ARCT 402 2018 2019 FALL Handout 20.2.14

CYPRUS INTERNATIONAL UNIVERSITY – FFADA DEPARTMENT OF ARCHITECTURE
ARCT 402 GRADUATION PROJECT HANDOUT: KYRENIA OPERA HOUSE 2018-2019 FALL
Lecturers: Prof. Dr. N. Ayıran; Assoc. Prof. Dr. S. Kurt. Assoc. Prof. Dr. C. Atakara Res. Asst: J Atanda
1. SUBJECT & PLACE OF THE PROJECT:

The project subject is designing an Opera House in Kyrenia. An Opera House is a theatre building used
for opera performances that consist of a stage, an orchestra pit, audience seating, and backstage facilities
for costumes and set building. Opera, Italian for ‘work,’ is over 400 years old. History, mythology, fairy
tales, folk stories, literature, and drama have inspired composers for centuries. Opera reaches beyond
geographical and cultural boundaries as the most creative of all the performing arts.
The site is in Kyrenia near to open amphitheater. Kyrenia Castle, Old Cemetery, New Port and archeological
site are closed to the site.
Figure 1: Site Map
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2. OPERA & OPERA HOUSES
Opera is a form of art that involves singing, drama and heavy scenery. Some opera pieces include dance
numbers and entire orchestras. This form of art is respected for its longevity and complexity, as it began
toward the latter parts of the 16th century. Its roots trace back to Europe, the country of Italy in particular.
The term opera literally translates into "labor" or "work". This thought process is identified throughout the
art form, as it contains very involved processes every step of the way. In Venice, operas became popular
during the 1600's, as they used a mix of tragedy, comedy and movement. Throughout the centuries,
notable artists like Mozart, Alessandro Scarlatti and Gioachino Rossini have had a huge impact on the art
form.
Operas were traditionally, and still are, performed in opera theaters, known as opera houses. These large
structures typically feature elegant architecture and huge stages and seating arrangements. These theaters
feature the stage, a pit for the orchestra, audience seating, backstage provisions and costume areas.
Classic and modern contemporary performances fill these opera houses on a regular basis.
People who love classical music, dramatic pieces and range in music and acting will enjoy the opera. Going
to the opera is typically an event, with patrons dressing up to make an evening of it. People are also able to
purchase opera recordings when they were not able to make it to the event. Some of the greatest opera
houses still remain in Europe, with people coming from all over the world to catch a show. The United
States is home to a number of noted opera houses, with New York, Chicago and Los Angeles putting on
some of the best work in the country. Going to the opera is a tradition that has stood the test of time due
to its charm and many elements that set it apart from other art forms. The art form is continuously
evolving, while retaining the tenants that made it a phenomenon to begin with.
Figure 2: Teatro alla Scala in Milan, which has been a showcase for opera for more than two centuries.
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2.1 THE ORIGINS OF OPERA
Figure 3: Engraving of a court ballet, Vlasislav Hall, Prague Castle, Czech Republic, 1617
Ballet and opera were born out of royal entertainments in 17th-century Italy and France. These were
spectacular productions celebrating marriages or political visits used by kings or nobles to show off their
wealth and power. They were unashamed propaganda aimed at impressing foreign dignitaries and other
royals.
These entertainments mixed music, dance, and magnificent processions with spectacular technical effects
and extravagant costumes. The stories or themes were taken from classical mythology (the ancient stories
and myths of the Greeks and Romans), drawing parallels between the ruler and the mythological gods or
heroes.
Their purpose was often to impress visiting dignitaries and present a positive image of a ruler and his court.
They included vast processions, dances, sung episodes, and acted interludes, all sumptuously costumed
with elaborate coaches and chariots and stage effects. From these spectacles evolved ballet and opera. In
this production, the dancers form geometric patterns on the floor of the theatre before what we would
now think of as the proscenium arch, which is 'designed' as a rocky archway.
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In 6 October 1600 Jacopo Peri's opera, Euridice , the earliest to survive complete, is performed at the Pitti
Palace in Florence on the occasion of the wedding of Maria de’ Medici and Henri IV of France.
2.2. OPERA HOUSES (SAMPLES)
Figure 4: Sydney Opera House / Jorn Utzon
Figure 5: Busan Opera House (Winning Project) / Snohetta

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Figure 6: Essen Opera House / Alvar Aalto
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Figure 7: Oslo Opera House / Snohetta
Figure 8: Valencia Opera House / Santiago Calatrava
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Figure 9: Harbin Opera House / MAD Architects
Figure 10: Copenhagen Opera House / Henning Larsen

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Figure 11: Dubai Opera House
Figure 12: Guanzhou (China) Opera House / Zaha Hadid Architects
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Figure 13: Winspear Opera House Norman Foster + Partners
Figure 14: Wexford Opera House / Keith Williams Architects
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Figure 15: Linz Opera House / Terry Parson
3. THE AIM & THE SCOPE OF THE PROJECT
The aim of this course is to help students to develop design skills by means of a complex design problem
including a public function in the context of a historical site considering architectural and environmental
association, and social, economic and cultural factors.
This It is based on the discussion of self-generated ideas, concepts of students, social and cultural values
related to the site area, and the appropriate constructions and, installations systems, technologies and
materials both traditional and advanced, during design process.
This process compresses, extensive architectural knowledge, research, interpretation and solutions to design
problems concerning both local and global aspects of architectural design from micro to macro scale and
requires to the employment of free hand sketches and advanced presentation techniques to express
architectural idea.
Kyrenia Opera House will be a place where people come for social, art and cultural activities. Culture and the
arts are not a luxury. They are a necessity. When a society invests on something that will stand for many
generations, as the opera house will do, it is the investment for the future of the society in sake of art,
aesthetics and cultural developments. Kyrenia Opera house will be a monumental, iconic building.
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4. THE DESIGN PROCESS & ASSESSMENT OF THE GRADUATION PROJECT
(See also the sylabus)
5. BUILDING DESIGN GUIDELINES

General: The opera building will be spatially and technically designed to be functional and contemporary.
The spaces should be designed as explained in the space requirements list and universally applicable as
possible. The laws, directives, regulations and standards concerning Turkish/ North Cyprus building are to
be followed in the design of the building.
Important Note: It’s required to design sloped roofs rather than flat ones.
5.1 SITE ANALYSIS 

The following outline is the basis for which the site will be analyzed. 
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I. Natural Factors (a. Geological base b. Slope; c. Site hydrography; d. Vegitation; e. Climate) 
II. Cultural Factors (a. Land use; b. Off Site activities; c. Linkages; d. Traffic; e. Density / Zoning; f. Utilities /
Mineral rights; g. Easements ; h. Existing buildings; i. Site history)
III. Aesthetic Factors (a. Natural features; b. Views; c- Vistas
5.2 CIRCULATION
Traffic roads and pedestrian pathways are clearly and functionally designed in the site. Indoor and out door
circulation should be appropriate to use theis public building.
Figure 16. Indoor Circulation Diagram of Oslo Opera House
Figure 17. Circulation Diagram of Gallery of Sejong Art Center
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5.3 SPACE REQUIREMENTS
TOTAL
CIRCULATION CIRCULATION
USE AREA TOTAL AREA M2
PERCENTAGE AREA M2
SPACE / FUNCTION M2
A_ ENTRANCE HALL 1860 m2 1860 m2
B- MAIN ROOM AND

STAGES (Including stage 2.800 m2 30% 840 m2 3640 m2
and backstage)
C- TECHNICAL
DEPARTMENTS OF THE 180 m2 40% 72 m2 252 m2
MAIN HALL STAGE
D- SMALL HALL AND

660 m2 30% 198 m2 858 m2
THE STAGE
E- STAGE FIELD 290 m2 40% 116 m2 406 m2
F- OPERA BALLET,
820 m2 40% 328 m2 1148 m2
STAGE-RELATED UNITS
G- REHEARSAL HALLS 800 m2 40% 320 m2 1120 m2
H-OPERA DEPARTMENT 680 m2 40% 272 m2 952 m2
I- BALLET DEPARTMENT 220 m2 50% 110 m2 330 m2
J- WORKSHOPS AND
1200 m2 40% 480 m2 1680 m2
STORAGES
K - MAIN SERVICE
440 m2 50% 220 m2 660 m2
UNITS
L-ADMINISTRATION
360 m2 50% 180 m2 540 m2
DEPARTMENT
M- GENERAL FACILITIES 300 m2 50% 150 m2 450 m2
N-TECHNICAL CENTER 550 m2 30% 165 m2 715 m2
O- PARKING 1800 m2 1800 m2
TOTAL 16.411 m2
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2018-2019
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6. JURY REQUIREMENTS
Mid-term Jury I: The date will be announced later
Site Analysis (1/ 5000, 1/ 1000, 1/ 500)
Daily and Night Time Activities, Circulation and Traffic (vehicle, pedestrian)
Surrounding natural and man made environment
Concept Design, Site Plan, Plans, Sections, Silhouettes (1/ 1000, 1/ 500)
Model (1/ 500 )
Design Proposals
Sketches (explaining the developed ideas and concepts)
Schematic Design: Floor Lay-Out Schemes, Sections
Perspectives, Images
Computer Aided Models
Mid-term Jury 2: The date will be announced later
Site Plan and Sections (1 / 500)
Silhouettes (1/ 1000, 1/ 500)

(With the submitted design proposals)
Model (1/500)
Design Proposals
Sketches
Perspectives, Computer Aided Models
Plans, Sections and Elevations (1/500 and 1 / 200), System Details (from typical part of design 1/50 or 1/20)
Final Jury The date will be announced later
Site Plan and Section (1/ 500)
Silhouettes (1 / 1000, 1/ 500)

Model (1 / 500)
Design Proposals
Sketches
Perspectives, Computer Aided Models
Plans, Sections and Elevations (1/500 and 1 / 200), System Details (from typical part of design
1 / 50 or 1 / 20)
6. COURSE OBJECTIVES, PARAMETERS AND PRECEDENCES
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A full-semester self-based design project comprising research, interpretation and solutions to problems that
should fit with the local and regional concerns, from micro to macro scales. The students are invited to
express programs that are relatively complex programs and discuss related theoretical and professional
issues. Designing such an architectural and natural context requires discussion on the self-generated ideas,
related concepts and the key issues with studio instructors and jury members. An approach to
teaching/learning in which the creative design process is being as important as the product. Climate and
ecology responsive design notion is expected. The arrangement of the relationship between interior and
exterior spaces seems to be an important design issue in which students to deal with.
7. POLICY AND PROCEDURES

The studio work includes a variety of projects and assignments introducing different design issues, resources,
processes and vocabularies through which the students are expected to learn about the design tools and
principles, ways of concept building, conceiving construction systems and contextual relations. The
successive projects, each emphasizing an alternating issue gives the opportunity of thinking dynamically and
gaining the experience of idea production and problem solving at defined time intervals. The lectures intend
to support the students in their endeavour of obtaining the necessary design knowledge and to encourage
them making further research and discussing the contemporary design agenda.
8. DUE DATES
The end products of the projects and the other assignments should be turned on the defined dates. The late
submissions will lower the grades. The sheets prepared for presentation will have the following information:
student’s name and number, project title, date of submission, course number and instructors’ names. All
assignments' photo must be submitted to MOODLE system. The assignments are announced via MOODLE.
9. ATTENDANCE REGULATIONS
Please make a note that % 70 attendance regulation will be strictly applied. Students are expected to be
in the studio, working for their projects even if they do not have prepared anything to discuss with the
instructors, during scheduled studio hours. In case of personal emergencies, students are required to
discuss the resulting absence(s) with their studio instructor(s).
10. GRADING AND EVALUATION

Final semester grades are based on each individual’s project evaluation, attendance and participation, and
attitude/performance in studio hours. Design project evaluations are based not only on the final products
and their documentations, but also on the process through which the student has developed the works as
documented below. Inclusion and exclusion of any required drawings and/or process development sketches
as assigned by the studio professor (demonstrating effort and improvement) will be part of the Studio
evaluation. Students are expected to participate in all Studio enriching activities.
Reseources_ URL:
https://www.theaterseatstore.com/opera-theater
https://en.wikipedia.org/wiki/Opera_house
WISH YOU ALL VERY PRODUCTIVE & JOYFUL DESIGN PROCESS…
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CYPRUS INTERNATIONAL UNIVERSITY – FFADA DEPARTMENT OF ARCHITECTURE

1. SUBJECT & PLACE OF THE PROJECT:

Figure 1: Site Map

2.2. OPERA HOUSES (SAMPLES)

Figure 4: Sydney Opera House / Jorn Utzon

Figure 5: Busan Opera House (Winning Project) / Snohetta

Figure 6: Essen Opera House / Alvar Aalto

Figure 7: Oslo Opera House / Snohetta

Figure 8: Valencia Opera House / Santiago Calatrava

Figure 9: Harbin Opera House / MAD Architects

Figure 10: Copenhagen Opera House / Henning Larsen

Figure 11: Dubai Opera House

Figure 12: Guanzhou (China) Opera House / Zaha Hadid Architects

Figure 13: Winspear Opera House Norman Foster + Partners

Figure 14: Wexford Opera House / Keith Williams Architects

Figure 15: Linz Opera House / Terry Parson

3. THE AIM & THE SCOPE OF THE PROJECT

5. BUILDING DESIGN GUIDELINES

5.1 SITE ANALYSIS

Figure 16. Indoor Circulation Diagram of Oslo Opera House

Figure 17. Circulation Diagram of Gallery of Sejong Art Center

5.3 SPACE REQUIREMENTS

A_ ENTRANCE HALL 1860 m2 1860 m2

B- MAIN ROOM AND

D- SMALL HALL AND

E- STAGE FIELD 290 m2 40% 116 m2 406 m2

G- REHEARSAL HALLS 800 m2 40% 320 m2 1120 m2

H-OPERA DEPARTMENT 680 m2 40% 272 m2 952 m2

I- BALLET DEPARTMENT 220 m2 50% 110 m2 330 m2

M- GENERAL FACILITIES 300 m2 50% 150 m2 450 m2

N-TECHNICAL CENTER 550 m2 30% 165 m2 715 m2

O- PARKING 1800 m2 1800 m2

Model (1/ 500 )

Mid-term Jury 2: The date will be announced later

Site Plan and Sections (1 / 500)

Silhouettes (1/ 1000, 1/ 500)

Final Jury The date will be announced later

Site Plan and Section (1/ 500)

Silhouettes (1 / 1000, 1/ 500)

6. COURSE OBJECTIVES, PARAMETERS AND PRECEDENCES

7. POLICY AND PROCEDURES

10. GRADING AND EVALUATION

WISH YOU ALL VERY PRODUCTIVE & JOYFUL DESIGN PROCESS…

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5.1 SITE ANALYSIS 