FRAME OPERA Collaborated with: Lisa Reinhardt and Matthew Polidano Bachelor thesis, Architecture and Engineering Johan Blomsterberg 2024 Chalmers University of Technology An explorative opera space for students and performers The objective of the project was to discover the interplay between architectural design and building acosutics by designing an Opera House for a school. It was a part of the Acoustical Society of America’s annual design competition. Our personal aim for the project was to design an Opera House with three main focuses. Modularity, reuasbility and interaction. When designing the project, we carried out five iterations. The first iteration included experiencing different acoustic environments while measuring and documenting goal values for parameters such as reverbaration time, clarity, strength and noise levels. This data would later be used when designing the audiotorium and to ensure comprehension of what acoustic environment we had achieved. The second iteration consisted of a conceptual design phase where me and Lisa got teamed up with Matthew, a Master’s student in Technical Acoustics at Chalmers. We explored different building volumes and carried out early raytracing of reflections to find a volume suitable for both acoustics and architectural design. The third iteration included frabricating spatial acoustic prototypes that would act as key elements in the proposed audiotorium. The fourth and last iteration consisted of the final project design where the complex proposal got put together. INTRODUCTION & WORKFLOW [1] [2] [3] [1]: Circles concept [2]: Pettsson concept [3]: Tent concept Johan Blomsterberg [1] [2] [3] [4] [5] CONCEPTUAL ACOUSTIC PROTOTYPES [1]: Prototype of movable cablenet roof [2]: Prototype of strechable resued sails roof [3]: Detail model of roof structure [4]: Detail model of roof structure with sail as exterior surface [5]: Detail of overlapped reflector panels on interior roof structure Johan Blomsterberg 5 4 2 0 -2 C80 [dB] 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Clarity vs. Distance 1 -1 3 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Strength vs. Distance 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] G125 [dB] 10 9.5 9 8.5 8 7.5 7 6.5 2.2 125 250 500 1000 2000 4000 f [Hz] T60 [s] Unoccupied V = 9700 m3 Occupied V = 9700 m3 Unoccupied V = 9200 m3 Occupied V = 9200 m3 Unoccupied V = 10200 m3 Occupied V = 10200 m3 Reverbaration time vs. Frequency 2.1 2 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 FRAME 5 4 2 0 -2 C80 [dB] 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Clarity vs. Distance 1 -1 3 2.2 125 250 500 1000 2000 4000 f [Hz] T60 [s] Unoccupied V = 9700 m3 Occupied V = 9700 m3 Unoccupied V = 9200 m3 Occupied V = 9200 m3 Unoccupied V = 10200 m3 Occupied V = 10200 m3 Reverbaration time vs. Frequency 2.1 2 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Strength vs. Distance 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] G125 [dB] 10 9.5 9 8.5 8 7.5 7 6.5 5 4 2 0 -2 C80 [dB] 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Clarity vs. Distance 1 -1 3 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Strength vs. Distance 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] G125 [dB] 10 9.5 9 8.5 8 7.5 7 6.5 2.2 125 250 500 1000 2000 4000 f [Hz] T60 [s] Unoccupied V = 9700 m3 Occupied V = 9700 m3 Unoccupied V = 9200 m3 Occupied V = 9200 m3 Unoccupied V = 10200 m3 Occupied V = 10200 m3 Reverbaration time vs. Frequency 2.1 2 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 14 24 5 12 6 15 18 22 19 21 16 13 2 3 4 8 8 23 1 8 9 17 7 10 11 9 25 26 27 10 8 20 The proposal emphasizes modularity, reusability, and interaction. Building frames serve as the structural system for the adjustable Auditorium roof and sun/ noise-reducing draperies. Inside, similar frames support acoustic prototypes in the Audiotorium and Rehearsal Hall, as well as the playful stair in the Lobby leading to the Auditorium balconies. Modularity extends to surface materials, with 25 mm plywood and cork used in acoustic prototypes for both applications. Different parts of the building incorporate reused elements for sustainability. The Auditorium roof utilizes overdimensioned, outdated cableway wires as the structural support, enabling adjustability. Reused sails from sailboats cover the roof, connecting the building’s appearance to its imagined location in Köln, Germany, near the Rhine River and the Cologne University of Music and Dance. Additionally, absorbent panels feature milled cork sourced from recycled bottle caps, providing a relatively building’s acoustics for students and performers. The adjustable roof in the Auditorium alters volume, affecting reverberation times. Its undulating surfaces redirect towers and side wall frame-panels, which can rotate on In addition to reused sails and wires, the roof is also a pre-stressed, and therefore expandable, layer of foam insulation. The lead plates is used to gain weight in the Auditorium, and reduce noise from exterior sources. Plywood and cork panels works as the interior surface plates are overlapped and fastened in one point, allowing the structure to be closed as the roof changes position. Due to the pre-stressed foam insulation, the structure also keeps airtight independent of the roof’s position. 15 30 40 ACOUSTICAL PERFORMANCE SOUND REFLECTIONSMODULARITY NOISE CRITERIA 1. Loading Dock 2. Vertical Shaft 3. Chorus Dressing Room 4. Solo Dressing Room 5. Rehearsal Hall 6. Scene Shop 7. Back Scene 8. Restroom 9. Storage 10. Side Scene 11. Proscenium 12. Green Room 13. Kitchen/Bar 14. Opera Hall 16. Audio Mix Position 17. Study Area 18. Cloakroom 19. Follow Spot Booth 20. Integrated Lift 21. Control Room 23. Janitor Closet 24. Lobby 25. MER 26. MEPFIT 27. Stage Tower Service Path REUSEABILITY INTERACTION CLARITY REVERBARATION TIME STRENGTH A checkerboard pattern of plywood and cork on the achieving a desirable reverberation time throughout the room. Seats feature soft material on both top and bottom to minimize differences in reverberation time between occupied and unoccupied states. Additional absorbing 2 kHz, to reduce frequency-dependent reverberation time. Adjusting ceiling height can vary reverberation time by approximately 0.1 second for every 500 m³ volume change. The clarity remains high when close to the stage but decreases as distance increases, reaching values between 0 dB and -2 dB for various frequency bands. The variation in clarity among frequency bands is not Past 10 meters from the stage, there is minimal change in strength, providing consistent audience experiences. Across frequency bands, strength remains consistent except for 100 Hz. Boosting bass frequencies aids perception, as they are perceived quieter than higher frequencies. PLAN RAYTRACING SECTION RAYTRACING MOVABLE ROOF ACOUSTIC PROTOTYPES The main hall’s parallel walls can lead to unwanted panels are installed on the side walls. These panels can be closed during audience seating to widen aisles and then rotated for performances. They can also angle downwards to direct sound toward the audience. towards the audience, enhancing acoustics. The rehearsal hall do not include seating area, requiring additional absorptive material to match the acoustic properties of the main hall. Walls feature rotating sound downward to balance the high ceiling. Absorbers between rotating elements target both low and high frequencies. Thick double walls and small double-glazed windows minimize outside noise, ensuring a quiet rehearsal environment. AUDITORIUM REHEARSAL HALL Due to only having two balconies, the ceiling’s height from the roof can therefore be credited in greater occurence. On account of this, the Audiotorium has a larger width than depth allowing for a bigger audiance in orchestra area where the sound is usually better. With having a smaller depth, the largest distance from proscenium to back row does not exceed 25 meters which aims to obtain even sound throughout the Audiotorium. THE HALL’S REFLECTIONS [1] [2] [3] COMPETITION POSTERS [1]: First poster [2]: Second poster [3]: Third poster Johan Blomsterberg GROUP-SPECIFIC AIMS The proposal emphasizes modularity, reusability, and interaction. Building frames serve as the structural system for the adjustable Auditorium roof and sun- and noise reducing draperies. Inside, similar frames support acoustic prototypes in the Audiotorium and Rehearsal Hall, as well as the playful stair in the Lobby leading to the Auditorium balconies. Modularity extends to surface materials, with plywood respective cork used in acoustic prototypes for both reflecting and absorbent surfaces, allowing for versatile applications. Different parts of the building incorporate reused elements for sustainability. The Auditorium roof utilizes overdimensioned, outdated cableway wires as the structural support, enabling adjustability. Reused sails from sailboats cover the roof, connecting the building’s appearance to its imagined location in Köln, Germany, near the Rhine River and the Cologne University of Music and Dance. Additionally, absorbent panels feature milled cork sourced from recycled bottle caps, providing a relatively flat surface while promoting sustainability. The interaction aspect facilitates flexibility in the building’s acoustics for students and performers. The adjustable roof in the Auditorium alters volume, affecting reverberation times. Its undulating surfaces redirect reflections. This principle extends to the side proscenium towers and side wall frame-panels, which can rotate on two axes to redirect reflections in both height and depth. [1]: Lenght section drawing with depth [1] Johan Blomsterberg SITUATION & PLAN 8 9Lisa Reinhardt Portfolio Lisa ReinhardtPortfolio OPERA HOUSE BACHELOR 6TH SEMESTER 2024 The house is designed to be a residence for four people with an additional bedroom to provide increased flexibility. The interior atrium has a visual connection to both the living room and the kitchen on the first floor and to the staircase and the junction on the second floor. This aims to create a light sequence when ascending the staircase. To ensure that the house would be flexible for all ages, each individual plot has been equipped with a separate parking space. In the garden, there is an opportunity to add a tiny house. OPERA HOUSE BACHELOR 6TH SEMESTER 2024 15 1. Loading Dock 2. Vertical Shaft 3. Chorus Dressing Room 4. Solo Dressing Room 5. Rehearsal Hall 6. Scene Shop 7. Back Scene 8. Restroom 9. Storage PLAN FIRST FLOOR PLAN SECOND FLOOR PLAN THIRD FLOOR NOISE CRITERIA 30 40 10. Side Scene 11. Proscenium 12. Green Room 13. Kitchen/Bar 14. Opera Hall 15. Office 16. Audio Mix Position 17. Study Area 18. Cloakroom 19. Follow Spot Booth 20. Integrated Lift 21. Control Room 22. Box Office 23. Janitor Closet 24. Lobby 25. MER 26. MEPFIT 27. Stage Tower Service Path 1 2 3 4 5 6 7 8 9 10 1011 12 13 14 15 8 16 17 18 19 20 21 23 22 8 24 25 26 9 27 [1] 8 9 Li sa R ei nh ar dt P or tfo lio Li sa R ei nh ar dt P or tfo lio O PE R A H O U SE BA C H EL O R 6 TH S EM ES TE R 20 24 Th e ho us e is d es ig ne d to b e a re si de nc e fo r f ou r p eo pl e w ith a n ad di tio na l b ed ro om to p ro vi de in cr ea se d fle xi bi lit y. Th e in te rio r a tri um h as a v is ua l c on ne ct io n to b ot h th e liv in g ro om a nd th e ki tc he n on th e fir st fl oo r an d to th e st ai rc as e an d th e ju nc tio n on th e se co nd fl oo r. Th is a im s to c re at e a lig ht s eq ue nc e w he n as ce nd in g th e st ai rc as e. T o en su re th at th e ho us e w ou ld b e fle xi bl e fo r a ll ag es , e ac h in di vi du al p lo t h as be en e qu ip pe d w ith a s ep ar at e pa rk in g sp ac e. In th e ga rd en , t he re is a n op po rtu ni ty to a dd a ti ny h ou se . O PE R A H O U SE BA C H EL O R 6 TH S EM ES TE R 20 24 15 1. L oa di ng D oc k 2. V er tic al S ha ft 3. C ho ru s D re ss in g R oo m 4. S ol o D re ss in g R oo m 5. R eh ea rs al H al l 6. S ce ne S ho p 7. B ac k Sc en e 8. R es tro om 9. S to ra ge PL A N FI R ST F LO O R PL A N SE C O N D F LO O R PL A N TH IR D F LO O R N O IS E C R IT ER IA 30 40 10 . S id e Sc en e 11 . P ro sc en iu m 12 . G re en R oo m 13 . K itc he n/ Ba r 14 . O pe ra H al l 15 . O ffi ce 16 . A ud io M ix P os iti on 17 . S tu dy A re a 18 . C lo ak ro om 19 . F ol lo w S po t B oo th 20 . I nt eg ra te d Li ft 21 . C on tro l R oo m 22 . B ox O ffi ce 23 . J an ito r C lo se t 24 . L ob by 25 . M ER 26 . M EP FI T 27 . S ta ge T ow er S er vi ce P at h 1 2 3 4 5 6 7 8 9 10 10 11 12 13 14 158 16 17 18 19 20 21 23 22 8 24 25 26 9 27 25 9 26 [2] 8 9 Li sa R ei nh ar dt P or tfo lio Li sa R ei nh ar dt P or tfo lio O PE R A H O U SE BA C H EL O R 6 TH S EM ES TE R 20 24 Th e ho us e is d es ig ne d to b e a re si de nc e fo r f ou r p eo pl e w ith a n ad di tio na l b ed ro om to p ro vi de in cr ea se d fle xi bi lit y. Th e in te rio r a tri um h as a v is ua l c on ne ct io n to b ot h th e liv in g ro om a nd th e ki tc he n on th e fir st fl oo r an d to th e st ai rc as e an d th e ju nc tio n on th e se co nd fl oo r. Th is a im s to c re at e a lig ht s eq ue nc e w he n as ce nd in g th e st ai rc as e. T o en su re th at th e ho us e w ou ld b e fle xi bl e fo r a ll ag es , e ac h in di vi du al p lo t h as be en e qu ip pe d w ith a s ep ar at e pa rk in g sp ac e. In th e ga rd en , t he re is a n op po rtu ni ty to a dd a ti ny h ou se . O PE R A H O U SE BA C H EL O R 6 TH S EM ES TE R 20 24 15 1. L oa di ng D oc k 2. V er tic al S ha ft 3. C ho ru s D re ss in g R oo m 4. S ol o D re ss in g R oo m 5. R eh ea rs al H al l 6. S ce ne S ho p 7. B ac k Sc en e 8. R es tro om 9. S to ra ge PL A N FI R ST F LO O R PL A N SE C O N D F LO O R PL A N TH IR D F LO O R N O IS E C R IT ER IA 30 40 10 . S id e Sc en e 11 . P ro sc en iu m 12 . G re en R oo m 13 . K itc he n/ Ba r 14 . O pe ra H al l 15 . O ffi ce 16 . A ud io M ix P os iti on 17 . S tu dy A re a 18 . C lo ak ro om 19 . F ol lo w S po t B oo th 20 . I nt eg ra te d Li ft 21 . C on tro l R oo m 22 . B ox O ffi ce 23 . J an ito r C lo se t 24 . L ob by 25 . M ER 26 . M EP FI T 27 . S ta ge T ow er S er vi ce P at h 1 2 3 4 5 6 7 8 9 10 10 11 12 13 14 158 16 17 18 19 20 21 23 22 8 24 25 26 9 2727 [1]: Entrance floor plan [2]: First and second floor plan 8 9Lisa Reinhardt Portfolio Lisa ReinhardtPortfolio OPERA HOUSE BACHELOR 6TH SEMESTER 2024 The house is designed to be a residence for four people with an additional bedroom to provide increased flexibility. The interior atrium has a visual connection to both the living room and the kitchen on the first floor and to the staircase and the junction on the second floor. This aims to create a light sequence when ascending the staircase. To ensure that the house would be flexible for all ages, each individual plot has been equipped with a separate parking space. In the garden, there is an opportunity to add a tiny house. OPERA HOUSE BACHELOR 6TH SEMESTER 2024 15 1. Loading Dock 2. Vertical Shaft 3. Chorus Dressing Room 4. Solo Dressing Room 5. Rehearsal Hall 6. Scene Shop 7. Back Scene 8. Restroom 9. Storage PLAN FIRST FLOOR PLAN SECOND FLOOR PLAN THIRD FLOOR NOISE CRITERIA 30 40 10. Side Scene 11. Proscenium 12. Green Room 13. Kitchen/Bar 14. Opera Hall 15. Office 16. Audio Mix Position 17. Study Area 18. Cloakroom 19. Follow Spot Booth 20. Integrated Lift 21. Control Room 22. Box Office 23. Janitor Closet 24. Lobby 25. MER 26. MEPFIT 27. Stage Tower Service Path 1 2 3 4 5 6 7 8 9 10 1011 12 13 14 15 8 16 17 18 19 20 21 23 22 8 24 25 26 9 27 8 9Lisa Reinhardt Portfolio Lisa ReinhardtPortfolio OPERA HOUSE BACHELOR 6TH SEMESTER 2024 The house is designed to be a residence for four people with an additional bedroom to provide increased flexibility. The interior atrium has a visual connection to both the living room and the kitchen on the first floor and to the staircase and the junction on the second floor. This aims to create a light sequence when ascending the staircase. To ensure that the house would be flexible for all ages, each individual plot has been equipped with a separate parking space. In the garden, there is an opportunity to add a tiny house. OPERA HOUSE BACHELOR 6TH SEMESTER 2024 15 1. Loading Dock 2. Vertical Shaft 3. Chorus Dressing Room 4. Solo Dressing Room 5. Rehearsal Hall 6. Scene Shop 7. Back Scene 8. Restroom 9. Storage PLAN FIRST FLOOR PLAN SECOND FLOOR PLAN THIRD FLOOR NOISE CRITERIA 30 40 10. Side Scene 11. Proscenium 12. Green Room 13. Kitchen/Bar 14. Opera Hall 15. Office 16. Audio Mix Position 17. Study Area 18. Cloakroom 19. Follow Spot Booth 20. Integrated Lift 21. Control Room 22. Box Office 23. Janitor Closet 24. Lobby 25. MER 26. MEPFIT 27. Stage Tower Service Path 1 2 3 4 5 6 7 8 9 10 1011 12 13 14 15 8 16 17 18 19 20 21 23 22 8 24 25 26 9 27 8 9Lisa Reinhardt Portfolio Lisa ReinhardtPortfolio OPERA HOUSE BACHELOR 6TH SEMESTER 2024 The house is designed to be a residence for four people with an additional bedroom to provide increased flexibility. The interior atrium has a visual connection to both the living room and the kitchen on the first floor and to the staircase and the junction on the second floor. This aims to create a light sequence when ascending the staircase. To ensure that the house would be flexible for all ages, each individual plot has been equipped with a separate parking space. In the garden, there is an opportunity to add a tiny house. OPERA HOUSE BACHELOR 6TH SEMESTER 2024 15 1. Loading Dock 2. Vertical Shaft 3. Chorus Dressing Room 4. Solo Dressing Room 5. Rehearsal Hall 6. Scene Shop 7. Back Scene 8. Restroom 9. Storage PLAN FIRST FLOOR PLAN SECOND FLOOR PLAN THIRD FLOOR NOISE CRITERIA 30 40 10. Side Scene 11. Proscenium 12. Green Room 13. Kitchen/Bar 14. Opera Hall 15. Office 16. Audio Mix Position 17. Study Area 18. Cloakroom 19. Follow Spot Booth 20. Integrated Lift 21. Control Room 22. Box Office 23. Janitor Closet 24. Lobby 25. MER 26. MEPFIT 27. Stage Tower Service Path 1 2 3 4 5 6 7 8 9 10 1011 12 13 14 15 8 16 17 18 19 20 21 23 22 8 24 25 26 9 27 In the center of Köln, near the Rehn River lies the Cologne University of Music and Dance. One of the world’s foremost performing arts schools and one of the largest music institutions for higher education in Europe with its three campuses in Cologne, Wuppertal, and Aachen. With walking distance from the Aachen Campus lies our proposal for a Opera House in the urban context. The building battles with the noise generated from the surrounding streets and the adjacent Köln Hauptbahnhof. Johan Blomsterberg ACOUSTIC PROTOTYPES [2][1] The main hall’s parallel walls can lead to unwanted reflections and echoes. To address this, rotating reflector panels are installed on the side walls. These panels can be closed during audience seating to widen aisles and then rotated for performances. They can also angle downwards to direct sound toward the audience. Reflectors in the corners of the stage redirect sound towards the audience, enhancing acoustics. The rehearsal hall do not include seating area, requiring additional absorptive material to match the acoustic properties of the main hall. Walls feature rotating panels to disper- se parallel wall reflections and redirect sound downward to balance the high ceiling. Absorbers between rotating elements target both low and high frequencies. Thick double walls and small double-glazed windows mini- mize outside noise, ensuring a quiet rehearsal environment. [2]: Exploded view of wall reflectors [1]: Exploded view of side stage reflectors Johan Blomsterberg MOVABLE ROOF In addition to reused sails and wires, the roof is also constructed using flat plates in lead, plywood, cork and a pre-stressed, and therefore expandable, layer of foam insulation. The lead plates is used to gain weight in the construction to better reflect sounds within the Auditorium, and reduce noise from exterior sources. Plywood and cork panels works as the interior surface aimed to reflect, absorb and diffuse the sound. All the plates are overlapped and fastened in one point, allowing the structure to be closed as the roof changes position. Due to the pre-stressed foam insulation, the structure also keeps airtight independent of the roof’s position. [1]: Exploded detail drawing of roof construction [1] Johan Blomsterberg AUDIOTORIUM With having a smaller depth, the largest distance from proscenium to back row does not exceed 25 meters which aims to obtain even sound throughout the Audiotorium. Due to only having two balconies, the ceiling’s height allows to be positioned relativley low. The reflections from the roof can therefore be credited in greater occurence. On account of this, the Audiotorium has a larger width than depth allowing for a bigger audience in the orchestra area where the sound is usually better. 5 4 2 0 -2 C80 [dB] 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Clarity vs. Distance 1 -1 3 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz Strength vs. Distance 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r [m] G125 [dB] 10 9.5 9 8.5 8 7.5 7 6.5 2.2 125 250 500 1000 2000 4000 f [Hz] T60 [s] Unoccupied V = 9700 m3 Occupied V = 9700 m3 Unoccupied V = 9200 m3 Occupied V = 9200 m3 Unoccupied V = 10200 m3 Occupied V = 10200 m3 Reverbaration time vs. Frequency 2.1 2 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 [1] [2] [3] ACOUSTICS Past 10 meters from the stage, there’s minimal change in strength, providing consistent audience experiences. Across frequency bands, strength remains consistent except for 100 Hz. Boosting bass frequences aids perception, as they’re perceived quieter than higher frequencies. The clarity remains high when close to the stage but decreases as distance increases, reaching values between 0 dB and -2 dB for various frequency bands. The variation in clarity among frequency bands is not significant. A checkerboard pattern of plywood and cork on the ceiling balances reflection and absorption properties, achieving a desirable reverberation time throughout the room. Seats feature soft material on both top and bottom to minimize differences in reverberation time between occupied and unoccupied states. Additional absorbing material targets specific frequency bands (1 kHz and 2 kHz) to reduce frequency dependent reverberation time. Adjusting ceiling height can vary reverberation time by approximately 0.1 second for every 500 m3 volume change. [1]: Graph on strength [2]: Graph on clarity [3]: Graph on reverbaration time Johan Blomsterberg THOUGHTS ON THE PROJECT The project aimed to let our core ideas speak for themselves and to maintain purity in the architectural design. As a result, the proposal’s appearance may seem somewhat brutal. We had the opportunity to receive critiques from experienced and renowned architects and acousticians, including Martha Tsigkari from Foster + Partners, who described our project as ”cheap and cheerful.” These two words capture what we aimed to achieve. Every component and part of the building has a practical function and serves a purpose beyond decoration, making the building more akin to a piece of machinery. The design process took a turn when we began organising the rooms and functions for the building. As seen in the conceptual sketches, the early ideas leaned towards a more organic design. However, considering modularity, reusability, and interaction, we realised that a flexible and orthogonal structure would be more suitable. We still managed to integrate organic forms into the project through the auditorium roof, which hangs at four points. An essential aspect of this project was the cooperative work that went into its development. Collaboration was crucial in bringing together diverse perspectives and expertise, leading to a more robust and well-rounded design. Working closely with our acoustician partner, allowed us to refine our ideas and incorporate valuable feedback at every stage. This collaborative approach not only enhanced the quality of the design but also fostered a sense of shared ownership and pride in the final outcome. The synergy of cooperative work enabled us to push the boundaries of creativity and innovation, ensuring that the project was both practical and visionary. Johan Blomsterberg