CHARLESTON INSTITUTE
of
[
Music & Technology
DESIGN 6 ADAM MAHARDY Spring 2013 UF | SoA
CONCEPTION
[ The Great Divide
]
[ Intentional Refrain
]
The city, when examined, has two-three highly defined areas (zones). The
The urban fabric of Charleston, SC is quite unique. A Central Core (Market Street)
distinguishably features used to group them are as follows; Building Size, Lot Size,
is surrounded by a buffer of commercially zoned lots. Even farther, residential and
Building to Lot Ratio, Materiality, Function, Program, Traffic Density, Pedestrian
historic districts can be found. All systems of the city return to a central ‘hub’ and
Density, and Road Width. Commercial buildings speckle Charleston’s coasts and
occupants always find themselves back at the market. To try and capture the
push inland until finally outnumbered by the Repetitive lines of residential housing.
essence of this, I explored the idea of a centrally located space that is Continuously
The diagram illustrates the Dialogue between these three particular zones in Charleston.
re-discovered through-out the course of the buildings intended intinerary. This will
Two Residential sectors intrude, forcefully tearing into the commercially biased area.
provide new visitors with a recognizable landmark while visiting the facilities and
When one looks at something; point of view, perceptional qualities, and the amount of
attending events.
perceivable detail all matter greatly when analyzing it. Charleston is a living city, one that allows its systems to grow and wander eventually meeting to form a complex circuitry. This circuit dictates the conditions and laws that keep the city running and healthy.
[ Program Distribution
+
Illuminative Exploration
% %
%
%
% %
[ Musique Concrète
]
KEY
MUSIQUE A
WHITE SPACE INDICATES A STREET OR ROADWAY
addition to sounds derived
* THE SIZE OF THE SYMBOL IS ASSOCIATED WITH THE AMPLITUDE
form of electroacoustic
music that is made in part from acousmatic sound. In from
musical
instruments
or voices, it may use other sources of sound such as electronic
OF THE
* AMOUNT/LENGTH OF THE SYMBOL IS ASSOCIATED WITH THE DURATION
synthesizers
or
Sounds Recorded From Nature. Also, the structure
INDICATES AN INSTANCE WHEN SOUND WAS OBSTRUCTED OR IMPEDED BY A BUILDING FACE
OF THE SOUND
:
INDICATES A SOUND ORIGINATING FROM A HUMAN SOURCE
INDICATES A SOUND ORIGINATING FROM A NONHUMAN SOURCE
SOUND
CONCRETE
of the compositions is not restricted
fracture
discord
collect
to
the
normal
musical Rules of melody, harmony, rhythm, metre and so on.
The development of musique
at that time the Radiodiffusion-
concrète
Télévision
was
facilitated
Française,
gave
by the emergence of New
Schaeffer and his colleagues
Music Technology in post-
an opportunity to experiment
war
to
with
microphones, phonographs,
and
and
Europe. later
Access
magnetic
tape
(created
in
recorders
1939 and acquired by the Schaeffer’s
Groupe
Recherche
de
de
Musique
Concrète (Research Group on Concrete Music) in 1952), facilitated by an association with
the
French
broadcasting
national
organization,
recording tape
technology Manipulation.
]
TECHNICAL DRAWINGS SCALE 1” = 1-0’
ALL DRAWINGS ARE PLOTTED TO THE INDICATED SCALE.
5 3 3
4
4
2
2 3
5
1 1
1 2
FIRST FLOOR
SECOND FLOOR
1. TICKET OFFICE 2. PREFUNCTION 3. GALLERY 4. ADMINISTRATIVE 5. LOBBY
1. LIBRARY 2. WATER CLOSET 3. THEATRE 4. CAFE 5. LECTURE HALL
B
THIRD FLOOR 1. STUDIOS 2. THEATRE (upper) 3. HOUSING
B
A
A
DIGITAL DRAWINGS
CIMT PERFORMANCE HALL
CIMT GALLERY OF MUSICAL ANTIQUITIES
CARDINIAL ORIENTTION WEST OF NORTH
PROPOSED DESIGN
PROJECT INFORMATION CLIENT T -Charleston Symphony Orchestra LOCATION -175 East Bay St Charleston, SC 29401 SIZE -30,000 Sq Ft COMPLETION DATE -April 22 2013
PROJECT STATEMENT The facility will satisfy the spatial requirements needed by the Charleston Symphony Orchestra of Charleston, SC. Nearly doubling in size over the past 5 years, the orchestra needs a permanent performance venue and facilities to train, practice and execute their expertise. The Facility will double as an institution of higher education, mentoring students in the arts of music. The Space will also facilitate a communal joint in the existing Fabric of Charleston. It will provide citizens with a public garden and enrich EXTERIOR STAIRWAY
the cultural persona already present in the city.
THE EXPLORATION OF LIGHT
AIR CIRCULATION
FLOOD PREVENTION
Light will be worked into the building through voids
Air/Circulation is a major part of any architect’s or urban
Yes, Charleston is prone to flooding and designs
placed in between the existing city and the new
planner’s agenda. For a planner air circulation at the
must be prepared to withstand such an instance.
structure.
This is a concern because direct and
scale of an entire city is important to bring fresh “healthy”
Although the site is close the peninsula’s northeastern
indirect lighting are not balanced on the site due to
air to regenerate and invigorate the inside tunnels of an
coast, flooding happens less often than it does.
the existing obstructions. How can we funnel sunlight
urban environment. The building form should influence
Most of the spaces are elevated above the second
down into first and second story spaces of a building
and negotiate the existing circulation diagram the city
level. Building entrances have raised entrance pads
when it shares a face with a three story building?
currently has in place. This means it should embrace
to provide a “safe” and occupy able pre-space.
the current circulatory duties the empty parking lot is
This platform will house the drainage hardware
responsible for now. Instead of blocking air from passing
and collect rainwater into a collection system.
between streets, with the mass of a new structure, we can mold this mass allowing for circulation to continue.
GALLERY DISPLAY
INTERIOR STAIR
THEATRE (PERFORMER)
A WALL OF PARTS
]
“I intended … to point out an opposition with the way musical work usually goes. Instead of notating musical ideas on paper with the symbols of solfege and entrusting their realization to well-known instruments, the question was to collect concrete sounds, wherever they came from, and to abstract the musical values they were potentially containing”
-Pierre Schaeffer