velvet studios - logbook
DESCRIPTION
Here is a compilation of my end of year project development.TRANSCRIPT
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VELVETSTUDIOS
THE LOGBOOK
THE CONCEPT, THE SKETCHES, THE DIAGRAMS
Project by: Laith Wallace
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Velvet StudiosPROJECT BREAKDOWN
Despite its transformation into a shopping district and economic hub, Narodni Trida lacks an archi-tectural symbol that projects its culture and cosmo-politan identity. Most of its existing monuments refer to a communist past and become anach-ronistic when confronted by the 21st centurys energy and diversity of this Europe.The overarching aim for this programmatic hybrid is to redefine the existing and historic typology so that it responds to a twenty-first century city location. The site needs to create a buffer zone between the Old and New Town Town of Prague. The intention is that the Cultural Centre would form part of the urban fabric, offering possibilities for public inhabitation to establish a performance hub for the City.The complex arrangement of accommodation, market spaces, workshops, studios and a perfor-mance space creates an interesting and chal-lenging juxtaposition between the roughness of industry and the delicacy of art. Celebrating its connection and fragile relationship with the landscape through seasonal performance festivals and events.Communities evolve slowly, from a strong social base. Architects can contribute to their success, but only in conjunction with others: by taking account of local, social and historical context; and by engaging collaboratively with people to create the physical conditions in which they can function and thrive.Programmatic instability equals to programmatic performance each the potential beginning of a
triumphal march towards a new kind of city, a new urbanity.Performance rules are defined through a library of hybrid details which outline the system, the rules of the performance, but do not completely define the output of this creative process. The resultant performance is then placed around the site in specific microlots. As the artistic community becomes more developed and experienced, the architecture produced becomes improved and updated.The architectural intervention constitutes an undu-lating landscape which animates the interior of the building and the landscape offering a highly versatile stage for all kinds of events, including exhibitions, art fairs, stage performances, and vocational training. The intervention illustrates a direct relationship between the past and the present; the content of history, shown in the first floor, informs the floor above which houses todays Czech community of performers.Through this highly skilled creative and evolution-ary process, a new identity is created for Narondi trida and Prague. The lives of the inhabitants are enriched with their creative potential achieved.
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Prague, Open CitySITE PICTURES
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ZIZKOV TOWERCOMMUNIST PAST
Prague, Open CityWHAT STOOD OUT TO ME?
TRAM TRANSPORT
SHOPPING DISTRICT
MANY THEATRES
15 Weeks To Produce
Something Amazing!!
TIME PERIOD ON CALENDAR
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When air conditioning, es-calators, and advertising appeared, shopping ex-panded its scale, but also limited its spontaneity. And it became much more pre-dictable, almost scientific. What had once been the most surprising became The most manipulated.
When shopping was still connected to the street it was also an in-tensification and articula-tion of the street. Now it has become utterly inde-pendent - contained, con-trolled, surveyed.
The City has many Possibilities I think theatre
should always be somewhat
suspect.
Diplomacy builds
Prague, Open CitySTATEMENTS OF INTEREST
REM KOOLHAUS - ARCHITECT
Italo Calvino - AUTHOR
Jan Kaplick - CZECH ARCHITECT (18 April 1937 14 January 2009)
Vaclav Havel - FORMER CZECH REPUBLIC PRESIDENT
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THEATRE
MARKET
REHERSAL
SKY EVENT
VELVET STUDIOSCONTENTS
SKETCHES
VELVET STUDIOS CONCEPT & CONTEXT
SITE HISTORYREPERTORY THEATRESTHEATRE DEVELOPMENT
INTRODUCE PLAY
10 - 13
14 - 1516 - 1718 - 19
20 - 21
22 - 23
24 - 25
26 - 27
28 - 39
40 - 41
MODEL
INSPIRATION
THE PLANS
THE RENDERS
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VELVET STUDIOSThe theatre can be used as a political instrument, pro-claiming the agenda of a government or group of people. It can also be used as a arena of protest to take the personal expression of the actor and protest against a regime they dont agree with BY LAITH WALLACE
10
Despite its transformation into a shopping district and economic hub, Narodni Trida lacks an architectural symbol that projects its culture and cosmopolitan identity. Most of its existing monuments refer to a communist past and become anachronistic when con-fronted by the 21st centurys energy and diversity of Europe.
The over arching aim for this programmatic hybrid is to redefine the existing and historic typology so that it responds to a twenty-first century city location. The site needs to create a buffer zone between the Old and New Town of Prague. The intention is that
the site would become a Cultural Centre which would form part of the urban fabric, offering possibilities for public inhabitation to establish a performance hub for the City.
The complex arrangement of accommodation, market spaces, workshops, studios and performance spaces create an inter-esting and challenging juxtaposition between the roughness of industry and the delicacy of art. Celebrating its connection and fragile relationship with the landscape through seasonal performance festivals and events.
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SITESITEOLD TOWN
NEW TOWN
JEWISH QUARTER
HDRACANY
MALA STRANA
CONTEXTGEOGRAPHICAL
BUFFEZONE
NARODNI TRIDA
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SITE LOCATION
THE TRAVELLER THE INHABITANT
OLDTOWN
TOWNNEW
COMMUNICATION VIA WORD OF MOUTH
COMMUNICATIONVIA THE INTERNET
COMMUNICATION VIA MOBILE NETWORKS
BUFFERZONE
SITE
R
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SITE HISTORY: PROTESTVELVET REVOLUTION 17.11.1989
The Velvet Revolution (Czech: sametov revoluce) or Gentle Revolution (Slovak: nen revolcia) (November 17 Decem-ber 29, 1989) was a non-violent revolution in Czechoslovakia that saw the overthrow of the communist government.[1]
On November 17, 1989, a Friday, riot police suppressed a peaceful student demonstration in Narodni Trida, Prague.
That event sparked a series of popular demonstrations from November 19 to late December. By November 20 the number of peaceful protesters assembled in Prague had swollen from 200,000 the previous day to an estimated half-million. A two-hour general strike, involving all citizens of Czechoslovakia, was held on November 27.
NARODNI TRIDA 17.11.1989
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2011 +SHOPPING OF PRAGUE CREATES A BUFFER ZONE BETWEEN THE OLD AND NEW TOWN OF PRAGUE
1920
SHOPPING DISTRICT
15
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THEATRES AROUND THE SITE
There are nearly 40 theatres in Prague, but nearly all run on a rep-ertory system so plays only appear two or three times a month. Because tickets are relatively cheap they can be like gold dust and most theatres will have queues at the box office at the beginning of every season. So your best bet is to try one of the ticket agencies around the city. You will pay a premium for your ticket, but you wont catch cold. Most theatres are dark in July & August.
Narondi Trida can become a cultural hub and collection of theatre activ-ity during the times when performance is void in the city. Preserving a strong heritage in dramatic perfor-mance.
Especially during the high tourist season of July & August. Allowing for more economic flow on site and appre-ciation of culture.
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REPERTORY THEATRES17
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THEATRE DEVELOPMENTFORMING THE DESIGN
BLACK BOX THEATRE MULTIFORM THEATRE18 19
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INTRODUCE PLAYPLAY vs THE PLAY
WEEK 2 - 5 CONCEPT DEVELOPMENT
play!benet/harmcrystallizesbenet/harm adds to an individualscrystallizesadds to an individuals
choo
ses
to
wants to wants to
ensu
re s
urvi
val o
f the
shapes and may fulll shapes and may fulllprerequisites
individual individual
prerequisites
defines its own
regulate each
informs each
is guided by a changeable
topic rules
createsis built in the
giv
es su
bstance t
o
enric
hes
imagination meaning
n
.
This meaning
the
act i
n or
der to
the next way to
and anticipate the other to to
be ab
le to
the
act i
n or
de
r to
and anticipate the other to to be
able
to
the next way to
assess
plan
assess
observe
plan
observe
creates
creates
end (pause)
oer
s op
port
unity
for
begi
ns w
ith a
nbu
ilds
the
cont
ribut
es to
a
context
even
tual
ly c
omes
to a
npr
ovid
es s
ettin
g fo
rbr
ings
abo
ut a
new
even
tual
ly
act
conversation
play
shared world
engagement
The concepts consists of introducing play on site and looking at a way in which it can enhance the potential of the site to become a social condenser. Providing rehearsal studios and a performance venue for the surrounding theatres allows for play to be introduced on site.
We play to have fun. We play to de-velop relationships, learn new things, and know ourselves better. Play can be coop-erative, competitive, even selfish. It occurs in a variety of times and places, begin-ning when we are children and continuing throughout our lives. Play is an activity through which we exercise and develop our creativity; it is a source of innovation and new ways to solve problems.
20
play!benet/harmcrystallizesbenet/harm adds to an individualscrystallizesadds to an individuals
choo
ses
to
wants to wants to
ensu
re s
urvi
val o
f the
shapes and may fulll shapes and may fulllprerequisites
individual individual
prerequisites
defines its own
regulate each
informs each
is guided by a changeable
topic rules
createsis built in the
giv
es su
bstance t
o
enric
hes
imagination meaning
n
.
This meaning
the
act i
n or
der to
the next way to
and anticipate the other to to
be ab
le to
the
act i
n or
de
r to
and anticipate the other to to be
able
to
the next way to
assess
plan
assess
observe
plan
observe
creates
creates
end (pause)
oer
s op
port
unity
for
begi
ns w
ith a
nbu
ilds
the
cont
ribut
es to
a
context
even
tual
ly c
omes
to a
npr
ovid
es s
ettin
g fo
rbr
ings
abo
ut a
new
even
tual
ly
act
conversation
play
shared world
engagementPROGRAMMATIC MIX
THE PLAY CENTRE OF PRAGUE
END / PAUSEE ND / PAUSE
END / PAUSE
END / PAUSEEND / PAUSE
ENGAGEMENT
ENGAGEMENT
ACT / PLAY
SHA
RED
WO
RLD
SHARED WORLD
SHA
RED
WO
RLD
MULTIFORMTHEATRE STAGE
FLYT
OW
ER
CONVERSATION
CONVERSATION
CONVERSATION
CONVERSATION
CONVERSATION
CONVERSATION
CONVERSATION
SKY EVENT EXHIBITIONS
METRO
APARTMENTS APARTMENTS APARTMENTSAPARTMENTSVOCATIONAL TRAINING
APARTMENTS APARTMENTSSTUDIOS
BAR/CAFE
PATRONS LOUNGE
SUPERLOBB ARKET CAFE DELIVERY
PATRONS LOUNGE
COSTUME SHOPS
ADMINISTRATION OFFICES
OFFICESCITY STAGE
SKY TERRACE
SKY TERRACE
RESTAURANT
REH
ERSA
LST
UD
IOS
REH
ERSA
LST
UD
IOS
MULTIFORMTHEATRE STAGE
FLYT
OW
ER
INFORMATION CENTRE
MV
21
E
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INTRODUCE COMMUNICATIONQR CODE ON THE FACADE
The Velvet Studios produces a QR Code effect through a pattern of four different panels that can be seemlessly tiled by sharing the same pat-tern at their edges. The pattern provides areas of transparency and areas of opacity that, when repeated on two layers, makes the envelope less transparent when seen obliquely and more when seen frontally, giving the floors inside the building a high degree of privacy from the exterior (where the oblique view is typical in its urban context)
while preserving maximum views and light from the interior ( where the frontal view is prominent). The fragmented patterns of the context, reflected in the mirror frit of the outer layer, combine with the applied QR Code pattern to create an inter-esting affect. DIFFERENT OPACITY OF THE PANELS 100%, 75%, 50%, 25% FACADE PATTERNS
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FORMING THE DESIGNTHE SKETCHES
Final Sketch of my design 02 May 2011
I had over 40 sketches for this project so I have added a few here to show the development of the project over the weeks development
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SKETCHES
WEEK 3-5
WEEK 6-7
WEEK 8-9
WEEK 10
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MODEL DEVELOPMENTWEEK 2-10 MODEL DEVELOPMENT
24
Over the time period of the project I slowly began to develop my ideas by focussing on building up the block. I started by creating micro or smaller spaces of theatre perfor-mance and worked on building up each piece of blue foam to represent a program or building form.
These designs helped me develop my project while I also drew a lot of inspiration from a lot of existing projects.
Final Sketch Model Week 12 - 6th May 2011
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INSPIRATIONPRECEDENCE
INSPIRATION
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CASA DA MUSICA
EXPERIAN
REX - WYLY THEATRE
FOA - JOHN LEWIS DEPARTMENT
BIG - MOUNTAIN
GSW BUILDING
Arrangement of programs
Rehearsal Studios protruding out of the building
Multiform Theatre inspiration
Facade Inspiration
Perforated aluminium mesh
Aerofoil roof design
27
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1 2SITE STRATEGIESDESIGN STEPS & AXONOMETRIC
METRO
INFORMATION CENTRE EXIT FROM THE METRO
DELIVERY
OFFICE
REHERSALSTUDIOS
APARTMENTS
RESTAURANT
CITY STAGE
CITY STAGE
STUDIOS
STUDIOS
GALLERY
CHANGING ROOMS
EXHIBITION CENTRE
SKYTERRACE
SKYEVENT
PATRONSLOUNGE
MULTIFORMTHEATRE
-10.00
0.00
+8.00
+12.00
+24.00
+28.00
+32.00
+36.00
+40.00
+44.00
+49.00
+55.00
SERVICE CORE
TICKET OFFICE/ STORAGE/ CAFE
RESTAURANT EXHIBITION SPACES & STUDIOS
GALLERY & VOCATIONAL TRAINING
PUBLIC STAGE
MECHANICAL & LIGHTINGROOM
OFFICES
REHERSAL STUDIOS
MULTIFORMTHEATRE
ESCALATORS
STAIRS
RAMPS
SITE - PROGRAM
Insertion of multiple programs on site in zones reecting requirements of the programs and non-linear programming drawing
PROGRAM ELEMENTS
These additional proograms work in relation to the theatre. divided into eight seperate areas on site
LOW FLEXIBLE PROGRAM
DESIGN STEP 1
DESIGN STEP 2
DESIGN STEP 3
DESIGN STEP 4
DESIGN STEP 5 DESIGN STEP 4
Programs that are high in activity but low in exibilty and surround the theatre
SEMI FLEXIBLE PROGRAM
The theatre sits in the heart of the building drawing people to move up the building
HIGHLY FLEXIBLE PROGRAM
Elements of the program that have to remain in close proximity to each other and the road allowing the people to lter into the building and move out of it from the metro below the site. Connecting to the vertical circulation directly.
COMBINED PROGRAM
All the seperate programs states combined to form a site identity
DESIGN PROBLEMS:Programs were not high desity enough.Design lacked a clear strategy
Initial Design steps was to surround the rehersal centre with other programs and have exhibition at the top.
Third Design steps was to surround the rehersal centre with other programs and have exhibition at the top.
DESIGN PROBLEMS:Structure lacked a structural grid along with a cler organization of programs
Create a structual grid and service cores along with ramps and stairs that run vertically
2 main atrium spaces cut out of the building
Fill atrium space with multiform theatre and extend the ytower throught the building
Surrounding programs work around structural grid and extends out of the building acting as spaces to be viewed by the public such as the rehersal spaces.
Seperate rehersal rooms into 10x10m spaces the cluster to the front of the building
DESIGN PROBLEMS:Structure of the egg was too heavy to hang from circulation core.
Second Design steps was to seperate the rehersal areas and add an egg theatre to the back of the building with the circulation central
REHE
RSAL
STUD
IOS
REST
AURA
NT
BAR/
CAFE
THEA
TRE
EXHI
BITIO
NS
CITY S
TAGE
MARK
ET
OFFIC
E
SITE STRATEGIES
Programs that are high in activity but low in flexibilty and surround the theatre
The theatre sits in the heart of the building drawing people to move up the building
Elements of the program that have to remain in close proximity to each other and the road allowing the peo-ple to filter into the building and move out of it from the metro below the site.Connecting to the vertical circulation directly.
All the seperate programs states combined to form a site identity
Fill atrium space with multiform theatre and extend the flytower throught the building
LOW FLEXIBLE PROGRAM
SEMI FLEXIBLE PROGRAM
HIGHLY FLEXIBLE PROGRAM COMBINED PROGRAM
DESIGN STEP 1
DESIGN STEP 2
DESIGN STEP 3
DESIGN STEP 4
DESIGN STEP 5 DESIGN STEP 6EXHIBITION SPACES & STUDIOS
INFORMATION CENTRE EXIT FROM THE METRO
-10.00
0.00
+8.00
+12.00
+24.00
+28.00
+32.00
+36.00
+40.00
+44.00
+49.00
+55.00
TICKET OFFICE/ STORAGE/ CAFE
CITY STAGE
PATRONS LOUNGE
REHERSALSTUDIOS
SERVICECORE
CHANGING ROOMS
APARTMENTS
MULTIFORMTHEATRE
GALLERY
RESTAURANT
EXHIBITIONS
RESTAURANT
REHERSAL STUDIOS
MECHANICAL & LIGHTINGROOM
MULTIFORMTHEATRE
OFFICES
GALLERY & VOCATIONAL TRAINING
PUBLIC STAGE
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BASEMENT
INFORMATION CENTREMETRO EXIT
THE PLANS SCALE 1:500
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SUPERLOBBYTICKET OFFICESTORAGE
DELIVERY
GROUND
29
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OFFIC
E
MEN'S
TOILET
WOMEN'S
TOILET
VOID
1ST FLOOR
30
OFFICECITY STAGE
OFFIC
E
MEN'S
TOILET
WOMEN'S
TOILET
VOID
2ND FLOOR
31
CITY STAGEOFFICESTORAGE
CAFE
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ME
N'S
TOIL
ET
WO
ME
N'S
TOIL
ET
VOID
STO
RA
GE
OFF
ICE
R. R
OO
M
STUDIO
STUDIO
STUDIO
STU
DIO
STU
DIO
STU
DIO
STUDIO
STUDIO
3RD FLOOR
32
REHERSAL STUDIOS ADMINISTRATION UNDER THEATRE
CHANGING ROOMS BACKSTAGESTUDIOS MECHANICAL ROOMCAFE
ME
N'S
TOIL
ET
WO
ME
N'S
TOIL
ET
VOID
STO
RA
GE
OFF
ICE
R. R
OO
M
STUDIO
STUDIO
STUDIO
STU
DIO
STU
DIO
STU
DIO
STUDIO
4TH FLOOR
33
REHERSAL STUDIOS
PATRONS LOUNGE
ADMINISTRATION THEATRE STAGE
CHANGING ROOMS BACKSTAGESTUDIOS MECHANICAL ROOMCAFE
-
ME
N'S
TOIL
ET
WO
ME
N'S
TOIL
ET
VOID
STO
RA
GE
OFF
ICE
R. R
OO
M
R. R
OO
M
STUDIO
STUDIO
STUDIO
STU
DIO
STU
DIO
STU
DIO
STUDIO
5TH FLOOR
34
REHERSAL STUDIOS
PATRONS LOUNGE
ADMINISTRATION THEATRE STAGE
CHANGING ROOMS BACKSTAGESTUDIOS MECHANICAL ROOMCAFE
ME
N'S
TOIL
ET
WO
ME
N'S
TOIL
ET
VOID
STU
DIO
STO
RA
GE
STU
DIO
STO
RA
GE
JAN
ITO
R'S
CLO
SE
T
STO
RA
GE
OFF
ICE
R. R
OO
M
R. R
OO
M
STU
DIO
STU
DIO
STU
DIO
STU
DIO
STUDIO
STUDIO
STUDIO
STU
DIO
STU
DIO
STU
DIO
STUDIO
6TH FLOOR
35
REHERSAL STUDIOS
PATRONS LOUNGE
ADMINISTRATION THEATRE STAGE
CHANGING ROOMS BACKSTAGESTUDIOS MECHANICAL ROOMCAFE
-
ME
N'S
TOIL
ET
WO
ME
N'S
TOIL
ET
VOID
STU
DIO
STO
RA
GE
STU
DIO
STO
RA
GE
JAN
ITO
R'S
CLO
SE
T
STO
RA
GE
OFF
ICE
R. R
OO
M
R. R
OO
M
STU
DIO
STU
DIO
STU
DIO
GA
LLE
RY
2
STU
DIO
STUDIO
STUDIO
STUDIO
STU
DIO
STU
DIO
STU
DIO
STUDIO
7TH FLOOR
36
REHERSAL STUDIOS VOCATIONAL TRAININGSTUDIOSCAFE
LIVING AREA DINING AREA
KITCHEN AREA
T&B T&B
BEDROOM 1 BEDROOM 2
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIV
ING
AR
EA
DIN
ING
AR
EA
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIV
ING
AR
EA
DIN
ING
AR
EA
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIV
ING
AR
EA
DIN
ING
AR
EA
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIVING AREA
8TH FLOOR
37
APARTMENTS ADMINISTRATION
ROOF TERRACESTUDIOSCAFE
-
LIVING AREA
DIN
ING
AR
EA
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIV
ING
AR
EA
DIN
ING
AR
EA
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIV
ING
AR
EA
DIN
ING
AR
EA
KIT
CH
EN
AR
EA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
LIV
ING
AR
EA
KITCHEN AREA
T&B
T&B
BE
DR
OO
M 1
BE
DR
OO
M 2
DIN
ING
AR
EA
9TH FLOOR
38
APARTMENTS ADMINISTRATION
ROOF TERRACESTUDIOSCAFE
OFFICE
R. ROOM
R. ROOM
STUDIO
STUDIO
STUDIO
GALLERY 1
GALLERY 2
OFF
ICE
R. R
OO
M
R. R
OO
M
ME
N'S
TOIL
ET
WO
ME
N'S
TOIL
ET
VOID
STU
DIO
STO
RA
GE
STU
DIO
CLO
SE
T
STU
DIO
STU
DIO
STU
DIO
STU
DIO
10TH FLOOR
39
APARTMENTS RESTAURANT
ROOF TERRACESTUDIOSCAFE
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-1
0
12
3
45
6
78
9
10
CREATING THE INTERIOR
THEATRE STAGE & AUDITORIUM
MARKET SUPERLOBBY
THE RENDERS
THE CITY STAGE
40
VIEW OF FLYTOWER
INFORMATION CENTRE REHEARSAL STU-
QR CODE ON FACADE
41