Nederlands English

Box-in-a-box configuration skin and structure rehearsal rooms services (technical areas) physical composition of independent auditorium
Box-in-a-box configuration skin and structure rehearsal rooms services (technical areas) physical composition of independent auditorium


Theatre at night
Theatre at night

Theatre during the day
Theatre during the day

Facade with doors opened
Facade with doors opened

Roof structure
Roof structure

The theatre's skin is assembled from white fibre C concrete panels combined with translucent LiTraCon concrete. Lit up like a beacon at night, the facade registers everything happening inside the theatre as a shadow play.
The theatre's skin is assembled from white fibre C concrete panels combined with translucent LiTraCon concrete. Lit up like a beacon at night, the facade registers everything happening inside the theatre as a shadow play.





PROJECTINDEX
 
9/11 VOIDS
Academie voor Architectuur en Stedenbouw - Tilburg

9/11 Voids is a response to the problems besetting Daniel Libeskind's masterplan for Ground Zero. My final year assignment proceeds from Libeskind's original plan, measuring it against my own analysis of the site to arrive at a personal and maybe more focused solution.
The design study concentrates on the new infill of Libeskind's 'memorial site', the 25 metre deep chasm of Ground Zero. This was the part of Libeskind's proposal that drew most of the criticism. New Yorkers demanded that this space should relate better at street level and also that the footprints of the Twin Towers should be respected. I myself add the criticism that the design denies the events of September 11th, 2001.
Geographically, Ground Zero is the very heart of Lower Manhattan. Yet the former WTC complex had always acted as a barrier between the districts surrounding it. Whereas Libeskind does little if anything to improve this state of affairs, I seek to draw the different areas together harmoniously and at the same time give greater emphasis to the essence of the place. The design constructs a volume held clear of the slurry walls of the missing towers. This new underground mass is cut through by the streets linking the districts round about, the underground 'subway' and the gap level with West Street. I have left the footprints of the destroyed towers, the Voids, as scars in the urban tissue. The resulting tangle of subterranean spaces is thus confronted at strategic points by the site's violent past, creating a feeling of pent-up tension. Structurally too, the design takes up the challenge of building underground. The glass light fittings prevent the slurry walls from succumbing to the forces of soil and groundwater. Laminated tubes of toughened glass transfer the prodigious horizontal loads to the new volume. With a compressive strength of 10,000 N/mm2 they are 40 times stronger than steel and perhaps 400 times stronger than concrete. The lighting in the tubes puts construction and function on a par.
The bustle of Fulton Street, the principal pedestrian link between the two banks of Manhattan, is hitched to the 'underground' programme. The street with its many shops, restaurants, lunchrooms and buskers bleeds seamlessly into the new underground world. The theatre plays a key role in stitching the two ambiences together. It acts as a 'musical box'; the strains of the rehearsing musicians will endow this area with the same vibrant potential as Fulton Street. By day the theatre is monolithic and hermetic, loath to reveal its contents straight away. Parts of the facade can be slid open to give a glimpse of the indoor world of rehearsal rooms. When opened up, these rooms become stages with their 'street' musicians playing in the open air to an audience of passing shoppers and commuters between stops.