-7"

15'-0"

G S3 A2.3

6 E1

15'-0"

30'-0"

Lucas Hartman

A2.5

270'-0"

A2.4

30'-0"

BASEMENT FLOOR PLAN

30'-0"

Basement

15'-0"

ToMechanical See and To BePlan Seen

A2.7

SCALE: 1/8" = 1'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Date 12/13/2020 Prof. Roberto Viola Ochoa Scale 1 8" = 1'-0"

15'-0"

20'-0"

M1.0

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

E1 S4 A2.4

SECOND FLOOR PLAN

Date 12/13/2020 Scale 1 8" = 1'-0"

A2.5

First-Fourth

Typical Support Level Mech Plan

Critical Section A

This critical section takes a look at the system and how it relates to the structural and building as a whole. Starting at the top, the theater zone has the return in the ceiling and the supply can be seen entering the plenum under the floor. While laying this out, it became apparent that it would have been a better idea to have the service level underneath the theater have an 18’ floor to floor height as well as the other levels above. This would have effects on the ramp, but additional space is required for the large main that needs to get from the shaft into the plenum. Additional space underneath the space would also be a positive gain. While radiant floor tubing cannot be seen as it is running parallel to the section cut, the ventilation ducts sized at 25% can be seen running in the support tower. Also to note are the perimeter ducts that wrap around the ramp structure to help combat the downdraft. Finally, the heart of it all, the basement shows the mess of ductwork and equipment that is required to heat and cool a building of this shape and size.

MAIN HALL 602

REHEARSAL ROOM 303

LOBBY 101

OFFICE 205

OFFICE 107

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

Theater Floor Mechanical Plan

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

Roger Williams University

15'-0"

G S3 A2.3

6 E1

15'-0"

30'-0"

Lucas Hartman

270'-0" 30'-0"

SIXTH FLOOR PLAN

A2.5

S4 A2.4

30'-0"

Theater Floor ToMechanical See and To BePlan Seen

15'-0"

A2.7

SCALE: 1/8" = 1'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Date 12/13/2020 Prof. Roberto Viola Ochoa Scale 1 8" = 1'-0"

15'-0"

20'-0"

M1.2

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

E1 S4 A2.4

EIGHTH FLOOR PLAN

Date 12/13/2020 Scale 1 8" = 1'-0"

A2.5

Theater Ceiling

Theater Ceiling Mechanical Plan

Appendix

Black and White Set, Previous Assignments

Section Contents A4

1 - Black and White Set

Sheet List

To See and to Be Seen Concert Hall and Civic Center Vilnius, Lithuania Lucas Hartman

Roger Williams University | ARCH 513.01 | Prof. Roberto Viola Ochoa | Fall 2020

A0.0 A0.1 A0.2 A0.3 A0.4

Cover Sheet Code Analysis Code Analysis Site Plan Site Sec�on and Views

A1.0 A1.1 A1.2 A1.3 A1.4 A1.5 A1.6 A1.7 A1.8 A1.9

Basement Floor Plan First Floor Plan Second Floor Plan Third Floor Plan Fourth Floor Plan Fi�h Floor Plan Theater Floor Plan Lower Balcony Plan Upper Balcony Plan Roof Plan

A2.1 A2.2 A2.3 A2.4 A2.5 A2.6 A2.7 A2.8

Sec�on S1 Sec�on S2 Sec�on S3 Sec�on S4 South Eleva�on West Eleva�on North Eleva�on East Eleva�on

A3.0 A3.1

Wall Assembly Composite Wall Assembly 3D

S0.0 S0.1 S1.0 S1.1 S1.2 S1.3 S1.4 S1.5

Structure - General Reference Founda�on Plan Basement Structural Plan First-Fourth Floor Structural Plan Fi�h Floor Structural Plan Theater Structural Plan Balcony Structural Plan Roof Structural Plan

S2.0

Structural Axonometric

M0.0 M0.1

Mechanical - General Reference Geothermal Borehole Plan

M1.0 M1.1 M1.2 M1.3

Basement Mechanical Plan First-Fourth Floor Mechanical Plan Theater Mechanical Plan Balcony Mechanical Plan

M2.0

Mechanical Axonometric

M3.0

Integrated Mechanical Axonometric

12/13/2020

Cover Sheet

A0.0

12/13/2020

Code Analysis

A0.1

EXIT 3: 1 Doors at 36" Total: 36"

Roger Williams University 107'-0"

EXIT 1: 4 Doors at 72" Total: 288"

150'-0"

70'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

70'-0"

Lucas Hartman

128'-0" LOBBY 533 165'-6"

55'-0" 55'-0"

EXIT 2: 1 Door at 72" Total: 72"

125'-0"

To See and To Be Seen

130''-7" 107'-0"

First Floor Egress Diagram 1 Scale: 16 " = 1'-0"

150'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Fifth Floor Egress Diagram 1 Scale: 16 " = 1'-0"

EXIT 4: 1 Doors at 36" Total: 36"

178'-0"

125'-6" 45'-0"

45'-0"

RESTAURANT 100

MAIN HALL FLOOR 840

STAGE 200

45'-0"

125'-6" MEETING RM 20

MEETING RM 35

100'-0"

181'-6"

MEETING RM 20

178'-0"

EXIT 5: 2 Doors at 72" Total: 144"

Second Floor Egress Diagram 1 Scale: 16 " = 1'-0"

Theater Egress Diagram 1 Scale: 16 " = 1'-0"

150'-6"

103'-0"

140'-0" 40'-0" BALCONY 420

Date 12/13/2020 Scale 1 8" = 1'-0"

76'-0"

140'-0" REHEARSAL RM 100

REHEARSAL RM 100

150'-6" 130'-0"

Third/Fourth Floor Egress Diagram 1 Scale: 16 " = 1'-0"

103'-0"

Code Analysis

130'-0"

Balcony Egress Diagram 1 Scale: 16 " = 1'-0"

A0.2

818’-1” SITE BO

PA M

OUND ARY

SITE B

5” 1’41

196’-4”

146

309’-

NDAR Y

3”

SITE

’-7

BOU

460’-

NDAR Y

5”

” -4”

BOU

193

SITE

’-7”

”

IRK OS

’-10

106

ND AR Y

140’-11”

V. KU D

’-0”

140

’-7”

100’

164

V. MYKOLAICIO-PUTINO

SIT

663’-2”

20.1 ACRES SITE BOUNDARY

65’-5

”

377’-2”

UNDAR Y

TAUR O

A0.3

3D View of Project NTS

Site Sec�on Looking West 1/32” = 1’-0”

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

ELEC 071

20'-0"

MECH 070

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

A2.1

WAREHOUSE 002

SHOP 001 MECH 073

A9 15'-0"

A2.6

A2.8

145'-0"

30'-0"

MECH 074

S2 A2.2

20'-0"

MECH 072

WOMEN 074

MEN 073

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Basement Floor Plan

BASEMENT FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

ELEC 171

20'-0"

MECH 170

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

A2.1

LOBBY 101

15'-0"

A2.6

UNEXCAVATED

A2.8

145'-0"

30'-0"

FIRST AID 104

FIRST AID 106

FIRST AID 108

OFFICE 113

OFFICE 114

OFFICE 115

OFFICE 116 MEN 175

CLOAKROOM 110

INFO/TICKET WINDOW 102

OFFICE 105

OFFICE 107

WOMEN 177

MECH 178

MANAGEMENT 112

SECURITY 109

CUSTODIAL 176

A2.2

OFFICE 117

ATRIUM 111

20'-0"

STAFF ENTRANCE 103

MECH 172

WOMEN 174

MEN 173

G 15'-0"

A10

SECURITY VESTIBULE 100

RAMP 1:20 SLOPE

UNEXCAVATED

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

First Floor Plan

GROUND FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

ELEC 271

20'-0"

30'-0"

A2.1

A11 15'-0"

A2.6

CAFE LANDING 211

A2.8

145'-0"

30'-0"

OFFICE 201

OFFICE 202

OFFICE 203

OFFICE 204

SYMPHONY OFFICE 200

MEETING ROOM 206

MEETING ROOM 207

MEETING ROOM 208

RESTAURANT 210

KITCHEN 209

S2 A2.2

OFFICE 205

20'-0"

MECH 272

WOMEN 274

MEN 273

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Second Floor Plan

SECOND FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

MECH 370

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

RECORDING STUDIO 301

CONTROL RM 302

REHEARSAL ROOM 303

STORAGE 304

REHEARSAL ROOM 305

STORAGE 306

REHEARSAL ROOM 307

LOUNGE 308

S2 A2.2

20'-0"

MECH 372

WOMEN 374

MEN 373

G 15'-0"

A12

MUSIC LANDING 300

RAMP 1:20 SLOPE

A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Third Floor Plan

THIRD FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.3

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

ELEC 471

20'-0"

30'-0"

A2.1

A13 15'-0"

A2.6

UPPER LOBBY LANDING 400

A2.8

145'-0"

30'-0"

RECORDING STUDIO

CONTROL RM

REHEARSAL ROOM

STORAGE

REHEARSAL ROOM

STORAGE

REHEARSAL ROOM

S2 A2.2

20'-0"

MECH 472

WOMEN 474

MEN 473

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Fourth Floor Plan

FOURTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.4

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 571

20'-0"

MECH 570

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

PERFORMER LOUNGE 500

30'-0"

A2.1

15'-0"

DRESSING ROOM 502

UNDER STAGE MECHANICAL 504

INSTRUMENT/EQUIPMENT STORAGE 505

DRESSING ROOM 501

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

PERFORMER LOUNGE 503

20'-0"

MECH 572

WOMEN 574

MEN 573

G 15'-0"

A14

RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Fifth Floor Plan

FIFTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.5

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 671

20'-0"

MECH 670

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

S1 UP

A2.1

CUSTODIAL 603

30'-0"

A15 15'-0"

MAIN HALL 602

STAGE 601

STAGE MANAGER 604

THEATER LOBBY 606

BACKSTAGE 600

A2.6

A2.8

145'-0"

30'-0"

1:20 SLOPE

H H H

USHER AREA 605

S2 A2.2

20'-0"

MECH 672

WOMEN 674

MEN 673

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Sixth Floor Plan

SIXTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.6

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 771

20'-0"

MECH 770

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

S1 UP

A2.1

1:20 SLOPE H

30'-0"

15'-0"

A2.6

LOWER BALCONY 700

A2.8

145'-0"

30'-0"

A2.2

1:20 SLOPE

20'-0"

MECH 772

WOMEN 774

MEN 773

G 15'-0"

A16

RAMP 1:20 SLOPE

A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Seventh Floor Plan

SEVENTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.7

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 871

20'-0"

MECH 870

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

S1 UP

A2.1

1:20 SLOPE H

30'-0"

A17 15'-0"

A2.6

UPPER BALCONY 800

A2.8

145'-0"

30'-0"

A2.2

1:20 SLOPE

20'-0"

MECH 872

WOMEN 874

MEN 873

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Eighth Floor Plan

EIGHTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.8

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

15'-0"

145'-0"

30'-0"

20'-0"

G 15'-0"

A18

Date 12/13/2020 Scale 1 8" = 1'-0"

Roof Plan

A1.9

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

18'-0"

To See and To Be Seen

18'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

STAGE 601

MAIN HALL 602

12'-0"

18'-0"

BACKSTAGE 600

THEATER LOBBY 606

DRESSING ROOM 501

DRESSING ROOM 502

A19

UNDER STAGE MECHANICAL 504

12'-0"

UPPER LOBBY LANDING 400

12'-0"

MUSIC LANDING 300

CAFE LANDING 211

12'-0"

LOBBY 101

24'-0"

12'-0"

SECURITY VESTIBULE 100

Date 12/15/2020 Scale 1 8" = 1'-0"

Section S1

A2.1

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

18'-0"

To See and To Be Seen

18'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

MAIN HALL 602

STAGE 601

THEATER LOBBY 606

DRESSING ROOM 502

INSTRUMENT/EQUIPMENT STORAGE 505

UNDER STAGE MECHANICAL 504

12'-0"

DRESSING ROOM 501

CONTROL RM 302

REHEARSAL ROOM 303

STORAGE 304

REHEARSAL ROOM 305

STORAGE 306

REHEARSAL ROOM 307

LOUNGE 308

12'-0"

RECORDING STUDIO 301

OFFICE 205

SYMPHONY OFFICE 200

INFO/TICKET WINDOW 102

OFFICE 105

OFFICE 107

SECURITY 109

MEETING ROOM 206

CLOAKROOM 110

MEETING ROOM 207

MANAGEMENT 112

RESTAURANT 210

KITCHEN 209

MEETING ROOM 208

OFFICE 117

MEN 175

CUSTODIAL 176

WOMEN 177

MECH 178

24'-0"

A20

12'-0"

18'-0"

BACKSTAGE 600

Date 12/15/2020 Scale 1 8" = 1'-0"

Section S2

A2.2

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

12'-0"

18'-0"

Lucas Hartman

24'-0"

12'-0"

A21

Date 12/13/2020 Scale 1 8" = 1'-0"

Section S3

A2.3

Roger Williams University A

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania MAIN HALL 602

A22

REHEARSAL ROOM 303

LOBBY 101

OFFICE 205

OFFICE 107

Date 12/13/2020 Scale 1 8" = 1'-0"

Section S4

A2.4

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

A23

Date 12/13/2020 Scale 1 8" = 1'-0"

East Elevation

A2.5

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman H

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

A24

Date 12/13/2020 Scale 1 8" = 1'-0"

North Elevation

A2.6

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 11

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

A25

Date 12/13/2020 Scale 1 8" = 1'-0"

West Elevation

A2.7

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman A

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

A26

Date 12/13/2020 Scale 1 8" = 1'-0"

South Elevation

A2.8

Roger Williams University

1 1" STARPHIRE ULTRA-CLEAR GLASS WITH 2" SPACING 4"x6" STRUCTURAL MULLIONS 2' METAL CATWALK FOR MAINTENANCE AND CLEANING SUPPORT BRACKET FOR CATWALK AND LATERAL BRACING 1

DUCT FOR HEATING AND MOISTURE CONTROL ON GLASS

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

4"X12" THERMALLY BROKEN CURTAIN WALL MULLIONS

12'-0"

SUNGATE 400 TRIPLE PLY WINDOWS (SEALED LAYER)

Lucas Hartman

To See and To Be Seen

6"X12" HSS STEEL COLUMN

27'-112"

24'-0"

12'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania 14'-6"

RAMP LANDING AUTOMATED VENT OPENING WITH INSULATED DOOR 8" RAMP SLAB, THERMALLY BROKEN

9'-10"

A27 EXTERIOR

Wall Assembly Elevation Scale: 12" = 1'-0"

1'-8"

Wall Assembly Section Scale: 12" = 1'-0"

MATERIAL KEY

1 ROOF ASSEMBLY -MECHANICALLY FASTENED MEMBRANE ROOFING -1/2" PROTECTION BOARD -7" RIGID INSULATION (SLOPED AT 12" PER FOOT) -CONTINUOUS AVWB -1/2" EXTERIOR SHEATHING -12" CONCRETE SLAB

3 BELOW GRADE WALL ASSEMBLY -1/2" DRAINAGE BOARD -3" RIGID FOAM INSULATION -CONTINUOUS AVWB -CAST IN PLACE CONCRETE WALL

4 SLAB ON GRADE ASSEMBLY -COMPACTED GRAVEL -2" RIGID INSULATION -CONTINUOUS AVWB -12" SLAB ON GRADE

14'-8"

15'-0"

Date 12/9/2020 Scale 1 2 " = 1'-0"

Foundation to Cornice Section 3 Scale: 16 " = 1'-0"

1'-0"

Typical Wall Assembly 2'-0"

Wall Assembly Plan Scale: 12" = 1'-0"

A3.0

15’-0”

30’-0”

15’-0”

15’-0” 20’-0”

30’-0”

15’-0”

30’-0”

20’-0” 15’-0”

15’-0”

30’-0”

15’-0”

18’-0” 18’-0” 18’-0” 18’-0” 12’-0”

A28

24’-0” 12’-0” 12’-0” 24’-0”

12/5/2020

Structural

The service cores of the building a reinforced cast in place concrete walls that also act as lateral bracing for the building. This travel the full height of the building and are located in the four corners. The base of the building is constructed of cast in place concrete columns and a two-way slab system on a roughly 30’-0” by 30’-0” grid. This system supports the theater above. The balconies are �ed by to the service cores and the back wall of the theater. The roof is supported by open web trusses that span the width of the theater and provide a column free space. The ﬁnal area is the structure for the ramp and envelope. This is a steel framework consis�ng of HSS columns and beams that support the end of the ramp slab and the gravity loads of the glass facade.

Structure General Reference

S0.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 30'-0"

30'-0"

15'-0"

To See and To Be Seen

3'-0"

15'-0"

5'-0"

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania 5'-0"

5'-0"

20'-0"

30'-0"

A29 15'-0"

145'-0"

30'-0"

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Foundation Structural Plan

S1.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

15'-0"

145'-0"

30'-0"

20'-0"

G 15'-0"

A30

10'-0"

30'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Basement Structural Plan

S1.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

10'-0" 10'-0"

20'-0"

EDGE OF SLAB

30'-0"

EDGE OF SLAB

A31 10'-0"

15'-0"

EDGE OF SLAB

30'-0"

5'-10"

10'-0"

EDGE OF SLAB

10'-0"

20'-0"

10'-0"

5'-10"

145'-0"

15'-0"

EDGE OF SLAB

15'-0" TYP.

Date 12/13/2020 Scale 1 8" = 1'-0"

Typical First-Fourth Structural Plan

S1.2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

10'-0"

15'-0"

145'-0"

10'-0"

30'-0"

5'-10"

20'-0"

G 15'-0"

A32

Date 12/13/2020 Scale 1 8" = 1'-0"

Theater Structural Plan

S1.3

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

EDGE OF SLAB

7'-6" TYP.

EDGE OF SLAB

A33 EDGE OF SLAB

EDGE OF SLAB

15'-0"

145'-0"

30'-0"

EDGE OF SLAB

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Balcony Structural Plan

S1.4

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

15'-0"

145'-0"

30'-0"

20'-0"

G 15'-0"

A34

Date 12/13/2020 Scale 1 8" = 1'-0"

Roof Structural Plan

S1.5

A35

12/5/2020 NTS

Structural Axonometrics

S2.0

DĂŝŶ ,Ăůů

>ŽďďǇͬ ƚƌŝƵŵ

>ŽďďǇͬ ƚƌŝƵŵ >ŽďďǇͬ ƚƌŝƵŵ

^ƵƉƉŽƌƚ dŽǁĞƌ

^ĞƌǀŝĐĞ

A36

12/3/2020

Mechanical

The mechanical systems required for a concert hall have to be well sized to handle the demand that comes with having 1600 plus people enclosed inside a small volume within a ma�er of minutes from when it was empty. This building is divided into four zones. The first is the theater itself. It requires a large AHU to make sure air can be changed and cooled when needed. This is the same for the atrium/lobby space. The support spaces for offices and mee�ng rooms are all designed with radiant floor hea�ng and a zone wide ERV unit to provide ven�la�on. All of the large equipment is placed in the basement and is vented to the exterior. Distribu�on is contained through a total of 8 mechanical chases located throughout the building.

Mechanical General Reference

M0.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

A37

Date 12/13/2020 Scale 1 8" = 1'-0"

Geothermal Borehole Plan

M0.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1 A2.1

30'-0"

AHU-ZONE 3-ATRIUM/LOBBY 40,000 CFM 50'-0" X 10'-3" X 8'-11"

15'-0"

A2.6

A2.8

145'-0"

30'-0"

AHU-ZONE 1-CONCERT HALL 45,000 CFM 45'-0" X 8'-3" X 8'-11" AHU-ZONE 4-SERVICE 40'-0" X 8'-1" X 8'-7"

HIGH EFFICENCY BOILER ZONE 2-SUPPORT TOWER

S2 A2.2

20'-0"

ERV-ZONE 2-SUPPORT TOWER 40'-0" X 8'-1" X 8'-7"

G 15'-0"

A38

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

Basement Mechanical Plan

A2.4

BASEMENT FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1

30'-0"

A2.1

A39 15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

First-Fourth Mechanical Floor Plan

SECOND FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

G 15'-0"

A40

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Theater Floor Mechanical Plan

SIXTH FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1

30'-0"

A2.1

A41 15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Theater Ceiling Mechanical Plan

EIGHTH FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.3

A42

12/3/2020 NTS

Mechanical Axonometric

M2.0

A43

12/3/2020 1⁄2” = 1’-0”

Integrated Mechanical Axonometric

M3.0

Wind Analysis

2 - Assignment 1 pattern Appendix Lithuania has an interesting wind in that the winter months give more wind from the southwest while in the summer months the northwest receives more gusts of wind. Even still, Throughout all months wind from the East is minimal no matter what month or season it is. It is found that the highest speed of winds occurs during the winter and comes from the southwest.

Soil Analysis

Lithuanian soil has a vast range of different soils. It ranges from sands to heavy clays. About onefourth of the county is made up of sandy soils including the southeast, which is blanketed mainly by woodlands. In general Lithuania is about 51% flat, 21% highlands, and about 29% plateaus. Soil is a main natural resource for the country, which makes their agricultural a very import contributor to their GNP. The country has records on their soil that dates all the way back to the 1600. Some of the glacial deposits where morainic, glaciofluvial, limnoglacial, alluvial, Eolian and organic deposits. All these different deposits make for a very A44 complicated soil cover in Lithuania. However, there is much pollution of heavy metals and in Vilnius there are spots of erosion as well as Vilnius reporting one of the lowest amount of fertile crops in the country.

Environmental Analysis

When examining Lithuania and its environment we find interesting challenges for designing new buildings. For the weather that happens in the area there seems to be a great need for heating during the fall and winter. Ideally when designing, passive strategies for heating are preferred and with Lithuania’s social economic issues with gas heating these less expensive methods are ideal. Yet when we look at the psychrometric chart from Lithuania, we would find that a lot of Passive strategies do not work well here. The three strategies on the chart that provide the most indoor comfort are typical heating (62.9%), internal heat gain (22.9%), and passive solar direct gain low mass (9.3%).

Winter

Spring

On the chart the most effective strategy to make indoor spaces comfortable is general heating, whether by gas or electrical heating with adding humidification when needed. The people of Lithuania typically use gas heating in their buildings which is mandated by the Russian government and is very expensive. However, there are more passive strategies that can be A45 implemented in this site with the use of ground temperature. In the winter temperatures can reach bellow zero degrees, yet if we look at the ground temperature chart the ground 13.12 ft bellow in the winter stays at 39 degrees. There is a passive way to access that heat trapped under ground and use it in a building. This strategy is geothermal heat pumps, tubes pump the heat from the ground by running cold water through tubes that are 14ft underground and letting the ground warm up the water. The heated water then gets pumped into the building and under the floorboards to warm the house. This can be a good solution since the ground temperature in the winter is much warmer than the surface temperature. One passive strategy is passive solar heat gain, this is the amount of heat a building can receive from the sun passively. Lithuania has a very low solar radiation exposure which makes passive solar heat gain an issue, without having a lot of solar gain it will be very hard to passively heat a

Summer

Fall

building. The chart states that

Environmental Analysis

Passive Solar Direct gain only contributes to 1.7% heat gain in high mass and 9.3% in low mass, where objects with high mass would only receive 1.7% of heat gain from the sun while objects with low mass receive of heat. The most heat gain that can be estimated, from a more passive strategy, was from internal heat gain; The internal heat gain Is approximated to produce 22.9% of heat retention. However internal heat gain is not an exact measure, many factors need to be considered with internal heat gain such as amount of equipment in the building, quantity of lights and whether those are used frequently or not. Another more passive strategy for raising the Comfort level in Lithuania would be dehumidification. Although not a typically hot environment Lithuania does receive a bit of humidity during the summer months, when temperatures rise it does become a bit humid. still dehumidification does only factor in at 1.1% Comfort increase. Such a strategy does not seem to provide much relief in the long run. Lithuania has an interesting wind pattern in that the winter months give more wind from the southwest A46 while in the summer months the northwest receives more gusts of wind. Even still, throughout all month’s wind from the East is minimal no matter what month or season it is. it is found that the highest speed of winds occurs during the winter and comes from the southwest. Taking this into account the wind is a factor working against us when trying to increase heat for the winter months. All these factors must be taken into consideration when examining the site for design and providing the best systems for overall comfort.

A47

Assembly Research

Caruso St John

Nottingham Contemporary Nottingham, UK

Located in the heart of Nottingham, England, the Nottingham Contemporary is an art gallery and education center completed in 2009. Designed by Caruso St. John to fill a former railway trench, the irregular site constraints led to a four-story building, with three of those levels mostly below ground. One of the most noticed design elements of the building are the precast concrete scalloped panels that wrap the façade. Each panel is cast in a mold that gives an impression of lace, one of the key economic drivers of industrial Nottingham.

Location of Project in Nottingham

A48

Bing Maps

Nottingham Contemporary in City Context

from Tectonica Magazine

SCOTLAND

Edinburgh

NORTHERN IRELAND

SITE PLAN

Belfast

No�ngham

WALES

ENGLAND

Cardiﬀ

Map of the United Kingdom

London

Site Plan, Ground Floor Plan, Basement Plan

Location of Detail Section Plan Diagrams from Tectonica Magazine

Design Narrative

Front Entrance

Northern Facade

GNRAL IMG OF PROJECT

North-South Section

During the Industrial Revolution, the textile industry was thriving in England and Nottingham found itself as one of the worldwide leaders in the production of machine-made lace. The museum seeks to honor this foundation of the city through the use of concrete panels, scalloped to give the appearance of a pleated drapery. The attempt is to make them look as if they are almost hanging, to behave like a ‘curtain wall’. Each panel has a lace pattern, that was found in a time capsule on an adjacent site, molded into the surface. The jade color was selected to complement the surrounding red brick facades. Each panel ranges from 4 to 11 meters tall and form a parapet that is constantly responding to the adjacent street elevations. These panels are non-load bearing and therefore require a substantial steel structure behind them for to support. ARUP served as the structural engineer for the project. The goal was to keep the structure on the perimeter, allowing open, light filled, flowing spaces for the galleries inside. As all the lower levels are below grade, their structures are mostly cast-in-place concrete walls and slabs. Up on the roof, a green roof is installed to insulate against some of the heat A49 gain, as well as slow some of the water runoff. For any of the spaces of the building that rise above the top of the precast panels, a golden aluminum steel profile panel are secured by clips, holding them into a convex arc, counter to the concave scallops below.

GNRAL IMG OF PROJECT

Location of Detail Plans Section Diagrams from Tectonica Magazine

Precast Concrete Panels with Lace Texture

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Re-routing the Nottingham Heat Pipes

Sub-Basement Walls Built

Precast Panels Installed

Upper Aluminum Panels Installed

NORTH

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NORTH NORTH

NORTH

NOTTINGHAM CONTEMPORARY S : 1/2” = 1’-0” (DIMENSIONS IN METRIC) NOTTINGHAM CONTEMPORARY S : 1/2” = 1’-0” (DIMENSIONS IN METRIC) NOTTINGHAM CONTEMPORARY CALE

CALE Lucas Hartman / Erin Pecora / Professor Roberto Viola Ochoa / ARCH 513.01 Integrated Project Design Studio / Fall 2020

A52

Deconstructed 3D Wall Assembly

Cladding/Sacrificial/Protection Layer

As discussed briefly above, the cladding system for this building is one of its most recognizable features. Large precast concrete panels are non-load bearing and are therefore hanging from the steel structure behind. The panels themselves are 1.86 meters wide and range anywhere from 4 to 11 meters tall. At their seams are aluminum strips to cover the joints and act as flashing. The panels themselves have a lace texture imprinted into them, paying homage to the lace making history of Nottingham. There are a couple other types of cladding used by Caruso St John. on the building Above the precast panels, a golden aluminum concave panel is used. At the base of the walls and on select corners, a much simpler black precast panel is used.

Detail of Green Precast Scalloped Panels with Lace Texture

Detail of Golden anodized aluminum Scalloped Panels

A53

Thermal Insulation

Since the concrete panels of the building do not have any insulation, 100m rigid polyurethane insulation panels are installed behind each façade panel. The metal panels above are a sandwich panel made of aluminum and rigid insulation. Since the window frames are so wide and tall, the mullions are also insulated. As for the horizontal surfaces, the floor slab is insulated from below. 155 millimeters of rigid polyurethane insulation is used on the roof surfaces.

A54

Above Left: Rigid Polyurethane Insulation in the Walls & in the Roof Above Right: Insulated Window Mullions

Deconstructed 3D Assembly Highlighting Thermal Insulation

Rigid Insulation Underneath the Slab & Exterior Pavers

Waterproofing

Continuing inward, the precast concrete panel façade is not watertight, so waterproofing is required and applied behind the insulation panels. Above the roof line, the waterproofing is wrapped above the roof slab and up to the parapet cap on the outer wall. On the inner wall, it is extended behind the insulation again and up to the roof above that to prevent any water the make pool on the roof from entering into the wall assemblies.

Waterproof Membrane & Vertical and Horizontal Liquid Applied Waterproofing & Protection Layer around Green Roof Insulation

Waterproof Membrane & Drip Edge Underneath Green Precast Buildings

A55

Moisture

Moisture control is managed alongside the waterproofing, being applied on the warm side of the insulation panels. For the roof, this is accomplished as an asphalt sheet attached above the slab and below the rigid polyurethane insulation panels.

Asphault Sheet Attached to the Roofing as a Vapor Barrier

Fittings/Ties

One of the most important components of this project are the ties and bolts that connect the precast and metal panels to the steel structure. The majority of the weight of the panels is carried at the bottom by a concrete wall. In the condition of a window, a steel lintel is fabricated to supports the weight of the panels. In order to keep them from falling off, they are secured into steel angles that connect directly to the beams supporting the floor or roof. Occasionally a c-channel has to be added to provide a fastening surface where there is no beam to connect to. The bolts also vary in length depending on where they enter the panel, as there is less concrete in the inner portions of the scallops. The metal panels are hung from the parapet above using metal clips, two at the top and one at the bottom.

A56

Stainless Steel Fittings that Supporting Gold Aluminum Panels

Stainless Steel Precast Panel Fittings at Various Depths

Stainless Steel Precast Panel Fittings Supporting Green Panels

Structure

With three levels of the building being underground, a concrete structure was used. Due to the unique dimensions of the site, these walls are mostly formed by the perimeter of the site. At the north end of the site is a former railroad tunnel, and the basement levels of the building are positioned directly in the narrow opening for this tunnel. In order for the ground level to fill the block between the streets, an infill, or mat slab, was used to span over the walls of the tunnel portal. The steel structure above this is either anchored into a foundation wall below or into a transfer beam. The shift between the mat slab and the three-story concrete wall makes for two quite different foundation strategies. The steel structure that rises above is positioned mainly around the outer perimeter of the building. The resulting spans are carried by a relatively standard system of steel beams and girders. The roof slabs are then poured on metal deck on top of this system.

Erecting Primary Structural Steel

Deconstructed 3D Assembly Highlighting Primary Structural Steel

Lifting the Precast Panels into Place

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Energy and Stormwater Management

In an attempt to mitigate some of the heat gain from the roof as well as help slow the storm water runoff, a green roof was installed over most of the building. This is except in the areas that are predominantly covered in skylights. The green roof is constructed of a geotextile separating layer on which a layer of 50 millimeters of compost was laid. It is difficult to get any information on this roof system, as not a single photo can be found. The green roof designer has also went out of business, leading to a suspicion that some component of the roof system did not function well.

Green Roof Assembly

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Aerial Shot of Green Roof from North

PASPELS SCHOOL

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Paspel School The building is located at the top of Paspels village and it falls down to a slope facing south-west. The school complex is composed of three individual buildings that are placed in a row along the contour line of the slope. The new school building is placed at the top end of the village. The building can be described as a distorted square on plan since its sides do not have right-angles. The building and the pitch of the roof follows the shape of the slope of the site. The program of the building consists of a central corridor at the ground floor level that reaches the two floors of classrooms above by a flight of stairs. On the two top floors of the building there are three classrooms and one ancillary room arranged in the four corners of the building leaving a cross-shaped common area lit from all sides. Although the classrooms in the upper floors appear the same, the changing lighting is what makes the room so different from each other. This can also be seen on the outside of the building. It can appear the same even though they are not. All the windows frames of the building are made out of bronze which gives a noticeable contrast to the simplicity of the concrete around the building. The building construction was designed so that the solid concrete walls form the load bearing structure which will create a contrast between the wood-lined rooms making them feel more homely and intimate. The classrooms will then create a contrast between the hard cool common areas, making the rooms feel more bright,warm, and acoustically designed to serve their function. A60 The school not having any preference in style and being so neutral in the exterior as well as the interior, it makes it feel as if it belongs in its exact location. The structural aspects of the building were carefully designed, starting from separating the inside of the building from the external facade by adding 120mm of thermal insulation avoiding a second load bearing wall to support the floor slabs by adding high-strength double shear studs. On the ground level the two walls located at the left and right of the stairs are structural elements supporting the first floor. The interior walls of the first and second floors are the structural elements supporting the floor above and the roof. All the support reactions are transferred at the wall junctions transervese to the external walls. On this facade with the junctions, double shear studs, one above the other, were incorporated. The number of the shear studs was determined depending on the load bearing capacity of a single stud. Additional support points with shear studs were incorporated in the center of each slab edge spand and at the corners of the facade to avoid deflection of the unsupported slab edges. The thermal insulation was reduced 50mm around the shear studs to prevent the formation of cracks in the exterior walls, especially around the windows. To reinsure the areas where cracks could possibly appear, additional longitudinal reinforcement was fitted.

1" 104

73 4"

T.O. ROOF 000' 0"

1" 21" 12 8

1" 11" 24 8

PRODUCED BY AN AUTODESK STUDENT VERSION

ROOF ASSEMBLY - SHEET METAL - BITUMEN ROOFING FELT, FULLY BONDED - 29MM BOARDING - 60/60MM COUNTER BATTENS - 40MM BATTENS - SARNAFIL TU 122 08 , FULLY BONDED - 2 X 100MM THERMAL INSULATION, 2 LAYERS LAID CROSS-WISE - VAPOUR BARRIER - 260MM CONCRETE, TYPE 2

3" 4 10'-87 8"

11'-13 4"

11'-103 4"

3" 4

57 8"

2 A4.01

1" 1'-94

FLOOR ASSEMBLY - 20MM GRANOLITHIC CONCRETE - 80MM SCREED WITH UNDER-FLOOR HEATING - POLYETHYLENE SHEET - 40MM THERMAL INSULATION - 280MM CONCRETE, TYPE 5

ELEVATION 1/2" = 1'-0"

1" 28'-58 10"

17 8" 4'-93 8" 3" 4

1" 5'-98

17 8"

1" 38 107 8"

1" 12

1" 24'-104

1'-13 8"

25'-7"

5" 48

13 4"

97 8"

3" 68

FIN. SECOND FLOOR 000' 0"

93 4"

3'-93 4"

97 8"

WALL ASSEMBLY - 250MM CONCRETE, TYPE 5 - 120MM THERMAL INSULATION - 250MM CONCRETE, TYPE 5

3 1'-63 4"24"

57 8"

1" 1'-94

1" 9'-118

1" 112

57" 17 8"8 1'-63 4"

7'-103 4"

73"7" 37 83"8 8

1" 1'-94

" 6'-65 8

73"7" 37 83"8 8

7" 118

7'-103 4"

FLOOR ASSEMBLY - 20MM GRANOLITHIC CONCRETE - 80MM SCREED WITH UNDER-FLOOR HEATING - POLYETHYLENE SHEET - 40MM THERMAL INSULATION - 280MM CONCRETE, TYPE 5 WALL ASSEMBLY - 25 CM CONCRETE, TYPE 5 -12 CM THERMAL INSULATION -LIQUID VAPOUR BARRIER -30/60MM COUNTER BATTEN -18 MM TONGUE AND GROOVE BOARDS FIXED WITH CONCEALED SCREWS

57 8" 1" 38

30'-35 8"

1" 68 63 8" 107 8"

17 8"

57 8"

1 19'-32"

1" 1'-94 45" 97 8" 8 3" 8

47 8"

3 32'-114"

5" 28

RETAINING WALL - 25 MM CONCRETE - MM INSULATION - HELIX STEEL TIE-BACK HORIZONTAL SUPPORT

1 31'-04"

30'-10"

1" 12

3'-33 4"

1" 74

FIN. FIRST FLOOR 100' 0"

3" 4

2'-77 8"

1" 3'-72

17 8"

1" 1'-94

5'-27 8" 1" 22

17 8"

1" 38

3" 4

1" 12

1" 68

3" 4'-108

5 3 97 8" 48" 98"

1" 4'-102

BELOW GRADE WALL ASSEMBLY - 60 mm POROUS BOARDS - VAPOUR BARRIER - CONCRETE - THERMAL INSULATION - CONCRETE

57 8"

1" 1'-94 SLAB ON GRADE ASSEMBLY - 20MM GRANOLITHIC CONCRETE - 80MM SCREED WITH UNDER-FLOOR HEATING - POLYETHYLENE SHEET - 40MM THERMAL INSULATION - 280MM CONCRETE, TYPE 5

4'-85 8"

17 8"

8'-6" 1" 3'-44 11"

3 5'-58"

WALL SECTION

1/2" = 1'-0"

LIAM - CHELSY - ALEJANDRA

PLAN DETAIL 1/2" = 1'-0"

ARCH 513

COMPREHENSIVE STUDIO

SCALE :

AS NOTED

DATE :

09/18/2020

1 2'-42"

5"7" 17 88

2'-11"

3'-0"

4'-6" " 67 8

B.O. FOOTING 000' 0"

1'-0"

PLINTH FOUNDATION - GRAVEL - DRAINAGE PERFORATED PIPE - 50 CM CONCRETE CONSTRUCTION JOINT WITH WATERBAR / WATERSTOP - 5 CM LEAN CONCRETE -FOOTING

1'-13 4"

BASEMENT 000' 0" 1'-75 8"

PRODUCED BY AN AUTODESK STUDENT VERSION

93 8"

PRODUCED BY AN AUTODESK STUDENT VERSION

17 8"

5" 48

97 8"

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3D ASSEMBLY

A62

MATERIALS

The use of materials on this project is fascinating as you would think there would be less materials used as from the in and outside the project looks like a concrete box, however this is not the case. The first material used are battens which can be made out of wood, fiberglass, or plastic. The next material is the vapor barrier that goes along the roof to protect from moisture. The next material is the liquid vapor barrier that goes in the walls to protect from moisture. The next material is the bitumen roofing, which is used under the metal roof and is highly durable and helps stop against leaks. Next, we have the boarding that is used on the roof for structure of the roof. The final material on the sheet is the concrete type 2 which is the main concrete that you see around the building on the inside and out of the building.

Battens

Vapor Barrier

Liquid Vapor Barrier A63

Bitumen Roofing

Boarding

Concrete type 2

MATERIALS The first material on this sheet is the granolithic concrete, which is a nice polished concrete that is usually used for the flooring, which in this case is used for that exact purpose in the Pasepels school. The next material is Pavatherm NK impact sound insulation, which is used to dampen the noise in the building. After that we have Polyethylene Sheet, which is used to help protect and seal of rooms and is a plastic film made from petroleum. The next material is underfloor heating, which is used in the building as most of the floors are concrete which can get very cold. The next material is sheet metal roofing which is the exact roofing that is used on our roof as the top layer of the roofing. The final material on this sheet is the tongue and groove boards, which is the other flooring that is used in the building.

Granolithic Concete

Pavatherm NK impact sound insulation

Polyethylene Sheet

A64

Screed with underfloor heating

Sheat Metal Roofing

Tongue and groove boards fixed with concealed Screws

MATERIALS

The final three materials in our building are thermal insulation, which runs through all the walls the roof and the flooring allowing for heat to stay in the building at all times. This insulation runs between the layers of concrete around the building. The next material is concrete type 6 which is used in the structural walls where the rebar is used to help support the building/ structure. The last materials is counter battens, which are used to allow rainwater to pass off the metal sheeting and away from the roof.

Sarnafil TU, Thermil Insulation

Concrete type 6 A65

Counter Battens

DIAGRAMS The diagrams to the right help explain the crucial parts of the assembly as well as an overall general picture of how they work together. The first diagram shows and up close of the exterior cladding/siding, which is concrete. The next diagram shows a zoomed in picture of the thermal insulation in the building, which is surrounded by concrete on both sides of the insulation with a vapor barrier as well. The next diagram shows how the building deals with the storm water as it has gravel along the base of the building to collect all rainwater and have it drain out into the soil. The second to last diagram shows where the vapor barrier is in the building, which helps protect against moisture. The last diagram shows a zoomed out view of all the main points of the assembly and where they are in the building and how they work together with each other.

Finishing/Cladding/Sacrificial Layer

Thermal Insulation

A66

Storm Water Management

Moisture

A67

3 - Assignment Site Strategies 2 Concept 1 Prominence The site for this project is located on a prominent hill overlooking the city of Vilnius. Just as the Soviet government recognized, there is an important visibility that comes with positioning the building at the top of Tauras Hill. This allows the building to be seen all throughout the city, as well as for all of the city to be seen from the building. From this location, it is quite clear the divisions in architecture that have formed throughout the many eras of growth and construction. The Old Town, with its historic and classical architecture, constructed of the material of the times, wood. This is juxtaposed against the concrete, steel, and glass that makes up the New City across the river. This dichotomy cuts across the site along the axis that defined the urban development at the time of this material conversion. The eastern form points towards the Old Town, but also acts as a funnel to direct visitors to the break between the A68 forms, directing them down to the views of the city. The western form connects with the New City across the river, emphasizing the views from the site.

A69

Site Strategies Concept 2 Inclusion The contrary to the prominence responded to above, is a strategy of a level of inclusion within the urban fabric at the base of the hill itself. This serves two important purposes. The first is to connect the structure with the city itself, and not have it represent a figure that towers over the city, seemingly disconnected. The second is to preserve the qualities of the Tauras Hill that made it known even in the 1300s, the views from the peak of the hill itself. Placing the structure at the top removes the natural possibilities for people to gather and overlook the city, without having to fulling interact with the building itself. The opposite of this serves the best of two worlds, one where the park can live undisturbed, and the building can interact with the city.

A70

A71

Site Strategies Concept 3 Rejection Over the years Tauras Hill has been subject to many alterations and changes that have eroded away at its natural form. One of these is with the topography. The smooth slopes have been graded away to form flat terraces connected by steep declines. This strategies begins to reject these alterations and proposes a building that fits into the existing landscape, exposing the man-made topography at its base while suggesting the former topography with it's roof line. The southern portion of the building is anchored into the site to allow a seamless transition from the peak of the hill. Connecting the cemetery and park space south of the site to a rooftop terrace overlooking the city.

A72

A73

Program Requirements General Concerns on Acoustics

Acoustics is often one of the most challenging components to master in a project, which leads to there usually being an acoustical consultant for major projects. Concert halls and opera houses are at the peak of this complexity. Here the acoustics are everything. The acoustics in the main performance hall will be judged against thousands of other halls, trying to become the new favorite. If the quality of the sound in the space is not perfectly resolved, the orchestra or opera performers will not want to perform there, and all of this planning and money goes to waste. There are many things to be cognizant of while trying to design a space that will be used for music. One of the main ones, particularly in how it applies to the architect is reverberation time. This is one of the most concrete methods of judging the overall sound quality of a space. The ideal reverberation time is between 1.7 and 2.1 seconds. This means that there is just enough of a muffle that every single imperfection can not be heard, A74 but not too long that there begins to be bad echoes and muffled speech. The way to accomplish this is through a balance of absorptive materials and the volume of the space, both things an architect can control. The ideal volume of a performance hall is 400 ft^3 per audience member. Ultimately, space planning and the removal of ambient noise also fall in the lap of the architect. Ideally, mechanical spaces will be underground and on grade, far from the performance spaces. There are truly not all that many different formats for concert halls. The shapes of the spaces stay the same, often materials are the major changes. These materials still aim to achieve the same level of reflection and absorption of the predecessors that have come before them. One of the challenges of designing a mixed use, concert hall/opera house, is that both performances require different acoustic design strategies. In order to combine these into one, some element of quality has to be compromised, as well as adjustable elements need to be added to the program. These include openable baffles that act as reverberation chambers to adjust for different levels of sound, as well as different qualities of people in the audience.

1.7 - 2.1 Seconds

60%

Absorption

400 ft3

2,500

Ideal Reverberation Time

Ideal Absorptive Materials in Audience Area

Ideal Coefficient for Volume of the Performance Hall

Maximum Recommended Capacity

Space Planning is Important, Use Storage and Office as Buffers

Rooms with Two Matching Dimensions Should Be Avoided

Offset Doors to Not Be Across from Each Other

Sound Isolation Needed Between Spaces

Mechanical Spaces in Basement, Preferably on Grade

Duct Work Needs Acoustically Treated and Individual Branches

Operable Windows Allow Too Much Ambient Noise

Risers Help Performers Hear Others and Themselves

per Seat

People

Performer - Audience

Audience - Performer

Performer - Performer

Audience - Audience

- Intimate, but Not Enough to Inhibit Projection and Higher Dynamics - Multiple Levels of Audience Help Performers Not See an Amorphous Sea of Faces - Operating Theater is Not Appropriate

- Enough Space on Stage - Can Performers Hear Each Other - Risers Needed to Separate Performers - Risers Help the Stage Feel Smaller

- Aisle Spacing - Row Spacing - How Many Toilets in the Restroom

Relationships

Ambient Noise Tolerances Music Activity Space Recording Studio Performance Hall Instrumental Rehearsal Choral Rehearsal Music Classroom Ensemble Practice Music Listening Circulation/Lounges

Rectangular Shape

Balcony

Maximum HVAC Velocities

□ Flat or Gently Sloped Floors □ Elevated Orchestra Pla�orms □ Significant Side Wall Diffusion □ Limit 2200-2400 Seats □ Height Greater Than 50’

Concert Hall D < 2H Ѳ < 25°

Opera House

Characteristics of the "Best" Hall

Ѳ < 45°

Guidelines for Balcony Dimensions

dBA 20 25 35 35 35 38 42 47

Criterion Curve 10 15 20 25 30 35 40

Supply (fpm) 200 250 300 350 425 500 575

Return (fpm) 250 300 350 425 500 575 650

Recommended Minimum Noise Isolation Class for Separating Wall/Floor/Ceiling Construction

Space Recording S. Main Hall Instrumental Choral R. Organ Prac. Music Class. Music Listen. Individual P. Ensemble P. Elec. Music Office/Studio Circulation

Recording S. Main Hall Instrumental Choral R. Organ Prac. Music Class. Music Listen. Individual P. Ensemble P. Elec. Music Office/Studio Circulation

Stage

Narrow, Less Than 75’

D<H

Criterion C. 10 15 25 25 25 30 35 40

*Adjacencies Boxed in Require Isolation Construction that Prevent Them from Being Placed Next to Each Other.

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Types of Theaters

Types of Rehearsal Rooms

For a concert hall/opera house there are three main types of rehearsal spaces. It is important that each has their own space as the requires for each are not shared. The first of these is the instrumental practice areas. This often requires the most space, as well as the most volume. It is important that these spaces are separated from other rehearsal rooms to avoid interference as well as have a large number of absorptive surfaces to dampen some of the volume that comes from a large orchestra. Choral rehearsal spaces have the ability to be a bit smaller in area and volume, as well as have slightly more flexibility with room finishes. Ballet rehearsal spaces are completely different and can not truly serve as music practice spaces. Here solid finishes

Audience

Audience Audience

Audience

Vineyard

Stage

Audience Stage

Audience

Audience Audience

AudienceAudience Audience Audience Audience

Audience Audience Audience Audience Audience

Balcony Balcony AudienceAudience

Audience Audience AudienceAudience

Orchestra Orchestra

Audience Audience

Stage

Audience AudienceAudience

Stage

Audience Audience

Audience Stage

Audience

Balcony Audience Balcony Audience

Audience

Audience Orchestra Orchestra

Stage

Audience

Stage

Orchestra Audience Audience Orchestra

Audience

Orchestra Orchestra

Audience

Audience Audience

The two main types of theater halls are Vineyard and Shoebox. Vineyard halls are a fairly modern idea; here the audience is seated in terraces reminiscent to a vineyard. The seating may either partially or completely circle the stage. The classic hall, Shoebox, has a rectangular shape and the rough proportions of a tennis-shoe box. High volume, narrow width, and multiple levels of audience are key characteristics. Shoebox halls are actually superior to Vineyard halls in terms of envelopment, source strength, and minimal seat variation. Rectangular halls provide early sound reflections with narrow and parallel side walls that envelop listeners and increase clarity. Wall surfaces do not need to be smooth; it is actually better to have highly diffusive walls that scatter the sound. The best halls have gently sloping or flat floors and elevated orchestra platforms. Standard theaters and auditoriums have raked seating for better sightlines, though in the case of opera and concert halls, it is best to have the orchestra platform at or above the height on the last row of seats. This ensures that clear sound can reach the back of a room, rather than getting trapped in the pit. The orchestra has to A76 be able to hear themselves, reflective surfaces are a must. Since the stage in Shoebox halls is located at one end of the space, right up against a highly reflective surface, sound is confined to a 90-degree lateral angle. Compared to Vineyard halls where the orchestra is in the middle and sound radiates into the full 360-degree space, the sound strength is higher in Shoebox halls.

Audience

Shoebox

Two Main Types of Theaters Instrumental

Choral

Ballet

30 ft2 per Person 400 ft3 per Person 20 ft Ceiling Heights Never Carpeted Absorptive Panels on Front and Rear Walls

15 ft2 per Person 300 ft3 per Person 15 ft Ceiling Heights Carpet Not Recommended Absorptive Panels on Front and Rear Walls

100 ft2 per Person 15-20 ft Ceiling Heights Wood Floors Mirrors on Walls Make Music Rehearsal Not Possible A Flat Floor with No Risers

Proscenium

Thrust or Open

Arena Audience

Stage

Apron

Audience

Stage Audience

Types of Stages

Orchestra Pit Audience

Proscenium Arch

Stage Stage Stage

Proscenium

Audience

Orchestra Pit / Audience

Thrust

such as wood floors and mirrored walls produce spaces that bounce too much sound back into the center of the room. This can be corrected by having absorptive panels that can cover the mirrors when the space is not used for ballet. Risers that are also needed in choral and instrumental practice spaces can also not be used in ballet spaces, unless they are temporary and can be removed easily.

Arena

Three Main Types of Stages

There are many different sizes and shapes of stages. The three main types of stages are Proscenium, Thrust, and Arena. A Proscenium theatre stage is located at one end of the hall and physically separated from the audience with the Proscenium Arch. A Thrust stage extends into the space and the audience surrounds it on three sides. The Arena, on the other hand, is where the stage is completely surrounded by the audience. Among these three, there are other sub-varieties of stages. Proscenium o End-stage o Platform Thrust o Traverse o Studio Arena o Environmental o Black Box o Theater-in-the-Round o Courtyard o Hippodrome

A77

Case Studies Vienna Philharmonic The Grosser Musikvereinssaal in Vienna is one of the oldest, and finest concert halls in the world. Constructed in 1870, this shoebox style hall has a reverberation time of 2.0 seconds when fully occupied. The majority of the surfaces are plaster or brick, with many irregularities and ornamentation around the audience area. The seats are only lightly upholstered, some are not even upholstered at all. This hall does not have an orchestra enclosure, but does have a slight proscenium. Most audience seats are located in rows looking directing at the stage, but a few seats are located on balconies on either side.

A78

Surround shape

2003 Vienna Philharmonic Volume m³ Number of Seats Reverberation Time Type of Theater Year Built

15,000 1680 2.0s Shoebox shape 1870

Berlin Philharmonic Volume m³ Number of Seats Reverberation Time Type of Theater Year Built

26,000 2212 1.9s Surround shape 1963

Luzern Philharmonic Volume m³

18,000

Number of Seats

1,840

Vienna, Grosser Musikvereinssaal Philharmonic

Reverberation Time

3.0s

A79

Reverberation Time Luzern Philharmonic Continuing with looking at concert halls in the shoebox style, the Switzerland Culture and Congress Center Concert Hall in Lucerne was opened in 1999. The hall seats 1,892 in a similar manner to the concert hall in Vienna discussed earlier. One of the unique things about this hall is the 6000 cubic meters of reverberation chamber on the sides of the main audience area. With 50 operable, curved doors, the acoustic quality of the space can be adjusted depending on the quantity of audience members or the type of performance being done. With the doors open the reverberation time is 2.1 seconds. When they are closed, 1.9 seconds. When the curtains are pulled in front of the door, the reverberation time becomes 1.7 seconds. It might not seem like a lot of change, but this versatility is essential to the performers and audience members that have developed extremely sensitive hearing from years of study.

Type of Theater Year Built

Surround shape 1963

Luzern Philharmonic Volume m³

18,000

Number of Seats

1,840

Reverberation Time Type of Theater Year Built

3.0s Shoebox shape 2000

Walt Disney Concert hall Volume m³

A80

1.9s

30,600

Number of Seats

2265

Reverberation Time

1.85s

Type of Theater Year Built

Surround shape 2003

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Concert Hall

Circulation spots

Seating

Luzern Philharmonic

Berlin Philharmonic One of the most famous concert halls is the Berlin Philharmonic, seating 2,212. 250 of those seats are actually behind the stage, with 300 on either side. This hall is one of the pioneers in the vineyard style, with seats surrounding the stage on all sides. This style of hall has unique features acoustically. The experience when seated in front of the stage are quite different than for those sitting behind. The sound from the rear seats is not ideal, but many concert-goers enjoy the experience of feeling like they are involved in the action that it makes up for the less than ideal acoustics. This hall is considered one of the more successful vineyard shapes halls however. Curved panels had to be hung from the ceiling to help with projection as there is no wall behind the performers that would normally help with this. The reverberation time for this hall is 1.9 seconds.

A82

Vienna Philharmonic Volume m³ Number of Seats Reverberation Time Type of Theater Year Built

15,000 1680 2.0s Shoebox shape 1870

Berlin Philharmonic Volume m³ Number of Seats Reverberation Time Type of Theater Year Built

26,000 2212 1.9s Surround shape 1963

Concert Hall

Circulation spots

Seating

A83

Berlin Philharmonic

Walt Disney Concert Hall The home of the Los Angeles Philharmonia is the Walt Disney Concert Hall opened in 2003. While the exterior of the building is quite expressive and unique, the interior performance hall is a rather standard hybrid of the shoebox style with some minor additions from the vineyard. The majority of the seats are in rows directing in front of the stage, there are however seat on all four side of the stage. Many of the sound qualities discussed for the Berlin Philharmonic above apply here as well. The reverberation time is 1.85 seconds, which is on the lower end of the spectrum. The reflecting walls and panels of the space are not extremely effective, with many complaining that the rear and main floor seats do not have satisfactory acoustic quality. Many say the hall is best for contemporary music or large orchestral compositions.

A84

Concert Hall

Seating

Circulation spots

Year Built

2000

Walt Disney Concert hall Volume m³

30,600

Number of Seats

2265

Reverberation Time

1.85s

Type of Theater Year Built

Surround shape 2003

A85

A86

Auditorio de Leon Leon, Spain Mansilla and Tunon

The auditorium Leon is a magnificent architectural piece that is divided into two separate buildings in response to the environmental conditions of the emplacement. The main part of the building hosts the concert hall, while the second part of the building hosts the exhibition rooms. The large auditorium can hold anywhere from 600-1200 people. Due to the fact that concert hall is a bifocal hall it can host much more than just concerts. The unique façade that gets everyone’s attention is constructed as a stack of windows with two different orders, the perimeter of the hollow and the hollow of each window, as a response to the needs of the spaces inside. The theater part can be broken up into three different types of theaters allowing for multiple events to be going on at one time. The theater is located in the middle of the city allowing for easy access as well as a centerpiece for the city to see. Connecting the cemetery and park space south of the site to a A87 rooftop terrace overlooking the city.

TODESK STUDENT VERSION

Section

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

BESAMENT Second Floor

PRODUCED BY AN AUTODESK STU

PRODUCED BY AN AUTODESK STUDENT VERSION

First Floor

BY AN AUTODESK STUDENT VERSION

Basement A88

A89

Mechanical Systems

The mechanical system in this building is one of the most unique systems that has ever been built or placed in a building. In a normal building the mechanical system is usually in the rafters or on the roof. However, in this building the mechanical system is located underground. This allows for the building to act in the way it does, by breaking up into three different spaces, while keeping one continues mechanical system throughout the building. The heat and A/C travel up through the sides of the walking paths that go around the theater. This allows for the building to stay cold or warm. As well keep it all underground allowing for better acoustics in the building.

A90

A91

Programming and Occupancy Data

VILNIUS HALL PROGRAM

This charts include calculations to find the total number of occupants allowed in each space and how this corresponds to the number of required restrooms and egress locations.

PUBLIC FUNCTIONS

ZONE

PROGRAM entrance/lobby

QUANTITY 1

MANAGEMENT

MAINTENANCE

8000

13333

A-3

NET 15

GROSS

OCCUPANTS

COEFFICIENT FOR EGRESS

DOORS PER ROOM

533

10.9

350

583

150

0.1

250

417

150

0.1

cloakroom

800

1333

150

0.2

first aid station

150

250

150

0.0

restaurant/café

1500

2500

A-2

100

2.0

350

583

A-2

1.0

kitchen

400

667

A-2

200

0.1

kitchen storage

133

A-2

300

0.0

main hall

16000

26667

A-1

1600

32.7

stage

3000

5000

A-1

200

4.1

staff entrance

100

150

0.0

3000

5000

150

0.7

meeting rooms

BACKSTAGE AREA

GROSS SQFT

COEFFICIENT

reception/info center

offices

A92

NET SQFT

OCCUPANCY TYPE

security station

bar

MAIN HALL

AREA

900

1500

150

0.2

staff closet

150

250

150

0.0

coffee room/staff room

400

667

150

0.1

1500

2500

F-1

100

0.5

1 133

0.0

2.7

300

6.1

hall backstage areas audio, production, lighting storage

200

333

S-1

300

dressing rooms, lockers, bathrooms for performers

4000

6667

A-3

rehearsal rooms

4500

7500

A-3

recording studio

500

833

150

0.1

stage manager room

150

250

150

0.0

instrument/equipment storage

1500

2500

S-1

300

0.3

staff entrance

200

333

150

0.0

security

150

250

150

0.0

loading bay

1000

1667

F-1

100

0.3

delivery, packaging, box storage

1000

1667

F-1

100

0.3

prep room and warehouse

2500

4167

F-1

100

0.9

workshops

1250

2083

F-1

100

0.4

workshop storage

400

667

S-1

300

0.1

workshop office

250

417

150

0.1

furniture and prop storage

500

833

S-1

300

0.1

waste room

200

333

S-1

300

0.0

it room

1000

1667

S-1

300

0.2

TOTAL NET AREA

TOTAL OCCUPANCY

56190

3144

TOTAL GROSS AREA 93650

60% EFFICIENCY

*Less than 1 = 1 Door

FIXTURE COUNT CALCULATIONS

WATER CLOSETS

LAVATORIES

OCCUPANCY BY ZONE

COEFFICIENT

# REQUIRED

HALL & LOBBY (A-1/A-3)

2133

1 per 200

Male

1067

M:1 per 125

Female

1067

F:1 per 65

RESTAURANT (A-2)

154

BUSINESS (B)

ZONE

DRINKING FOUNTAINS COEFFICIENT

# REQUIRED

1 per 500

1 per 75

1 per 200

1 per 500

1 per 25, 1 per 50

1 per 40, 1 per 80

1 per 100

BACKSTAGE (A-3)

633

1 per 200

1 per 500

Male

317

M:1 per 125

Female

317

F:1 per 65

INDUSTRIAL (I/S)

142

1 per 100

1 per 400

TOTAL

3144

COEFFICIENT # REQUIRED

10 A93

Stone House / Emilio Tuñón Cáceres, Spain

Conceptual Narrative

The Stone House, or Casa de Piedra is designed as a simple geometric volume located in Cáceres, Spain and was designed by Emilio Tuñón and completed in 2018. It has a simple square floor plan with a dimension of 16 meters (52.5 feet) on each side of the square. Each side of the house has three square windows that can slide into a cavity in the wall, creating a seamless transition from inside to outside. The exterior walls are constructed with local quartzite stone over the entirety of the walls. Extremadura granite is used to frame around the windows. The project is strictly regulated by a nine square grid system. Tuñón then uses the grid lines and expands them to house private, service spaces within the house. The grid divides the house into nine cubed spaces that are 4.2 meters 13.7 feet) square in plan. The center space is the location of a spiral staircase leading down to the lower level. The other spaces include a kitchen, office space, and bedrooms. Two of these cubes are combined together to form the A94 living room. The closets and bathrooms are then located within the thickness of the grid between the rooms. Vertically, the spaces are divided in half through function and material. The lower layer is clad with oakwood boards. Behind these boards are closets, mechanical equipment, and appliances. Above this is a layer of white concrete, completely free of services, with the exception of one window per room. The lower level, below grade, features a garage, utility space, as well as a guest bedroom.

Location Map, Sierrilla Housing Estate, Cáceres, Spain

View from Pool

Site Plan

Main Floor Plan

SPAIN Madrid Cáceres

Location

Site

This house is located in an area of Spain that does not see an extreme amount of temperature variation, requiring strong thermal performance for winter conditions. This is evident through the continuity between inside and outside and with outdoor spaces inside the house. Since the lower service level is hidden within the ground, a long section of the site was excavated to lead down to the garage doors from vehicular access. The remainder of the site is laid out with a variation of different sizes of squares, playing off the strong motif of the house. A square pool provides an opportunity to see the reflection of the cubic volume continue further.

House Facade

Site Concept

Main Entry Lower Entry

Pa�o

Driveway

Pool

House Section

Site Zones

A95

Geometry

As mentioned briefly above, the 16-meter by 16-meter square plan is divided into nine equal squares that form the many rooms of the house. This main grid is used to develop the fenestration pattern as well. Each third of the wall has a square window directly in the center of it. This creates the repetitive, yet simple, matching facades on the exterior. Each of these windows can slide into the wall and open, dissolving the boundaries between interior and exterior space.

9 Square Main Grid

A96

Exploded Axonometric

484 Square Sub Grid

Geometry

Each square of the grid is then further subdivided into a 6x6 grid. This overlay throughout the entire house is what dictates the service areas of the dividing walls. In section, the division between the lower wood paneled service area and the smooth white concrete finish of the upper part of the house can be seen. This datum is strong throughout the entire house.

Horizontal Datum & Material Split

Interior Showing Material Split

Window Geometry & Repetition

Square Window from Exterior

A97

Spatial

While the nine square grid provides much of the geometric references for the house, it also is experienced spatially. Each room is a compartment of the system. There are two exceptions to this system. One is the entry area that the roof it left off, opening up a small courtyard like space. The other exception is the living room space that is plan is a combination of two squares. In section however, there is still some semblance of the grid overhead.

A98

Phase 1: Rooms

Living Room

Phase 2: Bathrooms

Bedroom Showing Closet & Vanity

Spatial

The grid is given a width of almost five feet to allow for program to occupy the grid itself. This is accomplished three ways. The first is through the bathrooms located at the vertices of the grid. They are rotated in a pinwheel fashion, varying which wall of each room has access or service/closet space. Off of these bathrooms are T-shaped wall assemblies that frame in closets, makeup areas, as well as mechanical equipment. The spaces within the grid that are left over serve as transition spaces between each room. Each of these has four doors and one must assume that make of these doors remain open through the day.

Phase 3: Closets / Service

Main Floor Section Diagram

Phase 4: Wall Assemblies

Interior Courtyard

A99

A100

Spatial Geometry 3D

Sequence

One of the unique features of this house is the absence of a front door. Since every exterior window can open and allow entry, there is no need for one specialized point for this to occur. For the family, the entry through the garage and up from the dark lower level, through the spiral staircase, to the brightly lit house above would have to be quite spectacular. As for movement throughout the house, this is almost unlimited. Every room has four entrances/exits making circulation quite fluid. There is one counterclockwise path that would be dominant however as user would circulate from the entrance to the kitchen, working their way through the living room and eventually to bed, following the standard daily routine.

Sequence in Section

View from Driveway

Movement Diagram

Main Entrance

A101

Structure

For a house with this many walls it would be thought that the structure would be quite simple, but in reality, the designers had to use large beams to carry the roof load from the exterior walls. There are no load bearing elements on the upper level below the white concrete datum line. This leads to quite thick walls and roof elements, but this thickness directly fits with the smaller grid discussed earlier.

A102

Main Floor Plan Structure

Above Ground Structure

Roof Structure

View on Roof

Hierarchy

The Stone House is predominantly a house with little emphasis on hierarchy. From the exterior, the house is a simple cubic volume sunken into the site, with square windows positioned very regularly around the exterior. From the plan, there is a strong emphasis on the square and that can be seen at many different levels. This square theme is broken only by the spiral staircase, which draws your eyes to the center of the space. The other area that clearly not following the hierarchical system is the living room discussed earlier, where two cubes become one.

Hierarchy of the Square

Breaking the System

Spiral Staircase

A103

Program

The design solutions for private vs public spaces in the Stone House is one of Tuñón’s strongest accomplishments for this project. By placing the lower level below grade, Tuñón was able to hide the majority of the less sightly functions and any features that could not conform to the grid system above, down here. The only private spaces in the upper level are hidden away with the walls so to speak. This makes the public spaces of the house that much more prominent.

A104

Room Diagram

Private Diagram

Ancillary Diagram

Kitchen

A105

Private Spaces 3D

Building Strategies Concept 1

Elevated Prominence This first building strategy is the synthesis of the original site strategy for prominence on the site as well as portions of the compositional strategy of the Rural House by RCR Architects. This site strategy was selected through further analysis of the site and the importance of utilizing the topography of the hill to its fullest potential. This led to a further exploration of using the top of the hill to host the structure. The goal of this strategy was to create a building that takes advantage of the views of the site. This is a two-part operation however. First is to take advantage of the views from the site looking out over the city. Second is for the building to be visible from other points within the city. This can be seen in the previous building on the site. Allowing the views to penetrate through the building, the lower lobby is a view layer of glass, similar to the Rural House but turned on its side. The layer above this is a solid layer of rehearsal spaces and offices. Above this A106 layer is the upper lobby, another transparent layer. This provides the best views of the city and serves as an important point in the sequence to enter the theater, which is the next layer above. In order to maximize the visibility from throughout the city, the height of the building is one of the key factors being looked at. The minimal footprint of the building is the outline of the theater space. Since the full square footage of the theater is not needed on every level below, the floor plate of each subsequent level is carved away, maximizing the height. This also creates a covered overlook area to view the city. Since this building holds a civic prominence in the city, the progression throughout the space reflects this experientially. The views of the city can be seen upon entering the structure, but the user is now directed to an escalator sequence to raise them up to the upper lobby, where here the views of the city are magnified. At this point, the user can enter the theater and see their performance. At the opposite end of the building is a warehouse and shop space below grade to service the building.

Rural House

Rural House Circulation

Collage of Site Prominence

Site Plan

View from Site at High Elevation

View of Site from Across the River

A107

Mechanical

IT Room

Stor

Shop Oﬃce

Workshop

Warehouse Furniture Storage

Cloakrm.

Cafe Bar Kitchen

Security Waste Room

Oﬃces First Aid

Entrance/Lobby Recep�on/Info Security

Loading Bay

Receiving

Staﬀ Enter

Mechanical

Below Grade Level

Ground Level

Upper Lobby

Recording Studio Oﬃces

A108

Rehearsal 1

Rehearsal 2

Oﬃces

Break Area

Break Area Mee�ng

Mee�ng Manager

Mee�ng

Dressing Room

Mee�ng RR

Rehearsal 3

Stage

Dressing Room RR

Instrument/ Equipment Backstage/Tech

Second Level

Theater Level

Main Hall

Stage

Balcony Level

Roof Plan

The lowest level of the building houses a warehouse, shop space, as well as mechanical spaces to avoid ambient noise in the performance and rehearsal spaces. This level also houses a loading bay and receiving area. Above this level is the ground level entrance area. Here is the lower lobby, along with a restaurant as well as reception and info areas. Off to the side is an additional entrance for the staff and performers so they do not have to travel through the lobby space. Above this level is the space for the performers. Here are rehearsal spaces separated by storage rooms to maximize the separation of spaces. On either side are offices. Up on the next level is the lobby for the theater in the front and the backstage and dressing room areas in the back. The top level of the building is the theater main hall itself, separated in two levels, the lower, and the balconies. The style of the theater is vineyard as this leads to the creation of the form of the building.

Section

MAS Museum, Neutelings Riedij Berliner Philharmoniker, Hans Scharoun

A109

In order to frame the views of the city, the rhythm and spacing of the Rural House is used on its side to accomplish this. As for passive strategies, there are two major benefits of this strategy. The first is the pulling back of each level. This provides an overhang to shade some of the direct sunlight into the space. Since so much of these levels are glass, this is an important feature to have. An example of this can be seen in the Bank of London and South America building in the brutalist style. This also has significance with the city of Vilnius as some of its government buildings are in this style. The other benefit is the ability to minimize the effect of the building on the site. By decreasing the footprint of the building to make it taller, also decreases the amount of green space utilized. A precedent of this is by Tzannes Architects and how they applied these strategies to a house with views of the water, but little site to work with.

A110

Passive S. Precedent: Bank of London and South America, Clorindo Testa

Compositional Diagram

Upper Lobby

Lower Lobby

Circulation Diagram

Passive Strategy Precedent: Point Piper Residence, Tzannes

A111

Pulling Back of Levels to Create Overhangs that Shade the Large Amount of Windows

A Taller Structure Reduces the Overall Footprint and Impact of the Site by the Building

Building Strategies Concept 2

Elongated Prominence The second strategy follows many of the same principles as the first. This involves using the prominence of the site to create a building that can see and be seen. Here it is accomplished through a long bar building facing the city. In order to leave the connection from the back of the site to the front, the building is lifted off the ground. Here the composition of the Stone House is used to help decide which objects penetrate down to the ground to support the building and allow for circulation. Each different type of user entering the building has their own tower to enter into. For concert goers, they enter through a large escalator lobby to ascend up to the lobby level. Here they have great views of the city as well as the courtyard. The four central pieces are mainly multiple story spaces, with the spaces in between being only one level. The public is mainly kept to the central level with private spaces being above and below. There is a plinth underneath A112 of the building, but only under portions to facilitate mechanical rooms.

Stone House

Stone House Composition

Collage of Framing the View

Site Plan

View from Site at Ground Level

View of Site from the South

A113

Meet. Meet.

Restaurant/Cafe

Meet.

Bar

Kitchen

Stor Wo. RR

Balcony

Stage

Men RR

Oﬃces

Oﬃce Entry

Oﬃces Break Room

Third Level

Info

Lobby

Women RR

First Aid

Dressing Room

Backstage

Main Hall

Tech

Stage

IT Rm

Security

Cloakroom

Manager Men RR

A114

Backstage

Dressing Room

Second Level

Security

W. RR

Rehearsal 1

Inst Rehearsal 3 Stor

Warehouse Shop Stor. Workshop

Oﬃce Waste Receiving

Staﬀ Entrance Rehearsal 2 Entrance

Men RR

Inst Rec. Inst Stor Studio Stor Furn. Stor.

Loading Bay

Ground Level

Mechanical

Balcony Level

Mechanical

Starting underground, underneath the outer towers are mechanical rooms to reduce ambient noise above once again. There are no mechanical rooms underneath the rehearsal spaces in regard to this as well. The next level is the ground level. Most of this is open to allow the site to seamless flow from the top of the hill to the bottom. The courtyard allows light to enter the space and allows things to grow. The building touches the ground at three points. The first lobby is the entrance to the main hall with the large escalator to bring people into the lobby. The next area is for the warehouse and rehearsal spaces. They have their own entrance and service areas. Above this level is the main level, 30’ above the ground with great views of the city. Here is the reception and info areas as well as the lobbies into the main hall. The stage and dressing rooms are on the opposite side. The level above is for the restaurant, with even better views of the city, as well as offices for the whole building.

Section

Simon Fraser U, Arthur Erickson Garducho Biological, Ventura Trindade

A115

The separation of multi-story spaces and single-story spaces from the Stone House helps to define the section of the building. It also can be seen in plan as the separation of large open spaces framed by small ancillary spaces. There are once again two passive strategies to look at for this building. The first is the courtyard as it allows natural light to enter into the center of the building, and also allows greenery to grow underneath the building. This reduces the effect of the building on the environment and site. The Stone House is once again a precedent for this. The second strategy is the large horizontal potential for a green roof. The ancillary spaces can be completed covered with a green roof that will slow the flow of rainwater as well as provide a natural form of insulation, similarly to how this was accomplished at the Nottingham Contemporary.

A116

Passive S. Precedent: Green Roof, Nottingham Cont., Caruso St John

Compositional Plan Diagram Upper Lobby

Lower Lobby

Compositional Section Diagram

Passive Strategy Precedent: Courtyard, Stone House, Emilio Tunon

A117

The Courtyards Allow Natural Light into the Central Spaces, Warming During Cold Winters

The Large Amount of Horizontal Roof Space Can Be Covered With a Green Roof

Building Strategies 4- Assignment 3 Concept 1

Elevated Prominence This first building strategy is the synthesis of the original site strategy for prominence on the site as well as portions of the compositional strategy of the Rural House by RCR Architects. This site strategy was selected through further analysis of the site and the importance of utilizing the topography of the hill to its fullest potential. This led to a further exploration of using the top of the hill to host the structure. The goal of this strategy was to create a building that takes advantage of the views of the site. This is a two-part operation however. First is to take advantage of the views from the site looking out over the city. Second is for the building to be visible from other points within the city. This can be seen in the previous building on the site. Allowing the views to penetrate through the building, the lower lobby is a view layer of glass, similar to the Rural House but turned on its side. The layer above this is a solid layer of rehearsal spaces and offices. Above this A118 88 layer is the upper lobby, another transparent layer. This provides the best views of the city and serves as an important point in the sequence to enter the theater, which is the next layer above. In order to maximize the visibility from throughout the city, the height of the building is one of the key factors being looked at. The minimal footprint of the building is the outline of the theater space. Since the full square footage of the theater is not needed on every level below, the floor plate of each subsequent level is carved away, maximizing the height. This also creates a covered overlook area to view the city. Since this building holds a civic prominence in the city, the progression throughout the space reflects this experientially. The views of the city can be seen upon entering the structure, but the user is now directed to an escalator sequence to raise them up to the upper lobby, where here the views of the city are magnified. At this point, the user can enter the theater and see their performance. At the opposite end of the building is a warehouse and shop space below grade to service the building.

Rural House

Rural House Circulation

Collage of Site Prominence

Site Plan

View from Site at High Elevation

View of Site from Across the River

A119 89

A120 92

Passive S. Precedent: Bank of London and South America, Clorindo Testa

Compositional Diagram

Upper Lobby

Lower Lobby

Circulation Diagram

Passive Strategy Precedent: Point Piper Residence, Tzannes

Section

MAS Museum, Neutelings Riedij Berliner Philharmoniker, Hans Scharoun

A121 91

Mechanical

IT Room

Stor

Shop Oﬃce

Workshop

Warehouse Furniture Storage

Cloakrm.

Cafe Bar Kitchen

Security Waste Room

Oﬃces First Aid

Entrance/Lobby Recep�on/Info Security

Loading Bay

Receiving

Staﬀ Enter

Mechanical

Below Grade Level

Ground Level

Upper Lobby

Recording Studio Oﬃces

A122 90

Rehearsal 1

Rehearsal 2

Oﬃces

Break Area

Break Area Mee�ng

Mee�ng Manager

Mee�ng

Dressing Room

Mee�ng RR

Rehearsal 3

Stage

Dressing Room RR

Instrument/ Equipment Backstage/Tech

Second Level

Theater Level

Main Hall

Stage

Balcony Level

Roof Plan

A123 93

Pulling Back of Levels to Create Overhangs that Shade the Large Amount of Windows

A Taller Structure Reduces the Overall Footprint and Impact of the Site by the Building

PRODUCED BY AN AUTODESK STUDENT VERSION

Mechanical

Shop Storage Warehouse

Workshop

Furniture Storage

Shop Office

Security Waste Room

Receiving

Loading Bay

Mechanical

PRODUCED BY AN AUTODESK STUDENT VERSION

A124

PRODUCED BY AN AUTODESK STUDENT VERSION

IT Room

PRODUCED BY AN AUTODESK STUDENT VERSION

Restaurant/Cafe Bar Kitchen

Cloakroom

A125

Offices

First Aid Reception/Info

Entrance/Lobby

Security Staff Enter

PRODUCED BY AN AUTODESK STUDENT VERSION

Stor

PRODUCED BY AN AUTODESK STUDENT VERSION

Rehearsal 2

Offices

Offices Break Area

Break Area Meeting

Meeting Rehearsal 3

Instrument/ Equipment Storage

Meeting Manager

PRODUCED BY AN AUTODESK STUDENT VERSION

A126

PRODUCED BY AN AUTODESK STUDENT VERSION

Rehearsal 1

Recording Studio

A127

Dressing Room

Backstage/Tech

PRODUCED BY AN AUTODESK STUDENT VERSION

Main Hall

Stage

PRODUCED BY AN AUTODESK STUDENT VERSION

A128

PRODUCED BY AN AUTODESK STUDENT VERSION

A129

Final Design 4 5 - Assignment

Early Preliminary Draft Submission Design Narrative The design solution for this project is the synthesis of a site strategy involving taking full advantage of the prominence of the site within the city, and a compositional strategy used in the Toregano house, which was well suited for a vertical application. The idea of prominence was manifested into the project through the concept of to see, and to be seen. From this hill overlooking Vilnius, any building located here can be seen all throughout the city. From this site, this view works in the opposite direction as well, with the panoramic views of the city being what the hill has been known for for hundreds of years. Bringing this into the architectural realm, to accomplish the best visibility from afar, it was decided to make the building tower over the city, reducing the footprint to the smallest size possible and extruding the program and theater upwards. The pinnacle of this structure is then the 1600 person theater, a new crown of the city. To accomplish the second portion of the goal, A130 100 to see, the journey up to this theater was used to frame and showcase the panoramic views of the city in ways never seen before. Entering the building, one passes underneath an overhanging walkway, 45’ above, getting their first glimpse of the journey they are about to embark on. Once inside, the long narrow lobby is <> with a ramp, pointed upwards towards the city. At the base of the ramp, the lobby is almost 60’ tall, framed on all sides by different functions of the building. On the left at the second level are windows giving glimpses into the rehearsal rooms. Straight in front of you on the third level is a walkway that carries staff between their various offices. Up near the ceiling, small openings give glimpses of performers lining up to begin their own journey up to the stage. And don’t forget the stairway you previously walked up. The building is buzzing and people are moving everywhere. To the left of the ramp, people wait in line for information or to hang their coats. For some couples here to see a concert it is the sixth one this year, and they make their way to the elevators at the end of

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

RAMP

Roger William Univers

Lucas Hartman

School of Architec Fall 2020 ARCH 513 Section Integrated Projec Prof. Roberto Viol

Lucas Hartman

RESTAURANT

Lucas Ha

Insert Catchy Name Here

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

REHEARSAL 2

Insert Catchy Name H

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

MECH 2

SHOP

MECH

PRODUCED BY AN AUTODESK STUDENT VERSION

WAREHOUSE

PRODUCED BY AN AUTODESK STUDENT VERSION

3 KITCHEN

CUSTODIAL 1

Concert Hall and C Tauras Hill Vilnius, Lithuania <> <>

REHEARSAL

INSTRUMENT

STORAGE

REHEARSAL 2

HALLWAY 1

2 MECH 1

RR 1 INSTRUMENT

STORAGE

MECH 1

CLOAKROOM 1

MECH REHEARSAL

INFO STAFFENTER

OFFICE

FIRSTAID

RECEIVING/LOADINGDOCK 2

Date 10/22/2020 Scale 1 8" = 1'-0"

Date 10/22/202 Scale 1 8" = 1'-0"

LOBBY 4

Basement Floor Plan

ELEVATORLOBBY 1

First Floor Plan

STAFFENTRANCE 2

ELEVATORLOBBY 1

Seco Floor P

ELEVATORLOBBY 1

SECURITYVESTIBLE MECH

A1.0 Entry Level

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION 2

Rehearsal RoomA1.1 Level

MEETING

STORAGE

School of Architec Fall 2020 ARCH 513 Section Integrated Projec Prof. Roberto Viol

Lucas Hartman

Insert Catchy Name Here

Insert Catchy Name H

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

Concert Hall and C Tauras Hill Vilnius, Lithuania <> <>

RECORDINGSTUDIO 2

OFFICE

Lucas Ha

CONFERENCE

UNDERTHEATERSLOPE

OFFICE 1

OPENOFFICE 1 OFFICE 1

HALLWAY

OFFICE 1

INSTRUMENT

DRESSINGRM

OFFICE 1

HALLWAY

OFFICE

PRODUCED BY AN AUTODESK STUDENT VERSION

INSTRUMENT

William Univers

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

A131 101 Roger

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

PRODUCED BY AN AUTODESK STUDENT VERSION

MEETING

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

BREAKRM

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

RAMP

MECH

PRODUCED BY AN AUTODESK STUDENT VERSION

Basement Level

PRODUCED BY AN AUTODESK STUDENT VERSION

MECH

OFFICE 1 INSTRUMENT

STORAGE

OFFICE

UNDERSTAGEMECH 0 BACKSTAGEWAITING 1

Date 10/22/2020 Scale 1 8" = 1'-0"

Third Floor Plan

ELEVATORLOBBY 1

Fourth Floor Plan

ELEVATORLOBBY 1

Date 10/22/202 Scale 1 8" = 1'-0"

Fift Floor P

ELEVATORLOBBY 1

MECH

A1.3

A1.4

RAMP 3

Dressing Room Level

PRODUCED BY AN AUTODESK STUDENT VERSION

Office Level

Date 10/22/2020 Scale 1 8" = 1'-0"

Under Theater Service Level

A1 PRODUCED BY AN AUTODESK STUDENT VERSION

ELEVATORLOBBY

the lobby for their own journey to the top. But to all the first timers, the ramp seems like a more exciting way to try. As the ascension begins, the ceiling lowers as the office space enters the void above. This is temporary as the ceiling once again soars. At the top of the ramp, it turns left and is replaced by a two sets of stairs. The first views of the city appears. Some skyscrapers in the New City Center are visible, but mostly a lot of trees. On the left are people sitting in the restaurant getting a bite to eat before the concert starts. They get to take in the view as well. At the top of the stairs to platform turns left again. At this landing and opening appears for access to the meeting areas overlooking the city. But for those going to the show, the ascension continues. Here the views of the western side of the city, Vignis Park and the Soviet era TV Tower come into view. The ramp ends and turns left again, returning to stairs. The second set provide a looking point back into the lobby space previously occupied. Looking out the windows the floor is now high enough to be over the trees and views of south Vilnius come into sight. Rounding the corner again, the final section of ramp is commenced. On the right are stunning views of the Old Town. Here the regulars who took the A132 102 elevator join the procession and take in the views of Old Town. One last corner is rounded into the upper lobby. The journey culminates with the best views of the city, from 65’ above it. This last step shows the growth of the city, from the historical center on the east to the New Town and New City Center on the north from a perspective that could not be seen from anywhere else but Taurus Hill. The composition of the building is framed by three service areas. The circulation starts between these volumes but ultimately curls its way outside of them. In between these service cores are a variation of single and double height spaces framing in the lobby. Each level is based on a 13’ horizontal grid that allows for components of program to connect and interact. Up on the upper levels is the theater itself, a standard shoebox style. Below the main entry level is an underground level with areas for receiving and storage, as well as the main mechanical room for the building.

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

UPPERLOBBY 3

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

MAINHALL

Lucas Hartman

Insert Catchy Name Here

Insert Catchy Name H

Lucas Ha

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

Concert Hall and C Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

School of Architec Fall 2020 ARCH 513 Section Integrated Projec Prof. Roberto Viol

THEATERLOBBY

Lucas Hartman

PRODUCED BY AN AUTODESK STUDENT VERSION

RESTROOMS?

Insert Catchy Name Here

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger William Univers

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

THEATERLOBBY

PRODUCED BY AN AUTODESK STUDENT VERSION

THEATERLOBBY

PRODUCED BY AN AUTODESK STUDENT VERSION

STAGE 3

Date 10/22/2020 Scale 1 8" = 1'-0"

BACKSTAGE

Date 10/22/2020 Scale 1 8" = 1'-0"

Date 10/22/202 Scale 1 8" = 1'-0"

Sixth Floor Plan

ELEVATORLOBBY 1

Seventh Floor Plan

ELEVATORLOBBY 1

Eigh Floor P

ELEVATORLOBBY 1

MECH

Balcony 1A1.6

Balcony 2 A1.7

Roger Williams University

PRODUCED BY AN AUTODESK STUDENT VERSION

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Roger Williams University

Lucas Hartman

Insert Catchy Name Here

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

Lobby Section

Theater Section

A2.6

Section Through Theater PRODUCED BY AN AUTODESK STUDENT VERSION

A2.5

A133 103

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Date 10/22/2020 Scale 1 8" = 1'-0"

Section Through Lobby

PRODUCED BY AN AUTODESK STUDENT VERSION

Main Hall Level

PRODUCED BY AN AUTODESK STUDENT VERSION

While it could be considered excessive, the ascending circulation begins to give to life to a building that may only see occupants a couple evenings a week. Similar to Hudson Yards in NYC, the stairs and ramp become a programmatic element within itself and could allow for visits to the city, or life long residents, the opportunity to tour the building and see their city from a completely new perspective, while getting a glimpse of all the inner workings of the orchestra as they wind their way up.

Roger Williams University

Roger William Univers

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

School of Architec Fall 2020 ARCH 513 Section Integrated Projec Prof. Roberto Viol

Lucas Ha

Insert Catchy Name H

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

Concert Hall and C Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Lucas Hartman

Insert Catchy Name Here

Date 10/22/2020 Scale 1 8" = 1'-0"

Date 10/22/202 Scale 1 8" = 1'-0"

We Elevat

South Elevation

A134 104

A2.1 East Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

PRODUCED BY AN AUTODESK STUDENT VERSION

South Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

School of Architec Fall 2020 ARCH 513 Section Integrated Projec Prof. Roberto Viol

Lucas Ha

Insert Catchy Name Here

Insert Catchy Name H

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

Concert Hall and C Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Lucas Hartman

Date 10/22/2020 Scale 1 8" = 1'-0"

Date 10/22/202 Scale 1 8" = 1'-0"

East Elevation

Nor Elevat

A2.2

A2 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

West Elevation

Roger William Univers

A135 105

Plan Grid System

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

A136

15'-0"

165'-0"

E BALCONY 1

30'-0"

15'-0"

H RR

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Seventh

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

A137

15'-0"

165'-0"

E BALCONY 1

30'-0"

15'-0"

H RR

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Eighth

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

REHEARSAL 2

SHOP

PRODUCED BY AN AUTODESK STUDENT VERSION

WAREHOUSE 2

MECH 2

RECEIVING/LOADINGDOCK 2

Date 10/22/2020 Scale 1 8" = 1'-0"

Basement Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.0 PRODUCED BY AN AUTODESK STUDENT VERSION

A138

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

RESTAURANT 2

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

MECH

KITCHEN

PRODUCED BY AN AUTODESK STUDENT VERSION

CUSTODIAL 1

MECH 1

RR 1

MECH 1

CLOAKROOM 1

MECH 2

INFO STAFFENTER

OFFICE

FIRSTAID

Date 10/22/2020 Scale 1 8" = 1'-0" LOBBY 4

STAFFENTRANCE 2

ELEVATORLOBBY 1

First Floor Plan

SECURITYVESTIBLE MECH

A1.1

A139

PRODUCED BY AN AUTODESK STUDENT VERSION

RAMP

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

REHEARSAL

INSTRUMENT

STORAGE

PRODUCED BY AN AUTODESK STUDENT VERSION

REHEARSAL 2

HALLWAY 1

INSTRUMENT

STORAGE

REHEARSAL 2

Date 10/22/2020 Scale 1 8" = 1'-0"

Second Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.2 PRODUCED BY AN AUTODESK STUDENT VERSION

A140

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

RAMP 2

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa MEETING

MEETING

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

BREAKRM

INSTRUMENT

STORAGE

OFFICE

PRODUCED BY AN AUTODESK STUDENT VERSION

OFFICE 1

OPENOFFICE 1 OFFICE 1

HALLWAY 1

INSTRUMENT

STORAGE

OFFICE

ELEVATORLOBBY 1

Date 10/22/2020 Scale 1 8" = 1'-0"

Third Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.3 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

A141

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

RECORDINGSTUDIO 2

CONFERENCE

PRODUCED BY AN AUTODESK STUDENT VERSION

OFFICE 1

INSTRUMENT

DRESSINGRM

OFFICE 1

HALLWAY

OFFICE

OFFICE 1

BACKSTAGEWAITING 1

Date 10/22/2020 Scale 1 8" = 1'-0"

Fourth Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.4

RAMP 3

PRODUCED BY AN AUTODESK STUDENT VERSION

A142

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

UNDERTHEATERSLOPE

PRODUCED BY AN AUTODESK STUDENT VERSION

UNDERSTAGEMECH 0

Date 10/22/2020 Scale 1 8" = 1'-0"

Fifth Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.5

A143

PRODUCED BY AN AUTODESK STUDENT VERSION

UPPERLOBBY 3

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

THEATERLOBBY 3

Lucas Hartman

Insert Catchy Name Here

MAINHALL 4

PRODUCED BY AN AUTODESK STUDENT VERSION

RESTROOMS? 1

STAGE 3

Date 10/22/2020 Scale 1 8" = 1'-0"

BACKSTAGE 3

Sixth Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.6 PRODUCED BY AN AUTODESK STUDENT VERSION

A144

PRODUCED BY AN AUTODESK STUDENT VERSION

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

THEATERLOBBY 3

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

Seventh Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.7

A145

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

THEATERLOBBY 3

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

Eighth Floor Plan

ELEVATORLOBBY 1

MECH 1

A1.8 PRODUCED BY AN AUTODESK STUDENT VERSION

A146

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

South Elevation

A2.1

A147

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

East Elevation

A2.2 PRODUCED BY AN AUTODESK STUDENT VERSION

A148

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

North Elevation

A2.3

A149

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

West Elevation

A2.4 PRODUCED BY AN AUTODESK STUDENT VERSION

A150

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

Lobby Section

A2.5

A151

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/22/2020 Scale 1 8" = 1'-0"

Theater Section

A2.6 PRODUCED BY AN AUTODESK STUDENT VERSION

A152

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

A153 15'-0"

165'-0"

30'-0"

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Basement Floor Plan

A1.0

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B MECH

MECH

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

ELEVATORLOBBY 1

30'-0"

LOBBY

15'-0"

165'-0"

30'-0"

INFO 1

CLOAKROOM 1

CUSTODIAL

MECH

KITCHEN

BAR

RESTAURANT

15'-0"

STAFFENTER 1

FIRSTAID

OFFICE

15'-0"

H MECH 1

J 15'-0"

A154

SECURITYVESTIBLE

Date 11/3/2020 Scale 1 8" = 1'-0"

First Floor Plan

A1.1

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B MECH 1

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

A155 15'-0"

165'-0"

30'-0"

OFFICE

OPENOFFICE 1

MEETING

BREAKRM

OPENOFFICE 1

OFFICE

15'-0"

OFFICE

15'-0"

H RR

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Second Floor Plan

A1.2

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

15'-0"

165'-0"

30'-0"

LOUNGE

REHEARSAL

REHEARSAL INSTRUMENT 1

INSTRUMENT

15'-0"

H MECH

J 15'-0"

A156

Date 11/3/2020 Scale 1 8" = 1'-0"

Third Floor Plan

A1.3

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

A157 15'-0"

165'-0"

30'-0"

RECORDINGSTUDIO 2 BACKSTAGEWAITING

DRESSINGRM

15'-0"

H RR

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Fourth Floor Plan

A1.4

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

15'-0"

165'-0"

E UNDERSTAGEMECH

UNDERTHEATERSLOPE

30'-0"

15'-0"

H RR

J 15'-0"

A158

Date 11/3/2020 Scale 1 8" = 1'-0"

Fifth Floor Plan

A1.5

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

A159 15'-0"

165'-0"

E BACKSTAGE

STAGE

MAINHALL

THEATERLOBBY 3

30'-0"

15'-0"

H RR

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Sixth Floor Plan

A1.6

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

15'-0"

165'-0"

E BALCONY 1

30'-0"

15'-0"

H RR

J 15'-0"

A160

Date 11/3/2020 Scale 1 8" = 1'-0"

Seventh Floor Plan

A1.7

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

15'-0"

30'-0"

A161 15'-0"

165'-0"

E BALCONY 1

30'-0"

15'-0"

H RR

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Eighth Floor Plan

A1.8

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

15'-0"

165'-0"

30'-0"

15'-0"

J 15'-0"

A162

Date 11/3/2020 Scale 1 8" = 1'-0"

Roof Plan

A1.9

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

PRODUCED BY AN AUTODESK STUDENT VERSION

Date 10/30/2020 Scale 1 8" = 1'-0"

Lobby Section

A2.5

A163

PRODUCED BY AN AUTODESK STUDENT VERSION

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

15'-0"

165'-0"

30'-0"

15'-0"

J 15'-0"

A164

Date 11/3/2020 Scale 1 8" = 1'-0"

Structural Plan Lower

A3.1

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

A165 15'-0"

165'-0"

30'-0"

15'-0"

Date 11/3/2020 Scale 1 8" = 1'-0"

Structural Plan Upper

A3.2

Final Design 5 6 - Assignment

Early Preliminary Draft Submission Design Narrative The design solution for this project is the synthesis of a site strategy involving taking full advantage of the prominence of the site within the city, and a compositional strategy used in the Toregano house, which was well suited for a vertical application. The idea of prominence was manifested into the project through the concept of to see, and to be seen. From this hill overlooking Vilnius, any building located here can be seen all throughout the city. From this site, this view works in the opposite direction as well, with the panoramic views of the city being what the hill has been known for for hundreds of years. Bringing this into the architectural realm, to accomplish the best visibility from afar, it was decided to make the building tower over the city, reducing the footprint to the smallest size possible and extruding the program and theater upwards. The pinnacle of this structure is then the 1600 person theater, a new crown of the city. To accomplish the second portion of the goal, A166 to see, the journey up to this theater was used to frame and showcase the panoramic views of the city in ways never seen before. Entering the building, one passes underneath an overhanging walkway, 45’ above, getting their first glimpse of the journey they are about to embark on. Once inside, the long narrow lobby is <> with a ramp, pointed upwards towards the city. At the base of the ramp, the lobby is almost 60’ tall, framed on all sides by different functions of the building. On the left at the second level are windows giving glimpses into the rehearsal rooms. Straight in front of you on the third level is a walkway that carries staff between their various offices. Up near the ceiling, small openings give glimpses of performers lining up to begin their own journey up to the stage. And don’t forget the stairway you previously walked up. The building is buzzing and people are moving everywhere. To the left of the ramp, people wait in line for information or to hang their coats. For some couples here to see a concert it is the sixth one this year, and they make their way to the elevators at the end of

Organizational Diagram

the lobby for their own journey to the top. But to all the first timers, the ramp seems like a more exciting way to try. As the ascension begins, the ceiling lowers as the office space enters the void above. This is temporary as the ceiling once again soars. At the top of the ramp, it turns left and is replaced by a two sets of stairs. The first views of the city appears. Some skyscrapers in the New City Center are visible, but mostly a lot of trees. On the left are people sitting in the restaurant getting a bite to eat before the concert starts. They get to take in the view as well. At the top of the stairs to platform turns left again. At this landing and opening appears for access to the meeting areas overlooking the city. But for those going to the show, the ascension continues. Here the views of the western side of the city, Vignis Park and the Soviet era TV Tower come into view. The ramp ends and turns left again, returning to stairs. The second set provide a looking point back into the lobby space previously occupied. Looking out the windows the floor is now high enough to be over the trees and views of south Vilnius come into sight. Rounding the corner again, the final section of ramp is commenced. On the right are stunning views of the Old Town. Here the regulars who took the A167 elevator join the procession and take in the views of Old Town. One last corner is rounded into the upper lobby. The journey culminates with the best views of the city, from 65’ above it. This last step shows the growth of the city, from the historical center on the east to the New Town and New City Center on the north from a perspective that could not be seen from anywhere else but Taurus Hill. The composition of the building is framed by three service areas. The circulation starts between these volumes but ultimately curls its way outside of them. In between these service cores are a variation of single and double height spaces framing in the lobby. Each level is based on a 13’ horizontal grid that allows for components of program to connect and interact. Up on the upper levels is the theater itself, a standard shoebox style. Below the main entry level is an underground level with areas for receiving and storage, as well as the main mechanical room for the building.

Structural Diagram

A168

Circulation Diagram

A169

Envelope Diagrams

Roger Williams University School of Architecture Fall 2020 ARCH 513 Sec�on 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Be�er Wear Walking Shoes Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

A170

Date 11/13/2020 Scale NTS

Envelope Axonometrics

Concept 1

Concept 2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

A171

Wall Assembly Elevation

Date 11/13/2020 Scale 1 2 " = 1'-0"

Envelope Concept 1

Wall Assembly Section

Wall Assembly Plan

A3.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

A172

Wall Assembly Elevation

Date 11/13/2020 Scale 1 2 " = 1'-0"

Envelope Concept 2

Wall Assembly Section

Wall Assembly Plan

A3.2

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

Lucas Hartman

Better Wear Walking Shoes

A 15'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

ELEVATORLOBBY 1

15'-0"

B MECH

MECH

LOBBY

SECURITYVESTIBLE

150'-0"

45'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

A173

INFO

CLOAKROOM 1

45'-0"

CUSTODIAL

MECH

KITCHEN

BAR

RESTAURANT

STAFFENTER 1

FIRSTAID

OFFICE

15'-0"

E MECH 1

15'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

First Floor Plan

A1.1

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B MECH 1

OFFICE

45'-0"

OPENOFFICE 1

MEETING

BREAKRM

OPENOFFICE 1

OFFICE

15'-0"

E RR

F 15'-0"

A174

150'-0"

45'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

Date 11/13/2020 Scale 1 8" = 1'-0"

Second Floor Plan

A1.2

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

150'-0"

45'-0"

A175

LOUNGE

REHEARSAL

REHEARSAL INSTRUMENT

INSTRUMENT

45'-0"

15'-0"

E MECH

15'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Third Floor Plan

A1.3

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

RECORDINGSTUDIO

45'-0"

2 BACKSTAGEWAITING

DRESSINGRM

15'-0"

E RR

F 15'-0"

A176

150'-0"

45'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Fourth Floor Plan

A1.4

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

UNDERSTAGEMECH

UNDERTHEATERSLOPE

A177

45'-0"

150'-0"

45'-0"

15'-0"

E RR

15'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Fifth Floor Plan

A1.5

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

BACKSTAGE

STAGE

MAINHALL

THEATERLOBBY 3

45'-0"

15'-0"

E RR

F 15'-0"

A178

150'-0"

45'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Sixth Floor Plan

A1.6

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

BALCONY

A179

45'-0"

150'-0"

45'-0"

15'-0"

E RR

15'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Seventh Floor Plan

A1.7

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

B 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

BALCONY 1

45'-0"

15'-0"

E RR

F 15'-0"

A180

150'-0"

45'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Eighth Floor Plan

A1.8

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Insert Catchy Name Here Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

A181

Date 11/6/2020 Scale 1 8" = 1'-0"

Lobby Section

A2.5

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

15'-0"

165'-0"

30'-0"

15'-0"

J 15'-0"

A182

Date 11/13/2020 Scale 1 8" = 1'-0"

Structural Plan Lower

A3.1

Roger Williams University

270'-0" 15'-0"

15'-0"

30'-0"

15'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

Better Wear Walking Shoes

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania <> <>

30'-0"

A183 15'-0"

165'-0"

30'-0"

15'-0"

Date 11/13/2020 Scale 1 8" = 1'-0"

Structural Plan Upper

A3.2

7-Assignment 6 Trusses Carry the Roof Loads to the Outer Edges to Produce a Column Free Space Additional Floors Surround the Theater to Service Egress for All Levels of the Main Hall

A184

Psychrometric Chart, Full Year , No Active Heating

Yearly Temperature Chart

Vilnius in Summer

Sun Charts, Winter and Summer

Vilnius in Winter

A185

Vernacular Architecture The multicultural heritage of Vilnius gave the city a broad range of architectural styles and types of construction. Many historic buildings are Gothic, Renaissance, Baroque, and Classical styles. Each has their own distinct appearance, including compositional elements and finishes, which often have been modified from their Western European counterparts. Several of these places withstood the test of time and war, and still stand today. Others were lost during the war but were rebuilt in an attempt to bring back the lost cultural heritage. This challenge is still something that Vilnius is working through as it tries to build its own architectural identity post 1991. At the turn of the 20th Century, Vilnius was faced with modernization. In an attempt to do so, the city established metal bridges, steam power, street lighting, and electric power. Prior to 1940, most of the buildings were constructed out of wood, which was viewed by the Soviets as inferior. Any imagery of the country was censored to shun this wooden architecture. The Soviet occupation also brought upon the creation of microdistricts, self-sustaining towers of residential and public services. These places A186 mimicked the radical change brought on by the republic, with monolithic construction, poor quality, straight line design and a distinct grey color. Any vernacular architecture that was created to naturally respond to the environment and climate of the city was replaced with structures that could be placed anywhere in the world, with no regards to the region or climate.

Residential Wood Houses

Church of St. Anne, 1713

Vilnius Cathedral, 1783

Palace of Weddings, 1974

Polish Land Bank (BGK), 1938

Palace of Concerts and Sports, 1971

National Center for Sciences&Technology, 2011

Rupert Art&Education Center, 2011

Green Hall 2, 2015

Psychrometric Chart, Winter

Psychrometric Chart, Spring

A187

Chart by Season

Psychrometric Chart, Summer

Psychrometric Chart, Fall

Passive Strategies The building is located at the highest point on the site, which happens to be the location of the former building. The building is over 150’ tall and allows for users to look out over the trees that surround the site.

AGC Glass Europe, SAMYN and PARTNERS, Double Skin Shading Facade

Inner Envelope

A188

The Tower at PNC Plaza, Gensler, Double Skin Curtain Wall Facade

Natural Ventilation Opening Mechanism

Outer Envelope

Summer Mode: Heat Flushing Mode

Winter Mode: Thermal Buffer, Insulating Space

Night Mode: Natural Ventilation Assists in Moving Air Within Building

Materials inside Glass are Concrete and Act as Thermal Mass to Absorb Heat

A189

Sefaira Analysis The building is located at the highest point on the site, which happens to be the location of the former building. The building is over 150’ tall and allows for users to look out over the trees that surround the site.

A190

A191

Rehearsal

Ramp

Oﬃces Lobby

Support

Service

A192

Zone Diagram

Vertical/Accoustic Concerns

Curtain Wall Downdraft Concerns

Geothermal Energy Source

Zone Requirements

Heating

Cooling

Zone 1 Theater

Zone 2 Support Tower

Users Will Put Off Large Amounts of Body Heat

Area Will Need Adequate Heat with Individualized Control

Zone Will Benefit from Heat Gain from all the Glass

Heat Will Likely Only Be Needed During Down Times

Ceiling Height is at a Premium

Glass Also Can Never be as Efficient as Other Means, Requiring Heating at the Perimeter to Make Up for the Heat Loss

Will Require High Cooling Loads Due to Large Amounts of People in the Spaces

Natural Ventilation and the Conditioning of the Space Surrounding the Support Spaces will Help Cooling

Due to the Large Number of People using the Space, Some Cooling will be Required

Cooling Has to Be Quick Responding as Well

Ventilation

Zone Will Require High Amounts of Ventilation Due to the Number of People in the Space

Zone 3 Atrium/Lobby

Some Small Amounts May Be Used

Natural Ventilation will Help with This Though

May Require More Than Natural Ventilation

Height of Space Will Allow for Natural Ventilation

Ceiling Height is at a Premium

Due to Large Number of People in the Space, This Will Need to Be Supplemented

Zone 4 Service Will Require Heat but Can Be at a Lower Temperature/Comfort Level than the Rest of the Building Zone is Located Near Mechanical Equipment

Little to No Cooling Would Be Required Underground

Large Amounts of Ventilation Will Be Required Due to Trucks, Equipment, and the Type of Work Performed

A193

System Analysis

A194

Positive

Negative

Conv. HVAC Air

Less Noisy w/ AHU in Basement Has Ventilation Included

Space for Ducts Pollution from Boiler and Cooling Towers if Used

Conv. HVAC Water

Less Space is Required with Pipes than Ducts

Noisier with Mini AHU in Each Space or Radiator/ Fan Box No Ventilation

Geothermal Closed Loop

Replaces Noisy Boiler and Cooling Towers Lower Level of Pollution

Costly to Install Still Requires Energy to Run Pumps

Geothermal Open Web

More Consistent Water Temperature

Not An Option on this Site

Radiant System

Smallest Profile in Floor/Ceiling Heating and Cooling is Possible

No Ventilation Not Good for Large Spaces with Many People

ERV

Helps Provide Ventilation with Minimal Ductwork

May Be Quite Noisy in Space

System Selection

System

Rationale

Components

Zone 1 Theater

Zone 2 Support Tower

Zone 3 Atrium/Lobby

Zone 4 Service

Geothermal HVAC Air System

Radiant Floor Heating with ERV

Geothermal HVAC Air System with Natural Ventilation

Geothermal HVAC Air System

Forced Air System is Required to Meet Needs of Ventilation

Low Floor to Floor Heights Make Ductwork a Challenge

Will Require Limited Heating During Rehearsals but will Also Require Cooling During Performances, Making

Surrounding Atrium will Dampen a Large Amount of the Heat Meaning Minimal Cooling

Geothermal Tubes Under Building Heat Pump Potentially Powered by Solar Air Handling Unit Ductwork

High Efficiency Boiler Potentially Powered by Solar Heat Pump Manifolds Coils ERV in Each Area

Forced Air System is Required to Move Enough Air for the Number of Potential People in the Space

Since the System is Already in Place in Most of the Building, It Can Be Expanded for This Space

The Double Skin Facade will Assist with Cooling and Ventilation During Non-Peak Hours

Primarily Used for Large Amounts of Ventilation and Heat

Geothermal Tubes Under Building Heat Pump Potentially Powered by Solar Air Handling Unit Ductwork

A195

System Sizing

A196

Equipment Sizing Charts

Component Sizes and Quantities

A197

Distribution The building is located at the highest point on the site, which happens to be the location of the former building. The building is over 150’ tall and allows for users to look out over the trees that surround the site.

Main Hall

Rehearsal

Ramp

Oﬃces Lobby

Support

Service

A198

Zone Diagram

Basement Mechanical Room

Supply Diagram

Return Diagram

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

Basement Mechanical Plan

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

Roger Williams University

15'-0"

G S3 A2.3

6 E1

15'-0"

30'-0"

Lucas Hartman

270'-0" 30'-0"

SECOND FLOOR PLAN

A2.5

S4 A2.4

30'-0"

First-Fourth ToMechanical See and To Floor Be Seen Plan

15'-0"

A2.7

SCALE: 1/8" = 1'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Date 12/13/2020 Prof. Roberto Viola Ochoa Scale 1 8" = 1'-0"

15'-0"

20'-0"

M1.1

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

E1 S4 A2.4

SIXTH FLOOR PLAN

Date 12/13/2020 Scale 1 8" = 1'-0"

A2.5

Theater Floor

A199

Typical Support Level Mech Plan

Sheet List

To See and to Be Seen Concert Hall and Civic Center Vilnius, Lithuania Lucas Hartman

Roger Williams University | ARCH 513.01 | Prof. Roberto Viola Ochoa | Fall 2020

A0.0 A0.1 A0.2 A0.3 A0.4

Cover Sheet Code Analysis Code Analysis Site Plan Site Sec�on and Views

A1.0 A1.1 A1.2 A1.3 A1.4 A1.5 A1.6 A1.7 A1.8 A1.9

Basement Floor Plan First Floor Plan Second Floor Plan Third Floor Plan Fourth Floor Plan Fi�h Floor Plan Theater Floor Plan Lower Balcony Plan Upper Balcony Plan Roof Plan

A2.1 A2.2 A2.3 A2.4 A2.5 A2.6 A2.7 A2.8

Sec�on S1 Sec�on S2 Sec�on S3 Sec�on S4 South Eleva�on West Eleva�on North Eleva�on East Eleva�on

A3.0 A3.1

Wall Assembly Composite Wall Assembly 3D

S0.0 S0.1 S1.0 S1.1 S1.2 S1.3 S1.4 S1.5

S2.0

Structural Axonometric

M0.0 M0.1

Mechanical - General Reference Geothermal Borehole Plan

M1.0 M1.1 M1.2 M1.3

Basement Mechanical Plan First-Fourth Floor Mechanical Plan Theater Mechanical Plan Balcony Mechanical Plan

M2.0

Mechanical Axonometric

M3.0

Integrated Mechanical Axonometric

12/13/2020

Cover Sheet

A0.0

12/13/2020

Code Analysis

A0.1

EXIT 3: 1 Doors at 36" Total: 36"

Roger Williams University 107'-0"

EXIT 1: 4 Doors at 72" Total: 288"

150'-0"

70'-0"

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

70'-0"

Lucas Hartman

128'-0" LOBBY 533 165'-6"

55'-0" 55'-0"

EXIT 2: 1 Door at 72" Total: 72"

125'-0"

To See and To Be Seen

130''-7" 107'-0"

First Floor Egress Diagram 1 Scale: 16 " = 1'-0"

150'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Fifth Floor Egress Diagram 1 Scale: 16 " = 1'-0"

EXIT 4: 1 Doors at 36" Total: 36"

178'-0"

125'-6"

45'-0"

RESTAURANT 100

MAIN HALL FLOOR 840

STAGE 200

45'-0"

125'-6" MEETING RM 20

MEETING RM 35

100'-0"

181'-6"

MEETING RM 20

178'-0"

EXIT 5: 2 Doors at 72" Total: 144"

Second Floor Egress Diagram 1 Scale: 16 " = 1'-0"

Theater Egress Diagram 1 Scale: 16 " = 1'-0"

150'-6"

103'-0"

140'-0" 40'-0" BALCONY 420

Date 12 13 2020 Scale 1 8" = 1'-0"

76'-0"

140'-0" REHEARSAL RM 100

REHEARSAL RM 100

150'-6"

130'-0"

Third Fourth Floor Egress Diagram 1 Scale: 16 " = 1'-0"

Code Analysis

103'-0"

130'-0"

Balcony Egress Diagram 1 Scale: 16 " = 1'-0"

A0.2

818’-1” SITE BO

377’-2”

UNDAR Y

PA M

1’-

5”

SITE BOUNDARY

20.1 ACRES

309’-

NDAR Y

3”

’-7

BOU

460’-

NDAR Y

5”

” -4”

BOU

SITE

140

’-7”

100’

-7”

SITE

193 ’

V. MYKOLAICIO-PUTINO

146

”

IRK OS

196’-4”

140’-11”

V. KU D

’-10

’-0”

ND AR Y

106

164

663’-2”

SIT

UNDA

SITE B O

65’-5

”

TAUR O

A0.3

3D View of Project NTS

Site Sec�on Looking West 1/32” = 1’-0”

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

ELEC 071

20'-0"

MECH 070

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

WAREHOUSE 002

SHOP 001 MECH 073

15'-0"

A2.6

A2.8

145'-0"

30'-0"

MECH 074

S2 A2.2

20'-0"

MECH 072

WOMEN 074

MEN 073

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Basement Floor Plan

BASEMENT FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

ELEC 171

20'-0"

MECH 170

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

SECURITY VESTIBULE 100

LOBBY 101

15'-0"

UNEXCAVATED

A2.6

A2.8

145'-0"

30'-0"

FIRST AID 104

FIRST AID 106

FIRST AID 108

OFFICE 113

OFFICE 114

OFFICE 115

OFFICE 116

MEN 175

CLOAKROOM 110

INFO/TICKET WINDOW 102

OFFICE 105

OFFICE 107

WOMEN 177

MECH 178

MANAGEMENT 112

SECURITY 109

CUSTODIAL 176

A2.2

OFFICE 117

ATRIUM 111

20'-0"

STAFF ENTRANCE 103

MECH 172

WOMEN 174

MEN 173

15'-0"

G RAMP 1:20 SLOPE

UNEXCAVATED

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

First Floor Plan

GROUND FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

ELEC 271

20'-0"

C S1

30'-0"

A2.1

15'-0"

A2.6

CAFE LANDING 211

A2.8

145'-0"

30'-0"

OFFICE 201

OFFICE 202

OFFICE 203

OFFICE 204

SYMPHONY OFFICE 200

MEETING ROOM 206

MEETING ROOM 207

MEETING ROOM 208

RESTAURANT 210

KITCHEN 209

S2 A2.2

OFFICE 205

20'-0"

MECH 272

WOMEN 274

MEN 273

15'-0"

RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Second Floor Plan

SECOND FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

20'-0"

MECH 370

C S1

30'-0"

A2.1

MUSIC LANDING 300

15'-0"

A2.6

A2.8

145'-0"

30'-0"

RECORDING STUDIO 301

CONTROL RM 302

REHEARSAL ROOM 303

STORAGE 304

REHEARSAL ROOM 305

STORAGE 306

REHEARSAL ROOM 307

LOUNGE 308

S2 A2.2

20'-0"

MECH 372

WOMEN 374

MEN 373

15'-0"

G S3

RAMP 1:20 SLOPE

A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Third Floor Plan

THIRD FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.3

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

ELEC 471

20'-0"

C S1

30'-0"

A2.1

15'-0"

A2.6

UPPER LOBBY LANDING 400

A2.8

145'-0"

30'-0"

RECORDING STUDIO

CONTROL RM

REHEARSAL ROOM

STORAGE

REHEARSAL ROOM

STORAGE

REHEARSAL ROOM

S2 A2.2

20'-0"

MECH 472

WOMEN 474

MEN 473

15'-0"

RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Fourth Floor Plan

FOURTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.4

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 571

20'-0"

MECH 570

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

PERFORMER LOUNGE 500

30'-0"

A2.1

15'-0"

DRESSING ROOM 502

UNDER STAGE MECHANICAL 504

INSTRUMENT/EQUIPMENT STORAGE 505

DRESSING ROOM 501

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

PERFORMER LOUNGE 503

20'-0"

MECH 572

WOMEN 574

MEN 573

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Fifth Floor Plan

FIFTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.5

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 671

20'-0"

MECH 670

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1 UP

A2.1

CUSTODIAL 603

30'-0"

H H

15'-0"

MAIN HALL 602

STAGE 601

STAGE MANAGER 604

THEATER LOBBY 606

BACKSTAGE 600

A2.6

A2.8

145'-0"

30'-0"

1:20 SLOPE

H H H

USHER AREA 605

S2 A2.2

20'-0"

MECH 672

WOMEN 674

MEN 673

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Sixth Floor Plan

SIXTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.6

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 771

20'-0"

MECH 770

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1 UP

A2.1

1:20 SLOPE H

30'-0"

15'-0"

A2.6

LOWER BALCONY 700

A2.8

145'-0"

30'-0"

A2.2

1:20 SLOPE

20'-0"

MECH 772

WOMEN 774

MEN 773

15'-0"

G S3

RAMP 1:20 SLOPE

A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Seventh Floor Plan

SEVENTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.7

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

A RAMP 1:20 SLOPE

ELEC 871

20'-0"

MECH 870

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1 UP

A2.1

1:20 SLOPE H

30'-0"

15'-0"

A2.6

UPPER BALCONY 800

A2.8

145'-0"

30'-0"

A2.2

1:20 SLOPE

20'-0"

MECH 872

WOMEN 874

MEN 873

15'-0"

G RAMP 1:20 SLOPE

S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Eighth Floor Plan

EIGHTH FLOOR PLAN SCALE: 1/8" = 1'-0"

A1.8

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen 15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

15'-0"

145'-0"

30'-0"

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Roof Plan

A1.9

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

18'-0"

To See and To Be Seen

18'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

STAGE 01

12'-0"

18'-0"

BACKSTAGE 00

MAIN HALL 02

THEATER LOBBY 0

DRESSING ROOM 501

DRESSING ROOM 502

UNDER STAGE MECHANICAL 50

12'-0"

UPPER LOBBY LANDING 00

12'-0"

MUSIC LANDING 300

CAFE LANDING 211

12'-0"

LOBBY 101

24'-0"

12'-0"

SECURITY VESTIBULE 100

Date 12 15 2020 Scale 1 1 0

Section S1

A2.1

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

18'-0"

To See and To Be Seen

18'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

STAGE 01

THEATER LOBBY 0

DRESSING ROOM 501

DRESSING ROOM 502

INSTRUMENT/EQUIPMENT STORAGE 505

UNDER STAGE MECHANICAL 50

12'-0"

18'-0"

BACKSTAGE 00

MAIN HALL 02

CONTROL RM 302

REHEARSAL ROOM 303

STORAGE 30

REHEARSAL ROOM 305

STORAGE 30

REHEARSAL ROOM 30

LOUNGE 30

OFFICE 205

SYMPHONY OFFICE 200

INFO/TICKET WINDOW 102

OFFICE 105

OFFICE 10

SECURITY 10

MEETING ROOM 20

CLOAKROOM 110

MEETING ROOM 20

MANAGEMENT 112

RESTAURANT 210

KITCHEN 20

MEETING ROOM 20

OFFICE 11

MEN 1 5

CUSTODIAL 1

WOMEN 1

MECH 1

24'-0"

12'-0"

RECORDING STUDIO 301

Date 12/15/2020 Scale 1 1 0

Section S2

A2.2

Roger Williams University

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

24'-0"

12'-0"

18'-0"

Lucas Hartman

Date 12/13/2020 Scale 1 8" = 1'-0"

Section S3

A2.3

Roger Williams University A

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania MAIN HALL 02

REHEARSAL ROOM 303

LOBBY 101

OFFICE 205

OFFICE 10

Date 12 13 2020 Scale 1 1 0

Section S4

A2.4

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Date 12/13/2020 Scale 1 8" = 1'-0"

East Elevation

A2.5

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman H

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Date 12/13/2020 Scale 1 8" = 1'-0"

North Elevation

A2.6

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 11

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Date 12/13/2020 Scale 1 8" = 1'-0"

West Elevation

A2.7

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman A

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Date 12/13/2020 Scale 1 8" = 1'-0"

South Elevation

A2.8

Roger Williams University

1 1" STARPHIRE ULTRA-CLEAR GLASS WITH 2" SPACING 4"x6" STRUCTURAL MULLIONS 2' METAL CATWALK FOR MAINTENANCE AND CLEANING SUPPORT BRACKET FOR CATWALK AND LATERAL BRACING 1

DUCT FOR HEATING AND MOISTURE CONTROL ON GLASS

School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

4"X12" THERMALLY BROKEN CURTAIN WALL MULLIONS

12'-0"

SUNGATE 400 TRIPLE PLY WINDOWS (SEALED LAYER)

Lucas Hartman

To See and To Be Seen

6"X12" HSS STEEL COLUMN

27'-112"

24'-0"

12'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania 14'-6"

RAMP LANDING AUTOMATED VENT OPENING WITH INSULATED DOOR 8" RAMP SLAB, THERMALLY BROKEN

9'-10"

EXTERIOR

Wall Assembly Elevation Scale: 12" = 1'-0"

1'-8"

Wall Assembly Section Scale: 12" = 1'-0"

MATERIAL KEY

1 ROOF ASSEMBLY -MECHANICALLY FASTENED MEMBRANE ROOFING -1/2" PROTECTION BOARD -7" RIGID INSULATION (SLOPED AT 12" PER FOOT) -CONTINUOUS AVWB -1/2" EXTERIOR SHEATHING -12" CONCRETE SLAB

3 BELOW GRADE WALL ASSEMBLY -1/2" DRAINAGE BOARD -3" RIGID FOAM INSULATION -CONTINUOUS AVWB -CAST IN PLACE CONCRETE WALL

4 SLAB ON GRADE ASSEMBLY -COMPACTED GRAVEL -2" RIGID INSULATION -CONTINUOUS AVWB -12" SLAB ON GRADE

14'-8"

15'-0"

Date 12/9/2020 Scale 1 2 " = 1'-0"

Foundation to Cornice Section 3 Scale: 16 " = 1'-0"

2'-0"

1'-0"

Typical Wall Assembly

Wall Assembly Plan Scale: 12" = 1'-0"

A3.0

15’-0”

30’-0”

15’-0”

15’-0” 20’-0”

30’-0”

15’-0”

30’-0”

20’-0” 15’-0”

15’-0”

30’-0”

15’-0”

18’-0” 18’-0” 18’-0” 18’-0” 12’-0” 24’-0” 12’-0” 12’-0” 24’-0”

12/5/2020

Structural

Structure General Reference

S0.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

3'-0"

To See and To Be Seen

5'-0"

15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania 5'-0"

5'-0"

20'-0"

30'-0"

15'-0"

145'-0"

30'-0"

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Foundation Structural Plan

S1.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen 15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

10'-0"

30'-0"

15'-0"

145'-0"

30'-0"

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Basement Structural Plan

S1.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen 15'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

10'-0" 10'-0"

20'-0"

EDGE OF SLAB

30'-0"

EDGE OF SLAB

15'-0"

145'-0"

D 10'-0"

EDGE OF SLAB

5'-10"

EDGE OF SLAB

10'-0"

EDGE OF SLAB

10'-0"

20'-0"

5'-10"

30'-0"

5'-10"

EDGE OF SLAB

15'-0"

15'-0" TYP.

Date 12/13/2020 Scale 1 8" = 1'-0"

Typical First-Fourth Structural Plan

S1.2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen 15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

10'-0"

15'-0"

145'-0"

10'-0"

30'-0"

5'-10"

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Theater Structural Plan

S1.3

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen 15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

EDGE OF SLAB

7'-6" TYP.

EDGE OF SLAB

15'-0"

145'-0"

30'-0"

EDGE OF SLAB

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Balcony Structural Plan

S1.4

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen 15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

30'-0"

15'-0"

145'-0"

30'-0"

20'-0"

15'-0"

Date 12/13/2020 Scale 1 8" = 1'-0"

Roof Structural Plan

S1.5

12/5/2020 NTS

Structural Axonometrics

S2.0

DĂŝŶ ,Ăůů

>ŽďďǇͬ ƚƌŝƵŵ

>ŽďďǇͬ ƚƌŝƵŵ >ŽďďǇͬ ƚƌŝƵŵ

^ƵƉƉŽƌƚ dŽǁĞƌ

^ĞƌǀŝĐĞ

12/3/2020

Mechanical

Mechanical General Reference

M0.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa

Lucas Hartman

To See and To Be Seen

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

Date 12/13/2020 Scale 1 8" = 1'-0"

Geothermal Borehole Plan

M0.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1 A2.1

30'-0"

AHU-ZONE 3-ATRIUM/LOBBY 40,000 CFM 50'-0" X 10'-3" X 8'-11"

15'-0"

A2.6

A2.8

145'-0"

30'-0"

AHU-ZONE 1-CONCERT HALL 45,000 CFM 45'-0" X 8'-3" X 8'-11" AHU-ZONE 4-SERVICE 40'-0" X 8'-1" X 8'-7"

HIGH EFFICENCY BOILER ZONE 2-SUPPORT TOWER

S2 A2.2

20'-0"

ERV-ZONE 2-SUPPORT TOWER 40'-0" X 8'-1" X 8'-7"

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Basement Mechanical Plan

BASEMENT FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.0

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

First-Fourth Mechanical Floor Plan

SECOND FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.1

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Theater Floor Mechanical Plan

SIXTH FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.2

Roger Williams University School of Architecture Fall 2020 ARCH 513 Section 01 Integrated Project Design Studio Prof. Roberto Viola Ochoa 1

Lucas Hartman

270'-0" 15'-0"

30'-0"

15'-0"

To See and To Be Seen

A2.7

15'-0"

20'-0"

Concert Hall and Civic Center Tauras Hill Vilnius, Lithuania

C S1

30'-0"

A2.1

15'-0"

A2.6

A2.8

145'-0"

30'-0"

S2 A2.2

20'-0"

15'-0"

G S3 A2.3

Date 12/13/2020 Scale 1 8" = 1'-0"

E1 S4

A2.5

A2.4

Theater Ceiling Mechanical Plan

EIGHTH FLOOR PLAN SCALE: 1/8" = 1'-0"

M1.3

12/3/2020 NTS

Mechanical Axonometric

M2.0

12/3/2020 1⁄2” = 1’-0”

Integrated Mechanical Axonometric

M3.0