Unlikely Combinations
- Shanghai Opera House
The project aims to investigate the kinship between conflicting attributes and how does this technique affect the buildings — the exploration of formal architectural conditions between abstraction and legibility. An investigation into the unlikely combinations could inform critical insights about the building’s possibilities. It
will focus on crossing-programming, moreover, create an awkard relationship between elements.The working theory of this project is that juxtaposing any form of dissimilar. A catalog of features of any two or more architectural elements must include a set of orchestrated differences.
The project is a hybridized opera house in Shanghai. The context of the site, located at east bund of the Huangpu river. To conter the seriousness of west bund’s traditional authenticity buildings, this thesis makes a serous attempt to intrduce a series of awkward combinations for the new building.
The Opera House will form part of a new urban masterplan for Shanghai, named as the most important initiative of the country’s Five-Year Plan for cultural and global influence. Situated in the Expo Houtan neighborhood, at a convex bank in the riverside, the scheme’s primary mission is to be a public, open venue that harmonizes with the radial layout of the surrounding landscape.
The opera house embedded the programmatic typologies in the same building include Gallery, museum and Programmatic typologies embedded in the formal typologies.
The hall has been time-proven to offer an unparalleled acoustic experience. Here, the traditional layout has been updated with contemporary elements. The verticality of hall maintains the necessary ratio for optimal acoustics, while allowing for three balconies. The number of seats in each ascending balcony decreases, bringing audience members at the higher levels closer to the performance, creating a warm and intimate environment. The choir seats are laid out in a u-shape behind the orchestra and around the organ. When there is no choral performance this space may be used as ticketed seats. The majority of audience members sit at the main level as one ensemble brought together by their love of music. The acoustic volume does not include seats, stage and the organ but it does include the space above the canopy since this space is very important acoustically. Wood is the predominant material in the hall because of its ideal acoustic properties. The seat cushions are made of a thick felt that mimics the absorption of concertgoers for accurate sound absorption during rehearsals and warm ups.
The hall has been time-proven to offer an unparalleled acoustic experience. Here, the traditional layout has been updated with contemporary elements. The verticality of hall maintains the necessary ratio for optimal acoustics, while allowing for three balconies. The number of seats in each ascending balcony decreases, bringing audience members at the higher levels closer to the performance, creating a warm and intimate environment. The choir seats are laid out in a u-shape behind the orchestra and around the organ. When there is no choral performance this space may be used as ticketed seats. The majority of audience members sit at the main level as one ensemble brought together by their love of music. The acoustic volume does not include seats, stage and the organ but it does include the space above the canopy since this space is very important acoustically. Wood is the predominant material in the hall because of its ideal acoustic properties. The seat cushions are made of a thick felt that mimics the absorption of concertgoers for accurate sound absorption during rehearsals and warm ups.
