To one and only. COLOPHON Title: The Clockwork Theatre Project: A&D Msc03/04 Arc Period: September 2014 - June 2015 Group: 3 Supervisor: Mads Dines Petersen Tech. Supervisor: Lars Andersen Number of copies: 4 Number of pages: 171 Printed: AAU, Aalborg, Denmark 2015 Bartlomiej Jacek Rusiecki 4 Acknowledgements I would like to thank everyone involved in any I do in fact, love my work. Thanks mate! way in development of this project. First and foremost I would like to thank my family, espe- Thanks to my supervisor, Mads Dines Petersen, cially my parents, without whom nothing of this and my technical supervisor, Lars Anderson, for would be possible. If it weren’t for your support, guidance, for sharing the knowledge, for chal- help, love and patience, I wouldn’t be here. I lenging me and for all the help during the last am also very grateful to my grandmother, who year. It was very educational. taught me to cook, without you I would starve to death. Finally I would like to thank my colleagues for all the chats, critique and shared thoughts. Also all I would also thank my closest friends for being people involved in development of this project, my second family. Thank you for your support, whom I didn’t mention above. and always being there for me. Even when we didn’t speak, thoughts of you kept me pulling Thank you! Dziękuję! Mange tak! through. I am especially grateful to Jerzy Jaracze- wski, who, despite what he might think, motivat- ed me to work on more than one occasion. For the long discussions and making me realise, that 5 6 Preface ABSTRACT Concept aims to extend the walk-able boule- vard and invite people to visit the site. The pro- This report presents the proposal for a new ject of the theatre building includes also the de- theatre for Aalborg, Denmark. The project is a sign for the surrounding area, creating the park new approach to the theatre building and per- at the end of the pier. The intent is to create formance itself. It combines tradition with new place where people can rest for a while after ideas. the walk, or after the performance. The considered site lies by the Limfjord, north- On the other side, building relates to the west from the city centre, and it is area of ap- Musikkens Hus and Nordkraft, two big cultur- proximately 10 000 m2. Surrounding area con- al hubs, starting the dialogue and giving the sists mainly of the old industrial buildings, but possibility for development of the cultural dis- Aalborg’s waterfront is quickly developing, and trict. The project develops the new landmark, new buildings are being erected, changing the extending the waterfront, inviting people in. It character and expression of the space. The pro- creates cultural niche, while capturing the in- ject fuses the new architecture of fast growing dustrial feeling of the space. promenade, while trying to capture the feeling of the post-industrial atmosphere of the space. 7 PROLOGUE GUIDE TO READING This project was developed by Bartlomiej This report presents proposal, of the new the- Rusiecki, Msc03/04 Arc 2014/2015 Architecture atre for the city of Aalborg. The project was and Design at Aalborg University. developed with the Integrated Design Process, Project was developed using holistic approach synthesising the architectural vision and techni- to the design and taking into account various cal knowledge. factors and parameters. The primary focus was creating high quality architecture, however pro- The report is divided into two parts, first being ject also includes, among other things, struc- the theoretical study, focusing on artificial light- tural design, lighting design and meeting the ing, and the second one, showing the design requirements of the regulations of 2020 stand- of the theatre. The second part starts with the ards. analysis, followed by the design proposal, brief- ly presenting the design process summed up Designing process was supervised by Mads with the conclusion and reflection. The end fea- Dines Petersen, assistant professor at depart- tures annexes and list of references. ment of architecture, design & media technolo- gy at AAU, and technical supervisor Lars Ander- References are denoted with the Harvard meth- son, associate professor at department of civil od. engineering at AAU. 8 9 10 Table of contents Acknowledgements 5 Preface 7 Introduction 15 Part I Chapter I 21 - what is light? 21 - how does the sight work? 22 - types of light 26 Chapter II 33 - time line of artificial light development 34 - light in culture 38 Chapter III 43 - functions of artificial light in architecture 43 - iconic light 44 - light transition 46 - directing light 48 Chapter IV 51 - creating illusion 51 - change of appearance 52 - subjective impressions 54 - colour of light 60 - experiment 62 Chapter V 71 - applications of the artificial lighting - “amrta” 72 - chapel of rest 74 - “magna” science adventure centre 76 - the blue planet 78 11 Part II Chapter VI 83 - subject analysis 84 - site analysis 92 - theme analysis 100 Chapter VII 105 - methodology 106 - vision 107 - presentation 108 - master plan 108 - plans 110 - sections 113 - elevations 114 - atmospheres 116 - materiality 124 - structure 126 - construction details 128 - light studies 129 - case studies 131 Chapter VIII 135 - design process 136 - initial sketches 136 - idea formation 138 - concept development 140 - daylight studies 144 Epilogue 147 - conclusion 148 - reflection 149 - reference list 150 - illustration list 153 Appendix 155 - daylight studies 156 - light studies 158 - mechanical ventilation 160 - BSim 162 - fire safety 164 - acoustic studies 165 - structural studies 166 12 13 14 Introduction The main focus of this thesis is to investi- the functionality of the buildings, and secondly gate how light influences our perception of the create effects in the buildings and to add signifi- surroundings. How the atmosphere of the place cance to the sacred places and gathering areas. is created and what makes us feel in the specif- ic way? What is the atmosphere of the archi- With the further development of architecture, tectural space? In the second part the acquired people started to use light to mark important knowledge will be applied in the design process places or to create certain mood and to influ- of the new theatre building for the Aalborg. ence the visitors. This is most visible in the tem- ples and other places of worship. The spectator Light accompanies us from the very first day we was supposed to feel the presence of grater are born. Life, as we know it, would not be pos- force. The cathedrals from middle ages filter sible without it. Throughout the history, light the light through the stained glass-work, later enabled us to, first, discover and explore the during the Baroque: flickering light reviled the caves, thus providing us with shelter. Our an- complicated architectural forms and details cre- cestors discovered fire and were able to habitat ating fantastic play of shadows. dark, inaccessible before spaces. Later, the first primitive stone lamps, and after that, candles Light is also inspiration and tool for other artists were created. Later light was used to improve like painters and sculptors. It is light that reveals 15 the shape and form. In the paintings of baroque of fresh, juicy fruit we are able to imagine its masters, such a Caravaggio, it builds the atmos- taste, just by looking at it. The same thing ap- phere, and the mood (see Figure A.1 on the plies to the touch. We are able to determine next page). The points of focus are very bright whether something is the rough or soft. Light and exposed to direct light, while the rest is and the way it reflects on differently finished hidden in the shadows. surface makes it possible for us. But it also gives opportunity to create the illusion and deceive In the words of Walter Gropius - “This is the us. task of education: to teach what influences the psyche of man in terms of light, scale, space, As mentioned before, this report is divided in to form and colour. Vague phrases like “the atmos- two main parts. Despite that division it is meant phere of a building” or “the cosiness of a room” to be treated as one. The design part was cre- should be defined precisely in specific terms. ated using the theoretical studies from the first The designer must learn to see; he must know part. I have been divided into VIII chapters. It the effect of optical illusions, the psychologi- was written during two semesters at the Aal- cal influence of shapes, colours and textures, borg University in Aalborg, Denmark. the effects of contrast, direction, tension and repose; and he must learn to grasp the signifi- All the images, sketches, diagrams, etc. were cance of the human scale.” [Michel 1995] created by the author, unless stated otherwise. To better understand how the light influences our perception it is also crucial to understand how our sight works. Everything we see is cre- ated by reflecting light - the colours, shadows shapes. Vision enables us to understand basic properties of objects without involving oth- er senses. When presented with the image 16 Figure I.0 - “The Taking of Christ” by Michelangelo Merisi da Caravaggio. 17 PART I 20 Chapter I What is light? How does the hu- man vision work? Types of light. WHAT IS LIGHT? Modern light theory was based on the findings of physicist Max Planck, and later Albert Ein- According to the CIE (International Com- stein. Light as we know it today, is a phenom- mission on Illumination), light can be defined enon which can be described in sometimes as as: “Any radiation capable of causing a visual particles, and sometimes as waves, depending sensation directly.” [CIE 1987] though in physics on quantum state.