Metropolitan Opera House

Taichung

Toyo ito

Amelia Brown tom gaudion sian harry

michael hart lauren searle

Practice

Project Introduction Timeline:

Taiwan government first proposed a National Musical House.

1992

International Design Competition held on behalf of Taiwanese government. 29 entrants received. BRIEF Opera House Cultural Centre, restaurants, concert halls, exterior public space. National Identity Taiwan as an emerging economic power needed a recognisable icon/representable image on the world stage. City Identity While other major cities in Taiwan are all known for something, Taichung, a city of roughly 1 million residents whose name means central Taiwan in Chinese, has trouble finding anything to distinguish itself from Taiwans other metropolises

2005

ZAHA HADID

PREDOCK ARCHITECTS

Project Introduction Timeline:

Toyo Ito design successful.

2008

Construction Contracted. Estimated 3 year construction. Estimated Floor space of 57000m2

2009

Site Plan

The geometry of the building responds to the landscaping of the site plan

The curves of the building allow it to

open up to areas of public gathering for indoor/outdoor functions

The curves of the building respond to the junction of indoor and outdoor space

The water in the site plan is used for evaporative cooling

Neurone-like networks of water and greenery continue in the park integrating the building in its urban surroundings. This kind of networks, of water and greenery, are similar to a structural model of Taichung City itself.

urban plan

URBAN NETWORKING The proposal aims to emphasise the existing axis between the site and the government buildings to the East, as well as ensuring strong connections with the nearby metro and subway stations. Public Park Seamless Access Network of paths have been designed to connect with present and future adjoining projects.

Floor Plans complex three dimensional

geometries result in a series of expanding and contracting spaces.

The programme of the

building is arranged around this.

Two Large spaces such as the

opera halls dominate the building, occupying the large volumes

Smaller spaces such as the

foyers and service spaces occupy the remaining space around these volumes

First Floor

Second Floor

Floor Plans

Third Floor

Floor Plans

Third Floor

Fourth Floor

Grand Theatre Intimacy Interaction with the audience and intimately, making sure the audience feels close to the stage and also promote a shared experience between audience and performers. Feeling of Being Surrounded by the Audience The performers are at the centre of the event and so like to feel surrounded by the audience, the design ensures the stage is the focus of all angles of the auditorium, with wraparound seating. Spacious Backstage Area A rehearsal area, overhead fly bridge, and gallery allow for a diverse range of performances and provide necessary facilities to ensure safe stage management. A comfortable working environment is achieved through natural lighting from above for rehearsals etc. Acoustic Design The Grand Theatre will be used for mainly operatic performances and so the room shape has been designed taking into account detailed sound models. Early reflection is important to preserve the clarity and intensity of the sound and avoid echo sounds Acoustic reflectors are installed at the top and sides to ensure ample reflections, extra reflectors can be added on the stage for classical music concerts.

Playhouse Spatial Design Concept Stage can be extended to meet the varying needs of different performance genres. Tension and interaction between the performers and audience is created through the immediacy generated through the stage design. Steep single sloped seating ensures an unobstructed sightline for all stage adaptations. Acoustic Design The Playhouse is mainly used for theatrical performances and so must have a short reverberation time in order to ensure intelligible speech is heard. Sound absorbing curtain, can be drawn or closed to affect the reverberation time if the concert hall is being used for classical music performances.

Playhouse Black Box Spatial Design Concept Blackout blinds located between the double glass layers on the vertical facades allows the option for both bright, open performances and dark, enclosed performances. Acoustic Design Sound absorbing curtain, can be drawn or closed to affect the reverberation time if the concert hall is being used for classical music performances.

Section

The complex geometry has been split up into levels

The two large volumes dominate the building. The spaces between these volumes serve them.

Well integrated vertical circulation system, separating staff, audience, and services

in some areas we submerged the structure to create horizontal floor areas. Depending on the height at which you place the floor, the view of the interior changes considerably.

Images

Circulation system

Audience Circulation Goods circulation Office circulation

Roof Garden

Restaurant Bar & lounge

Foyer 3

Foyer 2

Foyer 1

Art plaza

Art plaza

Roof Garden

Dressing Room

Dressing Room

Loading Rehersal

Roof Garden

Terrace

office

VIP rooms VIP LOBBY

Office Lobby VIP Lobby

Model

Model

The external form of the building is orthogonal, but the interior is punctured with countless holes, so that levels are connected horizontally and vertically. Cave like holes penetrate the form.

model

model

Because the whole of the interior space is made up of continuous convex surface, the acoustic quality is very high much higher than something like a dome.

model

model

External renders

Development of Structural Concept: 1. Two flat surfaces were each divided into a Cartesian grid.

2. Alternate points on each grid were connected vertically

with flexible fabric to create a three-dimensionally curved and continuous surface.

3. Continuing this process results in an A/B organisation of space, connected vertically and horizontally.

4. Repeating these polyhedrons, connecting them at each of the four levels, and smoothing out the geometry created the structural system.

Structural concept

Application using Parametric Design The structural system follows the Protuberance Model (where elements morph out of a surface usually with a curved or rounded

shape)

Within this Protuberance Model the geometry of the building consists of a bunch of Catenoid surfaces which are connected by a defined area of the Voronoi diagram.

The Voronoi diagram was set out by the functional requirements of the building type.

MAYA 3D Modelling Software was used to model the structural system.

Catenoid Surface Voronoi Diagram Metropolitan Opera House Structure

Structural system

3D Concept

The structure of the Taichung Metropolitan Opera House was a development upon the competition entry by Toyo Ito for the Music, Dance & Visual Culture Centre in Ghent, Belgium (not built).

The Ghent Cultural Centre proposed to use the continuous concrete surface to create unbroken circulation, that flowed between multiple levels, spaces and voids.

Both buildings house activities such as performing arts and music, thus meaning the forms and spatial requirements proposed in the Ghent Cultural Centre could be transferred to the Taichung Metropolitan Opera House.

Metropolitan Opera House

Music, Dance & Visual Culture Centre

Comparative structure

Construction

Contract signed by Toyo Ito in November 2009, with an approximated build time of 45 months.

Main structure consisting of curved walls and inlaid floors with a core service wall. Temporary steel framework towers in the position of the Grand Theatre and Playhouse.

Initial Phases of Construction

The Layers of Construction: Temporary Steel framework and

two-dimensional steel trusses.

Steel reinforcement bars connecting the trusses horizontally on both sides.

Shotcrete applied within the steel reinforcement. This is a wet mix which is blasted into the framework at high velocity. This is a method which allows for curved finishes and serves as a back shutter for the finishing layer of concrete. The method of using shotcrete is cheaper and less time consuming compared to using methods consisting of doubly curved framework.

Curved steel web plate by laser cutting.

Welding of additional plates to form the curvature of the spaces.

Connected by horizontal framework

Shotcrete applied to both sides of the expanded metal mesh.

In the wet process, the water is added to the batching plant and premixed with the dry components. This allows for greater control over the mix. In most cases a layer of wet mix is applied first followed by a thin, finishing layer of dry mix, this being where the water is added at the nozzle rather than in the batching plant.

Construction SEQUENCE

Interlocking grids of reinforcement steel to create the curved walls and beamless interior spaces.

Structural Layering Study Model (1:10)

Temporary Steel Framework

Shotcrete applied into the reinforced steel mesh. A different mix of concrete is then applied by hand as a finishing layer for wanted colour and texture

Walls of approximately 200mm thick, with widening towards the base of 300mm.

PLUG(Floor)

PLUG(Wall) PLUG(Faade)

Creating Usable Interior Spaces Inlaid floor and walls to create individual and flexible interior spaces.

theory

Topology 3D Concept of Form Finding Topology

The study of the properties that are preserved through the deformation, twisting, and stretching of objects.

3D Software The form was generated in Maya stretching continuous surfaces between two solid surfaces.

Programmatic Influences Balancing the programmatic needs of the building whilst also creating beautiful geometric forms inspired by coral was achieved though physical models and 3D software.

Innovative Structural Form Three-Dimensionally Connected Spaces Horizontally and Vertically Continuous

Network of Spaces The interior spaces are conceived from membranes pulled into shape between two more solid surfaces, this creates a complex set of connections both horizontally and vertically. This creates opportunities for people to interact with each other and connects the different activities. Unrestricted Movement The fluid continuity of the structure reflects the idea that the theatrical arts are spatial arts, and promotes people to move freely around the building. I always wanted to create an organic design where people are not restrained in their movement inside a building structure. Human beings become free when they are in nature, so what I had in mind was to create an architecture that resembles nature, said Ito.

Innovative Structural Form Interaction and Connection with Landscape Continuous Convex Surfaces

The whole of the interior space is made up of continuous convex surfaces creating an incredibly high quality acoustic space by reflecting the sound widely, This is much better than a simple dome as the concave shape causes reflections to be concentrated.

Connection With the Landscape The building extends to make connections with the landscaping outside, merging with the park and promoting communication between casual passers-by and artists. The building is described as having more than one front, inviting people from all approaches into a labyrinthine network of spaces.

Environmental Awareness Issues of the Environment, Resources, and Energy Horizontally and vertically continuous

network of spaces Rain falling on the large roof surface will be collected and filtered for use in irrigation and sprinkling for landscaping plants. Sewage from the facility will be processed in a purification tank then reused as an intermediate water supply for purposes such as toilet flushing.

Use of Eco-Materials The majority of materials used will be recyclable eco-materials such as concrete and steel, which could be recycled eventually if the building needs to be reconstructed to help limit the environmental load and conserve resources.

Reduced Energy Demands By increasing greenery surrounding the building which will create shade and using the evaporative latent heat of water the cooling needs of the building during the day can be reduced.

conclusions

Topology & innovative structural form

With the complex geometry generated, can the space still function normally?

The complex geometry means that the plan does not work as efficiently as it might in a more conventional plan. The architect prioritises the spatial qualities, offered by the curved geometry, over a more efficient organisational plan. The main advantage of the sculptural form is it offers great acoustic qualities to the space. It also gives the space a certain atmospheric quality that is desirable for an opera house.

Does the Opera house give the city of Taichung a sense of identity The Opera house has not yet been completed, and so It is hard to gauge whether or not it will offer the city an identity. The building in innovative in its type and scale construction, and so in that sense unique. However, this does not necessarily mean that the building will become iconic or famous.

Connection with the landscape

Does the curved organic form connect the building to the landscape The curved forms of the building break up what would otherwise be a harsh and definitive shape sitting in the site. The curves on the building respond to publicly occupied spaces in the surrounding landscaping, at the junction between the indoor and outdoor spaces. The Water in the landscaping is also connected to the building, by passing under it, and being used for evaporative cooling. However by artificially creating forms in the landscaping, the architect has created boundaries, with the change in surface and implied form, and so the junction between the building and the landscape is not seamless. In addition the created landscape does not connect well to the rest of the urban cityscape. There is a very harsh junction at the edge of the site.

Environmental awareness

Does the Architects claim of environmental concern stand true. The building does make some moves, such as rainwater harvesting, and evaporative cooling, to reduce the energy load of the building. However, the building is entirely constructed of steel and concrete, which give the building an enormous carbon footprint. The architect claims that the building is eco-friendly because they can be recycled, not because they are recycled.

Bibliography http://bhujonkang.files.wordpress.com/2011/03/protuberance_bhujon1.pdf

http://api.ning.com/files/hyVscR2OJLbmge5oRoXXkkfsz08LzperR0Gpyt66olT4FXlUdLX2SfOPA8oZ-YMeGIb0PUZb2ASM9ROE1V2uOPixtkMM8c*O/100325_ToyoIto.pdf http://www.iaacblog.com/digitalfabrication/2010/10/25/forum-for-music-dance-and-visual-culture/ http://archreview.blogspot.co.uk/2011/10/toyo-ito-taichung-metropolitan-opera.html www.designboom.com%2Fcms%2Fimages%2Ferica%2F--toyo%2Ftoyo15.jpg&h=zAQHFlaON www.jmmag.com%2F2010%2F09%2Ftoyo-ito-wins-praemium-imperiale.html&h=zAQHFlaON http://monaco.pixnet.net/blog/post/21522860-taichung-metro-opera-house-%E5%8F%B0%E4%B8%AD%E5%A4%A7%E9%83%BD%E6%9C%83%E6%AD%8C%E5%8A%87%E9%99%A2%E7%AB%B6%E5%9C%96

Turnbull, Jessie, Toyo Ito: forces of nature (New York: Princeton Architectural Press, 2012) pp. 54-69 Burry, Jane & Mark, The New Mathmatics of Architecture ( London: Thames and Hudson, 2012 ) pp. 157-161, 205-208

Metropolitan Opera HousePracticeProject IntroductionProject IntroductionSlide Number 5Slide Number 6Slide Number 7Slide Number 8Site Planurban planFloor PlansFloor PlansFloor PlansGrand TheatrePlayhousePlayhouseSectionImagesCirculation systemModelModelmodelmodelmodelmodelExternal rendersSlide Number 27Slide Number 283D ConceptSlide Number 30Construction Slide Number 32Construction SEQUENCE Slide Number 34Slide Number 35Slide Number 36Slide Number 37theoryTopology3D Concept of Form Finding Innovative Structural FormThree-Dimensionally Connected Spaces Innovative Structural FormInteraction and Connection with Landscape Environmental AwarenessIssues of the Environment, Resources, and Energy conclusionsTopology & innovative structural formConnection with the landscapeEnvironmental awarenessBibliography