unveiling- the building as a performance
UNVEILED- by Eliza Hawthorne This building is designed to be a performance within itself. As layers of curtains are drawn the building reveals itself, as well as the performances/exhibitions that it holds, creating a dynamic and suspenseful atmosphere.
It consists of three primary elements. a metal CURTAIN, a GOOVE that this curtain sits within, and a concrete PLATFORM, a solid form that outlines the fluid movement suggested by 'the curtain.' Layers open and close to direct movement throughout
the building, with different variations allowing this theatre to be a very flexible performance and exhibition space.
unveiled- the building revealed, north easterly view
Perspective section highlighting the layers of function within the gallery, hall and ground plane market space.
Designed to be a convergence between the organised built environment and the natural parkland, Radial Columns is designed with visual analysis tools to control and open visual linkages within the site and program. Two axis of a radial analysis
defines a program orientation, each governing the program of arrival, as a precession and reflection, taking form through a subtracted field of columns where specific programs are housed. Parametricism extends to the theatre ceiling, designed
to with an array of modules, defined through an algorithm that measures the reverberation time within the space and optimises the cells to suit.
model image of a person within the site during sunrise.
Plan and elevation
Birds eye of site model
Incorporating design principles of circulation and space derived from Utzon’s Bagsvaerd church, the proposed design presents a unique and monolithic theatre complex wrapped in tunnels. The building forms a path between The Domain and Macquarie
Street through a café and bar while the remainder of the site is dedicated to the theatre and the gallery. The merging of the elements of programme and void through the circulation tunnels creates magnificent spaces that can be experienced by
moving through the architecture, culminating in an open rooftop that combines all three elements to create a space for culture and leisure.
Circulation and programme diagrams
Axonometric sections through voids
Balsa model showing each level
From a spectrum of monotonous modularity to multi-faceted spatial perception, the project draws from the study of Konrad Wachsmann’s design philosophy as well as his ‘Dynamic Structure’ model. The potential of modular assembly is the focus point
as the project adopts an extension of this sophisticated pre-fabricated modular system to weave an innovative network structure with a secondary and tertiary skeleton system, vessel system as well as a skin system. Reminiscent of architectural
biomimicry, the interplay of physical transparency, reflective illusions and absent volumes within the interior spaces enhances the complexity and continuity to invert spatial expectations compared with experiential reality.
The Dance from The Domain
"The Dance" is a performance centre that disrupts and lifts the visitor from the day to day. The daily routine is disrupted as the sculpted architectural form provides escapism in an otherwise repetitive world. Its inhabitants are engulfed by
the mesmorising curves of the walls. The dance then stops. The day continues.
The Sunken Courtyard
The Dance - Program
A series of floating rooms, suspended above a performance space. There is a single entry, followed by a scattering of movement, and a descent below. The boxes are dancing with one another, supported by slender legs, which inform performance configuration.
The circulatory routes between these rooms are light, and permeable, they filter down movement, translating what is occurring in the spaces above. Shadows and sounds, mediated to the performance below. The spaces are a mirroring of each other.
The building captures movement and projects it downwards. From a large city scale, to a gathering, to a single dancer performing.
Utzon's Melli Bank
Perspective rendering in exhibition area
Treadascope is an immersive center designed for immersive performance and related exhibition . The architecture features a strong language of the juxtaposition of voids and solids where the movement of visitors determines the spatial experience
they get. The building act as a mediator between Domain and Sydney’s CBD and project distinct site conditions into its own design internally. While the solid floating structure and the voids created by them are detail designed so that dramatic
moments could happen in every corners, the original operable theater furniture generate multiple and flexible settings.
Voids,Solids and Movement
Exhibition and performance
Pok Him Fung
Music and Grid
This design seeks to explore the theatre as in the music and grid relationship. The mathematical behind music and structural relation is inspired by Leon Battista Alberti and Andrea Palladio. This relation forms a musical grid system which governs
the building structure and it partly exposed through its layering. As people comes towards from the Domain, they start questioning the reason behind the irregular size of the use of paving, columns and the ceilings, which contrast with surrounded
buildings. All the “syncopations” provoke the question on how music can alter architecture and the character of human in this relationship.
Axonometric Materiality and Spatial Illustration
The Sydney Art and Performance Centre is an abstract, architectural reflection of varying external public spaces located between the NSW State Library and the Hyde Park Barracks. This architectural endeavour was inspired by Jørn Utzon’s strategy
of deriving form from culturally significant architectural systems within a design’s urban location. The architecture itself is essentially a series of connected spaces, predominantly external, that have been moulded from a layering of urban
typologies. As a result, the designed scape, containing outdoor rehearsal theatres, is irregular and experimental, allowing for unique, fragmented public use and promoting a sense of exploration and freedom.
Axonometric Schema Variations
The Domain Knuckle
Stemming from an analysis of Utzon’s additive use of material elements in his project Can Liz, this project aims to engage with the existing materiality of the site. The site itself moves between the urban condition of Maquarie St, the heritage
precinct and the parklands of The Domain. The Domain Knuckle is a plaza made up of a series of building clusters that filter people between these different site conditions, responding to the specific spatial and material nuances. The final iteration
consists of buildings behind the Mint, an underground performance centre and a cluster of small pavilions in the park.
Elevation from The Domain
Unfolded material elevation study of the site, with and without the proposal
Concept model showing material responses and the underground connections
Alexander WP Forbes
Isometric showing cut lines and roof structure
“... the verandah is by no means uniquely Australian. It is, however, such a highly visible part of the nation’s building style that it has become part of the image of traditional Australian architecture.” (Mark Dupain, “Old Colonial Buildings
of Australia”) My project is an exploration of the colonial verandah typology ubiquitous throughout Australian building culture. My inspiration was derived from Jorn Utzon's analysis of Murqanas vaulting in his design for the Jeddah stadium.
It is composed of two main elements, the roof structure and the plinth steps.
Murqanas vaulting study
South facing section 1:200
Render South facing
‘Blurring the Boundaries’, brings together organic and man-made elements, blurring the boundaries between nature and the built environment. The aim is to use the idea of scale and proportion as seen in the ceiling of Bagsvaerd Church, to give
hierarchy to the different spaces. I have used the pure geometry of the circle to generate the different inhabited spaces that come together to form the overall structure. I have taken inspiration from Utzon’s design thinking, and decided to
have most of the programs underground to somewhat hide them from view in order to not greatly disrupt the cityscape, as seen his thinking when designing the church.
YANG_Qining_Photo of Model 1
The project was inspired by the precedent study of the Museum of Silkeborg by Jorn Utzon. After the researches and studies of the Museum of Silkeborg, the concept that creating a design using the circulation system to generate spaces and creating
special spatial qualities was formed. Staring with the smooth ramping system that Utzon used in his design, the schemes with unique spatial qualities was generated by using the turning modular system which inspired by Utzon. The modules are
joined together in varied and significant way based on two simple rule, mirror flipping and scaling. However, these simple system and rule created unlimited possibilities and the elegant spaces.
YANG_Qining_Photo of Model 3
YANG_Qining_Photo of Model 4
YANG_Qining_Photo of Model 5
YANG_Qining_Photo of Model 2
The design was influenced by the Utzon Center. The main design scheme was the skylights, where skylights of each buildings are designed according to where the sun and shadow hits the site. The building is intended for dance performance for special
needs kids, hence the colorful colors giving a fun environment.
Asmaa Al Hashimi
The Ramp Performance/ theatre space is an Architectural manifestation aiming to create a play that is unfolded from the building structure. The Ramp creates a clear linear notion of movement enforced by the participants as well as the performance
theatre space play of Models. The Ramp folds itself onto the site, the ramp invites the site’s public users in from Macquarie St and Domain to become part of the performance that in ‘turn’ of the Models, a highly dramatic display and play of
attitude and beauty that makes the building fall also part of Utzon’s schema Additive Architecture, comparing his approach to the growth patterns of nature.
Traverse Frontage Perspective from The Domain
The design proposal is to accompany a suitable progression throughout Sydney and its urban context. A study of Sydneys Pedestrians Barriers has been highly influenced to the initial design thoughts. The subject site will be accompanied for the
use of an open theatre space along with a spatial connection for street performers, four (4) new office spaces, a bookshop/library space, hospitality facilities (cafes, restaurant, function rooms and bar) and a sunken garden. The achieving design
through modularity was taken to an approach of being able to witness and observe performance spaces throughout the entire site from low and high angles.
Traverse North West Aerial Perspective
Traverse Exploded Axonometric
Traverse Sunken Garden Perpective
Traverse Tunnel Interchange from The Domain
Many parallels can be drawn between the ephemeral nature of performance and the never-ending, uncertain shifting of a city. Performance is intrinsically public, ephemeral and dynamic, similarly, cities of the present desire to be more transparent,
permeable and accepting of the future. Richard Goodwin conducted a study of “Porosity: the Revision of Public Space” in Sydney. It revealed that “the city is in a continual state of becoming... the project is interested in the dissolution of
an urban expectation of a closed architecture and provokes the connection of claimed internalities between urban structures”. The proposal creates possibilities and opportunities for performances and for the individual. Columns disperse to create
permeability and movement through the site. They then densify in various formations that create informal intersections of stages, spotlights, openings and barriers. A void creates an intense antithesis to its surrounds and mirrors the “pause”
in theatre. The “pause” is silent but it is never empty. The “pause” can establish a connection between moments, it can highlight the phrases around it, or it can allow the audience a moment to appreciate before a finale.
View from the Cafe
In the current age of rapid expansion and urban sprawl, how does Sydney mediate and reconcile the built and unbuilt, private and public, inside and outside? The study of Utzon's Zurich Theatre revealed strategies of 'disruptive patterning', consequently
inspiring the theme of blurring boundaries. The design considers Utzon’s philosophy and applies the concept of transparency as a means of navigating the ever-changing identity of Sydney.
The site is a bidirectional front line. Here the Magic Box showcases the enjoyment of the urban life to the fringe areas. It introduces the tranquility of nature from the park into the city. Magic of architecture is something that cannot be made
without ourselves. Our eyes encounter the mural of light and shadow. Our bodies measure and complement the gaps between columns. The surfaces of bricks rub our hands and feet, differentiating us from who we were somewhere else. The unexpected
moments happen only when we circulate around the space, occupy the room and make it full of life.
Jarrod Van Veen
Eastern elevation 1:200
Longitudinal Section Perspective
The site is situated within the threshold between the densely populated metropolitan zone and public recreation zone - also known as the Domain. The brief asks for a space that uses this context to create a public building that allows for interplay
between discussion, display, and performance. To assist with the design strategy, studies of one particular building by Utzon will establish a clear line of thought. This will ground the design and translate itself throughout the project. With
these parameters, the focus on the journey was developed. The building will lead the people through a passage that is deceptively convoluted featuring a distinct and deliberate experience to the final destination. As people enter the building,
The Urban Underground will feature an open combined bookshop/café bar. To the sides, is the beginning of a series of ramps that staggers down, covered with commissioned street art and murals. Between the top and bottom-most floor are mezzanine
levels that can serve as either a raised viewing area or exhibition space. The ramps eventually meet with the existing level on the Domain side, allowing for a separate entrance towards the main stage. The lowest mezzanine level introduces an
entrance towards the backstage and admin areas. As people travel further down, patterns carved into the walls wrapping the ramps become more intricate which emulates the clarity of sound as the layers of surface and levels unravel, revealing
the true echoes of the originally muffled music. When they finally turn around the final bend, they are hit with an incredible wave of music, coloured lights and people. The people are brought closer together by the enclosing surfaces of the
main stage area, the enveloping music and the immensity of the patterned surfaces. The final destination is open and grand just like Utzon’s Kuwait National Assembly. It is the piece of the metropolitan that the Domain swallowed, transporting
it deep into its belly. It is a destination sought by the people seeking adventure and a journey, immune from all the imposed restrictions and legislations. It is the heart of Sydney night-life.
inside the exhibition space and chronological tunnel
The domain sites between the busy Sydney city and the NSW Art Gallery. The site is located near the Hospital Road of the domain, surrounded by culture heritage, busy vehicle roads and a large public lawn in front. In this case, the proposed design,
to an extent, could work as a media connecting urban life and community culture activities. Instead of a traditional building block, a piazza with required function space is preferred. This portfolio will introduce the design procress including
precedent study, urban and site analysis and a resolved design, which “promots” the surrounding buildings, main roads and the lawn to work efficiently as a whole
Diagrams of design thinking process-courtyard(piazza) part
Isometric drawings: piazza; underground level 1-1; underground level 1-2
Annual solar study of the domain
A study of annual 'atmosphere' inside Bagsvaerd Church
Driving a wedge
A sequence of triangular theatres designed for the Aboriginal and Torres Strait Islander Bangarra Dance Company (BDC), are wedged into politically charged Macquarie Street Sydney City. The design was inspired by Jørn Utzon’s Can Lis, allied with
the peninsulas that form Sydney City. Within the triangular theatres a series of frames exist, the concept being that one can view multiple performances occurring at once. The aim was to develop a third architectural language, to bridge the
gap between the rectilinear city and natural landscape of the domain.
signiture perspective section
The project learns from the core of the design of Jorn Utzon's Bagsvaerd Church, using geometry contrast to create a fancy world inside a building, isolated from its outside appearance. The Bagsvaerd Church takes its visitors into heaven, by
having a very boxy and normal shape outside as an appearance of the building, while inside, the crazy organic curvy ceilings create a world among cloud and sunshine. This project inherits this design thinking and having its aim of creating an
isolated, rich and vivid inside world for the Domain Threshold, which is a place that's being forgotten, by both CBD and Domain. As the corner of CBD and Domain, lying in their shades, who would expect an exciting world existing in the inside
of this normal box?
plan and oblique drawing
perspective section in night
Cathleen Jia Hui Lin
Figure 1:Cathleen Lin, East Facade 1:200 Model
Distinctive architectural elements define a building’s urban edge and the spatial experiences it creates with the public. Amid Sydney’s historical buildings and contemporary development, each spatial experience is temporal, changing ever constantly
as one attempts to adjust to each new space informed by the immediate elements. Architecturally translated into different levels of transparency through materiality, these elements form the foundation of this design. The project is designed
with the intent of emulating these ephemeral spatial experiences within the building itself, using four main materials; clear and opaque glass, mesh and solid, to create a consolidation of dynamic, unpredictable spaces. Each individual program
space boundaries with a different materiality, creating brief transitory spatial moments at each edge. Taking into consideration of the project’s contextual surroundings, an emphasis on the city’s interconnection to the Domain is enforced using
shifting degrees of transparency.
Figure 5: Cathleen Lin, Interior Performance Theatre Space
Solar Study: 09:00
This portfolio explores the design process of a proposed central theatre centre located in Central Sydney City centre. It is located between Macquarie Street and Hospital Road, a slightly populated and busy location. Nearby facilities and buildings
include the Sydney Hospital Building, The Mint and Hyde Barracks Museum. Opposite to the design site will be a local park where the public often use it for daily activities and functions. This design will be heavily based on two aspects: Light
and Transparency These two factors are influenced by the site needs, and the Utzon study of the Madrid Opera House. Inspired by the use of louver, one to block hazardous sunlight during summer but at the same time allows natural and refracted
sunlight into specified program areas. Taking this inspiration to the site and design. Controlling the lighting needs for each program in the design according to their needs. Due to the site constraint, this design will form two theatres. One
is light, where natural light is able to access the program. This is suitable for live performance or any presentation and displays which benefits natural daylight. Coinciding this ideal, the other theatre is a located where no natural light
can access it. This theatre is suitable for entertainment such as films, orchestra and other activities, where light is unnecessary and maybe not beneficial to specific activities. The two theatre will be the main focal point of the design.
Since this design is located in a busy intersection in Central Sydney, I propose the design to be low key and fit into the site, as much as possible; hence, the idea of transparency. Creating different opportunities within the design to view
the site in a different perspective.
View from Gallery to First Floor
View from Office to Gallery
THE FORUM: LONG SECTION
THE FORUM In a visually busy context, this new building responds through contrast - the pure, simplicity of its form and colour - stark white bricks precisely crafted in a sheer and monumental way. It seeks to reflect and honour this same context,
though, in its elevations through the play of gloss and matte finishes - the sunlight emerging through the trees in the Domain, the almost mosaic detail of The Mint and The Barracks' original sandstone, and the simple rectilinear forms of the
new additions to The Mint and Sydney Hospital. The building itself aims to act as a conduit for the passing of knowledge, a Forum for architecture in the city. One space, yet many. Accessible to all. Crafted, as the Opera House podium was, by
the circulation of people through the building.
THE FORUM: OBLIQUE VIEW
Perspective Render: Approaching from The Domain
Fragments is a study of space and its progression through history. Much like the start and end of architecture, its history goes through the process of Discovery, Construction, Disruption and Revival. Utilizing key aspects of Parametric Modulation,
derived from studying Jorn Utzon's Can Lis, the interior and exterior spaces of Fragments is a perfect balance of building on a linear grid while simultaneously introducing notions of interruption and angle. Furthermore, the Roof Structure adopts
lighting qualities from Can Lis, by generating unique and distinct daylighting that coincides with the functions below, whether that be; public, private or circulation spaces.
Perspective Render: Approaching from Macquarie Street
Beginning with a precedential parametric and schematic analysis of Jorn Utzon’s Bagsvaerd Kirke, the fundamental principles of light design were utilised in order to create the forming of the Domain Communal Centre for Performance. The intention
of the building is to be a space that complements the existing music performance and festival use of the Domain. The site’s programme was formed by a quantitative analysis in terms of its hourly exposure to sunlight on the summer and winter
solstices, while also considering the chronology of entry, and experience, and the building threshold’s relationship to the Domain.
Ground Floor Plan
First Floor Balcony
South Eastern Perspective
'THE PAVILLIONS' SHOWCASE A DISTINCTION BETWEEN SOLIDITY AND TRANSPARENCY. CONCEPTS USED WITHIN THE ARCHITECTURAL THINKING OF THE SYDNEY OPERA HOUSE IS ESTABLISHED WITHIN THE DESIGN OF THE DOMAIN SITE. THE HEAVY MASONRY BRICKWORK ACTS AS A BASE
AND PLATFORM FOR THE LIGHTWEIGHT MODULAR PAVILLIONS ABOVE.
The project stems from the transition between the urban fabric of the city into the open parklands of the domain and how the precinct that the site sits within acts as the transition threshold. The positioning of the site invited the reinforcing
of this connection between the two landscapes via the sites tight passage way between them. The way each typology exist in their own right, inspires a twin modular system with the intent of blending the landscape and the structural build of
the urban context to achieve a series of stages and performance spaces punctuating the physical transition.
Frame + Base
For two-hundred years, the social, cultural, political and economic institutions which have established today’s sydney have predominantly been carved out of the domain. Bounded by hyde park barracks, the mint and sydney hospital, my proposal
for a new theatre and exhibition precinct aims to capture the history of the site and invent a new civic institution for our city’s artists and political activists. An amphitheater and stylobate signify the key performance and exhibition spaces,
grounded above a podium containing artist residences and workshops, public forum places, exhibition, and admin and hospitality spaces, all constructed in sandstone. Above, lightweight steel structures shelter the site. These roofs are impermanent,
changing year to year as new artists and architects make their mark on the precinct.
Flexible Roof Structures
Emily Clare Malek
Our cities are often vertical, linear spaces operating on a single plane. Our eyes must travel upwards to see their form explode in the space above far from reach. Here the theatre is pulled into the earth allowing the ground plane to operate
on a human scale; enticing interaction. The performance begins playfully on the ground above, arousing our excitement. The theatre's dramatic descent encourages us to leave the city behind and enter a new realm. The manipulation of the ground
plane blurs the interface between useable and unusable space. A space previously unrealised, has been activated bringing forth a new way of experiencing the site, dissolving the city scale; whilst simultaneously choreographing a new potential
Approaching the theatre
The folded ground plane
Final plaster cast model
Dance for the Domain
The experience of performance, much like the experience of architecture is temporal. Bound to a singular moment in history, tied to a particular space, existing only for the duration of that performance. The architecture which cradles a performance,
is inextricably linked to both the individual and collective experience of that piece of art. The Acropolis of Time —Dance for the Domain, endeavours to propose a scheme which is choreographed by time and driven by the fleeting nature of performance.
Traversing the site, the performer and audience become part of the performance existing for a moment, remembered only through their traces.
Ground Floor Plan
1:200 Jelutong Pine, CNC Milled Model
Exploded Axonometric // Layering of structure and openings to create a sense of transparency
The proposed design is an embrace of circulation in the urban context as well as on the immediate site. Analysing the site within its context, there is opportunity for creating a thoroughfare, and making the site a prominent connection between
the city and the domain. A ramp directly connects the Macquarie Street sidewalk to the domain, as well as connecting to each functional space within the program of the public building. Enclosed is a multi-purpose theatre, discussion and study
spaces, offices, café, bar and art gallery, all opening to the central thoroughfare, with light glass facades and large openings.
Open Spaces // The form allows for intermediate spaces, which can be adapted for public art installations, seating, musical performances and plants
Short Sections // Intervals of spaces showing the transition of the relationship between open space and the heavy platform
Plan // The main ramp acting as a thoroughfare between the city and domain, as well as the main space of circulation for functional spaces
Long Section // Open relationship to the park with transparent features embracing the park
Somar Simon Alhajali
From Work to Park; Axis. Atrium. Threshold
Axis. Atrium. Threshold The Discussion Centre ; a place of recreation, learning and socialising. Utilizing The Domain backdrop, the proposal attempts to provide a junction between the city and the parklands, in which provides a solution to the
lack of lunchtime activity options available to city workers and users. Discussion Spaces below and above the ground plane develop at different scales, related externally through the façade’s habitable steel thresholds. These spaces are embedded
around an internal atrium and habitable circulation paths, which lead to more social spaces above.
Atheer Al Khmesi
PHOTOGRAPH OF BUILDING MODEL SOUTH - EAST VIEW
The proposed architectural program is the hypothetical connection between the edge of the Domain and Macquarie Street; based on the analysis of the hands intertwining as a design schema. Through a new proposed landscape canopy as a roof structure,
representing the organic form of the Domain through its geometry and environmental experience. As for the underground parts of the building, it reflects the city side buildings of a rectilinear form on Macquarie Street. The canopy and the underground
buildings combined to generate parts of the whole. The whole building generates an experiential feeling, for the user as if walking under a spatial canopy of trees. It represents the Domain side of the city; while the city is represented as
a rectilinear circulation between the parts of the building.
BUILDING MODEL INTERIOR AND DESIGN CANOPY
MODEL OF BUILDING PARTS OF THE WHOLE
Axonometric line drawing depicting potential population of the architecture
A curated assemblage of forms that bridge the threshold between the CBD and the Domain. The direct route from Macquarie Street is blocked by circular drums that allow for the option of filtering through, or following the flow of the architecture
around through to each flow on plaza, utilising the forms of the folded ‘corners’ to frame and extend the main plaza and optimize the program to retain as much unenclosed space as possible.
Sketch study 1 for look and feel
Sketch study 2 for look and feel
Sketch study 3 for look and feel
Architecture is a performance. /Inside the space, audiences enjoy performance. Outside the space, itself forms a special stage situated on the counterpoint between urban context and natural domain in Sydney. /Solid walls as backdrop; Transparency
blurs boundary of audiences’ role within the theatre; Thresholds as both intervals and linkage/Then, structural elements wave components together and forms special moments of light onto the stage whilst allowing lights moving with time. Light
is framed by structures, reacts with time, leads the development of narratives. On the other hand, the scaffolding blurs the boundary between the stage and seats, between performers and audiences.
Conceptual scene 1
Conceptual scene 2
Conceptual scene 3
Blur behind scene
House of Illusion, is a space defined by its peculiar nature of bringing the outside into the inside and vice versa. By using mirrors this optical illusion is achieved which encourages users to get lost into the space and then discover their
path through a labyrinth to the center of the building. But one might find themselves asking an important question i.e., does this mirrored labyrinth really has a center or a heart, since it is continuously changing its shape according to the
commands of the magicians who uses every trick in their sleeves to manipulate the users experience with movable floors and walls.
'Heart' Of Labyrinth
'Heart' of the Labyrinth & Cafe
View from the Domain
The design proposal is a way to encourage the communication between the urban area of the Domain highlighting the environmental area and the cityscapes busy lifestyle. Through studies of Utzon, discoveries were made on how movement is dictated
depending on the spaces within. Spaital experience is dynamic. The project is aimed at creating a space for discussion, display and performance with capacity for external performances such as lectures, exhibitions and events. By creating a space
that both mirrors the rectinilier aspect of the cityscape and the open sequential dynamic of the Domain park, highlights the connection between public landscape and parrallel urban situation. Multiple connections have been considered between
the Domain and Macquarie Street, together with linkages to the Art Gallery of NSW. By allowing a building to develop from the base, pathway and intersections of the park provides a space for interaction and development for further years to come.
The design’s materiality reinforces the idea of a free flowing space, including white concrete for the exterior, white marbled floors, a circular inner glass railings and a focal ramp that flows and wraps around the building.
interior view perspective
1:200 Plan view
SPACE AS CANVAS. This design aims to create an open public plaza that becomes a canvas for artistic intervention and space where public life, art and place engage in a collaborative dialogue. Located in a culturally charged site on the precipice
of two of Sydney’s defining typologies — the city and the harbour— the area is an inherently interesting space for artists’ to celebrate our city and contribute to our sense of identity and place. In response to Uzton’s investigation of the
relationship between the circle and the grid, the design extracts these geometries from the immediate context and re-interprets them to create interesting spaces that provoke innovative curatorial responses.
Elevation from the Domain
Ground Floor Plan
A pavilion configured for exhibition.
The Pavilions. The translation of Delueze and Guattari’s six principles of rhizome informs an architecture void of hierarchy. In conventional arborescent architecture, walls and doors are the tools used to enforce hierarchy and the distinction
of space – they are obstructive elements dictating circulation and boundaries. This intervention proposes a modular strategy composed of operable panels subverting the fundamental notion of a wall. Modularity accommodates evolution necessary
for a rhizomatic system whilst simultaneously generating a highly versatile non-site-specific architecture. The result is a radical intervention scattering mass laterally, juxtaposing the arborescent context and establishing an infrastructure
with countless applications and configurations.
A pavilion configured for performance.
The beginnings of a new pavilion.
Growth of the module on site.
Pavilion for performance.
The beginnings of a new pavilion.
A private lowered reading room is situated next to the courtyard which is lined by the bookshop.
A series of platforms and floor slabs create a landscape for the roof and the interior. Through sliding slabs sides ways and upwards a variety of spaces and moments are created that vary in privacy and openness. The private spaces are meant for
individual reflection and rest whilst public spaces encourage communal gathering and interaction. The layering of such moments accumulates in the building below and are released to a more open public space on the roof whilst ensuring spots of
security and safety. The building is designed for happening and interactive theatre with flexible performances spaces that can be used and enjoyed when there are no performances. These performance spaces are visible to the public who can view
from secure private spaces.
A section through a variety of moments, from entry space to private office to rooftop garden.
Birds Eye View
Model in Site
“The concept was space and light” – Jorn Utzon The importance of light to all living things in this world is undeniable; from keeping everything alive to the simple joy we get in its presence. However with cities constantly expanding, access
to sunlight becomes more difficult. The site is located on the boundary between the city and the domain; where sparse light touches abundant. By keeping the area where no shadows fall unbuilt upon, the proposal opens up a path for qualities
of the domain to flow into the city. The manipulation of light using both chamfered openings and angled surfaces describe ways in which darker areas can be illuminated without complete exposure, meanwhile these same openings are also used to
frame the mundane objects which create the context.
Worms Eye Exonometric
Viewed as an exercise in theoretical deconstruction, this project began with an exploration into Bernard Tschumi’s definition of “pleasurable architecture” (as defined in “The Pleasure of Architecture” 1977). Louis Sullivan’s “The Tall Office
Building Artistically Considered” (1896) was used as the basis for analysis and subsequent inversion in an attempt to recondition the modular elements of the modern sky scraper into an assemblage that prioritises the individual and their experience
of the city condition. The final proposed architecture was by no means defined as the ultimate solution, rather one of many possible resolutions of a particular theoretical train of thought.
Below Ground Floor Plan
Ground Floor Plan
Perspective from the Domain
This project grew out of the pure masonry, primitive forms and augmented idealism of Jørn Utzon’s Can Lis. The centre seeks to be seen as a ‘primitive contemporary’ building – the basic classical elements of architecture arranged for modern use,
while insisting on traditional craftsmanship. Here the column, masonry wall, pediment and axial plan are taken and gently distorted to the demands of the site and a modern programme. It does this on its own terms, not as a post-modern pastiche.
Just as the Mint nearby shows its significance through architecture, this project seeks to endow similar gravitas on the arts.
Sectional Perspective through Exhibition Hall
Sectional Perspective through Theatre
Sections and Elevations
This proposal introduces two theatre typologies lacking from Sydney’s theatre context, a traditional outdoor amphitheatre and an underground transverse theatre with a central linear performance space. The remaining program elements are contained
within a tower schema that acts as a microcosm for the city. A light envelope of translucent skin surrounds a vertical series of indoor-outdoor floor plates, containing individual programmatic boxes and voids characterised by patterns of function
and circulation. The multi-functional collection of public and private spaces is flexible to the needs of Sydney’s growing cultural community and a continuity of the city’s urban fabric.
Looking from the tower foyer back along the promenade towards the courtyard structure. Getting a feel for the perforated heavy white block work that extrudes up past the low planting and meets the canopy of the park.
With vast emotional range, Jazz yearns equally for spaces that cater to the intimate and celebratory. Hence notions of counterbalance finds its way into a form that can be used by all - the groups, the soloists, park users, city workers, and
crucially; the musician. It sits heavily with its white masonry whilst being lifted by planting; a scheme with equal proportion of flower to stone. The architecture is a conversation, with the potential to break down the structure of the city
whilst constantly ebbing and flowing with the seasonal patterns of bloom — it is a monument to the emotional being.
In the belly of the listening towers are the practice rooms, surrounding a light well that becomes a social microcosm of music to be either performed or listened to.
In the listening library the various records and view of the windswept planting allows one to escape the bustle of Sydney for a while, and allow their innermost emotions to be brought out and have free reign of the room as the vinyl spins.
A roof plan of the scheme, showing how the design is equally bringing the scale of the city into the park and the park into the city.
1:500 Model: hand sculpted American Oak with Walnut inlays/massings for the design intervention. Clipped nails to represent the extensive planting in the scheme.
Perspective from the Domain
A Space Above plays with the implied space of a roofline and its affect on our subliminal wonderings. Utzon’s Herning Prototype breaks from a functionalist uniform as the roofline takes off above a constant horizon. It is whimsical in this way
and yet stoic in its emphasis on where we are - we are human bodies standing between the two most universal elements, earth and sky. When we consider this question, where we are, in relation to the domain, we are confronted by the solidity of
a civic edge that the site creates with the monumentality of Macquarie Street, the towers of the CBD and the mass of an open field. My project acts in antithesis to these qualities shifting our relationship with the sky and the city. We question
these spatial relationships as the notion of a roofline becomes a continuous and habitable surface for immersive public performance.
1:200 model - basswood, brass, perspex, cotton paper
Perspective from entry pavillion
1:200 model - basswood, brass, perspex, cotton paper
Sydney Live Isometric
Sydney Live proposes a live music and arts venue for Sydney. A study of Jørn Utzon’s Bagsvaerd Church inspired an investigation into the ways gridded systems interact with unstructured forms to generate performative conditions. In this design,
a steel framework, concrete core and translucent skin interact to generate a variety of performance, exhibition and entertainment spaces. The design’s open plaza and non-linear circulation create opportunities for spontaneous public performance
and festival-style events alongside concerts and more structured performances. The architecture becomes stage-like in the way it frames the energy and transience of the music, lights and crowds that inhabit it.
First Floor Plan
"INTO THE NATURE" is a project which is trying to reminds people from city space of the natural world. With the rapid development of modern city today, people is gradually adapt to fast paced life instead of slowing down and enjoy the nature
that surrounded by them. In this project people will be attracted by a small and narrow entrance first, and then they will step into a grand space and finally leading them into the nature space, which is the domain. In this journal people with
understand and recall the memory of nature that they have forget about and cherish and also enjoy themselves in the space.
Site mapping-Human experience
Sectional Space Analysis
Sectional drawings and rendering image
Florence Hua Min Zhu
Figure 1. Site mappings of sight lines
This design project is an architectural framing device of the buildings on Macquarie Street and Hospital Road and the natural landscape of the Domain. Inspired by Jørn Utzon’s treatment of his windows and rectilinear massings in the Can Lis House,
the entire design concept circumnavigates the idea of how the window is a powerful framing device as a receptor for the inside to the out and outside to the in. The long design proposal is intended to reflect as well as respond to the porosity
of the immediate context by altering the existing understanding of the Domain by the public.
Figure 2. Design axonometric and east-facing elevation
Figure 3. Perspectives of interior design
Figure 4. Model photos
Figure 5. Model photos
With the course of time, the contextual tendency is influenced by many factors, consequentially distorted current topology. This proposal seeks for a threshold to revitalise the context by involving the symbolical Index of the events.
Ground Floor Plan
Bodies/Ground: This proposal explores the permeation of the ground plane by bodies in kinesis. Responding to Utzon’s use of the horizontal threshold as an influence on movement, the design aims to evoke awareness of the ground mass as a mediating
plane within the urban context. Performance exists as a transient intervention in space, with bodies engaging and interacting with the spatial container. At each permeation of the ground plane, the body is engaged in movement and tension, creating
evocative potential for performance at all points of threshold. The resulting spaces facilitate innately temporal performance which responds to its architecture through movement.
South-east Isometrice Render
As a threshold from urban to nature, modern to the past, it provides a chance for the visitors to reset their pace, and fall into this garden of Deja Vu. Visual elements of the journey to arrive at the threshold are transformed into new architectural
moments. When the present experience crashes with the memory, the architecture would then create its own zone that escape from the outside world. Whether we are searching a sense of silence or gathering for an open conversation, the new Domain
Threshold would provide the opportunity to challenge one's inner self and reconsider the present context.
Main Entry Gateway
Ruixin Ray Yue
Building Memory. The city, which millions traverse through everyday, is an archive of collective memories. These memories are uneventful to us, but are significant to the city. The memories of a city reflect the energy of the people; it celebrates
the city as a collective. It makes us the audience to our own moments, the performers in our own memories. The building acts like a machine of memories, where the visitors are both the audience and the performer, playing out the collective memories
of the city.
Archetypes of Memories
Sandstone, when cut, reveals its softness and intent to return to its original nomadic existence. There is a dichotomy between its strength as a foundation, as the bedrock that supports the whole city, and its vulnerability when exposed and brought
to the surface. Although still deteriorating when underground, it is getting pressed, and made more solid; becoming stronger as a platform whilst narrowing the channels of escape. As opposed to when excavated and exposed, allowing burning sun
and running water to animate its static form. The wholeness is lost, whilst its individual elements are now free. Bound to repeat the cycle, where formlessness is both freedom, and prison.
South East and North East Views
This design explores the wall as a tool to both encourage and dissuade an occupant of space. Implementing strong sandstone walls that match the surrounding materiality, order is provided in the form of a central negative space allowing for circulation
from the constructed Macquarie Street to the organic Domain. Behind these barriers lies an array of intersecting walls that subsequently create varying functionalities. Visual and physical opportunity into this chaos are created in the form
of louvered steel panels placed at openings within the reinforcing walls. Unique performance space is created in the form of an audience that is able to spectate from multiple vertical levels and in multiple modes.
Guided by Jorn Utzon’s Utsep systems, the theatre is shaped and reshaped to suit interactive theatre to solo monologues, private ticketed functions to market open days, continually providing and reflecting the dynamic city. As the modules are
arranged and rearranged by its audience, the people of Sydney become the director, drawing attention to the reciprocal relationship with an audience needed for quality Theatre.
1:200 Plan "Macbeth"
1:200 model: paper, basswood
Photo of scale 1 : 200 Basswood model
Exploded Axonometric diagram
Photo of Scale 1 : 500 Jelutong Site model
Rendering of central courtyard
Cross section perspective
Section os A. B. Ground
The premise of this project was inspired by Utzon’s architectural thinking to create a space for discussion, display and performances within the site of 5010 Hospital Road Sydney. Exploration of Utzon’s Espansiva defined the limitless possibilities
of space and freedom of a building. Inspiration given by Lebbeus Woods “Lower Manhattan Revisited” and a psychological theory of affordances by J.J. Gibson gave meaning to the architectural reason of a ground plane and thus A. B. Ground was
established as a critique on the architectural defiance to use the current architectural world as a new topography for a building. Verticality, horizontality and the ground plane was determined to be the essential components for a building and
thus to take one of the core elements away, such as the ground plane meant that today’s society would have to almost function towards a new world, one that would not so much invade or increase the density of the site but rather expose the limits
of what architecture can be. To make this design site specific, particular roof planes were taken from the surrounding buildings and on a global scale, is twice the length of the current tallest structure (2017) Burj Khalifa. Vertical circulation
would be how the majority of these users would transcend within the building and ground planes would question and trigger the users to really question the unused spaces that still exist within the world. A. B. Ground aspires for one to come
in with some knowledge of their surroundings but to leave with the knowledge of the potential affordances of any architectural piece.
How deep is earth's core?
Plan of an exterior theatre
Books in the sun
An office, 800m in the air
HIDDEN BALLET THEATRE
HIDDEN BALLET THEATRE The site of the project is locate in an area which is a transition between two different part of the city which creates two different kinds of human experience. One section contains high-density buildings with a minimum
open area, and the other side is completely open and public. As the project site was on the edge of this transition, there was an opportunity to create a connection between these two parts. The idea behind the building is to create a place that
blends into the domain and make the domain part of the building. The columns at the ground level blends into the trunk of the trees and the upper level hides behind the canopy of the trees. The balcony above creates a private open area for theatre
which is separated from the city and creates a framed view through the trees into the domain.
The Centre is an architectural exposition of Ballet- structurally framing and deconstructing the practice of the performance. The architecture is vested into creating opportunities for the visitor, worker or someone heading to or from the city to capture
moments outside of the dancers outside performance- within the dance studio’s at the beginning, practicing their performance in the exhibition spaces and performing. A poetic contrast of ‘performance’ and ‘exposure’ of the art is instilled between
the separation of the podium and lower ground which are infused with circulation spaces that connect to the central veins of the city’s connectivity- solidifies the architectural gestures of the design.
1.50 Detail Model
The staggered roof terraces caters for different performances and accentuates a theatrical experience of the city on top of the park.
The Domain Theatre Complex aims to return occupied land back to the public and blend the edge between Sydney's built fabric and landscape. Through creating a cluster of floating pavilions / additional ground plains, the design accentuates theatrical
experiences of the city beside, inside, and above parkland. By elevating the building above ground, visitors are encouraged to explore underneath built spaces. Echoing with the Domain's public oriented program, ground level of the design would
accomodate for events such as market stalls, music festival, light shows etc.
Light strips between the double layered poly-carbonate facade allows the design to glow at night.
A reverse skyline is created by dramatic changes in ceiling height as viewed from ground. This alludes to different functions on the ground plain without placing physical partitioning.
Initial site mapping begun with investigating the density of connections between void spaces and trees around the site.
Various iterations contributed to the development of this scheme
Access to open public space is a key part of life for the people of Sydney and the Domain is one of Sydney’s best parks for this. Located on the border of The Domain and the CBD, the site has the potential to become a hub and thoroughfare for
public activity. The pavilion acts as a stage for public life, with plazas and exhibition spaces to exhibit art, music, and social ideas. The form is inspired by the relationship between the platform and the roof and the ways in which these
elements can be altered to create different levels of intimacy.
Short Sectional Perspective
This program is constructed through intentionally stolen typologies. It answers to the city’s verticality, defined by an activated ground plane, arrays of identical floors and a symbolic crowns. A new tower set off from this body floats above
an inverted podium that reflects inwards and upwards with the body of the building both its canopy and stage. Classical tectonics of surrounding architecture is bastardised again with faux sandstone columns controlling light and aspect in response
to conditions both internally and externally, thus creating a transparent and performative threshold as a direct criticism of the glass and steel box.
From above, one views the roof forms that cover the distinct and ephemeral spaces that the performance center offers
On a site positioned between the engineered and the natural, this performance center acts as a mediator between the hierarchal and the experiential qualities of spaces. It is refined in both its material palette and its means by which people
can be both lost in the grandeur of its scale, or equally connected to the emotionally stimulating spaces inside. The distinct connection from the city to the park and the ability to cater to nearly any performance allows it to act as a fulcrum
by which it is inviting and accommodating to both the individual and the group.
Unseen from the street, a sequence of spaces emerge sculpted for the internal condition
'Reclaiming the Edge' provides a new public space for Sydney. The site exists in a long narrow strip of old colonial building that define the eastern edge of the CBD. What we know today as an open green public space, ‘The Domain’, was in fact
established as ‘The Governor’s Demesne’ in the 19th century with strictly limited access. The history haunts the park and the control of people past is palpable moving around the site. The project explores the dysfunctional edge of the city
and seeks to repair it with a rich new open public space.
Diagramming a flexible public space
The proposed building acts as a transitional threshold between the CBD and the Domain, a site that lacks a smooth rate of change. This is achieved by creating an ambiguity between dualities. The interior becomes exteriorised by bringing the streets
and forest into the building. Markets are held in these spaces. The performance space is an open platform, able to accompany small scale perfor
mances, such as busker's, to larger scales, such as public demonstrations. The audience and performer
share the same platform, blurring the boundaries between the two. The building is made of timber posts, representing the trees of the domain. Private volumes representing the tall city are not solid but made up of points blurring the lines between
transparency and obscurity. It becomes a space that relieves the tension between the two juxtaposing sites it sits between, joining the city and forest into one space.
Short Sections - Changing Platforms
Open Performance Space
Interior Model Photograph
As more of Sydney’s cultural and public spaces are threatened by the advent of high-rise luxury apartments, they are welcome to seek refuge under the Canopy’s roof. In the last few years alone, the infamous lockout laws have significantly reduced
the number of bars and live music venues, while lucrative land prices may have played a role in the relocation of the Powerhouse Museum. The Canopy’s industrial language subverts the construction sites of these developments, and highlights the
constant flux of the city. A flexible steel structure allows easy reconfiguration of spaces within the Canopy, allowing the program to shrink and grow according to its inhabitants needs. The Canopy will always remain under construction, just
Exterior Model Photograph
Ground Floor Roof Plan
Fourth Floor Plan
Canopy Plaza Photograph
Utzon often drew inspiration from the way pedestrians moved through space. For the Kuwait National Assembly he recognised that people traditionally moved across the land. He then rejected the idea of a skyscraper and created a dramatic pedestrian
experience around a horizontal path. Realising that visitors to the Sydney Living Museums are encouraged to lose themselves in the urban fabric, my design operates as a series of interventions. These insertions are positioned around the foundations
of the demolished building, bringing the performance onto the street. The site is celebrated as the existing architecture forms the stage-set for pedestrian performance.
Compression and Expansion in the Kuwait National Assembly
Theatre and the Street Stage
View from the Domain
The imagined schematic is based on the Agora - the center of the artistic, spiritual and political life of the people - providing a built connection between the urban (Macquarie Street) and the natural (the Domain) landscapes. The Agora is a
dichotomy of both a converging as well as a diverging environment whereby people would assemble to this central location for discussion before departing with a more enriched self, creating a sense of threshold. Together with the existing site
embedded amongst public buildings, the project aims to bridge the connection between urban and nature.
View from Hospital Road North
View from Hospital Road South
View from Courtyard
View from Performance Theatre
Our city is culturally bankrupt. Now made in the image of government and developers, it sells its past to privatise what little public space remains. "Periphery" proposes a mediation, a space both within and without, an architecture that allows
for introspection whilst simultaneously observing our surrounds as a basis for debate, communication and rebellion. A curvilinear polycarbonate canopy draws inwards from its extremities, meeting a continuous brick topography, creating pockets
which embrace without restricting. Together, these fragments act as medium rather than endpoint, a framework for returning agency to the inhabitants of the city. The periphery does not remain silent.
Peripheral Projectuion into the Domain
Theatre in the Round
Ame, meaning Rain in Japanese, explores a spatial experience where subtle changes in weather, atmosphere and population are noticeable and alter the ambience of the space. These changes are minute. To observe them requires some lingering. Opaque
layers act as filters mediating the threshold between interior and exterior. Not only do these layers or walls filter sunlight but the spatial conditions that surround them. This subjective space lends itself to multiple readings similar to
an abstract painting. The works of Gerhard Richter and William Turner are good examples of this.
Drawing from the sequences of openings surrounding the Domain, ‘Frames' explores space as delineated by a conglomerate of lines and points - a series of columns which fluctuate upon a grid generated from surrounding openings. The columns densify
in private spaces, and expand in public spaces. Individually, these columns act as a frame for movement and views. Together, they form a sequence which transforms the building into an open-ended process of perceiving, a filmic apparatus which
engages individuals to piece together different views of the city and perceptions of performance, turning the procession towards the theatre into a performance in itself.
Luke Wills Hannaford
A new theatre and exhibition space is proposed at the threshold between Sydney city and the Domain parklands. Situated on this limit, the proposal generates a ‘performance landscape’ that perforates the dividing band of colonial buildings, blurring
the boundary between city and park. Utzon’s principles of ‘additive architecture’ provided an initial lens for the project, informing a series of rigorous mappings of the Domain as a field condition. In response, the project creates an inhabitable
perimeter, framing a series of flexible skins that operate within a dense tree grid and provide the necessary performative functions of the various theatre spaces.
Amphitheatre surrounded by flexible skins
Approach from the Domain
Visual composition mapping
There is an intricate relationship between the facade of the building and the fourth wall of the stage, such that the fourth wall represents the literal removal of the facade of the stage. The project seeks to reinstate the fourth wall of the
stage through the removing of the facades of the surrounding buildings and transposing them onto the site.This creates an intimate theatre experience in which the audience quite literally views the performance through the openings of the now
re-appropriated facades. The filled voids left within the affected buildings create a link not only between the site and the city, but through the city as a whole.
Replacement of facades with black cladding
The narrative of the stolen facades
Rendered perspective of performances through the facades
Rendered perspective of the lower performance space
ENTRANCE | Spotlight Connections
An observer becomes a performer when under a spotlight. This is an exploration of the consuming focus created by a theatre spotlight when manifested in architecture. A series of focal moments create an architecture of fragmented and suspended
experiences, exploring the relationship between observer and performer and the point at which this flips. In highlighting an individual, a spotlight places them in a position of prominence. With prominence necessarily comes responsibility, and
with responsibility, an awareness of self within a wider social network. Therefore, spotlighting an individual is reconstituting its relationship with the whole.
CONCEPT, Interconnected Collective Spotlights
MODEL, Main Entrance
PERSPECTIVE, Architectural Spotlights and Typologies
For many years, the theatre and the ritual of performing and watching have invoked questions on acknowledgement. My scheme aims to uphold this fourth wall, transition-ing and elevating the audience members from the highly public and complex city
scape below. The viewer enters the permeable brick base as they choose, the walls, roof and floor are blurred. From here the visitor is drawn up the ramp which circles the parabolic theatre. The centre of the theatre is used to plot it’s surrounding
functions. The resulting orthagonal geometry acts to house the preparatory functions and becomes a buffer from the park.
This imaginary project provides spaces for architecture students and artists to produce small art projects on site, and also serving for artwork exhibition and small-project rehearsal. Inspired by how the Sydney city is storing and presenting
the information of its history and context, this project is designed as a “cloud storage” for artworks and performances. Temporary exhibitions and rehearsals can be set up in the spaces below the “cloud.” These spaces are functionally “off-target”
platforms, and they would be defined when people using it.
city as scenery
fragments of information
Above the canopy: relate to sky - Space with openings to sky - Cutouts on the canopy hint program locations, activities, etc Between canopy and ground: liberate the ground surface as public space - Open space with few buildings and large landscaping
- A small community, a place for wandering, a starting point and a destination Below the ground: groundness - Programs descend into the ground - Cutouts on ground invite light into the underground space with linear shape guiding people’s way
Although performance will always end and time only goes one way, people walking in different layers generate their own space and time through the stay and continuous indulgence.
1: 200 Paper model
Rendering - Open ground level
Rendering - Roof level
Jacob Ryan Levy
Parti Model Photograph - Performance space gently framed
A new performance space emerges in the threshold between park and city. It invites the public away from the everyday, framing glimpses between audience and public/performer. It is set lightly in the ground. Blades and spine extrude as solid masonry
massing in sandstone and brick. Sunken courtyards are gently outlined. These elements appear as landscape, spurs and ridge framing valley. An individual’s sudden emergence from a dark portal is met with applause and takes on a dramatic quality.
A topography of performance is created.
Plan - Park level
Section - Three sunken courtyards
Exploded Axonometric - circulation and openings
Model Photograph - Progression of blade elements
North east entry oriented towards Phillip Precinct
A scattered composition of twenty one anchors sink into the earth, establishing the outsets in order to orchestrate a controlled chaos of fragmented geometries. Each point characterises a specific threshold typology defined by a series of parametric
rules, generating a journey through a performance of harmonious transitions. Through the arrangement of frames which form around each anchor, frequent moments of convolutions within the plan create a series of junctures which provide not only
opportunities for interactions within the segmented program but also interactions with new spatial opportunities.
Ground Floor Plan + Section
1:200 Basswood Model
1:200 Basswood Model
Kate Concannon Texilake
Journey of katabasis leads to the auditorium
The intention of my design is to create a performance space that recovers The Domain’s attenuated historic functions – and civic value – as a place of public amenity, culture and small scale farming. My framework is the view of nature and culture
as two sides of the same coin, with special consideration for the process of conditioning and transformation common to both. Culture in all senses is about catalysing a deliberate transformation. This parallels the archetypal journey of katabasis
and anabasis. which the architecture seeks to induce; like a sprouted seed we re-emerge from a successful performance essentially if subtly transformed.
Articulated roof structure folds sky and earth into a multi-faceted perspective of the world above
Small scale farm plots of the 'rooftop' garden
Short section through the auditorium, offices and 'rooftop' farm
Long section looking towards Macquarie Street
MANY PEOPLE IN SYDNEY HAVE FOUND THEMSELVES DISPLACED, DUE TO RISING HOUSE PRICES. PROTESTS OCCURRED DURING MY SITE VISIT. A TENT CITY. DESIGNED FOR THE HOMLESS. IN MARTIN PLACE THEIR HOMELESS HUB IS DESTROYED. AFTER NEGOTIATING WITH THE GOVERNMENT,
THEY AGREED TO MOVE, IF THEY COULD KEEP THEIR HUB IN MARTIN PLACE. THIS FORMS THE BASIS OF MY PROJECT. A COMMUNITY BASED RELOCATION. LOCAL CREATORS CAN SELL GOODS. LOCAL CHEFS CAN FEED SYDNEY, WHILE GIVING FOOD BACK TO THE HOMELESS. ROOMS FOR
OVERNIGHT STAY FOR THE HOMELESS. THE COMMUNITY ARE THE PERFORMERS. BUSKER’S. HUSTLERS. MARKET OWNERS. BARTERERS. PEOPLE WATCHING.
HOMELESS PEOPLE STUDY
east elevation rendering
Located in a transition space in between of prosperous CBD and clam domain, the building aims to provide a breathing moment for individuals and unveil a totally different scenery on the other side. A series of frames were designed to adjust the
amount of luminance and viewings to guide the public to explore the space. It is a journey when the public experience the building, where framing becomes the key element, a guide to lead everything.
south elevation rendering
Joy Guang Yu Chen
Theatre enables a form of story telling that represents and re-presents the ‘real’ world through the lens of comedy, satire, tragedy, or drama. Embodying the inversion of initial site mappings of the urban site, the architecture of this public
theatre is itself a representation of its surrounding urban context.
Versatility of display in the exhibition spaces
Sectional detail of entry
Mappings of the urban context
This project was intended to implement the folding structure of the Jeddah Stadium designed by Utzon. By developing a rule for rotation, the movable folding panels can act as space dividers, resulting in a rearrange-able and reorganise-able space,
which can fit for different occasions. The implementation also resulted in a movable facade, whose panels can be folded or unfolded according to the environment, or the needs of the events.
Rendering of the exterior of the theatre from Hospital Road
My project focused around an exploration of the dualities and juxtapositions of space through the shifts and changes of spaces within the building. Beginning with an investigation into Jorn Utzon’s Can Lis and breaking it down into a set of structured
and fragmented pieces, I utilised it to develop a community theatre/amphitheatre able to adapt to whatever function is required. The design focuses around the juxtapositions of the materiality, weight and development of the micro and macrocosms
of the Sydney urban landscape.
Diagrammatic fragmentation of Utzon's Can Lis into modules
Sections of the theatre
Axonometric of how the building is situated in its urban environment
Images of my final design model
Sydney Playhouse: Oblique Section. O Britt for BDES3027
This project develops a theatre for use by small theatre companies. The building is developed as a canopy of ribs. The curving rib surface slopes through the first floor to form a plane for theatre seating, curving around to enclose the theatre
space, and reaches down to the ground to enclose the café kitchen and office spaces. The dramatic cantilever of the undulating surface creates a plaza underneath the theatre, allowing multidirectional entry and continuity of the surrounding
landscape through the ground level. Laminated beams allow a self-supporting building form, sweeping down into the ground and cantilevering over the plaza.
Sydney Playhouse: Elevations. O Britt for BDES3027
Sydney Playhouse: Sections. O Britt for BDES3027
Sydney Playhouse: Model, Plan View (Upper Floor). O Britt for BDES3027
Sydney Playhouse: Detail Model, Theatre Interior. O Britt for BDES3027
“From the beginning I knew my destination, and I chose my route accordingly. But am I working towards an extreme of joy, or pain? Will I achieve a minimum, or a maximum?” Our city is huge. Buildings in the city is constantly getting reused, re-designed
or even demolished and countless kinds of resources must been put into during the process. As an architect, how to make our building to become somewhere special after the built of new architecture which has better spatial experience due to the
development of innovative technologies, so that we can maximize the resources and effort that has been put into the process of designing and building our architecture? The answer in this project is beautiful moments that are generated by different
spatial experiences and viewers can have the precious memory of “I know how this story ends; I think about it a lot. I also think a lot about how it began.” (Quotes from “Stories of your life”, by Ted Chiang)