PROJECT REPORT: CULTURAL, CIVIC & FAITH BUILDINGS 37
manifestation in Chinese traditions” in the other two buildings’ design to continue within the internal programme of the centre. Various points and features throughout the building emulate this language – in particular Yim highlights the triple-height lobby area. “The juxtaposition of the auditorium and multi-purpose theatre wrapped by a screen made of wooden fins and golden brown metal mesh forms an imagery of two anchoring rocks in a stream,” he says.
The lobby was designed to be triple- height in order to continue the flow between the exterior spaces and interior, creating a “stronger visual connection,” says Yim. “Having abundant headroom, it allows a larger feature screen celebrating the fluidity of the architectural language that runs across the whole scheme.” The lobby area also features a large curving staircase, and natural light filtering through the perforated facade which “creates a lively play of shadow across the space.” Alongside the 1,500-seat main performance hall is an additional 600-seat theatre and rehearsal spaces. This was designed with flexibility in mind to accommodate experimental products – the seating is retractable and along with the stage can be rearranged to accommodate catwalks, a four-sided stage, and interactive experiences, as well as conventional set ups. The main auditorium, on the other hand, was designed strictly for conventional performances. “It followed a very stringent
ADF JULY 2022
acoustic requirements for hosting international standard performing companies – the design was centred at facilitating the acoustic performance of the space,” says Yim. Although less flexible than the additional theatre space, the stage does comprise six double-layered lifts that can be raised and lowered within a 10 metre range. The orchestra pit can also be raised to the height of the stage, extending the performance space.
One of the biggest technical challenges for the project designers was creating an auditorium with appropriate acoustics while still manifesting the design concept of the architects. Yim explains: ‘’We had to design a random pattern on a surface of specified geometry designed by the acoustic consultant customised to the seating layout and stage.” To continue the complex’s theme into the auditorium, they created a random water droplet pattern on GRC panels, which proved to be a cost-effective solution. “It not only functionally engineers the acoustic requirement, but also vividly echoes the overall design concept,” Yim says.
The performing arts centre was opened in September 2021, with a performance by the China National Opera House. While the smaller theatre will facilitate more unusual and experimental performances, the main auditorium will play host to a range of international productions including opera, ballet, and classical music. g
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Achieving cohesiveness across the three buildings was of key importance, and proved to be one of the project’s biggest challenges
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