Final Research

College of Architecture and Design

Department of Interior Design

IDS 1413 - Interior Design Graduation Project I
(Design Programming)

“Biophilia inspired opera house interior design”

Name: Aksa Khan Ustad
ID: 201710216

Instructor: Dr. Wael Rashdan

Fall 2020

Research Index

Index

Table of Contents

TABLE OF CONTENTS ............................................................................................................................................ I

FIGURES INDEX: .....................................................................................................................................................V

TABLES INDEX....................................................................................................................................................... VI
“BIOPHILIA INSPIRED OPERA HOUSE INTERIOR DESIGN” .............................................................................................1

ABSTRACT .................................................................................................................................................................1

RESEARCH GOALS......................................................................................................................................................1

INTRODUCTION .......................................................................................................................................................2

1 CHAPTER1: OVERVIEW ................................................................................................................................2

1.1 OVERVIEW OF AN OPERA HOUSE ..................................................................................................................2

1.1.1 History of opera houses ...........................................................................................................................2

1.1.1.1 Greeks ............................................................................................................................................................. 2

1.1.1.2 Roman............................................................................................................................................................. 3

1.1.1.3 Asia ................................................................................................................................................................. 4

1.1.1.3.1 India ........................................................................................................................................................... 4

1.1.1.3.2 China.......................................................................................................................................................... 4

1.1.1.4 Middle Ages.................................................................................................................................................... 5

1.1.1.5 Renaissance..................................................................................................................................................... 5

1.1.1.6 Baroque........................................................................................................................................................... 5
1.1.1.7 18th Century .................................................................................................................................................... 6

1.1.1.8 Modern Era ..................................................................................................................................................... 6

1.2 OVERVIEW OF BIOPHILIA AND BIOPHILIC DESIGN ..........................................................................................7

1.2.1 Principles of biophilic design ..................................................................................................................7

1.2.1.1 Nature in the space.......................................................................................................................................... 7

1.2.1.1.1 Visual connection to nature........................................................................................................................ 7

1.2.1.1.2 Non-visual connection with nature............................................................................................................. 8

1.2.1.1.3 Non-rhythmic sensory stimuli .................................................................................................................... 9

1.2.1.1.4 Thermal and airflow variability.................................................................................................................. 9

1.2.1.1.5 Presence of water ....................................................................................................................................... 9

1.2.1.1.6 Dynamic and Diffuse light ....................................................................................................................... 10

1.2.1.1.7 Connection with natural systems.............................................................................................................. 10

1.2.1.2 Natural analogues.......................................................................................................................................... 11

1.2.1.2.1 Biomorphic forms and patterns ................................................................................................................ 11

1.2.1.2.2 Materials connection with nature ............................................................................................................. 12

1.2.1.2.3 Complexity and Order.............................................................................................................................. 12

1.2.1.3 Nature of the space........................................................................................................................................ 13

1.2.1.3.1 Prospect.................................................................................................................................................... 13

1.2.1.3.2 Refuge ...................................................................................................................................................... 13

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Index

1.2.1.3.3 Mystery .................................................................................................................................................... 13

1.2.1.3.4 Risk/Peril.................................................................................................................................................. 14

1.2.2 Advantages of biophilic design ..............................................................................................................14

1.3 OPERA HOUSE COMPONENTS AND REQUIREMENTS.....................................................................................14

1.3.1 Acoustics ................................................................................................................................................14

1.3.2 Sustainability .........................................................................................................................................15

2 CHAPTER2: CASE STUDIES ........................................................................................................................17

INTRODUCTION ........................................................................................................................................................17

GOALS .....................................................................................................................................................................17

2.1 CASE STUDY-I OVERVIEW ..........................................................................................................................18

2.1.1 Organization Chart................................................................................................................................18

2.1.2 Architecture Layout ...............................................................................................................................19

2.1.2.1 Plans.............................................................................................................................................................. 19

2.1.2.2 Sections......................................................................................................................................................... 20

2.1.3 Interior and Exterior Illustration...........................................................................................................21

2.1.4 Space Planning ......................................................................................................................................26

2.1.4.1 Organization Activities ................................................................................................................................. 26
2.1.4.2 Space Dimensions Analysis .......................................................................................................................... 27

2.1.4.3 Zoning diagram............................................................................................................................................. 27

2.1.5 Material Analysis...................................................................................................................................28

2.1.6 Lighting Systems and Fixtures Analysis.................................................................................................28

2.1.7 Furniture, Furnishing & Equipment Analysis .......................................................................................28

2.1.8 Case Study-I Conclusion........................................................................................................................29

2.2 CASE STUDY-II OVERVIEW.........................................................................................................................29

2.2.1 Architecture Layout ...............................................................................................................................29

2.2.2 Interior and Exterior Illustration...........................................................................................................30

2.2.3 Space Planning ......................................................................................................................................37

2.2.3.1 Organization Activities ................................................................................................................................. 37

2.2.4 Material Analysis...................................................................................................................................37

2.2.5 Lighting Systems and Fixtures Analysis.................................................................................................37

2.2.6 Furniture, Furnishing & Equipment Analysis .......................................................................................38

2.2.7 Case Study-II Conclusion ......................................................................................................................38

2.3 CASE STUDY-III OVERVIEW .......................................................................................................................38

2.3.1 Architecture Layout ...............................................................................................................................39

2.3.1.1 Floor plans .................................................................................................................................................... 39
2.3.1.2 Sections......................................................................................................................................................... 42

2.3.1.3 Elevations ..................................................................................................................................................... 42

2.3.1.4 Construction details ...................................................................................................................................... 43

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Index

2.3.2 Interior and Exterior Illustration...........................................................................................................44
2.3.2.1 Exterior ......................................................................................................................................................... 44
2.3.2.2 Interior .......................................................................................................................................................... 45

2.3.3 Space Planning ......................................................................................................................................48
2.3.3.1 Organization Activities ................................................................................................................................. 48

2.3.4 Material Analysis...................................................................................................................................48
2.3.5 Lighting Systems and Fixtures Analysis.................................................................................................48
2.3.6 Furniture, Furnishing & Equipment Analysis .......................................................................................49
2.3.7 Case Study-III Conclusion .....................................................................................................................49
2.4 CASE STUDIES CONCLUSION.......................................................................................................................49
2.4.1 Space Planning ......................................................................................................................................49
2.4.2 Material Analysis...................................................................................................................................50
2.4.3 Light Systems and Fixtures Analysis......................................................................................................51
2.4.4 Furniture, Furnishing & Equipment Analysis .......................................................................................51
3 CHAPTER 3: DESIGN PROGRAMMING ...................................................................................................54
3.1 PROJECT OVERVIEW ...................................................................................................................................54
3.1.1 Organization Chart................................................................................................................................54
3.1.2 Project Activities....................................................................................................................................54
3.2 ARCHITECTURE DRAWINGS ........................................................................................................................55

3.2.1.1 Plans.............................................................................................................................................................. 55
3.2.1.2 Section .......................................................................................................................................................... 58
3.2.1.3 Elevations ..................................................................................................................................................... 58
3.2.1.4 Exterior ......................................................................................................................................................... 59
3.3 SPACE PLANNING........................................................................................................................................60
3.3.1.1 Zoning diagram............................................................................................................................................. 60
3.3.1.2 Bubble Diagram ............................................................................................................................................ 60
3.4 PROJECT DESIGN CONCEPT.........................................................................................................................61
3.5 PROJECT DESIGN MOOD .............................................................................................................................62
3.6 PROJECT DESIGN THEME ............................................................................................................................63
3.6.1 Elected Design theme elements..............................................................................................................63
3.6.2 Inspiration Process ................................................................................................................................63
3.7 PROJECT DESIGN COLOR SCHEME ..............................................................................................................63
3.8 PROJECT – INTERIOR DESIGN CONSTRUCTION ............................................................................................65
3.8.1 Material Analysis...................................................................................................................................65
3.8.2 Lighting Systems and Fixtures Analysis.................................................................................................65
3.8.3 Furniture, Furnishing & Equipment Analysis .......................................................................................66
4 CONCLUSION .................................................................................................................................................68

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Index

5 REFERENCES..................................................................................................................................................69
6 APPENDIXES...................................................................................................................................................71

6.1 MATERIAL DESCRIPTIONS...........................................................................................................................71
6.2 LIGHTING SYSTEMS AND FIXTURES DESCRIPTIONS ....................................................................................72
6.3 FURNITURE, FURNISHING & EQUIPMENT DESCRIPTIONS ............................................................................73
6.4 LOCAL AND INTERNATIONAL DESIGN CODE / STANDARD ............................................................................75

6.4.1 Local design codes / standards ..............................................................................................................75
6.4.2 Layouts and standard dimensions..........................................................................................................75

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Index

Figures Index:

Figure 1: The Royal Opera House, UK......................................................................................................... 2
Figure 2: Theatre of Dionysus, Athens, Greece............................................................................................ 3
Figure 3: Interior of Colosseum, Rome ........................................................................................................ 4
Figure 4: The Queen's Theatre in Versailles................................................................................................. 6
Figure 5: Harbin Opera House ...................................................................................................................... 7
Figure 6: Visual Connection to Nature ......................................................................................................... 8
Figure 7: Presence of Water.......................................................................................................................... 9
Figure 8: Dynamic Diffused Light.............................................................................................................. 10
Figure 9: Biomorphic Patterns .................................................................................................................... 11
Figure 10: Natural Materials ....................................................................................................................... 12
Figure 11: Robert Albert Hall diffusion acoustics ...................................................................................... 15
Figure 12: Case study organization chart.................................................................................................... 18
Figure 13: Sydney Opera House Interior .................................................................................................... 24
Figure 14: Opera hall .................................................................................................................................. 33
Figure 15: Lobby......................................................................................................................................... 34
Figure 16: Restaurant.................................................................................................................................. 35
Figure 17: Light Fixture.............................................................................................................................. 36
Figure 18: Dubai Opera House Exterior ..................................................................................................... 36
Figure 19: Guangzhou Opera House Exterior............................................................................................. 44
Figure 20: Guangzhou Opera House Interior.............................................................................................. 47
Figure 21: Case study organization chart.................................................................................................... 54

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Index

Tables Index

Table 1 : Showing the case study major and sub activities......................................................................... 26
Table 2 : Showing the case study material analysis based on space planning ............................................ 27
Table 3 : Showing the case study material analysis based on space planning ............................................ 28
Table 4 : Showing the case study lighting systems and fixtures analysis based on space planning ........... 28
Table 5 : Showing the project FF&E analysis based on space planning..................................................... 29
Table 6 : Showing the case study major and sub activities......................................................................... 37
Table 8 : Showing the case study material analysis based on space planning ............................................ 37
Table 9 : Showing the case study lighting systems and fixtures analysis based on space planning ........... 37
Table 10 : Showing the project FF&E analysis based on space planning................................................... 38
Table 11 : Showing the case study major and sub activities....................................................................... 48
Table 13 : Showing the case study material analysis based on space planning .......................................... 48
Table 14 : Showing the case study lighting systems and fixtures analysis based on space planning ......... 49
Table 15 : Showing the project FF&E analysis based on space planning................................................... 49
Table 16 : Case studies activity space planning analysis ............................................................................ 50
Table 17 : Case studies materials analysis .................................................................................................. 51
Table 18 : Case studies Light systems and fixtures analysis ...................................................................... 51
Table 19 : Case studies Furniture, Furnishing & Equipment Analysis....................................................... 52
Table 20 : Showing the case study major and sub activities....................................................................... 54
Table 21 : Showing the Project material analysis based on space planning ............................................... 65
Table 22 : Showing the project lighting systems and fixtures analysis based on space planning............... 66
Table 23 : Showing the project FF&E analysis based on space planning................................................... 66
Table 24 : Materials description.................................................................................................................. 72
Table 25 : Case study lighting systems and fixtures description ................................................................ 73
Table 26 : Case study technologies description .......................................................................................... 74

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Research Overview

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Abstract

“Biophilia inspired opera house interior design”

Abstract
Entertainment and tourism industries are one of the highest earning industries in the UAE.
An opera house is a theatre used for performances. It adds cultural value to the place it is
situated at and increases the income through tourism. On the other hand, biophilia is the
need for human beings to be connected to nature. This helps improve air quality and
aesthetics while improving the health of the occupants. Despite there being many
sustainable interior design solutions, biophilia is a new trend that requires more research.
This project aims to provide biophilic interior design solutions to an opera house.
Designing an opera house using biophilic concept is a good addition to the cultural
infrastructure as it isn’t as common. The research follows qualitative method determine
requirements such as codes and standards, biophilic concept and its implementation. The
research resultant a design programming study that can be used as a basis for developing
an interior design solution for opera house.
Keywords: Interior Design, Opera house, Biophilia, Contemporary interior design
Research Goals

A. Identify interior design requirements
A.1. Study national codes and standards
A.2. Examine opera house interior design

B. Explore biophilic design concept
B.1. Identify ways to implement biophilia in interior space
B.2. Select sustainable solutions for opera house

C. Conduct design programming
C.1. Study appropriate space planning
C.2. Choose concept and color scheme
C.3. Selecting the smart technologies, materials and lighting system required

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Introduction

Introduction

Entertainment and tourism industries are one of the highest earning industries in the UAE. Interior
designers play an important role in the boost of tourism and cultural value by designing monuments
and tourist attractions to attract international audience and set up a name in the world market. This
in return boosts the income of the country. The UAE has been focusing on a dynamic cultural
development in the country by not only preserving the heritage but also adding diverse elements.
The country also encourages cultural and artistic development while promoting sustainability
among its people1.

An opera house is a monument that boosts a country’s economy from entertainment to tourism.
It is a theatre building used for performances of opera mainly but can hold other important events2.
Similarly, Biophilia is the need of human to connect with nature3. Implementing the principles of
biophilia within an opera house to give the audience a feeling of being connected with nature while
enjoying the event is an experimentation needed in this industry even though there are many opera
houses around the world. A good example of such an opera house is the Sydney Opera House that
was inspired by bird wings.

Designing a sustainable opera house in the UAE will boost its cultural value and income. The
UAE does not have an opera house that is based on a biophilic concept. Hence, there is a great
scope for this project. Using biophilia with acoustics and smart technology will help in setting new
sustainable design example for upcoming opera houses, concert halls, indoor stadiums, and arenas.

1 Department of Culture and Tourism (2019). Culture. UAE. Retrieved from
https://tcaabudhabi.ae/en/what.we.do/culture.aspx on 23rd September, 2020

2 Cambridge Dictionary. Meaning of Opera House. UK. Retrieved from
https://dictionary.cambridge.org/dictionary/english/opera-house on 23rd September, 2020

3 Wilson, E. O. (1993). Biophilia Hypothesis. Washington DC: Island Press.

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Chapter 1 - Overview

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Chapter 1

1 Chapter1: Overview

This chapter provides a general idea about opera houses and biophilia along with a general idea of its
implementation.

1.1 Overview of an Opera House

An opera house is a monument that boosts a country’s economy from entertainment to tourism. It is a theatre
building used for performances of opera mainly but can hold other important events4. It holds cultural value.

Figure 1: The Royal Opera House, UK5

1.1.1 History of opera houses
1.1.1.1 Greeks
The origin of theatres began from the followers of Dionysus, the god of fertility and wine. They presented
dramatic acts depicting the Greek mythology. The auditoriums were built entirely of stone and in a
semicircular arrangement. They practiced theatrical arts such as musicals, dances and acts honoring
Dionysus. According to a Greek chronicle of the 3rd century BC, Thespis is also the first winner of a
theatrical award. He takes the prize in the first competition for tragedy, held in Athens in 534 BC. Theatrical
contests were regular annual festivals in the city of Dionysia. After Dionysian, came the tragedians. These
people based their theatre arts on the remaining texts of tragedies. This gave rise to a new period of comedic
arts. From the 486 BC, annual comedy competitions took place. This period lasted till 390 BC. Finally, the
Greeks made their contribution to architecture by building an official Greek amphitheater. It was built

4 Cambridge Dictionary. Meaning of Opera House. UK. Retrieved from
https://dictionary.cambridge.org/dictionary/english/opera-house on 23rd September, 2020

5 Sim Cannetty Clarke (2020). Royal Opera House. UK. Retrieved from https://www.bbc.com/news/entertainment-
arts-52920423 on 9th November, 2020

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Chapter 1
semicircular completely made of stones on the hillside with a slope. The stage was wooden and circular
initially, then remodeled by the Romans to semicircle. The reason for circular stage was choros, a type of
theatrical performance. This stage was named as the orchestra as the performers sang and danced in chorus.
Epidaurus, built in about 340 BC, provides the best example of a classical Greek theatre. In the center of
the orchestra is the stone base on which an altar stood, reflecting the religious aspect of theatre in Greece.
The rising tiers of seats, separated by aisles, provide the pattern for the closest part of the auditorium to the
stage in nearly all subsequent theatres - where these seats are still sometimes called the orchestra stalls6.

Figure 2: Theatre of Dionysus, Athens, Greece7

1.1.1.2 Roman
Rome was heavily influenced by the Greeks. Their acts were directly copied from the Greeks until the
people stopped attending. Then these theatres were used for the Roman games. In the 264 BC, gladiator
contests became a part of the performances. More performances like circus acts, rope dances, chariot races
and boxing matches were added later. The most distinct feature of Roman theatre design from the Greek
was that the stage was raised. As every seat had to have a view of the stage, the area occupied by the seating
(cavea) was limited to a semicircle. The space behind the stage was used as a dressing room. It was no
longer painted in the Greek manner but tended to have architectural decorations combined with luxurious
ornamentation. The audience sat on tiers of wooden benches, spectacula, supported by scaffolding. There
was no curtain; the back scene, with its three doors, faced the audience8. Then in Rome, when comedic acts

6 History World. History of Theatre. Retrieved from
http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=cui on 3rd October, 2020

7 Galina Mikhalishina. Theatre of Dionysus. Retrieved from https://www.britannica.com/topic/Theatre-of-Dionysus
on 3rd October, 2020

8 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020

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and mimes got popular, they developed their own type of stage, the phlyakes stage. This stage had three
forms:

• Primitive low stage- a rough rectangular platform with three or four rectangular posts
• Second stage- supported by lower posts and covered with draperies and tablets, sometimes with

steps leading up to stage and a door
• Third/Higher stage- supported by high columns and usually contains a back wall with draperies,

with steps leading to podium, the door behind a decorated porch, sloping roof with beams and struts

Figure 3: Interior of Colosseum, Rome9

1.1.1.3 Asia
1.1.1.3.1 India
The Indian theatre was based on Hindu mythology. It depicts mythological events like battles using a
combination of dance and drama. A pavilion was built in belief that this would prevent theatre from demons.
A flagstaff is placed next to the stage to mark the location of performances. Slowly, poetry started to gain
more importance and was included in the theatrical arts10.
1.1.1.3.2 China
The Chinese theatrical arts didn’t include dance which made them distinct from other countries. The
Chinese theatrical arts were the first to be called opera due to the recitative nature of the dialogues. The

9 Britannica. Amphitheater. Retrieved from https://www.britannica.com/technology/amphitheater on 9th November,
2020

10 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020

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opera halls had a triple-deck curved stage with rectangular rug. The entrances were from right and the exits
were on left. Clouds were painted on boards to represent outdoors11.
1.1.1.4 Middle Ages
There were several types of staging during this period. First type, Church was used as a theatre. Second
type, in an arrangement of mansions down the length of the nave. The mansions were placed in either a
straight or a slightly curved line. Third, a stationary setting representing the mansions in the locality of it.
Fourth, a circle with a tower structure in the middle. Fifth, a movable setting such as wagons. Lastly, the
curtained platform12.
1.1.1.5 Renaissance
During the renaissance, classical theatres in Greece and Italy were examined. They transitioned from
outdoor theatres to indoor and experimented with how to use acoustics and lighting. The first few halls
were temporary wooden structures with paintings. These were also used as halls for events like wedding,
victory in war, birthdays etc. the architects and painters collaborated to innovate new way of staging
theatres. The first theatre was built rectangular with seats arranged in semi-circle inspired by the classical
theatres. The stage was a raked platform, slanted upwards towards the rear. In the late renaissance, a
permanent structure was built by Andrea Palladio in Venice. It resembled classic Roman theatre with a
shallow open stage that was pedimented and heavily sculptured and had a permanent background that was
painted. The seats were arranged in an ellipse rather than semi-circle. The hall was surrounded by
colonnade. It had a flat ceiling, modulated sidewalls, vertical sight lines and direct hearing. The roof had
tiles and wooden trusses with masonry walls13.
1.1.1.6 Baroque
During the Baroque era, opera and ballet had a rise which also raised a demand in better staging. This called
for designers, painters, and architects to build a rigid structure. Auditoriums such as the one at Versailles
by King Louis XV’s architect. The auditoriums were planned in tiers according to class. Concerts, musicals,
plays, ballets, opera performances, etc. were held at auditoriums14.

11 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020
12 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020
13 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020
14 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020

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Figure 4: The Queen's Theatre in Versailles15

1.1.1.7 18th Century
The 18th century saw a new rise in the architecture. Theatres were divided into two types of buildings. First,
a private court which is a smaller theatre for sophisticated events for the nobility. Second, a public theatre
called the opera house where opera and ballet performances took place16.
1.1.1.8 Modern Era
After the World War II, the design approach had changed. The key was flexibility and multifunctional
spaces. The theatres were now multifunctional and held more than just theatrical and musical events, they
now held sports events and exhibitions too. The design was more sophisticated, efficient, and affordable.
Acoustic panels were attached on walls and suspended from ceiling. Theatres now held cultural value and
were called “house of culture” in France. The development of lightweight electronic equipment, particularly
lighting control, has greatly facilitated touring17.

15 Weinberger, J. The Queen’s Theatre, Versailles. Retrieved from
https://blog.jasonweinberger.com/post/29406386793/the-queens-theater-versailles-photographed on 9th
November, 2020

16 Britannica. Theatre. Retrieved from https://www.britannica.com/art/theater-building/ on 3rd November, 2020
17 Sorabella, J. (2000) The Opera. The Met Museum. New York: The Metropolitan Museum of Art. Retrieved from

https://www.metmuseum.org/toah/hd/opra/hd_opra.htm on 3rd November, 2020

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Figure 5: Harbin Opera House18

1.2 Overview of biophilia and biophilic design

The biophilia hypothesis suggests that humans possess an innate tendency to seek connections with nature
and other forms of life19. A biophilic design is to build based upon nature, science, and environment to
benefit human beings. Using biophilia has a huge positive impact on the occupants. A good biophilic design
draws inspiration from multiple perspectives such as health conditions, socio-cultural norms, past
experiences, user perception and much more. Having plants, water and animals or simulating the sounds,
forms, colors, materials, and visuals of them can be a way to implement biophilia in design. In short, a
biophilic design must create a love for the space.
1.2.1 Principles of biophilic design
1.2.1.1 Nature in the space
1.2.1.1.1 Visual connection to nature
A space with a good visual connection to nature can be stimulating and calming. A view to elements of
nature can help in reducing stress. It reduces heartrate and blood pressure. Studies suggest there is a
reduction in fatigue and anger in a space with visual connection to nature. Positive impacts on mood,
attention and self-esteem have been observed. Ways in which this can be implemented is by providing a

18 ArchDaily. Harbin Opera House, MAD Architects. Retrieved from https://www.archdaily.com/778933/harbin-
opera-house-mad-architects/56717c32e58ecec57900000a-harbin-opera-house-mad-architects-photo on 9th
November, 2020

19 Wilson, E. O. (1993). Biophilia Hypothesis. Washington DC: Island Press.

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Chapter 1

large window with a view to the outdoors, add indoor plants, use natural materials, use natural imagery,
and more20.

Figure 6: Visual Connection to Nature21

1.2.1.1.2 Non-visual connection with nature
Non-visual connection with nature can be relaxing. It provides a sense of freshness and balance with
comfort. This uses factors like auditory, olfactory, haptic, and gustatory senses that are influenced by nature.
Auditory refers to sound. Auditory connection has been said to reduce blood pressure and stress hormones.
Certain sound frequencies have a positive effect on our mental health. Using sounds like birds chirping,
ocean waves, waterfalls, river flowing, rainfall, etc. can help in psychological well-being as compared noise
of traffic.
Olfactory refers to sense of smell. Scents directly go to the brain and trigger memory. Certain scents have
healing properties and can boost immunity. It also boosts memory by making it easier to associate memories
with scents. Depending on the scent, it can energize or calm people. Using essential oils and flowers are
common methods used.
Haptic refers to touch. Touching things that are influenced by nature such as fur, plants and natural materials
has been known to have a calming effect and reduce fatigue. Having pets and plants indoors can be a good
way to implement this directly. Using artificial plants, faux fur and natural textured materials can be a form
of indirect implementation.
Gustatory refers to taste. Tasting is a good way to learn more. It comes out of natural curiosity since birth.
Having edible plants and herbs or having a small farm can help in this22.

20 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

21 Terrapin Bright Green. (2015). Biophilia & Visual Connection. Retrieved from
https://www.terrapinbrightgreen.com/blog/2015/02/biophilia/ on 9th November, 2020

22 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

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1.2.1.1.3 Non-rhythmic sensory stimuli
Non-rhythmic sensory stimuli are providing random bursts of natural stimuli for a short period of time.
There is no specific pattern to this. This method is said to improve eye lens focal relaxation patterns,
peripheral vision movement reflexes, blood pressure, attention span and heart rate along with providing
relaxation. One of the ways this can be done is by releasing natural scents randomly in the air23.
1.2.1.1.4 Thermal and airflow variability
Thermal and airflow variability is a way to connect to the outdoors by simulating the outside temperature
and weather. This provides a sense of being outdoors and thermal comfort. It makes the occupants feel
refreshed, active, and comfortable. It provides a sense of flexibility and control. This can be done by
controlling lighting, ventilation, air conditioning, humidity levels in the space. It can be simulated by natural
means like adding water and plants or by simulation using smart technology24.
1.2.1.1.5 Presence of water
Presence of water triggers multiple senses of our body. Water is heavily linked to calming and dynamic
factors. A space with water feels captivating and compelling. The sound, sight, fluidity, color, reflections
and texture in a space is stimulating and calming. It reduces stress, provides feeling of tranquility,
neutralizes heart rate and blood pressure. Exposure to water improves attention span and memory
restoration. With multiple senses stimulated at once, it enhances psychological and physiological health.
Having a natural water body or simulating one in proximity can be a way to meet this requirement. Using
fountains and pools can also be artificial effective ways to provide presence of water25.

Figure 7: Presence of Water26

23 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

24 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

25 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

26Ryan, C. (2015). 14 Patterns of Biophilic Design. Retrieved from https://blog.interface.com/non-rhythmic-
sensory-stimuli-biophilic-design/ on 9th November, 2020

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1.2.1.1.6 Dynamic and Diffuse light
Dynamic and diffused light can be used in varying intensities to change over time based on the natural
condition trying to be created. Light and shadow provide dramatic effect to a place. A space with good
dynamic and diffused lighting provides a sense of drama and intrigue as well as calm. Lighting has power
to change mood. Each lighting has different a psychological effect. Using natural daylight is linked to
positive benefits such as lifting the mood, improving overall health, improving concentration and increase
in serotonin. Moreover, artificial lighting to either mimic the natural daylight frequencies or to set a certain
mood. Changes of daylight from yellow in the morning to blue midday to red in the evening can be
mimicked. This regulates body temperature and blood pressure. Presence of blue light is said to increase in
the levels of serotonin while the absence to increase melatonin. Therefore, it is suggested not to be
surrounded by blue light few hours before sleeping. A healthy balance in serotonin and melatonin is said to
create a good mood, good sleep pattern, alertness, concentration and reduce depression. Uniform lighting
creates boring space but adding too much lighting creates glare and disturbance. Using lighting of different
types and intensities for each purpose provides a dynamic space. In addition, adding depth and shadows
adds drama to the space. Adding natural shadows or shadows that mimic natural forms is important. This
can be implemented by using large windows light with trees for shadows for natural lighting and shadow
or by using color changing accent lights27.

Figure 8: Dynamic Diffused Light28

1.2.1.1.7 Connection with natural systems
Connection with natural systems is the connection to natural processes such as seasonal changes,
metamorphosis, and water cycle. It evokes a deep relationship with natural cycles of life. This helps in
relaxation, nostalgia, enlightenment, and anticipation. There is not much evidence on its positively effects

27 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

28 ArchDaily. 10 Typologies of Daylighting: From Expressive Dynamic Patterns to Diffuse Light. Retrieved from
https://www.archdaily.com/787734/10-typologies-of-daylighting-from-expressive-dynamic-patterns-to-diffuse-
light on 9th November, 2020

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but as per the limited data available, it has been suspected to enhance health benefits and bring a deeper
understanding by experiencing natural cycles. It can also have cultural benefits such as the cherry blossoms
in Japan. Using natural cycles as influence, biomimicry can be done in systematic planning with the use of
modern smart technology. For example, the blooming of flowers, the rainwater irrigation, the ecosystem,
presence of water, growing plants and trees in the backyard, visual access to nature and more. The present
concrete jungles lack this at present but including a good rainwater irrigation and having a landscape with
a backyard farm or some indoor plants can help in connecting with nature along with experiencing their
natural cycles29.
1.2.1.2 Natural analogues
1.2.1.2.1 Biomorphic forms and patterns
Biomorphic patterns and forms are patterns, shapes, forms, textures, geometry, numerical arrangements or
contours derived from those that already exist in the nature. A space with such patterns gives a comfortable,
interesting, contemplating, and captivating feeling. Organic and biomorphic forms help in reducing stress
and increasing concentration. Using right angles, straight lines, geometric forms, floral forms, the golden
angle, organic curves, the Fibonacci series, the golden ratio, etc. in architecture is a popular way of
implementing biomorphic patterns. Using natural materials or faux natural materials such as woods, shells,
animal skins, adding organic curves and softer edges, and adding plants in the interior space are some easy
ways to implement this. The classic period of Art Nouveau is a great example of implementing organic
curves inspired by natural forms30.

Figure 9: Biomorphic Patterns31

29 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

30 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

31 Rhyne, B. (2014). Biomorphic Design Inspiration. Retrieved from
http://www.rhynelandscape.com/2014/07/27/32-biomorphic-design-inspiration/ on 9th November, 2020

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1.2.1.2.2 Materials connection with nature
Material connection with nature is materials and elements being used that reflect the natural local
environment, ecology, geology, flora, fauna, climate and culture with minimal processing in order to keep
the natural feel of it. It is used to create a distinct sense of space. This makes the space feel rich, warm and
authentic while connecting the occupants to the natural and cultural aspects of the place. Using natural
materials such as wood and stone and using natural colors such as brown and green are the most common
and easy implementations of this connection. The psychological factor relating to this is a boost of creativity
which enhances performance helping in efficient completion of tasks. Using faux natural materials with
similar texture, color and appearance but is sustainable is a great way to connect to nature32.

Figure 10: Natural Materials33

1.2.1.2.3 Complexity and Order
Complexity and order is rich sensory stimuli based on spatial hierarchy and patterns from that of nature. A
space with good complexity and order feels engaging and produces a balance between boring and
overwhelming space. Complexity and order can be found in geometric forms in nature and being used in
art, architecture and design with predictable occurrence and flows of natural patterns. Geometries that are
taken from nature and used in design and architecture provide positive health impact if used in correct
proportions. When used correctly, it reduces stress. While when used in an incorrect way, it is said to induce
stress. Continuous use of such patterns can cause nausea and overwhelm the occupants due to visual sensory
overload. The key to good complexity and order is to not overdo it. Examples of good implementation of
such patterns can be found in vernacular architecture and designs and found in classical paintings.
Symmetry, geometry, and spatial hierarchy is used to create spaces that induce positive psychological and
cognitive response. Facades, windows, carpets, columns, and wallpapers are common ways of

32 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

33 Wilson, A. (2006). Biophilia in Practice: Buildings that Connect People with Nature. Retrieved from
https://www.buildinggreen.com/feature/biophilia-practice-buildings-connect-people-nature on 9th November, 2020

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implementing complexity and order. Finding the optimal ratio between overwhelming and interesting is
important in such designs34.

1.2.1.3 Nature of the space

1.2.1.3.1 Prospect

Prospect is uninterrupted view over a distance for surveillance and planning. A space with good
implementation of prospect gives a sense of freedom as well as control and security. In an unfamiliar
environment, this may make someone feel as though they are familiar and comfortable with the space.
Prospect has been linked to cultural, visual, psychological and evolutionary patterns. Making the occupants
familiar with the outdoors is comforting as an evolutionary response. Natural survival instincts are alert in
unfamiliar situations causing increase in stress levels. A space with good prospect implementation not only
is aesthetically pleasing but also is linked to reducing stress, irritation, boredom, fatigue and vulnerability
by improving comfort. Adding landscape and providing a good view to the outdoors with an addition of
indoor plants, flowers and water can help in calming. It is information rich and can help in learning more
about the environment. Adding balconies, large windows, tress for shade, glass facades and walls,
mimicking outdoor ecosystem, courtyards and high ceilings are ways of implementing prospect into a
space35.

1.2.1.3.2 Refuge

Refuge is withdrawal from environmental conditions or main flow of activity. And individual is to feel
protected overhead and from behind. A space with good refuge feels safe and provides a sense of retreat
and withdrawal. It is a space made for healing and protection from normal life. It is made to feel unfamiliar
in a comforting way to escape from regular lifestyle. A good refuge space feels separate, unique,
contemplative, embracing and protective. Refuge conditions are important for reducing stress and
regulating blood pressure and heart rate. The main objective of such spaces is to provide users with
accessibility and protective environment with a sense of restoration. A space with refuge is usually
combined with prospect to achieve desired results. It takes multiple forms using natural and artificial
elements. This can be implemented using bay windows, fireplaces, high ceilings, meditation space,
translucent partitions, mood lighting and canopies or overhangs. Having a porch with greenery and
activities can help too36.

1.2.1.3.3 Mystery

Mystery is the promise of information through obscure views and sensory devices that entice the individual
to explore deeper into something. This kind of space provides a sense of anticipation with an offer of reward
that makes an individual investigate more. Mysterious patterns from nature are made with ideas surrounding
understanding and exploration. The adrenaline rush from such situations is a source of pleasure for many.
These spaces are known to increase curiosity and increase interest in gaining more information. Mystery
makes a person compelled to move which helps in stress reduction and cognitive restoration. Pathways,
corridors, stairways, art installations and scents can be used to implement mystery into a space. Using
curves and maze-like design with a key focal point or adding a garden can also encourage exploration37.

34 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

35 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

36 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

37 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

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1.2.1.3.4 Risk/Peril

Risk or peril refers to an identifiable threat combined with reliable safeguard to it. A space with good risk
or peril factor feels exhilarating, mischievous, irresistible, intriguing, and worth exploring. A danger that is
unable to cause harm gives a sense of security and control. This increases dopamine secretion. It is a natural
response developed from birth out of curiosity. Such dopamine bursts in healthy amount support
motivation, memory, problem solving and fight or flight response. Prolonged exposure can cause
depression and mood disorders. The objective is to arouse attention, curiosity, refreshed memory and
improved problem-solving skills. Adding animals, shallow water, sheer cliff, glass façade, transparent floor
and imagery of risk inducing factors are good examples of implementing risk/peril. Frank Lloyd Wright
was a pioneer in such design and architecture38.

1.2.2 Advantages of biophilic design

Biophilic design improves overall occupant’s health. It uses elements from nature that improves mental
and physical health. It brightens the mood and promotes a feeling of wellbeing. Human beings need to
be connected to nature to have a good health. In many cases it also increases productivity39 as it reduces
stress, anxiety, anger, fatigue, confusion, and mood disturbances. It also helps in reducing blood
pressure and stress hormones and increases the production of serotonin and melatonin. Biophilia is
therapeutic by helping people calm down and lift their mood. Moreover, biophilia allows natural light,
ventilation, and acoustics40. It provides comfort while improving the indoor air quality41. As the indoor
air quality improves, the risk of allergies and diseases reduces. In addition, it evokes happiness and
enhances creativity42. Biophilic spaces give a dynamic feel and provide more energy and inspiration.

1.3 Opera house Components and Requirements

An opera house is a complex building that holds cultural value in a country. Therefore, it should meet the
basic design requirements.

1.3.1 Acoustics

During the Hellenistic Age in Greece and Southern Italy, earth was dug out to create a slope with stones
piled up to form seats. Stages were raised such that every seat had view and the plan was semicircular.

Recommended time for reverberation in theatres is 1.0-1.3 seconds but it may differ based on the size of
the auditorium43. Using fabric seating will help absorb sound without adding extra layers. To have proper
acoustics, the reflection of sound must be controlled. This can be done with concave walls and absorptive
materials as wall treatments. The ceiling can be used for sound dispersion across the hall. Moreover, the
noise from the outside of the hall should not enter inside and cause disruption. Background noises like the

38 Terrapin Bright Green.14 Patterns of Biophilic Design. Retrieved from
https://www.terrapinbrightgreen.com/reports/14-patterns/ on 23rd September, 2020

39 Grant, J. (2020) Chapman Taylor: What are the benefits of biophilic design. Retrieved from
https://www.chapmantaylor.com/news/q-a-what-are-the-benefits-of-biophilic-design on 23rd September, 2020

40 Biofilico. (2020). Biophilic Design Consultant. UK. Retrieved from https://biofilico.com/biophilic-design on
23rd September, 2020

41 Oliver Heath Design. Biophilic Design- Connecting with Nature to Improve Health & Well Being. UK. Retrieved
from https://www.oliverheath.com/biophilic-design-connecting-nature-improve-health-well/ on 23rd September,
2020

42 Biofilico. (2020) Benefits of Biophilic Design- why is it good for you. UK. Retrieved from
https://biofilico.com/news/2019/12/9/benefits-of-biophilic-design-why-is-it-good-for-you on 23rd September,
2020

43 Acoustics. Project Design: Auditorium/Theatre. Retrieved from http://www.acoustics.com/aud_theater.asp on
6th November, 2020

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noise from HVAC system need to be reduced significantly. If there is any balcony seating, they must not
experience auditory distortion.
Incorporating more softer materials in the space will allow sound absorption. Rough surfaces also help in
controlling the reverberation of sound. In addition, the easiest way is to add acoustical panels to walls and
suspended acoustical panels from the ceiling. Having a higher ceiling with levels of panels and seating can
help in acoustical comfort.

Figure 11: Robert Albert Hall diffusion acoustics44

1.3.2 Sustainability
Sustainability is key element in designing these days. Sustainable design is designing in a way that does
not compromise with the needs of the present and the future and looks good. Using LED lights, smart
technology, sustainable materials, and renewable energy are some ways to make a design sustainable. Using
biophilic concepts provides variety of sustainable solutions for interior design.

44 Wikipedia. (2016). Diffusion Acoustics. Retrieved from
https://en.wikipedia.org/wiki/Diffusion_(acoustics)#/media/File:Royal_Albert_Hall_-_Central_View_169.jpg on
9th November, 2020

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Chapter 2 – Case Studies

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Chapter 2

2 Chapter2: Case Studies

Introduction

The case studies conducted are of three different opera houses, in different locations, built during a different
time period. There are two international and one local case studies conducted. The first one being the
Sydney Opera House, one of the seven wonders of the world. It is the most popular opera house that inspired
further popular opera house designs. We can learn how is it the best opera house yet and the implementation
of biomimicry in design. The second one being the Dubai Opera House, a local opera house. This will help
in learning the standards and requirements of an opera house in the country. It will also help in
understanding what is missing from the current one to implement those and make a better design. The third
one being the Guangzhou Opera House, the most futuristic opera house, made by Zaha Hadid Architects.
This will help in understanding how to create a modern opera house as they are usually classical.

Goals

1. Study the requirements and standards for an opera house
2. Study how to create a modern opera house inspired by nature

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2.1 Case Study-I Overview

Project Name Sydney Opera House
Location
Project Information Bennelong Point, Sydney NSW 2000, Australia
Space: 18,000 m2
Designing company: Ove Arup & Partners
Accomplishing date: 1959-1973
Cost: 102,000,000 AUD

2.1.1 Organization Chart

CEO

program producti visitor building, corporat engagem office of people
ming on and experien safety e ent CEO and
events and
director director ce security services active director governm
director and CFO director ent
executive executive
director director director

Figure 12: Case study organization chart45

45 https://www.sydneyoperahouse.com/general/corporate-information/our-people.html

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2.1.2 Architecture Layout
2.1.2.1 Plans

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2.1.2.2 Sections

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Source : https://en.wikiarquitectura.com/building/sydney-opera-house/#
2.1.3 Interior and Exterior Illustration
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Figure 13: Sydney Opera House Interior46

46 https://www.archdaily.com/65218/ad-classics-sydney-opera-house-j%25c3%25b8rn-utzon

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2.1.4 Space Planning Chapter 2

2.1.4.1 Organization Activities General
Washroom
Halls Hospitality Public Administrative Storage
Concert Hall Restaurant Interactive displays Offices Rehearsal area
Theatre Kitchen Reception Recording studio
Meeting hall Seating lounge
Lobby

Table 1 : Showing the case study major and sub activities

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2.1.4.2 Space Dimensions Analysis

Space Activities Width Length Height Area
2895cm 2895cm.
Hall

Concert Hall 2895cm

Theatre

Meeting rooms

Hospitality

Restaurant

Kitchen
Public

Interactive displays

Reception

Seating lounge

Lobby

Administrative

Offices

General

Washroom

Storage
Rehearsal area

Recording studio

Table 2 : Showing the case study material analysis based on space planning

2.1.4.3 Zoning diagram

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2.1.5 Material Analysis

Space Activities Floor Treatment Wall Treatment Ceiling Treatment

Hall Mat 002, Mat 003 Mat 002, Mat 004 Mat 004, Mat 007
Concert hall Mat 003 Mat 001 Mat 002
Theatre Mat 003 Mat 002 Mat 002
Meeting rooms
Hospitality Mat 002, Mat 003 Mat 002, Mat 006 Mat 002, Mat 001
Restaurant Mat 006 Mat 006 Mat 004
Kitchen
Public Mat 003 Mat 007 Mat 001
Interactive displays Mat 001 Mat 002 Mat 005
Reception Mat 001, Mat 003 Mat 005, Mat 002 Mat 005
Seating lounge Mat 001, Mat 003 Mat 002 Mat 005
Lobby
Administrative Mat 001 Mat 004 Mat 001
Offices
General Mat 006 Mat 006 Mat 001
Washroom Mat 001 Mat 004 Mat 001
Storage Mat 009 Mat 004 Mat 002
Rehearsal area

Table 3 : Showing the case study material analysis based on space planning

2.1.6 Lighting Systems and Fixtures Analysis

Space Activities Floor Treatment Wall Treatment Ceiling Treatment

Hall - Light 002 Light 001, light 002, light 006
Concert hall - - Light 002
Theatre - - Light 004
Meeting rooms
Hospitality Light 005, light 003 - Light 006
Restaurant Light 002 - Light 002
Kitchen
Public Light 003 - Light 004
Interactive displays - - Light 001
Reception Light 003 - Light 004
Seating lounge Light 003 - Light 001
Lobby
Administrative - - Light 004
Offices
General Light 003 Light 004 Light 004
Washroom - - Light 002
Storage - - Light 003, light 004
Rehearsal area

Table 4 : Showing the case study lighting systems and fixtures analysis based on space planning

2.1.7 Furniture, Furnishing & Equipment Analysis

Space Activities Floor Treatment Wall Treatment Ceiling Treatment

Hall FFE001 FFE003, FFE004
Concert hall FFE001 FFE003, FFE004
Theatre

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Meeting rooms FFE001 FFE003, FFE004
Hospitality FFE002, FFE005 FFE004
Restaurant
Kitchen FFE006
Public
Interactive displays
Reception
Seating lounge
Lobby
Administrative
Offices
General
Washroom
Storage
Rehearsal area

Table 5 : Showing the project FF&E analysis based on space planning

2.1.8 Case Study-I Conclusion

The Sydney Opera House is one of the world’s seven wonders. This makes the opera house an example for
study to make the best possible opera house. The advantages in this opera house are that it has multiple
activities for the people, it is spacious, it has good acoustics and lighting. The disadvantage is that it is too
big to navigate.

2.2 Case Study-II Overview

Project Name Dubai Opera

Location Sheikh Mohammed bin Rashid Blvd - Downtown Dubai - Dubai

Project Information Space: 60,000 m2
Designing company: Janus Rostock
Accomplishing date: 2016
Cost: AED 1.2 Billion

2.2.1 Architecture Layout

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2.2.2 Interior and Exterior Illustration
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Figure 14: Opera hall47

47 https://www.thenationalnews.com/arts-culture/on-stage/take-your-seat-please-dubai-opera-prepares-for-its-grand-
opening-in-pictures-1.144870?videoId=5758267650001#7

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Figure 15: Lobby48

48 https://emirates-business.ae/aed-1-2bn-dubai-opera-to-bring-cultural-economic-dividends/

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Figure 16: Restaurant49

49 https://www.esquireme.com/content/22706-chef-sean-connolly-is-opening-up-a-restaurant-at-the-dubai-opera

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Figure 17: Light Fixture50

Figure 18: Dubai Opera House Exterior51

50 http://www.neolightdesign.com/dubai-opera
51 https://expdubai.com/explore/dubai-opera/

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2.2.3 Space Planning Chapter 2

2.2.3.1 Organization Activities General
Washroom
Halls Hospitality Public Administrative Storage
Multi-purpose Hall Restaurant Reception Offices
Theatre Kitchen Lobby

Table 6 : Showing the case study major and sub activities

2.2.4 Material Analysis

Space Activities Floor Treatment Wall Treatment Ceiling Treatment

Halls Mat 002 Mat 002 Mat 002
Multi-purpose halls Mat 002 Mat 002 Mat 002
Theatre Mat 003, mat 006 Mat 004 Mat 010
Hospitality Mat 006 Mat 006 Mat 004
Restaurant Mat 006 Mat 002 Mat 004
Kitchen Mat 006 Mat 005 Mat 004
Public
Reception Mat 010, mat 011 Mat 011 Mat 004
Lobby
Administrative
Offices
General
Washrooms
Storage

Table 7 : Showing the case study material analysis based on space planning

2.2.5 Lighting Systems and Fixtures Analysis

Space Activities Floor Treatment Wall Treatment Ceiling Treatment

Halls - - Light 002
Multi-purpose halls - - Light 002
Theatre
Hospitality Light 003 - Light 006
Restaurant - - Light 002
Kitchen
Public Light 003 - Light 004, light 003
Reception Light 003 - Light 004, light 003
Lobby
Administrative
Offices
General
Washrooms
Storage

Table 8 : Showing the case study lighting systems and fixtures analysis based on space planning

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2.2.6 Furniture, Furnishing & Equipment Analysis

Space Activities Floor Treatment Wall Treatment Ceiling Treatment

Halls FFE001 FFE003, FFE004
Multi-purpose halls FFE001 FFE003
Theatre
Hospitality FFE002, FFE005
Restaurant
Kitchen
Public
Reception
Lobby
Administrative
Offices
General
Washrooms
Storage

Table 9 : Showing the project FF&E analysis based on space planning

2.2.7 Case Study-II Conclusion

The Dubai Opera House helps to study what is missing in the current local opera house. The advantage is
that the multipurpose hall is spacious. The disadvantage is that it does not have a proper seating lounge for
guests.

2.3 Case Study-III Overview

Project Name Guangzhou Opera House
Location 1 Zhujiang W Rd, Tianhe District, Guangzhou, Guangdong Province, China
Project Information Space: 71000 m2
Designing company: Zaha Hadid Architects
Accomplishing date: 2010
Cost: 1.38 billion yuan

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2.3.1 Architecture Layout
2.3.1.1 Floor plans

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