Praise-scape: An Exploration of Sound in the Land

Praise-scape: An Exploration of Sound in the Land

Courtney R. McQueen

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Praise-scape: An Exploration of Sound in the Land Courtney R. McQueen Thesis submitted to the faculty of the Morgan State University in partial fulfillment of the requirements for the degree of Master of Landscape Architecture Approved: Paul Voos, Chair

Melanie Moser

Diane Allen

December 10, 2012 Baltimore, Maryland

This thesis is dedicated to my husband Kevin McQueen and my son Jeremiah in appreciation for their gifts of time, help, and encouragement.

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Acknowledgements

I would like to thank the members of my thesis committee, Paul Voos, Melanie Moser, and Diane Allen.

Thanks to Paul who has been my mentor since my undergraduate days, Melanie for always helping me go one step further, and to Diane for giving me support when I needed it the most.

I would like to give a special thanks to Jonathan Ceci, of Ayers Saint Gross for always being available, Jan Clark, from the Columbia Association for our site meetings, Milton Adana and Dr. Adam Mahonske, from the Morgan State Music Department, for meetings, Shmuel Erlanger, for your great discussions, and Lauren Voos for your attention to details.

Lastly I would like to give the biggest thanks to my support team, in which none of this would be possible: Kevin McQueen, Valerie, Maceo, and Taylor Bruner, Janese Thomas, Eve Hemby, Staci Walls, Ashley Wilson, Leslie Warren, and Kenneth Dorsey. Your encouragement is simply priceless.

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Table of Contents Dedication.......................................................................................... ii Acknowledgements.............................................................................. iii Table of Contents................................................................................. v List of Images...................................................................................... vi Introduction........................................................................................1 Chapter 1: Rooting Man to Nature: Praise- The Place of Synchronization.......... 3 Defining Praise.......................................................................... 3 Chapter 2: Holistic Site Analysis- Adding the Spiritual Component................. 5 AVP: sound perceived in the built environment................................. 5 Chapter 3: The Abstraction and interpretation of praise................................ 7 Translating Praise....................................................................... 7 Identifying Praise........................................................................ 7 Developing Praise....................................................................... 8 Praise: A Symbiotic Program.........................................................8 Designing Praise: Micro-level Design.............................................. 8 Chapter 4: A New Spiritual Lens.............................................................. 9 Chapter 5: Case Study Symphony Woods Park Columbia, Maryland................ 11 Symphony Woods Park................................................................ 11 Design Concept..........................................................................11 Translating Praise....................................................................... 12 Identifying Praise........................................................................12 Site Pictures...............................................................................16 Developing Praise....................................................................... 18 Synchronizing Praise: A Symbiotic Program..................................... 18 Designing Praise: Micro-level Design.............................................. 23 Appendices: Appendix A Praise Design Guideline Chart...................................... 33 Appendix B Site Evaluation Techniques........................................... 37 Appendix C Scriptures................................................................. 38 Bibliography........................................................................................ 40

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List of Images

Page 12: Figure 5.5 Inventory diagrams Page 14: Figure 5.6 Topography Model Figure 5.7 Site section diagrams

All images are by author unless otherwise noted.

Introduction: Page 1: Sketch of a residential garden

Chapter 2: Page 6: Figure 2.1 Photograph of a plaza, National Harbor, Maryland Figure 2.2 National World War II Memorial, Washington D.C.

Chapter 3: Page 7: Figure 3.1 Barak concept sketch

Chapter 4: Page 9: Photograph of a market in Equador Photograph of a street in Equador

Page 15: Figure 5.8 Existing Praise Analysis diagram Page 16: Figure 5.9 Photograph of site: Shabach space, view along mall axis Figure 5.10 Photograph of site: Towdah space Figure 5.11 Photograph of site: Transition from Towdah space to Tehillah space Figure 5.12 Photograph of site: Tehillah space Page 17: Figure 5.13 Photograph of site: South Zamar transition space Figure 5.14 Photograph of site: Entrance path to Merriweather Figure 5.15 Photograph of site: Barak space, pond

Chapter 5:

Figure 5.16 Photograph of site: Barak space, stream

Page 10: Figure 5.1 Aerial Diagram of Merriweather Post Pavilion and Symphony Woods Park, Columbia, Maryland

Page 18: Figure 5.17 Praise development diagram

Page 11: Figure 5.2 Diagram of the State of Maryland and Howard County Figure 5.3 Downtown Columbia Neighborhood Plan, Howard County Office of Planning and Zoning, Ellicott City, Maryland Figure 5.4 Photograph of Symphony Woods Park, Columbia, Maryland

Page 19: Figure 5.18 Symphony Woods Master Plan Page 20: Figure 5.19 Photograph of an outdoor stage, Caponi Art Park, Eagan Minnesota http://www.museumsofmn.com/ caponi-art-park-and-learning-center.html Figure 5.20 Photograph of a kinetic fountain, Utica, Tulsa http://tulsagentleman.blogspot.com/2011/03/weekendreflection-kinetic-water.html

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Figure 5.21 Photograph of Tree Top Walk, WalpoleNornalup National Park, Australia http://www.crikey-adventure-tours.com/valley-of-thegiants.html Page 21: Figure 5.22 Photograph of “Wind Reeds” installation by Bill and Mary Buchen, N.C. Museum of Art, Raleigh NC. Photograph by Lawrence Earley http://earleyphotography.photoshelter.com/image/ I0000WRdCz0AFpgQ

Page 29: Figure 5.35 Contrabass Chimes by Freenotes Harmony Park, http://freenotesharmonypark.com/instruments

Figure 5.23 Photograph of “Five Needles” sculpture by Michael McGillis, Michigan Legacy Art Park Thompsonville, Michigan, http://michaelmcgillis.com/

Figure 5.38 Whale Drum by Nature’s Instruments, http://www.naturesinstruments.com/

Figure 5.24 Photograph of “Dance with the Wind” kinetic sculpture by Ralfonso, http://www.ralfonso.com/ Page 22: Figure 5.25 Detail plan

Figure 5.36 Swirl by Freenotes Harmony Park, http://freenotesharmonypark.com/instruments Page 30: Figure 5.37 Saturns Chimes by Freenotes Harmony Park, http://freenotesharmonypark.com/instruments

Figure 5.39 Manta Ray by Freenotes Harmony Park, http:// freenotesharmonypark.com/instruments Figure 5.40 Pagoda Bell by Freenotes Harmony Park, http://freenotesharmonypark.com/instruments

Figure 5.26 Tree walk image: view of art bars from ground

Page 31: Figure 5.41 Playground Grading Plan

Page 24: Figure 5.27 Tree walk image: view from art bars bridge

Page 32: Figure 5.42 Playground Surface Diagram

Page 25: Figure 5.28 Tree walk exit: image of art bar gateway Figure 5.29 Concept Model Figure 5.30 Photograph of “Drum Circle” installation by Bill & Mary Buchen http://www.sonicarchitecture.com Page 26: Figure 5.31 Central play zone section Figure 5.32 Grade school play zone section Page 28: Figure 5.33 Tehillah site section Figure 5.34 Preschool play zone section

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Introduction

In the past, biblically derived spiritual or sacred space designs have been reduced to representational or symbolic biblical elements. Consider the ancient Islamic gardens. Their design features incorporated four quadrants and the cha-bach, representing the four rivers of life mentioned in the book of Genesis, and the paradise gardens with their representational fruit trees. The medieval cloister gardens featured herbs for the use of medicine in the pursuit to continue the healing ministry of Jesus, and currently many of the monastic gardens are full of symbolic elements and plantings. Today, Christian scared spaces are composed of angelic statures, sculptural fountains, and labyrinths, among other elements. Although these outdoor spaces are enjoyable, one wonders if there is a deeper spiritual connection to be experienced. What is a successful spiritual space? In the book Placeways, E.V.Walter coveys what I believe is a profound example of a sacred space and the power of its essence.

“Sacred place is a specific environment of phenomena that are expected to support the imagination, nourish religious experience, and convey religious truth…

Certain forces in the invisible world of spirit establish a location in the physical world of the senses. The religious program of a sacred place engages or disengages the senses, edifies the mind, and leads the soul back to the world of spirit. A sacred place manifests a spiritual vision.” 1 This project explores the connection between man and nature though the sound of praise. There is spirituality within our environment that has the capacity to connect to everyday life.

It can be enhanced and stewarded. One aspect of this spirituality is sound. Land makes a sound, and the expression of praise can be articulated in the natural and designed landscape. When in unison with its occupants, a landscape can foster a dynamic spiritual experience. With an understanding of the psychology of praise, coupled with an understanding of experiencing sound in the environment, a designer can enhance or create a synchronization of praise on a site in an effort to better link people with their spatial environment.

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20 scriptures throughout the Old and New Testament reference nature either praising God or commanding nature to do so. It is clear that these statements are important and worthy of attention. There is a sound that comes from nature, and man has the ability to synchronize with this sound. An iconic picturesque example is found in the 98th Psalm:

1 Rooting Man to Nature: Praise, the Place of Synchronization Unity is a big spiritual principle. Where unity is, there is agreement. There is a spiritual power and awareness released where unity and agreement is found in the atmosphere. In past times, Christians have striven for unity among one another and tried to force this principle onto other cultures and civilizations; however one aspect in Christianity that has been lost over centuries is the unity between man and nature. E.V. Walter expresses, “People build or discover sacred places to experience hidden presences. In the feeling and meanings of a sacred space, and in the sacred places of all times, worshipers express a religious longing to recover a lost unity.” 2 The book of “Ephesians” articulates God’s desire for all things in heaven and earth to be unified.

“He made known to us the mystery of his will according to his good pleasure, which he purposed in Christ, to be put into effect when the times reach their fulfillment— to bring unity to all things in heaven and on earth under Christ.” 3

“Shout joyfully to the LORD, all the earth… Let the sea roar, and all its fullness, The world and those who dwell in it; Let the rivers clap their hands; Let the hills be joyful together before the LORD…” 6 Within multiple books in the Bible, mountains are affiliated with both singing and crying, trees with clapping, and valley’s shouting. The book of “1st Corinthians” expresses, with all of the sounds in the world, none of them are insignificant. When you focus in on the sound of praise, all creatures, whether it is the earth or man, has an important voice. Man cannot neglect the sounds or voices of praise. Praise creates a unique awareness of God, oneself, and one’s environment. When identifying the praise created by the environment, that awareness has the potential to amplify.

Defining Praise There are seven Hebrew words translated as praise throughout the Bible. When the definitions and broader meanings are examined, the typically limited view of praise reaches out into every aspect of life. Following is a brief summary of each word.

This unity is not limited to the idea of two worlds colliding. This statement embodies the notion of all things in existence: man, nature and all creatures of the earth. There is a spiritual aspiration for unity to exist between man, nature and heaven. Mircea Elide explains in The Sacred and The Profane,

Zamar: instrumental music typically made with string instruments - to prune or shear- the melody: -A spiritual melody has the power to cut through negative barriers and reach the core of the soul. It is necessary in order to have a heart of thanksgiving, and is the foundation upon which everything is carried.

“…experience of sacred space makes possible the “founding of the world”: where the sacred manifests itself in space, the real unveils itself, the world comes into existence…it also effects a break in plane, that is, it opens communication between the cosmic planes (between earth and heaven) and makes possible ontological passage from one mode of being to another. It is such a break in the heterogeneity of profane space that creates the center though which communication with the transmundane is established...” 4

Towdah: thanksgiving in song, confession, sacrifice of thanksgiving: -An inwardly focused song, giving thanks to God for what he has done personally or within the limits of understanding.

Thanks given in spite of circumstances.

Tehillah: the act of public or general praise, sing praises of renown and fame, hymn of the spirit: -A spontaneous song or response of praise, incorporating thanksgiving.

Unity is possible between man and his environment, and it is something that we should strive for. Where unity is present, power is released and there is an increase in spiritual awareness because agreement will always touch heaven. 5 Praise is an action in which man and nature have the ability to unite. Over

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Yadah: To shoot, give thanks, confess, and declare: -Mainly expressed through lifting hands, and can involve the uplifting of the body. Deals with submission, and is a physical response of thankfulness.

Shabach: commend, glory, triumph, a sound typically made with brass instruments: -A royal expression of might, power and the greatness of God; conveying the all-encompassing ability and power of God. Barak: to bless, to kneel, adored: -Absolute acknowledgement that God IS, and is the source of all.

Halal: to shine, boast, act madly: -The highest praise, acknowledging God in the highest form possible; it is all the good he bestows on mankind reflected back to him in the form of praise. It is a conclusion, now knowing all praise is wholehearted.

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2 Holistic Site Analysis- Adding the Spiritual Component Site analysis is holistic. Spiritual site analysis has been neglected as a common step of design process. “We take for granted ritual and doctrine as theological subjects, but we tend to overlook the theology of building, settling, and dwelling.” 7 Spiritual qualities are only acknowledged when the development and design program calls for it. When a client asks for a spiritual space, whether the building of a mosque or a residential garden, those necessary cultural or religious principles are thought of during the project analysis and design. When experiencing the “everyday outdoors” (playgrounds, shopping centers, office complex, and neighborhoods), it seems curious that these spaces are not commonly spiritually analyzed in conceptual development.

These “everyday outdoors” are the places encountered the most durring daily routines. When the spiritual examination is disregarded, the opportunity to incorporate and steward a higher presence can be lost or merely seen as mundane affairs. Mircea Elide conveys that spirituality brings such a power, that when it is recognized, the space-- no matter how ordinary-- becomes a breeding ground for a supernatural encounter.

“When the sacred manifests itself in any hierophany, there is not only a break in the homogeneity of space; there is also revelation of an absolute reality, opposed to the nonreality of the vast surrounding expanse.” 8 Spirituality should not be left to “religious” spaces, and neither should the analysis of such. It can be found everywhere, and designers should approach sites with that in mind. Land analysis is holistic: environmental, social- cultural, and spiritual. It is a rising common day practice to examine man’s connection to his land. This is found in Permaculture and other synergetic methodologies. Sustainability is the name of the game, and synergy is the game winning play. But can true synergy be produced without the recognition of a spiritual reality? Would not sustainability increase when design and program mesh with spiritual awareness? Site analysis should incorporate every aspect of life-environmental, social- cultural, and spiritual--regardless of site program.

Audibly, Visually, Physically (AVP): Sound Perceived in the Built Environment It is difficult to notice how much people perceive spaces though sound. One can become familiar with the environment without realizing what senses are being used, in order to experience it.9 Sound at its simplest is a type of energy that is composed of wavelengths that create vibrations. It is commonly associated with hearing abilities; however, a sound experience is not just left for the ear. It is so powerful that it penetrates every aspect of the senses, even reaching to the spirit of a man. 10 The perception of sound makes it multi-sensory. In connection to how one experiences spaces, there are three common ways sound is perceived: audibly, visually, and physically.

Sound is experienced audibly in a space through multiple sources. Three main sources are environmental, social, and through contact-generated sound. Environmental sounds are created by elements in the existing environment. It can be produced by natural elements like the sound of leaves rustling in the wind, squirrels running up trees, motorcycles zooming by, or a water feature in a plaza. It is simply the sounds heard all around. Social sound is the sound people create through communal interactions, activities and site programming. These sounds can be the screaming crowd at the football game, the intimate conversation on a park bench, or the claps of appreciation after an outdoor concert. They are the created sounds. Contact-generated sounds are produced from the physical interaction of people and materials. The sound of people walking over utility grates on the sidewalk, the striking sound of a woman’s heels walking on a wooden floor, or the chopping of fire wood; it is the resulting sound of activity in a space. Contact-generated sounds are created from the materials we come in contact with.

Sound can be experienced visually. Technically sound is impossible to see at the speed in which it travels. However, in relation to the human experience of space, eyes help to perceive sound.

Visual connections are made from how one describes what is seen, from visual analogies and past visual- aural experiences, (memories). Visual analogies are made through describing our surroundings. Language, borrowed from music theory, can be used to make these depictions. Staccato is a musical articulation that indicates a short detached emphasized sound Figure 2.1 is an example of staccato represented in a landscape. Each stone ball is separated from the other at the same distance, creating an articulation of each element. The stone material is cleanly separated from its base creating clearly defined attachment points.

The visual perception of this space can give a connection to how a specific type of sound is heard. Analogies are another way to

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describe our environments through the lens of sound. Sounds can be experienced through past memories. Memories and the imagination are so powerful that it is able to bring former sensual experiences to the present just from a visual trigger. As an example, look at Figure 2.2. Any previous encounter with hearing a dripping faucet, or standing next to a water fall, creates the ability for the mind to hear what this fountain sounds like.

Sound is so powerful of a force that it imprints on memories.

Lastly, sound is experienced physically through vibrations and again through music analogy. Sound is always accompanied with motion and vibration, thereby creating a physical experience. A vibration is felt based on its frequency. Think of a subwoofer in a car. It can be so strong that the bass can be felt in the chest or in other nearby cars. Similar to the visually music theory analogy, physical analogies are commonly made in relation to a space.

Designers consider tempo: the speed in which a person moves through a space, duration: how long to stay in a particular space, and rhythm: the pattern of movement created. These terms are used in music theory to shape the experience of sound, just as they are used to help shape the experience of space. “Walking is a dialogue flexed by rhythmical propulsions”.11 Bill Buchen, in Sonic Architecture writes, “movement, orientation and social interaction provide cues for interpreting sensory information from one’s physical surroundings. Aesthetic potential for human and environmental interplay within a common sphere is derived from enhanced cognitive perceptions. Attuning the senses generates a transformative process.” 12 Sound is a critical element in how the built environment is designed and perceived.

Figure 2.1 National Harbor, Maryland

Figure 2.2 National World War II Memorial, Washington D.C.

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3 The Abstraction and Interpretation of Praise Praise is not just a simple action or generic sound. Each Hebrew word has a different viewpoint of one’s relationship with God, different sounds, and different actions. There is variety in praise.

There is also a variety of landscapes. When you look at nature praising, not all places are creating the same praise. If praise can be abstracted from a site, the ability for unity can be enhanced through programming and the design of that space. Through design and programming man can be synchronized with the praise of the site, ultimately creating a spiritual awareness. This process is assembled into five steps: translating praise, identifying praise, developing praise, synchronizing praise, and designing praise.

hear the crushed stone path underfoot, and the street turns to white noise. Halfway to the fountain, the path turns into grass; sounds underfoot become quieter, but the sound of the water crashing down is getting louder; the street is no longer present.

By time the fountain has been reached, the path has turned into sand. Not only is the sound of physical movement lost, the body is now penetrating the ground and the sound of the fountain is commanding (Figure 3.1). This experience--visually audibly and physically--is a representation of Barak, which is the development of pulling away and fully acknowledging. Application is produced by converting these terms and concepts into design guidelines.

Identifying Praise When a site is examined, its natural characteristic can speak volumes. The structure of plant material, flow of water systems, the natural demarcations of space or looking at the natural focal elements bring about a greater meaning. An understanding of the design connection to praise will translate site inventory into a praise analysis. The cityscape, landscape, soundscape, and spatial fabric are inventoried. The awareness of edges, ceilings, and floor plane are things that start to form layers which can then be filtered through the developed guidelines. This filtering process reveals the existing praise-scape and its boundaries on a site.

Translating Praise

Through the process of examining how this could happen, it became apparent that the basis of translation is always rooted in the knowledge of vocabulary. Designers and planners speak a specific language. When the definition of each Hebrew word is abstracted into design terms, a design vocabulary is created to express a spiritual or scared space. Using design vocabulary to analyze the site produces an efficient way to identify a space’s praise or enhance a praise that might not be strongly evident.

The first step to extracting design vocabulary and principles is looking at how the attributes of the words are experienced. For example, the Hebrew word Barak expresses praise through full acknowledgement of God and recognition that he is the source of all. Some questions asked to filter out design vocabulary are: how is full acknowledgement through the lens of design created; what brings about full acknowledgement; and what is the act of acknowledging something? From these questions, we can start to extend the definitions to design terms and ideas. When analyzing the environment one can experience full acknowledgment or focused attention in the landscape. This can be visually, by developing focal points or with the use of sightlines. Audibly, through a dominate sound in a space, like a train, and physically through the undulations of space. Designers are able to create such affects. Imagine walking on a path headed towards a founFigure 3.1 Barak concept sketch tain. The path is leads downhill from a crowded city sidewalk where the horns and whistles of traffic and the scuffling of anxious pedestrians are flooding by. Traversing the path one start to

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Developing Praise The knowledge of the existing praise in a particular environment gives a designer the ability to enhance it, develop it where a presence is not apparent, or preserve it. A macro level master plan can be created by designing with the land.

Synchronizing Praise: A Symbiotic Program User synchronization with the space through programmatic elements is an essential part in the development of unity. Tehillah is the act of public praise. If a space was discerned to be doing this type of praise, private reading nooks would not be an appropriate programming element. Alternately, a community meeting area would be in tune to the space.

Designing Praise: Micro-level Design Lastly, the connections are made through the details of design.

This process can be applied on a micro-level in the development of specific programming elements such as the use of materials, the design of furnishing, and the movement throughout space.

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4 A New Spiritual Lens

These praise design principles create a new spiritual lens to view and experience spaces. This analysis starts to redefine what is typically considered as a spiritual or sacred space. By understanding praise people can develop eyes to see praise in every aspect of life. Spirituality is incorporated in everything. This analysis shows that a spiritual act is not just limited to prayer, meditation or repose, but that a loud active space can bring just as powerful of a spiritual encounter or awareness. People enjoy a variety of sounds 13, and this methodology adds to current landscape analysis processes to enhance that. Designers are able to use processes to examine the physical and environmental capacity sites have for programming. With this added analysis sites will be able to be programmed holistically, incorporating all aspects of life.

Notes

1. Walter, Placeways: Theory of Human Environment, 75.

2. Ibid., 95.

3. Ephesians 1:9-11(NIV).

4. Eliade and Trask, Sacred and profane: nature of religion, 63.

5. Hughes, Sound of Heaven, Symphony of Earth, 66.

6. Psalms 98: 4-8 (NKJV) 7. Walter, Placeways: Theory of Human Environment, 77.

8. Eliade and Trask, Sacred and profane: nature of religion, 21.

9. Rasmussen, Experiencing Architecture, 224.

10. Hughes, Sound of Heaven, Symphony of Earth, 138.

11. LaBelle, Acoustic Territories: Sound Culture and Everyday Life, 100.

12. Buchen, Sonic Architecture, 9.

13. Rasmussen, Experiencing Architecture, 236.

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Figure 5.1 Aerial Diagram of Merriweather Post Pavilion and Symphony Woods Park

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5 Case Study: Symphony Woods Park Columbia, Maryland

Figure 5.2 Diagram of the State of Maryland and Howard County

Symphony Woods Park As a means of exploration this praise methodology was applied to the current development of Symphony Woods Park in Columbia Maryland. Symphony Woods is a thirtysix acre park in the heart of Downtown Columbia that encircles Merriweather Post Pavilion, a popular outdoor concert venue in the region (Figure 5.1) (Figure 5.2). The vision for the park is to create a “new cultural park” by developing new programming, adding outdoor artwork, and adding a walking path around the site. Conceptual development has been taking place since 2009, and progress has been slow due to conflicting visions between both administrators and local community. The major conflicts fall between the type of programming developed and the removal of prominent trees. Currently, the park is very naturalistic with little programing throughout the year. The major events held within the park are Wine in the Woodsa major wine festival in the state, Symphony of Lights- a winter holiday nighttime lights display, and the Capital Jazz festival. The two conflicting opinions are to keep the park naturalistic and serene, or to program it for year round use and develop it into the “Central Park of Columbia”.

With the current wavering opinions on development, this site posed as the perfect place to analyses praise- in hopes to develop a synergetic program thereby creating a “new Figure 5.3 Downtown Columbia Neighborhood Plan cultural park” (Figure 5.3) (Figure 5.4).

Design Concept This project applies the Praise-scape methodology to Symphony Woods Park in efforts to find the best programmatic elements and to bring out the existing spirituality on the site, and sound is studied as a major design focus. This project aims to provide both a master plan and detailed designs for two areas in the park. This design process is Figure 5.4 Symphony Woods Park

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broken down into five steps: translating, identifying, developing, synchronizing, and designing praise.

CITYSCAPE REST ROOMS WEST TICKET BOX

Translating Praise

PAVILION

The literal translation of the seven Hebrew words for praise and the Jewish and Christian cultural application were examined; revealing a mix of actions, specific musical timbre, sounds, and motions. Each definition was studies to discover how each word is experienced audibly, visually and physically, and through programmatic and social elements. This information was developed into a design guideline chart that revealed a design connection to praise (See Apendex A).

ADMINISTRATION OFFICE MAIN TICKET BOX When the pavilion opened in 1967 it was nationally known for its acoustic design: Connect the park with the history of the architecture.

Restrooms are easily accessed outside of the Merriweather property.

ARCHITECTURE

FUTURE PATHWAY ADA PARKING LOT PARKING LOT MAINTENANCE LOT & LOADING AREA MAIN MERRIWEATHER ENTRANCE MERRIWEATHER GATE MAIN VEHICULAR ACCESS MINOR VEHICULAR CONNECTION MAJOR PEDESTRIAN ACCESS MINOR PEDESTRIAN ACCESS The park currently has more pedestrian entrances, however they are not pronounced or inviting.

ACCESS MALL

Identifying Praise

LAKE

SYMPHONY OVERLOOK

The site inventory of the Symphony Woods focused on Bill Buchen’s Soundscape Site Evaluation Techniques in Sonic Architecture. This inventory process focuses on the landscape, cityscape, and soundscape (See Apendex B). In addition to his criteria, topography, sun exposure, hydrology, vegetation, natural demarcation of spaces, and site timbre were added to develop a more in-depth study into the landscape qualities off the site (Figure 5.5). The spatial qualities of the areas of the site that were analyzed, and outlined by the natural demarcations found through a figure ground study. The spatial qualities addressed “walls”, “ceilings”, openness, enclosure, ground plane, and connection in the landscape (Figure 5.7). All of the inventoried material was filtered through the praise design guidelines to decipher what the existing and or potential praise is on the site (Figure 5.8).

LIBRARY THE CRESCENT

MERRIWEATHER POST PAVILION TOBY’S DINNER THEATER THE CRESCENT

THE CRESCENT

DOWNTOWN NEIGHBORHOOD MULTIUSE DEVELOPMENT SYMPHONY WOODS PARK STREAM STREETS & GRAVEL LOTS RESIDENTIAL NEIGHBORHOOD PEDESTRIAN BRIDGE PEDESTRIAN PATH

Symphony Woods Park is in walking distance to all of the arts, cultural, & recreational facilities in the downtown neighborhood.

PROPOSED DOWNTOWN NEIGHBORHOOD PLAN

Figure 5.5 Inventory diagrams

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Symphony Woods will serve as a district level park as well as a micro-level neighborhood facility.

SOUNDSCAPE

LANDSCAPE

67dB- HIGHEST READING ON SITE

HIGHEST SITE ELEVATION 370

45dB- LOWEST READING ON SITE LOWEST ELEVATION 310

TOPOGRAPHY

The 36 acre park is a very physical site with noticeable grade changes.

GREATEST TRANSITION EXPERIENCE

RADIO SHACK DIGITAL SOUND LEVEL METER RESPONSE: SLOW WEIGHTING: A MAX

directly over the site creating a 20 level

DECIBEL LEVELS

FILTERED LIGHT- EVENLY DISTRIBUTED FILTERED LIGHT- SMALL OPENINGS OF DIRECT LIGHT OPEN SKY- DIRECT SUN

WIND WATER

FILTERED LIGHT- NO DIRECT SUN

BIRDS

There is an dynamic experience with the sunlight transitions around the

SUN EXPOSURE

INSECTS SQUIRRELS

DRY CREEK BED

Though the sound levels are not

DILAPIDATED STREAM HEALTHY STREAM POND

The southern stream is visible and physically accessible.

The northern stream is not visibility or physically accessible from any part of the park.

SITE TIMBRE

HYDROLOGY STATELY GROVE

OPEN LAWN 18”< CAL. SPECIMEN TREES-DOMINANT

ON & OFF SITE VEHICLES

LUSH GRASS WOODS

VEGETATION

AIRPLANES OVER SITE

Specimen trees are the main focus on the northern half of the site. They create both a vertical & horizontal interest due to their strong limbed up trunk form.

The southeast side of the park is the only area with heathy thick lawn.

surrounded by other sounds in the park, the aircraft sound become white noise.

Vehicles along Little Patuxent and South Entrance Road can only be heard along the North & West sides.

NOISE POLLUTION (UNDESIRABLE SOUND) The Merriweather gate, woods, stream,

FIGURE GROUND

physically perceived.

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The Merriweather trucks & facility carts can be heard throughout the park- they are the loudest at the south side of the park.

Figure 5.6 Topography model

Figure 5.7 Site section diagrams

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Figure 5.8 Existing Praise Analysis

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Site Pictures

Figure 5.9 Shabach space, view along mall axis

Figure 5.11 Transition from Towdah space to Tehillah space

Figure 5.10 Towdah space

Figure 5.12 Tehillah space

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Figure 5.13 South Zamar transition space

Figure 5.15 Barak space, pond

Figure 5.14 Entrance path to Merriweatherâ&#x20AC;&#x2122;s main gate

Figure 5.16 Barak space, stream

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Developing Praise

Synchronizing Praise: A Symbiotic Program

A destination experience is created in the three areas where praise is strongly perceived. These spaces are shown red, orange, and purple (Figure 5.17). A path experience is developed in the spaces where praise is not as apparent. These spaces are shown in blue and yellow (Figure 5.17). Design enhancements are made to highlight the praise discern in the location.

The park is a network of paths and destinations experiences through seven distinct spaces that incorporates an experience with all seven praise words. The path is three quarters of a mile, and the destination loop creates a mile walk. Each space has a series of design guidelines and design proposals that correlate with its praise. Starting at the north pedestrian entrance of the park, each space is described clockwise (Figure 5.18):

Figure 5.17 Praise development diagram

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Figure 5.18 Symphony Woods Master Plan

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Shabach The Shabach space is programmed as an open festival destination experience in the park. A pedestrian path is aligned with the pedestrian path to the mall along the north edge. A gathering plaza is along the same axis as the mall, and has a kinetic fountain at its center. A multipurpose stage is placed at the eastern edge to expand programing elements as well as spread out the usage of the space (Figure 5.19). A tree walk bridge is located along the Figure 5.19 Caponi Art Park, Eagan Minnesota northeast side of the park. It follows the edge of the wooded area, broadening the space. The path is comprised of a porous mosaic path, and brass material should be incorporated in the site furnishings.

Halal Halal is represented through the kinetic fountain. It is designed using multiple textures, bold colors and or reflective materials, showing vertical and horizontal interest, and generating sound (Figure 5.20).

Towdah The Towdah space is a path experience along the east side of the park. It is a tree walk bridge that gets thirty-five feet high into the trees. Red bars are used as tree art to represent pattern in the space, and create inward interest (Figure 5.21).

Figure 5.20 Kinetic fountain

Yadah Yadah is expressed along the east side of the park though two different spaces. Within the Towdah space, the tree walk and tree art are used to elevate the body and create vertical interest. Within the Tehillah space it is expressed with elements that elevate and lower the body though playground equipment.

Tehillah The Tehillah space is a playground destination experience.

It is articulated through the shape and placement of the art bars in the ground, and it incorporates a variety of outdoor percussion instruments, and an echo chamber for a variety of sound experiences and timbre. The path is comprised of loose gravel add a stronger sound with walking.

Zamar Zamar is represented two ways in the park. It is used first

Figure 5.21 Tree Top Walk, Walpole-Nornalup National Park

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as a way to create congruity through the park with plantings that attract song birds, placement of wind reed sculptures throughout the park (Figure 5.22). It also serves as transitions areas between each gathering space. Each Zamar area functions as a path experience incorporating naturalistic sculptures (Figure 5.23). Every entry of to the site and to each space is treated with these elements, and all three paths are made of recycled rubber.

Barak The Barak praise is located on the south and southwest side of the park. It is a mulch path that circles the lake and traverses though the woods. Small coves with private seating surround the pond. Private seats align the path through the woods, and kinetic wind sculptures serve as art and Figure 5.23 “Five Needles” sculpture by Michael McGillis, as soothing sound elements (Figure 5.24). An additional Michigan Legacy Art Park pedestrian bridge is placed within the woods.

Parking Shared parking is proposed between Merriweather Post Pavilion and Symphony Woods along the Pavilion’s east boundary, and twenty-six additional parking spaces are added along the northwest portion of the park.

Figure 5.22 “Wind Reeds” installation by Bill and Mary Buchen, N.C. Museum of Art

Figure 5.24 “Dance with the Wind” kinetic sculpture by Ralfonso

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Figure 5.25 Detail plan

Figure 5.26 Tree walk image: view of art bars from ground

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Designing Praise: Micro-level Design A “path” and “destination” space on the west side of the park is designed to express the details of their praise analysis. The Tehillah and Towdah praise spaces are developed as well as incorporating the design elements of Yadah.

The final design scheme expresses the spiritual journey of an inward patterned of thanksgiving that transitions to a spontaneous outward public praise. Yadah is shown as a physical expression of that inward transition. These praise features are articulated by the change from inward to outward, the rhythmic to spontaneous, and through the physical body (Figure 5.25).

Towdah Inward focus, the common repetitious use of “thank you”, intimacy of Towdah and verticality of Yadah are the emphasis of design translation in the Towdah space. Reforestation techniques are used to develop a woodland infill along the west side of the tree walk to encourage focus to the inward section of the park. Art bars create pattern and serve as a focal element for the walk through the space.

The art bars are red tree art that are attached to the tree walk structure, and cross through the trees in an architectonic form. They serve as a vertical focal element for pedestrians on the ground path, (Figure 5.26) and encourage inward focus for pedestrians on the tree walk (Figure 5.27).

Individual seating is placed on the tree walk, mostly facing toward the center of the tree art. The tree walk is a universally designed tensile structure that provides a thirty-five foot high walk through the space. The path spirals to the ground emphasizing rhythmic movement.

Transition The transition from Towdah to Tehillah is accented through the art bars and plant material. The art bars acts as a gateway in which the pedestrian walks through, and then disappears into the ground (Figure 5.28). The art bars break their pervious patterned form, showing more of a spontaneous form. A fern garden is place at the edge of the path in the Towdah section to highlight the shift from shade to brightness through deep plant color. Likewise a brightly planted mound is built and the edge of the Tehillah opposite to the fern garden.

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Tehillah The Tehillah space developed into a playground that provides amusement for all ages. The spontaneity and public activity of Tehillah and the vertical physical movement of Yadah are the design intent of the playground. Spontaneity is articulated through sound. A variety of outdoor percussion instruments are placed throughout the space as a means to fluctuate the timbre of the space. A communal drum set and sound wall is used to promote public gatherings (Figure 5.30) (Figure 5.31) and wall railings serve as talking tubes. An echo chamber is place on the path to create an experience with vibration and sound (Figure 5.34) and whale drums are used to experience audible sound and vibration. Spontaneity is experienced visually though the placement of the art bars. The art bars pop in and out of the ground taking on different forms of play equipment.

Lastly, spontaneity is physically expressed though the un-

dulation of the ground, and the organic movement around the space (Figure 5.33). Verticality is display though climbing walls, shoots, and slides (Figure 5.34).

Materials Turf grass is the main surface in the playground. This space is the only space in the park that receives enough sun to produce thick healthy grass. The design intent is to keep the grass as a highlight in the park. Brown rubber mulch is used as a play service, which surrounds all play and climbing equipment. Mondo grass is used to define play edges, and plant beds are used to define overall spatial edges.

Zamar The overall park connecting elements are shown through the incorporation of site wide plant materials that accent the entries of spaces, and placement of wind reeds.

Figure 5.27 Tree walk image: view from art bars bridge

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Figure 5.28 Tree walk exit: image of art bar gateway

Figure 5.29 Concept Model

Figure 5.30 Drum Circle installation

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Figure 5.31 Central play zone section

Figure 5.32 Grade school play zone section

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Figure 5.33 Tehillah site section

Figure 5.34 Preschool play zone section

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Figure 5.35 Contrabass Chimes by Freenotes Harmony Park

Figure 5.36 Swirl by Freenotes Harmony Park

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Figure 5.39 Manta Ray by Freenotes Harmony Park

Figure 5.37 Saturns Chimes by Freenotes Harmony Park

Figure 5.40 Pagoda Bell by Freenotes Harmony Park

Figure 5.38 Whale Drum by Natureâ&#x20AC;&#x2122;s Instruments

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Existing Contour Proposed Contour Proposed Elevation Proposed Sidewalk Scale: 1” = 30’

Figure 5.41 Playground Grading Plan

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Ophiopogon japonicus

Rubber Play Surface

Gravel Path

Sod

Shrub/Groundcover mix

Woodland Infill

Scale: 1”=50’ Figure 5.42 Playground Surface Diagram

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Appendix A Praise Design Guideline Chart

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Appendix B Site Evaluation Techniques

Buchen, Bill, and Mary Buchen. Sonic architecture. New York: The Authors, 1998. Print.

x. identification of sounds specific to a geographic area, including abandoned sound marks ( obsolete sounds of historical importance to a locale…trolleys, steam trains, churches) xi. acoustic potential of existing resonant spaces • natural amphitheaters • underground tanks • reflective surfaces or surrounding architecture

Landscape i. Surrounding geography (mountain, sea, farmlands, forests) ii. Climate Cityscape iii. historical, contemporary and future use of the site iv. cultural traditions of the community v. existing architecture and infrastructure vi. patterns of public movement through an area (desire lines) Soundscape vii. noise pollution (undesirable sounds) viii. analysis of existing sound environment • acoustic horizons (the distants a sound travels over a landscape ) • decibel levels • Isobel mapping ix. analysis of sonic time cycles of a site • daytime vs. nighttime ambience levels • sound events (noon whistles, church bells, train schedules)

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Psalm 69:34

Appendix C

New King James Version (NKJV) 34

Scriptures Foundation scriptures

Let heaven and earth praise Him, The seas and everything that moves in them.

Psalm 96:1

New King James Version (NKJV) 96

Oh, sing to the LORD a new song!

Sing to the LORD, all the earth.

1 Corinthians 14:10-12 King James Version (KJV)

Psalm 98:4-8 New King James Version (NKJV)

10

There are, it may be, so many kinds of voices in the world, and none of them is without signification.

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Shout joyfully to the LORD, all the earth; Break forth in song, rejoice, and sing praises.

5 Ezekiel 43:2 Sing to the LORD with the harp, New Living Translation (NLT) With the harp and the sound of a psalm, 6 With trumpets and the sound of a horn; 2 Suddenly, the glory of the God of Israel appeared from the Shout joyfully before the LORD, the King. east. The sound of his coming was like the roar of rushing 7 Let the sea roar, and all its fullness, waters, and the whole landscape shone with his glory.

The world and those who dwell in it; 8 Let the rivers clap their hands; Praise scriptures Let the hills be joyful together before the LORD, 1 Chronicles 16:23

Psalm 100:1-2

New King James Version (NKJV)

New King James Version (NKJV)

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1

Sing to the LORD, all the earth; Proclaim the good news of His salvation from day to day.

Make a joyful shout to the LORD, all you lands!

Serve the LORD with gladness; Come before His presence with singing.

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Psalm 65:12-13 New King James Version (NKJV)

Psalm 148:3-10 New King James Version (NKJV)

12

They drop on the pastures of the wilderness, And the little hills rejoice on every side.

13 The pastures are clothed with flocks; The valleys also are covered with grain; They shout for joy, they also sing.

Psalm 66:4 New King James Version (NKJV) 4

All the earth shall worship You And sing praises to You; They shall sing praises to Your name.â&#x20AC;? Selah

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Praise Him, sun and moon; Praise Him, all you stars of light!

4 Praise Him, you heavens of heavens, And you waters above the heavens!

5 Let them praise the name of the LORD, For He commanded and they were created.

6 He also established them forever and ever; He made a decree which shall not pass away.

7 Praise the LORD from the earth, You great sea creatures and all the depths; 8 Fire and hail, snow and clouds;

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Stormy wind, fulfilling His word; 9 Mountains and all hills; Fruitful trees and all cedars; 10 Beasts and all cattle; Creeping things and flying fowl; Isaiah 14:7-8 New King James Version (NKJV) 7

The whole earth is at rest and quiet; They break forth into singing.

8 Indeed the cypress trees rejoice over you, And the cedars of Lebanon, Saying, ‘Since you were cut down, No woodsman has come up against us.’

Isaiah 42:10

Isaiah 55:12 New King James Version (NKJV) 12

“For you shall go out with joy, And be led out with peace; The mountains and the hills Shall break forth into singing before you, And all the trees of the field shall clap their hands.

Jeremiah 51:48

New King James Version (NKJV) 48

Then the heavens and the earth and all that is in them Shall sing joyously over Babylon; For the plunderers shall come to her from the north,” says the LORD. Luke 19:40-41

New King James Version (NKJV)

New King James Version (NKJV)

Praise to the LORD 10 Sing to the LORD a new song, And His praise from the ends of the earth, You who go down to the sea, and all that is in it, You coastlands and you inhabitants of them!

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But He answered and said to them, “I tell you that if these should keep silent, the stones would immediately cry out.”

Isaiah 44:23 New King James Version (NKJV) 23

Sing, O heavens, for the LORD has done it!

Shout, you lower parts of the earth; Break forth into singing, you mountains, O forest, and every tree in it!

For the LORD has redeemed Jacob, And glorified Himself in Israel.

Isaiah 49:13 New King James Version (NKJV) 13

Sing, O heavens!

Be joyful, O earth!

And break out in singing, O mountains!

For the LORD has comforted His people, And will have mercy on His afflicted.

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Rasmussen, Steen Eiler. Experiencing Architecture. 2d United States ed. Cambridge [Mass.: M.I.T. Press, Massachusetts Institute of Technology, 1962.

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