Design Book

sam shin studio 3B group 6 490469734

C N TENTS

beginnings 1 concept 7 design 19 realisation 43 appendix 50

1 2 3 4 5 6

explodingtopics.com/blog/smartphone-usage-stats gsma.com/mobileeconomy/wp-content/uploads/2020/03/GSMA_MobileEconomy2020_Global.pdf globalmediainsight.com/blog/youtube-users-statistics/ truelist.co/blog/social-media-addiction-statistics/ theworldcounts.com/stories/depletion-of-natural-resources https://www.worldometers.info/oil/

The project imagines a daunting and present reality that is the production of depleted natural resources and fixation for media consumption.

The exorbitant prices of electricity deny society's access to personal mobile devices and aggravate our appetite for media. As individuals see their connection to the infinitely large digital world slip away under their thumbs, they turn to the theatre.

Traditional theatre and its live performances become the new medium for escaping and emerging into alternate realities beyond the present.

0250 1000m

The Independent Theatre

Ensemble Theatre

Sydney Opera House

Sydney Theatre Company

City Recital Hall

Theatre Royal State Theatre

The Genesian Theatre Company ICC Aware Super Theatre Hayes Theatre Co.

context // existing theatre locations

The existing number of theatres across sydney fair inconsequential to the performance spaces required to fulfill society's search for entertainment. Therefore, the project tackles this problem on a macro scale, aimed to provide an abundance... a metropolis of drama houses.

site

The site of origin for project marks itself at Green Point. Historically, the site has served as an anti-torpedo boom in 1942, restricting entry into the Sydney Harbour. Such positional offerings of the site has been translated by the project.

The site, positioned right below the mouth of Sydney Harbour, becomes a prime location for the project to be visible for those entering the harbour. Secondly, the site is in direct view from the heart of city, becoming a centre stage that spotlights the project.

Green Point Reserve

Watsons Bay Wharf

The Gap Lookout

Camp Cove Beach Lady Bay Beach South Head

outlook towards sydney city

NCEPT R E V LO TU I ON

Celebrating the Machinic

photograph in black and white: physical model

revolution

The project is titled 'revolution' to metaphorically symbolise the new reality that awaits amidst the depletion of resources and society's disconnection from mobile devices.

'Revolution' points to the radical change to a society that would not be able to afford electricity, pressured by dire environmental catastrophes. It simultaneously alludes to the design motifs and history of the architecture and machines of modernity, which revolutionised both how the urban fabric looked and functioned.

Finally, in a very literal sense, the title indicates the design language of the project that fixates on circles. Circles inspire fluid and concentric movement. Such appeal embodies the celebration of function, efficiency and productivity, which were core values of the 20th century.

conceptual framework

The 20th century context and modernity that underpins the conceptual framework of the project, draws inspiration from the various artists of its time.

Most notably, the founder of the Bauhaus, Walter Gropius, and his rotating stage become crucial in fulfilling the conceptual aims of the project. The rotating stage was the epitome of function over form, where it allows dynamic use of the stage to produce new scenarios and performances within theatre. Its adaptability means the drama houses of the project can host the infinitely creative minds of directors and choreographers.

Andreas Weininger's Spherical Theatre was a theatre in which the auditorium space was able to revolve, similar to Gropius' stage. Such dramatic ambitions combined with the machinic element of the pivot within the theatre

depict the sense that the drawings are in motion.

Speaking to the animate qualities of the Spherical Theatre, Boullée’s Opera is another unrealised project that opposes staticity. Attributed to its shear size and scale, the opera's interior space embodies a unique and separate atmosphere of its own. It seemingly creates the effect that the theatre is housed in a world of its own. Such poetics converse directly with this project's own ambitions of creating spaces that allow users to immerse in new realities.

Andreas Weininger's Spherical Theatre

WALTER GROPIUS' STAGE

seating capacity 750 no of entry points : 3

The power house situated below the auditorium space is the heart of the drama tower. It is the engine that produces the operational energy of the tower and fuels the society's constant consumption.

Like that of a heartbeat, the rumbles and groan of the engine that creep above the auditorium floor remind the audience of the essence of their alternate realities. Without the power house, the towers would fail to operate ultimately denying the audience to perpetually consume media. The machinic and turbulent visuals of the drama house contrasts the uncomplicated and simplistic interior of the drama house. Such juxtaposition creates a distinct and separate atmosphere within the auditorium.

The idea of the power house was excited by Constant Nieuwenhuy's selfsufficient engines that powered his

captivating project, New Babylon. Constant envisioned that these selfsufficient machines would abolish work for society. Consequently, society only had to be preoccupied with play. Such radical vision inspired an idea for this own project whereby there is an underlying motive to trap the users. These trapped individuals would perpetually roam the towers, consuming and escaping into new realities. This concept directly dictates the supplementary programs of this project.

theatre undercroft

vertical circulation

The maximisation of efficiency of circulation was a crucial consideration to accomodate the large scale of the project.

John Andrews' stair and lift combination used in the Old Sydney Convention Centre is the epitome of efficiency and minimisation of material use and spatial displacement. Thus, Andrews lift solves the issue of circulating large masses of people within the towers.

The lifts were redesigned to be modular and easily attachable to the main body of the towers during construction, acting as one of many structural supports. Consequently, the lift module functions both as a structural member of the tower and a vertical circulator.

+ = phase 1 & 2 final phase

LIFT SHAFT SPIRAL STAIRCASE OUTER CONCRETE PANEL LIFT

JOHN ANDREWS LIFT

AXONOMETRIC DIAGRAM 01 5m

scale 1 : 100

A core segment

B end segment C connector segment

modular system

To accomodate the scale of the ambitions of the project, modularity becomes a key design motive. Not only does its adaptability reflect the values of function and efficiency but it becomes a building block with prospects of future development. For now, the theatre is the core of the brief, however, this modular system would enable other briefs to be built as land becomes more and more inhabitable.

There are 3 types of segments that form to make a singular module. These segments can be fitted to complete a whole concentric ring, or be fragmented into various modules to create spatial and programmatic division. When divisions are created, separated modules are connected using the connector segment, which can be extended to any length in intervals of 1000mm. Ultimately, these 3 segments allow flexible design and organisation of spaces.

DESIGN

1 core segment 2 end segment 3 connector segment 1

A concrete column

B concrete gusset

C precast concrete block

D aluminium frame E acrylic window panel

THREE SEGMENTS

A precast concrete segment B concrete gusset C lift module

A acrylic window pane

B aluminium window frame C precast concrete blocks D precast concrete panel

DRAMA HOUSE REWOP ESUOH DRAMA HOUSE

DRAMA HOUSE REWOP ESUOH

DRAMA HOUSE

CREATION HOUSE DREAM HOUSE DREAM HOUSE CONSUMPTION HOUSE CONSUMPTION HOUSE

CREATION HOUSE CREATION HOUSE

DRAMA HOUSE REWOP ESUOH

DRAMA HOUSE

four programs

Supplementary to the drama house, three programs are deivsed to fulfill the ambitions of the project.

As the project envisions masses of individuals seeking live performance, the Creation House becomes a crucial supplement to the Drama House. The Creation House is the space for directors, performers and choreographers to create and manifest new realities for the consumeristic mass.

These masses that are singularly motivated to consume media require programs that will facilitate their primal needs. The Consumption House is a space for sustenance, where there is a focus on promoting eating as a physical activity rather than social activity.

The Dream House is the space that enables the masses to perpetually remain in their tower escaping to

alternate realities. The space is named Dream House as dreaming is another medium for escapades into fictional realities. Hence, the Dream House and Drama House have shared functions in being a medium for escaping reality.

Ultimately, these programs work in unison to entertain and satisfy society's propensity to consume media. The transition from digital to physical, future to past, the tower becomes a utopia for the displaced masses.

drama house: x 3 creation house: x 3 consumption house: x 2 dream house: x 2

vertical configuration

The vertical configuration of the project was an important aspect in adjusting to the scale of the project's ambitions. The ideal configuration contains three drama houses so that users of the tower only have to move in the vertical plane to spectate various types of performances. The number of floors for each supplementary program is then adjusted to these 3 drama houses.

SINGLE TOWER MODULE

50m scale 1

010

B Creation House

C Consumption House

horizontal configuration

Stemming from the concept of modularity, each module can be configured to fulfill the pragmatic requirements of any program. The combined plan shows the ideal spatial configuration of each plan and how the homogenous spaces of each module can be adapted.

PRIVATE SEMI-PRIVATE PUBLIC ACCESS 28

First Landing Obelisk Walking track Public amenities Camp Cove Beach

PACIFIC ST

DRAMA HOUSE CREATION HOUSE

5 3 DESIGN

1 2 3 4 5 6 7 8 1 678 2 4

3 3 5

DRAMA HOUSE

1 2 3 4 5 6 7 6

7 7

4

scale 1 : 500 underpass rehearsal space office workspace gendered bathrooms collaboration space large rehearsal space dressing room

1 5

2

3 3 32

scale 1 : 500

05 25m

5

4 4

+ + + +

1 2 3 4 5 6 7

3 3

2

3 1

2 34

HOUSE

A concrete support column

B outer concrete panel

C precast concrete rib

D acrylic panel + aluminium frame

E concrete base

circulation

In absence of the drama house module, the connector module functions as a key circulation device. It enables the quick transition between the consumption and dream house via the central lift and stairs. This allows the central lift to filter circulation from the outer lift modules.

Secondly, the connector module becomes the module that will enable the expansion of the project. It becomes the node to connect to the pathways that will link with other towers, fulfilling the ambitions of a drama house metropolis.

EXPLODED ISOMETRIC DIAGRAM

ASSEMBLY DIAGRAM

ISOMETRIC DIAGRAM

scale 1 1 000

010 50m

drama house: x 3 creation house: x 3 consumption house: x 2 dream house: x 2

SECTIONAL PERSPECTIVE

ARCHITECTURAL DRAWING

REALISATION

interior view : middle connector passage

exterior view : verticality of tower

interior view: the ballerinas of CYSP-1 celebrating the machinic.

Nicolas Schoffer's Cybernetic Sculpture depicted between the ballerinas.

APPENDIX

right: physical model, basswood and styrofoam, drama tower

PHASE 1 PRESENTATION

bottom: physical model, plaster and spare electronic components, power house

ARCHITECTURAL DRAWINGS

as the masses perpetually seek to avoid the dismal reality of the present, the towers feed their hunger for media. the digital world no longer at our fingertips along with the unbearable cost of electricity, the theatre is the only medium for our escapades. like a prisoner to the machine, there is the dilemma of dependence and inaccessibility to that which is machinic.

Samuel Shin

BDES3027 Group