DESKTOP AND LITERATURE STUDY

P.AJAY
18271AA003
 DESKTOP STUDY (INTERNATIONAL)
• After an intensive search
for a new location for • The renovation of the Hotel Post, the redesign of the
sulz-shore and the new culture hall will create an
SITE the replacement building
for the culture factory in attractive space in Berching in the middle of the
Berching, an inner-city historic old town.
P area with vacant
• The building with its steep gable roof takes up the
buildings was acquired
L by the city of Berching. traditional features of the historic barns and
reinterprets them. The timber comes exclusively from
• By dismantling the
A existing hotel building the city's own forest.
from the 1980s, the
N valuable inner-city area • For this purpose, spruce was used as construction
wood for the roof and gable surfaces and a grid made
on the Sulz was
reorganized. of black pine for the facade cladding.

BERCHING CULTURE HALL, GERMANY

ARCHITECTS: KÜHNLEIN Architektur • The hall with stage and backstage area
offers space for various seating and event
YEAR: 2020 variants.

LEAD ARCHITECT: Michael Kühnlein • The stage is connected to the level of the
hall and basement with a lifting platform.
CITY: Berching
COUNTRY: Germany • The dimmable chandeliers with industrial
fluorescent tubes were designed by
KÜHNLEIN Architektur for the project.

• LOCATION: Klostergasse 8, 92334 Berching,

Germany.
• SITE AREA: 800 sqm. ROAD WIDTH: 10 M

• The woods are treated with a traditional, non-toxic

• By dismantling the existing hotel building
from the 1980s, the valuable inner-city area
on the Sulz was reorganized.
• 260 m² hall
• 80 m² foyer and 60 m² stage area • In addition to the medieval hospital building,
• Space for 170-200 guests in the hall (table places) the Hotel Post's new beer garden also forms
• 260 seats in rows the forecourt to the new Berching cultural hall
• Modern media technology and lighting system and is, therefore, an area that is always lively.
• Well-equipped catering kitchen
quark-casein coating.
• The flanking side wing with a flat roof is subordinate
to the gable roof structure and contains the ancillary
rooms such as sanitary facilities, kitchen, and storage
rooms.
• The side wing is made of concrete for fire protection
reasons.
• These exposed concrete surfaces provide a striking
contrast to the wooden construction.
• The sanitary rooms are deliberately sparse and sober
with stainless steel items and slim mirrors with simple
lights.
• The entire interior design is deliberately designed
plain and simple with inexpensive materials.
• The herringbone cladding in the hall with different
proportions of joints serves the room acoustics and
regulates the reverberation time.
• At the same time, it serves to stiffen the roof and wall
surfaces.
 MASTER PLAN GROUND FLOOR PLAN
ENTRY

RESTAURANT

FOYER

EVENT HALL

KITCHEN

STORAGE

BACKSTAGE

TOILETS

FIRST FLOOR PLAN BASEMENT FLOOR PLAN

MULTIPURPOSE
ROOM

STAGE AREA

CORRIDOR

STAIRCASE

• Materials: • Category:
• Wood solid wood pine Metal Mirror Concrete Glass Roofing Lamps and lanterns • Hospitality Culture Center Culture Architecture Stage Performance Building Concert House

FRONT ELEVATION SECTION A SECTION B SECTION C

 DESKTOP STUDY 2 (INTERNATIONAL)
Architectural style: Deconstructivism
• This cultural centre was designed by the Viennese
architectural studio Coop Himmelb(l)au as a combined
SITE school and concert hall: its open structure promotes the
• After four years of exchange between the audience and artists, and the
P construction, the "House students and teachers.
of Music" in Aalborg,
L Denmark was • "The idea behind the building can already be read from
the outer shape.
ceremoniously opened
A on March 29, 2014 by
The school embraces the concert hall," explained Wolf
the Danish Queen •
N Margrethe II. D. Prix, design principal and CEO of Coop
Himmelb(l)au.

HOUSE OF MUSIC, AALBURG,

DENMARK
• The foyer serves as a meeting place for
ARCHITECTS: Coop Himmelb(l)au students, artists, teachers, and visitors.
YEAR: 2014
• Five stories high with stairs, observation
AREA: 20257 m² balconies, and large windows with views
of the fjord, it is a lively, dynamic space
CITY: Aalborg that can be used for a wide variety of
activities.
COUNTRY: Denmark

• LOCATION: Musikkens Pl. 1, 9000 Aalborg, Denmark

• SITE AREA: 20257 m² ROAD WIDTH: 25M

C C
O O
N N
S S
E
E • U-shaped rehearsal and training rooms are arranged
R
T R around the core of the ensemble, a concert hall for
T about 1,300 visitors.
H
A H • A generous foyer connects these spaces and opens out
L A • The flowing shapes and curves of the auditorium with a multi-storey window area onto an adjacent
L L cultural space and a fjord. Under the foyer, three
inside stand in contrast to the strict, cubic outer
L shape. more rooms of various sizes complement the space:
• The seats in the orchestra and curved balconies the intimate hall, the rhythmic hall, and the classic
are arranged in such a way that offers the best hall.
• The Concert Hall (or the Main Hall) seats 1,298 people possible acoustics and views of the stage.
• The Minor Hall seats 300 people • Through multiple observation windows, students and
• The design of the amorphous plaster structures
• The Rhythmic Hall seats 200 people
on the walls and the height-adjustable ceiling visitors can look into the concert hall from the foyer
• The Classical Hall seats 200 people
• The Foyer handles 2,150 people for receptions etc. suspensions, based on the exact calculations of and the practice rooms and experience the musical
• Musikkens Spisehus is the restaurant of Musikkens Hus the specialist in acoustics, ensures for the optimal events, including concerts and rehearsals.
and is located out to the Limfjord in two floors. listening experience.
 LEVEL 0 LEVEL 1 LEVEL 1 ACCOUSTIC DIAGRAM

CONCERT HALL LEVEL 2

• The Auditorium of the main Concert Hall is a modified shoebox designed for the optimal balance of acoustics, sightlines and closeness to
the stage for the audience.
• The Auditorium will be among the quietest rooms for symphonic music in Europe achieving a noise reduction rating of NR10.
• The architectural design of the space enables interactivity between the interior events and the Educational and Public activities outside of
the auditorium through different view portals penetrating the auditorium walls and providing views into the Concert Hall space from the
Foyer and the Interchange Level surrounding it.

• From the Foyer the Concert Hall appears as a monolithic form with natural materials and colors, however upon entering the auditorium the
architectural language transforms into fluid curvilinear geometries bathed in color and artificial light, lending a special theatrical sense of
atmosphere to the space.

• For economy and optimal noise isolation, the Concert Hall is constructed on ground level as an entirely separate structure from the U-
shaped building around it, and a separate structure from the three additional smaller halls located below the Foyer Podium.
• Within the Auditorium the audience is seated on three levels, with seating platforms and balconies that wrap fluidly around the space with
varying curvilinear forms giving the interior a sense of intimacy and spatial connection to the stage that is distinctly different from typical
long and narrow shoebox halls.
LIGHTNING
LEVEL 4 LEVEL 3
• Day lighting is an integral part of the building design reducing the need for
artificial lighting.
• All artificial lighting fixtures are carefully selected considering the consumption
of electricity with preference for fixtures using less energy wherever possible.
• The BMS systems are used to regulate the amount of lux supplied by the
lightning due to the amount sunlight through the windows.

ACCESS AND ENTRANCES

• The Main symbolic entrance to the House of Music addresses the

Limfjord and Promenade, and the formal expression of the Foyer
reaching out towards the water.
• A taxi and bus drop-off from Stursvej to the East connects to the Foyer
via the House of Music Square directly in front of the Main Entrance
from the North.
• A second Main Public Entrance to the Foyer opens to the Culture
Square to the West.
 SECTION OF THE BUILDING

BUILDING PARTS

LANDSCAPE AND SITE DESIGN

• The design of the site emphasizes both the urban character of the House of Music area in the city and the
natural aspects of the Limfjord and Aalborg stream.
• Both the Cultural Square and House of Music Square are seen as urban extensions of Aalborg and are
connected to the existing pedestrian and traffic systems.
• An urban dynamic grid is created on the ground surfaces to emphasize the connection from west to east
across the site and to the House of Music entrance.
• This grid is used as a guideline for paving patterns, drainage and LED lighting and together these design
components provide texture, atmosphere, guidance and differentiate the scale and functionality of the urban
spaces.
• The extension and opening of the Aalborg stream forms the concept for a green park edge along Sturhsvej to
the East of the House of Music.
• Visitors arriving by car move though this park space which includes lush extensive landscaping and trees as
well as the re-opened natural Aalborg stream, and culminates in a formal drop off in front of the Foyer.
• Green areas and trees and small scale Urban Courtyards within the House of Music Center, are also included
to provide natural elements, air cleansing and green edges connecting the House of Music Area with the
surrounding landscape corridors and the fjord.

CIRCULATION OF THE BUILDINGS

VENTILATION

• The ducts and air-handling units are designed with a low-pressure drop.
• The fans therefore use less electricity to distribute air within the building.
• The air-handling units are also equipped with very high efficiency rotating heat recovery devices.
• In the concert hall the air is supplied via a plenum beneath the seats in a very efficient low velocity displacement ventilation system
directly in the level where the audience is seated.
• Air extraction occurs at the top of the room through grilles placed over the production lightning system. ORGANISATION OF THE BUILDING
• The heat from the lightning is therefore extracted before it can cause a temperature rise in the room.
• In the 3 smaller halls the ventilations system is based on a VAV system (variable air volume) that is suitable where the heat loads vary.
• The system secures that air changes in the rooms are at a minimum.
• In the rehearsal rooms the number of air changes is determined by the number of people occupying the room.
• The ventilation in these rooms will be ON/OFF based on the use of the room ensuring that rooms are ventilated only when used.
• In all offices, rehearsal and group rooms the ventilation system is based on cooling baffles. The air changes are determined by the
occupancy load.
• The necessary cooling is supplied by cool water in the baffle.
• This system ensures that air changes in the rooms are at a minimum.
CULTURE: the arts and other manifestations of human intellectual achievement regarded collectively.

LITERATURE
5 things to remember while designing cultural centers
CULTURAL CENTER: A cultural center or cultural centre is an organization, building
1. Resonating with the people
or complex that promotes culture and arts. Cultural centers can be neighborhood
The project’s current cultural context is a more direct parameter needed to design
community arts organizations, private facilities, government-sponsored, or activist-run.
it. The impression of the structure should attract a young demographic that will

STUDY
use the center to its fullest. The keen insight into the current trends is pivotal in

AUDITORIUM defining spaces and influencing people in the right way.

Overview 2. Historical references

SPACE ATTRIBUTES A cultural center plays a vital role in retaining values and beliefs for the community.
• Auditorium space types are areas for large meetings, presentations, and performances. The integration of architectural features, forms, materials, and artwork help imbibe
• Auditorium space type facilities may include assembly halls, exhibit halls, auditoriums, and theaters. the past as an active part of the future. Moreover, a fundamental feeling of oneness is
• Auditorium space types do not include such features as sound reinforcement systems, audiovisual systems and projection screens, food service facilities, proscenium established, creating a brotherhood that caters to the community.
stages with heights greater than 50'– 0" or fly gallery, orchestra pits, revolving or hydraulic stage platforms, flying balconies, movable seating, or billboard systems.
3. Multidisciplinary Spaces
SPACE ATTRIBUTES Recognizing spaces and their utility before construction is important. Though a
• Auditorium spaces are designed to accommodate large audiences. community’s likes and dislikes can be studied, designing an individual space for
• As such, they tend to have wide spans and are multiple-stories high in order to accommodate seating, sightlines, and acoustical requirements. Raised stage/dais every whim and fancy of the people is not always possible.
floors and special lighting equipment are often required as well. Typical features of Auditorium space types include the list of applicable design objectives elements
as outlined below. Multidisciplinary spaces are conceptually open-ended as they look to cater to
• For a complete list and definitions of the design objectives within the context of whole building design, click on the titles below. multiple functions. Whether the space is a closed room or an open plaza, they
have a massive footprint with minimal obstructions.
Accessible And Functional / Operational
• Sloped Floors: Sloped floors, with level terraces for each row of seating, help provide the proper sightlines from the audience to the stage. Note that the bottom and
intermediate rows should be directly accessible from entry levels to allow for Americans with Disabilities Act Accessibility Guidelines for Buildings and Facilities 4. Finding the function
(ADAAG) compliant accessible seating positions. Identifying the cultural center’s use is the first step in defining it. The function is
• Fixed Seats: Typically, fixed seats with tilting upholstered seat and back, integral arm and tablet arm are provided with articulated back for maximum occupant more often than not derived from the passions or needs of the community.
passage space between rows. The seats may be fully upholstered or wood contoured outer back and seat shells with wood armrests with tablet arm option and aisle
light option at row ends 5. Integrating Nature
Nature is a timeless part of any culture and demands the respect and attention of
architects that choose to build on it. Aside from determining the energy efficiency of a
building, the integration of nature into a structure connects people to the land.

SEATING

SPECIAL ACOUSTICAL DESIGN:

• Quality acoustical characteristics are important in Auditorium spaces so that performances and presentations can be clearly heard and understood. For
performance spaces and general presentation spaces, recommended noise criteria (NC) rating ranges from NC–20 to NC–30; recommended sound
transmission class (STC) rating ranges from STC 40 to STC 50.

• Strategies to achieve the recommended NC and STC ranges include, for example:

• Type II vinyl wall covering and fabric covered acoustical wall panels for the interior wall finish in the auditorium; Type II vinyl wall covering for the
stage area; Type II vinyl wall coverings for 1/3 of the front of the orchestra (audience) sidewalls and fabric covered acoustical panels for 2/3 of the back
of the orchestra (audience) sidewalls; fabric covered acoustical panels for rear walls; and a plaster and plywood combination—because of their
reverberation characteristics—for the ceiling.

SUSTAINABLE
Increased Cooling Capacity:
• Heating, ventilating, and air-conditioning (HVAC) systems for Auditorium spaces are sized and zoned to accommodate varying internal loads,
which are a function of audience sizes, performance lighting loads, and projection equipment.
• Particularly, air handling units (AHUs) with increased cooling capacity should be zoned separately for the auditorium, lobby, projection spaces, stage
areas, and audience seating areas. Also, the Auditorium typically has a separate AHU constant volume with modulated temperature control for
ventilation.
Materials and Finishes: Use materials and finishes that meet sustainability requirements for Low or No-VOC as well as durability and low maintenance.
Coordinate maintenance and replacements with sustainable O&M practices to ensure an overall healthy environment.

Raised Floor: The recommended system for distribution of HVAC in auditorium spaces is ducted supply through floor vents with ducted ceiling return
air vents in auditorium and lobby. In other spaces, ducted ceiling supply with return air ceiling plenum is recommended. Note that there should be
transfer ducts at all acoustically rated partitions.