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University of Cincinnati Class of 2013 Capstone project. April 2013
Citation preview
conservatory of music
1205 E lm St .Cinc innat i , Ohio
elm st.
co n te n t s
S a r a h Pr i d eUn i ve r s i t y of C i n c i n n a t iCol lege of Design, Architecture , Art & PlanningInter ior Des ign Class of 2013
par t 1 p ro g r a m
par t 2
d e s ig n
par t 3
p ro c e s s
c lass ica l m u s i c
music s c h o o l s
project ove r v i e w
school c u l t u re
school l o c a t i o n
student s c h e d u l e
s i te a n a l y s i s
ex is t ing co n d i t i o n s
proposed d e s i g n
des ign t h e m e
des ign b a c kg r o u n d
des ign p re c e d e n t s
des ign p r o c e s s
works c i t e d
1 . 1
1 .2
1 .3
1 .4
1 .5
1 .6
1 .7
1 .8
5
1 5
2 5
3 1
4 1
4 7
5 1
5 7
6 7
1 0 3
1 0 7
2 . 1
2 .2
2 .3
3 . 1
3 .2
3 .3
1 2 3
1 3 3
1 4 5
1
51 . 1
c lass ica l m u s i c
background
mus ic schools
project overview
1 .2
1 .3
6Classical musics roots lie in early Christian
liturgical music.
71 . 1
clas
sica
l m
usi
c
8500 - 1400 1500 1600 1700 1800 1900 2000 medieval
renaissancebaroque
classicalromantic
20th c.contemporary
stylistic timeline
In its whole lifetime, Western music has morphed into seven
generalized popular styles, the most current style coined
as contemporary (see timeline below). Similar to most art
forms, each style overlaps and the categories we use today
are somewhat arbitrary. One characteristic that is consistent
across all music considered classical is a desire for composers
to attain high technical achievement in writing their music. The
performers of classical music are faced with similar goals of
technical mastery, demonstrated by the proportionately high
amount of schooling and private study most successful classical
musicians have had, and the large number of institutions that
are dedicated to the study of classical music. Performance
of classical music repertoire demands a significant level of
knowledge on the part of the musician. Essential skills for a
classically trained musician include sight-reading and ensemble
playing, understanding the principles of sound, knowledge of
performance practice, and a familiarity with the style of playing
inherent to a given period.
Classical encompasses a time period from roughly 500 AD to today.
91 . 1
clas
sica
l m
usi
c
10
11
clas
sica
l m
sic
1 . 1
Traditional symphonies, student led performance groups, and independent record labels together form todays evolving world of classical music.
12
new music
Classical music is very much in the present. New sub-
genres, such as indie-classical, alt-classical, and electro-
classical have recently emerged as both students and
professionals have become increasingly experimental.
These genres coexist with the decidedly dated repetoire
these musicians typically play as members of more formal
ensembles.
Skillfull experimentation requires a mastery of formal
styles, these alternative composers and musicians attended
conservatories and went through the same rigorous
training as their predecessors. Classicalism and Minimalism
are equally useful tools in a musical language that draws on
rock, jazz, hip-hop, world music and every reconfiguration
of classical language from medieval times through
Romanticism.
Though there was a time when formally trained students
played little but classical music, todays musicians have
been encouraged to find new relevance for the style in a
society that has largely moved on. Today you can hardly
find a composer under 40 who did not play in rock bands as
a teenager. Some still do play in rock bands which may now
include orchestral instruments and computers alongside
electric guitars, basses, drums, and electronic keyboards.
The Classical Style is today enjoying something of a
renaissance of new permutations which combat the
notion that the music is no longer relevant in the twenty
first century. This juxtaposition of old and new appears in
both the musical styles and the design for the Elm Street
Conservatory.
13
clas
sica
l m
usi
c
1 . 1
14
15
1 .2 music s c h o o l s
c lass ica l music
project overview
1 . 1
1 .3
background
16
17
Differences between music schools usually orbit
around three major elements of education:
the programs offered and encouraged, the amount of non-musical curriculum, and the physical learning environments. These elements of education are what attract students, who together create the character of the school and personalize the experience.
mu
sic
sch
oo
ls
1 .2
18
Conservatory is a term derived from 16th century Italian
orphanages that were attached to hospitals. The Orphans,
or conservatii, received an education in music and gradually
the term was applied to other schools of music as well.
These conservatories were the first institutions outfitted
for practical training in music. By the 18th century,
conservatories in Italy were playing major roles in training
artists and composers.
Today, there is no international convention that qualifies an
institute of learning to be a conservatory, as opposed to
a school or institute. That is not to say that all places of
college level music study are the same experience.
The most significant characteristic of a conservatory
of music is that all of the students are participating in
an intensive and focused music performance program.
Learning is at its best when a whole community of students
shares the same ideals, dreams, and environment. There
is an excitement and joy that comes from working with
equally advanced performers in a program that is designed
to fit their needs and value their abilities. This is the focal
point of the community and character of the conservatory.
Conservatories have been around for such a long time
because other types of schools are less successful in
developing a school wide character and meeting students
creative needs.
When all students are on an intensely dedicated path, the
students themselves create the character. The students
at the school cement the philosophies and values into
the administration, which in turn will want to keep the
community satisfied with the schools values. As the school
constantly evolves, the character will stay similar since it
is anchored to the student body and faculty.
Each conservatory has a difference character, a difference
culture, and different philosophies. Students intuitively
understand the schools where they feel the most
comfortable. The audition process is an important phase
of deciding on a conservatory to attend, since there is a
chance to sense the schools character.
what is a conservatory?
19
mu
sic
sch
oo
ls
Each conservatory has
a different character,
a different culture, and
different philosophies.
1 .2
20
san francisco conservatory profile
year founded
# of students
countries represented
teacher : studio ratio
The Conservatory offers a Bachelor of Music degree
program. This program represents a rigorous
music curriculum designed to develop professional
musicians at the highest possible level.
Typically a four-year program, the Bachelor of Music
degree at the Conservatory is designed to educate
students within a diverse, multicultural environment
characterized by intellectual as well as musical energy.
Students in this program examine Western culture
through the study of history and literature, and
develop critical thinking skills through the study of
the social sciences, languages, philosophy, science,
and mathematics.
# of free performances
annual attendance
1917
412
30
7:1
488
29,777
background
performances per year
21
San Francisco Conservatory of Music
This program represents a
rigorous music curriculum
designed to develop students at the
highest level.
mu
sic
sch
oo
ls
1 .2
22
23
Each year, Peabody entertains applications for admission from young
musicians who have spent a year or two at liberal arts collegesschools
where music is considered to be something nice to do when nothing else
is going on (an added interest, if you will). Those who chose a music
program at a conservatory have a very different view of what
they want to do in life. When placed among students who are
not as focused, rapidly developing music students become
restless and feel isolated, which is why they soon decide to
transfer to a conservatory.
By the way, we are not talking about an isolated phenomenon. Some
years, one out of three undergraduate applicants are transferring from
liberal arts colleges, or from music schools with less intense programs.
mu
sic
sch
oo
ls
1 .2
Admissions Office, Peabody School of Music
24
25
1 .3 project g o a l s
c lass ica l music
music schools
1 . 1
1 .2
background
26
Despite the potential for rehearsal and performance
spaces that are both functional and beautiful, the design
of most music school remains uninspiring. Bursts of sound
from the windows are the only indication of the buildings
function and dominate the architecture.
The space should be crafted to the diverse and dynamic
needs of todays musicians. From the piccolo flute to the
30 piece drum kit all must be not only accomodated but
explicitly considered. Music must be integral to every
aspect of the space, and the space must accomodate
music.
A major component of performing classical music
is blending as a group of instruments, or as a whole
orchestra. Sitting through hours of small and large group
rehearsals is what brings the music and performers
together while forming a communal bond between the
members. Having beautiful and meaningful spaces to
rehearse and create in can only enhance the student
experience.
Most importantly, I want to blend research about new higher
education and creative spaces and new acoustic and material
technologies to create the best possible environment for
music education. This research will dictate a lot of the
materiality and spacial planning choices, and will all work
together to support the schools functions. The next step
will be implementing an architectural gesture that supports
individual, small group rehearsal, and a communal bond.
starting point
27
pro
ject
go
als
1 .3
To demonstrate an understanding of classical music
and small conservatory culture and design, and
address the issues that plague the music schools of
today. The attitude, dedication, and talent of the
students should translate into a design that is focused
on their needs.
To design spaces that form relationships between
music and students, students and the community, and
music and the community. The OTR neighborhood
should only benefit from the design and revitalization
of a beautiful abandoned church by the park.
To push the limits of what is expected when new
meets old, just as young classical musicians push the
expanding boundaries of music.
find solutions
form community
move forward
steps
28
design a school whereintensely dedicated
musicians can reach their fullest
creative potential,by studying all styles of music in
forward thinking spaces.
overall goal
29
pro
ject
go
als
Juilliard School, Rehearsal Room
1 .3
31
school c u l t u re
school info
1 .4
school location
student schedule
1 .5
1 .6
32
age
hometown
instrument
degree track
previous school
26
columbus, ohio
trumpet, 13 years
artist diploma
ohio state university
brandon
student profile
What Brandon looks for in a music school is freedom. The freedom to enrich his masters education by teaching, performing, practicing, and creating at his own will. His love of Cincinnati and need for a personalized education led him away from big universities and towards a small conservatory focused on the future of classical music.
For Brandon, the last place hed want to be is stuck is in a boomy basement classroom regurgitating theory and history. Hes been stuck there before in undergrad. He avoids schools with strict curriculms and boring, stale environments like the plague.
what he likes in a school what he dislikes in a school
33
sch
oo
l cu
ltu
re
1 .4
34
35
together for 2 yearsstrings, percussion & electronic
performance group profile
bridge quintet
The Bridge Quintet benefits from their freedom. They can organize their schedules easily since everyone has similar structure to their classes. Since they are composed of varying aged students, finding the time and to rehearse together could potentially be a nightmare. Elm St. Conservatory makes small group rehearsal space a priority and abundant, catering to the students needs.
What helps make a small group excel is the opportunity to perform. Since the Elm St. Conservatory studio building at 1205 Elm St. has a public cafe/bar, students are free to perform whenever theyd like. The Bridge Quintet usually since up for a Saturday evening time slot to perform, since they have a lot of experience and like to practice performing for larger crowds.
they rehearse they perform
sch
oo
l cu
ltu
re
1 .4
36
strings 55
percussion 8
brass 15
woodwinds 15
# of students
37
# of students
deg
ree
trac
k
0 10 20 30 40
bachelors degree40 students
performance diploma35 students
artist diploma25 students
bachelor of music
performance diploma
artist diploma
degree track
sch
oo
l cu
ltu
re
complete 120 credits, no previous degree The Bachelor of Music (BM) degree program is a four-year undergraduate curriculum focusing on the development of highly skilled performing musicians. As an accredited institutional member of the National Association of Schools of Music, the Elm St. Conservatory of Music offers a curriculum that includes a rigorous academic program requiring a minimum of 120 semester units for completion.
complete 72 credits, no previous degree The Performance Diploma (PD) is a four-year curriculum designed for the student who has not yet completed a degree, but whose activities require more flexibility than the Bachelor of Music program. The PD requires only two years of music theory. There is no requirement for humanities and music history. 74 semester credits are required for completion.
complete 4 recitals, previous degree The Artist Diploma (AD) program focuses on the development of highly skilled performing musicians. The program is a minimum of two years and a maximum of four years in length, with a requirement of four recitals. Students must have completed a baccalaureate degree prior to beginning studies at the Conservatory.
1 .4
38
private benefactors
CAEF
donors profile
Private donors are critical to the Elm St. Conservatorys success. Their personal commitment and investment in the school and Cincinnati arts scene is a way to propel classical music in Cincinnati into the future. They view saving the historic St. Johns church instead of letting it deteriorate even further a major turning point in the Washington Park area revitalization.
The Cincinnati Arts Education Foundation is managing the project as well as community outreach and fundraising. They make the final call on all the project details and make the school run day to day. Cincinnati is home to many world class arts institutions and keeping them running and educating is of utmost importance to the future of Cincinnati.
private benefactors
cincinnati arts education foundation
39
private benefactors
CAEF
noraage 44born - cincinnati, ohfacilities & project manager, 8 yearsCincinnati Arts Education Foundation
client profile
sch
oo
l cu
ltu
re
1 .4
40
41
school l o c a t i o n
1 .5
school c u l t u re
student s c h e d u l e
1 .4
1 .6
school info
42
est.
size
population
est.
size
elevation
population
1850s
3,625 acres
7,000
1788
80 sq. mi.
482 ft.
296,493
over the rhine
cincinnati
43
site sch
oo
l lo
cati
on
Xelm st.
1 .5
est.
size
renovated
parking
1855
6 acres
2012
450 cars
washington park
44
d
b
e
a
cmusic hal l
1205 elm (s i te)
memoria l hal l
YMCA
SCPA
neighborhood
45
central pkwy.
w central pkw
y.
N
w 12th st.
w 13th st.
w 14th st.
w 14th st.
w 12th st.
elm st.
race st.
central pkwy.
emerson al.
baldwin al.
osborne al.
pleasant st.
corner al.
grant st.
shute al.
gandolfo al.
cincinnati
music hall
&
cincinnati
symphony
orchestra
memorial
hall
washington
park
school for
creative and
performing arts
YMCA
ab
c
ed sc
ho
ol
loca
tio
n
1 .5
46
47
student s c h e d u l e
1 .6
school c u l t u re
s c h o o l l o c a t i o n
1.4
1.5
school info
48
7
8
9
10
11
12
1
2
3
4
5
6
7
8
9
10
11
12
1
individual practice time
music history
music history
music theory music theory music theory
studio rehearsal
studio rehearsal
smallensembleperformances(cafe)
smallensembleperformances(cafe)
smallensemblerehearsal
smallensemblerehearsal
smallensemblerehearsal
private lesson private lesson
student orchestrarehearsal
student orchestrarehearsal
teach lessons (SCPA)
teach lessons (SCPA)
cincinnati symphony concerts
academicclasses
academicclasses
post-concert (cafe)
th fwtum
typical week
49
central pkwy.
w central pkw
y.
N
w 12th st.
w 13th st.
w 14th st.
w 14th st.
w 12th st.
elm st.
race st.
central pkwy.
emerson al.
baldwin al.
osborne al.
pleasant st.
corner al.
grant st.
shute al.
gandolfo al.
cincinnati
music hall
&
cincinnati
symphony
orchestra
memorial
hall
washington
park
school for
creative and
performing arts
YMCA
ab
c
ed s
tud
ent
sch
ed
ule
1 .6
50
51
s i te a n a l y s i s
1 .8
the s i te
1 .7
ex is t ing conditions
52
St. Johns church is located at 1205 W. Elm Street in Cincinnati, Ohio, between the School for Creative and Performing Arts (grades k -12), Cincinnati Music Hall (home to the Cincinnati Symphony Orchestra), and Memorial Hall (performance venue and classical music museum). The German Gothic Revival church was built in 1868 as the home of the German Evangelical Church and was placed on the National Register of Historic Places in 1973. Elm Street, in Over-The-Rhine, is a frequently visited street by arts patrons of Cincinnati, holding three major musical institutions. 3CDC, Cincinnati Center City Development Corporation, renovated the adjacent Washington Park, to hold a new underground parking garage and outdoor performance venue, encouraging more patrons of all ages to frequent the area.
The biggest issue with the church is that is has been abandoned for years and while the shell structure stands strong on 4 foot wide basement walls, the interior has deteriorated substantially. The entrances are fenced off, windows barred, and the general appearance is a turnoff to potential patrons of the area. Elm Street is rich in musical history. The neighborhood also used to be home to the College of Music of Cincinnati (before it merged with the Conservatory of Music and University of Cincinnati, thus becoming The College Conservatory of Music at UC in Clifton).With the addition of youthful occupants (age 18-24) and a 24 hour arts institution such as a small college, the historic area surrounding Washington Park would be abound with new livelihood that it now lacks.
building background
53
site
an
aly
sis
1 .7
54
the location the building shellinspirational near existing artistic institutions closetoparksandperformancespace bothhistoricandrelevant
convenient public transportation routes collegelevelentertainment,restaurants& bars nearby walkingdistancetohousingbudding neighborhood upbeat environment artisticideals evolution&changewelcome
size at least 20.000SF, 50 verticallyshape plan - not extremely wide or narrow section - tall, space, allows sound to resonateshell natural light egress widecolumnspan allowanceforverticalcutsorroofcuts streetlevelaccess multipleaccesspointscharacter exterior historicstyle publicexposure interior blankslatewithhistoricalbones openfeel renovationready
site checklist
55
:(
the
loca
tion
the
build
ing
shel
l
shape
neighborhoo d
shell
charac ter
inspirational
size
near musical institutions
at least 20,000 SF, 50 vertically
public transportation
plan
upbeat environment
natural light
SCPA, Cincinnati Symphony, Memorial Hall, Know Theater
Washington Park across the street; outdoor pavilion
Church as building block to music history; Cincinnati German history
Existing public bus system, future street car system on Elm St.
Gateway District entertainment offerings, Findlay Market, etc.
Potential for student dorms at adjacent YMCA building; nearby apts.
Weekly concerts, new construction, younger crowd encroaching
Historically a musical arts district since 1800s
Widespread renovations to neighborhood already underway
proximity to parks & performance space
entertainment, restaurants, bars nearby
section
artistic
egress
historic style
blank slate with good bones
vertical cuts
historic relevance
walking distance to housing
evolution & change welcome
wide column span
public exposure
open feel
renovation ready
street level & multiple access points
public exposure
multiple access points on street
:/ :) commentsqualities
site
an
aly
sis
1 .7
56
57
s i te analysis
1 .8
the s i te
1.7
ex is t ing co n d i t i o n s
58
59
exis
tin
g c
on
dit
ion
s
interior 1 .8
The existing interior holds a stage, balcony, and open floor plan. The ACT drop ceiling pictured was installed only half of the way up to the trusses and roof, making the space feel much shorter than it is. This sanctuary space is actually 14 feet above street level.
60
basement level
61
exis
tin
g c
on
dit
ion
s
street level 1 .8
62
event level
63
exis
tin
g c
on
dit
ion
s
balcony level 1 .8
64
section through sanctuary
65
exis
tin
g c
on
dit
ion
s
section through bell tower 1 .8
2
67
2 . 1
proposed d e s i g n
des ign theme
des ign background
2 .2
2 .3
design
68
brass
low strings
percussion
media lounge
percussion
strings
open studio
strings I
strings II
open studios
woodwinds
69
l istening lounges
percussion studioopen studiostudy loungestudent lounge
low strings studioopen studiostudy loungesmall studios (3)student lounge
woodwinds studiostrings II studiosmall studios (3)student lounge
brass studiostrings I studiosmall studios (3)student lounge
cafestagebarstudent loungestudent entrance
storage
6
5
4
3
2
1
B
levels
pro
po
sed
de
sig
n
2 . 1
cafe
openstudios
stage elev
ator
percussion
student lounges
strings II
strings I
low stringsopenstudios
media lounge
woodwinds
brass
70
subtotal sf occupancysf
7005601,3607305751,400
35283436287
700560680730575150
percussionbrass
stringslow strings
woodwindssmall studios
qtyspace
113119
small studios
storage
lounge
studio
each instrument familys necessary spaces
total square footage
studios5,225 sf
level
522-4431-6
71
socialtotal sf occupancylevel(s)
level(s)
level(s)
sf 1,2001,500
1575
3001,500
2-56
student lounges
media lab
qtyspace 41
2,700 sf
publictotal sf occupancysfcafe
studio entrance1,5001,500
11
1,5001,500
75 75
qty
11
1,750 sf
sf
400300600300150500
BBBB1-61
total sf occupancy
4003006003001200500
20153015725
bicycle storageserver & IT
mechanical janitorial
restroomscafe b.o.h
qty
1121121
2,800 sf
support
pro
po
sed
de
sig
n
2 . 1
72
5,000 sf total
cafe
2,000 sf
cafe servery/bar
500 sf
studio entrance
1,500 sf
support
1,000 sf
level one
73
pro
po
sed
de
sig
n
support
cafe
studio entrance
bar/servery
2 . 1
74
cafe functions
for the public The cafe is where the public interacts with the school on a daily basis. It serves coffee and food during the day with the addition of alcohol at night. Its where anyone can drop in and hear new music, see small group performances, and gather with friends or colleagues in a casual, unique space. Being so close to Music Hall, the cafe would also serve as a destination before and after CSO concerts.
for the students The students of the Elm St. Conservatory would be using their studio spaces mostly during the afternoon and evenings. The cafe is their place to study, collaborate, relax, inspire, and perform. It is the social hub and projection of the personality of the college to the public. There is no public access from the cafe to the studios above.
3,900 sfstreet level
level one: functions
studio entrance functions
for the public The studio entrance is located on the North side of the building in a reclaimed alley, on Elm St. It is where school visitors would be directed to enter the building.
for the students The students of the Elm St. Conservatory would be using their studio spaces mostly during the afternoon and evenings. The cafe is their place to study, collaborate, relax, inspire, and perform. It is the social hub and projection of the personality of the college to the public.
75
public semi-private privatecafe support studio entrance servery/bar
pro
po
sed
de
sig
n
2 . 1
76
studio entrance
student stair
lounge
cafe entrance
bar
cafe seating
stage
cafe b.o.h
cafe storage
restrooms
emergency exit
key
1
2
3
4
5
6
7
8
9
10
11
level one: rendered plan
77
9
7
6
5
8
2 up
dn
1
3
4
11
10 10
pro
po
sed
de
sig
n
2 . 1
78
design details
furniture seatingfor30-40mixbetweenloungeseating,4-top tables, counter and bar heightacousticsSoundfromthestageiscirculatedunder the volumes, and bounces up to fill the vertical opening between the existing shell and new structure. lightingThestageareaneedsspecialty directional lightingOveralllightingqualityismostly daylight, and at night overall lighting on exterior brick wallsThestructureofthestudiosaboveis outlined in light and light glows from behind the colored studio glass
technologyAprojectionscreenaccentsthestage and provides performance optionsBuiltintechnologysupportaround stage (AV consultant)Overallnetworkandamplepower outlets to support personal electronicsaestheticAlivewithactivityandmusic,alongwith the collision of old and new.Cleanwhitecoriancantileversoff antique brick walls. Crispwhiteedgesoftheprotrudingstudiosaboveagainst the old brick creates a dramatic sense of space and energy.
3,900 sf
level one: cafe
hours of usem-th 8am-10pmfr-sa 8am-2amsu 10am-8pm
79
promotional posters
concrete flooring
existing brick
ceiling tiles
backlit glass
projection screen
pro
po
sed
de
sig
n
2 . 1
80
1,500 sf
level one: studio entrance
hours of most usem-th 10am-5pmfr-sa 10am-7pmsu 12pm-5pm
design details
furniture seatingfor15-20moveable,modular,anddurable
acousticsAdroppeddrywallceilingprovidessounddampening of conversations. Feltappliedtofocalwallforeventspostingsandpromotional posters lightingThelightingforthestudioentranceiswarmandinviting, featuring natural light and pendants. Areasofactivityhightlightedbythepitcheddropceiling and downlighting.
technology Overallnetworkandamplepower outlets to support personal electronics
aestheticAlivewithactivityandmusic,alongwith the juxtaposition of old and new.Studentspostersfillthewalls,showcasingschoolevents and community.Fun,lively,timelessinfluences.
81
promotional posters
existing brick
drywall ceiling
tackable felt
reclaimed wood
pro
po
sed
de
sig
n
2 . 1
82
dedicated studios
1,230 sf
student lounge
700 sf
small open studios
535 sf
support
1,200 sf
3,665 total sf
level two
83
pro
po
sed
de
sig
n
studentlounge
strings Istudio
brassstudio
open studios
support
2 . 1
84
student lounge functions
to the studentsThe students of the conservatory would have the student lounges on each studio floor of the building to use however they please. Studying in groups or alone, listening to music, or just for a social meeting place. The lounges accomodate student activities and provide space for the students to post promotional materials for their performances.
to the teachersTeachers would use the lounges to connect with students in a more casual atmosphere. After studios or private lessons are over, ideas and thoughts are communicated between students and teachers more casually, and can move from studios to the lounges. Its also a touchdown spot for the teachers to have impromptu conversations while passing by students, especially since the lounges are right next to all vertical transportation routes.
studio functions
to the studentsEach studio of instruments gets their own space that is designed for them, and is used every afternoon. Small group rehearsals are important to the students and happen frequently. The studios are the defining elements of the building. When they arent used for class, students can use them as they please (small rehearsals, study space, etc.).
to the teachersThe studios are the main point of interaction between student and teacher. They must cater to teachers needs, whether it be technology or teaching by example. The furniture must be moveable so at any time the focus is on the teacher or rehearsal leader.
level two: functions
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dedicated studio open studio support student lounge
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restroom
fire escape
small studio (3)
strings I studio
strings I storage
brass storage
brass studio
student stair
student lounge
key
1
2
3
4
5
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7
8
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level two: finish plan
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level two: student lounge
700 sf
design details
furniture seatingfor15-20moveable,modular,anddurable
acousticsAdroppeddrywallceilingprovidessounddampening of conversations. Feltappliedtofocalwallforeventspostingsandpromotional posters
lightingThelightingforthestudioentranceiswarmandinviting, featuring natural light and pendants. Areasofactivityhightlightedbythepitcheddropceiling and downlighting.
technology Overallnetworkandamplepower outlets to support personal electronics or small study groups.Extrapowerforworkcounter
aestheticAlivewithactivityandmusic,alongwith the collision of old and new.Studentspostersfillthewalls,showcasingschoolevents and community.Fun,lively,timelessinfluences.
hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm
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level two: corridor & elevator lobby (typ.)
corridor north elevation
corridor south elevation
interchangeablepromotional poster
life safety/directional signage
vinyl graphics
drywall drop ceiling
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interchangeablepromotional poster
life safety/directional signage
vinyl graphics
drywall drop ceiling
elevator lobby east elevation
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level one: restrooms (typ.)
150 sf/ea
hours of most usem-th 12pm-8pmfr-sa 3pm-1amsu 12pm-5pm
precedent
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existing brick
concrete counter
backpainted glass
mirror
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level two: brass studio
design details
furniture seatingfor15-20moveable,stackable,anddurable
acousticsAdroppeddrywallceilingwithacoustictilesprovides high frequency absorption Fabricwrappedandacousticmoldedpanelsprovidedirectional sound absorption.Acousticglassprovidesreflectionaswellasabsorption
lightingThelightingforthestudioisevendownlightingwith accent spots on feature walls.
technology Overallnetworkandamplepoweroutletstosupport personal electronics or equipment.
aestheticAlivewithactivityandmusic,alongwith the collision of old and new.Studentscanpersonalizethespacetotheirstudiosneeds.Colorcodingcreatesanidentityforeachgroupofstudents.
brass instrument considerationsFlooringthatcanhandlegreaseandspitemptiedon it from brass instruments (rubber sheet flooring)Brassinstrumentsareverydirectionalandloud,ample sound absorption on the walls is a must.
hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm
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acoustical glass
rubber flooring
ACT ceiling
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surface area % commentssurface
floor
ceiling
walls
Rubber Sheet Good
ACT
Fabric Panels
Acoustic Panel
Fabric Panel
Gyp. Board
Glass
560
280 sf
280 sf
700 sf
700 sf
400 sf
500 sf
100%
50%
50%
35%
35%
20%
20%
560 sf
560 sf
xx sf
Recycled Tire Flooringrubber rolled sheet goods (lack of seams will protect against damage from brass instrument oils)
Acoustic Tiles to reduce overhead reflections
Tackable fabric panels; absorb direct sound
brass studio materiality
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brass studio east elevation
brass studio west elevation
tackable panels
acoustic panels
built-in millwork
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level two: strings I studio
design details
furniture seatingfor20-25moveable,stackable,anddurable
acousticsAdroppeddrywallceilingwithacoustictilesprovides high frequency absorption Fabricwrappedandacousticmoldedpanelsprovideeven sound absorption.Acousticglassprovidesreflectionaswellasabsorption.
lightingThelightingforthestudioisevenlyplaceddownlighting with accent spots on feature walls.
technology Overallnetworkandamplepoweroutletstosupport personal electronics or equipment.
aestheticStudentscanpersonalizethespacetotheirstudiosneeds.Colorcodingcreatesanidentityforeachgroupofstudents.
string instrument considerationsStringinstrumentscreatesoundthatisnotdirectional, therefore directional absorption is unnecesary.Instead,adequateabsorptionandreflectiononevery surface.
hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm
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strings Istudio east elevation
strings I studio west elevation
tackable panels
upright piano
acoustic panels
reclaimed wood
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level six: study lounge
design details
furniture seatingfor40-50moveable,lowheight,anddurable
acousticsThewhitenoisefromthecafeongroundlevelechoup faintlyManystudentswillusethespaceasastudyloungeand will play music through networked speakers that are designed to contain sound to a specific radius.
lightingThelightingishousedonthefaceofthetrussesLightsmustbeabletoadapteasilytobeappropriate for studying as well as projection.
technology Overallnetworkandamplepoweroutletstosupport personal electronics or equipment.aestheticAlivewithactivityandmusic,alongwith the collision of old and new.
hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm
functionsWhere students can study alone or in groups, socialize, or hold small functions. Students can choose how to use the space, it is the schools large scale living room. open to below
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design theme: old shell, new interior
preserving the oldRigid elements preserving the past and freeform elements indicative of the present and future.
As students grapple with their dueling roles of artist and preservationist they walk through a building originally conceived in a rigid, traditional style in which lattices of new ideas have grown.
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apple storecovent garden, londonThe store occupies a building in central London that
dates from 1877. The red-brick and gray-stone faade
of the building has been completely cleaned and
repaired, bringing the color back to its original hue.
Tall stone arches frame massive doors set back under a
arcade, and leading to ground floor retail space behind
large windows. Signs with Apples logo are small and
unobtrusive, and the original ornate gas lights along
the outside have been restored and updated to modern
electric standards.
british museum, great courtlondonThe courtyard had been a lost space since 1857. The re-
design of the Great Court meant that this hidden space
could be seen again.
The design of the Great Court was loosely based on
Fosters concept for the roof of the Reichstag in Berlin,
Germany. A key aspect of the design was that with every
step in the Great Court the vista changed and allowed
the visitor a new view on their surroundings.
2 .2
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proposed design
des ign themes
2.2
2.2
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In the ideal world, every musician could design his or
her own rehearsal facilities, working with world-class
acoustical experts and unlimited financial resources. In
reality, however, music educators must make do with
facilities that are often inadequate, antiquated, or poorly
designed. The importance of good acoustics in music
facilities cannot be over-emphasized because listening
is the foundational skill of music education. Musicians
must be able to hear even the smallest variations in pitch,
dynamics, tone color, articulation, and balance.
When rehearsal or practice
spaces have poor acoustical
properties, the entire music
program suffers.
acoustics
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poorly designed rehearsal room
x 90 degree angles
x harsh materials
x too little
absorption
x uninspired design
2 .3
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acoustic design
Sound refers to waves of compression and decompression
travelling through a medium. The sound waves reacting
to their environment and reaching the musicians ears are
what create their perception of how they are playing.
reflectionReflections are sound waves bouncing off of objects.
They help us comprehend everything about a sound.
Reflections heard along with the original source are the
cause of echoes. When a room has walls of 90 degree
angles, sound waves can get caught bouncing off of each
other. It is preferred to have the angles offset by 10-20
degrees to reduce redundant reflections, and eliminate
standing waves. It isnt recommended to have walls meet
at less than a 70 degree angle, beecause wavelengths tend
to be reinforced in sharp coners.
refractionSound can be bent with changes in air density, just like
how density changes can bend light. A room with a cold
floor and hot ceiling will cause sound to bend.
resonanceResonance is a frequency at which an object vibrates
naturally. If two sounds have the same frequency, nearby
objects can amplify in that tone. The cliche of an opera
singer shattering a glass is no joke! Walls are a culprit
of resonance, and can be enhanced by putting sound
damping material as the finish.
reverberationFluttering echoes are multiple echoes that are so dense
they cant be distinguished, mostly in small rooms.
Reverberation is essentially longer echoes, that have
blended together in a space with more volume. They
are preferred in performance situations since it helps
musicians blend together for listeners. In a rehearsal,
reverb must be limited so musicians can hear clearly.
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damping material finishes
acute and obtuse plan angles
fabric and acoustic panels on walls
dense, reclaimed wood floors
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Sound isolation can make or break a rehearsal space.
Whats the point of trying to rehearse when you can
constantly hear the people in the next room playing too?
Sound travelling between rooms is the worst distraction
to a rehearsing musician.
structureStructurally, a sufficient mass is needed to isolate sound.
The vertical sound isolation can be improved by adding
suspended ceilings or isolation pads of recycled glass fiber
in the subfloor. There must be dead air and insulation
built into the walls. Any systems within the wall like
electrical outlets must be at least two feet apart to avoid
compromising the sound isolation.
Concrete construction is the preferred method when
considering sound isolation and transmission.
doors The door structure of a rehearsal space must be solidly
built, like steel, with sufficient mass. Tight seals are
essential when containing sound, gaskets should be made
of a dense, flexible material like neoprene.
windowsWindows can provide sound isolation if constructed with
two isolated panes, each more than 1/4 but different
thicknesses as to not resonate at the same frequency.
mechanical systemsIf compressors or motors are located in areas adjacent to
rehearsal space, low-frequency sound vibrations may be
transmitted through the buildings structure. Mounting
equipment on springs or neoprene barriers during their
installation can relieve sound transmissions.
lighting systemsFlourescent lights are a common distraction, due to
ballasts or transformers buzzing. Electronic ballasts
should be installed in remote location.
acoustic design
113
two seperate layers of glass
steel doors
studio entrances recessed from corridor
adjoining walls seperated
8 thick walls make room for air space des
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planning issues
A college of music has many unordinary considerations
when planning a design. All of the students have very
expensive instruments that need to be secure and also
transported easily. Imagine trying to get a harp in a tiny
elevator to go to a basement rehearsal studio...
securityThe studios and storage spaces in the 1205 building are
locked at all times with keycard access only. The studios
are a home away from home for students, and they should
feel safe leaving a $10,000 violin there overnight. The
only real secure way is to only allow studio access to the
appropriate students. The public has full access to the
cafe and bar on street level, and key card access doors
stand between the cafe and the studio entrance lobby.
instrument transportationMoving large pianos and percussion equipment is easier
in the 1205 studio building because the elevator is
oversized, and housed in the central bell tower.
equipmentThings such as music stands, stackable chairs, and
gangable ottomans are found throughout the entire
school. Adequate storage space for extra equipment is
available in the basement of the building. Doors to the
studios are extra wide to allow for easy maneuvering.
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materials & sustainability
architectural graphics standards (743-47)
concrete
metal
reclaimedwood
plastic
gypsum board
paints & finishes
environmental impact
High embodied energy content
Reduces forest depletionCan be made from recycled scrapHigh embodied energy content
Can be found locallyCan be refinished with non-toxic top coats
Vinyl & PVC have high toxicityRecycled content available
Most are nonrenewable
Soil and groundwater pollution when disposed of improperlyVOCs can cause smog and pollution if used in glue
No harmful by-products
No harmful by-products
No harmful by-products
Offgas harmful fumesFiberglass can contain formaldehyde
Carcinogens are in standard joint compounds
Varnishes and polyeurethane can offgass and harm the respiratory system
DurableHighly permanent
DurableEasy to disassemble and recycle
Less durableRequires repair
Durable, easily disassembledRecyclable if made from pure material
Finishes and base can prolong lifetime
Depends on product
Autoclaved cellular concrete (ACC)Glass Fiber Reinforced Concrete (GFRC) is more lightweight
Recycled steel
Local species certified by FSC
Ecoresin (3form)Non-petroleum based
Wallboard made of recycled or reclaimed material
Water or citrus baseNatural wood finishesNever use VOC paints!
toxicity lifespan alternative
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reclaimed wood
Noise Reduction Coefficient (0.0-1)
Sound Transmission Class (0-100)
Impact Isolation Class (IIC) (0-100)
.25
40
55
Noise Reduction Coefficient (0.0-1)
Sound Transmission Class (0-100)
Impact Isolation Class (IIC) (0-100)
concrete
.1
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35
materials: acoustic properties
119
Noise Reduction Coefficient (NRC)(0.0-1)
Sound Transmission Class (STC) (0-100)
Impact Isolation Class (IIC) (0-100)
.25
40
65
Noise Reduction Coefficient (0.0-1)
Sound Transmission Class (0-100)
Impact Isolation Class (IIC) (0-100)
.1
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55
carpet tile
resilient flooring
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acoustic materials
acoustic panel (absorption)
felt (absorption)
Noise Reduction Coefficient (0.0-1)
.8Noise Reduction Coefficient (0.0-1)
.6
121
acoustic ceiling tiles
glass (reflective & absorptive)
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Noise Reduction Coefficient (NRC)(0.0-1)
.8Noise Reduction Coefficient (0.0-1)
.5
2 .3
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process
3 . 1 des ign p re c e d e n t s
proposed design
works sited
3.2
3.3
124
PostPanic
aesthetic
animation design studio
Amsterdam
design by Maurice Mentjens
aboutIn his design Mentjens took the existing concrete
structure, and more specifically the large concrete
columns, as his point of departure. The distance between
the columns defines the dimensions of the subsequent
areas. The width of production room, meeting room and
staff room measures the span between two columns, the
studio up on the mezzanine measures twice this size.
By introducing the mezzanine, Mentjens creates the
required floor space without compromising the studios
open feel. Because the low floor height doesnt allow a
lowered ceiling, pipes stay on display. Combined with the
large concrete columns, the smooth concrete floors, the
lack of thresholds and the fluorescent tubes on the ceiling,
this emphasizes the slightly raw, industrial feeling.
.
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des
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126
MacQuarie Group Limited
design
bank headquarters
Sydney, Australia
design by Clive Wilkinson Architects
aboutThe design approach was to open up the 10-story,
330,000 SF building vertically and activate the Atrium to
showcase a transparent workplace.
Each floor was divided into 5 neighborhoods of
approximately 100 people. Within the office floors are
Plazas with themes based on ancient collaboration
typologies: the dining table, the library, the garden, the
tree house, the playroom, and the coffee house. The
innovative steel diagrid structure of the exterior was
extended internally by a graphic collbaborator.
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St. Jakobus Church Adaptation
concept
home
Utrecht, Netherlands
design by Zecc
aboutThe new and modern residential volume has been
constructed in such a manner that it is completely
detached from the existing church structure. This new
detached structure is now regarded as a new temporary
construction within this historical monument. This
volume can be demolished at any given time if the
residential church is to change its function.
The circulation of the residence flows through the
temporary volume and connects the open front with the
rear of the church where the church alter once stood. In
the back the kitchen is arranged, whereby the kitchen
block is standing on its own, the old church pews have
been reused by Zecc to create the dining table. Overall,
the volume, as well as the retained fixtures and detailing
have allowed for the church features to dominate within
the interior. - Yatzer.com
129
3 . 1
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DiMenna Center for Classical Music
privately owned, rentable spaces
Manhattan
design by H3 Hardy Collaboration Architecture
aboutThe DiMenna Center offers acoustically-optimized
rehearsal and recording spaces with a wide array
of amenities for musicians ranging from soloists to
symphony orchestras and choruses.
The architects and acousticians created layers of
acoustical materials within the concrete shell and around
carefully constructed rehearsal boxes all with sprung
wood floors. And because the artists spend so much
time in these rooms, Hardy and his team were extremely
attentive to interior surface treatments and lighting,
disguising the cacophony of technology behind the walls
with richly hued textiles and/or wood ribbing, and a mix
of halogen and metal halide lamps for warmth, energy
efficiency, and to minimize vibrations.
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133
3 .2 des ign p r o c e s s
des ign precedents
works cited
3. 1
3.3
process
134
UP
DN
UP
rehearse1,011 sf
300 sf
330 sf
lounge
circulate
atrium
class
exitfreight
elevator150 sf
restrooms
iteration 1: level 2
135
UP
cafe
bike storage
restroom
library
reception
900 sf
333 sf
115 sf
1,020 sf
1,000sf
dn
iteration 1: level 1
des
ign
pro
cess
3 . 2
This design iteration explored providing a larger rehearsal
space for all of the students. Placing the functions within
protruding shapes on the upper levels only made the
space still feel closed off vertically. The circulation paths
were wasting space and too much square footage was
taken up by unnecessary spaces.
136
DNUP
UP
REF.
level 3
lounge studio lessons
classroom
classroom
percussion
300 sf 350 sf 280 sf
446sf
315sf
iteration 1: level 3
137
DN
UPUP
REF.
lockers
lounge
studiostudiostudio
brass
250sf
250sf
285sf233sf250sf
level 4 des
ign
pro
cess
3 . 2iteration 1: level 4
138
early parti diagrams
rehear
selearn
perform
bondcrea
te
teach
rehear
selearn
bondcrea
te
teach
139
3 . 2
des
ign
pro
cess
iteration 1: section
140
iteration 2: cafe
141
UP
DN
UP
cafe
freight
reception
up to
rehe
arsa
l flo
orlibrary
keyboard
classroom
restroom
storage
classroom
iteration 2: ground level
des
ign
pro
cess
3 . 2
This iteration explored skewing the plan and opening up
the atrium to the southeast street corner. Less space is
taken up by circlation, but acoustical properties are still
neglected and square footage underutilized. The final plan
takes its beginning form cues from the site lines between
cafe, rehearsal space, and the street. explored here.
142
UP
DN
level 2
143
DN
trum
pet
studio
275sfl
essons
150sf
storage
150sf
low
bras
s
stud
io
275sf
horn
studio
250sf
bras
s lou
nge
250sfcla
ss
325sf
lessons
250sf
lessons
150sf
iteration 2: level 2
des
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pro
cess
3 . 2
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145
3 .3 works c i t e d
des ign precedents
des ign process
3. 1
3.3
process
146
Regarding Classical Music
1. Relentless Energy. N.p., n.d. Web. 09 Feb. 2013. .
2. Kozinn, Allan. Club Kids Are Storming Music Museums. The New York Times. The New York Times, 11 Dec. 2011. Web. 09 Apr. 2013. .
3. Overcoming the Cultural Stereotypes of Classical Music. From the Top. N.p., 2011. Web. 09 Apr. 2013. .
4. Roll Over, Beethoven. Washington Post. N.p., 14 Oct. 2009. Web. 09 Apr. 2013. .
5. Sandow, Greg. Something Lovely in My Juilliard Course. Sandow. N.p., 20 Apr. 2012. Web. 09 Apr. 2013. .
sources
147
Regarding Materials & Acoustics
http://www.nrcratings.com/nrc.htmlhttp://www.cement.org/tech/faq_stc.asp
6. Rehearsal Rooms - Acoustic Quality. Rehearsal Rooms - Acoustic Quality. Akutek, n.d. Web. 09 Apr. 2013. .
7. Small Room Acoustics. Small Room Acoustics. Akutek, 20 Jan. 2012. Web. 09 Apr. 2013. .
8. Schwind, David R. Sound Absorbing Material - A Quick Guide. Sound Absorbing Material - A Quick Guide. N.p., 31 May 2004. Web. 09 Apr. 2013. .
9. Acoustics for Performance, Rehearsal, and Practice Facilities BAI LLC RSS. BAI, 9 May 2009. Web. 09 Apr. 2013. .
10. Small Room Acoustics. Small Room Acoustics. GMC Studio, 8 July 10. Web. 09 Apr. 2013. .
Regarding Precedents
11. Argyriades, Marcia. Church Conversion into a Residence in Utrecht by Zecc. Yatzer. N.p., 13 Jan. 2011. Web. 09 Apr. 2013. .
3 . 3
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rks
cite
d