Musical Architecture: Layers of Sound & Space

Lynde R. Wismer

Architectural Design ThesisBall State University© 2004 LRW

MUSICAL ARCHITECTURE: LAYERS OF SOUND & SPACE

�Sound exists as a phenomenal presence involved in anddetermining the shape of the world. It partially defines ourperceptual, emotional, spiritual and psychological spaces; andcontributes to our understanding of ourselves, our environment,and our relationship to each other.�-Brandon LaBelle

A special thanks to....

Andrew Seager [design studio professor]

Ana de Brea [thesis advisor]

Jeff Culp [thesis consultant]

I would also like to thank and show a great appreciation for myfamily and friends who have encouraged me to become the bestthat I can be throughout the past five years of architecture school.Without your inspiration, knowledge and understanding, thisthesis project as well as an academic career could not have beenpossible.

Thank you!

MUSICAL ARCHITECTURE: LAYERS OF SOUND & SPACE ARIA MUSIC CENTER

ACKNOWLEDGMENTS

4 Abstract

5 Issues & Positions

8 Project Description

9 Program Summary

10 Precedent Studies

12 Site Location & Analysis

16 Aria Music Center DesignMaster PlanConcept DiagramsEarly Organizational StudiesResulting Floor PlanAuditory Spine SequenceSound Sequence CDThe Composition Continues...

37 Reflections

38 Sources

MUSICAL ARCHITECTURE: LAYERS OF SOUND & SPACE ARIA MUSIC CENTER

CONTENTS

4MUSICAL ARCHITECTURE: LAYERS OF SOUND & SPACE ARIA MUSIC CENTER

ABSTRACT

�THE IDEA IS TO CREATE A WORLD FOR THE AUDIENCETO ENTER WHERE ARCHITECTURE MAGNIFIES THEEXPRESSIVE DIMENSIONS OF MUSIC AND SOUND.�

-ELIZABETH MARTIN

This thesis focuses on what I call musical architecture, specificallythe parallels between ideas of layering sound in space. My goalwas to explore the physiological and the psychologicalimplications of designing space around aural perceptions tocreate a harmonized sonic environment.

This thesis book is a compilation of two semesters worth ofresearch and development, which resulted in an architecturaldesign that focuses on a person�s auditory perception within space.The project is a 170,000 sq.ft. year-round music school andperformance venue called Aria Music Center. This facility istailored to fit Aria Academy, an existing music program located inMuncie that aims to provide an intensive and comprehensivecurriculum full of musical experiences.

The project site is within Eagle Creek Park, located inIndianapolis, Indiana. Because the site is located within a quietarea that is totally surrounded by the natural beauty of trees, varyingterrain and water, the idea of creating musical architecture withlayers of sound in space on this site fits well. The timbre (thenatural quality of sound) on this site will therefore be enhanced.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Music is a complex organization of sounds harmonizing togetherto produce a single composition. Similarly, architecture is acomplex yet harmonious organization of space (Storr 2). Out ofthe five senses that human beings possess, vision is typically themost developed, while hearing is one of the least. Because of thevisual-oriented environment we live in, we naturally pay lessattention to sound and take it for granted. The ability to hear adiverse range of sounds is without a doubt one of the mostenriching dimensions to human life. Sounds are experienced 360degrees around us 24 hours a day, although not visible, but never-theless present. Sound can bridge distances in time and space,expressed through countless individual layers of information anddesign to produce compositions, therefore having a firm hold overour emotional makeup. Sound is invisible, but has the power tochange the character of the space we occupy (Schulz-Dornburg).

This thesis focuses on what I call musical architecture, specificallythe parallels between ideas of layering sound in space. Theselayers (both musically and architecturally) are: density, structure /organization, materials, and emotional interpretations from bothlisteners and users. My goal was to explore the physiological (thecompositional) and the psychological (the emotional) implicationsof designing space around aural perceptions to create aharmonized sonic environment.


ISSUES & POSITIONS

�SOUND IS INVISIBLE, BUT HAS THE POWER TOCHANGE THE CHARACTER OF THE SPACE WEOCCUPY.� -JULIA SCHULZ-DORNBURG

The first layer of sound in space examined was density. In music,compositions often contain a variety of different instruments andare combined in different ways. Each contributes something uniqueto the piece as a whole; for example, percussion sets the beat andrhythm pattern. The dynamics are entirely changed within asymphony when a single instrument is manipulated or removed.How dense a musical piece is depends on the number ofinstruments there are and how involved they are within thecomposition. The same goes for sound. Sound has the ability tobe configured into numerous layers of unique sounds to producedifferent outcomes, thus shaping its density. This also relates toarchitectural space. Architectural density often refers to size, shapeand volume of a space. Sounds are perceived differently in eachdesigned space, density being partially responsible. When a singleentity is manipulated, space dynamics are altered.

The second layer of sound in space examined was structure andorganization. All music and sound has some sort of discerniblestructure, which is the sum of distinct but integrated subsystemssuch as rhythm, melody, harmony and form. In a symphony whenall instruments are ready to be played as one, the organization ofinstruments first needs to be thought through. If a certaininstrumental section is misplaced, there is a great effect on theoverall sound deliverance. Some of the most famous musicalpieces have simple structures, such as Beethoven�s FifthSymphony. The composition maintains a consistent tempo andemotion that is not forgotten. Similarly, the structure andorganization of architectural space is vital to the success of thebuilding so that it will be remembered. Each architectural spacecontains sounds that are normal to its users, such as HVAC systemsand persons traveling through spaces. Together these elementshelp to create the structure and organization of a space, its identity.


TIME STRUCTURE IN SPACE

Time structure in space can berepresented by space volume,form, proportion, materialchoice, daylighting, and userinteraction.

This project is my study ofbasic musical structure (4/4time) through a walkwayspace on BSU�s quad.

SPACE DENSITYDensity is visually representedby space volume, size, formand proportion.

This portion of a project is mystudy of different ways toexpress space densityvisually, through a walkwayspace on BSU�s quad.

�SOUND HAS PHYSICAL SIZE, DIMENSIONS, DENSITY, VIBRANCY,RHYTHMS AND TEXTURES.� -BRANDON LABELLE

The third layer of sound in space examined was material. Musicalinstruments are constructed in many different forms in order toproduce a variety of sounds. Instruments made from wood andstrings, such as acoustic guitars and violins, produce soft, calmingsounds. Instruments made from metal, such as a trumpet, normallyproduce bold sounds, providing the melody of a song (MusicalInstruments). Both musicians and architects use their materials toevoke different emotional responses. For example, architect DanielLibeskind�s Jewish Museum in Berlin is covered in zinc panels onthe exterior. Once inside, there are concrete walls and floors withvery little light penetrating into the building, suggesting a feeling ofremoteness (Jewish Museum Architecture). Not only do buildingmaterials evoke different feelings, but they also may be combinedand altered in different ways to provide acoustical variations withina space. Concrete produces loud echoing sounds while carpet willabsorb sound. It is said that �The instrument produces the sound;the player manipulates the sound� (Martin 45). Power is thereforeleft to the users of a space to control and manipulate soundexperience and perception.

The fourth layer of sound in space examined was emotionalinterpretations. Music is an essential form of communicationbetween people, just as architectural spaces are (Storr 2). In bothmusic and architectural compositions personal interpretations differfor each person; therefore it is difficult for the composer/designer toportray specific sets of emotions. However, they surely have theopportunity to make an attempt. If a composer wants a song toevoke tension, then inconsistent rhythms would be used. Similarly,designers would create small, dark and loud spaces. If a song wereto portray joy, it would have a simple and consistent rhythm. Inarchitecture, spaces would be designed to be large, well lit, andhave proper acoustical values. Designers and composers mustunderstand the emotional value and impact of sound in order totouch the inner soul of the listener/user. We as composers of spacehave the ability to shape and mold environments in order to createmore appreciative and enjoyable experiences for the users.


�SPACE WITH ITS ASSEMBLY OF SOUND PRODUCERS, LISTENERS,AND SOUND PRODUCING OBJECTS BECOME THE INSTRUMENT.�

-BRANDON LABELLE

SOUND & MATERIALSEach type of material reflectsand absorbs sound in differentways, depending on itsphysical properties. Materialshave the abil ity to bemanipulated and reconstructedin countless ways.

This project is a study I did totest sound reverberationsusing different combinations ofmaterials in a space. Eachsquare has differentcharacteristics of materialpalette and sound quality.

MUSICAL INTERPRETATIONMusic can be visuallyinterpreted in many waysthrough form, function,materials, light, scale, andcolor. Building spaces have theability to be manipulated andreconstructed in countlessways in order to evoke a rangeof human emotion.

This project is a study I did topractice representing musicalemotion visually. A song waschosen and represented in awalkway space on BSU�s quad,based on my interpretation.

In order to test this exploration of the physiological and psychological implicationsof designing a sonic environment, I am designing a building facility to house aMusic Center, to be located in Indianapolis, Indiana.

Every year several music festivals are held in Indiana, usually only during thesummer seasons. Talented people from all across the nation gather to teach,create, and perform their music to hundreds. One such summer festival, locatedin Muncie, Indiana, is knows as Aria International Summer Academy. Presently,Aria is open to college students and young professional�s ages 18 to 32 thatwish to have a comprehensive learning experience under the guidance ofdistinguished faculty. The program aims to provide an intensive andcomprehensive curriculum consisting of private lessons, workshops, seminars,lectures, and faculty/student concerts (Aria International Summer Academy).

Currently, Aria guests use most of BSU�s facilities during the summer, such asthe resident and dining halls, and performance facilities. Aria brings in peoplefrom all over the nation. Aria�s music program deserves to occupy a facility oftheir own. Therefore, I am designing a year-round music school andperformance venue called Aria Music Center.

Because Aria will occupy a facility of its own the ability to host year-roundactivities will be possible, not just during the summer seasons. The building willbe designed to meet the program�s specific needs. It will also be designed tocontain space for other uses, such as a restaurant and a music informationcenter, in order to attract more of the general public. Because the facility willbe open year-round, additional distinguished faculty members and studentswill be presented with an opportunity to join and experience this unique program.

Principles of musical architecture and layers of sound in space will be evaluatedand tested in the Aria Music Center facility design. The design will be heavilyinfluenced by each of the four layers of study: density, structure / organization,materials, and emotional interpretations from both listeners and users.


PROJECT DESCRIPTION

01

02

03

04

SPACE QUANTITY AREA (SF) TOTAL AREA (SF)

Connecting Nodes 3 1,500 4,500Lobby 1 20,000 20,000Auditorium

Ticket Sales Office 1 400 400Performance Viewing Space 1 15,000 15,000Sound/lighting Control Room 1 240 240Stage / Backstage 1 7,500 7,500Dressing Rooms 2 750 1,500Green Room 2 1,000 2,000Construction Workshop 1 4,500 4,500

Amphitheater 1 10,000 10,000Restaurant 1 6,500 6,500Rehearsal Rooms 30 180 5,400Recital Hall 1 4,000 4,000Lecture Hall 1 2,000 2,000Faculty Offices 20 144 2,880Conference Rooms 2 400 800Dorms 94 250 23,500

TOTAL NET SF 110,720

NET / GROSS FACTOR 59,618A net to gross factor of 65/35 is applied to the total net square feet of 110,720 SFto accomodate space required for circulation, public toilets, stairs, elevators,interior and exterior walls, structure, and mechanical/ environmental systems.

TOTAL GROSS SQUARE FEET 170,338


PROGRAM SUMMARY

The Echo Chamber is aHolocaust memorial sunk intothe ground. It consists of alarge echo chamber in a fieldof thin, rough steel plates thatare supported by undergroundcoils, so that those walking onit can feel it give underfoot andhear the sounds from thedeep chamber below. Eachfootstep elicits an uneasyauditory response as in theHolocaust days.

DESIGNER: HALI WEISSTITLE: ECHO CHAMBER

This Sound Garden consistsof eleven sound units with aheight of 26 ft. each. Tunedwind-organ pipes embeddedin their structures resound asthe wind blows across theirapertures, their tone varyingaccording to the wind speed.A meandering pathorchestrates the visit byensuring a sequence ofchanging views and varyinggrades of exposure to thewind.

DESIGNER: DOUGLAS HOLLISTITLE: SOUND GARDEN

This design is a �hearing aid,�a tool to extend our capacity tolisten. It consists of two largeparabolic forms, placed 115 ft.apart. The installation is aconversation piece that allowsa private exchange of voicesto travel across a wide, openspace. It is an ephemeralsound space that is activatedby people�s will tocommunicate.

DESIGNER: DOUGLAS HOLLISTITLE: LISTENING VESSELS

I began my exploration of how sound defines and works within spacewith a series of precedent studies. Each study is specifically designedto enhance a person�s auditory awareness. Some initiate userinteraction for auditory response, while others are designed to exploreboth aural and visual perception.


PRECEDENT STUDIES

05

06

07

DESIGNER: DANIEL LIBESKINDTITLE: JEWISH MUSEUM

In this museum�s design,there are two basic shapes, azig-zag and a straight linerunning through the zig-zag.Whenever the two shapesintersect, there are whatLibeskind calls �voids.� Thesevoids are completely empty,large in volume with solidconcrete. The purpose is toreflect back on the days of theHolocaust.

DESIGNER: STEVEN HOLLTITLE: STRETTO HOUSE

Visual waveforms were usedas an inspiration for thisresidence design. The houseweaves throughout thesurrounding layeredlandscape. The parallel toHoll�s design was a musicalpiece called Music for Strings,Percussion and Celestra byBela Bartok. The piece isbroken down into fourmovements, just as theStretto house is, and consistsof two modes: heavyorthogonal masonry, and lightcurvilinear metal.


10

11

DESIGNER: BILL & MARY BUCHENTITLE: TELEPHONE TUBES

DESIGNER: BILL & MARY BUCHENTITLE: ORCHESTRA

This is a participatory soundinstallation created forcommunal music making.Components of theinstallation include: congashaped drums, gongs,drumsets, a centralearthdrum played with the feetand a parabolic dish to focussounds. Different types ofsounds are able to be playedfrom the differently shapeddrums and tapping surfaces.

This is a network of tubesthat are inter-connectedunderground. The openpipes are capped withperforated grates. When aperson speaks into one endof the tube, the person sitting20 ft. away is able to hearsounds coming from theopposite end clearly. Soundmay therefore stretched tolonger distances whenconfined to small spaces.

08

09

Site Selection Criteria

- Near a major city- Near top musical / performance education facilities- Near other public attractions- Near airport (for visiting guests)- Semi-seclusion from surroundings- Space where sound is recognized & amplified- Varying terrain- Near water- Future growth space


SITE LOCATION & ANALYSIS

Site Considerations

- Maintain the serene character of the existing natural Park context.

- Avoid vehicular traffic noise from the 2-way 56th

street and private maintenance drive to the east.

- Allow easy access to major surrounding public spaces including the golf course to the west, Eagle Creek Park to the east, the airport and neighborhood to the south (across 56th

street).

The site chosen for this thesis project islocated on the northwest side ofIndianapolis, Indiana. The specific site islocated within the boundaries of EagleCreek Park, on what I call the �island� ofthe reservoirs edge, encompassing nearly900,000 square feet. It is called the�island� because water inlets separate theland on both sides of the site, therefore;only one side (the west side) of the site is along stretch of land. The west side has aprivate maintenance drive that is used forEagle Creek Golf Course further to thewest. To the east of the site is the EagleCreek Reservoir, followed by approximately4,000 acres of wooded terrain and openmeadows used by Eagle Creek Park.Because this site is located within a quietarea that is totally surrounded by thenatural beauty of trees, varying terrainand water, the idea of creating musicalarchitecture with layers of sound in spaceon this site fits well. The timbre (thenatural quality of sound) on this site willtherefore be enhanced.

12

13

14

Site Sounds (year-round)

- Birds- Flowing water- Airplanes- Traffic on 56th St.- Boats- Swimmers- Echos from across the Reservoir- Trees blowing in the wind- Crackling twigs & leafs on ground when stepped on

12

3

45

6

7

8

Mai

nten

ence

Roa

d

56th St.2-way

�MUSICIANS NEED TO BE ENCOMPASSED WITHPURITY TO COMPOSE THEIR MUSIC.�

-Mihai Tetel

EAGLE CREEK PARKINDIANAPOLIS, INDIANA

N50� 200�

100�

SOUND ANALYSIS DIAGRAM

Site photos1-8 aredisplayed onthe followingpages.


winterwind

reservoirwind

summerwind

15

1

2

3

4

LAND RIDGES WATERINLET

TERRAIN WATER INLET


5

86

7BUILDING SITE- SOUTH WATER INLET / 56TH ST. BRIDGE

BUILDING SITE-SOUTH

PARKING AREA



ARIA MUSIC CENTER DESIGN

MASTER PLAN

EAGLE CREEK PARKINDIANAPOLIS, INDIANA N

50� 200�

100�

All persons who come to Aria Music Center will need toget on 56th street, which is directly connected to I-465.From 56th street, visitors turn into a stone road (whichcurrently exists) that leads up to the reservoirs edge.Land directly to the left of the road sharply rises upward,which produced the idea to construct a parking garageunderneath the hill. Once parked inside theunderground garage, they must then go to north side ofthe structure, where an elevator is, to exit. Visitors popout of the land into a scenery of rolling terrain, large trees,and a reservoir. They have escaped and transformedfrom the busy, noisy world into being completelysurrounded by natural beauty. Next, visitors musttravel on a trail that meanders through the dense woods.The sound of nature is calming. A series of wind harpsare embedded near the trail�s path, where air movementproduces a series of soft high pitched sounds. Visitorsthen approach a large water inlet that separates the landand must cross an acoustical bridge. This bridge isconstructed of steel, which greatly reflects sound. Thebridge�s floor is a steel grill and when stepped on, soundswill echo because of the water beneath. Once over theacoustical bridge, visitors again meander on the trail untilthey reach the buildings front entrance, where anothersound sequence is about to begin.

Aria employees and long-term students may enter thesite on the Maintenance Drive (which currently existsfor the golf course to the far west) off of 56th street. Thisdrive will take them directly to the music venue, wherelimited parking space will be available.

I began by looking at the sound analysis that was done during thesite analysis stage of this project. Because of the great variancein topography, a diagram was produced to determine where soundwaves would most likely travel and weave between land ridges.This led me to organizing the music center facility into loudspaces (common public spaces for the general public) vs.quiet spaces (private spaces for Aria students).

The �loud� end of the building is the performance side where themain auditorium is for the general public, and is partially sunkeninto the land. As you move towards the west side of the facility, the�quiet� end where the dorms and offices are, the building�scomposition slowly emerges from the land and becomes supportedby exposed columns. The �loud� end performance side is wheremusical sounds are being provided to the user/listener; thereforethe spaces are more subdued and not as interactive. Conversely,the �quiet� end of the building is where Aria participants spendmost of their time; therefore the spaces encourage more userinteraction, for example, by a series of sound installations andthrough material palette choices. These spaces are moreexperienced by the user. Nevertheless, Aria�s facility spacesintegrate and flow together well based on the idea that music is acomplex organization of sounds harmonizing together toproduce a single composition.

The primary organization of Aria Music Center rests on twoaxes, which intersect near to the building�s main entrance. Themain walkway, labeled the �auditory spine,� is connected to threedifferent �acoustical nodes,� each of which are distinctlydifferent both visually and acoustically. These acoustical nodesare indications and markers to nearby spaces, based on soundlevel ideas. As one travels down the auditory spine, soundintensity decreases as well as building volume. The auditoryspine is one gigantic decrescendo in all respects.


CirculationAcoustical Nodes

SOUND GRADIENTS

ZONING

CIRCULATION / NODES

LAND/BUILDING RELATIONSHIPS

-quiet space-disconnected from environment

-loud space-works withlandscape

sound barrier


EARLY BUILDINGORGANIZATIONSTUDIES


10� 40�

20�

RESULTING FLOOR PLAN

acoustical nodes /auditory spine /circulation axes

lobby

performance space

restaurant

rehearsalstudios

dorms

offices

node 3 node 2 node 1

a

a


10� 40�

20�

AUDITORY SPINE SEQUENCE

MATERIALSacousticalnode #3

rubberfabricfoam

acousticalnode #2

concreteglasswater

acousticalnode #1

metal

brickcarpet metal

QuietSpace

LoudSpace

decrescendo sound

section a

SOUND REFLECTIVITY

front entry

sound tubeinstallations

The main walkway axis, the auditory spine, is connected to three different acoustical nodes,each having a different material palette where sound reverberation is different. Theseacoustical nodes are also indications to adjoining spaces. As one travels down the auditoryspine, sound intensity decreases as well as building density. The auditory spine portrays aunique decrescendo sound.


FRONT ENTRANCE TO ARIA MUSIC CENTERUpon entering, the focusis centered uponacoustical node #1, cladin stainless steel panelsto reflect thesurrounding naturalbeauty.The performanceside is clad in yellow EIFSpanels, allowing it toclearly stand out. Therestaurant to the left, cladin brick, blends well intothe environment.

FRONT ENTRANCE / TRANSITION TO NODE #1


Entry into the musiccenter is through rotatingdoors, which produces aslow hissing sound,creating anticipation.Natural daylight spills intothe entry space fromabove, creating anexciting gateway intoacoustical node #1.


ACOUSTICAL NODE #1The first acoustical nodeis one that everyone willexperience because it isright at the facility�s mainentry. This node marksthe beginning of the au-ditory spine sequence,as well as an entry into theperformance lobbyspace. Because thesound intensity is thegreatest in this space, ithas the loudest andlongest reverberationtime. This is because thespace is greatest involume and because ofthe material palette. Eachof the four walls is cladwith a copper panelingsystem, while two wallsare partially clad instainless steel sheets.The floor is a polishedconcrete with the centerbeing a steel grill mountedover an empty under-ground chamber, there-fore sound reverberationis enhanced. Out of thethree nodes naturaldaylight is the greatesthere, entering from twocorners of the space andfrom overhead skylights.

A section of the auditoryspine acts as atransition spacebetween acousticalnodes one and two.Because this space isstill near the beginning ofthe decrescendo, loudand long reverberationtime is still desirable;therefore the floor iscovered in metal tiles. Aseries of soundinstallations line theright side of the spine.These are hollowstainless steel tubessuspended from wiresaway from the glassceiling and wall. Eachtube is a different size,therefore when tappedby a traveling individualdifferent sound tonesare produced. As onetravels down the auditoryspine, sound pitch ineach tube increases.

TRANSITION TO NODE #2


The second acousticalnode falls in the center ofthe decrescendo in theauditory spine. It marksthe entry into the musicrehearsal room wing. Thisnode is primarilycomposed of concreteand glass, based onideas of soundreflectivity. Each of thefour walls is texturedconcrete. The top of thisspace consists of differentangles of color concretevolumes, mainly to diffusesound reverberation.The floor is scored colorconcrete. One corner ofthis space is all glassproviding views to thecourtyard and dorm wing.For added soundvariance, water streamsdown the corner glass,emptying into a water poolbelow the floor. Theconcrete floor has glasssquares cut out so thatone can see the water poolbelow. The amount ofnatural daylight isdecreased.


ACOUSTICAL NODE #2

The next section of theauditory spine is atransition spacebetween acousticalnodes two and three.Because this space isnear the end of thedecrescendo, there needsto be shorter soundreverberation, thereforespace volume isdeceased and the floor iscomposed of brick.Another set of sound tubeinstallations line the rightside of the spine, keepingin mind that pitchcontinues to increase.


TRANSITION TO NODE #3

stainlesssteeltubes

- each pipe a different size,open on each end.

- when tapped, differentsound tones are produced.

SOUND INSTALLATIONS

The third acoustical nodeis located at the end ofthe decrescendo in theauditory spine. It marksthe entry into the officesand dorm spaces. This isthe quietest of the threenodes; therefore soundreverberation is barelynoticeable. Each of thefour walls is covered intextured pyramid foampanels, which is a soundabsorbing material alsoused in recording studios.For added interest, aseries of different sizedcubes extrude out fromeach wall, which arecovered in different colorsof fabric. The floor iscovered in texturedrubber. Natural daylightis the least here. Onlysmall cubes punched outin the walls allow minimallight to enter the space.


ACOUSTICAL NODE #3


This CD is a sound sequence of a person walking fromthe time they enter Aria Music Center until they reach theend of the auditory spine. This person�s travel beginsfrom the outdoors, entering through the rotating doors,through acoustical node one, then through each of thetransition spaces and the remaining two acoustical nodes.Notice the smooth decrescendo sound and theincreasing pitch of the sound tube installationsthroughout the entire sequence.

�YOU CAN�T MAKESOUND BECOME HARDAND SOLID; BUT YOUCAN MAKE IT SEEM TOSTAND STILL, AS IFHOVERING IN PLACE, SOTHAT YOU CAN WALKAROUND INSIDE ITSA C O U S T I CSTRUCTURES.�

-BRANDON LABELLE


LOBBY - VIEW TO AUDITORIUM ENTRANCENotice the skylight trackabove, which is related tothe mirror metal tile below.This leads a person fromacoustical node #1 (off tothe right) to the outdooramphitheater (off to theleft).

laminatedwood

stainlesssteel strings

- air movement producesa series of soft highpitched sounds.

- pitch depends on airspeed, diameter, tension,and length of stings.

POSSIBLE SOUNDINSTALLATION


LOBBY- UPSTAIRS NEAR MUSIC INFORMATION CENTERThe above space in thelobby providesentrances into the upperlevel auditorium seatingspace, views overlookingthe outdoor amphitheater,and an entrance into theupper level musicinformation center (left).

LOBBY- VIEW TO MUSIC INFORMATION CENTER & AMPHITHEATER ENTRANCENotice the skylight trackabove, which is related tothe mirror metal tile below.This leads a person fromacoustical node #1(behind) to the outdooramphitheater.



ACOUSTICAL NODE #1 (EXITING VIEW)Acoustical node #1marks the beginning ofthe auditory spinesequence, as well as anentry into theperformance lobbyspace. Because thesound intensity is thegreatest in this space, ithas the loudest andlongest reverberationtime.

steel grillmountedover anundergroundchamber.

- when stepped on,sounds resonatelonger & louder.

SOUND INSTALLATION

CIRCULATION FOR DORMS, LEADING TOWARDS NODE #3This circulation spaceprovides an entry into thedorms for Aria studentsand faculty. Connectionsare made to acousticalnode #3 and the rehearsalstudios. Notice thechange in floormaterials as well as thesteps leading downward.The circulation space alsoprovides great viewsoverlooking a courtyard,used by the students, andthe auditory spine.


column

windbuildingfacade

- wind therefore produces aseries of soft tonesthroughout a space.

POSSIBLE SOUNDINSTALLATIONS

wind exits intobuilding fromopenings ofd i f f e r e n td i a m e t e r sfrom columns.


OUTDOOR VIEW OF DORMSEach set of dorms has anopening to separate therooms for students togather and rehearse theirmusic within largegroups. Because thisspace is outdoor, tight,and the flooring is a metalgrill, sound is amplifiedbecause of longerreverberation time.


AMPHITHEATER / GENERAL GATHERING SPACE

This space acts as inoutdoor performancespace as well as ageneral gathering spacefor Aria students. Seatedguests duringperformances overlookthe scenic backdrop ofthe reservoir and woodedterrain.

�THE RESULT IS NEITHERPURELY MUSICAL NORARCHITECTURAL, BUT AHYBRID THAT FALLSBETWEEN THE TWODISCIPLINES.�

-ELIZABETH MARTIN



REFLECTIONS

After taking a step backwards and viewing all that has taken placewithin the past year of my academic life, I am truly amazed at whatall I have learned, experienced, and accomplished. I feel as if I amjust beginning this thesis project. I never realized how manycountless dimensions of sound there are and how many differentpaths I could have taken for this project. Although this served as aproblem in the beginning of the year, I believe it was narroweddown greatly for the final result. In spite of this, there still is roomfor a more focused design project. In the future, I would like tofurther investigate how sound truly effects space, focusing on theusers perception as well as the technicalities of sound engineering.Overall, I am greatly satisfied with the result of my thesis designproject.

This thesis is a compilation of all of the struggles and achievementsfrom the past five years of architectural education and I am deeplyappreciative of all who helped and shared this journey with me.

�THOSE WHO ARE SUCCESSFUL NEVER LOOK TOWARDSTHE GROUND FOR THE NEXT STEP, BUT TOWARDS THEHORIZON.� -ANONYMOUS


SOURCES

Interviews:Mihai Tetel, Director of Aria International Summer Academy.

Books:Arnheim, Rudolf. Art and Visual Perception. The Regents of the University

of California, 1954.

Bandur, Markus. Aesthetics of Total Serialism. Birkhauser, 2001.

Buchen, Bill. Sonic Architecture. Bill and Mary Buchen, 1998.

Grout, Donald J. A History of Western Music. Artists Right Society, 2001.

LaBelle, Brandon. Site of Sound: of Architecture & the Ear. Errant BodiesPress, 2002.

Martin, Elizabeth. Architecture as a Translation of Music. PrincetonArchitectural Press, 1994.

Schulz-Dornburg, Julia. Art and Architecture: New Affinities. Gustavo Gili,SA., Barcelona, 2000.

Storr, Anthony. Music and the Mind. The Free Press, 1992.

Periodicals:Zuk, Radoslav. �A Music Lesson.� Journal of Architectural Education.

Spring 1983: 2-5.

Internet:�Aria International Summer Academy.� 2003. Online. Internet. 20

Oct 2003. <http://www.bsu.edu/web/cfa/music/aria/>

�Iannis Xenakis.� 2000. Online. Internet. 4 Sept 2003.<http://www.everything2.com/index.pl?node=Iannis% 20Xenakis>

�Jewish Museum Architecture.� 2003. Online. Internet. 4 Sept2003. <http://www.jmberlin.de/>

�Jewish Museum Berlin: Between the Lines.� 2001. Online.Internet.< http://www.daniel-libeskind.com/projects/ pro.html?ID=2>

�Musical Elements.� 2003. Online. Internet. 1 Sept 2003. <http://www.digitalbrain.com/>

�Musical Instruments.� 1999. Online. Internet. 1 Sept 2003. <http://www.naxos.com/intro.htm>

Illustrations:Photos 01,02,03,04: �Aria International Summer Academy.�Photos 05,06,07: Julia Schulz-Dornburg.Photos 08,09: Bill Buchen.Photo 10: Elizabeth Martin.Photo 11: �Jewish Museum Architecture.�Photos 12,13,14: www.mapquest.com.Photo 15: www.terraserver.com.

Aria Music Center

Documents

Musical Architecture: Layers of Sound & Space