Moving forward, Christchurch city appeals as an interesting place for investment, but it hasnt always been this way.

It only takes the mention of the word earthquake to understand this transition. As Christchurch citizens, now is a better time than ever to invest in our future; to build not only buildings, but atmospheres, environments and hubs that enhance our everyday cultural experiences. Multimedia is a necessity of modern life. Its role in both business and leisure takes efficiency and entertainment to the next level, combining components such as text, audio, image and communication into more diverse forms of media and content. Whilst some people still prefer traditional methods, the enjoyment provided through multimedia enhances the quality of life for many individuals of the 21st century All it takes is a ride on a bus to understand. In fact, Im writing while riding the bus in this very moment. There are six people on this bus, myself and the driver included. Of the six of us, five are engaged in activities involving multimedia technology. With headphones in my ears, I subtly bounce to music composed by a Belgium producer by the name of Netsky. The teenage boy seated below effortlessly taps his right-handed index finger on the touch screen of his cell phone, as I enviously analyse how much cooler his headphones are than my own. Not even the audio of Netsky can drown out the racket from the back seat, where two young girls sit gossiping and giggling over the top of Jessie J a pop artist whose latest hit blares through what I assume is full volume from their portable audio device. The bus driver is of course connected through the company radio system, and has a supervisory responsibility over the electronic payment system on board the bus. This leaves the old lady, wrapped in a woollen cardigan, with permed hair, staring lonesomely out the window. While at the moment all is well and dandy, we have a problem. This problem doesnt affect the old lady, as it is a problem concerned with the future. It doesnt affect the driver in this context either, as its not particularly concerned with the job force. This problem is to do with the individual lives of the four remaining passengers myself included who are passing this bus journey engaged in the entertainment of multimedia.

The problem: While we continuously squander our energy combating boredom, we age. And as our environment encourages us, we turn to the ingestion of toxins to numb the creative energy that thrives dissatisfied, unrecognised within. Why? Because the alternative is too hard. The Solution: To establish a place to belong where the hard parts have been taken care of An environment to create Equipment to perform Staff to assist Connections to share

The Answer: Christchurch Multimedia Centre (CMC)

What is Multimedia?

The term multimedia is not easily distinguished. Its an evolving term at the centre of the information technology industry an industry that is thriving at the forefront of the 21 st century. In scholastic terms, multimedia is identified as being both an adjective and a noun. Its a term used to describe media and content that has been purposefully constructed to be electronically communicated. Individual components that combine to constitute a multimedia format include (although are not limited to) the following forms: Text Audio Video Images Animation Interactivity

The newspaper we read in the morning can therefore be identified as a form of multimedia, so can the code that is refined to send and deliver our emails at work. Lets not forget the social networking sites that we use to interact with our friends or any websites for that matter multimedia describes and identifies their existence, plus that of video games, podcasts, and the list goes on. Its a word that is respected and often unrecognized yet understood by millions of people worldwide. From the introduction of the term multimedia to promote an American Lightworks show in 1966, its meaning has expanded and evolved over time. Although informative definitions can be found through internet search engines, the incredibly fast moving nature of the IT industry means that even if the definition were written yesterday, it would already be outdated. It is therefore impractical to confine the meaning of the word to a mere series of statements, for the word itself not only represents the media and content that it identifies and describes, but also future forms as a result of its evolution. The conclusion is hence adopted that attempting to define multimedia is like trying to talk to Taz the Tasmanian devil, it will have moved on in a craze before you even get the words out!

Eastern Philosophy and Western Modernism

Desire is the root of evil To behave in a way no one should Our senses know best the objectives To inspire creation of good
Inspiration is the fundamental source of creativity. What we encounter through our sense organs, our mind integrates into our inner world where information is stored as a resource for creative self expression. It is therefore a tragic loss to limit our source of inspiration to Western culture, when some of the greatest techniques of living have come from Eastern Philosophy. Take for example yoga. Practiced in the West, yoga is a form of physical exercise employed to promote strength, flexibility, coordination and balance, with the additional benefits of clarity of mind and stress relief. The Eastern origins of yoga however, denote a more rigorous practice of self-discipline which helps to direct the individual towards perfect self expression.

One who controls his mind, intellect and ego, being absorbed in the spirit within him finds fulfillment and internal bliss which is beyond the pale senses and reasoning.
GITA

Yoga is a science based upon the laws of nature. In fact, the core of eastern philosophy denotes a profound psychic sensitivity to the energies of the natural world.1 The Chinese philosophical system of Taoism recognizes that the world is dual in nature, that everything is made of two opposite parts e.g. light and dark, joy and sorrow, male and female. Taoism recognizes that these two parts cannot be separated from each other, because one part cannot exist without the other.

Yin & Yang Symbol of Taoism

Heaven on Earth

The rise of modernism in the eighteenth century saw the differentiation of art, morals and science in western culture, allowing for each to explore its own truths without distraction. This differentiation resulted in a flurry of growth in all three areas, giving rise to many of the things we now regard as modern. Modern science in particular has seen extraordinary advancements over the past two centuries. Many scientists throughout this time have worked tiresome hours to describe the materialistic universe in two basic partial theories: 1. General theory of relativity the force of gravity and large scale of the universe 2. Quantum mechanics phenomena on extremely small scales

Nothing is more important about quantum physics than this: it has destroyed the concept of the world as sitting out there. The universe will never afterwards be the same.
JOHN WHEELER

Whilst the current goal of modern science is to formulate an Ultimate Theory of the Universe (a theory where relativity and quantum mechanics are consistent with each other), advances in scientific discovery are incorporated into our everyday lifestyles through the interpretation of particle physics. It is particle physics that explains the functionality of a silicon chip, the integrated circuit of electrical components responsible for the life of computers.

As we move with exhilarating speed through the 21st century, our everyday experiences are enhanced through continuous advances in the technology industry. This industrialized progression however, is not without its downfall. It endorses a westernized behaviour that is central to the notion of I, that all too familiar materialistic desire that leads us further away from self-sustainability. Above all, it is important that we stay grounded, not only ensure the wellbeing of our planet, but to hold onto that inner spirit that truly allows us to realize happiness. Where western modernism looks to the stars, eastern philosophy stands with two feet firm on the ground. Eastern philosophy provides guidance to interpret the world around us as an invaluable source of inspiration. In collaboration with the scientific endeavours of western modernism, the wisdom of eastern philosophy allows for a world of inspiration that is rich with opportunity, thus providing the prime environment for expressions of the creative self.

What we do know is that there is only one planet to do it on and only one species of being capable of making a considerable difference. BILL BRYSON

Design concepts
Objective 1 To present both specific and open information to provide workable plans allowing for the contribution of inspired ideas. Objective 2 To incorporate an environment for western multimedia practices into a functional eastern setting. Objective 3 To satisfy flexible space requirements for multimedia, providing an adaptive environment with creative ambience.

Architecture is a divine science, whose purpose is to create structures aligned to the universal law which silently upholds and nourishes all evolution.
-VASTU VIDYA

The sketches on the following pages provideVASTU VIDYAconcepts for the Christchurch two design Multimedia Centre. There are three concepts common to these designs:

1. Bilateral symmetry 2. Dualistic considerations 3. Vastu Vidya

Bilateral Symmetry
Human beings, as with butterflies and all other living beings on Earth, are bilaterally symmetrical. In eastern architecture, bilateral symmetry is an architectural design technique found more often than not, drawn upon to signify balance.

The disposition of eastern cultures has always been to facilitate the experience of the sacred, allowing the worshiper to safely encounter and integrate his inner world.

Dualistic Considerations
The Christchurch Multimedia Centre encounters several identifiable opposing aspects to be acknowledged in the design of the building: Accessible to the public yet secure from intruders Light filled spaces and light spared spaces Social spaces and solitary spaces Ordered functionality and organic functionality High tech work areas and basic rest areas

Vastu Vidya
Vastu Vidya is a Hindu term, translated to mean the science of construction. Its a system of architectural design based on the laws of nature and directional alignment. As a combination of science, art, astronomy and astrology, this practice has been proven to facilitate the design of hospitable living and working environments.

Our sages SEARCHED it; we are only RESEARCHING it and building the concepts

Consistent with the foundation eastern philosophy, the theory Vastu Vidya is founded upon the laws of nature. According to Vastu Vidya, the world is composed of five elements fire, water, earth, air and space it is a balancing of harmony between these five elements that supports life on Earth. Vastu Vidya recognizes the importance of the North Pole and the South Pole as the basic source of the worlds energy. Magnetic waves continuously flow from the North Pole to the South. It is therefore recognized that the southern portion of a building should be slightly raised to optimize this energy.
Above: Mandala A sacred art that represents the cosmos from a human perspective.

The system of Vastu also recognizes the influence of the sun, moon, atmosphere, wind and gravitational force as sources and potential obstructers of energy.

Vastu Vidya Structural Guidelines Build structure at least two feet above road level To let in sufficient air and light, at least 30% of exterior walls should have doors and windows There should be more windows on the north and east walls compared to the south and west Balconies and terraces should be on the north and east sides Split levels are not recommended Under no circumstances should the southern portion be lower than the northern Avoid corners

CMC Vastu Vidya Central Design Points The following three design points are central to the construction of the Christchurch Multimedia Centre: 1. Erection of a central pillar 2. Circle to encompass the central pillar 3. Extrapolated into a square (site plan)

Above: Vastu Mandala Site Plan

Orientation and space requirements

In respect of the theory that our world is composed of five elements, the Christchurch Multimedia Centre (CMC) has five uses which pose five differing space requirements. Each of these functions is related to one of the five elements through the Greek and Roman Philosophy of the Four Humors (theory based on the workings of the human body). By relating CMCs human activities to the natural elements, the orientation of the building design becomes simplified. This connection is justified through Vastu Vidya diagram to the right and concluded in the table below.

Element Function Orientation Scale

Air Caf/Bar North-West

Water Office North-East

Fire Education South-East

Earth Space Lounge Performance South-West Centre

The proposed site for the CMC is approximately measured at 180 meters by 180 meters, giving a total site area of 32,400 meters The capacity requirement for the performance venue is 1,000 2,000 people. Given the industry standard allows 0.85m per person, a radius of 21 meters for the central circle has been adopted The radius of the circular stage is 5 meters The capacity of the central circle, with a radius of 21 meters and allowance 0.85mper person (minus the area of the stage) is 1,536 people

Design Concept 1
1. Koru sculptured central support pillar 2. Circular stage positioned at stage height above ground level 3. Dome radius 26 metres a. Transparent dome suspended over amphitheatre by external trusses around lower perimeter b. Suspended 2 metres above ground on outer perimeter, closed to the outdoors with canvas type material or slider doors c. Connects to flat roofs of the four wings d. Supported internally by koru support pillar 4. Dance floor a. Radius from the central pillar of 13 metres b. This provides a dance floor capacity of 532 people c. Set at ground level 5. Upper terrace a. Raised 2 metres above ground level (southern portion slightly more elevated) b. Inner radius from the central pillar of 21 metres c. Outer radius from the central pillar of 26 metres 6. Amphitheatre a. 2 meter amphitheatre from the upper terrace to the dance floor b. Spiralled walkway extends clockwise from the upper terrace main entrance clockwise down to the dance floor c. Ducks of spectator booths and seating are placed where excavated pockets are available throughout the amphitheatre d. Four stairwells are provided for direct access from dance floor to exits 7. Stage service area a. Concrete underground tunnel provides access to the stage from the south b. Access from this tunnel to the stage via lift 8. Four Infinity work and leisure wings a. Extended from the central pillar in the shape of two infinity symbols b. Outer most point of each wing set at 52 metres from the outer dome perimeter 9. Infinity wings interior courtyards a. Courtyard within each infinity wing, uncovered b. 6 metres by 14 metres c. Surrounded by 2 metre wide veranda 10. Elevation and entrance a. Infinity wings level with upper terrace of amphitheatre b. Outer perimeters slope to hillside ground level c. Stairs provide access to four exposed entrance points d. Main north facing entrance connects office to cafe, stairs descend

John Overton

Design Concept 2
1. Koru sculptured central support pillar 2. Circular stage a. Positioned at stage height above ground level b. 5 meter radius 3. Dome a. 26 metre radius b. Transparent dome suspended over amphitheatre by external trusses around lower perimeter c. Suspended 2 metres above ground on outer perimeter, closed to the outdoors with canvas type material or slider doors d. Connects to flat roofs of the four wings e. Supported internally by koru support pillar 4. Dance floor a. Radius from the central pillar of 16 metres b. This provides a dance floor capacity of 853 people c. Set at ground level 5. Upper terrace a. 3 meter walkway b. Four stairwells descend to dance floor 6. Amphitheatre a. 1 meter amphitheatre from the upper terrace to the dance floor b. Booths with a width of 2 metres surround performance arena 7. Stage service area a. Concrete underground tunnel provides access to the stage from the south b. Access from this tunnel to the stage via lift 8. Four koru cross work and leisure wings a. Based on the shape of the koru cross (right) however squashed together from the north to create room for a grand entrance and terrace b. Outer most point of each wing set at 52 metres from the outer dome perimeter 9. Elevation and entrance a. Infinity wings level with upper terrace of amphitheatre b. Outer perimeters slope to hillside ground level c. Stairs provide access to four exposed entrance points d. Main north facing entrance connects office to cafe, stairs descend