architectural cadence
A CREATIVE COMPLEX CURATED BY HIP HOP CULTURE
architectural cadence
A CREATIVE COMPLEX CURATED BY HIP HOP CULTURE
Architectural Cadence: A creative arts complex in Wynwood, Miami FL
A Thesis Submitted to the Faculty of the School of Building Arts in Partial Fulfillment of the Requirements for the Degree of Master of Architecture in Architecture at Savannah College of Art and Design Giovanni Arturo Perez Savannah, GA Š August 2014
Huy Sinh Ngo, Committee Chair Matthew Dudzik, Committee Member Eric R. Katz, Committee Member
acknowledgements
I would like to express my very great appreciation to Professor Huy Sinh Ngo for his invaluable contribution and guidance during this journey. Professor Matthew Dudzik for his undeviating support and direction throughout this process. Eric R. Katz for his solid perspective and equitable opinion. My mother for her constant love and devoted encouragement. My father for his neverending assistance. My aunt for her persistance and fortification when I needed it. I would like to offer my special thanks to Sara for her stimulus and dedication. To my amazing friends, who without, none of this would be possible. Finally to the Savannah College of Art and Design for giving me the resources and tools to put this project together.
contents:
list of figures
001
thesis abstract
005
chapter 1
013
chapter 2
039
chapter 3
075
chapter 4
087
chapter 5
099
research
response bibliography
124
list of figures: FIGURE 0.1 | 2ndAve Panorama. - Image by author. [pg. 7-8] FIGURE 0.2 | RC Plant. - Image by author. [pg. 9] FIGURE 0.3 | Verbal Connections. - Image by author. [pg. 11-12]
chapter 1
FIGURE 1.1 | Stretto House, Steven Holl - http://www.stevenholl.com/media/files/Stretto/ explodedaxon---W-PROJECT-HO.jpg- [pg. 18] FIGURE 1.2 | Wynwood Boom Box. - Image by author. [pg. 21-22] FIGURE 1.3 | Wynwood Boom Box II. - Image by author. [pg. 25-26] FIGURE 1.4 | Creative Collision. - Image by author. [pg. 30]
chapter 2 FIGURE 2.1 | Exquisite Diagram - Image by author. [pg. 40] FIGURE 2.2 | 95 South. - Image by author. [pg. 41-42] FIGURE 2.3 | Skyline Splice. - Image by author. [pg. 43-44] FIGURE 2.4 | Hazy Skyline Splice. - Image by author. [pg. 45-46] FIGURE 2.5 | Wynwood SiteWall. - Image by author. [pg. 48] FIGURE 2.6 | Miami Callout Map - Image by author. [pg. 49] FIGURE 2.7 | Wynwood Food Trucks. - http://blogs.miaminewtimes.com/shortorder/ WynwoodFoodTrucks.jpg [pg. 50] FIGURE 2.8 | Art Basel Wynwood. - http://diegoguevara.com/blog/wp-content/uploads/2011/12/ TheeBlog_ArtBaselWynwood42.jpg [pg. 50] FIGURE 2.9 | ArtBasel Miami. -http://blogs.miaminewtimes.com/riptide/aehaewahekas.jpg [pg. 50] FIGURE 2.10 | Wynwood Walls Retna - http://www.luxe-haus.com/ uploads/1/5/9/0/15900674/2339021_orig.jpg [pg. 50]
chapter 2 (contd.) FIGURE 2.11 | Midtown Callout Map. - Image by author. [pg. 51] FIGURE 2.12 | Adrienne Arsht Center - www.arshtcenter.org. [pg. 52] FIGURE 2.13 | American Airlines Arena. - http://www.myuglyphotos.com/wp-content/ uploads/2011/05/American_Airlines_Arena_-_Miami_Florida_MyUglyPhotos.com_FullSize.jpg. [pg. 52] FIGURE 2.14 | Wynwood Callout. - Image by author. [pg. 53-54] FIGURE 2.15 | Sticker Bomb. - Image by author. [pg. 55] FIGURE 2.16 | Hello My Name Is. - Image by author. [pg. 57] FIGURE 2.17 | Characters. - Image by author. [pg. 60] FIGURE 2.18 | The Norm is Absurd. - Image by auhtor. [pg. 60] FIGURE 2.19 | Tow-Away Zone. - Image by auhtor. [pg. 61] FIGURE 2.20 | Wynwood Cadence Screenshots - Image by author. [pg. 61-62] FIGURE 2.21 | Armory Studios - Image by author. [pg. 65] FIGURE 2.22 | Armory Studios Collage I - Image by author. [pg. 66] FIGURE 2.23 | Armory Studios Bandroom - Image by author. [pg. 66] FIGURE 2.24 | Armory Studios Main Space- Image by author. [pg. 66] FIGURE 2.25 | Armory Studios Collage II - Image by author. [pg. 66] FIGURE 2.26 | AWOL exterior - Image by author. [pg. 67] FIGURE 2.27 | AWOL StudioA - Image by author. [pg. 68] FIGURE 2.28 | AWOL StudioB - Image by author. [pg. 68] FIGURE 2.29 | AWOL StudioC - Image by author. [pg. 68] FIGURE 2.30 | AWOL Lounge - Image by author. [pg. 68] FIGURE 2.31 | Subcat Studios Exterior - Chris Cooper. [pg. 69] FIGURE 2.32 | Subcat Studios Exterior II - Chris Cooper. [pg. 70] FIGURE 2.33 | Subcat Studios Reception - Chris Cooper. [pg. 70] FIGURE 2.34 | Subcat Studios Street View - Chris Cooper. [pg. 70] FIGURE 2.35 | Subcat Studios Interior - Chris Cooper. [pg. 70] FIGURE 2.36 | Center for the Creative Arts Dance Studio- Iwan Baan. [pg. 71] FIGURE 2.37 | Center for the Creative Arts Concept Drawing - Iwan Baan. [pg. 71] FIGURE 2.38 | Center for the Creative Arts Concept Drawing II - Iwan Baan. [pg. 72] FIGURE 2.39 | Center for the Creative Arts Auditorium - Iwan Baan. [pg. 72] FIGURE 2.40 | Center for the Creative Arts Exterior Detail - Iwan Baan. [pg. 72] FIGURE 2.41 | Center for the Creative Arts Exterior- Iwan Baan. [pg. 72] FIGURE 2.42 | School of Music and Arts Exterior- cosmin dragomir | architecture ph . [pg. 73] FIGURE 2.43 | School of Music and Arts Interior cosmin dragomir | architecture ph . [pg. 73] FIGURE 2.44 | School of Music and Arts Dining - cosmin dragomir | architecture ph . [pg. 74] FIGURE 2.45 | School of Music and Arts Auditorium - cosmin dragomir | architecture ph . [pg. 74]
chapter 3
FIGURE 3.1 | Elemenents of Color - Image by author. [pg. 78] FIGURE 3.2 | Elements of Hip Hop. - Image by author. [pg. 80] FIGURE 3.3 | Battle Diagram. - Image by author. [pg. 81-82] FIGURE 3.4 | Elemenets of Program. - Image by author. [pg. 84] FIGURE 3.5 | Speak Sketch. - Image by author. [pg. 86] FIGURE 3.6 | Listen Sketch - Image by author. [pg. 86] FIGURE 3.7 | Write Sketch. - Image by author. [pg. 86] FIGURE 3.8 | Move Sketch. - Image by author. [pg. 86]
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chapter 4 FIGURE 4.1 | Exquisite Diagram Detail - Image by author. [pg. 90] FIGURE 4.2 | Creative Connections. - Image by author. [pg. 92] FIGURE 4.3 | Write Sketch. - Image by author. [pg. 92] FIGURE 4.4 | Public Permeability. - Image by author. [pg. 92] FIGURE 4.5 | Cyan Model. - Image by author. [pg. 93] FIGURE 4.6 | Magenta Model - Image by author. [pg. 93] FIGURE 4.7 | Yellow Model. - Image by author. [pg. 93] FIGURE 4.8 | Studio Section Sketch. - Image by author. [pg. 94] FIGURE 4.9 | Facade Study. - Image by author. [pg. 94] FIGURE 4.10 | Move Sketch. - Image by author. [pg. 94] FIGURE 4.11 | Music Box Sketch. - Image by author. [pg. 95] FIGURE 4.12 | Digital Sketch. - Image by author. [pg. 96] FIGURE 4.13 | Building Section Sketches. - Image by author. [pg. 96] FIGURE 4.14 | Complex Sketch. - Image by author. [pg. 96] FIGURE 4.15 | Art Alley Digital Sketch. - Image by author. [pg. 94]
chapter 5
FIGURE 5.1 | Napkin Sketch - Image by author. [pg. 100] FIGURE 5.2 | 2nd Ave Render. - Image by author. [pg. 101-102] FIGURE 5.3 | Site Plan. - Image by author. [pg. 103-104] FIGURE 5.4 | WRITE Gallery. - Image by author. [pg. 106] FIGURE 5.5 | MOVE Dance Studio. - Image by author. [pg. 106] FIGURE 5.6 | SPEAK Stage - Image by author. [pg. 108] FIGURE 5.7 | LISTEN Studio Section. - Image by author. [pg. 108] FIGURE 5.8 | Sections I. - Image by author. [pg. 109-110] FIGURE 5.9 | Sections II. - Image by author. [pg. 111-112] FIGURE 5.10 | Creative Collision Render. - Image by author. [pg. 113-114] FIGURE 5.11 | Elevations I. - Image by author. [pg. 115-116] FIGURE 5.12 | Elevations II. - Image by author. [pg. 117-118] FIGURE 5.13 | Axonometric. - Image by author. [pg. 120] FIGURE 5.14 | Event Space Render. - Image by author. [pg. 121-122] FIGURE 5.15 | Renders I. - Image by author. [pg. 123] FIGURE 5.16 | Renders II. - Image by author. [pg. 124]
004
thesis abstract
architectural cadence
A CREATIVE COMPLEX CURATED BY HIP HOP CULTURE
Giovanni Arturo Perez
Š August, 2014
Architectural Cadence describes the initial purpose to place architecture alongside music. By establishing research in creativity and human motivation, my purpose is to design a response that creates a synthesis of visual, aural, and spatial harmony. Using Hip-Hop as a conceptual curator, this thesis seeks to use music as a creative connector within a community. Thereby, introducing a catalyst for creative connections that provides a venue for public permeability, with an animus to facilitate the existing and aggregate the imaginable.
architect
A CREATIVE COMPLEX
tural cadence
X CURATED BY HIP HOP CULTURE
FIGURE 0.1
008
FIGURE 0.2
position C R EATI V ITY I S C O N N E CTI V ITY
How can sound be used to enrich the space we inhabit just as much as the placement of its walls? By establishing
research in phenomenology, creativity and human motivation, my purpose is to design an intervention that considers the aforementioned disciplines into a synthesis of visual, aural, and spatial harmony. Using Hip-Hop as a
conceptual curator, this thesis seeks to use music as a creative connector within a community.
010
WYNWOOD im
sound
p r e s s io n : a: a characteristic, trait, or
feature resulting from some in luence.
C R E A T I V I T Y
I S
C
FIGURE 0.3
C O N N E C T I V I T Y
012
research
chapter
1
"The eye lends itself to a visual field; the ear to an aural field. Architecture represents the art of design in space; music, the art of design in time."
Elizabeth Martin
AND
MUSIC architecture...
...share common ground as artistic manifestations. According to Elizabeth Martin in Pamphlet Architecture 16 : Architecture as a Translation of Music, architecture de ines a manifestation of a design in space, while music is a form of design in time. There is a great depiction of architecture as frozen music that seems to only span architecture whose function is directly related to music. In opening that dialogue to other programmatic functions there is an enhanced way to explore this connection of the aural to the visual by speaking to acoustics. Acoustics are often an afterthought in the implementation of design, which is detrimental to the user experience. This can become problematic in regards to many aspects of human experience in architecture, speci ically that of the workplace. We spend most of our time within architecture and, generally, this architecture is guilty of neglecting the importance of acoustics in favor of other visual and functional elements. How can we create an acoustically designed environment that is not limited to media or musical spaces? How does what you hear in your surrounding affect your quality of life? The answers to these questions can inform us on how to improve the areas that we spend the majority of our time. Architecture and sound can be investigated to enhance how his or her environment, both through the eyes as well as the ears, affects the user. There is a divide between the designing of space and the designing of sounds and how they interact with the occupant. What happens when the two arts are
intended to inform each other from conception to execution? Exploring the implementation of sound, in a workplace environment, and its inherent effects on the occupant and their well-being, this investigation aims to open the door to new typologies. Examine spaces where music and sound play a pivotal part of design and enhance the quality of the space. How can sound be used to enrich the space we inhabit just as much as the placement of its walls? By establishing research in phenomenology, creativity and human motivation, my purpose is to design an intervention that considers the aforementioned disciplines into a synthesis of visual, aural, and spatial harmony.
016
&
music
ARCHITE Pamphlet Architecture was an experimental publication created by Steven Holl. “Pamphlet Architecture was initiated in 1977 as an independent vehicle to criticize, question, and exchange views. Each issue is assembled by an individual author/ architect.” (Princeton Architectural Press 6). The series includes topics on varied subjects from Bridges and Stairwells, to Planetary Architecture and Hybrid Buildings. The issues put together by Elizabeth Martin on Architecture as a Translation of Music was published in 1994. Although the material can be dated, the ideas and projects presented
are viable sources for originating and developing direction in a movement toward the dialogue between music and architecture. The work begins with a good connection between the two arts as being representations of design in time and space, respectively. The eye and the ear are the basis for where these two forms of art are interpreted in relation to the human body. “The eye lends itself to a visual ield; the ear to an aural ield. Architecture represents the art of design in space; music, the art of design in time.” (Martin 8). This correlation is a fundamental thought that begins
ECTURE to shape, and can be a basis for countless analogies that this relationship of two disciplines can begin to explore. Elizabeth Martin presents the thought that the work collected in this pamphlet is attempting to blur the idea of music and architecture in an unfocused state, which can then be reinterpreted. She sets out to provide a balance in a culture that tends to place emphasis on the eye over the ear and also attempts to place the audiences of both mediums at a common ground. A series of case studies are explored throughout and provide great examples of connections and interactions of music and architecture. They are grouped by three points of view; “Based on Acoustics, Instrument as Architecture, and Layered Relationships.” (Martin 9). The irst portion of this exploration begins with education. Presenting a ive week workshop that was founded at the Southern California Institute of Architecture named ‘Vitruvius’. Developed by Kathleen and Eugene Kupper, it is named after an architect who wrote The Ten Books of Architecture. “A ive-week workshop on music and architecture was developed to explore spatial ideas of sound, noise, acoustics, melody, and harmony as well as construction techniques found in the design of musical instruments.” (Martin 11). Gestural models are created that are an interpretation of the Violinmaking process. The models themselves became hybrid instruments of their own, for which the students developed a form of reading music and interpreting it. The music became more about sounds as opposed to actual musical notes; the result was something similar to a new language based on patterns. What is valuable in the exploration is the formation of an assignment that takes the musical instrument and allows it to inform a speci ic architecture. This encapsulates what one of the most fundamental exercises that can be applied to my thesis might be; allowing the design to be a direct reinterpretation of a musical instrument or piece of music. I also see it as the irst preconceived notion of this connection.
The challenge lies in how shallow this study can be as it has been explored in many ways. As I have set forth the motion to explore the connection between these two mediums, I have also set forth an attempt to use this relationship to be a guideline for my design, that’s if to ask ‘How can architecture be informed by music?’ I specify this question by asking “How can music inspire the design concept of the architecture?” The structured nature of both ields provides a means where the system of one can in luence the other. This can be best exampled through the case study of Steven Holl’s Stretto House. Taken from the point of view that explores ‘Layered Relationships’ the Stretto House is a design that mimics Bela Bartok’s Music for Strings, Percussion and Celestra (1936). “In both works, the music and the house, you are left with the sense that something remains hidden, that several layers are at work beneath the structure.” (Martin 58). The use of Fibonacci numbers in the music mirrors the use of the Golden Ratio in the architecture; they both provide a means to systematically represent mismatches in both pieces. The four sections in the musical composition also ind an analogy through the four physical sections that divide spaces within the house.
Stretto House, Steven Holl
FIGURE 1.1
018
The Stretto House is an example of architecture as frozen music. The music informs the architecture and somewhat is the guideline for design. The building becomes a metaphor for this particular piece of music. A metaphor that is rooted in the aural and is manifested into the physical and spatial is what the comparison here is emulating. Although the project is a detailed and successful residence, what Stretto House provides is one form of this connection between seemingly different mediums. It will not translate well with other pieces or styles of music altogether. How can this be taken to a broader scope in order to encapsulate the fundamental connection of music and architecture? Music and its many styles can cause different reactions to its audience across the board. The same can be said about architecture. There are many typologies and spaces that evoke different experiences. What’s important about both subjects is their respective ability to provide an experience that the user/listener can tap into and evoke a feeling. Through a memory or an engagement of interest, music and architecture provide a designed intervention on the aural and spatial receptions of said user/listener. The combination of sounds and silence or those of solids and voids are the binary elements that de ine these two disciplines. Music and architecture share identical terms when describing their respective principles. Terms like rhythm, harmony, structure, and texture can all be used to describe elements of both music and architecture. This shared language can set the tone for the metaphorical interpretation of the connection between the two.
"Comparing the two disciplines is one of the most commonplace and stereotypical endeavors, and yet it can still generate exciting results "
Peter Grueneisen
FIGURE 1.2
022
the instrumen architecture As the dialogue between Music and Architecture is explored, I attempt to differentiate what I see as architecture being represented as ‘frozen music’ from architecture being represented as a ‘spatial instrument’ that becomes a vessel for music as program, user, and/or function. On the other hand there is a correlation between Music that creates Architecture, or a soundscape that places the listener in a location, with the association of Architecture to a speci ic music. For example, the industrial component of a city may represent a different music from that of a rural country-side. The connection here is poetic; there is a metaphorical comparison that governs. In order to explore the full scope of this link, there should be a reach toward the more technical aspects. This may involve shifting the focus to a broader term to encapsulate music under sound. The two texts reviewed are The BLDG BLOG Book by Geoff Manaugh and Soundspace: Architecture for sound and vision by Peter Grueneisen. These two sources have varied examples of projects and ideas that are a clash of sound and design. The BLDG BLOG Book comes from the architectural blog started by Geoff Manaugh, which attempts to voice speculation concerning architecture, landscape and the built environment. The book contains chapters on a myriad range of topics but the most pertinent is chapter four. Music Sound Noise begins with dialogue concerning what are the unique acoustic characteristics of a particular city. “Austrian musician and sound artist Christrian Fennesz explained in a May 2004 interview with the
Wire. “It’s very interesting, when you’re there- you always hear some kind of hum, like from far away, but also people talking, […] the labyrinth of the houses works as an amplifying system somehow.” (Manaugh 143) While other cities such as Cairo are becoming so densely populated that residents cannot hear themselves over the loud traf ic and other residents, (Manaugh 143). The question arises concerning what makes a place have a particular sonic quality. This shifts the focus toward Audio Architecture. As described in the reading, ‘audio architecture’ is a term coined by the Muzak Company to describe the service they provide “the integration of music, voice, and sound to create experiences designed speci ically for your business.”(Manaugh 144). The company attempts to make the listener feel comfortable, in order to have another company sell them a product. The success of the idea lies in the subtleness, attempting to play off of the listener’s heart as opposed to their mind. Thus, making the music a subliminal attempt to change the listener’s mood in order to facilitate brand loyalty and make their shopping experience a successful one. Manaugh, begins to make a connection on a larger scale, “If there is a connection between background music and customer loyalty, then perhaps sound can inspire a kind of urban loyalty.”(Manaugh 144). This idea has been explored before as the author describes the World Soundscape Project, where the intention called for a “’tuning’ of the world [where] Cities would be treated as vast musical instruments.” (Manaugh 144) that would
ntation of be somewhat edited to eliminate unwanted sounds while promoting others. The intention here is to make improvements in the sonic quality of the cities. Which begs the question, who is to decide what sounds are good? What determines an unpleasant sound? The ideas represented here begin to alter the connection of architecture and music to that of place and sound. Throughout the city it is easy to make relations of sound and place. Upon irst glance, an industrial park, for example, could hold characteristics of a contemporary composition that may be constructed of repetitive cycles that might imitate a factory. But if dissected further, the connection to electronic house music may hold stronger, as the name derives from the warehouses where the music was originally played. Take a drive out on the rural side of the city and the scenery may call for a sound that evokes contemplation and alludes to symphonies and slow tempos. With the recent popularity of personal headphones and media players, the notion of audio architecture changes from person to person. Everyone can experience a different soundscape, depending on who curates it. The perspective here is broad, how do you translate that from a city scale to a much more personal scale? The answer may lie in acoustics. Soundspace: Architecture for sound and vision by Peter Grueneisen is a collection of work from the design group Bau:ton. “The variety and complexity if these unique building types does not permit complete and objective documentation, and much
of this book is con ined to our own personal history and experience within the ield.”(Grueneisen 12) Although a subjective view, the opinions about the connection of music with architecture is valuable as this particular irm has an experience with spaces that are intended for music and visual media. “Comparing the two disciplines is one of the most commonplace and stereotypical endeavors, and yet it can still generate exciting results and insights, often in unexpected ways.”(Grueneisen 10) Many of the spaces explored in this book are valued for their practical and programmatic function that deals directly with how sound is experienced within a space. As well as providing an introduction into acoustics and case studies, the spaces explored vary from recording studios to educational spaces. Each one has a direct connection to primary program that involves music or audio. In order to narrow the scope of my investigation a key decision can be made as to how integral will music and audio be to my project. In breaking down the difference between ‘architecture as frozen music’ and ‘architecture as instrument’ the relationship depends on how the program of the design is approached. The importance of acoustics seems more prevalent in the latter of the two metaphors. ‘Architecture as instrument’ is something that can be said when speaking of Opera Halls and Auditoriums. The architecture is meant to increase the experience of the user by providing acoustics that are well designed to offer optimal sound quality. The program just about requires an
024
attention to acoustical aspect of the experience. When speaking of ‘architecture as frozen music’ the program can be open to possibilities outside of those directly related to the listening of music. Music can serve as a base point for almost any program, with the nature of the design language music entails. By taking a particular piece of music or genre and presenting those concepts architecturally can be an endeavor that leads to fascinating possibilities of poetic connections. Structure, Harmony, and Rhythm are words that can directly inform each art respectively and in turn create an architecture that mimics whatever inspiration drove its design. This can be applied to a set program and allow the function to be enhanced by its musical muse. This application can be tested as an exercise that will help inform the design vehicle that this thesis will explore. There is a possibility that the design will feel forced if bounded by a strict guideline of a particular song, therefore it is important to incorporate both aspects of architecture as instrument and architecture as frozen music. Allowing the music to engage the user as well as the function will help create connections on different layers of design.
FIGURE 1.3
026
the creative process
"Scientist speculate that open, sunny space can lead to increased creativity. Architecture has real cognitive consequences."
Jonah Lehrer
cognitive consequences.” (Lehrer 52) Pixar studios are a great example of providing areas for cross-disciplinary interaction, which are vital in the development of creative ideas. The animation studio acquired by Steve Jobs from George Lucas, is an innovative studio with many successful ilms and short stories. It was originally a fruit-canning factory north of Oakland. Primarily it was planned differently “an architectural design that called for three buildings, with separate of ices for the computer scientists, animators, and management.”(Lehrer 149) which was a much more econ eeconomic venture. Steve Jobs bs “completely completely reimagine the studio.”(Lehrer 149), reimagined 49), creating a single spac m at the center. The space with an open atrium atrium was seen as the ‘heart of the building’, building an area where employees would come me together and congrega congregate m to please Jobs congregate. This idea did not seem as he h conti mponents onents to the continued to move vital components atrium space spa at the center of the building. “Jobs be began with the mailboxes, which he shifted to the he lobby. Then T eting rooms to the he moved the meeting center of the th t building, followed by y the cafeteria and coffee bar aand gift shop. But that still coff ill wasn’t enough, enou which is w ided to locate th why Jobs eventually decided the only set of bathrooms in the atrium.” um.” m.” (Lehrer 150)
the creative process
There exists a commonality in the creative processes of music and architecture that lies in the development of a conceptual driver. This may not always apply in all cases, it is possible for architecture to execute a solution that is devoid of a concept and is driven mainly by function. While most music does not have a strong conceptual theme, the sounds can be altered as such to accent a particular expression. The creative process behind the two art forms can often produce a conceptual idea that governs the intention behind the product or solution. This concept usually serves as the initial jumping off point that begins the process off creation. magine Author Jonah Lehrer wrote a book titled Imagine which examines what happens in the brain when moments of insight spark creativity. Being a neuroscientist Lehrer presents what is our “most gine what at important mental talent: the ability to imagine has never existed.” (Lehrer XV); a talent he states nation is taken for granted. The study of the imagination is fairly new to the science community. Due to ten its mysterious nature, the imagination is often ies to avoided. (Lehrer XVI) The author uses stories exemplify the research he has gathered. He beginss y that the exploration with that moment of clarity com produces a creative idea. “Insights, after all,, come ated from the overlap between seemingly unrelated thoughts.” (Lehrer 39). Lehrer, then begins to rly ly describe the stories of how some particularly n common products where invented. Based on oduct, the moments where someone invents a new product, oint. What at precise moment is usually dif icult to pinpoint. ote seems to occur commonly is a cross-check of remote roblem m ideas that become applied to the current problem he and solve it. This reinforces the suggestion that the overlapping of what seems to be unrelated ideas, estions can in turn apply themselves to answer questions d solve problems; proble inked to and problems that can be linked chitecture. re. architecture. he in luence ence of architectur ular The architecture in this particular bject iss associated when speaking s rs thatt subject of colors ve cognitive nitive effects on pe riment, t, have people. In an experiment, ychologists gists at the Univer Univers olumbia psychologists University of British Columbia ere lookingg at the effects effec that t n the were color has on magination. Subjects j were to “perform a variety ariety of imagination. sic cognitive nitive tests displayed display against red, blue, orr basic utral backgrounds.”(Lehr backg d neutral backgrounds.”(Lehrer 51) Those in the red st, scored red better on skills that pertained to o the test, tention of details. det Meanw attention Meanwhile, those with the blue periment showed bene it quired experiment its in task that required magination and creativity. y This is transcended ded imagination ly color but also the th spaces we inhabit, abit, to not only cientists ientists speculate that open, op sunny spacee can “scientists ad to increased ncre creativity. Architecture has as real lead
Animators ors saw this as an inconvenience, enience, after all, who would want to travel to the other side of a building in order to use the restroom? oom? om? Steve Jobs saw this as an opportunity to have ve everyone ryone ‘run ‘r into each o hee best meetings other’; he believed “…the happen by accident, in the hallway ay or parking lot.”(Lehre va lot.”(Lehrer 150) placing all thesee valuable and integral pr woul programmatic functions at the center would cause for th mote ote ideas. the intermingling of remote This his provi provid or the organization i provides a reference point for of program nces es of different program, if there are more chances user inter intera igher gher level of interaction then there is a higher productivi productivit nsider occupancy productivity. While needing to consider codes is vit vital, there seems to be a formula for what can be don mpromptu’ promptu done to increase these ‘impromptu’
meeting points such that you provide nodes for this behavior to take place. Pixar studios seem to be illed with such areas, it is an energy that is felt throughout the space and not just at the atrium. “What makes the Pixar studios so unique is that these spaces have become part of the of ice itself. There are cubicles and desktops, of course, but there are also whiskey lounges and espresso bars. The end result is [an environment] illed with the clutter of human voices, the soundtrack of an effective [work] place.” (Lehrer 151) The mention of the word ‘soundtrack’ here unintentionally references the other component in this discourse. There is little to be found in this reference concerning how sound can effect creativity, which poses the question: What more can be discovered about the direct relationship between productivity and acoustical distractions? There are important aspects about what we know concerning the creative process that can be applied to architecture. This also digresses from the preliminary comparison of music and architecture. The functions that occur in the brain relating to the incubation of ideas can be nurtured by both music and architecture. The aural qualities of music can produce a space, in the mind, that will allow for disconnection and re lection. This can also be achieved visually and spatially, through architecture. There seems to be a detachment between the fundamental link of music and architecture and a
much more in-depth look at how architecture can be a vehicle for music and possibly sound. I ind there to be an abundance of projects that abstract the connection of music and architecture and others that can be categorized as ‘frozen architecture’, the latter being a more literal translation of a speci ic piece or style of music. The poetic connections between the two are endless, based on their fundamental connection in theoretical and structural language. This begins to formulate a sense of jadedness from the surface level connections that are interpreted through combining architecture with music and vice versa. In my research, the comparison of the two disciplines is taken from an architectural perspective. Therefore the execution of the ideas that are explored as research should have an architectural manifestation. Given the nature of research not all items will have that link embedded in its results. Architecture and Music as art forms contain a common language that serves as a starting point for their comparison and disassociation. In regard to their means of expression they are interpreted as a manipulation, music is that of time and architecture is that of space. The relationship with time and space is ingested by the human component of both, one being the listener while the other is the occupant. There is room for the cross examination of these outlooks.
FIGURE 1.4
030
ARCHITECTURE FOR THE EARS "We have urban planners, where are the urban-sound-planners? Offices, where we spend a majority of our time... Where are the office-sound-planners?"
Julian Treasure
To take a look into Aural Architecture would be to speak of acoustics. There can be an oversight found in how design is accommodating for the eyes, but not the ears. The emphasis is only applied to architecture that is programmatically connected to music. This disconnect is most commonly observed with open spaced loor plans typically seen in of ices and some classroom settings. The distractions caused by unwanted noise in iltration can have a negative effect on the cultivation of creative output. What can be done to prevent this from happening? Julian Treasure is an author, musician, and chairman of UK based ‘The Sound Agency’, which optimizes the sound made by clients in all aspects of business. This includes everything from advertising sounds to those experienced in retailers. Treasure is well known for his TED talks that have been seen over a million times. His most recent of presentations was titled “Why architects need to use their ears”. The talk begins identifying that so much energy is spent on aesthetics and not on sound quality. The focus seems to be on the eyes and not the ears. Julian explains that this effects more than our “quality of life […] It’s our health; our social behavior; and our productivity as well.” (Treasure) He moves forward with examples that matter, health and education. Just as he cues the sound of an Intensive Care Unit complete with breathing machines and heart monitors, he attempts to speak over the noise to drive his point more thoroughly “While visiting […] a hospital, I thought to myself ‘How does anybody get well in a place that sounds like this?’” (Treasure) The level of the sound bite is such that he needs to shout to be heard. Emphasizing that “Noise levels in hospitals and healthcare facilities has doubled since 1972.”, also adding “Noise distractions substantially increase dispensing errors.” This means that more and more professionals are distributing the wrong doses of medicine as an effect of increased noise levels. As study show how important sleep is to recovery, the environment and its ambiance do not foster good rest. The sleep that is accomplished is under a state of alert and danger due to the excess noise level, which is not a restful sleep. Education also suffers from this disconnect in design. “Here’s a case in point, a 32 million pound (51 million USD) lagship academy school. Unfortunately, it was designed like a corporate headquarters with a vast central atrium that had no dividing walls.” This caused an issue with teachers being able to hear properly, so close to a million dollars was spent to put up walls and ix the
problem. Julian Treasure stresses the importance of eliminating open-plan designed classrooms, as they provide terrible settings for acoustics. “A recent study in Florida shows if you sit […] in the fourth row, speech intelligibility is 50%.” This means that students in the traditional classroom setting have a dif icult time understanding the teacher, the further back they sit. Julian Treasure closes by broadening the subject to look at cities. “We have urban planners, where are the urban-sound-planners?” Also stating that the World Health Organization claims that a quarter of Europe’s population is having trouble sleeping from noise pollution, Treasure believes this number can be lowered with careful planning. “Of ices, where we spend a majority of our time… Where are the of ice-sound-planners?” those that know how to accommodate certain groups based on how much noise they create or what noise level they are most comfortable in. He then asks about interior designers and how we can all become better interior-sound-designers. These kinds of questions really begin to parallel many of the topics investigated thus far. What seems to be developing here is a new architectural typology that can be introduced into areas outside of the typical acoustic architecture. While an open atrium will increase interaction of varied employees, it will cause unwanted noise that can distract a student attempting to listen to a lecture. There needs to be an attention brought to how spaces sound after they are occupied by the user. What happens when architecture and sound quality are intended to inform each other from conception to execution? This investigation into how sound can inform design is a reoccurring theme that is pivotal to the design implementation that will come from this research.
autonomy, mastery, and purpose
THE DESIRE TO BE SELF-SUFFICIENT
THE PASSION TO BECOME AN EXPERT
THE DRIVE TO DO SOMETHING GREATER
"An architecture that allows freedom of space and encourages the user to manipulate their surroundings can represent an autonomous typology."
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In the book Drive: The Surprising Truth About What Motivates Us by Daniel H. Pink, the author describes a current disconnect between what we know about human motivation through science and what we actually do in today’s workforce. It’s evident that what we understand currently from studies in human performance and human condition, goes against what some consider being normal and natural. Those being what is referred to as ‘If-then’ rewards or the practice of if you do this, then you get that. This system works well but not in the current, creative and conceptual environment in which many careers lend their selves to be. Pink explains, “The science shows that the secret to high performance isn’t our biological drive or our reward-and-punishment drive, but our third drive- our deep-seated desire to direct our own lives, to extend and expand our abilities, and to live a life of purpose.”(Pink 145) This is further explained through three elements of motivation: Autonomy, Mastery, and Purpose. In the interest of pertinence and correlation to architecture, this review looks at Autonomy irst. The element of Autonomy, in relation to human drive, depicts our fundamental need to be our own person. This is further explained in the work environment, irstly with some examples of what is called ROWE- a results-only work environment, where employees are given only deadlines and tasks with the freedom to produce it however they see it. There is no set schedule, only the expectation of outcome, “…people […] show up when they want. […] They just have to get their work done. How they do it, when they do it, and where they do it is up to them.” (Pink 86) The importance of autonomy is in its freedom, allowing someone to do what they feel can provide successful solutions and productivity in the workplace. To represent that in architectural design is about allowing the user to exercise the freedom to explore the space, which may be physically, visually, programmatically, and perhaps aurally. There should be an emphasis on engagement, an instrumental aspect of autonomy. On the contrary, compliance is what opposes the need to be autonomous. An architecture that not only allows freedom of space but encourages the user to manipulate their surroundings can represent a typology that is rooted in autonomy. As humans were are naturally inclined to make everything in our proximity custom to how we see it. Whether it’s the of ice we occupy on a daily basis or the bench we sit on at the park, we take actions that make that space akin to our liking. Designing for this element can empower the user into a state of mind that encourages productivity. A productive mind state described as ‘Flow’.
“In low, people lived so deeply in the moment, and felt so utterly in control, that their sense of time, place, and even self melted away. They were autonomous, of course. But more than that, they were engaged. They were, […] “forgetting themselves in a function”.”(Pink 115) Mihaly Csikzentmihalyi, who has a Ph.D. in psychology, is the person responsible for the development of ‘ low’. This came as a result of his studies in creativity and play. “In the midst of play, many people enjoyed what Csikzentmihalyi called “autotelic experiences”-from the Greek auto (self) and telos (goal or purpose).”(Pink 113) This describes the experiences that are about reaching self-ful illing goals, set forth by the nature of the activity itself. Painting for example provides immediate feed-back but consists of a task that is just out of the participants skill-set. The challenge is constantly stimulated by the person’s goal to get better at the task at hand. “[The activity] was a notch or two beyond [their] current abilities, which stretched the body and mind in a way that made the effort itself the most delicious reward.”(Pink 115) The concept of low speaks to the second element of motivation: Mastery. This describes what drives people to pursue an autonomous skill that they seek to improve on. “Flow is essential to mastery. But low doesn’t guarantee mastery” (Pink 120) In order to have an insatiable drive low which is usually a temporary state must endure to the long term. Constantly challenging your activities toward a goal make the tasks that are absent of autonomy, much more exciting to perform. Mastery implies a challenge that is slowly worked at but never truly reached. There is an imaginary bar that continues to be lifted just beyond a person’s abilities that fuels the need to reach it. In an architectural translation this can emanate from the creative process that brings forth that design implementation from conceptual
autonmy, mastery, and purpose
development to inal execution. The challenge here is to continue to reshape a design to stay true to its original idea while developing the notion to a wellintegrated application. Providing a stage for this same phenomenon to occur through function is dif icult. How can something be a physical exempli ication of a challenge? Moreover, how will architecture provide a means to challenge its occupant? The answer can be found in how much that architecture is allowed to be manipulated by its inhabitant. The ability for a design to ‘grow with’ its user can create a challenge that reveals the third element in motivation: purpose. Purpose represents a balance point of the irst two elements, autonomy and mastery. It gives a context to the irst two features, “Autonomous people working towards mastery perform at very high levels. But those who do so in the service of some greater objective can achieve even more.” (Pink 133) What de ines architecture with a purpose? The purpose in architecture lies within its program. The program de ines what the function of a building will be, which in turn can begin to explain what the design is in service of. Program becomes the goal of the architecture, giving purpose to design. There are many factors that can restrict design. Aside from those necessary to provide a safe environment for the user, there is a push and pull process that negotiates the factors into a proposed solution. The outcome is a balance between the experience the user feels and the ef iciency of the materials and costs that may determine the inal solution. Program can transcend this negotiation by providing a purpose, to provide an environment
that can mediate trouble into recovery, promote interaction, inform, as well as connect communities. Bringing value to those communities is dependent on the experience that is brought to those communities through design.
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The word ‘experience’ is one that has been used profusely in much of my research as well as my writing in response to this research. MerriamWebster de ines experience as “something personally encountered, undergone, or lived through”. Architecturally this is associated with the human interaction throughout a de ined space. Experience is what the user takes with them long after their exchange with the built environment. The design process manifests a product that intends on having an experiential effect on its consumer, the occupant. This takes architecture into the conversation of economics, something that is meant to not only provide an experience but generate revenue. Whether that revenue is product sales, saved lives, or livable space, the experience is what drives that revenue. A parallel distinction can be made about music and the experience it renders onto its listener. By providing an escape that places the listener in a state of mind that can change their mood, music offers an experience that is synonymous with that of architecture. This notion of experiences explains where the current economic paradigm is headed toThe Experience Economy. “The Experience Economy” was irst de ined by an article in the Harvard Business Review written by B. Joseph Pine II and James H. Gilmore, in July of 1998. The article speaks about ‘Experience’ being the next economy after the ‘agrarian economy’, ‘industrial economy’, and the current ‘service economy’. This can be best understood using the author’s analogy through the evolution of the birthday cake: “As a vestige of the agrarian economy, mothers made birthday cakes from scratch, mixing farm commodities ( lour, sugar, butter, and eggs) that together cost mere dimes. As the goods-based industrial economy advanced, moms paid a dollar or two to Betty Crocker for premixed ingredients. Later, when the service economy took hold, busy parents ordered cakes from the bakery or grocery store, which, at $10 or $15, cost ten times as much as the packaged ingredients. Now, in the time-starved 1990s, parents neither make the birthday cake nor even throw the party. Instead, they spend $100 or more to “outsource” the entire event to Chuck E. Cheese’s, the Discovery Zone, the Mining Company, or some other business that stages a memorable event for the kids—and often throws in the cake for free.” (Pine and Gilmore)
The progression here is from commodities that are extracted to goods that are made, and further to services that are delivered into experiences that are staged. Architecture is one of the tools used to stage experiences, giving a strong relevance to the design of inhabitable spaces in the future. If architecture is the designing of experience, how will the experience of music affect that architecture? What type of experiences can place emphasis in connecting architecture with its context? The common ground between the built experience and the community lies within the public space. The synthesis of the typologies explored here tends to imply an enclosed indoor space. The nature of acoustics represents the control of sound via materials and the spaces those materials envelope. This is not to say that the intervention be that of only enclosed space, but that the connection to the experience provides an element of association to the public user. Based on the idea that the experience is the essence of this investigation allows for a stage that concerns itself with providing for the human performing on this stage. Allowing sound to be an important part of this performance is the goal of this thesis. The metaphor of this performance venue, is where this research ends and seeks to expand. When speaking of purpose within program, the depth of this investigation rejects the basic function of a theatre and looks to expand beyond. Considering the importance of the workplace, a program that can span disciplines is preferred. This workplace may include corporate of ices, businesses, schools, and even a cultural center. Branching from what has been researched on motivation and creativity, this intervention will prove that the attention to the quality of sound is essential in the design process. Providing an experience that can transcend the user and listener to a state of mind that generates motivation, exercises creativity and connects communities, is the soundtrack this architecture seeks to curate.
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chapter
2 site
FIGURE 2.1
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miami, fl
FIGURE 2.2
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BIG CITY, BRI BR “I’m from the land of the sun home of a million and one Cultures that drum to different rhythms but we share the same tongue I call it home some call it escape When I roam I always retrace when left alone she misses my face.” -ArtOfficial
IGHT LIGHTS FIGURE 2.3
044
BIG city bright
LIGHTS
Miami, Florida’s nickname ‘the Magic City’ derives from its occurrence as a city almost overnight, without it ever really being a town. It is one of a few cities to have been founded by a woman, Julia Tuttle. What began as a dream she intended to bring “… the civilization of her native Cleveland to the subtropics…” (Nash 9). Backed by Henry Flagler, she was able to bring her dream to reality with a key mode of transportation – the railroad. “By the end of the nineteenth century, when Philadelphia and Boston were already centuries-old capitals of culture and commerce in the Northeast and New York was a teeming city of 4 million, South Florida was still as wild and woolly as any dime-novel Western.” (Nash 13). It became a convergence of many cultures seeking escape from winter and its connection to the Americas. Post war infrastructure and development gave Miami a boom in residence and tourism. “By 1952, more international travelers passed through Miami International Airport than Idlewild in New York.” (Nash 14). Although many advances in accessibility were in full affect by midtwentieth century, the racial barrier remained strong. African-Americans were not allowed outside of the inland side of the railroad tracks put in place by Flagler. The Overtown
area, housed many of the African-American population that made their lives through working on South Beach resorts. “The district’s main thoroughfare, Northwest Second Avenue, had been a thriving center of AfricanAmerican culture since the 1910s and was known as Little Broadway, featuring jazz royalty from Count Basie to Duke Ellington and Nat ‘King’ Cole.” (Nash 16). As Miami grows through the 1950s its ethnic makeup also expands, the Jewish population had a swell that started around the beginning of the century and also received a backlash of anti-Semitism through the 1930s. “In North Beach before the war, one gentilesonly hotel even posted a sign that read, ‘Always a view, never a Jew.’.” (Nash 16). “Miami’s makeup would never be the same after New Year’s Day, 1959(…)” its southern neighbors in Cuba, just had a change in regime which caused a yearly increase in emigrates. “By the end of the year, 35,000 mostly upper-class Cubans left the island for Florida. More than 60,000 Cubans emigrated every year until the Cuban Missile Crisis in 1962.” (Nash 17). These statistics only enforce the strong diversity that has since grown since the late 1960s. Miami has so many area of ethnic diversity that many are referred to as a ‘Little’ version of their native areas: Little
“Yea the type for a dreamer/ Every dark avenue has a life full of secrets/ Get lost in the sequence or found in the reason/ From the top of the buildings to the edge of the beaches…” -ArtOfficial FIGURE 2.4
Havana, Little Haiti and even Little San Juan. Wynwood was referred to as “El Barrio” for its predominantly Puerto Rican demographics. Wynwood is now on the verge of becoming a beacon of the young cultural people who activate its streets. With recent improvements in zoning, Wynwood is slowly adding to the big city Miami has become and will definitely hold a torch the bright lights that illuminate the area… “from the top of the buildings to the edge of the beaches.”
“The district’s main thoroughfare, Northwest Second Avenue Avenue, had been a thriving center of AfricanAmerican culture since the 1910s...”
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Wynwood, has its previously abandoned warehouses currently being taken over by artist, restaurants, cafes, and lounges. The area became a literal outdoor gallery when many artist began populating the outside of the industrial buildings into beautiful murals that change periodically. Wynwood Art Walk, which is held the second Saturday of each month, welcomes hundreds of residents and tourists to come enjoy many public galleries and mobile food venues. The site proposed lies in the heart of 2nd Ave, which serves as the main artery to all the galleries and lounges that create a central corridor throughout the area.
FIGURE 2.5
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miami, fl
FIGURE 2.6
The Midtown area of Miami is the latest region undergoing a vast change and slowly becoming a louder voice in the multi-layered soundtrack that the city emits. Complete with an arena and a center for performing arts, the Midtown Miami area serves as a threshold for the arts, from the downtown business district just South to the beautiful beaches of the East.
ART WALK second saturday of the month FIGURE 2.8
FIGURE 2.9
FIGURE 2.7
artBasel
FIGURE 2.10
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midtown
FIGURE 2.11
adrienne arsht center
Miami, Florida is a city that is rich in cultural atmosphere. A varied population demographic provides the basis for a creative friction that speaks to the combination of disparate ideas. With a population of more than 2.5 million, there are many neighborhoods within the city limits that take on their own identity.
This cultural atmosphere makes Miami home to many venues that house all forms of art. From galleries in Midtown to concert halls on South Beach, there is always a destination for artist and art enthusiast FIGURE 2.12 alike.
FIGURE 2.13
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wynw
205 nw 22 lane
wood FIGURE 2.14
Population & Demographics
FIGURE 2.15
2,554,766 Miami-Dade County
19,082,262 Florida
69 16 11
%
Hispanic
%
African-American
%
White (non hispanic)
056
Population & Demographics
FIGURE 2.16
56
% High School Graduation Rate
14:1
Student to Teacher Ratio
AVG annual income
$25,115
18% Lower than Miami
Crime Rate
29
%
Higher than Miami AVG
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ode to space an exploration in hybrid media and concept art
The main media invested in Wynwood is graf iti art, something with bright colors that often speak louder than the basic words or ‘tags’ that they represent. The allure of street culture is what draws developers (trash is the lash) to invest in the lowpriced real estate of the area, which often re lects a negative trajectory for this place due to its essence of being about the art and not the pro it. Wynwood identi ies itself as being a place that facilitates ‘outof-the-box’ art, speci ically street art.(where the norm is absurd) Warehouses are the predominant structure that house many auto-body repair shops giving an idea of what the underlying smell and sound of the area might be.(warehouse stashes are crashes refurb’ed). The inal two lines of the poem refer to the human experience found in Wynwood. A mass of gallery-hopping individuals who often are more concerned with the party rather than the art harass the true essence of the area.(herd of the masses harasses the curb) This opposes the original interaction of human and place by stemming from
the quintessential activity of artist spraying mural walls whilst vehicles exploit their sound systems in order to provide a soundscape for the bystanders as well as the artists. Where the bass thump passes giving access to serve as a soundtrack to bounce back for the crowd to observe. FIGURE 2.17
FIGURE 2.18
ode to space an exploration in hybrid media and concept art
FIGURE 2.19
In taking on the spirit of Miami and speci ically Wynwood, it is dif icult not to ignore the bright colors the city is not afraid to display. The journey to the city is one that is typically experienced from a vehicle. Miami is a large city that lies lat on the edge of the Atlantic Ocean. Take an exit off of the Interstate 95 into the heart of the Midtown area and the buildings begin to change roles, from one-story industrial boxes to large canvases for graf iti murals and street art. The spirit of Wynwood seems to be situated between the bright colors that adorn the walls of abandoned beverage distribution plants and the fenced-off vacant lots that serve as outdoor studios for the numerous aerosol paint masters and there illegal form of expression.
media is a video that encompasses the visual representation of my site, rich in imagery and rhythm, the musical accompaniment is a piece entitled ‘ArtOf icial Cadence’. Cadence de ines a rhythm or low found in both music and language that speci ies the intended in lection. The visual attempts to mimic that cadence by using cuts in editing that follow the musical track. The last piece is a conjunction of several layers of sketches and images that de ine the approach to the site in a inal statement that reads one of the more prominent phrases that adorns the chain link boundaries of my site‌ Tow-Away Zone.
In creating my pieces I chose the irst to be some form of physical representation of my site. This caused for an exploration in materiality that can describe the spirit of Wynwood, bright colors, stencil art and of course the chain link. The second
FIGURE 2.20
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FIGURE 2.21
THE ARMORY STUDIOS
FIGURE 2.22
The Armory Studios is considered 'Miami's One-Stop Shop for media production and events'. FIGURE 2.23
Although no longer occupying this space, The Armory represents a popular and up and coming building function. Rentable event space that caters to the recording and performing arts. Studio, performance, and event spaces that can be easily transformed to facilitate art shows, photoshoots, and the recording and performing of music. Musicians, artist, and event planners alike can take advantage of generous flexible space that converts to many functions.
FIGURE 2.24
FIGURE 2.25
FIGURE 2.26
501 (c) 3 ALL WALKS OF LIFE
Exploring the philanthropic aspect of this thesis leads to the idea of utilizing the space for a Non-Profit aimed at getting the youth involved in creative arts. All Walks Of Life (AWOL) does just that in Savannah, GA. Programs that keep kids interested in Sound Recording, Film, Performing Arts and Information Technology allow a distraction that still engages during after-school hours. The location is located within an old bank in a commercial center, yet has been outfitted to accommodate most of the equipment necessary to edit a movie or write and record an album. Organizations such as AWOL can benefit from a dedicated building aimed to run these programs successfully.
FIGURE 2.27
FIGURE 2.28
FIGURE 2.29
FIGURE 2.30
FIGURE 2.31
SUBCAT STUDIOS
FIGURE 2.32
FIGURE 2.33
SubCat Studios provides exceptional recording studios, video production and graphic design services. Through great design and detailed aesthetics the space allows transparency between the performer and engineer through highly visible control rooms that even invite the public by engaging the street. Two fully furnished lofts above the studios allows artists the ability to work and live within the same space. With recording school and music lessons, SubCat Studios is a flexible venue for all recording and prodiction needs. Located minutes outside of New York City the studios at SubCat offer artists a full service venue that stands out for its design and functions.
FIGURE 2.34
FIGURE 2.35
CENTER FOR THE CREATIVE ARTS
FIGURE 2.36
FIGURE 2.37
FIGURE 2.39
FIGURE 2.40
FIGURE 2.38
FIGURE 2.41
“In creating the design for the Granoff Center, we needed structural elements that would stimulate the creative process from virtually every aspect of the building. The Granoff Center is a merger of architectural gesture and academic pedagogy. Our strategy was to encourage and illustrate collaboration across every level.� -Charles Renfroe
SCHOOL SCHOOL OF OF MUSIC MUSIC AND AND ARTS ARTS
FIGURE 2.42
FIGURE 2.43
FIGURE 2.44
FIGURE 2.45
program chapter
3
pre路cept: /pre,sept/ (noun) 1. a general rule intended to regulate behavior or thought.
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4
the elements of color
FIGURE 3.1
c ( (
creative, intuitive, linguistic, complicated
m aristic, emotional, visual, simple
k )( )(
technical, calculated, aural, contained
y
) )
public, familiar, demonstrative, reflective
Using the fundamental pigments of print color provides a precept. An order that can organize the subsequent ideas that define the project into something tangible and easily relatable. Each color takes on a character that will define how the project is approached programmatically.
4
the elements of hip hop
FIGURE 3.2
Mcc Dj M D Brr G B Gr The basis of Hip Hop culture is derived from four integral but varied components. The Master of Ceremony [Mc] engages the crowd and interacts directly with the music. The Disc Jockey [Dj] creates the aural atmosphere for which the MC will populate with their narrative. The Break Dancer [Br] interprets that aural connection into a physical movement, while the Graffitti writer [Gr] brings the visual tone of all the others together.
These concepts were converged to give the color and elements a physicality through the roles that each hip hop element plays and characteristic that each color represents. [Mc] engages the crowd and interacts directly with the music as well as other [Mc]s, during a lyrical battle which is expressed in this diagram. The Disc Jockey [Dj] creates the rhythm for which the MCs will inhabit with their dialogue. The Break Dancer [Br] demonstrates their interpretation of that connection that is an additive along side the Graffiti writer [Gr] that expresses this collaboration.
FIGURE 3.3
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4
the elements of program
FIGURE 3.4
SPEAK SPEA SP PEAK EAK LIS LIS LISTEN IST STEN WRITE WR RITE T M MO O OV VE The programmatic functions of the building are also divided into four essential elements. The Mc is translated to SPEAK, which represents the auditorium and production spaces. The Dj becomes LISTEN, LISTEN where the recording studios and practice studios occur. The Br is interpreted as MOVE, the physical connection to the public space as well as the dance studio. The Gr is expressed through WRITE the galleries and multimedia labs that provide a space for the visual arts that will populate the building.
auditorum
recording studios
SPEAK LISTEN production studios
project studios
multimedia lab
outdoor performance
WRITE MOVE gallery walls
living rooms
SPEAK
LISTEN
FIGURE 3.5
FIGURE 3.6
FIGURE 3.7
FIGURE 3.8
WRITE
MOVE
The combination of all these functions define the program of this creative arts complex.
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scheme chapter
4
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neighborhood context RESIDENTIAL BUSINESS GALLERIES INDUSTRIAL SITE
FIGURE 4.1
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design intent CREATIVE CONNECTIONS OUTDOOR GALLERIES PUBLIC PERMEABILITY
FIGURE 4.2
FIGURE 4.3
FIGURE 4.4
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FIGURE 4.5
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FIGURE 4.7
FIGURE 4.8
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FIGURE 4.10
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concept development
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FIGURE 4.15
response chapter
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e FIGURE 5.1
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WYNWOOD CREATIVE ARTS COMPLEX
FIGURE 5.2
site:
FIGURE 5.3
205 nw 22 lane
write
1.
9.
2.
9.
5.
3. move
plans:
1. Gallery 2. Community Center 3. Lobby 4. Auditorium 5. Dance Studio 6. Photo Studio 7. Recording Studio 8. Administrative 9. Restrooms
WRITE MOVE
FIGURE 5.4
FIGURE 5.5
106
9. speak
4.
5.
6. 7.
9. listen
8.
plans:
7.
1. Gallery 2. Community Center 3. Lobby 4. Auditorium 5. Dance Studio 6. Photo Studio 7. Recording Studio 8. Administrative 9. Restrooms
SPEAK LISTEN
FIGURE 5.6
FIGURE 5.7
108
sections:
FIGURE 5.8
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sections:
FIGURE 5.9
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FIGURE 5.10
elevations:
FIGURE 5.11
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elevations:
FIGURE 5.12
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axonometric
FIGURE 5.13
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FIGURE 5.14
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bibliography
Martin, Elizabeth. Architecture as a translation of music. New York: Princeton Architectural Press, 1994. Manaugh, Geoff. The BLDGBLOG Book. San Francisco: Chronicle, 2009. Print. Grueneisen, Peter. Soundspace: Architecture for Sound and Vision. Basel: Birkhäuser, 2003. Print. Lehrer, Jonah. Imagine: how creativity works. Boston: Houghton Mifflin Harcourt, 2012. Treasure, Julian. TEDTALK: why architects need to use their ears. June, 2012http://www.ted.com/ talks/julian_treasure_why_architects_need_to_use_their_ears.html Pink, Daniel H. Drive: The Surprising Truth about What Motivates Us. New York, NY: Riverhead, 2009. Print. Pine, B. Joseph, and James H. Gilmore.The experience economy work is theatre & every business a stage. Boston: Harvard Business School Press, 1999. Print. Nash, Eric Peter, and Randall C. Robinson. “A Tale of Two Streets: The MiMo Matrix.” MiMo: Miami modern revealed. San Francisco: Chronicle Books, 2004. 13-19. Print.
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