Matthew Lusk by Drexel Architecture Program

ACADEMY OF MUSIC LEARN. CREATE. PERFORM.

MORRISTOWN, NEW JERSEY

MATTHEW JOSEPH LUSK Drexel University | 2020 Advisor: Joanne Aitken In memory of: Deb Parente-Rosin

THESIS & RESEARCH A regional acoustic destination - where music education, creativity, and the performing arts bring unity to the community. Music Education should be considered more than simply a supplement to education. The Academy of Music aims to:

establish a place that expands creative opportunities & gets people excited about 75+ <5 music 65-74

restore the role of music as a primary form of education 65-74

MEASURING ARCHITECTURAL ACOUSTICS

MEMORY

SOUND LEVELS [DECIBELS]

Improves Memory PATHWAYS | Enhances memory STORAGE / RETRIEVAL

Median: RANGE OF35 SOUND INTENSITIES IS VERY

45-54

Acquire & understand RULES OF SYNTAX more effectively [multi-tasking]

[POWER - WATTS]

LI = 10 log [ I/IO ]

LW = 10 log [ W/WO ]

45-54

LARGE - VOLUME IS EXPRESSED AS A LOGARITHMIC FUNCTION

LANGUAGE ACQUISITION / SYNTAX

[INTENSITY - dB]

35-44

Ability to ANALYZE & PROCESS more information simultaneously

REVERB

Median: 35

NRC [NOISE REDUCTION COEFFICIENT] # RATING DESCRIBING GENERAL ABSORPTIVENESS OF A MATERIAL [SCALE 0-1]

Collins, Anita. “Music Education and the Brain: What Does It Take to Make a Change?” UPDATE: Applications of Research in Music Education 32, no. 2 (May 2014): 4–10. https://doi.org/10.1177/8755123313502346.

55-64

5-17 12%

11% 10%

45-54

18-24

22%

[SPECULAR]

Foreign Born: 40 Native Born: 31

29%

25-34

BACHELORS

35-44

HISPANIC 3% OR LATINO

REFLECTION [DIFFUSED]

AGE

18,833

Experiential Perspective...FOREGROUND & BACKGROUND noise

18,833

2 OR MORE 2% <9 GRADE OTHER 1% ASIAN ALONE 9-12 GRADE GRADUATE AFRICAN 6% AMERICAN ALONE

1 2

18,833

Belgiojoso, Ricciarda. 2016. Constructing Urban Space with Sounds and Music. Farnham: Routeledge. Accessed October 15, 2019. Proquest Ebook Central. Blesser, Barry. “The Journal of the Acoustical Society of America.” Aural Architecture: The Missing Link 124, no. 4 (October 15, 2008). https://asa-scitation-org.ezproxy2.library.drexel.edu/doi/10.1121/1.4782966.

ASIAN IS

ASIAN & PACIFIC ISLAND 2% OTHER 1% INDO-EUROPEAN

INDO-EUROPEAN

HIGH SCHOOL DIPLOMA

11%

HIGH SCHOOL DIPLOMA

BACHELORS

SOME COLLEGE

HISPANIC OR LATINO

SPANISH

31%

WHITE ALONE

50%

61%

ENGLISH ONLY

33%

SOME COLLEGE ASSOCIATES

ETHNICITY EDUCATION

EDUCATION ETHNICITY

50%

ALL AGES; MORRISTOWN1

ALL AGES; MORRISTOWN2

18,833

EDU

EDUCATION

TRANSMISSION

“Noise Level Chart: Decibel Levels of Common Sounds With Examples.” BoomSpeaker.com, September 26, 2019. https://boomspeaker.com/noise-level-chart-db-level-chart/.

ASSOCIATES

NATIVE & FOREIGN-BORN; MORRISTOWN1

Experiential VISUALIZATION OF GEOMETRY

AGE

WHITE ALONE 23%

REFLECTION

ASSOCIATES

[CAN BE MEASURED VISUALLY BY 3D RAY-TRACING]

Long, Marshall. Architectural Acoustics. Elsevier Academic Press, 2006. Doggett, Felicia. Acoustics in Architecture. Metropolitan Acoustics. October 11, 2019.

Median: 35

12%

14%

1 2

2 OR MORE <9 GRADE OTHER ASIAN ALONE 9-12 GRADE 8% GRADUATE AFRICAN 5% 22% AMERICAN ALONE

<5 5%

[HEAT ENERGY]

# RATING DESCRIBING TRANSMISSION QUALITIES OF A CONSTRUCTION ELEMENT

“Positive changes in brain structure & function have been observed in musicianswho have learned a musical instrument in a WEEKLY ONE-TO-ONE LESSON FOR MORE THAN 2 YEARS and have COMMENCED LEARNING AS EARLY AS IS APPROPRIATE for their instrument.”1

75+

ABSORPTION

STC [SOUND TRANSMISSION CLASS]

Increased CAPACITY for brain to change, learn, & be FLEXIBLE over time

BACHELORS

SOME visual COLLEGE PERCEPTION OF ARCHITECTURAL CHARACTERISTICS without connection

35-44 SURFACE TRANSFER OF SOUND ENERGY

AGE

BRAIN PLASTICITY

65-74

ACOUSTICS HELP WITH... 25-34

ROOM ACOUSTICS

TIME IT TAKES FOR A SOUND TO DELAY UNTIL INAUDIBLE [IN s]

HIGH SCHOOL DIPLOMA

-”The AURAL CONSCIOUSNESS of space is responsible for our SENSE OF DIRECTION”2

[BASED ON SI REFERENCE NUMBERS]

25-34

GRADUATE

-”An emphasis on the EXPERIENCE OF SPACE in terms of behavior and emotion”2

COMMON DECIBEL LEVELS3

EXECUTIVE FUNCTION

AURAL ARCHITECTURE

18-24

9-12 GRADE

GRADUATE

5-17

55-64

BENEFITS OF MUSIC EDUCATION

75+

connect the community by means of music & architecture <9 GRADE

LANGUAGE ALL AGES; MORRISTOWN2

“Morristown, NJ.” Data USA. Deloitte, Datawheel, Cesar Hidalgo, 2019. https://datausa.io/proﬁle/geo/morristown-nj#demographics. “Morristown, New Jersey Population 2019.” Morristown, New Jersey Population 2019 (Demographics, Maps, Graphs). World Population Review, May 12, 2019. http://worldpopulationreview.com/us-cities/morristown-nj-population/.

learn.

2 OR MORE OTHER ASIAN ALONE

ASIAN & PACIFIC ISLAND OTHER INDO-EUROPEAN

AFRICAN AMERICAN ALONE

SPANISH

create.

ASIAN & PACIFIC ISLAND OTHER INDO-EUROPEAN

SPANISH

perform.

LAN

SITE SITE LOCATION

MORRISTOWN, NJ MIDTOWN, NYC

[35 MI]

‘THE GREEN’ [DOWNTOWN]

TRAIN STATION SITE AREA: ±4.16 ACRES [±181,200 SF] INTERSTATE HIGHWAY APPROXIMATE SITE BOUNDARY

CONTEXTUAL SITE LOCATION

MORRISTOWN IN CONTEXT | REGIONAL ACCESS ROUTES

PROPOSED SITE PARK SPACE

STO

ETT

HA J

DWEL

SPEE E

L AV

PUBLIC PARK

ORIGINAL MUSIC SCHOOL ‘THE GREEN’ [PARK SPACE]

IST

MO N

BA N

THE GREEN

PROPOSED SITE KEY

COMMERCIAL & RETAIL CIVIC & INSTITUTIONAL HEALTHCARE

TRANSIT INFRASTRUCTURE

RESIDENTIAL - SINGLE FAMILY RESIDENTIAL - MULTI-FAMILY TRANSPORTATION

MAYO ARTS THEATER

BUS STOP

ZONING

DENSITY

Morristown is a sprawling suburban New Jersey town located about 35 miles West of NYC. Its dense urban downtown, patronage of the arts, and strategic position on the NJ Transit commuter line makes it a popular place to visit and commute to and from. Located one block from The Green [center of downtown] and one block from the train station, the site of this project is a place where pedestrian trafﬁc is very high. Currently, the site is home to a sea of surface parking and an outdated shopping center. It is zoned for redevelopment and part of a master plan to increase the quality of the pedestrian realm in the downtown section of Morristown. MORRIS STREET SCALE

PROJECT SITE - SHOPPING CENTER & SURFACE PARKING

CASE STUDIES

VOXMAN MUSIC BUILDING1 | LMN ARCHITECTS PROGRAMMING | DESIGN DEVELOPMENT | INTERIOR DESIGN Every space contained within this school of music is treated as a performance space - programmatically, visually & acoustically. This project successfully executes a ‘places for people’ philosophy and exhibits many ‘pockets’ of space for both collaboration and for quiet escape. The building’s spatial organization is one that draws importance to the journey [the circulation] and is less about the destination [the program]. Its interior palate uses changes in color & surface to draw attention to pedestrian movement & scale.

NELSON-ATKINS MUSEUM OF ART2 | STEVEN HOLL ARCHITECTS ENVELOPE DESIGN | MATERIALS I was struck by the visual clarity of the building massing, which becomes animated as it illuminates in the evening. Its frosted channel glass facade is uniform yet is not boring. The architecture draws attention to what lies inside, using varied levels of transparency and translucency to captivate potential visitors.

PIERCE’S PARK3 | MAHAN RYKIEL ASSOCIATES ACOUSTIC INTERVENTIONS | LANDSCAPE DESIGN| CIVIC INTERACTION Having stumbled across this park in Baltimore’s Inner Harbor neighborhood by chance, what drew my intrigue were the sensory aspects of this park and their ability to draw civic interaction from passersby. From xylophones and wind chimes to an acoustic slide and a hardscaped path surface stamped with the names of homophones, this landscape intervention engages its users and brings attention to the acoustic environment.

1 2 3

Castro, Fernanda. “Voxman Music Building / LMN Architects.” ArchDaily. ArchDaily, January 14, 2018. https://www.archdaily.com/886640/voxman-music-building-lmn-architects?ad_source=search&ad_medium=search_result_projects#. “The Nelson-Atkins Museum of Art / Steven Holl Architects.” ArchDaily. ArchDaily, July 30, 2008. https://www.archdaily.com/4369/the-nelson-atkins-museum-of-art-steven-holl-architects. “Pierce’s Park.” Mahan Rykiel Associates. Accessed January 6, 2020. https://www.mahanrykiel.com/portfolio/pierces-park/.

PROGRAM learn

create

perform

support

master class absorbtion crescendo

theater

learn

mezzo-piano

40â&#x20AC;&#x2122;

PROGRAM COMPONENTS USED FOR INITIAL BRAINSTORMING

perform

mezzo-forte

music production orchestra

design decrescendo

composition electronic

concert musical notation

private

program

learn

architecture

create

perform

pp public

site PSYCHOGEOGRAPHIC MAPPING | VISUAL NARRATIVE

layers

The goal of this project is not simply to provide a facility that meets the program requirements for an Academy of Music...it is to bring conscious attention to the acoustic realm and get people excited about the sonic potential of architecture. The words: Learn, Create, & Perform best describe a multi-faceted program designed to engage the public and draw attention to the importance of music education. They are all distinct, yet integral parts of the journey that every musician embarks on. When stitched together and choreographed on a site, they become part of a larger experiential narrative.

perform

pianissimo

NARRATIVE BRAINSTORMING

learn

layers

experiment

forte

classroom 20â&#x20AC;&#x2122;

piano

sf p

acoustic

instruments

public realm

create

reverb

reflection

diminuendo

echo

analysis

lessons

recording ensemble

failure

quartet

fortissimo

cafe

video production

analysis

interventions

explore

ARCHITECTURAL PROGRAMMING EXERCISE

DESIGN PROCESS KEY

KEY VOLUME

crescendo decrescendo (opposite)

largo

andante

moderato

allegro

andante

dan

allegr

f to

modera

andante

allegro

presto

vehicular traffic

filtered (landscape)

largo

musical frequencies

mp mp accelerando

allegro ff

modera

andante

moderato

pedestrian traffic

TYPE OF SOUND

mp andante

mode

accelerando

allegro

ritardando

rato

mf pp

eran do endo

rat

musical frequencies

largo

rato

filtered (landscape)

cresc

pedestrian traffic

accelerando

accel

rat

vehicular traffic

TEMPO

TYPE OF SOUND

crescendo decrescendo (opposite)

presto

accelerando ritardando

VOLUME

largo

TEMPO

largo

mode

ritar dand o decre scend o

largo

andante

EXISTING SITE SONIC DIAGRAM

PROPOSED SITE SONIC DIAGRAM

In an attempt to visually describe the existing site acoustics, I assembled a pair of sonic diagrams that use a series of color brushes and musical notation to illustrate a variety of prominent sound features and their tempo / volume, respectively. As illustrated in black, Morris Street vehicular movement to the South presents the most intrusive sound ‘event,’ which is consistent between diagrams. A very minimal amount of acoustic buffering is currently provided between the street edge and interior of the site, by method of vegetation. The site currently features a large amount of unwanted noise from parking trafﬁc, which is relatively consistent and uniform throughout.

This acoustically-aware architectural proposal provides a variety of sonic experiences for pedestrians to engage with, without even having to step into the building interior. Pedestrian sound, illustrated in blue, now deviates from the linear street edge and circumnavigates the building architecture. Green markings notate areas of acoustic ﬁltration, mostly achieved through vegetated buffering. Music notes are shown at the sources of distinct musical frequencies. Generally, the site experiences a decrescendo and ritardando as pedestrians move from front to back - that is, the intended sonic experience generally slows down and becomes softer as you move from front to back.

AREA OF CONTEMPLATION

[park]

crea

perform

crea

learn

perf

2-STORY ATRIUM

2-STORY LINEAR ATRIUM

2-STORY ATRIUM

[service]

orm

learn LANDSCAPED PARK

SITE PARTI DIAGRAMS

From a building parti perspective, we essentially start with three boxes containing their respective programs [Diagram 1]. They are then rotated such that the two bookends generally respond to the existing adjacent fabric, while the center mass captures the attention of The Green down the block. This also creates an opportunity to maximize urban space between programs, as illustrated with the “+” signage [Diagram 2]. Below, a subterranean parking structure makes use of the existing access road and (now modiﬁed) site retaining wall on the site’s eastern boundary - allowing for vehicular site access, loading / delivery, and services [Diagram 3] to happen quietly below an urban-landscaped park facing the street edge and a quieter acoustic escape to the North. A series of double-height spaces are then cut into the building masses to create interior ‘streets’ lined with program.

DESIGN PROCESS

MIDTERM MASSING DIAGRAM

[Above] A series of massing goals were outlined during the early programming stages of the project, which ultimately led to the final three-building project massing. Elements like an acoustically-charged public park, hardscape plaza, amphitheater, water features, and vegetated buffers became prominent site features as the site plan developed. [Right] As the massing developed and a series of precedents (including the aforementioned Steven Holl museum) were examined, an envelope enclosure system was developed and deployed across the massing composition. In an effort to mitigate its deployment, a set of material rules were defined. Acoustically-distinct spaces, such as theaters, egress elements, and spaces for acoustic research are enclosed with volumes of Corten steel, to contrast with the more lightweight, LED-backlit, frosted, channel glass system that encapsulates the majority of the composition. Not only does the channel glass provide a clean, lightweight design aesthetic to the facility, it also provides opportunities for areas of interior facade translucency, while providing a relatively effective acoustic enclosure solution. Vision glass is introduced only where necessary for direct sunlight or for strategic viewsheds through the buildings. This envelope system supports the design intent of the proposal and yet maintains a relatively efficient thermal envelope comprised of only 29% vision glass.

FROSTED, LED-BACKLIT CHANNEL GLASS -’LIGHTWEIGHT’ APPEARANCE -OPPORTUNITY FOR LEVELS OF INTERIOR TRANSPARENCY -’LIT’ BEACON - ‘CIVIC DESTINATION’

CORTEN STEEL -USED TO HIGHLIGHT IMPORTANT ACOUSTIC MOMENTS [ON INTERIOR] -CONTRAST TO LIGHT GLAZING -UNIFIED STEEL ‘BASE’

VISION GLASS TOTAL ENVELOPE SF:

± 69,980

SOLID MATERIAL: VISION GLASS:

73% 27%

ENVELOPE & MATERIALS DIAGRAM

-CREATE VIEWS TO INTERIOR ACOUSTIC ENVIRONMENT -MAKE COMPOSITION APPEAR ‘LIGHT’, DYNAMIC, CREATIVE -UNIFIED SPANDREL ‘CORNICE’

INITIAL DESIGN REVIEW 308’

M [4 ULT 0’ I-F H]

316’

5’

TTE

A AF

312’

M [4 ULT 0’ I-F H]

ET [1

5’

MORRIS STREET RETAIL

INITIAL SECOND FLOOR DIAGRAM ]

INITIAL MASSING DIAGRAM

320’

’H

In the spirit of further development, the jury suggested taking a closer look at the demogrpahics and urban context of Morristown to help in developing a massing proposal better aligned with the needs of the urban fabric and potential users. It was also suggested to more closely align the building design with acoustics and use musical notation to help interpret & describe elements of the proposal. This feedback prompted me to also begin ‘mapping the sound’ of the building site, the ﬁnal diagram-versions of which are found in the ‘Design Process’ section above.

328’

66 MORRIS ST BLOCK 3505 LOT 10

5 [3

]

INITIAL GROUND FLOOR DIAGRAM

AMENITY DECK 316’

332’

7-ELEVEN [18’ H]

IL TA H] RE 5’ [3

’H

RETAIL

SINGLE-STORY RETAIL [30’ H]

S-F ] [30’ H

MULTI-FAMILY [75’ H]

MORRIS STREET

FEEDBACK:

INITIAL MASSING DIAGRAM

320’

324’

332’

[18’ H]

PARKING DECK

AMENITY DECK [20’ H]

328’

66 MORRIS ST BLOCK 3505 LOT 10

344’

TOTAL SITE AREA 181,200 GSF ± 4.16 ACRES

LE-F SING ] [30’ H

332’

7-ELEVEN [18’ H]

332’

S-F ] [30’ H LE-F SING ] [38’ H

320’

312’

MULTI-FAMILY [75’ H]

320’

PARKING DECK [75’ H]

ACE G PL SPRIN

5 [3

INITIAL MASSING DEVELOPMENT

308’

332’

[18’ H]

SINGLE-STORY RETAIL [30’ H]

S-F ] [30’ H

IL TA H] RE 5’ [3

356’

ACE G PL SPRIN

344’

TOTAL SITE AREA 181,200 GSF ± 4.16 ACRES

LE-F SING ] [30’ H

RE [3 TA 0’ IL H]

332’

S-F ] [30’ H LE-F SING ] [38’ H

308’

320’

324’

TTE

MIDTERM TECHNICAL REVIEW



  

 

ENVELOPE DESIGN DEVELOPMENT

FEEDBACK: [entry]

[parking below]

crea

per

form [public park] [acoustic interventions]

SITE PLAN DEVELOPMENT

ENVELOPE DESIGN DEVELOPMENT

learn

In an effort to better understand the relationship that this proposal shares with the street edge, the jury recommended taking a closer look at the hierarchy of experience as it relates to the pedestrian and the site. On this note, one juror suggested that the street edge continuum - that is, the relationship of the proposed urban plaza to Morristown’s existing pedestrian realm - was lacking a certain degree of cohesion. The ﬁnal landscape site plan included in the ‘Final Review’ sections that follow, illustrate my conscious attempts to mitigate this shortcoming. In an effort to create a more meaningful connection between the front and rear areas of the site, the climatecontrolled glass connections between the buildings, as illustrated in this plan iteration, were eliminated and replaced with outdoor overhangs to allow pedestrians the ability to freely traverse the site. The jury also encouraged me to think about the interior / exterior threshold condition, to consider how they may be more closely integrated. By layering in the ‘cultural experience of music,’ as suggested by one of the jurors, the experience of the building and site together will be much more rich than originally proposed.

THESIS REVIEW

11. 12. 10.

8. 14.

13.

9. 9.

6. 1.

3. 4.

SITE PLAN| SCALE: 1” = 60’

2. 1.

1. ENTRY PLAZA 2. STACCATO BRIDGE

6. MELODIC MARIMBAS 7. RASPY RETREAT

11. CRICKET RETREAT 12. AMPHITHEATER

3. WHISPERING WATERFALLS 4. SPLASH FOUNTAINS 5. MORRIS PARK

8. SILENT SWALE 9. ECHO UNDERPASS 10. CLAMOROUS CAMPFIRE

13. PRE-FUNCTION PLAZA 14. REFLECTION POND

0’ 15’ 30’

60’

120’

To address the existing grade change across the site, we begin by pushing the grade to the (already) elevated North, creating an accessible park near the street edge and a quieter landscape near the rear of the site. In order to achieve the acoustic qualities we are aiming for, we then overlay a series of hardscape surfaces that present unique sonic experiences: a hard slate, a soft wood platform above water to provide an echo-footstep effect, crushed stone to provide some crunch, and animated water features to help drone out unwanted background noise. The site plan above illustrates a ﬁnal building footprint that, at grade, covers only 30% of the total site surface area. The remaining 70% of the former-parking-lot site returns to vegetation. More than 2/3 of that remaining vegetation is pervious surface area. The plaza entry points at the South respond to existing pedestrian crosswalk locations, while a garage-to-grade-level headhouse at the NE allows pedestrian users arriving by vehicle an opportunity to experience the site’s acoustic qualities as they access the rear building entrance. Users can also choose to enter the building’s Lower Level entrance directly from the garage during inclement weather. Shade & softscape vegetation is then added where shade & acoustic buffering are desired.



THESIS REVIEW

  





SITE COVERAGE [BUILDING FOOTPRINT AREA] 54,360 GSF [1.25 OF 4.16 ACRES] [30% OF SITE AREA] FAR 65% EXCLUDING GARAGE [400% ALLOWABLE] 54,360 TOTAL GSF / 181,200 TOTAL SITE GSF

[entry]

TOTAL PROJECT SIZE ±118,130 GSF EXCLUDING GARAGE

[parking below]

 

per

   

reate

form [public park]

learn

[acoustic interventions]

GROUNDFLOOR FLOORPLAN PLAN| SCALE: 1” = 40’ GROUND 0’ 10’ 20’

40’

80’

As previously illustrated, the programs associated with Create, Perform, & Learn are each contained within their respective buildings. The arrows illustrated here indicate primary building entrances for each. Connections between all three of the buildings still exist to some degree on the Lower Level, depending on the programmatic needs of the users of each. In the Create building, a series of music ensemble rooms support the facility’s performing arts, while individual practice rooms on the second ﬂoor provide space for one-on-one musical instrument instruction for members of the community. Music production labs and a large recording studio support local musicians engaged in electronic production, while a video production suite (with Dolby Atmos integration studio) provides space for creative professionals to more closely integrate the performing and visual arts. Sonic research spaces, including a 900 ft3 Anechoic Chamber support academic & processional acoustic research endeavors. Three distinct performance theaters are held within the primary Perform building, along with a publicly-available cafe and instrument retail space. Classrooms, midi labs, and breakout spaces are available in the Learn building, designed for students who wish to take classes in music analysis, history, business, theory, or the like. Above, a 7,200 GSF commercial suite would support a music sharing services company (i.e. Spotify), to not only help to fund the operation, but also in providing a fast-track coaching program (in conjunction with the Academy’s academic program) to help local artists with learning, writing, performing, recording, and releasing their music.

THESIS REVIEW

AERIAL VIEW FROM SW

VIEW FROM SW ENTRY PLAZA

THESIS REVIEW

AERIAL VIEW FROM NE

VIEW FROM SE ENTRY PLAZA

THESIS REVIEW

REAR PRE-FUNCTION PLAZA

EXTERIOR VIEW OF ENSEMBLE HALL

AMPHITHEATER

14.

15.

 



THESIS REVIEW



   

14.



 



perform

ADMINISTRATION



1. LOBBY 2. CAFÉ 2. ADMIN & BOX OFFICE 4. ENSEMBLE HALL 5. CONCERT HALL 6. BLACK BOX THEATER 7. INSTRUMENT RETAIL 8. WOMEN’S

CIRCULATION PERFORMING ARTS RETAIL SERVICE



9. MEN’S 10. MEZZANINE 11. BALCONY 12. ADMIN OFFICES 13. LIGHTING LOFT 14. BACK-OF-HOUSE 15. GARAGE / LOADING



 



10.



    

  5.

11.



 

 2.

   



11.

13.



   



   

GROUND FLOOR PLAN  SCALE: 1/32” = 1’-0”



ADMINISTRATION

MEZZANINE LEVEL PLAN SCALE: 1/32” = 1’-0”



ADMINISTRATION

1. LOBBY 1. LOBBY 9. MEN’S 9. MEN’S CIRCULATION 2. CAFÉ 2. CAFÉ 10. MEZZANINE 10. MEZZANINE 50’ LG THEATER PARAPET 2. ADMIN 2. ADMIN +& 11. BOX BALCONY OFFICE 11. BALCONY PERFORMING ARTS PERFORMING ARTS& BOX OFFICE 4. ENSEMBLE HALL 4. ENSEMBLE HALL ADMIN ADMIN OFFICES + 12. 44’-6” SMOFFICES THEATER 12. PARAPET 5. CONCERT HALL 5. CONCERT 13. HALL LIGHTING LOFT 13. LIGHTING LOFT + 42’ LG THEATER ROOF RETAIL RETAIL 6. BLACK BOX THEATER 6. BLACK BOX BACK-OF-HOUSE + 14. 36’THEATER T.O. ROOF 14. BACK-OF-HOUSE 15. RETAIL GARAGE / LOADING 15. GARAGE / LOADING SERVICE 7. INSTRUMENT RETAIL7. INSTRUMENT SERVICE 8. WOMEN’S 8. WOMEN’S

GROUND FLOOR

0’

   



SECTION A-A | SCALE: 1/32” = 1’-0”

0’

8’

16’

14.

32’

- 19’-3” - 20’

14.

15.

LOWER LEVEL

GARAGE

   

 



 



14.

MEZZANINE

+ 16’



SECTION B-B | SCALE: 1/32” = 1’-0”

64’

ADMINISTRATION CIRCULATION PERFORMING ARTS RETAIL SERVICE

1. SOUTH

WEST

SOUTH

EAST

SOUTH

EAST

NORTH

EAST

UNFOLDED ELEVATION | NTS

 



14.

+ 36’

T.O. ROOF

+ 16’

MEZZANINE

- 19’-3” - 20’

CIRCULATION

13.

SM THEATER PARAPET LG THEATER ROOF

GROUND FLOOR



BUILDING GSF: 62,279BUILDING GSF: 62,279

LG THEATER PARAPET

+ 44’-6” + 42’

 

+ 50’

14.



11.

12.

0’



12.

11.

   

 



10.

15.

TOTAL ENVELOPE SF:

± 35,418

SOLID MATERIAL: VISION GLASS:

70% 30%

EAST

NORTH

1. LOBBY 2. CAFÉ 2. ADMIN & BOX OFFICE 4. ENSEMBLE HALL 5. CONCERT HALL 6. BLACK BOX THEATER 7. INSTRUMENT RETAIL 8. WOMEN’S WEST

9. MEN’S 10. MEZZANINE 11. BALCONY 12. ADMIN OFFICES 13. LIGHTING LOFT 14. BACK-OF-HOUSE 15. GARAGE / LOADING NORTH

WEST

LOWER LEVEL GARAGE

THESIS REVIEW

VIEW OF ATRIUM FROM MORRIS STREET ENTRY

VIEW OF REAR ENTRANCE & INSTRUMENT RETAIL

VIEW OF MAIN ENTRANCE & CAFE

THESIS REVIEW

PARENTE - ROSIN CONCERT HALL

ZUGALE ENSEMBLE HALL

PARENTE - ROSIN CONCERT HALL

THESIS REVIEW   create  

 

12. 11.

12.

12. 12.

14.

11.

14.

11. 11.

9. 9.

13.

12.

C 12. 6. 6.

10.

20.

1” = 30’ SECTIONS

20’

0’ 7.5’ 15’

40’

30’

18.

12.

19.

15.

18.

15.

A A

9. 9. 6. 6.

BUILDING GSF: 35,578 10’

19.

12.

BUILDING GSF: 35,578

5’

GROUND FLOOR PLAN | SCALE: 1” = 20’

0’

B 12.

PLANS 1” = 20’

10.

20.

13.

60’

17.

16.

17.

16.

SECOND FLOOR PLAN | 1” = 20’

CIRCULATION

RESEARCH & DEVELOPMENT

MUSIC PRODUCTION CIRCULATION

SERVICE RESEARCH & DEVELOPMENT

PERFORMING ARTS MUSIC PRODUCTION

VIDEO PRODUCTION SERVICE

PERFORMING ARTS

VIDEO PRODUCTION

1. LOBBY 2. MEETING 3. LOBBY CONTROL ROOM 1. 4. 2. ANECHOIC MEETING CHAMBER 5. 3. HOUSEKEEPING CONTROL ROOM 6. ANECHOIC LOUNGE 4. CHAMBER 5. HOUSEKEEPING 6. LOUNGE

7. MEN’S 8. WOMEN’S 9. MEN’S STORAGE 7. 10. REHEARSAL 8. WOMEN’S 11. MUSIC PRODUCTION STUDIO 9. STORAGE 12. REHEARSAL ISO BOOTH 10. 11. MUSIC PRODUCTION STUDIO 12. ISO BOOTH

13. CONTROL ROOM 14. LIVE ROOM [RECORDING] 15. CONTROL MECHANICAL ROOF 13. ROOM 16. 14. REHEARSAL LIVE ROOM ROOMS [RECORDING] 17. DESIGNROOF LAB 15. SOUND MECHANICAL 18. REHEARSAL MOTION CAPTURE 16. ROOMSSTUDIO

19. DOLBY ATMOS STUDIO 20. LAB / CLASSROOM 21. DOLBY BACK-OF-HOUSE 19. ATMOS STUDIO 20. LAB / CLASSROOM 21. BACK-OF-HOUSE

17. SOUND DESIGN LAB 18. MOTION CAPTURE STUDIO

+ 39’-6” T.O. PARAPET + 36’ T.O. ROOF

9. 13.

13.

21. 21.

3. 3.

21.

+ 39’-6” T.O. PARAPET + 36’ T.O. ROOF + 18’

SECOND FLOOR

+ 18’

SECOND FLOOR

0’

GROUND FLOOR

0’

GROUND FLOOR

- 19’-3” LOWER LEVEL - 19’-3” LOWER LEVEL

SECTION A-A | SCALE: 1” = 30’

SOUTH

UNFOLDED ELEVATION | NTS TOTAL ENVELOPE SF:

± 18,203

SOLID MATERIAL:

81%

16. 16.

EAST

15.

16. 1.

21.

SECTION B-B | SCALE: 1” = 30’

15.

16.

SECTION C-C | SCALE: 1” = 30’

NORTH

WEST

THESIS REVIEW

 



learn

 



B 2.

A A

14.

A 11.

15. 14.

4. 4.

8. 8.

4. 4. 4. 4.

8. 8.

10.

10. 7.

B SECOND FLOOR PLAN | SCALE: 1” = 20’

BUILDING GSF: 20, 270

AVAILABLE COMMERCIAL GSF: 7,900

CIRCULATION

CLASSROOM AVAILABLE COMMERCIAL GSF: 7,900 COLLABORATION

BUILDING GSF: 20, 270

SECTIONS 1” = 30’

5’

10’

0’ 7.5’ 15’

20’

30’

SOUTH

UNFOLDED ELEVATION | NTS TOTAL ENVELOPE SF:

± 16,360

SOLID MATERIAL:

71%

SECOND FLOOR T.O. PARAPET T.O. ROOF

0’

GROUND FLOOR

+ 18’

SECOND FLOOR

- 20’ 0’

GARAGE GROUND FLOOR

- 20’

GARAGE

16.

11.

1. 16.

11. 17. 1.

0’

2. 12.

16.

GROUND FLOOR PLAN | SCALE: 1” = 20’

1” = 20’ PLANS

12.

SECTION A-A | SCALE: 1” = 30’ 17.

+ 18’ + 39’-6” + 36’

5. 6.

17. 1.

T.O. PARAPET T.O. ROOF

4. 16.

1. 11.

+ 39’-6” + 36’

15.

11.

A A

13.

12.

11.

13.

12.

40’

SECTION B-B | SCALE:17. 1” = 30’

1. LOBBY 2. MIDI LAB 3. CLASSROOM 4. FOCUS 5. LECTURE 6. LOUNGE 1. LOBBY 2. MIDI LAB 3. CLASSROOM 4. FOCUS 5. LECTURE 6. LOUNGE

MEETING OFFICE SPACE SERVICE

CIRCULATION

MEETING

CLASSROOM

OFFICE SPACE

COLLABORATION

SERVICE

60’

EAST

NORTH

7. TOILET 8. STORAGE 9. WOMEN’S 10. MEN’S 11. RECEPTION 12. BREAK ROOM 7. TOILET 8. STORAGE 9. WOMEN’S 10. MEN’S 11. RECEPTION 12. BREAK ROOM

WEST

13. CONFERENCE 14. MOTHER’S ROOM 15. COPY / PRINT 16. COMMERCIAL OFFICE 17. GARAGE / LOADING 13. CONFERENCE 14. MOTHER’S ROOM 15. COPY / PRINT 16. COMMERCIAL OFFICE 17. GARAGE / LOADING

THESIS REVIEW

AERIAL RENDERED PLAN

ACKNOWLEDGMENTS

ACKNOWLEDGMENTS In memory of Deb Parente-Rosin, to whom I owe over a decade of weekly piano instruction and a lifetime for developing my passion for music Joanne Aitken, Thesis Advisor | Principal, KieranTimberlake, Philadelphia PA| For guiding me on this design journey and pushing me to create an architecture that leaves a lasting impact My Family | For your never-ceasing support on this very challenging, 6-year journey Felicia Doggett, President & CEO, Metropolitan Acoustics, Philadelphia PA | For answering my questions on building acoustics Mark Dotta, Technology Education Teacher, Ridge High School, Basking Ridge NJ | For giving me the resources and drive to pursue a career in architecture, despite the obstacles Julia Fackelman, Music Education Major, The College of New Jersey | For calming my nerves before taking a trumpet solo at the Kimmel Center in Philadelphia, dissecting the time signature of Dave Matthews Band’s ‘Seven,’ and for devoting yourself to the cause of music education

REAR ENTRANCE & INSTRUMENT RETAIL AREA

Kyle Fauth, Hannah Lelie, Ray Maggi, Nicole Morson, & Shawn Plum, My co-workers at NORR, Philadelphia, PA | For your creative input and critique as I developed this project Alec Friedman, Music Production Major, Full Sail University | For all the hours we’ve spent enjoying music, for making all those performances we did together a blast, hearing my complaints about architecture school, and for killing it as an independent artist Dylan Jacobus, Ofﬁce Manager, Original Music School, Morristown NJ | For answering my questions about the culture of private music education in Morristown, and for brainstorming what the future of OMS could look like if resources were unlimited Dan Zugale, Director of Bands, Ridge High School, Basking Ridge NJ | For pushing me to be a better musician and leader, and for grooming the next generation of musicians

ZUGALE ENSEMBLE HALL