Harmonic Resonance

U n d e r g r a d u a t e NewSchool of Architecture + Design

2 0 1 5

H

armonic Resonance:

The relationship between music and architecture Jeanna DeFede

Sound becomes a visual perception. “Sound is not this undefined, unfocused envelope which subordinated us to the mastery of nature and form which there is no escape. Sound is measurable, it draws lines, builds walls, and permeates according to architectural rules. This space in which we find ourselves and which emantes from our bodies, unites our perceptions, our movement, and our ability to decode perceptions to which our various cultures assign varying interpretations.�

-Bernhard Leitner

i

ii

H

armonic Resonance:

The relationship between music and architecture Jeanna DeFede

iii

iv

H

armonic Resonance:

The relationship between music and architecture

In partial fullfillment of the Degree of: Bachelor of Architecture

A Thesis presented to the Undegraduate Faculty of: NewSchool of Architecture + Design

By Jeanna DeFede June 2015 San Diego, CA

Approved by: Leonard Zegarski Undergraduate Program Chair

Date

James Enos Undergraduate Thesis Coordinator + Thesis Advisor

Date

Leigh Ann Pfeiffer External Advisor + Peer Reviewer | Leed AP Legacy, Associate AIA

Date v

Š 2015 Jeanna DeFede All Rights Reserved vi

This book is dedicated to my Mom, Dad, Aunt Jan, Uncle John, Julia, Lisa, friends, Lil, Har, Jess, and Thor.

To my friends and peers.

.....and the Window Group Thank you for your endless support and love through this long journey.

In memory of Dr. Margaret Gale for beginning my classical training and stirring my passion for music.

This endeavor would not have been possible without the guidance and intellectual insight from: James Enos, Advisor Leigh Ann Pfeiffer, External Advisor, Peer Reviewer Dr. John Stovall, Advise Giver Extraodinaire CSUB Professors Joel Haney, PhD. Music History, Yale University Leo Sakamoto, Doctor of Musical Arts, Conducting,

University of California, Los Angeles

Doug Davis, PhD. Music Composition, Harvard

University vii

viii

Abstract

T

his thesis discusses the relationship between music and architecture; how the fundamentals of music

such as frequency, rhythm, and sound react in a space to possibly influence the built environment.

Musical and architectural styles have had a direct influence upon each other through the course of history. The spatial recognition between the types of sounds associated with the correlating spaces, both interior and exterior have diminished since the 1960s and the growth of popular music and postmodern architecture. Modern buildings and the interstitial spaces within the urban environment lack the proper acoustic qualities needed for people to perform tasks. Many people seek to interact and cannot due to the vast quantities of noise pollution. If there were better-composed spaces for people to be removed from the stimulus of everyday life, then there could be a decrease in the amount of psychological effects in the present and future societies. The goal of this thesis will convey the acoustic principles of a popular music venue, which will reflect the exterior sound quality of the Hilton Bayfront in San Diego, California and help create a better corresponding and integrated private to public site connected to the San Diego Convention Center for the masses.

Keywords: noise pollution, music, sound, visual perception, noise, acoustics

ix

x

Contents i Quote

59

Conceptual Development

iii

Title Page

66

Geometry Analysis

v

Signature Page

68

Reactions | Shape Analysis

vi

Copyright Page

72

Concepts | Schemes

vii

Dedication | Acknowledgment

ix Abstract

Chapter 4 | Design

x

Contents

82

Decision

xiii

Introduction | Intent

89

Site

xv

Development | Approach

91

Program + Adjacencies

94

Concept

Chapter 1

96

Precedence

03

Critical Position

100

Process

05

Thesis Statement

108

Exterior Resonance

110 Models

Chapter 2 | Research

112

Interior Resonance

09

Music. Sound. Noise. Silence

114

Final Schematic Design

11

Scope of Study

13

The Mozart Effect

Chapter 5 | Conclusions

15

Progression of Sound Quality

127

Final Representations

21

Timeline Concept

150

Feedback | Evaluations

22

Architectural Style vs. Music Style

153

Statement of Learning

30

Reflections | Summary of Study

Chapter 6 | Appendices

Chapter 3 | Approach

156

References

34

Historical Geometries

160

Figures

36

Public vs. Private

162

Images

40

Materiality + Technology

42

Natural Context

45

Context + Program

49

Contextual Analysis

53

Programmatic Analysis

xi

xii

Introduction | Intent

T

he relationship between music and architecture is usually understood by the masses as an abstract

manifestation or translation of form from two to three dimensions. This manifestation could be portrayed when notes on the staff or stave represent different musical

pitches

to

become

three-dimensional

spaces based on the frequency, pitch, and physical placement on the staff lines within the measures of the piece. The architect becomes the composer of his or her own piece of music.

Harmonic Resonance is not frozen music.

Initially the development of Harmonic Resonance began to conceptualize the question behind how people would react differently to genres of music in different environments or rather how could Mozart influence a person’s brain activity and emotional state in a hospital waiting room compared to alternative or deep-bass contemporary hip-hop music? While the belief that music can augment the spatial design remains, there is a deeper level and architectural issue in which the study of music’s influence upon architecture could be a key component to understanding why sound is such an impactful part of people’s perception of the built environment.

Introduction

xiii

xiv

Development | Approach

H

armonic

Resonance

will

begin

with

the

comparison of musical styles to see if there are

any overlapping elements dating back to the 15th century for a more detailed and expansive analysis.

This will provide one part of the study along with an analysis of sound in relationship to these styles.

In conjunction with these the project will consist of five case studies, which help elude to the nature of the typology and site conditions for the future design dialogue. The precedence will also create criterion to evaluate and incorporate into developing certain design characteristics supporting the critical position, and thesis statement.

Development

xv

1

Chapter

1

2

Critical Position

T

hroughout the past two centuries and primarily in the last one hundred years, noise level in

spaces have increased significantly. The relationship between the geometry of a building, the function or purpose, and the acoustic quality of a space greatly impacts the noise levels in that space. Similar qualities have been minimized since the Harlem Renaissance and the early Modernist period of the 1900s. The lack of properly acoustically designed spaces can promote isolation, thus creating a new generation of people accustomed to too many stimuli that there has become increased rates of behavioral problems in today’s society (Treasure, 2012).

Critical Position

3

4

Thesis Statement

B

y

examining

some

essential

components

comprised by music – frequency, rhythm, and

acoustics – an understanding of better-composed spaces through historical analysis of geometry could be developed for the minimization of noise pollution from everyday life within the areas of undulating levels to a mass integration of people.

Thesis Statement

5

6

[img 2.0]

2

Chapter

Research

7

8

sound

noise

music

silence

[fig 2.]

Music. Sound. Noise. Silence.

T

hrough the rat studies, explained in The Mozart Effect at the beginning of this chapter, the differences between sound, music, noise, and silence are evident. Noise is the over stimulation of unwanted sound, “music is organized sound” (Levitin, 2006), silence is the absence of sound, and sound is comprised of both music and noise.

Bernhard Leitner (2011) says, “sound is not this undefined, unfocused envelope which subordinated us to the mastery of nature and form which there is no escape. Sound is measurable; it draws lines, builds walls, and permeates according to architectural rules. This space in which we find ourselves and which emanates from our bodies, unites our perceptions, our movement, and our ability to decode perceptions to which our various cultures assign varying interpretations.” Sound becomes a visual perception associated with spatial quality. The correlation between sound and space should portray an understanding of sound that is reflected within basic geometric shapes. This analysis will suggest solutions of how to comprise better-composed spaces to create a more focused, relaxed, and developmental society by integrating site and structure based on the acoustic principles defining the future typology.

9

10

Scope of Study

H

armonic Resonance initially examines three

rats running through a maze to different genres of music. Each genre of music is vastly dissimilar from the other; therefore, creating a variety in sounds.

Music is organized sound and sound becomes the fundamental aspect of this study. The rats merely illustrate one example of the neurological side effects represented between sound quality and the way-findings and experience in a structure. “Music

is organized sound and sound becomes the fundamental aspect of this study.�

The Mozart Effect becomes the generator and basis for multiple questions asked through the remainder of Harmonic Resonance. In parallel to the rats, society has the same problem with sound as the rats convey in the maze; however, there must be an understanding of the progression of sound quality in relation to space through history. The analysis of this history shows the evolution of noise and progress during the Industrial Revolution to present day pertaining to the larger scale urban planning aspect of architectural design. Unfortunately, the facts of history only explain how the signal to noise ratio became imbalanced over the past few centuries.

There is a better understanding of how sound is perceived when viewed through historical comparisons. One of the most powerful sounds is music in correlation with how society has progressed in building styles. By comparing both musical and architectural styles from the 15th century to the

present, information may indicate either strong or weak correlations between structure influenced by sound and vice versa. The timeline [fig 2.5] also depicts the advancement and growth of the geometry of architecture evolving with the economic situations of the time periods; as well as, the materiality and technological shifts over the years. All of these factors create a firm foundation for implementing subconscious design methods moving forward. architectural styles from the 15th century to the present, information may indicate the strong or weak correlations between structure influenced by sound and vice versa. The timeline also depicts the advancement and growth of the geometry of architecture evolving with the economic situations of the time periods; as well as, the materiality and technological shifts over the years. All of these factors create a firm foundation for implementing subconscious design methods moving forward.

Limitations Some of the acoustical equipment and software needed to conduct highly accurate and detailed reports for site and building typology evaluations are unavailable to the research. However, theory from both disciplines will be prominent within the future documentation of Harmonic Resonance. Another large limitation: time. Unfortunately to conduct precise results as to weather or not the theory would be successful to a mass integration of people, a project of sorts would need to be implemented and observed over a long course of time.

Scope of Study

11

[img 2.1] Rat in maze

12

Research

The Mozart Effect

T

he Mozart Effect was an article that hung

to obtain the cheese is sound. When the music

between egg carton acoustic panels in my late

became louder or more chaotic, the rats showed

piano teacher’s studio. This article discussed an

their confusion with the overload of stimulation in a

experiment conducted on three lab rats. [img 2.1]

space. The effects of the rats in the maze represents

Each rat had to move through the same maze and

the same dissonance people experience on a daily

retrieve the cheese in the center of the maze. One

basis in urban environments, which stimulate the

rat was a control group, listening to no music, the

brain with too many negative sounds. Since the

second listened to hip-hop/rap music of the time,

1800s and primarily since the early 1900s, noise levels

and the third listened to complex classical music. The

in spaces have increased significantly.

rat who listened to the classical music proceeded through the maze by far the fastest, whereas the rat

The relationship between the geometry of a building,

listening to the rap-like music was by far the slowest,

the function or purpose, and the acoustic quality

with the control group rat finishing somewhere in the

of a space greatly impacts the noise levels in that

middle. There have been many similar experiments

space. These qualities have been minimized since

done through spatial recognition and perception

the Harlem Renaissance and the early Modernist

using small lab rats and mazes. Some specifically

period. The lack of properly acoustically designed

for research and neuroscience and others for

spaces can promote isolation, thus creating a new

simple fifth grade science experiments. In certain

generation of people accustomed to too many

videos and articles the same conclusion may be

stimuli that there has become increased rates of

observed when the music became more chaotic

behavioral problems in today’s society (Treasure,

and resembles noise, the rats became confused and

2012). By examining some basic components all

did not understand the correct route to take, thus

music comprise – frequency, rhythm, and acoustics

moving back and forth through the maze.

– an understanding of better-composed spaces through historical analysis of geometry could be

The three small rats in the Mozart Effect (Hughes,

developed for the minimization of noise pollution

2001) study are one aspect of an entire neurological

from everyday life within the areas of a mass

study between music and architecture; however,

integration of people.

one fundamental component the rats convey through their confusion or focused endeavors

Research

13

14

[img 2.2]

[img 2.3]

[img 2.4]

Santa Maria del Popolo, Rome, Italy

Church of the Ges첫, Rome, Italy

French Ballroom

[img 2.5]

[img 2.6]

[img 2.7]

Carnegie Hall, New York

Modern Chamber Room

Walt Disney Concert Hall, Los Angeles

[img 2.8]

[img 2.9]

[img 2.10]

Palazzetto dello Sport, Rome, Italy

Sports Arena Venue

Sound System

Research

Progression of Sound Quality | Signal to Noise Ratio Through History The Noise Levels

ear (p. 133).

D

The conclusions speculated between hip-hop music

uring the Industrial Revolution, the noise levels were a sign of progress or symbol of industry

instead of being portrayed as a by-product of human and mechanical energy waste. In contrast, society today regards silence as efficient in industry and technology (Fitch, 1975). Fitch continues to illustrate, “Productive sound becomes destructive noise…architects and urbanists must master two distinct scales of sonic control – the traditional one of architectural acoustics (the artful manipulation of sound within buildings) and the newer one of control of environmental noise” (p. 134). Similar to the rats, the hip-hop music conveyed a series of syncopated rhythms that when harmonized did not focus the rat to any specific area of the maze. The brain began to associate what some may consider progressive music into destructive noise and mindset. Fitch (1975) states:

and the sonic environment are not suggesting hip-hop music is in any way destructive, but rather does not focus the brain in the appropriate manner for a large percentage of functions within a built environment. Hip-hop music or a complex syncopation of sounds illustrates a parallel between a higher signal to noise ratio. There is more unwanted white noise in the background versus desired sound or silence.

Even though certain areas do not experience the high levels of aircraft traffic, only medium to low levels, as most of the world is not untouched by aircraft noise (Ernst, 2011); there are many areas throughout the world that receive increasingly high levels from vehicular and railway modes of transportation. Traffic to and from a place is a major component when understanding the daily noise

All the more ironic, then that the man-made

stimulus of the average human being. “The U.S.

pollution of the sonic environment now constitutes

Environmental Protection Agency (EPA) has long

a real and rising threat to contemporary Americans.

identified transportation – passenger vehicles, trains,

It has been left for modern industry society to

buses, motorcycles, medium and heavy trucks and

create new sound to a point where sound levels

aircraft – as one of the most pervasive outdoor

which makes protection against it necessary, where

noise sources, estimating in its 1981 Noise Effects

jetports and multi lane highways have already

Handbook that more than 100 million people in the

exceeded tolerable noise limits and where the new

United States are exposed to noise sources from

supersonic jets, with their sonic booms, threaten the

traffic near their homes (Chepesink, 2005).

physical integrity of buildings, let alone the human

Research

15

This timeline represents the merging of architectural styles and musical styles and the abstract correlation they influence upon each other.

The inital sketches [fig 2.1] and [fig 2.2] contain a third element including the formation of density growth in cities since the 1400s (center of the figures), as well as frequency representing noise growth in conjunction with the population. These elements are not included in the formal timeline [fig 2.5].

[fig 2.1]

16

Research

Most noise is produced by one individual, but similar

The information provided by the people from the

to secondhand smoke, noise that is not produced by

applications could suggest the noise levels in spaces

the individual becomes experienced by these who

are too high for certain tasks and overall exposure

do not produce the noise. In Decibel Hell: The Effects

throughout the day.

of Living Noisy World (2005), Les Blomberg of the Noise Pollution Cleaninghouse says, “secondhand

Spaitial Recogntion of Interior Spaces

noise is really civil rights issue…like secondhand

W

smoke, it’s put into the environment without people’s consent and then has effects an them that they don’t have any control over.” The article continues to convey the different levels of noise within an everyday time frame by examining construction work to sports related noise to the typical household items such as, a stereo, vacuum, or washing machine.

T

he United States is only one of the countries “where noise pollution is affecting the quality of

life. In Japan, for instance noise pollution caused by public loudspeaker messages and other forms of city noise have forced many Tokyo citizens to wear earphones as they go about their daily lives.

In Europe approximately 65% of the population is exposed to ambient sound at levels above 55dBA, according to the European Environmental Agency” (Chepesick, 2005). Unfortunately, Europe is one of the only regions of the world studying noise pollution within the urban environments. There has been a very small amount researched in the United States until recently, since the government has enlisted the help of the American consumer with smart phones and applications to document daily noise exposure.

hen popular music is introduced through jazz during the Harlem Renaissance and the Great

Migration to New Orleans, the style and venue of music provides a shift in sound and the way audiences experience the music. Jazz became the first large movement towards repeated syncopated beats in small, crowded venues. Music from the fifteenth to early twentieth century is developed for specific spaces. Certain types of sounds are amplified or enhanced for the according typology or function of the space. For example, Gothic Cathedrals [img 2.2, 2.3] are designed with tall, cylindrical ceilings, allowing the sound of Gregorian Chants to travel to the higher levels and resonate around the stonewalls and pillars. The notes of the chanting are long, low and the same key signature and “some reflections will traverse the space of the church many times before reaching a listener located under the central doe. With every reflection, the physical space transfers to the sound wave part of its geometrical features, modifying the internal composition of its frequencies” (Ripley, 2007).

Applying different rhythms to current and past geometries also changes the perception of sound.

These rhythms, depending on the type of obstacle the sound waves refract from, the materiality Research

17

[fig 2.2] Noise Pollution in relation to criteria

[fig 2.3] Spatial recognition in relation to criteria

18

Research

becomes a conductor and absorber of parts of the

dynamics of the performers. When Carnegie Hall

waves, thus continuing to alter the sound before

[img 2.5] is built the audience-performer relationship

reaching the listener. The geometry of the room

changes and permits more reverberation and larger

flatters the music.

symphonies. Audiences have to be quiet to hear the

T

extreme dynamics for the quieter parts of the pieces

hrough the 1800s to the early 2000s [see fig 2.5]

to be heard and felt. The overall reverberation

geometry has a direct correlation with how

has to be less rhythmic and more textural, thus

people perceive sound. David Bryne (2010) discusses

introducing the twentieth and twenty-first centuries

this correlation through spatial recognition of

to the modern day classical musical style.

sounds. When people think of African tribal beats, the image perceived is the savanna grasslands

In the 1920s, the major shifts began to occur

where the setting is idealic for the load and erratic

between popular music and classical-traditional

beats traveling over the grasslands. When the organ

styles of music. Jazz emerges on riverboats and in

was invented Johann Sebastian Bach played in

small low-lit ceiling clubs with carpeted acoustics.

high, wooden interior churches that could allow

There is no more grand sound of a live performer

enough reverberation for the organ to fill the room.

and the venues become smaller with louder, more

French Ballrooms [img 2.4] are smaller, therefore

repetitive music. The next major shift is the invention

less reverberance of sound allows Mozart to create

of the microphone and the radio in the mid-1900s.

complicated and more staccato-like chamber

Both “enabled singers to completely change the

music atmosphere. The music could be more

way music was written� (Byrne, 2010). Artists like Chet

complex without an overwhelming amount of

Baker could fully utilize the amplification by creating

echo between the performers and audience. In

the affect of whispering into the microphone, so

1776, La Scala in Milan, Italy was built to be one of

as to seem like he is sitting next to the listener. The

the first opera houses designed specifically for the

microphone becomes the driving force of live

opera with yelling, drinking, eating, hollering, and

music versus recorded music. Rock and Roll and

an overall loud environment as was the intention

other genres of the 1970s, 80s, and 90s [img 2.8,

for operas. The Wagner Opera House allows for a

2.9, 2.10] begin making music specifically for sound

larger symphony, thus a shift in opera occurs where

systems. Live performances do not correlate with the

the audience becomes quieter to fully hear the

appropriate spatial quality anymore and musicians

Research

19

20

Timeline Concept There is a better understanding of how sound is perceived when viewed through historical comparisons. One of the more powerful and emotional sounds is music in correlation with how society has progressed throughout the past four hundred years. The timeline [fig 2.5] compares both musical and architectural styles from the 15th century to the present. There are overlaps, which indicate strong correlations between structure being influenced by sound and vice versa. In later iterations of the timeline, there are “high frequency� periods where the styles are based upon the other style in the extreme times of the world. However, he primary disconnect, is towards the beginning of popular music and late modern architecture, sound is not a constant anymore.

[fig 2.4]

Research

21

[fig 2.5]

Gregorian Chants || monophonic, plainsong unaccompanied church song

Middle Ages

Move from polyphony to one harmonized melody and sees the increased importance and popularity of secular music

Renaissance

1400

1430 - 1600 1500

Pope Pius IV restores church music to Counter - Reformation its pure vocal form by elimination of all instruments except the organ, any evidence of secularism, harmony, and folk melody

1562

Birth of Opera

1562

A group of musicians + intellectuals gather in Court Giovanni de Bardi’s camerata and discuss and experiment with music drama.

Strict musical forms, immense ornamentation or decorative elaboration Dependent upon the church and court

1512 - 1770 1527 - 1722 1550 - 1790 - 1770 1600 1527 - 1722

Baroque

Baroque

Italian Baroque Baroque in France + UK Baroque in Central + Eastern Europe Iberian Baroque

Baroque in Latin America

1700 1600 - 1750

Ottoman Empire Islamic Architecture

1715 - 1790

Rococo

1725

1750 End of Baroque is synonymous with Bach’s death. Highly ornnate style of Baroque gives way to the more simple and clean styles of the Classical, which uses symphonies + string quartets

Death of Bach

Gothic Cathedral - Chanting Chamber Music 1775

Flexible, changing movements + emotional

Classical

1780 - 1800

Personal ||Detach from total dependence on court and church.

Public movements & middle class emerge

Early Romantic

1780 - 1850 1800 - 1900

Slave-Era Music

1800 1600 - 1860

Greek Revival Focuses on Hellenistic architecture + Doric/ Ionic Orders Exoticism Moorish, Egyptian + Asian styles are popular with wealthy patrons

Beginning of Romantic period in which frequency of the classical period is replaced by subjectivety

22

Romantic Period

1803

1810 1810 - 1900

Gothic Revival Revives medieval styles by restoring Gothic structures & building new ones in the style Often combines medieval aesthetics with modern materials

1820 French Ballroom || Smaller, less reverberation

1830 1830

New York Philharmonic Established

Invention of the Balloon Frame

1839 1840 1840 - 1880

Richardsonian Romanesque Neo-Renaissance

1850 - 1880

- 1900

1851 1859 1860 Slave-Era Music

&

a

return

to

In France, sweeping changes in politics & architectural styles spread to the United States Beaux Arts Styles: United States

1850

Call & Response. Improvisation.

Polyrhythms. Bending Notes. Jamming.

Synocpation Heterophony. Clapping. Slapping.

Stamping. Slurs, cries, shouts, moans, groans. Repetition. Integration of song.

Audience participation.

from the Renaissance Romanesque styles Second Empire

Industrial Architecture New, Industrial materials used on public buildings Crystal Palace, London || Joseph Paxton Arts & Crafts Movement

1600 - 1860

Spirituals Rural Blues Boogie-Woogie

1870 The Grand Paris Opera House - Mass Noise

Opera house built to accomodate Wagner Era Wagner’s works Thomas Edison invents sound recording Thomas Edison patents phonograph

1876

Blues

1877 - 1960

Misery of the living in a segregated Jim Crow society gives rise to the blues, work songs with instruments such as the guitar and piano

1877 1878

1880 1880 1880 - 1920

tall buildings Art Nouveau Organic designs mix industrial materials with ornamentation

Conveys moods and emotions of a subject rather than of a pictorial setting

Impressionism

Slave-era rhythms blends with that of Military Band Music rigid, impressionistic European music Ragtime

1890

1895 - 1920

Tango Rumba

1900 1900 - 1925

1900 - 1930

Jazz House - Large Sound vs. Small Space

Release of Arnold Schoenberg’s Book of Hanging Gardens || Harmony and tonality of classical music replaced by dissonance, creating what many listeners consider NOISE

Classical Style

1908

Vaudeville Blues Samba 1919 - 1926

Big Band New Orleans Jazz Swing Syncopated rhythms + improvisation of ragtime and the blues evolves into jazz, an ensemble-based music that people could dance to. Later styles depart from conventional chord structures, melodies, and rhythms

Jazz

Development + avaliability of materials allows for the new shapes of modernism Architecture in Totalitarian States Political upheaval leads to styles that

1908 - 1912 1910

Harlem Renaissance

Early Modernism

Cubism

1910 - 1925

Expressionism Architecture movements develop quickly with diverse theories on purpose and aesthetics De Stijl Neue Sachlichkeit 1914 Henry Ford fully mechanizes mass production of automobile 1914 - 1918 WORLD WAR I 1915 Dada Art Movement

1920 1920 - 1960

Art Deco Julliard Opens BeBop Hard Bop Free Jazz Cool Jazz

1924

Electric Guitar Debuts

1936

1925 - 1940

Modernism Materials + craft are developed by various schools, which deal with ornamentation in different ways

1930

1929 -

GREAT DEPRESSION

1930 -

International Modernism Simple, unornamented buildings are constructed of glass & steel

1932

Invention of Air-Conditioning

1939 - 1945

WORLD WAR II

Mambo

Rhythm & Blues

1939 - 2000 1940

Second generation of Rhythm & Blues, black artists incorporate parts of gospel, pop, and country

1945

First Computer Assembled

1945 - 1970

Late Modernism

Rock & Roll Popular Music

1945 1950

Postwar Europe & Japan require massive rebuilding and the United States strengthened economy creates a new aesthetic that spreads around the world Corporate Modernism High Tech Architecture economies, while High Tech architecture exposes structural elements

24

Civil Rights Freedom Songs Avant Garde

Soul

Gospel stylings and socailly conscious messages fuse with Rhythms & Blues

Second generation of Rhythm & Blues, black artists incorporate parts of gospel, pop, and country

Stax Motown Fusion Funk

1960 1960 -

Country/Folk

1960 - 1980 1960/70

Woodstock Festival

1969

Rock

New Age

Postmodernism Combinations of different styles create unique & referential buildings

1965 - 1973

VIETNAM WAR

1970 1970 - 2000

1970 -

Disco Go-Go

Minimalist Modernism Late Modernism style strip buildings of ornamentation

Portable Stereo

1978

Early Hip-Hop Neo-Traditionals Hip-Hop offshoot, DJs are showcased instead of MCs and music is produced using computers, drum machines, and synthesizers

Electronica Compact Discs Rap House Trance

Alternative/Indie

1980 1980 1980 1983 - 1988 1981 1982

Deconstructivism Reconstructionist architecture blends traditional building frames, distorting the popular rectilinear conception of buildings Creation of the Internet Personal Computer

1990 1980 - 2000

Gospel New Jazz Swing Dance/Electronic

2000

Hip-Hop Apple releases iTunes 21st Century Hip-Hop

2003

2010 Walt Disney Concert Hall - Large Hall

Music made for Sound Systems - No venue Vinyl record Revival

2013 2015 - Present

New Directions Technology innovations have created seemingly endless possibilities How can these technologies and material advancements be utilized to reduce noise pollution within buildings based on past geometries and ideas?

Taipei Pop Music Center | Entry 2 - Large Pop Center

25

Cathedral

Chanting

Wide open grass lands

African beats

Small clubs + river boats Improvisation

Anywhere Everywhere

Microphone

Jazz Performance “interactive” “involved”

Participatory “Witness”

Spaces that acoustically correspond with their proposed function & purpose (bldg)

Sports arena

Better acoustically composed space that create positive environments in people’s everday lives. (urban |general)

Positive

Negative

Visual

Spatial Recognition

Materiality

Arena rock

spaces that do not correspond with the purpose & function of the space.

Since the invention of the microphone (in musical context) venue to appropriate music genre/sound doesn’t correspond

Non-Visual

Sensory Auditory Stimulation

How does one understand a space through sound with no sight? qualities of space what components?

based on echo or reverberation

Height Materiality Length [fig 2.6] Spatial recognition

26

Research

write what is now known as “arena rock” (Bryne,

on stairs, boards, or metal grating. These sounds

2010). Architecture and the style of music no longer

echo in the empty galleries and give an indication

resonates.

of the vault of the ceiling or the length of the room that often could not see across in the darkness” (p.

Sound Quality in Geometries

20). Without sound, there could be no indication of

I

how the space is constructed and the essence and

n the 1970s there is an explosion of architectural and musical styles and no relationship with how

people perceive sound in a space or urban context.

Many buildings, both interior and exterior lack this correlation between space, sound and the intangible but consistent presence of an acoustic design. Ripley (2007) conveys, “the intangible but consistent presence of an acoustics design, at times conscious, at times unconscious; there is no doubt that this acoustic presence has influenced the centuries-old development of this building, due to the characteristics of its geometrical space and its materiality, behaves like a huge sounding box,

materiality would be unknown. Another example is “the acoustic reflection inside the tunnel deceives our perception, suggesting the existence of a train where no train actually exists, and the deception last until we are able to visually identify the real train as it arrives. The walls of the tunnel, like mirrors, reflect the sound rays, projecting their source – the train beyond the wall – creating the impression that the sound is coming from an imaginary train (or a ghost train)” (Ripley, 2007). The perception of sound or the acoustical perception changes based on the geometry of the space.

amplifying the resonance of sounds, and extending the duration of their echoes” (p. 46). The physics and mathematics create an understanding of the building design and incorporating the optimal way for sound to reflect on that space based on style and time.

Ripley discusses spatial recognition through visual and non-visual criteria, “in the factory segments of Vacant City Radio, the spaces I recorded are heard in the ambient reverb of footsteps on broken mortar, brick, and glass and the different textures of boots Research

27

museums

sidewalks

colleges/universities

parks

concert halls

library

private schools

piazza/plaza/courtyards

corporate buildings

certain mixed-use buildings

places that require financial/monetary value

defines and ranks social classes

or reputation/image prviledged spaces

civic

Accessibility Urban|Building

Public vs. Private Spaces

Noise Pollution mass integration of people

Historical Geometries

Materiality + Technology

1400s 1500s 1600s 1700s 1800s geometry/acoustics 1900s microphone/recordings 2000s venue appropriateness

interaction responsive Taipei interactive hall

texture concrete stone wood reverberation sound absorbancy echoes

[fig 2.7] Noise Pollution

28

Research

Reflections |Summation of Study

T

hrough the rat studies, the differences between

The next phase of the study is examining similar

sound, music, noise, and silence are evident.

precedence that correlate with the issue of

Noise is the over stimulation of unwanted sound,

surrounding noise pollution and or high signal to

“music is organized sound” (Levitin, 2006), silence is

noise ratio. This understanding of how sound is

the absence of sound, and sound is comprised of

articulated in architectural acoustics will be divided

both music and noise.

into the three categories: 1. Historical geometries

Bernhard Leitner (2011) says,

2. Public versus private spaces

3. Materiality and technology

“sound is not this undefined, unfocused envelope

These categories have been dictating the standards

which subordinated us to the mastery of nature and

and advancements of sound in the interior and

form which there is no escape. Sound is measurable;

exterior built environments.

it draws lines, builds walls, and permeates according to architectural rules. This space in which we find ourselves and which emanates from our bodies, unites our perceptions, our movement, and our ability to decode perceptions to which our various cultures assign varying interpretations.”

Sound becomes a visual perception associated with spatial quality. The correlation between sound and space should portray an understanding of sound, which is reflected within basic geometric shapes.

This analysis will suggest solutions of how to comprise better-composed spaces to create a more focused, relaxed, for the future and present societies.

Research

29

30

[img 3.0]

3

Chapter Approach

31

32

Precedence Principles and concepts represented in these case studies convey the essence of fomal geometric construction in direct correlation with the surrounding environment and the interior spaces.

Certain projects illustrate the same qualities as others, while others are more traditional to the category assigned.

01

Historical Geometries Piazza San Pietro

02 03

Public vs. Private Taipei Pop Music Center Grace Plaza

04

Materiality + Technology Le Cylindre Sonare

05

Natural Context Bird Song

33

Historical Geometry Piazza San Pietro | Pope Sixtus & Bernini | Vatican City, Rome, Italy Surrounding Context | Site is near residential, commercial, & religious Typology | civic center

T

he piazza is completely surrounded by neighborhood, except for the East side where the Via Della Conciliazione to Castel Sant’ Angelo and the border of Vatican City. The Basilica was designed first as well as the existing context. Gina Lorenzo Bernini then designed the trapezoid adjacent to the Basilica plan and the ellipse of the plaza. The arms of the ellipse are intended to surround the travelers of Rome in a safe and embracing environment near the Church-State. [fig 3.1]

not the inside of the piazza. When moving to the middle of the colonnade, both the exterior and interior world around the columns disappears to create an absence of sound. In the center row of the colonnade, the curvature and geometry of the columns creates a visual wall where the voids of each column alternate with each other. [fig 3.3] The row closest to the piazza only allows the user to hear the piazza with no visual or auditory presence of the surrounding neighborhood.

The four rows of colonnades provide a visual and acoustics transition between the outside of the piazza on the surrounding streets to the interior of the piazza where the travelers reside. The first layer of the colonnade moving from the exterior to the interior allows the user to hear only the outside, but

San Pietro illustrates a type of structure, which does not exhibit a physical wall, but rather repetition and void in a mathematical arrangement. [fig 3.2] This arrangement leaves the user in a sense of emotional awe when in the transition stages of the colonnades.

[img 3.1]

0’

500’

34

Vicinity map of Vatican

Case Studies

Plan [fig 3.1]

Geometry Deconstruction [fig 3.2]

View without foci

From foci || Between fountain & obelsik Colonnade perspection deconstruction [fig 3.3]

[fig 3.4]

Case Studies

35

Public vs. Private Taipei Pop Music Center | JDS Architects | Taipei City, Taiwan Surrounding Context | Site is adjacent to a major highway, commercial, & residential Typology | competition, auditorium, music center, commercial, civic space

W

hile this project is one submission for the Taipei

but this particular project could have integrated

Pop Music Center Competition, this particular

into the site more cohesively, rather than relying on

entry by JDS architects could be one of the

post-modern architectural conventions for a great

underdeveloped of the first three that placed. The

acoustic venue, such as the rectangular geometric

music center is elevated from the ground level and

construction [fig 3.5 and 3.6] and plain materiality.

uses the circular path as a subtle ramp to move users

The project illustrates a unique economic situation

from the civic space and the commercial aspects

of privately owned public spaces that many other

of the site. The main event space is a large scale

countries initiate, but has only begun to become

rectangle using specific technological aspects to

increasingly popular in the United States.

adjust the acoustics of the interior environment.

By making the interior to exterior spaces of the Pop

0’

The surrounding area consists of large highways that

Center civic areas for the general public, the area of

run east to west leading into the center of Taipei and

the project may expand while maintaining the civic

out of the core districts into New Taipei City, Taiwan.

quality. However, the public venues become private,

The location is well suited for the typology selected,

when paid or private events are held in the interior

500’

0’

1000’

[img 3.2] Vicinity map of East Section of Taipei

36

Case Studies

spaces of the site. This particular project submission

People do not realize the significance of listening

for the competition strived for a venue more open to

to poor acoustics until the moment becomes a

the public, using technology to adhere to the needs

memory associated with the structure and overall

of more users. Unfortunately to accommodate the

experience.

amount of users, the acoustic quality is lost.

Which emphasizes a good question:

Should the acoustic quality of the architecture be compromised to accommodate a larger program when the reason people are coming to the structure is to listen to better quality music?

Plan + Geometry Deconstruction [fig 3.5]

Possible Site Conditions | Flat Topography + Elevated Ground Floor [fig 3.6]

Case Studies

37

0’

500’

Public vs. Private Grace Plaza | 1095 Ave of the Americas, New York, NY Surrounding Context | Site is between two high-rise buildings Typology | civic space, plaza

G

race Plaza in Midtown Manhattan, New

In recent years the solution for the plaza has been

York, New York is projects an overall negative

to place tables and chairs [fig 3.5] to engage

experience, thus portraying antecedent qualities.

users in a civic oriented effort, but the solution is

Built in the 1970s the plaza had grand intentions,

underdeveloped and not an effective architectural

but did not foresee the problems of the area and

solution. The landscape in the plaza at best only

geometry of the surrounding context with the tall

decreases the noise a fraction of the existing noise

buildings on all sides, creating a vacuum of sound.

levels. Since the trees are perforated and allow for

Not only are the adjacent buildings creating walls

sound to defract and reflect off the surfaces of the

that reflect the noise, the material only allows the

buildings.

reverberation of the surrounding city noise to be 0’

trapped within the courtyard.

1000’

0’

[img 3.3]

500’

38

Vicinity map of Midtown Manhattan

Content

[img 3.4] top left [img 3.5] bottom left [img 3.6] right

Content

39

0’

1000’

Materiality + Technology Le Cylindre Sonare | Bernhard Leitner | Parc de la Villette, Paris, France Surrounding Context | Site is embedded into the topography of the bamboo garden Typology | Public art. Not priveledged space The Parc de La Villette [img 3.7] has multiple areas

as creating a quiet and undisturbed ambient

for people to wander as well as congregate

environment.

within a planned grid system marked by red art

0’

pieces. One of areas is an installation by Bernhard

Leitner’s principles of sound (“AD Classics,” 2011) not

Leitner. The public art installation uses speakers to

only applied to this installation, but the general form

enhance sounds made by people on a time interval

of surround sound in relation to human proportions.

combined with concrete and perforated baffle

Height and scale of the details could enhance or

façade for the speakers to project. By terraforming

diminish a project depending on the conditions of

the past site into a dramatically recessed garden

where the sound is coming from in any given place.

surrounded by foliage, the structure has the

[fig 3.10]

necessary 500’ means for low decibel levels, as well

Historical Geometry 0’

[img 3.7]

500’

40

Vicinity map of Parc de la Villette

Case Studies

Plan

Sound Concept 1.0

Geometry Deconstruction

Sound Concept 2.0

[fig 3.7]

[fig 3.8]

Possible Site Conditions | Sunken elevation [fig 3.9]

[fig 3.10]

[fig 3.11]

Case Studies

41

Natural Context

G

ood representations of acoustics in nature range from the wilderness of the INYO Valley, the John Muir and Pacific Crest Trails to the red rock canyons in Zion National Park to the man-made Epidauros Theater in Greece. The more natural elements of the wilderness, such as earth, wind, and water create a natural and calming ambience due to the lack of stimulus for people to mentally interact with on a daily basis. Natural man-made acoustics are more related in geometries based on existing topography and landscape. Places such as the Getty Center use the hillside to help eliminate vast quantities of the surrounding Los Angeles noise. The Epidaurus Theater in Epidavrou Tripolis, Greece uses the surrounding hillside and angle of the theater for perfect or near –perfect auditory stimulation. The Greeks were able to hear with absolute clarity from the top row.

The antecedent of natural acoustical design is the anechoic chamber in Minnesota. No one interacts with each other in this completely isolated manmade room where there are wedges one to two feet deep. The room is completely silent, forcing the brain to recalibrate the sounds usually heard in a normal room, thus replacing what people normally hear in the background of spaces to intently listening to the inner-workings of the user’s body.

W

ith a variety of naturally composed spaces, the concepts of nature suggest the strongest influence for precedence. In the TED Talk by David Byrne titled “How Architecture helped music evolve,” Byrne briefly discusses the work of David Attenborough and his study of bird song.

42

Case Studies

Attenborough conveys that in the high canopies of the trees or forests, birds have higher pitched or short and repetitive calls in thicker or denser foliage. [fig 3.12]

Birds on the forest floor have lower pitched voices so as to not become distorted when they bounce off the forest floor. [fig 3.13]

Savanna birds have long and high-pitched calls to carry over the vast grasses and breezes of the savanna grass. By possibly using these principles in a programmatic arrangement of spaces, designers will better understand different functional acoustic space. [fig 3.14]

[img 3.8] High canopy treetops

[img 3.9] Low + muffled forest floor

[img 3.10] Tall grasses in Midwest

Case Studies

43

44

Context + Program

B

etween the transformative colonnades of Rome, the public and private spaces of Taipei and New York, to the sculpture park in France and the acoustic principles of the birds in different kinds of environments, the underlying principles each case study brought to Harmonic Resonance may now provide key design components for the typology and site location, in which the acoustical ideas could manifest.

Thus far, the typologies examined are privately owned public plazas, music venues with public venues, multi use revenue prospects, and a sculpture garden. While the principles presented in Harmonic Resonance could be applied to any kind of typology, such as the dynamic between a hospital waiting room and the main functional aspects of that medical facility or a library study room near large university atrium.

greater region of San Diego.

In parallel, searching for a site happens simultaneously with the appropriate program, which is vaguely described through the first few site searches, but more formalized for the last three sites in Harmonic Resonance.

The applications for acoustic principles could be infinitely applied, as previously mentioned, the program to represent these principles along with the spatial recognition [fig 2.7] and historical significance [fig 2.5] suggests a music venue for popular music and the correlating acoustic principles have a solid acoustic foundation. Since there is a disconnect between postmodern and popular music, illustrated in the previous figures, this issue helps to better define the necessity of the program with Harmonic Resonance.

The applications are infinite, but as the search for a site and appropriate typology are shown in this chapter. There will be a specific type of program and location that will place a higher emphasis on acoustical values and spatial recognition portrayed in previous chapters.

The general search for a site begins with understanding the location should be an area where multiple persons could gather (also referred to as a mass integration of people). These areas would be similar to the case studies that allow for an area to be alleviating stress and stimuli from the everyday traveler within that adjacent areas, as well as the 45

01

Grape Street | preliminary site [fig 3.16]

02

Union Street | preliminary site [fig 3.17]

03

W Broadway 1 | preliminary site [fig 3.18]

04

W Broadway 2 | preliminary site [fig 3.18]

05

Hilton Bayfront | final site [fig 3.20]

Finding Resonance Three sites, numbers 1.0 - 4.0 [fig 3.15] are the initial lcations analyzed for context and site conditions, unfortunately the conditions for each site are not adequate enough for the program or typology conditions. Though an argument could be made for each, these sites already have proposed landuse and future proposals. The current concepts are subject to evolve and develop with the choosing of an appropriate site for the hypothesis of interior to exterior relationships of sound, noise, music, and silence.

01 02 03

Contextual Analysis W Grape St + W Hawthorne St Site State St + Union St Sites W Broadway + Pacific Highway Site

Programmatic Analysis 01 Reflection of Case Study Conditions 02 Use 03 General Program Concepts

46

[fig 3.15] Vicinity map of prospective sites

47

Contextual Analysis [fig 3.16] W Grape St + W Hawthorne St Site :: North of City Hall 1501

1200

9700

1200 9700

at

St

1200

e

5007

st

1200 1120

N

9700

9700

9700

Ha

1200

or

rb

9700 2001

1200

Dr

1120

1200 9700

1501

1200

9700 5009

5007

st

Colu

9700

9700

9700

t

9700

Blvd

1200

1120

9700

st

ner

1120

e st

p Gra

1200

Kett

9700

India

1200 5007

W

1200

ia s

6002

mb

7601

9201

1200

9700

rne

tho

aw WH

6002

9700 1120

9700 9700

1200

1120

ir st

9700

WF

9700

1200

7601 1200 9700 1200

200’ = 0’-1”

N

48

Context + Program

ia St

Hwy Parcel Information :: Not available Census Tract :: 5800 Potential Addresses :: 1901-2099 N Harbor Dr 1103-1151 W Hawthorne St 2050-2098 Pacific Highway 1000-1098 W Grape St

6002

Californ

Pacific

1500

5700 1200

W Elm st

5007

1120

1200

Landuse Zone Reference 1120: Single-Family Multiple Units 1200: Multi-Family Residential 1500: Hotel/Motel/Resort 1501: Hotel/Motel (Low-Rise) 2001: Heavy Industry 5007: Arterial Commercial 5009: Other Retail Trade/Strip Commercial 6002: Office (Low-Rise) 7601: Park-Active 9201: Bay or Lagoon

Contextual Analysis Criteria

Grape Street

W

Near City Hall, the block between Grape Street

hen choosing sites, the main criteria involved is to remain in downtown or a more dense urban environment. Southern California is unique in that density comes in a variety of forms, but for the most part is spread out in an urban sprawl manner, but downtown still remains an epicenter for people who work, as well as livable areas and tourism along the harbor. San Diego is also very accessible for the research and site analysis to later come in the design phase. Los Angeles was also considered, but the research demands excess ability to experience the acoustic atmosphere of the location, as well as obtaining noise studies for building orientation and site development.

[fig 3.16] and Hawthorne Street allows a public extension to an active park. When analyzed the site was additional parking for the surrounding area and added no extra qualities to the surrounding structures or view of the harbor. The intersection near the top northwest corner of Grape Street and Harbor Drive is one of the main arteries from the harbor returning to Interstate 5 into Little Italy.

The opportunity to be near a park while creating a public acoustic courtyard would have been interesting, but weak in the overall argument and zoning requirements did not match the integrity of what Harmonic Resonance could later resemble.

Context + Program

49

[fig 3.17] State St + Union St Sites :: North of Justice Hall 9700

1200 9700

6001

1200

6001

1200

1200

1200

9700

1200

1280 6001

1200

9700

Ash st Site A

6001

1200 6809

9700

1502 1200

5007

4114

6003

1200

6001

6003

6001

1200

6001

Landuse Zone Reference 1200: Multi-Family Residential 1280: Single Room Occupancy Units 1401: Jail/Prison 1500: Hotel/Motel/Resort 1502: Hotel/Motel (High-Rise) 2001: Heavy Industry 4114: Parking Lot-Surface 4119: Other Transportation 5007: Arterial Commercial 6001: Office (High-Rise) 6003: Government Office/Civic Center 6109: Other Public Services 6809: Other School 9700: Mixed Use

1200

A st Site B 9700

4119

6001 1200

6109

6001

1200

6001

6001

6002

6001 A st

1200

01

07

02

08

03

09

Site B

04 B st

1200

1401 1401 6001

Front st

Union st

1200

First Ave

6003

6001

State st

Columbia st

6001

India st

Kettner Blvd

4111

9700

C st 9700 Site A Parcel Information :: No. 5334111000 1.38 acres (60,112.8 sqft)

200’ = 0’-1”

N

10

06

6003

1502

6109

05

Site B Parcel Information No. 01: 5334130100 :: 1263 State st 02: 5334131600 :: 1253 State st 03: 5334130300 :: 1241 State st 04: 5334130400 :: 1221 State st 05: 5334130500 :: 330 W B st 06: 5334130600 :: 338 W B st 07: 5334131200 :: 305 W A st 08: 5334131100 :: 1250 Union st 09: 5334131000 :: 1240 Union st 10: 5334131500 :: 0000 B st FAR Max Requirement :: 10.0 (6.0 min)

FAR Max Requirement :: 8.0 (5.0 min)

[fig 3.18] W Broadway + Pacific Highway Site :: North of Navy Offices 9700 6001

1200 1200

6001

1200

6109

1502

4119

6001

9700

6001

1200

Landuse Zone Reference 1200: Multi-Family Residential 1502: Hotel/Motel (High-Rise) 1200 2001: Heavy Industry 4111: Rail Station/Transit Center 4115: Parking Lot-Structure 4119: Other Transportation 6001: Office (High-Rise) 6003: Government Office/Civic Center 6109: Other Public Services 6809: Other School 7601: Park-Active 6003 9700: Mixed Use

1200 1502 4111

4115 1502

9700

6003

1501 Site A

1200

7601

6001 1200

1200

6809

6001

1200 6003

1200

Site B 6109 1200

200’ = 0’-1”

N

50

1200

1200

Site A Parcel Information :: No. 7600120200 5.22 acres (227,383.2 sqft)

Site B (West) Parcel Information :: No. 5335310300 1.38 acres (60,112.8 sqft)

Site B (East) Parcel Information :: No. 5335310400 0.52 acres (22,651.2 sqft)

FAR Max Requirement :: 7.0 (4.0 min) Potential Addresses :: 900-986 W Broadway 1000-1072 Pacific Hwy

FAR Max Requirement :: 8.0 (5.0 min) Potential Addresses :: 805-899 W Broadway 959-999 Pacific Hwy

FAR Max Requirement :: 8.0 (5.0 min) Potential Addresses :: 805-899 W Broadway 959-999 Pacific Hwy

Context + Program

Union Street

W Broadway

Centrally located in downtown, the transition

Out of all the sites, the Broadway and Pacific Highway

between Little Italy and the business district of

[fig 3.18] sites seem promising. Located near an

downtown, the State and Union sites [fig 3.17]offer a

understated artery and downtown from Harbor Drive

more dense building atmosphere, but not dense in

bleeding from the airport to the north, the Broadway pier

relation to people. Located near the San Diego jail,

to the west, Seaport Village in the convention center

the site location particular energy of anything. There

to the south, and the train depot directly adjacent to

are a dearth of people walking through this section

the east. Broadway sites could offer a revival for the

of downtown, only people driving to go either north

underutilized area. However the land-use does not

or south into San Diego. Not only does the land-use

correlate with the intended typology, a public music

not correlate with the proposed program, but this

venue with cultural aspects. Again economic issues

location has an underdeveloped “public to private�

and the reality of the type of project envisioned do not

atmosphere of any of the sites examined. There is

correlate with each other.

also future development currently being constructed

Future analysis of any site will be less difficult to narrow

on the site by the city.

down due to a better understanding of what kind of character the project is looking forfuture design dialogue.

Context + Program

51

[img 3.11]

[img 3.12]

[img 3.13]

[img 3.14]

52

Programmatic Analysis Piazza San Pietro Surrounded by closely packed ancient neighborhood of the Borgo.

Piazza was adapted for pedestrian accessibility near end of 20th century.

Church and Vatican City are gated, while the piazza remains open, yet monitored through the night.

Owned by Church and Vatican Country. [fig 3.19]

In Rome, owner may expand the interior of a room or building only if there are civic additions (i.e. Trevi Fountain)

Taipei Pop Music Center Commissioned by Public Works + Cultural Affairs Departments of the Taipei City Government.

Functions as mixed use, but has other civic amenities. [fig 3.20]

Grace Plaza Surrounded by high-rise + commercial development.

Plaza was constructed in the 1970s, but became a failed interstitial space.

Owned by the surrounding companies + developers; added to gain FAR. [fig 3.21]

Le Cylindre Sonare La Villette partners with the Veolia Corporate Foundation + Passengers Garden Supports Passenger Garden mission statement: Being a place of resource for urban ecology and sustainable development.

[fig 3.22]

Help to create social links for everyone, especially for disadvantaged or marginalized groups.

53

[img 3.15] W Grape St W Hawthorne St

[img 3.16] State St Union St

[img 3.17] W Broadway Pacific Highway

54

Context + Program

Public Uses If a development incorporates a building a building that is owned by the City of San school district, and it is utilized for a public community recreation center, fire station, similar public use as determined by the Ci the floor area of that public use shall not b Public Uses area for the purposes of calculating the FA If a development incorporates a building a building that is owned by the City of San school district, and it is utilized for a public community recreation center, fire station, (11) Public/Civic Public Uses use (PC) similar public as a determined by the Ci This district provides center for governme If afloor development incorporates a buildin the area of that public use shall not b civic uses, cultural institutions, educationa a building that is owned by the City ofFA S area for the purposes of calculating the and support services, and it accommoda school district, and it is utilized for a pub the PC District, a minimum of 40 percent o community recreation center, fire statio frontage shall contain active commercial similar public use as determined by the (11) (PC) the Public/Civic floor area of that (OS) public use shall no (12) Park/Open Space This district provides a center for governme area for the purposes of for calculating the This district provides areas public civic uses, cultural institutions, educationa parks and open spaces. Below-ground pa and support services, and it accommoda drinking establishments, arts and cultural u the PC District, a minimum of 40 percent o centers are also permitted. frontage shall contain (11) Public/Civic (PC)active commercial This Public districtFacilities provides(PF) a center for govern (13) (12) Park/Open Space (OS) civic uses, cultural institutions, education This district is intended to accommodate o This district provides areas foritpublic and support services, and accommod or more existing or proposed public safety parks and open a spaces. Below-ground pa the PC District, of 40 this percen developments areminimum allowed within distr drinking establishments, arts and cultural u frontage shall contain within activethe commerc safety facility is located develop centers are also permitted.

(12) Park/Open Space (OS) (13) Public Facilities (PF) This district provides areas for public This district is intended to accommodate o parks Open and open spaces. Below-ground Urban Space or more existing or proposed public safety Applicants that reserve a arts portion their drinking establishments, andof cultura developments are allowed within this distrs for the development of public urban open centers are also permitted. safety facility is located within the develop plaza) may qualify for a FAR bonus of 0.5 o Table 156-0309-A, subject (13) Public Facilities (PF) to the following This district is intended to accommodat (A) The urban open shallpublic be design or more existing or space proposed safe Urban Open Space listed in the Downtown Design Guidelines. developments allowed within Applicants that are reserve a portion of this theirds safety facility is located withinurban the deve for the development of public open (B) The urban open space shall be open to plaza) may qualify for a FAR bonus of 0.5 o least between the hours of 6:00 a.m. and Table 156-0309-A, subject to the following day. The open space area shall have sign the public is welcome and the hours of clo (A) The Open urban Space open space shall be design Urban applicable. listed in the Downtown Design Guidelines.

Applicants that reserve a portion of the for the development of public urban op (C) CC&Rs shall be recorded on the prope (B) The urban open space shallbonus be open to plaza) may qualify for a FAR of 0. development and on-going maintenance least between the hours of 6:00 a.m. and Tableto156-0309-A, subject to the followin area City standards in perpetuity.

These day. The open space area shall have sign CC&Rs shall be approved by the Civic San the is welcome and the hours clo (A)public The urban open space shall beof desi and the City Attorney's Office. applicable. listed in the Downtown Design Guideline

(C) CC&Rs shall be recorded on the prope (B) The urban open space shall be open development and on-going maintenance least between the hours of 6:00 a.m. an area to City standards in perpetuity. These day. The open space area haveSan si CC&Rs shall be approved by shall the Civic the public is welcome and the hours of

Code Public Uses

Urban Open Space

If a development incorporates a building or portion of a building that is owned by the City of San Diego or a public school district, and it is utilized for a public purpose such as a community recreation center, fire station, public school, or other similar public use as determined by the Civic San Diego President, the floor area of that public use shall not be counted as gross floor area for the purposes of calculating the FAR for the development.

Applicants that reserve a portion of their site for the development of public urban open space (public park or plaza) may qualify for a FAR bonus of 0.5 or 1.0, as specified in Table 156-0309-A, subject to the following criteria:

(11) Public/Civic (PC) This district provides a center for government, civic uses, cultural institutions, educational facilities, and public and support services, and it accommodates residential uses. Withinthe PC District, a minimum of 40 percent of the ground-floor street frontage shall contain active commercial uses.

(B) The urban open space shall be open to the general public at least between the hours of 6:00 a.m. and 10:00 p.m. every day. The open space area shall have signs indicating that the public is welcome and the hours of closure, if applicable.

(12) Park/Open Space (OS) This district provides areas for public parks and open spaces. Below-ground parking facilities, eating and drinking establishments, arts and cultural uses, and community centers are also permitted.

(A) The urban open space shall be designed to meet the criteria listed in the Downtown Design Guidelines.

(C) CC&Rs shall be recorded on the property providing for the development and on-going maintenance of the open space area to City standards in perpetuity. These provisions of the CC&Rs shall be approved by the Civic San Diego President and the City Attorney’s Office.

(Chapter 15, 2014)

(13) Public Facilities (PF) This district is intended to accommodate one or more existing or proposed public safety facilities.

Mixed-use developments are allowed within this district provided the public safety facility is located within the development.

Context + Program

55

Where doe Civic is the situations of to maintain public plaza

Micro

Through the as well as th the conclus

Macro

Micro Micro

On Macro level Providing civic characteristics of space, but another layer of programmatic space during different hours of operation. [fig 3.23] *Each circle becomes a site.

On Micro level Providing smaller acoustically designed spaces to make dense urban areas to alleviate stress.

Each site presents different kinds of density within the city.

[fig 3.23] *General Overview Each site presents different kinds of density within the city.

Design different kindsprivate of sound experiments within each condition.

Each linked with the other. private Some aspect open to interpretation of space, similar to precedence.

On Macro level :: Providing not only civic characteristics of space, public access from multiple points but another layer of programmatic space during different hours of operation. public

access from multiple points

On Micro level :: Providing smaller acoustically designed spaces to make dense urban areas less stressful. *Each circle becomes a site.

halls halls facilities facilities

Design different kinds of sound experiments within each condition.

parking

cultural centers

parking

cultural centers

Each linked with the other.

Some aspect open to interpretation of space, similar to precedence. [fig 3.23, 3.24, 3.25]

areas to satisfy hunger + thirst areas to satisfy hunger + thirst

[fig 3.24] Macro Level

halls halls public

private

public

private

access from multiple points access from multiple points

[fig 3.25] Micro Level

56

Context + Program

Place of civ

Quieter are setting awa

Public, but City of S Center f San Dieg

Spatial Concepts Where does revenue come from?

Where does revenue come from?

Civic is the root typology; however, by examining the economic situations of each case study, each have a financial system inCivic place is the root typology; however, by examining the to maintain the area. Allowing the owner or organizations to add a economic situations of each case study, each have public plaza will increase certain FAR for future program ratios. a financial system in place to maintain the area.

Through the analysis of historical geometries in relation of sound, as well as the need for better acoustically composed spaces Allowing directs the owner or organizations to add a public plaza will increase certain FAR for future the conclusion of incorporating a music venue. (Macro) program ratios.

Through the analysis of historical geometries in relation of sound, as well as the need for better acoustically composed spaces directs the conclusion of incorporating a music venue. (Macro)

Place for civic community.

Similar to case study experiences. [fig 3.19-3.22] [fig 3.26]

Quieter areas for people to come, relax, and interact in a quiet setting away from chaotic situations.

Public, but privately owned with partnerships + collaborators.

City of San Diego Quieter areas for people to come, relax, and interact in a quiet

Commission for Arts + Culture setting away from chaotic situations.

Center for World Music Public, but privately owned with partnerships + collaborators.

San Diego Symphony City of San Diego :: Commission for Arts + Culture Center for World Music San Diego Symphony

Place of civic engagement.

Context + Program

57

58

Conceptual Development

Programmtic Modifications 01 Requirements 02 Spatial Adjacencies 03 Geometry Adjacencies

Geometric Analysis 01 Basic 2-Dimensional Shapes 02 3-Dimensional Shapes 03 Trinity Shape Sound Analysis 01 Triangular 02 Quadrilateral

03 Circular

01 02 03

Concepts | Schemes Priveldged Civic Amenity Transient: Everyman’s Type

59

Preliminary Program Space Theater/Performing Space Total | 5950 - 7450 sqft

Theater/Performing Back of Space

Description

sqft | total

Shapes

Quantity

Outside | Inside

Audience

Resized to accomedate programs

N/A

Sound Control

Sound room

10’ x 10’

100 | 100

1.0

Inside

Stage + Wings

Crossover included in grossing factor

35’ x 80’ stage

3200 | 3200

1.0

Outside | Inside

Lighting Control

Lighting room

10’ x 10’

100 | 100

1.0

Inside

Lobby/Entrance

Audience + 5 nsf/person

N/A

1500 - 3000

1.0

Outside | Inside

Restrooms

1/25 women 1/35 men

15’ x 30’

450 | 900

2.0

Inside

Unisex Restrooms

Accessible

35’ x 35’

70 | 140

2.0

Inside

Multi-use Black Box Space

Performances; Classes; Seating for 100 people

40’ x 50’

2000 | 1600

1.0

Inside

Loading Dock

Areas for unloading equipment

20’ x 20’

400 | 400

1.0

Outside | Inside

Mechanical

in gross

20’ x 20’

400 | ----

1.0

Inside

Total | 2800 sqft

[fig 3.27] Preliminary program development

60

Dimension

Conceptual Development

10

300 | 600

Outside | Inside

Space Music Center Total | 4030 sqft

University + Schools (Educational/Community) Total | 1670 sqft

Other Spaces Total | 3850 - 4350 sqft

Total | 18,300 - 20,300 sqft

Description

Dimension

sqft | total

Shapes

Quantity

Outside | Inside

Recital Room

30 people

50’ x 25’

1250 | 1250

1.0

Inside

Practice Room(s)

Upright piano; 1/2 teach lessons + practice

10’ x 8’

80 | 720

9.0

Inside

Hall

30 people

50’ x 25’

1250 | ----

1.0

Inside

Recording Studio

Equipment room

20’ x 15’

300 | 300

1.0

Inside

Digital Music Labs

Area for mixing, etc...

20’ x 20’

400 | 8 stations

1.0

Inside

Large Practice Room

For piano

10’ x 11’

110 | 110

2.0

Inside

Study Rooms

Areas for quiet multi-taks

10’ x 10’

100 | 500

5.0*

Inside

Reading areas or homework rooms

Learning; Innovative

10’ x 7’

70 | 490

7.0*

Inside

Existing playground

Bird Park only

20’ x 25’

500

1.0

Outside

Library

Highly dense storage; listening stations

10’ x 18’

180 | 180

1.0

Inside

Offices

Work areas

10’ x 15’

150 | 450

1.0

Inside

Elevator

Circulation; Not Balboa site

10’ x 6’

in gross

N/A

Inside

Stairs

Circulation

N/A

in gross

N/A

Outside | Inside

Courtyard

Large; Medium; Small

N/A

2500 - 3000

1.0 - 3.0

Outside

Gallery

Transformation space

20’ x 45’

900

1.0

Outside | Inside

[fig 3.28]

Conceptual Development

61

Black Room

Mechanical Sound

Loading Dock

Lighting

Audience

C 03

Restrooms

Lobby

Gallery

Unisex Restrooms

O f f i c e s Courtyard (C) 01

Recital Room

C 02

Hall

Reading Areas

Library Study Rooms

[fig 3.29] General program adjacencies || Only in relationship to interior space.

62

Conceptual Development

PracticeRooms

Digital Music Labs

Recording Studio

Large Practice Room

Adjacencies |Spatial

A

fter review of the general basis the program, the

music program also addresses the poor correlation

micro and macro proposal with multiple sites

between post-modern architecture and the type of

became an issue of coordinating the land use and

sound for music being produced in popular genres

economic capital of each area. The project requires

today.

a more specific program with one site. However, the

Adjacencies shown in figure 3.27 illustrate the

core values from figure 3.26 remain relevant for this

relationships between interior spaces and where ideally,

process.

functionally, and systematically the spaces listed in previous figures should align.

The goal is not to create a music venue, but an integrated environment between all areas of the site. The overall vision so much more than simply designing a music venue. This program would incorporate cultural and educational criteria as well as recording studio performance space. There is no great music venue specifically designed for the type of music being played south of Interstate 8, which cuts through Mission Valley to the mountains in the typology that incorporates music is usually regarded more seriously and literally been other typologies when studying acoustics; therefore, creating a stronger argument for Harmonic Resonance. The

Conceptual Development

63

[fig 3.30] Washington | India Site

[fig 3.31] Bird park Site

Loading Dock Black Room Restrooms Sound Lighting Audience

Courtyard 01 Digital Music Labs Library Reading Areas Study Rooms Hall [fig 3.32] Hilton Bayfront Site General program adjacencies || Relationship between interior and exterior space, with heavy influence of general program adjacency.

64

Content

Unisex Restrooms

Lobby Gallery

Offices Recording Studio Courtyard 02 Recital Room Large Practice Room Practice Rooms

Adjacencies |Sound

T

he shapes illustrated in figures 3.28–3.30 are arranged in relation to interior and exterior space

as well as the correlating shapes in previous figures.

Each adjacency has the same programmatic elements, however they are arranged from North to South (Top to Bottom).

Content

65

Geometry |Basic Forms

[fig 3.33] Basic Two-Dimensional Shapes

66

Conceptual Development

These shapes provide a general knowledge of

the program [fig 3.27 – 3.28] to illustrate the sound

simple two-dimensional geometries to more complex

quality in relation to the function of each individual

three-dimensional geometries. They are applied to

space.

[fig 3.34] Basic Three Dimensional Shapes

Conceptual Development

67

[fig 3.35] Triangular Sound Reactions

68

Conceptual Development

Reactions |Shapes The following diagrams illustrate the reactions of a direct source of sound within:

1. Triangular shape [fig 3.35]

2. Quadrilateral shape [fig 3.36]

3. Circular shape [fig 3.37].

Outside the triangular shape the dotted lines show the pattern of sequencing usually not portrayed in auditory or visual perception. Whereas the quadrilateral shape shows interior space, assuming the solid black line is an extruded wall and the circular shape conveys sound as a radiating effect.

Conceptual Development

69

[fig 3.36] Quadrilateral Sound Reactions

70

Conceptual Development

[fig 3.37] Circular Sound Reactions

Conceptual Development

71

Hilton Bayfront |Music Venue Clients

Key Points

This location suggests a privately owned public

Venue to recreational relationship becomes more

space, in which the grass park north of the Bay and

important.

South Embarcadero, between the Hilton and the San Diego Convention Center (SDCC) is owned by

Centralized in the southeast area of downtown, on

both SDCC and the Hilton; however, the restraints

the edge of East Village and Barrio Logan, subject to

and code are primarily implanted by the Port of

grow in the next few years.

San Diego (Port, 2015). If chosen, this site could be implemented into an already established event

Correlates with tourism and direct line to the heart of

calendar between the two owners and Petco Park.

downtown on Fifth or the Gaslamp District.

72

Conceptual Development

N

Conceptual Development

Scheme 01 || Priveldged || Hilton Bayfront Park

[fig 3.38]

Conceptual Development

Conceptual Development

73

59

Park |Bird Park Music Venue Clients

Key Points

Similar to the Le Cylindre Sonare (see pp. 40-41) and

Venue to cultural and park amenities relationship

Piazza San Pietro (see pp. 34-35) case studies, the

becomes more important.

client is an organization or community. Although the Vatican Church owns places like San Pietro, there

Located on the Northeastern edge, Bird Park is

are communities that manage the curation and

surrounded by neighborhood on two sides and is

design influence over a large area similar to Balboa

removed from the major areas of Balboa Park.

Park. The formal aesthetic and spatial relationships will be dictated by the Park guidelines.

74

Conceptual Development

Becomes integrated into the park plan.

Scheme 02 || Civic Amenity|| Bird Park

[fig 3.39]

Conceptual Development

Conceptual Development

75

61

Washington St |vs. Airport Clients

Key Points

The third location suggests a mixed-use venue

Venue to business relationship becomes more

with heavy influence on commercial and retail to

important

support, both civic amenities and cultural business, or the transient, every-man’s site. This third option

Community becomes about tourism and

would be managed by a flexible infrastructure and

how a monetary system will always be involved,

removes the concern of the primary users; therefore,

rather than adhering to the adjacent residential

the Washington and India Street site implies the

area.

weakest opportunities of the three options.

Less centralized in some ways, such as finding sites However the area is one of the noisiest section of San Diego due to the airport, Interstate 5, and the connection between India and Washington Streets.

The decibel readings were an average of 85 to 110dB during traffic times of 8:00 AM and 5:00 PM. During the day and night, the levels were anywhere between 75 and 100dB. The site could offer the best opportunity and challenge in regards to creating a quality acoustic environment between exterior and interior.

76

Conceptual Development

that are not already spoken for by owners.

Scheme 03 || Transient: Everyman’s Type|| Washington St + India St

[fig 3.38]

Conceptual Development

Conceptual Development

77

63

78

[fig4.0]

4

Chapter

Design

79

80

Dialogue|Design Designing from the inside to outside.

Acoustics becomes a ripple effect or a resonating design from which the quality of interior sound begins to diffuse outward and then is relfected back from the existing environment as well as exterior sound. Therefore, both interior and exterior become a h a r m o n i c r e s o n a c e of spaces.

Design Prototype 01 Decision 02 Site 03 Program + Adjacencies 04 Concept 05 Precedence 06 Process 07 Exterior Resonance 08 Models 09 Interior Resonance 10 Plans 11 Section 12 Elevation 13 Perspectives

81

marina bay embarcadero south Conceptual Development

Scheme 01 || Priveldged || Hilton Bayfront Park

downtown pedestrian bridge

SDCC Hilton

F docks

[fig 4.1] Hilton Bayfront

82

Design Prototype

Scheme 02 || Civic Amenity|| Bird Park

E

M

A

f

l

o

o

d

p

l

a

i

n

Pros [Strength + Opportunities]

Cons [Weaknesses + Threats]

Urban context | meaning the overall surrounding area has a higher need of this program [culturally and economically]

Borders the floodplain according to the FEMA Flood Map

The pedestrian bridge provides a direct connection to 10th Ave and the future development of East Village.

When downtown becomes more impacted and developed, there will be less places for the residents and members of this community to visit quiet areas.

Although the program is primarily a music venue, the civic aspects or interior to exterior qualities will be just as important.

Placing a music venue of a moderate size in this area complements the Convention Center and the regular occurring jazz festivals on the Marina Bay Embarcadero South.

Since Balboa already has the Organ Pavilion, placing a venue in Bird Park seems redundant.

Near Convention Center, which already has a future addition proposal.

In between Convention Center, docks, and Hilton is a privitized site than the other sites evaluated.

Hilton will own site, but other corporations, committees, and organizations will take part in running the music aspects of the building and program.

Sound from the water is consistent and constant white noise to anyone listener. The white noise never stops, except from certain hours at night.

Height on the Hotel constrains the design opportunities; however, what would the hotel guests look at when they look down? What can this area offer them?

Design Prototype

83

Conceptual Development

Scheme 01 || Priveldged || Hilton Bayfront Park

existing park

Scheme 02 || Civic Amenity|| Bird Park

surrounding neighborhood

main streets

main streets

untouched land

[fig 4.2] Balboa Park

84

Design Prototype

Scheme 03 || Transient: Everyman’s Type|| Washington St + India St

Pros [Strength + Opportunities]

Cons [Weaknesses + Threats]

Program would be highly emphasized in cultural and educational aspects to maintain with Park’s attitudes and goals.

If this typology of building enters this area with residential and active park area, the conditions to this neighborhood will change drastically.

Smaller music venue

Far removed from an urban landscape in the sense that the demand for places with the minimal sound is smaller. When people enter their homes, that tends to be the sacred, quiet spaces.

Quieter area than Bayfront & Washington Street Being apart of the park plan gives the design more civic freedom for the greater commungity more similar to the case studies.

Trees, topography, landscape offers some existing barrier to and from environmental noise.

The hierarchy of program could cater to the surrounding neighborhoods as well as San Diego County, similar to the Organ Pavilion on the south end of Balboa Park.

Building on the lower site could address the noise of the adjacent streets.

The noise from the venue would contribute to the surrounding neighborhood is the opposite of how the exterior environment of this thesis should operate. A neighborhood’s value should not be subjected to the noise of a music venue.

Far from the condensed areas of the downtown Parking is limited and there would need to be more to accommodate this venue, therefore altering the existing park and ecosystems.

Due to the wind noise could travel North to the neighborhood.

Design Prototype

85

Scheme 02 || Civic Amenity|| Bird Park

Scheme 03 || Transient: Everyman’s Type|| Washington St + India St

washington street preservation area surrounding neighborhood

india street

[fig 4.3] Washington St

86

Design Prototype

Pros [Strength + Opportunities]

Cons [Weaknesses + Threats]

Noise levels are some of the highest in the entire city [India St | I-5 | Washington St | Airport]

Major transportation corridor (see pros) Small area, confined due to Washington St

The amount of concrete becomes a reflective material for the levels of noise.

The topography presents both an opportunity and a weakness; the hills are only keeping the sound in the area, but the typology of the building can work within the hillside.

The smallness of the site presents unique conditions as to the variety in levels for program.

Site is ideal if the main issue primarily related is noise pollution. Everyone in the surrounding areas needs the secondary elements of the program to produce spaces that can provide acoustically and geometrically quieter areas.

Geometry of the site is the most complex, therefore more opportunity.

Removing small business from the area Traffic is heavy the entire day, especially during 8:00am and 5:00pm Residential areas adjacent on seventy-five percent of all the site faces Cannot work with the East facing canyon due to State Preservation Acts Mixed-use program, program according to thesis issues and opportunities does not fit as well as other sites [Big Issue] On the other side of the Interstate, large quantities of homelessness The reality of this program would never work in this area due to zoning requirements and capital of the area. The sound analysis would take larger than five months to incorporate into the ideal design project and theoretical outcome.

Design Prototype

87

88

Design Prototype

N

Site Concept

H

ilton Bayfront ultimately has greater opportunity to study exterior to interior acoustical values. The view to the Bay presents an interesting challenge at creating an iconic music venue as well as using the consistent white noise and the concrete of the Convention Center and the Hilton. The quantity and type of people who visit this site on a regular basis also provides unique opportunities that out weighs the other twos sites to incorporate a public venue; therefore, obsecuring the differences between Conceptual Development public and private.

mostly the same, but as seen in [fig 4.7] and [fig 4.8] the program will receive significant cuts to the educational and cultural spaces curating meaningful architectural experience. Constructing a venue that altogether makes sense for the type of music being played, but could create an exterior experience for any time the venue is not being fully utilized for the intended purpose of providing musical space.

Scheme 01 || Priveldged || Hilton Bayfront Park

Since the site has been selected through a rigorous analysis process, the program and code analysis should be taken into account to begin schematic design. The program will remain

[fig 4.4] Hilton Bayfront

Design Prototype

89

Chapter 3

Use or Occupancy

[303.2] Assembly Group A-1

Assembly uses, usually with fixed seating, intended for the production & viewing of the performing arts or motion pictures including, but not limited to...

[304.1] Business Group B

Business Group B occupancy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type trans-actions, including storage of records and accounts.

[312.1] General - Retaining Walk

Halls|Aud. Space|A-1 Studio|Etc|B

Identify groups & Occupancy types in bldg based on use

Chapter 4

Special Use & Occupancy

Chapter 5

General Building Limitations

Type I

Type II

Type III

Allowable Floor Area

UL

15,500

14,000

Max Height

160ft

65ft

65ft

Max Stories

5

3

3

Protection of ext. walls

Separation of Occupancy

A,E to A,E = N A,E to B = 1hr

Location on Property

Protection of ext. openings

Chapter 6

Type of Construction Path of Exit Travel

[See diagrams]

Occupancy Load Factor

[See Means of Egress]

Number of Occupants Spectrum of Exits/No. of Exits

Chapter 10 Means of Egress

Function of Space

Occupant Load Factor

Assembly w/ fixed seats

see section 1004.4

Assembly w/o fixed seats Concentrated (chairs only-not fixed)

7 net

Standing Space

5 net

Unconcentrated (tables + chairs)

15 net

Assembly Exhibit Gallery/Museum

30 net

Library Reading Rooms

50 net

Stack Area

100 gross

Parking Garages

200 gross

[1028] Assembly

Max no. of seats per row [1028.10.2.1] Smoke protected assembly aisle permitted to have a min 12� clear width asile accessways less than 4000 accessway Smoke protected assembly aisle accessways less than 4000 [14] Aisle/doorway at both ends of row [7] Aisle/doorway at one end of row only

Chapter 11 Accessibility General requirements for accessible parking & ext. routes of travel

[1109A] Parking Facilities

Zoning

[See diagrams]

See Port Diagrams, etc...

[fig 4.5] Basic Code Analysis

90

Design Prototype

Spatial Adjacencies between Programs Direct|Primary Adjacency Convenient|Secondary Adjacency

Spatial Adjacencies Between Programs Direct/ Primary Adjacency

Convenient/ Secondary Adjacency Distant/ Remote Adjacency

Spatial Arrangement

Spatial Arrangement

Distant|Remote Adjacency

Mechanical

Formal Aesthetic

Formal Aesthetic

Upper Deck

Reading Area

Outdoor Stage

Parking

Office s

Entrance/ Lobby

Restrooms

Prep Backstage Area

Classrooms

Adjacencies + Program

Offices

Dressing Room

Auditorium

Closed [multiple layers, enclosed, def initive]

Recording Studio(s)

Loading Dock

Cafe

Semi-Open [provokes simultaneous realities ]

Digital Music Labs

Stage

Atrium

Open [directly visible]

Media Library

Fixed Indoor Seating

Reading Area

Open to Closed Transition

Atrium

Courtyard/Seating

Entrance/ Lobby

Qualities of Program between Programs

Entrance/Lobby

Qualities of Program between Programs Open to Closed Transition Open|Directly Visable Semi-Open|Provokes simultaneous realities Closed|Multiple layers, enclosed, definitve

Entrance/Lobby Atrium Media Library

Atrium

Digital Music Labs

Cafe

Recording Studio(s)

Auditorium [Fig 4.5] shows the basic code analysis associated s with a larger music venue ofClassroom fixed and non-fixed Office s Upper Deck seating. The Unified Port of San Diego mandates the requirements for the sidewalk and surrounding green Horizontal to Vertical Transition area, but is partially owned by the Convention Center and Hilton. These three landlords have Lobby different criteria to maintain Entrance/ environmentally, health Reading Area and welfare of the community, Atrium and FEMA and Cafe Building Code standards. Much of the information in Auditorium the table is general to moveClassroom forward into the design s s process more freely while stillOffice maintaining the criteria Upper Deck subconsciously.

Horizontal [Adjacent on the same ground plane] Vertical [Adjacent on diff erent ground plane]

No Relationship [No overlap within transition from space to space]

Public to Private Transition

The spatial adjacencies and formal aesthetic diagram in [fig 4.6] investigate the relationship Entrance/ Lobby between spaces in four primary ways. Basic Reading Area Atrium spatial arrangement based on direct or primary Cafe relationships, conventional orAuditorium secondary Classrooms adjacencies and distant or remote connections.

Office s Public [welcoming, open to all]

Semi-Public [partially available for the public with specific regulations Private [closed, exclusive]

Upper Deck

Formal Aesthetic shows open to closed transitions of visibility and non-visibility, thus creating directly visible areas, provoking simultaneous realities or multiple layers and definite space. Horizontal to vertical transitions encompass adjacencies on same ground plane or different ground plane or no overlapping correlation from space to space. Public to private transition defines the relationships between welcoming partially available for the public with specific regulations or exclusive and private spaces.

All adjacencies are formally considered with sound quality in mind. For example, mechanical spaces cannot be near places with sound isolated criteria and therefore, seek extra requirements and analysis for these diagrams.

Offices Restrooms Outdoor Stage Courtyard/Seating Fixed Indoor Seating Stage Loading Dock Dressing Room Prep Backstage Area Parking Mechanical

Horizonal to Vertical Transition Horizontal|Adjacencies on the same ground plane Vertical|Adjacencies on different ground plane No relationship|No overlap within transition from space to space

Entrance/Lobby Atrium Media Library Digital Music Labs Recording Studio(s) Offices Restrooms Outdoor Stage Courtyard/Seating Fixed Indoor Seating Stage Loading Dock Dressing Room Prep Backstage Area Parking Mechanical

Public to Private Transition Public|welcoming, open to all Semi-Public|partially available for the public with specific regulation Private|Closed, exclusive

Entrance/Lobby Atrium Media Library Digital Music Labs Recording Studio(s) Offices Restrooms Outdoor Stage Courtyard/Seating Fixed Indoor Seating Stage Loading Dock Dressing Room Prep Backstage Area Parking Mechanical

[fig 4.6]

Design Prototype

91

Modified Program For changes see Preliminary Program [fig 3.27 – 3.28] Space Theater/Performing Space Total | 5950 - 7450 sqft

Theater/Performing Back of House

Description

sqft | total

Shapes

Quantity

Outside | Inside

Resized to accomedate programs

N/A

1900 | standing

300 | 600

Outside | Inside

Sound Control

Sound room

10’ x 10’

100 | 100

1.0

Inside

Stage + Wings

Crossover included in grossing factor

35’ x 80’ stage

3200 | 3200

1.0

Outside | Inside

Lighting Control

Lighting room

10’ x 10’

100 | 100

1.0

Inside

Lobby/Entrance

Audience + 5 nsf/person

N/A

1500 - 3000

1.0

Outside | Inside

Restrooms

1/25 women 1/35 men

15’ x 30’

450 | 900

2.0

Inside

Unisex Restrooms

Accessible

35’ x 35’

70 | 140

2.0

Inside

Prep Area

Possible addition to loading dock + pre-stage

40’ x 50’

2000 | 1600

1.0

Inside

Loading Dock

Areas for unloading equipment

20’ x 20’

400 | 400

1.0

Outside | Inside

Mechanical

in gross

20’ x 20’

400 | ----

1.0

Inside

Dressing Room

Areas for unloading equipment

20’ x 20’

400 | 400

1.0

Outside | Inside

Green Room

Located near restrooms + dressing Room

10’ x 10’

100 | 100

1.0

Inside

Total | 2800 sqft

[fig 4.7] Program Table I

92

Dimension

Audience

Design Prototype

Space Music Center Total | 4030 sqft

University + Schools (Educational/Community) Total | 1670 sqft

Other Spaces Total | 3850 - 4350 sqft

Total | 18,300 - 20,300 sqft

Description

Dimension

sqft | total

Shapes

Quantity

Outside | Inside

Recital Room

30 people

50’ x 25’

1250 | 1250

1.0

Inside

Practice Room(s)

Upright piano; 1/2 teach lessons + practice

10’ x 8’

80 | 720

9.0

Inside

Hall

30 people

50’ x 25’

1250 | ----

1.0

Inside

Recording Studio

Equipment room

20’ x 15’

300 | 300

1.0

Inside

Digital Music Labs

Area for mixing, etc...

20’ x 20’

400 | 8 stations

1.0

Inside

Large Practice Room

For piano

10’ x 11’

110 | 110

2.0

Inside

Study Rooms

Areas for quiet multi-taks

10’ x 10’

100 | 500

5.0*

Inside

Reading areas or homework rooms

Learning; Innovative

10’ x 7’

70 | 490

7.0*

Inside

Existing playground

Bird Park only

20’ x 25’

500

1.0

Outside

Library

Highly dense storage; listening stations

10’ x 18’

180 | 180

1.0

Inside

Offices

Work areas

10’ x 15’

150 | 450

1.0

Inside

Elevator

Circulation; Not Balboa site

10’ x 6’

in gross

N/A

Inside

Stairs

Circulation

N/A

in gross

N/A

Outside | Inside

Courtyard

Large; Medium; Small

N/A

2500 - 3000

1.0 - 3.0

Outside

Gallery

Transformation space

20’ x 45’

900

1.0

Outside | Inside

Concessions Retail

Food, drink, venue items

20’ x 20’

400 | 800

2.0

Outside | Inside

Tickets

Event purchasing Entry/Lobby

50’ x 20’

1000

1.0

Inside

[fig 4.8] Program Table II

Design Prototype

93

Building Concept The two theatres relate to the quality of spaces to the shapes assigned within the program, as well as the idea of geometrically orienting the site to have an acoustic public venue be the main conductor of sound within the area. The idea that possibly both venues could alternate projecting sound around the site [fig 4.9], to Coronado, and other parts of the Bay;possibly the outdoor venue could use the indoor venue like a backboard or a sound block similar to keys and strings with a piano box. The sound could resonate and enhance, not hindering the acoustic quality of the space and increase the signal to noise ratio. [img 4.30, img 4.31]

[fig 4.9] Isometric Perspective

94

Design Prototype

Design Prototype

95

Case Studies Size | Shape | FInishes | Volumetric Analysis

T

here are multiple types of theatres and multipurpose stages that have been developed for specific functions such as drama, instrumental music, speeches, lectures, and opera. The thrust stage is primarily used for plays and dramas due to the 180째 immersion of the stage from the audience. There is usually one tier of seating for better quality of hearing in the theatre. Similar to the thrust stage, the courtyard theatre places the audience over two-

Thrust stage [fig 4.10] Plans of various traditional theatres

96

Design Prototype

Courtyard theatre

thirds of the way around the stage for an immersive effect. A proscenium theatre has the upper balcony and mezzanine areas for higher viewing and sightlines, as well as Back of House requirements that are equally important in any theatre. The arena experience became popular after the invention of the microphone and the increase in pop culture to accommodate for more people and large record label bands and musicians.

Unlike the other performance venues, the arena is not designed intentionally for great acoustic

Proscenium theatre

Arena [fig 4.11] Arena plan of Madison Square Garden

arena Design Prototype

97

quality and listener experience. The size or volume of the arena allows for too much reverberation time creating an echo for distant listeners. The elliptical and sometimes oval or circular shape and material finish allow for more focused reflections, therefore directing the sound back to the source and creating white noise in very specific areas of the venue. Unfortunately, popular music is consistently associated with areas or large convention like

[fig 4.12] Inverse Square Law in plan

98

Design Prototype

experiences to accommodate to the masses, but not the quality of sound. In [fig 4.11] the plan of Madison Square Garden shows the scale differences to the other theatres, but the music associated relies solely upon standing and making the artists feel larger than life. Although the scale is not ideal for popular genres, the general admission standing and tiered seating is the most important in that particular setting.

Arena geometry + section || inverse square law

T

he inverse square law reinforces the concept of the volume of an arena being too large.

Every doubling of distance the intensity of sound decreases by 6dB. [Fig 4.12] shows the intensity decreasing significantly by the time the sound reaches the upper sections of the stadium. Assuming the minimum sound level is 90dB from a 20ft distance from the source, [fig 4.13] shows the approximate number of sound intensity by the time the signal

reaches the top section of 54dB. 50 to 60dB are normal conversation level and with technology and sound systems, the sound intensity can be increased from the source, but the quality remains low.

54dB

60dB

66dB

72dB 78dB 84dB 90dB

[fig 4.13] Inverse Square Law in section of arena

Design Prototype

99

Process

T

hese resonating spaces fluctuate back and forth to create influential space within the site. When something changes acoustically on the inside, how does it reflect on the exterior? In The fold, Deleuze conveys the interior to exterior relationship as a fold or a ripple effect similar to the dress of Renaissance women in a painting. Each crease is dependant upon the other. He also compares the fold to the painter as the urban planner.

There is a painter who is commissioned to do a painting of Neptune, the artist is appreciated then replicated by a sculptor who inspires a wealthy family to have the statue in their home, but the

home is too small for such a sculpture, therefore needing to expand. However, the family can only expand their interior spaces into the developed adjacent city by creating a civic space or a privately owned public space. The family expands the interior room by creating a new exterior façade with a magnificent fountain for the people of the city. So the city may admire and appreciate the statue of Neptune and his horses in the middle of Rome at the Trevi Fountain, which was all inspired by a painting of Neptune – the painter became the urban planner through a series of folds and ripples.

The acoustic process for Harmonic Resonance is similar to this analogy by Deleuze and a constant reminder during the design process.

E GR

GREEN G R O

A

GREEN

EN

U

BOH N D

E

E

C

N

IE

UD

AUDIO LIGHTS

C

EN

L

E

STAGE V

E

I UD CE A E G R E S S STAGE E NE G R E S S SIDEWALK EG I D S L R A UR E S ES S EGRESS EG

[fig 4.14] Word Adjacencies

100

WATER

Design Prototype

B A R R I E R

L2

SIDEWALK

L1

EMERGENCY EGRESS

GREEN|SHELL L3

MECHANICAL

Design Mentality | Schematic Deisgn Phase

HILTON

[PANELED CONCRETE + TRUSS FRAME]

STRUCTURE E

G R E S S AUDIO + LIGHTS

E

G R E S S AUDITORIUM

RECORDING STUDIO + MEDIA LAB RESTROOMS + LOBBY + CURCULATION [SMALL CAFE BEHIND AMPITHEATER||ADJACENT TO LOBBY] [UNDERPASS AREA]

SDCC

Elevator Stairs

Recording Studio

Practice Rooms

Digital Media Lab

N

[fig 4.16] Floor 2

1/32” = 1’-0” Level 2.0 Pa

rk

Thrust Theater

in

g

Woods

Elevator Stairs

Entrance Points

Fibers

Pa

rk

in

g

Recording Studio Offices

Loading Dock

Textured Concretes

Entry

Restrooms

Recital Hall

Backstage/Prep Dressing Restrooms

Pa

rk

R.H. 2

Fixed Seats

in

g Stage Mechanical

Media Library Outdoor Stage Outdoor Theatre

Lighting/Sound

N

N [fig 4.15] Initial layout + plan Floor 1

1/32” = 1’-0” Level 1.0

Plan + layout

Design Prototype

101

Site analysis sketches

[img 4.1] Basic site analysis [sightlines, wind flow]

[img 4.2] Movement around the site

[img 4.3] Sound analysis of the site

102

Design Prototype

Process adjacency sketches

[img 4.4] Modified Spatial Adjacencies

[img 4.5]

[img 4.6]

[img 4.7]

Design Prototype

103

Process plans

[img 4.8] Process plan

104

Design Prototype

Process section + elevations

[img 4.9] Process section 1 + Elevation overlay

[img 4.10] Process section 2

[img 4.11] Process section 3

Design Prototype

105

[1]

[5]

[2]

[6]

[3]

[7]

[4]

[8]

106

Design Prototype

[9]

[10]

[11]

Process sketches [1] [img 4.12] Arena layout

[9] [img 4.20] Process section | Building concept to Structural

[2] [img 4.13] Amphitheatre layout

[10] [img 4.21] Entry to green roofs + second level

[3] [img 4.14] Green roof detail

[11] [img 4.22] Amphitheatre concept

[4] [img 4.15] Sectional sightlines [5] [img 4.16] First floor layout ideas [6] [img 4.17] Recording Studio layout [7] [img 4.18] Elevation + Roof grid [8] [img 4.19] Structural truss concept sketch

Design Prototype

107

Exterior Resonance Existing berms and landscape provide a minimal sound barrier from the traffic, the flat landscape from the grass changes. However, this does not enhance the overall acoustical quality of the site. Therefore creating new land mass and dividing the site could fractalize and refract the sound in less focused areas of the site.

108

Design Prototype

[img 4.23] Pedestrian Walkway

[img 4.24] Proposed entrance + Ampitheatre to bay

[img 4.25]

[img 4.26] San Diego Convention Center view

Design Prototype

109

Model Perspectives

[img 4.27] Basic Massing

[img 4.28] Site plan Massing

[img 4.29] Perspective Massing

110

Design Prototype

Model

[img 4.30] Reflections within courtyard [public area]

[img 4.31] Terraforming the site + Movement

Design Prototype

111

Exit Areas

Interior Resonance The theatre, venue, or stadium is configured from the thrust stage through the general shape and immersive orientation of the plan. The elevation extracts the geometric and acoustic quality of the arena, proscenium, and courtyard experiences.

Diagrams [fig 4.17 + 4.18] below illustrate the general sightlines and the proposed reflections.

Acoustic Walls|Geometric Walls HVAC Wall

Standing Area 1900 sq ft

Fixed Seating 1300 sq ft

rigging

green roof

storage

prep

lights audio

interior stage

outdoor ampitheatre

[fig 4.17] Sightlines

112

Design Prototype

storage prep

W stage

M

general admission standing

D.R. Green

sound + audio [room 1] [fig 4.16] Seating chart + Egress points

Proposed Reflections

[fig 4.18] Proposed sectional reflections

Design Prototype

113

street|right of way

mechanical

loading

storage

prep

tickets|entry green room dressing room

drinks|kiosks

concessions

storage prep

W stage

M

general admission standing

D.R. Green

outdoor theatre courtyard

sound + audio [room 1]

N scale || 1/16” = 1’-0”

Level 1.0

[fig 4.19]

114

Final Schematic Design

green roof

recording studio production

concessions

sound|audio

N scale || 1/16” = 1’-0”

Level 2.0

[fig 4.20]

115

scale || 1/16” = 1’-0”

Section | Diagrams 116

Design Prototype

[fig 4.21]

Design Prototype

117

scale || 1/16” = 1’-0”

Bay View Elevation 118

Design Prototype

interior public access areas

[fig 4.22]

recording studio

inside venue quality

structure

Design Prototype

119

Interior Resonance Interior + Exterior Atmosphere Sound Quality These initial perspective vignettes convey the sound intensity of the area. In [fig 4.25] the source is the loudest and most intense projection of sound in the room and is emitted into the area, but intense at the back of the room as well, due to the technological aspects. In the amphitheatre area [fig 4.26] the sound is again most intense near the source of

sound, but is still concentrated due to the geometry of the basin. The second level vignette [fig 4.27] primarily illustrates the view of the Bay and the corresponding sound related to that view.

[img 4.25] Interior Arena Atmosphere

120

Content

[img 4.26] Amphitheatre + Courtyard Atmosphere

[img 4.27] Second Level to the Bay Atmosphere

Content

121

122

Design Prototype

Concrete overlap paneled shell Acoustically well balanced as well as structurally capable of the long span space beneath.

Roof Structure [Three-truss system + cone concept] This particular structural style allows the cone to remain a prominent acoustical feature.

Second floor [Recording Studio + Egress] All Audio + Recording aspects of the program remained on the second level for better sound isolation control.

First floor [Entrance + Concessions + Tickets] Since the Hilton owns the property, the main entrance caters to the Hotel as well as providing a pedestrian corridor from the Port walkway.

Green roof technology Creating more walkable areas, that were otherwise poor acoustic attributes or had medium usage.

Rigging + Catwalks Structure Hybrid style seating + Circulation Collective characteristics from other theatre typologies to create a better popular music experience.

Noise + Wind [sound is carried on the wind, thus the intensities are emphasized through reflective materials and lack of mass to absorb the sound carried from the Bay. [fig 4.23] Exploded Axonometric

Design Prototype

123

[fig 4.24] Isometric Perspective

124

Reflections |Summation of Study

A

fter completing the first phases, the research and design process phases are over and the

real dialogue begins, as to whether or not these concepts are successful. While all research from the previous chapters are informative through the schematic design phase, the knowledge of acoustic principles needs to be further researched for the design criteria. Learning and integrating acoustic

for two functions. The two functions consisting of:

1. the public everyday area

2. the private concerts for paying users

Chapter 5 will illustrate a more detail-oriented and better-integrated site for the argument of Harmonic Resonance, while also solidifying the formal dialogue.

principles expended a significant amount of time to create an applicable understanding of correlating design ideologies for Harmonic Resonance.

Since the acoustic principles are so necessary to the overall design, the level of detail in relation to the size and scale of the program hindered the conversation into being about the overall experience. The technical aspects of the project hinders any emotional quality, thus diminishing the initial abstract application which was poetic in nature.

With the design in the final stage and the foundation for acoustic criterion understood in relation to Harmonic Resonance, the design and conversation can progress into a more meaningful exterior to interior environment for the people utilizing the site

125

126

[img 5.0]

5

Chapter Conclusions

127

seaport village

marina embarcadero

[img 5.1] Vicinity Map

128

Conclusions

Final Representations For the final critique, the building design and site are further integrated to create a stronger thesis dialogue. Each graphic aims to convey the overall building experience, both interior and exterior; however, the main focus still remains about the entirety of the site and the integration between the SDCC, Hilton, the Bay, and the Bayfront theatre and amphitheatres.

petco park sdcc

01 Vicinity 02 Formal Ordering Principles 03 Site plan 04 Northeast entry 05 Green roof pedestrian walkway 06 Floor plans 07 Interior theatre 08 Acoustic details | diagrams 09 Northwest section 10 Section perspective 11 Process photography 12 Feedback | Evaluations 13 Reflections | Statement of Learning

bayfront

Conclusions

129

Concrete overlap paneled shell Acoustically well balanced as well as structurally capable of the long span space beneath.

Noise contours of existing site

Initial shape adjacencies

First floor [Entrance + Concessions + Tickets] Since the Hilton owns the property, the main entrance caters to the Hotel as well as providing a pedestrian corridor from the Port walkway.

final shapes adjacencies

Green roof technology Creating more walkable areas, that were otherwise poor acoustic attributes or had medium usage.

Rigging + Catwalks Structure Hybrid style seating + Circulation Collective characteristics from other theatre typologies to create a better popular music experience. [fig 5.1] Formal Ordering Principles

130

Conclusions

Roof Structure [Three-truss system + cone concept] This particular structural style allows the cone to remain a prominent acoustical feature.

Second floor [Recording Studio + Egress] All Audio + Recording aspects of the program remained on the second level for better so and isolation control.

131

[2]

[3]

Corresponding Views [1] Northeast entry [img 5.2] [2] Green roof pedestrian walkway [img 5.3] [3] Northwest section [fig 5.5] [4] Interior theatre [img 5.4] N

132

Conclusions

[1] [4]

[fig 5.2] Site Plan

Conclusions

133

[img 5.2] Northeast Entry

134

Conclusions

Conclusions

135

[img 5.3] Green Roof Pedestrian

136

Conclusions

Conclusions

137

street|right of way

mechanical

loading

storage

ticket//event purchase

prep

W

entrance [A]

stage

green room dressing room

M

standing audience emergency egress

kiosks mech. vendors

concessions

entrance [B]

green roof storage small studio booth

stage prep

large recording studio

W

stage

M concessions

emergency egress

general admission standing

audio

138

Conclusions

outdoor theatre [acoustic performances]

lounge recep.

recording studio production

nce [A]

Floor Plans Level 1

Entry + Structural plan [fig 5.3]

main entry walkway

main entry walkway

h recording studio production

small seating area

Level 2

Landscape + seating plan [fig 5.4] N

139

[img 5.4] Interior theatre

140

Conclusions

Conclusions

141

[fig 5.5]

Acoustic Details

[fig 5.8] Northwest Section

142

Conclusions

Truss Maintains the shape of the proposed sound quality in the program in relation to the Bayfront.

[fig 5.6]

[fig 5.7]

Facade

Levels

In certain areas of the site and interior this concrete shaping wall transmit less sound than a single layer of plywood, wood or steel frame construction.

By breaking up the site the sound levels reduce and create more areas with less intensity of noise.

The noise barrier allows minimum reverberation through the triangular indentations between the angular slabs.

Noise + Wind Sound is carried on the wind, thus the intensities are emphasized through reflective materials and lack of mass to absorb the sound carried from the Bay.

Conclusions

143

[fig 5.9] Section Perspective

144

Conclusions

Conclusions

145

Process Photography The Model Final representation of the model will be a combination of bass wood for all building related elements, museum board for all site conditions, acrylic for the water and a cherry wood base at 1/16” = 1’- 0”.

This model will illustrate the entirety of the site and building allowing the viewer to obtain a greater three-dimensional sense of the area showing heights and level-to-level relationships. The roof is the only element of the model that is detachable to view the main interior space.

146

Conclusions

[img 5.5]

[img 5.6]

[img 5.7]

Conclusions

147

[img 5.8]

[img 5.9]

[img 5.10]

148

Conclusions

[img 5.11]

[img 5.12]

[img 5.13]

Conclusions

149

Feedback |Evaluations

A

fter the last two quarter final reviews, the main comment I had been receiving was Harmonic

Resonance has a strong technical approach or “tectonic qualities,” but lacks the emotional quality seen from the early research. I have struggled with this balance of architectural acoustic values versus the Mozart Effect the entire year, but knew going into the final critiques I would need to finally find this dynamic of appropriate tectonics and emotion.

I re-examined what the core essence for this project was initially, other than this is music, I’m a musician, and I’m designing a music venue. I remembered that being a musician helps establish credibility for the project, but the relationship between the site acoustics to interior acoustic building quality became the primary design focus while integrating the surrounding context.

The jury received the project as a good balance of emotion and technical components better than expected. Some of the jury greatly appreciated the multiple levels and connecting circulation between the convention center to the bay and ground levels, as well as the analysis needed to execute the scale of the project. Certain aspects of the project were thought to be lacking or could be pushed further;

150

Conclusions

such as the “public to private” variables were unclearly defined in addition to the processional from the parking to one’s seat. Another critique was how Harmonic Resonance could stand the test of time and could achieve more risks addressing these factors. The intention for the project was to explore more the design process and how that process developed from a musical and acoustical position could really influence a particular area. For future development, Harmonic Resonance could be more detailed and specific to enhance the experience of the design at perhaps a smaller scale.

[img 5.14]

Conclusions

151

152

Conclusions

Reflections |Statement of Learning

T

he essential ideology of wanting to better

music is a facet of sound, sound became the key to

understand the effect music has on the built

the thesis.

environment from interior to exterior has always remained the same. In the beginning there was

Another application would be to test Harmonic

an entirely different approach for this year, that

Resonance in a different city, but restraining the

was more inclined to the neuroscience aspect of

design to an existing building at a smaller scale,

architecture and followed closely with the idea of

while still incorporating geometry, materiality, and

the Mozart Effect (Hughes, 2001); however, after

the public to private relationship.

more reading and research of spatial recognition and the lack thereof was a more intriguing idea to examine and analyze since the idea intersects with applicable architectural issues.

Harmonic Resonance proceeded on an unexpected path by proceeding with the music typology, but understanding the relationship between music, sound, noise, and silence was something achieved because of the music typology.

This thesis could be studied one step further and portrayed possibly through a musically unrelated architectural typology. The one difficulty in an unrelated music program is the constant attempt to define the line that separates a traditional music discipline to the technical aspects of architecture; this line being connected through sound and it’s relationship between the built environment, since

Conclusions

153

154

6

Chapter

Appendices

155

References “AD Classics: Le Cylindre Sonore / Bernhard Leitner.”

(2011). Archdaily. Retrieved from http://

www.archdaily.com/168152/ad-classics-le- cylindre-sonore-bernhard-leitner/ Much of the work of Bernhard Leitner is solidified by the literature of Ripley and Brown; however Leitner focuses on testing and building installations with the sole purpose of how sound reacts with humans in the built environment. His studies are crucial in precedence as well as guiding principles behind certain design criteria. [1] Bordon, D., Elzánowski, J., Lawrenz, C., Miller, D.,

Smith, A., & Taylor, J. (2008). Architecture: A

World History. New York: Abrams.

Timeline: architectural style contributor. [1] Brown, D.P. (2006). Noise Orders: Jazz, Improvisation,

and Architecture. Minneapolis: University of

Minnesota Press.

Discusses many aspects of John Cage’s research on silence and sound. Brown critiques a vast amount of precedence and how the mind perceives sound as information to give visual and spatial recognition. [1] Byrne, D. David Bryne: How Architecture Helped

Music Evolve. TEDGlobal2010, Feb

2010. Retrieved from http://www.ted.com/

talks/david_byrne_how_ architecture_

helped_music_evolve?language

=en#t-740700 At the beginning of all research done, there was a missing link between music and the brain to architecture. Harmonic Spaces at the time struggled to find traction to an architectural problem between *[1][2][3] suggest significance of literature to thesis

156

Appendices

the rats of the “Mozart Effect” to how music could actually transform spaces, until the TED talk by David Byrne. Byrne discusses the spatial recognition through history, igniting the project into action. [1] “Chapter 15: Article 6: Planned Districts.” (2014). City

of San Diego. Retrieved from www.

sandiego.gov Provided information for municipal code. [3] Chepesiuk, R. (2005, January). Decibel Hell: The

Effects of Living in a Noisy World. Environ

Health Perspect. 113(1): A34-A41.

Decibel Hell provides statistical facts about noise pollution and the effects of living in today’s society.

[3] Cole, E. (2005). The Grammar of Architecture. New

York: Barnes & Noble Publishing, Inc. Timeline: architectural style contributor. [1] Curtis, W.J.R. (1982). Modern Architecture: Since 1900

(3rd ed.). New York: Phaidon Press, Inc. Timeline: architectural style contributor. [1] Deleuze, G. (1993). The fold: Leibniz and the Baroque. Minneapolis: University of

Minnesota Press.

Relevant for design philosophy pertaining to acoustic principles. [3] Ernst, L. (2011, December 27). Noise Pollution:

Ranking America’s Noisiest Cities,

Acoustiblok: Quieting the World. Retrieved

from http://info.acoustiblok.com/

blog/bid/70023/Noise-Pollution-Ranking-

America-s-Noisiest-Cities

Quieting the World is an acoustic website providing a broad overview for noise pollution and the effects on society; as well as specifics about frequency in certain spaces within a typology. The website provides a variety of current opinions, research, and publications pertaining to the worlds of sound. [2] Fazio, M., Moffett, M., & Wodehouse, L. A World

History of Architecture. Boston: McGrawHill.

Timeline: architectural style contributor. [1] Fitch, J.M. (1975). American Building 2: The

Environmental Forces That Shape It. New

York: Schocken Books.

Provides great explanations about sound in relation to the physical environment. Similar to Levitin, Fitch breaks down the sound in a cohesive manner to convey the basic components and principles in architecture. [1]

Gehl, J. (2010). Cities for People. Washington D.C.:

Island Press.

Cities for People helped Harmonic Resonance to better understand the development of urban infrastructure during the Industrial Revolution and the direct affect such progress has upon a society. [3] Levitin, D.J. (2006). This is Your Brain on Music: The

Science of a Human Obessession. New York: Dutton.

Creates great explanations and correlations between music and the brain as well as being the primary backbone for Harmonic Resonance.

Deciphering the fundamental dissection of music as sound and the relationship humans experience when listening or associating music. [1] Macionis, J.J. (2009). Society: The Basics (Bakersfield

College Ed.). New York: Pearson Education, Inc.

Habermas, J. (1987). Maternity’s Consciousness of

the Time and Its Need for Self-

Renaissance and the Normative

Content of Modernity. The Philosophical

Discourse of Modernity. Cambridge, Mass:

M.I.T., 1-22, 336-67.

Gives a general overview of the mentality of societal norms in relation to the built environment.

Timeline: musical style contributor. [2]

Along with Levitin, Translation of Music is one of the fundamental and first readings of Harmonic Resonance. Each essay gives new insight to further the overall initial thought process. One of the main essays to provide essential material is precedence about Le Cylindre Sonare (AD Classics, 2011) as a study of historical geometry. [1]

Hughes, J.R. (2001). The Mozart Effect. JR Soc Med.

Jun, 94(6): 316.

Provides one study out of the hundreds of studies done on “The Mozart Effect.” However this study pertains to the musical genres listened to by a being in a space versus Mozart enhancing a child’s focus when performing tasks. [2]

Martin, E. (Ed.). (1994). Architecture as a Translation

of Music. (Pamphlet Architecture 16). New

York: Princeton Architectural Press.

McBride, J. (2007). Hip-Hop Planet. National Geographic, April 2007, 100-111.

Timeline: musical style contributor. [1] Appendices

157

References|Cont’d noise pollution or an unwanted excess of unwanted Music Timeline. (2014). Big Picture & Music sound is forming an increase in behavioral problems

Intelligence. Retrieved from https://research. and negative associations in the daily lives of google.com/bigpicture/music today’s current society. [2] Timeline: musical style contributor. [1] Music Timeline. (2014). Information Please. Retrieved

from www.infoplease.com/ipea/A0151192. html Timeline: musical style contributor. [1] Port of San Diego. (2015). Retrieved from https:// www.portofsandiego.com Helps with the design constraints. [2] Ripley, C., Polo, M. and Wrigglesworth, A. (2007). In

the Place of Sound: Architecture, Music, Acoustics. Newcastle: Cambridge Scholars Publishing.

One of the more helpful pieces of literature and research reviewed for Harmonic Resonance. Ripley, Polo, and Wriggleworth have a series of chapter all pertaining to various ways sound interacts in the daily lives of society. Many ideas and theories about sound are solidified through these chapters, especially when focusing on the relationship between spatial and visual recognition of space.

Much of the “Historical Geometry” associations are confirmed through Ripley’s theories as well. [1] Treasure, J. Julian Treasure: Why Architects Need to

Use Their Ears. TEDGlobal2012, June

2012. Retrieved from www.ted.com/talks/

julian_treasure_why_architects_need_to_

use_their_ears#t-563502. 20 Oct. 2014.

Similar to Byrne, this TED talk helped emphasize why 158

Appendices

Verrengia, J.B. Lab Rats Listen to Mozart, Become- Maze-Busters. The Los Angeles Times.

Retreived from http://articles.latimes.

com/1998/nov/08/news/mn-40406 Contributes one perspective to “The Mozart Effect” that is not directly involved in active research of the study. [3]

Appendices

159

Figures All figures created by Jeanna DeFede

Chapter 2 [fig 2.0] Ven diagram of sound, music, noise, silence. [fig 2.1] Timeline Concept 1 [fig 2.2] Noise pollution in relation to criteria of precedence [fig 2.3] Spatial recognition in relation to criteria of precedence [fig 2.4] Timeline Concept 2 [fig 2.5] Architectural styles vs. Musical Styles Timeline [fig 2.6] Spatial Recognition [fig 2.7] Noise Pollution

Chapter 3

[fig 3.18] Broadway + Pacific Highway site(s) [fig 3.19] Program entry diagram of Piazza San Pietro [fig 3.20] Program entry diagram of TPMC [fig 3.21] Program entry diagram of Grace Plaza [fig 3.22] Program entry diagram of Sonare [fig 3.23] General overview of spatial concepts [fig 3.24] Macro level spatial concept [fig 3.25] Micro level spatial concept [fig 3.26] civic vs. public spatial concept [fig 3.27] Preliminary program development Table I [fig 3.28] Preliminary program development Table II

[fig 3.1] Plan of Piazza San Pietro [fig 3.2] Geometric deconstruction of Piazza San Pietro

[fig 3.29] General program adjacencies [fig 3.30] Washington + India site sound adjacencies

[fig 3.3] Colonnade perspective deconstruction of Piazza

San Pietro

[fig 3.31] Bird Park site sound adjacencies

[fig 3.4] Basic plan deconstruction of Piazza San Pietro

[fig 3.32] Hilton Bayfront site sound adjacencies

[fig 3.5] Plan + geometry deconstruction of Taipei Pop

Music Center (TPMC)

[fig 3.33] Basic 2D shapes

[fig 3.6] Possible Site Conditions + Section of TPMC [fig 3.7] Plan of Sonare [fig 3.8] Geometric deconstruction of Sonare [fig 3.9] Possible site conditions + Section of Sonare [fig 3.10] Sound concepts for Sonare [fig 3.11] Wall section detail of Sonare [fig 3.12] Treetop calls

[fig 3.34] Basic 3D shapes [fig 3.35] Triangular sound reactions [fig 3.36] Quadrilateral sound reactions [fig 3.37] Circular sound reactions [fig 3.38] Priveldged conceptual development [fig 3.39] Civic amenity conceptual development [fig 3.40] Transient: Everyman’s Type conceptual

development

[fig 3.13] Forest calls

Chapter 4

[fig 3.14] Savanna calls

[fig 4.1] Priviledged | Hilton Bayfront

[fig 3.15] Vicinity map of prospective sites in San Diego, CA [fig 3.16] Grape St + Hawthorne St site [fig 3.17] State St + Union St site

160

Appendices

[fig 4.2] Civic Amenity | Balboa Park [fig 4.3] Transient | Washington St

[fig 4.4] Hilton Bayfront

[fig 5.3] Floor Plan | Level 1

[fig 4.5] Spatial Adjacencies

[fig 5.4] Floor Plan | Level 2

[fig 4.6] Basic Code Analysis Table

[fig 5.5] Truss detail

[fig 4.7] Program Table I

[fig 5.6] Facade Detail

[fig 4.8] Program Table II

[fig 5.7] Roof Diagram

[fig 4.9] Isometric Perspective

[fig 5.8] Northwest Section

[fig 4.10] Plans of various traditional theatres

[fig 5.9] Section Perspective

[fig 4.11] Arena plan of Madison Square Garden [fig 4.12] Inverse Square Law in plan of arena [fig 4.13] Inverse Square Law in section of arena [fig 4.14] Word Adjacencies [fig 4.15] Initial layout & plan [Floor 1] [fig 4.16] Initial layout & plan [Floor 2] [fig 4.17] Seating Chart + Egress Points [fig 4.18] Sightlines [fig 4.19] Proposed sectional reflections [fig 4.20] Level 1 [fig 4.21] Level 2 [fig 4.22] Section | Diagrams [fig 4.23] Bay view elevation [fig 4.24] Exploded Axonometric [fig 4.25] Isometric perspective

Chapter 5 [fig 5.1] Formal Ordering Principles [fig 5.2] Site Plan

Appendices

161

Images Chapter 2 [img 2.0] Cathedral DeFede, J. (2013). Santa Maria del Popolo [Photograph]. [img 2.1] Rat Maze Truth Alliance Network. (2012). Rat_Maze_Cheese

[Photograph]. Retrieved from http://truthalliance.

net/Archive/News/tabid/67/ID/9146/Sugar-can- make-you-dumb-US-scientists-warn.aspx

[img 2.9] Sports Arena Venue Ha’Eri, B. (2008). Rage Against the Machine Live

[Photograph]. Retrieved from http://upload.

wikimedia.org/wikipedia/commons/8/8e/2008-

0903-RATM-pan02.jpg [img 2.10] Sound System

[img 2.2] Santa Maria del Popolo DeFede, J. (2013). Santa Maria del Popolo [Photograph].

[img 2.3] Church of the Gesu DeFede, J. (2013). Church of the Gesu [Photograph].

McNulty, M. (2010). ATB_Perfecto_RainNightclub_ MikeyMcNulty_1 [Photograph]. Retrived from

http://2.bp.blogspot.com/_UbLhBplJBZE/TG2hJ

1mvPrI/AAAAAAAAA44/X0v2Vm1jLD4/s1600/%20

ATB_Perfecto_RainNightclub_MikeyMcNulty_1.jpg

[img 2.4] French Ballroom Husond. (Nbd). Palacio Queluz Interior [Photograph].

Retrived from http://en.wikipedia.org/wiki/

Queluz_National_Palace#/media/File:Pal%C3%A

1cio_Queluz_interior_1.JPG

Chapter 3

[img 2.5] Carnegie Hall Galleryhip.com. Carnegie Hall Interior [Photograph].

Retrieved from http://alumni.fredonia.edu/

Portals/0/images/events/Carnegie-Hall-1.jpg

[img 3.2] Vicinity map of East section of Taipei, Taiwan

[img 2.6] Modern Chamber Hall Wrathall, C. (2013). Kings Place Hall One [Photograph].

Retrieved from http://howtospendit. ft.com/ philanthropy/24073-raising-the-roof [img 2.7] Walt Disney Concert Hall Dekema, D. (2010). Walt Disney Concert Hall [Photograph].

Retrieved from http://duanedykema.blogspot.

com/2010_10_01_archive.html [img 2.8] Palazzetto dello Sport DeFede, J. (2013). Palazzetto dello Sport [Photograph].

[img 3.0] Piazza San Pietro DeFede, J. (2013). St Peters [Photograph]. [img 3.1] Vicinity map of Vatican City, Rome

[img 3.3] Vicinity map of Midtown Manhattan, NY [img 3.4] Street view of Grace Plaza, NY Paulson, B. (2014). Grace Plaza_1 [Photograph]. Retrieved

from author. [img 3.5] Interior courtyard view of Grace Plaza Paulson, B. (2014). Grace Plaza_2 [Photograph]. Retrieved

from author. [img 3.6] Signage of Grace Plaza Paulson, B. (2014). Grace Plaza_3 [Photograph]. Retrieved

from author. [img 3.7] Vicinity map of Parc de la Villette [img 3.8] High canopy treetops [img 3.9] Low muffled forest floor

162

Appendices

[img 3.10] Tall grasses in Midwest

[img 4.15] Sectional sightlines sketch

[img 3.11] Vicinity map of Vatican City, Rome

[img 4.16] First floor layout ideas

[img 3.12] Vicinity map of East section of Taipei, Taiwan

[img 4.17] Recording Studio sketch

[img 3.13] Vicinity map of Midtown Manhattan, NY

[img 4.18] Elevation + Roof grid sketch

[img 3.14] Vicinity map of Parc de la Villette

[img 4.19] Structural truss concept sketch

[img 3.15] Vicinity map of Grape St + Hawthorne St site

[img 4.20] Process section|Building concept to structural

[img 3.16] Vicinity map of State St + Union St site

[img 4.21] Entry to green roofs + second level sketch

[img 3.17] Vicinity map of Broadway + Pacific Highway site(s)

[img 4.22] Amphitheatre concept sketch

Chapter 4

[img 4.23] Pedestrian walkway DeFede, J. (2015). Panorama_1 [Photograph].

All images by Jeanna DeFede [img 4.0] Hitlon [img 4.1] Basic Site Analysis [sightlines + wind] [img 4.2] Movement diagrams around site [img 4.3] Sound analysis around site

[img 4.24] Proposed entrance + amphitheatre to bay_1 DeFede, J. (2013). Panorama_2 [Photograph]. [img 4.25] Proposed entrance + amphitheatre to bay_2 DeFede, J. (2013). Panorama_3 [Photograph].

[img 4.4] Modified spatial adjacencies 1

[img 4.26] SDCC view DeFede, J. (2013). Panorama_4 [Photograph].

[img 4.5] Modified spatial adjacencies 2

[img 4.27] Basic massing

[img 4.6] Modified spatial adjacencies 3

[img 4.28] Site plan massing

[img 4.7] Modified spatial adjacencies 4

[img 4.29] Perspective massing

[img 4.8] Process plan

[img 4.30] Reflections [public area]

[img 4.9] Process section 1

[img 4.31] Terraforming + Movement

[img 4.10] Process section 2

[img 4.32] Interior Arena Atmosphere

[img 4.11] Process section 3

[img 4.33] Amphitheatre + Courtyard Atmosphere

[img 4.12] Arena layout sketch

[img 4.34] Second level to the Bay Atmosphere

[img 4.13] Amphitheatre layout sketch

Chapter 5

[img 4.14] Green rood detail sketch

All images by Jeanna DeFede

Appendices

163

Images|Cont’d [img 5.0] Section Perspective [img 5.1] Vicinity Map [img 5.2] Northeast Elevation [img 5.3] Green Roof Pedestrian [img 5.4] Interior Theatre [img 5.5] Process Photography 1 [img 5.6] Process Photography 2 [img 5.7] Process Photography 3 [img 5.8] Process Photography 4 [img 5.9] Process Photography 5 [img 5.10] Process Photography 6 [img 5.11] Process Photography 7 [img 5.12] Process Photography 8 [img 5.13] Process Photography 9 [img 5.14] Final Presentations

164

Appendices

Appendices

165

“...Sound is measurable, it draws lines, builds walls, and permeates according to architectural rules...�

-Bernhard Leitner