International School at Tampines, Singapore (United World College of South East Asia – East Campus) is an international school of approximately 76,000 sq m in floor area located on a site of 5.2ha, comprising of one infant block, two educational blocks, one sports amenities and a student hostel. Once completed the campus would have a capacity of 2,500 students aged 4 to 18 years old. The 24 months construction of the campus since April 2009 is expected to be fully completed in April 2011.

In the context of resource limitation and land scarcity in Singapore, the design and construction of schools typically poses challenges with regards to land usage and energy consumption. Arising from the requirements of large spaces such as fields and halls, and the basic principles of an optimal learning environment with an abundance of daylighting, ventilations, interaction spaces and landscapes, school design commonly occupies substantial plot of land.

In the context of limited land capacity in Singapore, the design of International School @ Tampines, Singapore (United World College of South East Asia – East Campus), has innovatively intensified and optimised the land usage without compromising on the qualities of the optimal learning environment. An elevated landscape podium deck is created to increase floor areas without further densifying the built-up areas by unnecessarily increasing in the vertical height of the campus, which is not a desirable quality in the design of a school. The creation of an elevation deck also creates a vehicular-free and fully landscaped platform to facilitate student interactions, hence establishing as the key interaction zone for the whole campus. Similarly, the clever use of the large roofscape in multiple functions such as the ball courts, roof garden, solar panel field, etc has also further optimised the use of spaces. The high energy usage in a school is commonly attributed to the high electricity usage for optimal indoor quality and operational redundancy in the non-simultaneous usage of rooms.

The design of International School at Tampines, Singapore (United World College of South East Asia – East Campus) resolves the challenges in energy management by adopting efficient technologies in the operation of mechanical services, and harnessing and recycling substantial volume of supplementary energy and resources in order to cut down the energy consumption of the school. Renewable solar energy, rainwater recycling, efficient air-conditioning and lighting systems are a few key environmental features in the energy management of the school. The schools boast an extensive area of close to 0.5 hectares of solar panels in harnessing the solar energy, which is one of the largest in the region. Similarly, 0.5hectares of the elevated soccer field is also design as a rainwater collection catchment area for the rainwater irrigation system within the school premise.

The design of UWCSEA (East Campus) exemplifies the resolution of challenges in energy and resource management in the design of a school and at the same time illustrates the means of capitalising the built-environment as the optimal learning environment for experiential learning in the students, where the various building designs are incorporated as part of the educational tools and processes in shaping the young minds of global citizens with keen awareness on our environment.

International School at Tampines, Singapore (United World College of South East Asia – East Campus) is an international school of approximately 76,000 sq m in floor area located on a site of 5.2ha, comprising of one infant block, two educational blocks, one sports amenities and a student hostel. The campus is scheduled to have a capacity of 2,500 students and to be completed in April 2011.

The design and construction of schools typically poses challenges with regards to land usage and energy consumption in land scarce Singapore . Arising from the requirements of large spaces such as fields and halls, and the basic principles of an optimal learning environment with an abundance of daylighting, ventilations, interaction spaces and landscapes, school design commonly occupies substantial plot of land.

Hence, the design of International School @ Tampines, Singapore has innovatively intensified and optimised the land usage without compromising on the qualities of the optimal learning environment. An elevated landscape podium deck is created to increase floor areas without further densifying the built-up areas by unnecessarily increasing in the vertical height of the campus, which is not a desirable quality in the design of a school. The creation of an elevation deck also creates a vehicular-free and fully landscaped platform to facilitate student interactions, hence establishing as the key interaction zone for the whole campus. Similarly, the clever use of the large roofscape in multiple functions such as the ball courts, roof garden, solar panel field, etc has also further optimised the use of spaces..

Renewable solar energy, rainwater recycling, efficient air-conditioning and lighting systems are a few key environmental features in the energy management of the school which is an aim of the Singapore authorities to achieve a high intensity of ‘green’ buildings. The schools boast an extensive area of close to 0.5 hectares of solar panels in harnessing the solar energy, which is one of the largest in the region. The elevated soccer field also doubled up as  a rainwater collection catchment area for the rainwater irrigation system within the school premise.

The design of UWCSEA (East Campus) is a good example in which architects and engineers can take note of to understand more about energy and resource management in the design of a school and at the same time does not comprise on the learning environment for the students.

Says Vikram Amin, Executive Director (Sales & Marketing), Essar Steel Group, “At Essar Steel we are committed to partnering with the architect and building community in India and the world, to help build iconic buildings. Every year we renew this commitment by bringing down the works of practices that are iconic, thereby giving the Indian design fraternity a platform to build upon”.

 Richard Meier remains the youngest recipient of the Pritzker Prize (1984), which is considered architecture’s highest accolade. He is renowned internationally for cultural projects that include the Getty Centre, Los Angeles; the High Museum of Art, Atlanta, Georgia; the Museum of Contemporary Art, Barcelona and the Jubilee Church, Rome, amongst others.

 On display will be original models of Meier’s most iconic and beloved buildings. The exhibition, which runs from 17 to 20 February, will also include drawings, renderings and photography of his other works.

 Speaking about the exhibition, Richard Meier said, “The remarkable beauty and rapid growth that is to be found in all parts of India is intoxicating for architects who have the opportunity to work there. I hope to soon be among them.” 

 Says Sarita Vijayan, Editor, Indian Architect & Builder Magazine “Richard Meier has attained almost demigod status amongst designers’ in the country. The excitement to view his work is palpable and infectious.”

 Scott Johnson, Partner and Chief Operating Officer at Richard Meier & Partners Architects, who will be representing the firm at the exhibition said, “I am thrilled to be here and to meet the architects and creative minds behind India’s flourishing architectural landscape.”

Image: Perspective

Massive and imposing, the crescent-shaped construction has absorbed technological perfection and the flight of architectural thought to express all-time values. This is the key to understanding the specific character of the project and the philosophy of the project architects.

Just like the Moon from time immemorial was considered in the Orient a symbol of power and energy, the shape of the building goes to accentuate prosperity of the present-day United Arab Emirates. At the same time, the nation has not lost its links with history, culture and ancestral traditions. From the outside the New Moon is decorated with Arab calligraphy making it easy to “read” the building even from the peripheral areas of the park. This is the cornerstone of the project’s architectural concept. “No matter how synchronized with the contemporary world Arabs could be, they will always live with Allah in their hearts,” such was the principle the project architects abided by in the work. With that priority in mind, they accomplished a spatial planning mission to harmoniously fit the building into the landscape and orient it towards Mecca – a sacred place for all Muslims. It is a fact of life that while saying their prayers Muslims have to face the sacred city of Mecca. It will be no problem for those visiting the New Moon, as the main axis points in the right direction.

Image: Plans & Section of  building

Inside the building provides for five levels, with an observatory on every level, to symbolize the Five Pillars of Islam: faith (Shahadah), prayer (Salat), charity (Zakaat), lent (Sawm) and pilgrimage (Hajj). Every level illustrates the meaning of the Pillar it symbolizes. Besides, the building makes room for a café, a children’s library, a conference room and a help desk.

Decorated with Arab calligraphy, the outward siding of the building is a steel frame with elements of varying transparency. An architectural solution like that makes it possible to regulate the level of illumination and air temperatures at the different levels of the New Moon, protect the interiors from direct sunlight and ensure free circulation of air flows.

These and other means of passive protection recreate inside the building areas with a special microclimate, and reduce the burden on the power supply systems.  

The building project was designed in full conformity with LEED Green Building Code. Solar batteries and collectors can be installed on the outer casing of the building, to cut energy consumption to an even higher degree. Designed to allow visitors to be inspired by Arab culture and local traditions, the project provides plenty of room for hosting scientific conferences and other group activities. At the same time, the New Moon in itself is a medium of values, both traditional and pioneering, in the sphere of architecture, design, modern technologies and ecology. The project can constitute a true landmark of present-day Emirate Dubai alongside other well-known architectural constructions.

 Focusing on original handmade or limited edition creations by student and budding artists, SCE-ARTS Display and SCE-ARTS Installation were conceptualized and developed by ILUMA and ART EMBASSY, in a bid to create an inclusive, experimental and sustainable platform to further the works of new artists, and to serve as a means to introduce the arts to the greater public.

The collaboration will see an evolving thematic selection of work from art students, being displayed or installed throughout the urban entertainment centre. Collections will span all genres of original and limited edition artistic expression including site-specific installations, graphic art, jewelry and designer furniture. It is also an exercise in public education as students will also profile their works, background and techniques to share with the public

Another note-worthy element of the SCE-ARTS Display and Installation is that it is also opened to application and participation to current students from all local arts and design institutions. Besides designated spaces, students may also propose to display their works or create site-specific installations within Iluma’s common areas for consideration. This makes SCE-ARTS Display and Installation a truly all-inclusive platform that embraces diversity and creativity across various institutions, student profile and art disciplines.

“This is a truly unique and experimental partnership in many ways,” said Ms Han Minli, Director, Business Development of Jack Investment who owns ILUMA. “In particular, the minimum 2 year tenure in which both parties have committed to working together is significant. Not only does it give space for projects to develop organically, it also creates opportunity for consistent in-depth exchange of ideas and practices between both parties over a period of time.  This is important in allowing sufficient time to evaluate the impact of these initiatives and also in bridging the understanding on how the private sector and the arts industry can mutually benefit by working together, and we highly welcome exchanges and interactions from the public and general art community on how to further these exchanges.”

To celebrate the partnership, ILUMA and ART EMBASSY hosted an opening ceremony at ILUMA where Guest of Honour, Lee Suan Hiang, Executive Director, Arts & Culture Development, Ministry of Information, Communications and the Arts (MICA), officially unveiled the inaugural collection featuring works by over a hundred students from NAFA and installations by alumni including Tay Swee Siong, Chang Wei, Gazaly bin Haron and Teo Huey Ling.

“SCE-ARTS Display and Installation moves beyond the per-project, commission-based model of collaboration that is the usual practice in Singapore,” said Mr. Lee Suan Hiang. “This is an example of how the arts community and companies can evolve to form a platform through which the arts community can reach out to the greater public. This can only be good for the wider community as it opens up channels through which we can experience and appreciate art, and showcase what our budding young artists are capable of.”

 Ms Oscar Ng, Creative Director of ART EMBASSY said, “We are thrilled that Jack Investment and Iluma have chosen to invest in such an initiative. SCE-ARTS Display and Installation will provide a much needed sustainable and flexible platform for our students, faculty and alumni to showcase their creativity and talents to Singapore, and increase their public exposure. We look forward to developing the program and collaboration further to make it a truly meaningful platform for the arts community and the general public.”

 The SCE-ARTS Exhibition will be open to the public from Thursday, 26^th November, and will be updated at least quarterly. The collection will be multi-faceted and ever-changing, and hundreds of student artist works are expected to be exhibited through this period. Select collections are available for purchase by the general public.

Situated at the heart of Singapore’s Arts and Heritage District in Bugis, Iluma will fulfill the vision of creating a state of the art urban entertainment centre, with the valued partnership of NAFA.

Arup, leaders in global design, engineering and business consultancy renowned for its genius association with innovative architecture and iconic building has played an integral role in establishing The Genexis Theatre as a global and spectacular landmark in performance venues.

Genexis Theatre Foyer

The experimental theatre is equipped with cutting edge technology and facilities to support multimedia-based performances that integrate science, technology and the arts. Genexis breaks many of the traditional rules of theatre design in terms of access, acoustics and its spherical shape. Architecturally, the theatre is suspended between the translucent-blue tower blocks on a single structural column that appears to float over the Fusionopolis podium.

 The challenge in the construction of Genexis Theatre was for Arup’s consultants to remain alive to the latest technological developments, while maintaining respect for theatre culture. They have created a performance space that is highly useable in spite of, and perhaps even because of, its design restraints.   “Our job was to help realise the Fusionopolis vision shared by the owner, JTC, and the architect, Dr Kisho Kurokawa: to make it a vibrant place receptive to outside trends, rather than inwardly focussed. This small theatre is a vital element of the concept, because it’s important that a complex like this attracts visitors from outside. Fusionopolis will attract theatre people and patrons, who, rather like bees, will cross-pollinate with new ideas,” said Andrew Nicol, project director, Arup

 “Arup is particularly oriented towards a human approach, so our involvement was a perfect fit. What’s also remarkable, from our point of view, is the convergence of so many of Arup’s niche skills – structural steel refinement, specialist theatre consulting and acoustics, tailored fire engineering, interactive lighting design. All in this one complex.”

The project ran from 2004 through to 2008 and Arup people from all points of the globe worked together on the project.

1) Environmental issue

With the focus on the future, Arup’s consultants used the most advanced concepts, materials and technology to make the complex more cost-efficient and energy-efficient, safer, more functional and more appealing both inside and out.

Award-winning architects WOHA, responding to Arup’s brief, created a notional square inside the interior of the outer, ovoid, shell. With its flat floor, a fixed flat stage, retractable seating that moves into varied configurations and two side seating towers, the performance space can be set up for “in the round”, promenade, “end stage” and “thrust” configurations.  “Only the floor is flat, all the rest is curved,” Mr Nicol said.  The theatre’s curved walls are sensuously covered with panels composed of hundreds of thousands of small wooden beads.  By making the notional square of the theatre interior completely transparent, Arup was able to minimise the use of unnecessary material in the space by keeping the theatre transparent and respecting the ovoid shape of the brain.

Two of the most extraordinary design aspects of this complex hidden from view:

• Economical use of structural steel. The complex’s plans originally called for more steel, but this amount was reduced by one-fifth, thanks to the design refinements worked out by Arup. Along with cost reduction and a reduced environmental impact came benefits in speed and simplicity of construction and material procurement, without any downside for the building’s structural stability or functional performance.

• Seamless, aesthetic fire engineering. Given the theatre’s unusual suspended position and shape, ensuring the safety of patrons in case of emergency was an important early consideration of the designers, who called in the global leader in fire services, Arup Fire to devise evacuation routes and other emergency precautions. Remarkably, although the unusual theatre presented a fire engineering challenge, the practical solution Arup’s experienced people devised in no way compromised the concept’s integrity. The solution called for minor changes to the linking sky-bridge’s inner and outer walls, along with emergency protocols that would prioritise the theatre’s occupants.

In a city that hums by day – and by night – landmark buildings must also make a statement after dark. Arup’s leading-edge designers created interactive decorative lighting for the sphere and the roofline. Inside the towers, in the public concourses and sky-bridges, the building’s functional lighting responds intimately to users: evoking a subtle communication between architectural space and occupant. The lighting nodes on the outer skin of the sphere are LED low wattage dynamically controllable elements.  As a bonus, this approach is less energy intensive because lights are dim until activated as needed.
2) Technology

Flexibility in Configuration

The Genexis Theatre has been designed with theatrical performances in mind but is equally capable of hosting commercial events, corporate functions and conferences. This versatility underpins a design objective for systematic flexibility.The $20-million theatre has 560 adjustable seats that can move in all directions to fit different configurations. The configurations can be done in less than an hour. The seats can be relocated or stored away under the control platform, to facilitate multiple configurations for seminars, product launches, exhibitions and performances. To ensure maximum flexibility, there is no raised stage in the theatre.

Genexis Theatre in thrust stage configuration

Acoustics

The interior of the theatre features an acoustic wall covered with 400,000 timber beads – a first in Singapore. The use of 400,000 timber beads lining the internally curved walls of an ovoid space is an ingenious acoustic solution that simultaneously provides a richly textural curtain that works particularly well with the spherical space.  It is both visually captivating and distinctively functional. The beads serve to diffuse the sound evenly across the curved surfaces of the theatre. The lined curved walls offer controlled acoustics suitable for amplified sound, while maintaining sufficient clarity necessary for the spoken work.

Timber beads as acoustic lining for interior curved walls

Tension Wire Grid

The installation of the tension wire grid is another first in Singapore and this allows for quick and safe access to technical equipment above the theatre’s seating space. Automated rigging allows for quick turn-around and a reduction in manpower requirements. Galvanised aircraft cable is strung together to form a 11, square tension wire grid, 8m above the centre of the theatre space which provides walking space for the technicians

Performance Lighting System

The building’s exterior and public lighting was designed by lighting specialists from Arup. The exterior lighting can be programmed with dynamic lighting shows to suit events with additional spotlight projectors that can cast images and lettering for an extra visual layer. When Arup Lighting submitted the design in early 2005, the concept of an organic, dynamic installation was on the cutting edge of what was possible. Once the design was agreed, the consultants ensured that the luminaries were subtly embedded into the building’s fabric in such a way that they would not be visible during the day.

CONCLUSION

The jury cited that the design of the Genexis Theatre rises to the challenge of an extremely difficult site, and succeeds through a wonderfully cohesive amalgamation of highly technical solutions and innovative design.  The result is a composite work of art and technology that transcends the site. This project raises the bar for cutting edge technology, architectural and audio-visual system design for a performing arts venue.

Editor:William (Asia Architecture Review)

Author: Arup

This week, we are proud to present an article highlighting our interview with leading Singapore Architectural firm Ong&Ong.

1) What was the inspiration behind the project?
The inspirational concept of the NHC new building was drawn from the “Placing People First” philosophy. It encompasses the needs of the various key users – the patient, the visitor and the staff.

 
2)What do you think is the most unique feature of the design?  
A distinctive feature is its two fronts – institutional and garden. The institutional front, the main approach for vehicles and houses the medical facilities, is quiet and formal. The garden front, at the other end, faces the garden deck in the Outram Campus Master plan. This serves primarily as the healing park and waiting area.

3)How have the climate and  environmental factors affect the design?
Due to the specialised treatment procedures that will be practiced in the building, the indoor environment of the building is entirely under artifical control and with infection control being a high priority issue.  Although the indoor environment of the building is totally artificially controlled for clinical reasons, the building is designed with best green and environmental sustainable considerations in mind, such as north-south orientation of major facades, adequate solar shadings, good window to wall ratio, high performance glass, sky gardens, etc.  The external metal solar screen for the clinical block is a result of such considerations.

4)What are the urban issue facing this project and how do you come about resolving it?

The new building will adopt various green building features, technologies and innovations to achieve better performance in energy efficiency, water usage, use of recycled and reusable materials, indoor environmental quality and environmental management. Examples include the passive solar strategy for the institutional front, which reduces heat emission and direct glare and sunlight into the building while introducing diffuse daylight condition and cutting overall energy consumption; and the use of environmental friendly building elements which are energy efficient in fabrication, self-cleansing and long-lasting. The use of sustainable construction defines a green benchmark for healthcare design in South-East Asia.

5)Would you like to tell us more about your firm and please add on any information you would like reader to know about the work of your firm.

Corporate Profile

Ong&Ong has earned an unparalleled reputation for integrating skilled architecture, clever interior design, creative sense for environmental branding and sensitive landscape design over the past 3 decades. Paramount to our success lies in our insistence on servicing our clients with creativity, excellence and commitment. We continually strive to uphold our mission to be the designer of our age – a premier design practice both locally and in the region.

 Faced with many tenets today, design is often varied and fragmented. To resolve this challenge, Ong&Ong adopts a 360° design solution which provides a framework for threading cross-discipline approach into a singular integrated design solution, encompassing all aspects of design from master planning, architecture, and interior design to landscape design and project management.

 In addition to projects in Singapore, Ong&Ong has also completed large-scale developments regionally. This has prompted the setting up of offices in China, Vietnam, India and Malaysia. In-depth knowledge of local context, culture and regulations allow us to better understand our clients’ needs. We are an ISO14001 certified practice and consistently strive to meet and exceed clients’ expectations.

Prominent Architecture firm DeStefano and Partners has recently create a new retail hub in the heart of Ningbo, China. The proposal introduces a dynamic shopping concept of Eight International Shopping Streets with a 200 meter tall landmark tower, giving rise to a new image of Yinzhou marked with a hybridization of cultural and ecogical friendly spaces. We are therefore proud to interview Mr Scott Sarver,  Chairman and Design Principal for the Yinzhou island project.

1) Ningbo was one of China’s oldest cities, and was known as a trade city on the silk road at least 2000 years ago.It was also a major  ancient trading port. How has the history of Ningbo influenced you in concepting a masterplan for the island of Yinzhou? 

Ningbo is located at the confluence of three rivers—The Yao and Feng Hua Rivers meet to become the Yong River which then flows out to the sea.  The  inspiration for this project and for the tower was to draw on the City’s history with foreign trade and create a retail/shopping complex modeled after the eight great shopping centers around the world—Paris, London, Madrid, Dubai, Milan, Tokyo and New York.

 
2)What do you think is the most unique feature of the masterplan?  

The master plan draws on the concept of using the geometry of the land and the project, for example, the pyramids, the Eiffel Tower.  In this instance, the site’s triangular shape created by the three rivers influences the strong geometry of the master plan and is reflected in the design of the tower.

There is a concentration of activity all in one place; most master plans are based on diversity of use.  The Ningbo master plan concentrates activity and works because it helps to support a more regional destination rather than neighborhood retail opportunities.
3)How have environmental elements affect the design?

Environmental elements affect the design.  Outside the island, there is a natural ecofriendly park that accepts the different water levels; the island has a hard edge with its vertical wall.  The soft edge opposite the island accepts seasonal rains, natural flora and fauna. 

Through the master plan, it is intended that all buildings be developed with the highest levels of sustainability.
4)What is your take on the direction of China in term of Urban design and architecture?

China is incredibly dynamic because of the rate of economic change that is underway, yet there also are very traditional and highly social urban planning needs to respect.  It is important to understand the culture and these unique characteristics and not  look to other places in the world to duplicate those in China.
 
5)Would you like to tell us more about your firm ?

DeStefano Partners (DP) proudly brings a high level of design and professional expertise to a wide variety of architectural, and planning projects.  From high-profile institutional and office buildings to neighborhood-defining streetscape elements, DP designs express the firm’s commitment to creating vibrant, livable and functional spaces through the delicate process of realizing goals that are unique to each client.  Our design practice is collaborative, detail-oriented, and dedicated to creative problem solving. 

Based in Chicago, Illinois USA, DP serves clients in the U.S., Asia, the Middle East and Latin America to meet varied design and planning needs.  DP is committed to sustainable building technology, emphasizing transit-oriented development and design elements that respond to local climate, culture and context. 

In the best Chicago tradition, we respect “the way things go together” and are proud of our high standards of craftsmanship, detailing and documentation.  Inspired by the cultural, geographic and organizational diversity of our clientele, our mission is to realize environments that are conducive to daily living, supportive of commercial enterprise and engaging to the human spirit.

With the completion of ION Orchard by Benoy as the most expensive accommodation in South East Asia, it marks a truely visual icon not only in the heart of Orchard road but the whole of South East Asia. With a monocoque facade and the prominent canopy structure, it is not hard to comment that this giant building creates an air of majestic to the junction of Orchard Road, Orchard Boulevard and the Paterson Road-Scotts corridor.

The Orchard Residences tower as seen on the above photo is set for completion in December 2009. At a height of 218m, the criticism is that the tower block could have relate better to the podium building which holds major retail outlets.

However, credits must be given to Benoy for the exciting new facade design which is a fully three dimensional free form curvilinear in shape It is made from glass and metal and wap around the retail component of the building and inject a degree of excitment and unpredictability to the shopping street. The design also includes the integrated media facade which has the potential to transform into one of the largest LED media walls in Asia.

The project is given green mark certification from Building Construction Authority (BCA) for its innovation in term of environmental design and consideration. Any thoughts about the design?

Leiyang, located in the south part of Hunan province, is the home place of Cai Lun, the inventor of paper-making in the Eastern Han Dynasty (25-220 CE). Maoping, which is 30 kilometers to the south of Leiyang, is a small mountain village with its simple folkways. Surrounded by hills on all sides, the village and its houses continuously spread out by following the topographical contours of hills and valleys£¨ with the ancestral shrine at its center.

On July 19, 2006, rainstorms and mountain floods caused by Typhoon “Bilis” destroyed the original buildings of the primary school in Maoping Village. Zhejiang Association of Commerce (ZS) in Hunan Province urgently raised 500,000 RMB on July 29, 2006 for building a new primary school—the ZS Hope Primary School, Maoping Village.

The design team involving Wang Lu, Lu Jiangsong, Huan Huaihai and Zheng Xiaodong designed a school based on the way of life of the locals as well as modern contemporary life. This creates a piece of work that not only evoke memory of the past, but keep alive the good tradition of local residential buildings.

The selection of building materials  are  isomorphic to local houses, and the scale of its gables is largely commensurate with the surrounding houses. The use of small sky-wells to break up the spaces provide interesting spaces that relate to  the local environment. Red bricks are used for the building so as to have a better dialogue with the surrounding houses; whereas the limited amount of those surviving large grey bricks are applied to roads, paths, and open grounds.

The success of this low cost building has got to be its sensitivity to the local climate and building materials. The architects have created a place of learning for children not confine to the walls of the classrooms, but is a collection of local experience and village life mixed into one.

This opera house not only optimise the settings for traditional Eastern and Western types of performances, but it challenge the prototype of a traditional Opera house and  moves beyond the given constraints.

The fluid continuity of the structure reflects the idea that the theatrical arts are spatial arts which combine the body, art, music, and performance. Ito explores the use of a open structure in which the engagement of its surroundings create chance encounters between  high art and popular art, artists and visitors, stage and auditorium, interior and exterior. This is named as sound cave by the architect.

The Sound Cave is designed as a system of vertical and horizontal network. Not only does it serve to enhance the acoustic beauty of the theatres, it also helps to connect the Arts Plaza, workshops, foyers, restaurants together etc. It seems like music and man becomes inseparable.

Sited in a park within a dense urban high-rise development, this new building engaged the site by connecting seamlessly with the outside, merging with the surrounding park and creating a place for interacting between people.

Looking at the design, it remains me of neurone network and there is plenty of potential in this design to really challenge the traditional opera house design.