Adios Advanced Design I...models

3D Print (via my digital model in Revit using an STL plugin) Sectional model of the theatre - the original roof and walls broke so had to remake them in opaque acrylic - actually probably gave a better idea of the concept though...

CNC cut plywood base with acrylic laser cut buildings - next time need to glue the plywood layers together a little better.

Adios Advanced Design I....poster

Adios Advanced Design I....renders

NB. these renders were all done in Revit using my digital model, with only very minimal fussing around in Photoshop (hardly at all, and none in the case of the wharenui). Unfortunately I didn't have enough time to do high quality renders - these are all using only the low or medium quality setting (shame - if I'd done 'best', would have blown them up to larger sizes in my final poster).

 

Inside theatre, stalls view to stage

Foyer, ground

Foyer, gallery

Inside theatre, view from stage

Inside wharenui



 

Perspective view from Mangere Bridge (night)

Perspective view from Mangere Bridge (day)

Adios Advanced Design I..sections

Final floor & site plans

Print

www.3a.co.nz, Sophia Li
Remember next time to change colour to CMYK and use gloss (but low sheen) not matt (too faint).

Research - Mangere mountain

Mangere Mountain = one of the largest volcanic cones in the Auckland Volcanic Field, with a peak 106 metres above sea level, and was the site of a major pā. Many of the pā's earthworks are still very evident.

The mountain features two large craters. The volcano has a wide crater with a lava dome near its centre, a feature shared by no other volcano in Auckland.

• last erupted approximately 18,000 years
• one of the largest and best preserved of Auckland's volcanic cones - much of the archaeological environment on the mountain remains, such as kumara pits, garden terraces, walled garden mounds and stone boundary walls

Early map by Hochstetter of Auckland's geographic features - volcanic cones and lakes.“The istmus of Auckland with its extinct volcanoes, by Dr. Ferdinand von Hochstetter 1859”.

Cladding - Accomodation, Wharekai, Foyer faces

For the buildings facing the marae atea, consider cladding with gabion walls containing volcanic rock - see this link for a good reference on this: http://www.enviromeshgabions.com/sites/enviromeshgabions.com/files/ENVIROMESH_GUIDE_TO_FS_WALLS_AND%20CLADDING.pdf
This reference also provides some nice detail drawings.
See also this for a NZ supplier: http://www.maccaferri.co.nz/afawcs0140261/ID=67/SID=465517339/productdetails.html

For these walls, the gabion would be used as a rain screen, giving a sense of solidity and thickness, grounded, and also linked somehow with the marae atea space.
Could also be used as a trome wall internally - see previous research on this example: http://design5aw.blogspot.co.nz/2012/04/other-gabion-houses.html

Engineer discussion about materials

Main frame of auditorium will be steel frame, a hull, which then has timber framing - layers of thin wood which can bend. This is covered with a metal mesh, then a layer of GRC (glass reinforced concrete) over the top - for flexbility to avoid cracks.

That is, to create solid GRC layers would be prohibitive wrt to cost of creating all the different molds needed.

The box exterior will be steel - galvanised, with main steel members and metal plates making up the exterior. The inner weather proof box will be double glazed thermal glass.

Roof, metal plate.

More dimensions...toilets, freezers, kitchens etc...

Numbers of toilets

Theatre: assume max of 1000 people (500 male & 500 female)

• Metric Handbook = minimum 15 female & 2 male...
• Neuferts = minimum 7 female & 3 male

Wharekai/cafe/bar
Assume max of 500 people at any one time

• Metric Handbook = minimum around 8 female & 2 male
• Neuferts = similar

Marae area (similar to stadium requirements)
Assume max of 1000 people (500 male & 500 female)

• Metric Handbook = minimum 14 female & 1 male

Auditorium contours - walls, ceiling, acoustics

Textures on the inside of auditoriums is desirable to enhance acoustics (absorb echo, reverberation etc). Add contours of the mangere model to the walls/ceiling. Like the inside of the mountain - you are inside the mountain.

Volcanic Theatre - more overt use of contours...

Make the concept of Mangere Mountain/volcano form come through more strongly.

Use these contours to more overtly inform:
(1) the shape of the atea space
(2) the shape and spatial arrangements of the auditorium
(3) the texture of the walls and ceiling within the auditorium

Make this the overriding concept above all else:

• other buildings less distinct
• volcanic/geological materials
• fine scoria for the atea space which will 'crunch' when walked on (you cannot quietly enter this space)
• basalt, pumice
• outdoor theatre less pronounced so the jetties are the main form noticed from afar

Also, use the natural contours of Norana Park a little more with the buildings that are clustered around the edges (drop some of the rooms down a level etc).

Acoustics

Talk with George Dodd...

Add in some acoustic reflection slots to absorb any potential echo. Make sure the seats are covered with something soft to add to this absorption when people are not present in great numbers.
etc.
Otherwise okay though be aware that circular design can focus the reflections (the above should deal with this).

 

 

 

 

Reverberance

If a sound is stopped, it will not stop instantaneously, but instead your ears (receiver) will continue to pick up the successive reflections until they are completely gone. The louder the original sound, the longer this process takes place. The reflections are caused by sound waves bouncing off  the ceiling, floor, walls.
This gradual dying of the sound wave = reverberation and is one of the most important factors in designing good acoustics for an auditorium. 
The reverberation time = the time the sound takes to fall by 60 dB when the source is stopped (also defined as the time taken by the sound energy to fall to 10-6 of its initial value).

The optimum value of the reverberation time varies according to the different types of sounds like music, speeches, drama, cinema, lecture etc., If the reverberation exceeds its optimum value, then the speech will be completely unintelligible, and if the reverberation is lower than the optimum value the auditorium will be somewhat dead.

Optimal design for reverberation control:

• The audience provides most of the absorption so when the auditorium is vacant or partially vacant the hearing condition will not be satisfactory. To overcome this, use sound absorbing material on the seats so that the absence or presence of audience does not affect the reverberation time.
• Eliminate unwanted echoes, focusing effects of curved surfaces, flatter echoes by fixing sound absorbing materials on the element with the reflective surfaces (ie. Ceiling, walls, floor).
• Side walls should be sound reflecting and diffusing with as many irregularities as possible.
• Large unbroken concave surfaces should be avoided or treated with good sound absorbing materials.

In an auditorium with cushioned seats and a sound absorbing rear wall for echo control, the average ceiling height H is usually H=20T where T is the mid frequency reverberation time in seconds.
Sabine’s formula for reverberation time is used for suitable acoustic treatment. Where ‘V’ is the volume of the hall, ‘S’ is the surface area and ‘a’ is the absorbing coefficient.

Volume
Shape the auditorium so the audience is as close to the sound source as possible, for example a fan shaped auditorium with balconies.

New site layout - Mangere mountain/lagoon + Portage

New layout relates main elements to:

• Mangere mountain & lagoon
• performance centre - the auditorium corresponds to crater position & the outdoor ampitheatre to another crater
• marae atea corresponds to the lagoon
• the rush of water entering the lagoon (atea space) corresponds to the whare nui, a powerful place for energy flow
• Portage, located across the inlet - the whare nui now orientates to this rather than the island

 

 

 

The associated buildings are arranged according to relationships between them, and also tapu/noa associations. The foyer is flanked by the whare nui on one side and the Mau studio - both these latter buildings will have large glass windows allowing a visual connection if you are in the marae space, to the inlet. This also allows a view of people movement and activities in these buildings.

Accomodation is placed in between the whare kai and whare nui - the dormitory accomodation is directly adjacent to the whare kai.

Workshop is closest to the road/parking/wharf/canoe launching area.

Zen garden will be 'behind' the whare nui.

 

NB - previous research on Tapu/Noa/Va:

 

Tapu & Noa

A system of tapu and noa prevails when visiting a marae:

The tapu-noa system distinguishes between places and events that are off limits or need to be given cautious treatment, and those that are safe and accessible to the majority.

• Tapu - many interpretations of tapu, but most emphasise a sacred quality and linked in some way to gods or divinities However, a more utilitarian view of the purpose of tapu was discussed by Te Rangi Hiroa who drew a connection between the use of tapu and the prevention of accidents or calamities, implying that a dangerous activity or location would be declared tapu in order to prevent misfortune. More than a divine message from the gods, or the recognition of status, the conferment of tapu was linked to healthy practices.
• Whaiora, Māori Health Development takes a similar view. Tapu is described as a type of public health regulation, basically concerned with the avoidance of danger and the promotion of good health
• Noa - a term used to denote safety; harm was less likely to befall anyone who entered a noa location, ate food rendered noa by cooking, or touched a noa object.
• Noa can be thought of as a kind of blessing in that it removes tapu, eating removes tapu in this way....(eg. sharing a meal on the marae)

There is the expectation that on a marae, a cautious attitude should be adopted, since the laws of tapu and noa still prevail.

• On some marae, the left side of a meeting house is tapu, the right side is noa.
• Usually the marae ātea is tapu, at least for visitors until formalities have been exchanged.
• Visitors themselves may be regarded as tapu and tangata whenua might be reluctant to make any formal contact until the tapu state becomes noa.
• Cooked food is noa, so that the way of reducing tapu is to enjoy a meal together.

The laws of tapu (and the corresponding state of noa) serve a different function in modern times than they did in earlier but some elements remain eg. behaviour on the marae atea - individuals are not at liberty to roam as they might wish, nor to behave in a manner not sanctioned by the rest of the community on the marae

(From Journal of Polynesian Society, Volume 108 1999 Volume 108, No. 4 Marae and implications for a modern Maori psychology, by Mason Durie, p 351-366 )

Va

Va = the mana/power that is concentrated in the marae/malae spaces, but can also be present in a person

Va is about creating space, balancing space

Between sky & sea

Between light & dark

Between birth & death

Between inside & outside

Between day & night

Between myth & reality

Between now & then...

Bridges span/create the divide between sky and sea/earth -see Heidegger's comments on bridges.

Lemi Ponifasio has referred to his work as the pursuit of the "Va-body", a conscious and responsible state of being.

The Va = the gap in the rock reef around an island. It's where the islanders' boats come in and go out for fishing or travel and it's the most dangerous part of the ocean.

"This is the point where we should be all the time," he says. "In Samoa we say in the va, that's what politeness is – it means to be in the space, to be paddling on both sides of the canoe, to be in balance. Maintain the space, it's like a motto in Samoa. That's the kind of theatre I'm trying to make, it's about being in the space.

"Our architecture is the same. In a typical Samoan house you have one room and everything is open. Births, deaths, love-making, eating, drinking, sleeping, fighting, discussion takes place in one space so you must learn negotiation. I like this. As opposed to the theatre which is a space of mystery."

[from an interview: http://www.scotsman.com/news/interview-lemi-ponifasio-choreographer-1-820363]



Real/Unreal

Dimensions & volumes

Marae area

Marae atea - spaces often around 30m x 30m - 900m2

• mine is around 960m2

Whare nui - needs to sleep 80 so around 30mx10m? 300-400m2?

• Traditional shape with porch and only one window at front only. However, include windows in the porch sides.

Whare kai - about 1.5 x size of the whare nui,

• flexible seating for 300 people inside plus outdoor seating
• large commercial kitchen with servery, plus outdoor cooking area

Road - 3m wide for a bus or truck (deliveries)

Accomodation

• 3 apartments with:
• queen bed, allow 3mx3m to include wardrobe, plus ensuite & serviced apartment-like kitchen area with microwave, sink, small fridge, hot plate, washing machine, dishwasher
• small lounging area with sofa, table, chairs, etc

• dormitory to sleep 20
• divided into 4 rooms with 5 beds each - 2 bunks, 1 single
• toilets & showers for 20 people
• adjacent to the whare kai so no kitchen facilities needed
• include one central 'lounging' room
• adjacent to space for studying & a library/media area
• MAU studio, workshop

 Workshop - for woodworking, stage set design, canoe making, carving etc

• around 35m x 20m

 

MAU studio - for rehersals, design, teaching

•  similar dimensions to the whare kai but with divided spaces for rehersals (similar dimensions and feel to stage layout), designing and teaching
• area for large screen to test out designs for video/sound

Performance areas

Main - out in the water

• main area for performances
• seats 1000 - some of this will be flexible seating (have only around 600 fixed seats)
• stage includes a thrust stage
• traditional fly tower
• scene dock
• changing rooms for performers, 'green room'
• bathrooms, cloakroom for guests
• large foyer area with cafe/bar area if needed
• atrium area, a bridge across to the main auditorium for the guests (to one side of this will have a large closed 'bridge area' for movement of performers, stage sets etc)
• ticket office/admin office???

Floating open stage - at the back of the main stage area

•  huge doors can open out from the main stage area to incorporate this into the main stage/performance if wanted
• seating for 80-100 people, flexible (no fixed seats just benches)
 
 

Abstract workshop notes

Mangroves - reclaiming land

See this image ... white is sand that was there in 1940, then the mangroves progressively take over (created from historial aerial pictures of Norana Park 1940, 1996, 2006, 2010)

Mid Semester Crit - Site Plan Feedback

 

Feedback (Albert)

• 'almost cracked the layout' - ideally this project will work especially with respect to the focus on the local community and their part
• by having the atea space as a kind of 'mediator' between the ancient world and the world of the 'magicians' out there in the water is a nice way to have it - 'I like the way they are kind of polar - the world of the ancestors and this other world out here in the water, making stuff - I think its a nice thing'. It's almost  like an anchoring here (ie. the atea is the anchor)
• I think you're being very sensitive about those issues (ie. comments above)
• I almost see this as a solid block around here and you build on top (the section showing atea wall with voids)
• the theatre building will be visible from the bridge so you have to design it with that condition in mind, an almost iconic building, stuck out in the water
• the building is this becon thing that does not just speak about the people within it but also has a dialogue with all the inlet, the surroundings
• 'iconic architecture'

Feedback (Rewi)

• I wouldn't have the marae directly facing the front of the theater building
• I'd frame it differently, perhaps theatre building somehow allows a connection to the greater landscape or being some kind of gateway instead
• eg. you'd never have the church and town hall facing each other in any European square
• relationship between the marae and theatre very important - at the moment they seem to have a confronting relationship
• perhaps move the theatre around a little so not directly in front, or the theatre building allows a connection to the inlet, is some kind of gateway
• at the moment they're just aligned along an axis - need to think more about what you'll see when you're in the marae
• the performance space should be more incorporated somehow in the marae - at the moment it seems too separate
• (TINA) Lemi will probably want to use the wharenui and marae space in conjunction with the performance space...I can see the reasons you want to keep them separate but there has to be a juncture, more of a connection somehow - the relationship between these 2 buildings (wharenui, performance space)
• the atae space could also be used as a performance space

Feedback (Albert)

• perhaps build up the site so the wharenui is up higher and almost looks down on the performance centre
• arrival will be important, esp as the performance centre is sitting out in the water. I think you have the split in the main paths too early,
• will need to choreograph this entrance quite carefully, perhaps with contrasts - open, threshold etc

Feedback (Tina)

• the site plan is more open to possibilities than the section
• I have a prejudice against iconic buildings as they often have no relationship with the site
• the marae seems almost dwarfed by the performance centre
• (ALBERT) another way of looking at it is that both buildings are a kind of theatre - different kinds:
• wharenui is cave-like then there is a progression up to the performance fly tower which builds the magic for that space.
• Strip it down, both are theatres, but in different kinds of worlds.
• So how do you heighten these 2 conditions, worlds, then there is the open space in the middle.
• The theatre should be something more magical.

Feedback (Mystery Man)

• metamorphosis from the idea to the expression should be clearer
• something organic that should grow out of the site

 

 

 

 



Internalising the landscape

Concepts from surrounding landscape:

Examples include the Phaeno Science Centre,...

• Contours of the surrounding positive and negative spaces will translate into internal spaces for the performance centre.