5__ by -----

/ 1

S O U N D L AB KY

O’KEEFE

F O U N D AT I O N

TA S T E M A K E R S T R E N D S P R O B L E M P R E C E D E N T

S I T E

2 4 5 6

INTRODUCTION RATIONALE, SIGNIFICANCE SCOPE SURVEY

12 14 16

HOLLY HERNDON SAM VALENTI IV FLYING LOTUS

18 20 22

DIGITIZATION CURATION COLLABORATION

24 26 28

DRIVERS INSIGHT IDENTIFICATION

30 34 38 42 46

ALVEOLE 14 VIP BUDAPEST MUSIC CENTER RED BULL MUSIC ACADEMY NIGHT FLIGHT LITERATURE

48 50 52 56 58 60

EVALUATION CRITERIA OVERVIEW; DETROIT MACRO ANALYSIS MICRO ANALYSIS POTENTIAL SITES THE FOUNDRY

74 76

WORKS CITED IMAGE SOURCES

S O U R C E S

foundation introduction

3 foundation introduction /

THR O U G H THE W O R MH O LE THE G R A V I T Y O F B R E V I T Y ; M O T I V A T I O N + E X P L A N A T I O N The fascination of attribution- assigning value & meaning upon ourselves and upon nearly every other aspect of our life, is embedded within us. Whether that comes in the form of something so minor as a topic for capstone- or something as momentous as understanding our mortality, we often seek to ascertain the weight of what is intangible. In this sense, music is heavy; unavailingly dense, its value + meaning transcending culture; arguably instinctual. Yet this enormity of the role music plays in our lives conversely derives from its ability to be weightless; transient and experiential, as fleeting as the feelings + memories recalled from hearing a familiar song. While music has become transportable, digital, and increasingly accessible, music has always been distinctly rooted in both time and place. The art of the live performance, and the design of a space + place inspires the creation and experience of music, is my motivation; my explanation very intriniscally

linked to the insurmountable & indefinable role music has played in my life.

4 foundation / rationale

RATIONALE SIGNIFICANCE

Music performance transforms space; both internally and externally; aurally and visually. While our culture is increasingly subject to corporate interests and advertising, the gestation, creation, development, and establishment of music is in a state of flux. New technologies have ushered in a period of unprecedented musical freedom; calling for a restructuring of the entire industry. We’ve seen the consumption of music drastically change- exponentially shifting from physical [cd] to digital [streaming], which in turn, redefines the value music holds in our life. We‘ve reached a critical turning point; music is shifting from object to experience- a return to a more natural relationship to music as a social event. Live performance serves as the foundation of a sustainable music economy; offering unprecedented opportunity to adapt and reflect the ever-changing nature of the industry itself. The design of a space- the architectural environment, along with the character + materiality within, can influence the style and form of the music performed, along with the perception and experience of an engaged audience. It is within such a space, that “like-minded musicians and audiences meet at and share the venue; cross fertilization occurs; movements begin, flourish, and end.”1

I will be focusing on music that falls within the genre of Electronic

on developing a single proposal, that is in no means represents

Music. By setting this preliminary boundary, I will delve deeper into

the variety of size + flexibility of function it could ultimately take

the related technology + culture surrounding this genre, and develop

form as; rather exist as a single concept that is both innovative and

a spatial solution and program that responds more specifically to the

flexible; acting in accordance with the identified trends + research.

needs of users within this genre. The diagram below is indicative

The space go beyond that of shelter and function, but also serve to

of the average distribution, by genre, on Spotify, Youtube, Vevo,

inspire and enhance - transforming the core design principles into an

Facebook, Twitter, Wikipedia, Soundcloud, + Instagram. Electronic

immersive, viable space that meets the needs of the identified users.

music, despite its increasingly popularity, represents 9% of the total. 1

SCOPE:

RAP 11%

POP/ROCK 24%

ELECTRONIC 9%

OTHER 2%

R&B 9%

METAL 1% REGGAE 2% LATIN 2% WORLD 4%

POP 8%

CLASSICAL 6% ROCK 8% INDIE ROCK 7%

COUNTRY 7%

foundation / scope

The scope of my role in the creation of a venue space will focus

6 foundation / survey

{ Q U A N T I T A T I V E }

S U R V E Y

The

following

data

reflects

the

responses

from

anonymous

respondents; the only similarity between the respondents is their initial attendance of an alternative music festival. The survey was conducted online in its entirety, with an objective to obtain both quantitative and qualitative data about various factors of a live-performance experience.

I GENERALLY... \ take photos during a show

\ take video during a show

50%

19%

\ post or share media during the performance

\ post or share media after the performance

22%

\ seek out media specific to a show iâ&#x20AC;&#x2122;ve attended

34%

40%

HOW IMPACTFUL DO YOU FIND THE SPECIFIC SETTING / VENUE TO HAVE ON A SHOW?

37.5% \ 37.5% \ 21.9% \ 0% \ 3%

HOW IMPACTFUL DO YOU FIND VISUAL EFFECTS (LIGHTS/PROJECTION/STAGING) DURING A SHOW?

19% \ 37.5% \ 34% \ 6.5% \ 3%

SCALE: very important; huge impact

moderately important; some impact

not important; little impact

DO YOU SEEK OUT DIRECT INTERACTION WITH THE ARTIST(S) AFTER A SHOW?

0% \ positive

47% \ negative

34% \ feel conflicted

28%

13% \ yes

25% \ no

62% \ sometimes

\ feel indifferent

RANKING OF METHODS ARE UTILIZED TO FIND NEW ARTISTS & MUSIC OF INTEREST: \ affiliation with a specific label, artist, or events \ curated playlists by mood & genre

\ “similar artists” lists \ music blogs, articles, & album reviews

\ word-of-mouth recommendations shared by friends

SCALE: most utilized

least utilized

RANKING OF VARIOUS FACTORS WHEN CHOOSING TO ATTEND AN EVENT: \ price of ticket \ size of venue

\ proximity to venue \ speculative experience

SCALE: most utilized

least utilized

foundation / survey

WHAT IMPACT HAVE HANDHELD DEVICES HAD ON A CONCERT EXPERIENCE?

8 foundation / survey

S U R V E Y

{ Q U A L I T A T I V E } The following entries represent portions of answers from the same respondents the

surveys

the

were

quantitative entirely

data

anonymous,

the the

preceding varying

page.

answers

As are

represented numerically by the order in which the survey was answered.

DESCRIBE WHAT AN IDEAL LIVE-MUSIC EXPERIENCE WOULD BE- WHAT IS MOST CRITICAL TO YOU AS AN ARTIST OR ATTENDEE?

An ideal music performance would have a specific architectural space designed for each moment of the music (or at least just for each band), depending on the emotional and psychic content of the music. Obviously the sound is superb and would resonate well in the area where the concert is being performed. I would hope to be chilling with respectful, creative people who are invested in the music. There would be lots of projections and beautiful stage design to make the music have a stronger psychological impact. For the future I think bands should be using holograms to create 3 dimensional environments for audiences.

Concerts will turn more into sensory experiences and will harness more cooperation with digital artists.

I think music and cultural experience go well together. Oftentimes at large mega festivals I think the message or the music is sometimes lost in the enormity of the logistics. Iâ&#x20AC;&#x2122;m not sure I know what to criticize about other events, just that form managed to somehow improve on them.

Definitely had to do with connection and a broad multidisciplinary approach to entertainment, education and community rolled into one festival.

I would also be taking mushrooms if this is my ideal experience.

I really enjoy audience participation/movement/dancing.

I think it is important for the venue or space to be in it for the right reasons. It makes a huge difference if the owner of a venue is putting on a show because they love live music, opposed to loving money. My favorite venues or shows are put on by people who love what they do.

The show must not JUST be good music (I can listen to that on my home stereo). I want the artist to put on a show. I want to see costumes, moving around on stage, choreography, light and lasers, etc. Something that beats the at-home listening experience.

Venue > Crowd > Artist > Song Choice. To me venue is the most important factor relating the music and to the crowd.

The venue, audience, lighting and sound should suit the artist playing.

As an attendee, I want to feel the music, feel the event. Immerse myself in the energy of the room/venue. A good show is an aweinspiring experience, because I feel a level of connection with everybody in the room.

The quality of the sound is so, so important - iâ&#x20AC;&#x2122;ve been to venues that otherwise are ideal... great intimate spaces, awesome vibe, good people, great bar... but the sound was AWFUL and made me want to leave. I also think that lighting and other things happening on the stage (projection mapping, etc) can reinforce the experience as long as it doesnâ&#x20AC;&#x2122;t drown out the main event.

Firstly sound quality is very important but also volume.

Something that makes it better than just listening to the album. The worst thing a band can do in my opinion is just play their songs exactly as they are on the album with no interaction or anything. Any sort of unique visual flair is great.

A good sized crowd for the space- not super packed, the room full. The audience is engaged and the performer is engaged.

Being able to meet and speak with the band is super important.

Easy sitting space, beautiful visuals, small crowd, no moshing

I seek human connection through performance, and hope for a symbiosis of energy from the crowd.

foundation / survey

10 foundation / survey

S U R V E Y

{ Q U A L I T A T I V E } The following entries represent portions of answers from the same respondents the

surveys

the

were

quantitative entirely

data

anonymous,

the the

preceding varying

page.

answers

As are

represented numerically by the order in which the survey was answered.

DO YOU FEEL THAT YOUR SPECIFIC TASTE HAS EVOLVED OVER THE PAST 5 YEARS? IF YES, IN WHAT WAYS? CAN YOU OFFER ANY INSIGHT AS TO WHY?

Yes. In the past five years, my music taste has changed from classic rock and metal, to punk and folk punk, to now include basically a bit of everything. This change still has very much to do with my initial musical shift into punk music, which was made while growing close with a group of friends I now consider extended family. Before, all the bands I listened to were generally populated by “talented” musicians. There was a quality of skill associated with this music that I sought out. The ultimate factor was the idea of creating music myself. I practiced whenever I could, but could not quite get the skill I felt necessary to go into music. Then along came Punk, showing me that there was more to it than politics and angst. The true message of Punk, to me, is that no matter who you are or what you’re capable of - your voice matters. This Ethos lead me to realize that anyone, skilled or not, could make music. I went to a few shows with my friends and personally talked with the band. Now, I consider any creative endeavor to be artistic. From simplicity of a billboard to free form painting, it all involves a creative process, from differing points and perspectives.

This slowly expanded my musical biases before altogether shattering them. Soon, it wasn’t just music, but art as a whole. As an extension of humanity. Music was the catalyst for this change, and the understand that in all of us lies the power to make what we will in the world.

The best part about music, is sharing it with others. This is true of all art, as it is a bonding mechanism; We are the bricks, Art (and music) is the mortar.”

I tend to seek out largely experimental and what I refer to as “florid” music, and I have for a very long time. It’s my definitions of those terms that are malleable.

I wouldn’t say evolved so much as shifted.

Yes, I’ve been exposed to a wider range of music through websites I frequent and people I meet. Being constantly exposed to music I might not immediately like helps me pick parts of songs I can appreciate which sometimes develop into a liking of the song and eventually album.

My tastes have never stopped evolving or changing.

“Yes, my musical tastes have broadened over the last 5 years. I used to listen to specifically one genre (metal) but over the years have branched out into many other genres (folk, jazz, noise). Mainly because of going to more live shows.”

I’ve recently gained a much greater appreciation for anything unique to me. I grew up on classic rock and pop, and sure there’s a lot of good stuff even within that, but I’ve heard so much of it that it feels worn out.

I’m always searching for new music, and weirder music, music that requires more patience, music that innovates. I’ve grown more open to different genres, and experimentation within that, all to find those songs that really resonate with me, not lyrically, but musically. To hear something and know the artist wrote it with heart and passion and brought something new and personal into this world, where even if is small, there’s something about it that you can’t quite find in anything else. 06

Very. At this point I’ve expanded into every genre, and continue to discover more. As to why, just discovering sounds I had never heard before or given a chance I found I liked.

Weirder. I’ve become more comfortable with the abstract.

No, my taste within the last five years as remained open and willing to try multiple types of music.

Depending on my emotional and physical state, the music can gain or lose meaning. I would say the music I listen to today transports me to more interesting places than it did 5 years ago”

Yes. I’ve shifted from more loud, abrasive, in-your-face music to me contemplative, thoughtful, slower music. I’ve matured as a person and find these new tastes fit that.

foundation / survey

12 tastemakers holly herndon /

T A S T E M A K E R S

\ HOLLY HERNDON: DIGITIZATION CASE-STUDY

13 tastemakers holly herndon /

H O LLY

HE RN D O N

COMPOSER, MUSICIAN, SOUND ARTIST

Whether studying for her PhD at Stanford, or spending late nights at techno parties in Berlin, Holly Herndon is obsessed with the intersection between mind, body, beat, and technology. With only two album releases thus far- 2012’s Movement and 2014’s Chorus, Holly tackles her complicated relationship with the Internet, the NSA, Max/ MSP software, and her own voice; creating a unique brand of cyber-pop that is equally beautiful and frightening, academic and dance-floor ready. 1 Upon review of her most recent album, Pitchfork journalist Winston Cook-Wilson writes, “For her, a laptop is a natural extension of her mind and body rather than a place of escape and self-negation. Herndon’s music is at its core “cerebral” all surface details and richly layered - but still exhibits warmth and emotion.” 2

“I think our society likes t o t a l k a b o u t t e ch n o l o g y in really black and white terms, so things are simply defined as positive or negative. That doesn’t solve any problems and I think it can be anti-intellectual. So with my work, I like to ‘complexify’ issues a l i t t l e b i t a n d s ho w t h a t certain concepts are not just simply good or bad.”3

14 tastemakers sam valenti iv /

T A S T E M A K E R S

\ SAM VALENTI IV: CURATION CASE-STUDY

15 /

tastemakers sam valenti iv

“I really loved the idea of a label as a philosophy, almost like an art gallery where the work c h a n g e s, but the ethos remains.”1

SA M

VA L E N T I

I V

F O U N D E R O F G H O S T LY I N T E R N AT I O N A L

Though

music

its

chief

export,

Ghostly

International has always been more than just a record label. Beginning as a platform for the Midwest’s vibrant but occasionally overlooked music

scene,

geographically

grew

and

incorporate

stylistically

diverse

more acts,

becoming a hub for visual art and design, and forging collaborations with everyone from L.A.’s beat scene to Cartoon Network’s Adult Swim 2. With projects like Drip.fm, Ghostly has further challenged what it means to be a label in the Internet age 3. Through it all, founder Sam Valenti IV has been adapting to the ever-changing demands of the music industry and needs of the consumer. “The best experience ever was the record store, where dedicated people help you find really great music,” Valenti says. “When a clerk or your friend’s older brother would give you a tape, it had so much more meaning than when an algorithm pulls it up for you. We could never recreate that, but Drip has some elements—a release date, the exclusivity, insider knowledge— that at least are in reverence to the record store experience. There’s always going to be a human element. Because connection to music is not just a genre- There’s a certain intangibility.” 4

16 tastemakers flying lotus /

T A S T E M A K E R S

\ FLYING LOTUS: COLLABORATION CASE-STUDY

17 tastemakers flying lotus /

FLYI N G

L O T U S

E X P E R I M E N TA L MULTI-GENRE PRODUCER, MUSICIAN, +

MUSIC RAPPER

Collaboration is inherent within everything Flying Lotus does; as both a producer, and a musician himself. Well-known for the visual components of his performance, Flying Lotus is consistently reinventing his own image, through the partnership, expertise, and influence of those he collaborates with. 1 Flying Lotus’ path artfully demonstrates the power of collaboration in nearly every aspect of his career; several of which are outlined below:

D E AT H V E I L M A S K

X AITOR THROUP, ARTIST + DESIGNER Multi-component product developed for use during live performances. 2

L AY E R 3

X STRANGELOOP + TIMEBODY, VISUAL ARTISTS Immersive set design that utilized three layers of scrims, each associated with a separately designed-and-operated projection mapping. 3

A RT I S T C O L L A B O R AT I O N S X THOM YORKE, THUNDERCAT, KENDRICK LAMAR,

ERYKAH

BADU,

EARL

SWEATSHIRT,

BATHS, JEREMIAH JAE, JON WAYNE Flylo has demonstrated his ability to see beyond

“I’ve been playing shows for quite some time now, and you know i’ve always just felt like damn, it needs to be more, it has to be more, it can’t just be what it was.”4

genre; his portfolio of album collaborations ranges from rapers to aging jazz veterans.

18 trends digitization /

T R E N D S

D I G I T I Z AT I O N Digitization in the music industry refers to the conversion of

content

which device;

can

from

physical

media

accessed

with

any

resulting

the

three

digital

format

computational following

SHARE OF INDUSTRY REVENUES [2014] 2

and

increasingly popular ways customers access content: 1

DIGITAL DOWNLOAD:

46% DIGITAL

-Downloads with platform restrictions- typically cannot be copied from one platform to other -Downloads with no restrictions

PERFORMANCE

46% PHYSICAL

STREAMING SUBSCRIPTIONS -Customers can choose what songs they want to listen to from an online database with audio + video content

GLOBAL DIGITAL REVENUES [US$ BILLION] 2

ONLINE RADIO -Customers can choose the channel, but not the song; both subscription-based + free models Digitization of creative industries has lead to increased competitiveness, job creation and economic growth. Music production is not waning due to digitization, but at an all time high; this including both the professional artist category, along with amateur artists.

2009

2010

2011

2012

2013

2014

C O N T ENT C R E A TION

MANUFACTU R I N G

PACKAGING + SHIPPING

WHOLESALE

PRODUCTION + RECORD I N G

SALES + MARKETING

RETAIL

DIGITAL ASSET MANAGEMENT

NEW ELEMENTS OBSOLETE ELEMENTS

trends digitization

IMPACT OF DIGITIZATION ON VALUE CHAIN: 1

CONSUMPTION

DELIVER OVER NETWORK

“Technology has made music accessible in a philosophically interesting way, which is great. But on the other hand, when everybody has the ability to make magic, it’s like there’s no more magic—if the audience can just do it themselves, why are they going to bother?”3 — Daft Punk’s Thomas Bangalter

\ subscription streaming \ ad-supported streaming \ permanent downloads

\ total digital

+39.0% +38.6% -8.0% +6.9 %

20 trends curation /

T R E N D S

CUR ATI O N Active listeners are influencers: itâ&#x20AC;&#x2122;s their passion and enthusiasm that carries over to other less active listeners, and that momentum continues toward borderline casual listeners, who then spread the word to others; they embody the starting point for artist exposure. Currently, there are several ways in which we discover new music: blogs, radio, social media, etc. Each of these methods are distinctively different mediums that promote new music in a different way. However, the successful sources in each medium all have one thing in common: they utilize credibility to deliver music as a word-of-mouth experience. Hearing about new music from a trusted, human source helps consumers find artists they really love, and artists find fans that will stick around and support in real, tangible ways. By giving impactful tastemakers an outlet to efficiently reach as many people as possible, the music ecosystem we live in will be healthier. But how can we create a platform that keeps up with the ever-increasing volume of music thatâ&#x20AC;&#x2122;s uploaded to the Internet each day, and still facilitate a word-of-mouth experience?

HOW DO PEOPLE LISTEN TO MUSIC NOW? 2 OVERALL ALBUM PLAYLIST

29% 31%

FREE STREAMING LISTENERS ALBUM PLAYLIST

31% 45%

PAID STREAMING SUBSCRIBERS ALBUM PLAYLIST

60% 68%

21 trends curation

HOW ARE PLAYLISTS CURATED?

BY GENRE...

indie / alternative, edm, folk, rock, country, metal, punk

BY ACTIVITY...

running (matches bpm), sleep, focus, party, driving

BY MOOD...

chill, romantic, stress-relief, mellow, reflection

BY RECOMMENDATION...

algorithmic, based on favorite artists + song-plays

BY TASTEMAKER....

playlists released by musicians + brands

WHEN CURATION IS DONE RIGHT, IT CAN TURN PASSIVE CONSUMERS INTO ACTIVE MUSIC ENTHUSIASTS: PASSIVE

"One of the most interesting things about independent music in the future is the willingness of labels to sign on with somebody with a personal vision, regardless of genre. Labels are willing to take a chance on things outside of their scope of sound. You can only go so far with a genrebased outlook on music. Whereas with a vision-based outlook, you start seeing correlations between things like Annie Lennox and metal."â&#x20AC;&#x201D;Raspberry Bulbs' Ning Nong

ACTIVE

22 trends collaboration /

T R E N D S

COLLA B O R ATI O N What musicians do is based on years of work, talent, creativity and focus – and it should be respected just the same way that a logo, a product, a service or a brand should be. Integrated campaigns with musicians move away from sideline sponsorship and put it center-stage, expanding the value of partnership for both parties. Music partnerships transcend one-time deals; The value behind brand partnership provides long-term benefits that include an artist’s reach, credibility, reputation, and content. As the chart below indicates, collaboration with brands can bring immense social reach and earned media coverage- music partnerships form a collaborative culture and become an integral part of an artist’s career trajectory.1

ARTIST VALUE BEYOND DIRECT PAYMENT THROUGH BRAND COLLABORATION REACH

CON TENT

-access to new audiences & demographics -introduction into new global markets access to brand’s existing networks (social, database) -access to other artists’ fan base -elevated album / single launch awareness -live event exposure; viral content exposure

-access to studio / recording facilities -enhanced video production -creation of new musical works -tour support / production -dedicated digital platforms -social media content

R E P U T ATION

INC REMENTAL VALUE

-prominent tv / print exposure (ads) -enhanced PR exposure -public image reassessment -direct association with other artists & audiences

-direct revenue from new song creations -multi regional performing rights -associated influence on album sales -increase in tour awareness

23 trends collaboration /

Beatsmith Ta-Ku pursues many of his passions alongside music, launching a multi-medium creative project titled Create & Explore, a sneaker community called Team Cozy and opening a barbershop in his hometown. Juggling a variety of creative processes, Ta-Ku demonstrates that not only collaborations with brands- but delving into other creative pursuits, can strengthen one’s overall talent, and strengthen their influence and identity within their career.2

MOST VALUABLE BENEFITS TO AN ARTIST 1

90%

88%

\ access to new audiences

\ intro into new global markets

80%

\ access to brand’s existing network

75%

\ elevated single + album awareness

88%

\ enhanced PR exposure

70%

\ viral content exposure

83%

\ prominent tv + print exposure

58%

\ enhanced music video production

“I fe e l l i k e w o r k i n g w i t h o t h e r s opens u p a m u c h m o r e d y n a m i c landscape. I think collaboration can n e v e r b e f o r c e d , t h e r e h a s to be a v i b e . I t i s v e r y m u c h a sen d i n g o f i d e a s a n d a d d i n g to t h o s e i d e a s , s e e i n g w h i c h ones w o r k b e s t a n d g e t t i n g r i d of o n e s t h a t d o n ’ t . ” - T a - K u

24 problem drivers /

D R I V E R S

SOCIAL TECHNOLOGICAL ECONOMIC POLITICAL ENVIRONMENTAL

Internet indirectly causes resurgence of Concert Industry: Revenues from live music have risen significantly; smaller acts are more likely to promote, establish, and expand their following entirely on their own, without a label, establishing a bottomup model within the industry, restructuring conventional social relations between musicians + the music industry2 Festival Culture- Multiple Artist Line-ups + Immersive, Community-centric Experiences: Festival Attendance continues to increase, as consumers prefer community-focused, multiple-day events with exposure to a greater number of musicians2

TECHNOLOGICAL Convergence of the Music, Film, & Technology Industries3 Increase in Video Streaming: Video Streaming is continuing to increase, increasingly integrated within all streaming services. Advertising supported revenues, increased by 38.6%1 P2P File Sharing: Widespread prevalence of file-sharing deems payment for consumption of music essentially voluntary2 Recording Studios on the Decline: The cost of recording studio-quality music has steeply declined with the introduction of advanced and affordable software2 Social Media + Artist Relations: Social media and online communities make it easier for consumers to connect and learn about artists

ECONOMIC

Increase in: -Performance Rights Revenue: income from the use of recorded music by broadcasters and public venues- + 8.3%1 -Synchronization Revenues: income from the use of music in advertising, flim, games, & television programs + 8.4%1 -Artistsâ&#x20AC;&#x2122; Share of Sales Revenue + 13%1 Decrease in: -Global music industry revenues from physical formats accounted for less than half of total industry revenues - 46%1 -Record Company Sales Revenue - 17%1 Music is Driving Tourism: Increasingly recognized by governmentsâ&#x20AC;&#x2122; and tourist boards

POLITICAL Alternates to Piracy: Streaming services have helped migrate consumers to licensed services by offering a convenient alternative to piracy, along with copyright enforcement strategies1 Need for Fair Licensing Environment: A successful music industry invests in music and rewards artists; in order to do so, a balanced digital marketplace strategy is needed1 Reproduction and Distribution : Also due do digitization, reproduction and distribution music is now digital; so for physical items being sold, smaller qualities of more niche items are being manufactured in contrast to the formally traditional strategy of selling items that are widely popular1

ENVIRONMENTAL Culture of standardization, commodification, waste, deindustrialization, & gentrification: Sustainable, equitable, and creative solutions are needs to repurpose abandoned, industrial-era buildings4

problem drivers

Culture of Immediacy + Access: Consumer behavior moving towards instant, real-time, anytime-anywhere access, facilitated by the integration of different platforms and cloud storage.1

SOCIAL

problem insight

27 problem insight /

I N S I G H T

/ BODY

/ HEART

/ SOUL EXPERIENTIAL -

SENTIENT-

SPATIAL-

EXPERIMENTAL

SYNTHESIS

SOUNDSCAPE

tentative

hybridization

media

unstable

exchange

sound

fog

interaction

digital

flux

communication

visual

depth

construction

soundscape

layered

integration

prototype

complexity

narratives

form

density

synthesis

laboratory

sensory

mediation

texture

experimental

living

development

immersive

production

process

adaptive

collaborative

reverberation

FINDING THEMES The colored tabs reveal key themes, ideas, words, + drivers that are written down, then organized in three categories based upon priority; soul being the most meaningful, followed by heart, then body.

E M E R G I N G PAT T E R N S The chart to the left shows the resulting thematic categories after establishing patterns & relationships amongst the words within the soul category .

I N S I G H T S TAT E M E N T S Below are resulting insight statements per category:

S PAT I A L - S O U N D S C A P E : +with advances in technology and music, the way sound is experienced has become both spatial and visual +intermedia labs demonstrate a need for multidisciplinary development +process and development vary; digital and analog methods of making sound are equally utilized, both independently and in combination

E X P E R I E N T I A L - E X P E R I M E N TA L : +musicians and artists often utilize a live-audience to experiment with new content; either new visuals, remixes, or effects +immersive, sensory, and adaptive atmospheres prioritize engagement & responsiveness with users, crafting a more specialized experience

SENTIENT SYNTHESIS: +collaboration and connection with other people or methods encourage an exchange of knowledge and experience, creating a hybridization of process

H O W M I G H T W E

problem identification

29 problem identification /

CREATE AN IMMERSIVE + ADAPTIVE SPACE THAT FOSTERS EXPERIMENTATION + COLLABORATION AMONG ARTISTS WITHIN THE MUSIC INDUSTRY?

30 precedent alveole 14 vip /

P R E C E D E N T S

A LV E O L E VI P \ SITE: ISOMETRIC PERSPECTIVE + ADJACENCIES

1 4

/ TYPOLOGICAL, STYLISTIC, TECHNICAL / SAINT-NAZAIRE, FRANCE / LIN ARCHITECTS, 2007 Undertaken by LIN architects, Alveole 14 transformed

RECORDING

STUDIOS

a submarine base in Saint Nazaire into a public space for contemporary arts and music. A newly defined

street

traverses

the

base,

connecting

the

core cultural + programmatic elements: LiFE and VIP. 1

LiFE: INTERNATIONAL CENTER FOR EMERGING ART FORMS Minimalistically VIP PERFORMANCE

equipped

“monospace”,

opening

towards the harbour through a retractable gate. Artists can create site-specific art or display their work.

VIP: VENUE FOR CONTEMPORARY MUSIC Combining music performance with recording studios and a bar, this space supports the town’s successful annual world music festival. With a capacity of 600, the VIP is the hub of the entire former bunker complex.

ROOFTOP + RADOME: VISUAL REFERENCE POINTS From VIP, visitors gain access to a rooftop walkway that includes the former radome from Berlin’s airport. The aluminum and fabric geodetic structure provides the only visual reference point for the facility, glowing gently at night, used as a meeting and experimental performance space.

31 precedent alveole 14 vip /

RADOME

ROOFTOP

WALKWAY

LiFE Monospace RECORDING BOOTHS VIP PERFORMANCE SPACE LINKING STREET

\ RENDERED EXTERIOR PERSPECTIVE

32 precedent alveole 14 vip /

“ V I P is a carefully desig ned building w i t h i n a building- the toughness o f i t s component part s absolutely n e c e s sary to resist the overwhelming p o w e r of the bunker which shelters i t , a nd which it attempts to defy. M u s i c performance is an art form t h a t is used to existin g in awkward c i r c u mstances, a form of cultural e x p r e ssion that many would argue i s a ll the better for struggling a g a i n st difficult environments.” 2

“I t i s , h o w e v e r , n o t j u s t a pe r f o r m a n c e e v e n t b u t o n e t h a t s e e k s to e n c o u r a g e m u s i c a l i n t e r a c t i o n , cr o s s o v e r s a n d t h e c r e a t i o n o f n e w mu s i c a l g e n r e s . ” 2

-flexible

lighting,

audio-visual

amplification

grid

S T E EL G A L L E R I E S -3 total; top 2 tech support, bottom housing audience + bar

P R A CT I C E + R E C O R D I N G S T U D I O S -3 total; bookable by hour with integrated technology

R E S OU R C E + A R C H I V E S P A C E -library, video room, meeting space for lectures + forums

A R T IS T I N R E S I D E N C E P R O G R A M -supports and tutors musicians in professional skills with a sound engineer, music arranger, and a musical director

C A P AC I T Y : 6 0 0 TECH: -Yamaha M2000 Console controls front of house, with 8 Nexo PS + LS Speakers driven by 2 ASC EX 4000 amplifiers; Block + spot lighting controlled by a 24-channel Jands ESP2 desk.

precedent alveole 14 vip

33x8 FT REMOVABLE STAGE

P R O GR A M :

34 precedent budapest music center /

P R E C E D E N T S

B U DAP E S T MU S I C C E N T E R / TYPOLOGICAL , TECHNICAL / BUDAPEST, HUNGARY / ART1ST DESIGN STUDIO, 2013 The Budapest Music Center is located in a newly emerging cultural district of Budapest. Despite being privately funded, a large part of the premises are open to the public; the transformation happening within an 120 years-old former residential building. The center was built for musicians by musicians; the culmination of efforts between three internationally known contemporary music composers, designed and built over the course of ten years. What began as the Hungarian Music Information Database and Library, expanded into a record label and now focuses on a large range of activities; developed along the lines of Carnegie Hall In New York.

APPROACH: The interior design strategy solutions were simple, straightforward, and functional; conveying a high degree of craft, while maintaining a sense of likability and tangibility as a user in the space- welcoming and comforting, despite the scale of the space. Four floors provide an ample amount of space for a diverse program, including two large performance spaces: a double-decked jazz hall, along with a concert hall, both acoustically independent of one another. 1

35 precedent budapest music center /

SECTION CC

\ INTERIOR PERSPECTIVE OF ROOFTOP LOUNGE

36 precedent budapest music center /

â&#x20AC;&#x153; D u r i ng the construction, many m u s i c ians who visited the site walked around the half-finished building, i m a g i ning themselves playing on stage, e x c h a nging ideas, look ing up a score i n t h e library, or lis tening to a CD. O n o c casion, even tears were shed - and t h e r e were some who came late at night t o b e come the first to play between the h a l f - finished walls. They all felt that t h i s building is about t hem, for them.â&#x20AC;? 1

FIRST FLOOR -BMC offices + Meeting Rooms -Recording studios -Music Information Database + Library

-International Péter Eötvös Institute

precedent budapest music center

PROGRAM:

BASEMENT -Rehearsal Room -Workshop -CD Depot -Double-Decker Jazz Club -Kitchen

LOWER ATTIC -Small Guestrooms / Student Housing -Corner Conference Room -Machine Rooms -Music Library Mezzanine

GROUND FLOOR -Artist Entrance + Dressing Rooms -Concert Hall -Concert Hall Lobby -Jazz Club

MATERIALITY: -Inner surfaces are primarily pure, natural materials; black, white, gray and oak dominate, accompanied by exposed masonry + concrete floors throughout the space

“ . . . t h e connections between the s p aces are extre mely d e l i b e r a t e, and you’ll find a l m o s t n o place in the building which w ould serve only one purpose. This versatility however never hinders the p o s s i b i l i ty to perform s i m u l t a n e ous activitie s.” 1

38 precedent red bull music academy /

P R E C E D E N T S

R E D BU L L MU S I C AC AD E M Y / TYPOLOGICAL, TECHNICAL, STYLISTIC / MADRID, SPAIN / LANGARITA-NAVARRO ARCHITECTS The Red Bull Music Academy is a world-traveling series of music workshops and festivals, ultimately serving as a platform for musicians, producers, DJs, and students to openly exchange knowledge and ideas about music. Having to be urgently relocated after an earthquake devastated Tokyo, Matadero Madrid- an industrial warehouse complex- was designated as the eventâ&#x20AC;&#x2122;s new location.

APPROACH: The construction project was approached as a temporary structure, focused on adaptability and reversibility. The infrastructure had to meet precise technical and acoustic needs, while accelerating, promoting and enriching a series of extremely intense artistic encounters that would take place between participating musicians, while adding to an environment that would record and archive everything taking place. The project took the form of a fragmented urban structure, in which variable relationships between proximity and independence, preexistence and performance could offer unexpected stages to its community of inhabitants. 1

39 /

precedent red bull music academy

\ CONSTRUCTION DETAIL AXONEMETRIC

\ INTERIOR PERSPECTIVE

40 precedent red bull music academy /

“ W e ’ v e been educated to see architecture a s a u nitary object, coherent in itself. B u t a rchitecture can al so be understood i n t e rms of time. We’ ve worked a lot w i t h existing buildings, and we’ve come t o r e alize that it’s not a question of p r e s e rving a historic patrimony. We’re w o r k i ng with the captive energies in e v e r y object. Sometimes we work with c o n c r ete and fabrics in t he same building. T h e y have different time spans. The d e s i g n is not a unitary block that ages u n i f o rmly, it is made u p of layers that m o v e like mechanical be lts at different s p e e d s.”-Architect María Navarro

“In many ways this project shares the logic of a Russian Matryoshka doll. Not only in the most literal, physical sense in which one thing is directly incorporated into another, but also in a temporal sense, in which one actually originates within the other.”1

-20 mm plywood sheets and double glazed windows minimize breaks in the acoustic barrier while mass absorbs sound -right angles mixed with 120 degree angles break up sound

waves , vibration absorbed by raising the

cabin off the ground on trusses made by metal studs

C O N FE R E N C E + R A D I O + L O U N G E -great

sound

absorption

required;

walls

utilized

sandbags originally intended for highway embankments -large-span roof suspended on cables from the trusses above -Irregular

faceted

domes

break

sound

R E C OR D I N G S T U D I O S -greatest sound absorption required; thicker sandbag walls reinforced with fences to create a bunker-like cave

C I R CU L A T O R Y S P A C E -open space for concert and social gatherings surrounded by vegetation, with intentional hidden corners for private time

S I Z E: 5 0 , 0 0 0 S F

LOUNGE

LECTURE

WORKSHOP CABINS

precedent red bull music academy

PROGRAM:

42 precedent night flight /

P R E C E D E N T S

NI G HT

F L I G HT

/ STYLISTIC, TECHNICAL / SOFIA, BULGARIA / STUDIO MODE ARCHITECTS NIGHT FLIGHT is a live music club that spreads on 10,000 SF; the name of which alludes to the core concept of the space. The architect’s intent was to “recreate the notion of a midnight walk + flight under a starry sky.” The stage is centrally located, in order to achieve 360º contact with the audience in the space. Seating is arranged in three tiers, with one balcony that overlooking the main hall reserved for VIP guests.

APPROACH: The main strategy used throughout the space was suggestion; evoking a fairy-tale ambiance through the use of multiplication + modification of proportions, along with reflection. Depth was achieved in the space by creating a multilayer experience + integrating technical needs within custom structural components. 1

43 precedent night flight /

1 / LIGHT SOURCES 2 / TRIANGLE METAL CONSTRUCTION 3 / METAL FRAME

\ RENDERED INTERIOR PERSPECTIVE

44 precedent night flight /

“ A n e ssential p a r t of our work w a s t o create a u n i q u e identity, a d i s tinguished l a b e l .” - s t u d io mode

“...Emphasizing on detail, enriching it, following the concept to a greater depth resulted in multilayer experience.” -studio mode

-360º contact with the audience

SEATING -3 tiers, surrounding central stage

VIP -boudoir overlooking main hall

S I Z E: 1 0 , 0 0 0 S F

“We had to unite function with aesthetics. We set up the night scenery by using the binding effect of sound insolation - adding extra depth to the walls and absorbing all light reflections. The glittering of stars was represented by a luminous web – a spherical surface that enhances the central perspective. Mirror reflections were used by reason of multiplication and modification of the space proportions.”1

CENTRAL STAGE

precedent night flight

PROGRAM:

46 precedent literature /

L I T E R AT U R E

10 11 08

12 /

precedent literature

48 site criteria /

{ SITE

}

In order to properly identify a site for the project, criteria reflecting programmatic requirements, project typology, trends, location, building properties, and building character was defined and utilized to identify and assess possible options. The resulting criteria, along with observation and documentation of site conditions, demonstrate desirable conditions for the proposed program.

CULTURAL AND SOCIO-POLITICAL FACTORS RELATED TO TYPES OF MUSIC VENUES: REGULARITY OF SHOWS

AUTONOMY

LEGALITY

NON-HIERARCHY

LONGEVITY OF SPACES

INNOVATION

LATER TIMING OF SHOWS

EXCITEMENT FOR INSIDERS

POLITICS OF WORKING WITHIN THE SYSTEM

RISK, PRECARITY OF SPACES EARLIER TIME OF SHOWS POLITICS OF WORKING OUTSIDE THE SYSTEM

GUERRILLA SHOWS

WAREHOUSES

ALL-AGES CLUBS

BARS

SEVEN TYPES OF CONCERT VENUES:

STADIUMS

AMPITHEATERS

FESTIVAL SITES

ARENAS

MID-SIZED MUSIC VENUE

SMALL-SIZED VENUE / CLUB

THEATERS

30,000+

5,000-30,000

10,000-120,000

5,000-20,000

1,000-6,500

<1,000

1,000-6,000

PRAGMATIC: -Accommodate larger audiences -Have fewer neighbors; so shows can be louder and last longer

-Often Inexpensive -Multiple Occupancy Sites allows for expansion of program AESTHETIC: -Unique value historically + architecturally; space retains identity -desirable as permanent live + work places -psychogeography of warehouses often encourages playful and unrestrained musical experimentation 1 -impose fewer restrictions on audiences and performers and allow for more uninhibited behavior; socially + musically 1

IMMERSION INTO AN EXISTING MUSIC ECOSYSTEM -Rich history of innovation of music -Existing culturally diverse music scene -Specific Geographic region with access to National Music Market -Supporting Services + Programs; recording studios, venues, foundations, networks

AVOIDING THE OBVIOUS: ARGUMENT AGAINST LA + NYC -Financially more feasible; less overhead = less financial pressure for musicians -Greater balance between cost of living, job satisfaction, and access to culture -Geographic location less important; artists develop and promote through the internet -Need is a prime driver of innovation; creative communities are often core drivers of revitalization -Proximity to Light manufacturing + High-Tech Industries, + Start-Up Incubators directly supports innovation within creative markets

LOCATION: Access: Loading in + out of equipment Access: Enabling Audiences to arrive + leave at appropriate times Any specific unique opportunities offered by the site with respect to the intended use.

BUILDING PROPERTIES: Appropriateness of the size and volume of the shell space. Appropriateness of the shell shape in plan and section. Appropriateness of the edges of the shell (egress, natural light, views) Appropriateness of the structural grid (spacing, flexibility). Any unique opportunities offered by the shell such as developable companion outdoors spaces, significant views or vistas, or existing spaces of interest.

BUILDING CHARACTER: Suitability of the building exterior with respect to your initial ideas regarding aesthetic expression. Suitability of the building interior with respect to your initial ideas regarding aesthetic expression.

site criteria

Usually large in scale and located in industrial areas, a warehouse can be conducive to a venue space in both pragmatic + aesthetic ways:

THE ADAPTED SPACE: WAREHOUSE / INDUSTRIAL SITE

N MILES

0 1 2 4 6 8

site overview; detroit

MACRO MICRO

/ MACRO: DETROIT / MICRO: RIVERTOWN WAREHOUSE DISTRICT L O C AT I O N + C L I M AT E : Detroit is set on the Detroit River; the metropolitan area includes the St. Clair River, Lake St. Clair, and the west end of Lake Erie. The land is nearly flat, rising gently north-westward from the waterways, then becoming rolling terrain. The climate is influenced by the city’s location near the Great Lakes and its position in a major storm track; climatic variations also arise from the urban heat island, the effect becoming most apparent at night, when temperatures downtown will remain significantly higher than those in suburban locations. 1

AV E R A G E A N N U A L P R E C I P I TAT I O N : 30.97 inches of rain, 45 inches of snow

AV E R A G E D A I L Y T E M P E R AT U R E : January, 28.1° F; July, 72.3° F; annual average, 48.6° F

A R E A + E L E VAT I O N : 138.7 SQ. Miles, 581 feet above sea level at Detroit River

“I never understood the theory of moving to New York or L.A. to make it—if you want to be noticed as a drop of water, why would you move to the ocean?” -Neko

site overview; detroit

O VE RV I E W: DE T RO I T

S I T E E VA L U AT I O N

52 site macro-analysis /

M A C R O : S I T E

COMMUNITY ASSETS

SCHOOL, MUSEUM, LIBRARY, GALLERY PARK, GREENWAY, RECREATION CENTER, GARDEN RESTAURANT, BAR, COFFEE SHOP, CONCERT FARMER’S MARKET, GROCERY STORE RETAIL, COMMERCIAL CORRIDOR COMMUNITY CENTER, NEIGHBORHOOD NON-PROFIT

53 site macro-analysis /

A S S ETS: P H Y S I C A L + E C O N O M I C C A P I TA L : As Michigan’s largest urban center, Detroit is home to the largest concentration of workers, health, education,cultural, and entertainment institutions; the busiest international border crossing in North America for international trade; host to 50 million annual tourists and visitors; a city of beautiful historic neighborhoods and commercial areas, including 245 sites or districts on the National Register of Historic Places and 8 National Historic Landmarks; and the second largest theater district in the country, second only to New York City. 1 These assets make up the city’s physical and economic capital.

R E G I O N A L P U B L I C T R A N S P O R AT I O N S Y S T E M : By 2030, the Detroit metropolitan region has an integrated regional public transportation system that efficiently serves the region’s 21 dispersed, yet interconnected employment centers. A new regional transportation authority aids the region in creating better transit connections, while public transit within Detroit will create better connections among neighborhoods and Detroit’s seven new employment districts. A new public transit loop will create a ring through the middle of the city, intersecting each of the key radial boulevards to provide more efficient intermodal connection points and different vehicle modes of rapid transit, from light rail to bus rapid transit, to mini-buses. The boulevards themselves will accommodate bicyclists, pedestrians, transit, and motor vehicles within landscaping that helps siphon off stormwater, buffer residents and workers from pollution, and aid in the overall image of a green, sustainable city. 1

FUTURE PUBLIC TRANSIT ROUTES: PROPOSED PUBLIC TRANSIT BY TIER

2030 POPULATION DENSITY

LIGHT RAIL

0-2 PEOPLE PER ACRE

TIER 1 BRT ROUTES

3-6

TIER 2 CROSS TOWN ROUTES

7-10

EMPLOYMENT DISTRICTS

11-14

TRANSIT NODES

15-18 >19

54 site macro-analysis /

M A C R O : S I T E

LAND-USE FORECAST

CITY CENTER

LIVE+MAKE

INNOVATION PRODUCTIVE

DISTRICT CENTER

HEAVY INDUSTRIAL

INNOVATION ECOLOGICAL

NEIGHBORHOOD CENTER

UTILITIES

LARGE PARK

GREEN MIXED-RISE

GENERAL INDUSTRIAL

CEMETERY

MEDIUM DENSITY

LIGHT INDUSTRIAL

GREEN BUFFERS

LOW DENSITY

GREEN RESIDENTIAL

55 site macro-analysis /

A S S ETS: H U M A N + S O C I A L C A P I TA L : Detroit’s assets also include the resiliency, creativity, and ingenuity of its people and organizations—the city’s human and social capital. Detroit’s impressive talent base includes business leaders who forever changed the culture of industrial production and music, pioneers in new forms of transportation, infrastructure, and community food production, and civic leaders who have organized and empowered community residents to exercise their voices and actively participate in the fate of their futures. Effective land use planning is already in motion, focused on integrating new industries, tech start-ups, local food production, and collaborative work spaces. Seven districts of employment, located through all quadrants of the city, provide a range of options for living and working, while fueling Detroit’s Economic growth. These alternative economies focus specifically on job sectors that are growing, ensuring future jobs that can accommodate a diverse population. 1

SECONDARY DISTRICTS

CORKTOWN EASTERN MARKET

21% DOWNTOWN EMPLOYMENT

15% 3% 2 1 MIDTOWN MCNICHOLS

EMPLOYMENT DISTRICTS: PRIMARY EMPLOYMENT DISTRICTS DIGITAL / CREATIVE EDS + MEDS + DIGITAL CREATIVE INDUSTRIAL / CREATIVE GLOBE TRADE / INDUSTRIAL SECONDARY EMPLOYMENT DISTRICTS INDUSTRIAL / CREATIVE INDUSTRIAL

MT. ELLIOT SOUTHWEST

49% REMAINDER OF CITY

4 6

02 3

site micro-analysis

57 site micro-analysis /

M I C R O : S I T E 9

O VE R V I E W: WA R E H O U S E DI STRI C T

L O C AT I O N : Bordering the Detroit Riverfront, the warehouse district is one of the most historically significant areas of Detroit. With a multitude of industriallyscaled buildings and close proximity to the city center, this neighborhood presents unprecedented opportunities for renovation and growth.

PHYSICAL + ECONOMIC CAPTIAL: SIT E

Evaluating

the

Warehouse

Districtâ&#x20AC;&#x2122;s

economic

capital

based

on the former macro-analysis, key characteristics are revealed:

1. DETROIT RIVERWALK

-Looking at map 01, the warehouse districtâ&#x20AC;&#x2122;s community assets are most

2. PUBLIC PARKING

heavly characterized by parks, greenways, recreation centers, and

3. RIVARD PLAZA

gardens, second to restaurants, bars, coffee shops, and concert venues

4. DETROIT GARDEN CENTER

-Looking

5. WILLIAM G. MILLKEN STATE PARK + HARBOR 6. CHENE PARK 7. BELLE ISLE CONSERVANCY 8. UAW-GM CENTER FOR HUMAN RESOURCES 9. HARBOR LAKE

map

02,

the

warehouse

district

extremely

close to the most critical transit node within central Detroit: the

major

hub

the

intersection

the

light

rail

system.

H U M A N + S O C I A L C A P I TA L : Key characteristics are also revealed about human and social capital: -Looking at map 03, the warehouse district is characterized by green mixed-rise land use, neighbored by the city center and live+make communities; meaning greater access to tourists + related industries. -Looking at map 04, the warehouse district overlaps with two of the seven employment districts: digital / creative and industrial / creative, both of which would complement + support

the music industry.

58 site potential sites /

POT E NT I A L SI TE S

OPTION A 1370 FRANKLIN AVE. BUILDING TYPE: INDUSTRIAL BUILDING SIZE: 9812 SF YEAR BUILT: 1923

59 site potential sites /

FINAL SELECTION

OPTION B

OPTION C

1432 WOODBRIDGE AVE.

1801 ATWATER ST.

BUILDING TYPE: OFFICE

BUILDING TYPE: PUBLIC USE

BUILDING SIZE: 6000 SF

BUILDING SIZE: 11000 SF

YEAR BUILT: 1923

YEAR BUILT: 1892

60 site the foundry /

\ DETROIT DRY DOCK BUILDING: EXTERIOR VIEW

C RI T E RI A

site the foundry

E VA L U AT I O N

SIT E

THE ADAPTED SPACE: WAREHOUSE / INDUSTRIAL SITE Usually large in scale and located in industrial areas, a warehouse can be conducive to a venue space in both pragmatic + aesthetic ways: PRAGMATIC: -Accommodate larger audiences

-Have fewer neighbors; so shows can be louder and last longer -Often Inexpensive -Multiple Occupancy Sites allows for expansion of program AESTHETIC:

IMMERSION INTO AN EXISTING MUSIC ECOSYSTEM -Rich history of innovation of music -Existing culturally diverse music scene -Specific Geographic region with access to National Music Market

AVOIDING THE OBVIOUS: ARGUMENT AGAINST LA +

-Financially more feasible; less overhead = less financial pressure for musicians -Greater balance between cost of living, job satisfaction, and access to culture -Geographic location ness important; artists develop and promote through the internet -Need is a prime driver of innovation; creative communities are often core drivers of revitalization

62 site the foundry /

THE HISTORY

FO U NDRY OF

THE

SITE

Dry Dock Engine Works, also referred to as the Globe Trading Company building, is a historic maritime manufacturing facility. Originally a complex of six interconnected buildings, the remaining buildings are recognized as an early example of an industrial building entirely supported by a steel frame, while using traditional brick and standard windows to infill the curtain walls. The existing shell serves as one of the last physical remnants of pre-automible era industry within Detroit, located along the cityâ&#x20AC;&#x2122;s east riverfront promenade.

site the foundry

64 /

site the foundry

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

H I S T O RY:

DETROIT SHEET METAL WORKS PATTERN AND LUMBER STORAGE BLACKSMITH SHOP BOILER SHOP OFFICES HOTEL FORGE SHOP PATTERN SHOPS AND STORAGE MACHINE SHOPS IRON ROOM CASTINGS CLEANING CUPOLAS CORE OVEN WORKER HOUSING GRAND TRUNK RAILROAD DRY DOCK NO. 1 DRY DOCK NO. 2 FOUNDRY

EVOLUTION OF SITE

1 8 8 4 1 9 2 2

FOUNDRY ANNEALING FURNACE PATTERN STORAGE BOILER SHOP TOOL ROOM SHEARS PUMP AIR COMPRESSION ROOM ENGINE ERECTING SHOP BLACKSMITH AND PATTERN SHOP SHIPPING AND RECEIVING DRIVES STOCK ROOM AND OFFICES SHIPPING AND RECEIVING ROOM CHIPPING ROOM MACHINE SHOP ENGINE ROOM DRAFTING AND STOCK ROOM MAIN OFFICES DRY DOCK NO. 2 GRAND TRUNK RAILROAD

1922

1884

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

65 site the foundry

CENTRAL IRON FOUNDRY COMPANY GARAGE AND BOILER HOUSE TRANS-OIL RECLAIMING HOUSE STORAGE TANKS DRY DOCK NO. 2 INDUSTRIAL LOFT BUILDING FOUNDRY AND ENGINE ERECTING SHOP

1 2 3 4 5 6 7 8 9 10 11

1 9 5 7 2 0 1 5 2

1 2 3 4 5

FOUNDRY CHIPPING ROOM SHIPPING AND RECEIVING INDUSTRIAL LOFT PARKING LOT

5 3

2015

1957

STRENGTHS WEAKNESSES OPPORTUNITIES THREATS

STRENGTHS INTERNAL ELEMENTS THAT GIVE THE SITE OR PROJECT ADVANTAGES IN THE FUTURE

-the space is 73’ wide by 131’ in length; the rectangular size and proportion are great for space planning, and in addition to the longer structural span offer a large number of design opportunities with less constraint -the 7 equally spaced bays each have a freight door, which offers multiple points of entry along with direct access to the outdoors along the entire span of the building -an 107’ long monitor allows an abundance of natural light and increased ventilation within space, along with the extensive use of factory windows on the upper level of the east and west facades -the column configuration grants the possibility of extending the second floor along the west facade -the emptiness of the space decontextualizes the experience of a specific musical genre, offering more creative freedom + design opportunities -Unique value historically + architecturally, giving the space a distinct identity

WEAKNESSES INTERNAL ELEMENTS THAT GIVE THE SITE OR PROJECT DISADVANTAGES OR CHALLENGES CURRENTLY

--the vastness and openness of the interior space offers little in terms of sound insulation, which means a relatively low amount of acoustic control overall -the western most fink truss system is particularly low; meaning that the addition or expansion of the second-story would result in space with a rather low height; around 7’ from the floor to the truss -as the space was used industrially, there is no existing plumbing within the space -the space has historical significance, so there should be a balanced approach to renovations, so the existing character and identity of the building isn’t completely compromised; meaning less creative freedom to reinvent the exterior -the stairwells providing access to the second story are located in an adjacent space, and in order to meet codes, additional circulatory means of egress will have to be added, both internally and externally -as the building is rather old, it may require more work in order to meet codes and requirements, structurally and spatially

OPPORTUNITIES EXTERNAL ELEMENTS THAT GIVE THE SITE OR PROJECT ADVANTAGES IN THE FUTURE

--as a multiple-occupancy site with SD4 special development district, riverfront mixed-use zoning, the program has room to expand and/or have adjacent programs that support + complement the program -with no direct neighbors, shows can be louder and last longer, along with accommodating a larger audience -there is ample space immediately around the space to add parking, along with large public lots at a close proximity -the land-use plans for the area suggest future development to focus on digital-creative industries, and industrial-creative industries, with close proximity to live+make communities; which would contribute to enhanced networking opportunities -Detroit has an established music industry that would offer supporting services and connections for the proposed program -the Foundry is located at the intersection of the Riverfront Conservancy and the Dequindre cut (a below-grade,1.35 mile pathway) offering a pedestrian link between the riverfront paths, eastern market, and many of the residential neighborhoods in between

THREATS EXTERNAL ELEMENTS THAT GIVE THE SITE OR PROJECT DISADVANTAGES OR CHALLENGES CURRENTLY

-the fall in Detroit’s population- 2 million to just over 700,000- was accompanied with a loss of jobs, leaving only 1 job for every 4 residents1 -the city’s 20 square miles of total vacant land is roughly equal to the size of Manhattan- and this characterization of Detroit is supported by the housing statistics of rising foreclosure rates, falling home and property values, and an excess of vacant land and homes for which there is not enough demand before property deterioration sets in1 -the image of detroit is one of vacancy; despite the city’s current assets and opportunities for economic growth- and this image is highly perpetuated throughout the media, meaning significantly less tourism --the current systems of water, energy, roads, and telecommunications are not sufficiently oriented to a new economy that focuses on less resource-intensive manufacturing and new service sectors1 ;

68 site the foundry /

EAST-WEST SECTION [A]

NORTH-SOUTH SECTION [B]

NORTH ELEVATION

EAST ELEVATION

As identified in the SWOT Analysis, the Foundry building shell offers many strengths for a potential live performance space.

The construction of the space includes a solid plate flange riveted to L-shaped members that give way to laced webbing welded to L-shaped members. Rivets were used to connect columns to their bases. The roof system is a series of Fink and Scissor Trusses, which support a poured-inplace concrete deck covered with asphalt. Historically, the space housed a pair of overhead traveling cranes, but eventually was used for the assembly of engines.

ORLEANS ST

PLAN

ATWATER ST

site the foundry

FOUNDRY

BU I L D I N G S HE L L

/ CHIPPING ROOM / INDUSTRIAL LOFT CHIPPING ROOM: Built during the 1910â&#x20AC;&#x2122;s, the one-story chipping room sits between the foundry and the once existing machine shop to the west. The chipping room is covered by a sloping roof, and is the only building in the original complex that didnâ&#x20AC;&#x2122;t have a roof monitor. The exterior walls are composed of steel members with brick infill, with the north wall consisted of windows. 1

I N D U S T R I A L L O F T: Constructed in 1902, at the same time as the Foundry, this steel-frame sits south as the Foundry and is a three-story, steelframe and brick industrial loft. Historically, this building functioned as a stock room, a blacksmith shop, a pattern shop and pattern storage, a tool room, a drafting office, and screw cutting machinery. Fink trusses were utilized to keep the floor plan unimpeded by interior columns.

ORLEANS ST

site the foundry /

A DJA CENT SPA CE S

ATWATER ST

CHIPPING ROOM

ATWATER ST

INDUSTRIAL LOFT ORLEANS ST

site the foundry

72 closing sentiment /

“To me , nihilism is an omnipres e n t t h r e a t , F o r u s moderns, G o d i s d e a d , a n d y e t we never t h e l e s s g o o n m a k i n g music, painting paintings, falling i n l o v e . S o I w a n t to give a description of how val u e s a n d m e a n i n g a n d sense a r e n o t o n l y p o s s i b l e but, in f a c t , a c t u a l — i t ' s about t r y i n g t o m a k e s o m e true me a n i n g i n t h e f a c e o f its app a r e n t i m p o s s i b i l i t y . ” TOM KREL L / H O W T O D R E S S W E L L

closing sentiment

sources works cited

75 sources works cited /

WORKS CITED Fationale + Significance: 1. Kronenburg, Robert. Live Architecture: Venues, Stages and Arenas for Popular Music. London: Routledge, 2012. Print.(1617975011). R Scope: 1. “Digital Music Report 2015.” April 14, 2015. Accessed July 25, 2015. Project Drivers: 1. “Digital Music Report 2015.” April 14, 2015. Accessed July 25, 2015. 2. El Gamal, Ashraf, “The Evolution of the Music Industry in the Post-Internet Era” (2012). CMC Senior Theses. Paper 532. http://scholarship.claremont.edu/cmc_theses/532 3. “SXSW: Where Interactive Industry Trendsetters Jumpstart Interactive Industry Trends.” South by Southwest 2016 Music, Film and Interactive Festivals. 19 Feb. 2015. Web. 28 July 2015. 4. Verbuc, D. (2014). “Living publicly”: House shows, alternative venues, and the value of place and space for american DIY communities (Order No. 3637915). Tastemakers: Holly Herndon 1. Warren, Emma. "Holly Herndon." Red Bull Music Academy. 2014. Accessed July 25, 2015. 2. Cook-Wilson, Winston. "Holly Herndon: Platform." Pitchfork. May 21, 2015. Accessed July 25, 2015. 3. Eede, Christian. "The Quietus | Features | A Quietus Interview | Hyper-Personal: Holly Herndon Interviewed." The Quietus. May 15, 2015. Accessed July 25, 2015. Tastemakers: Sam Valenti 1. Dixon, Rachel. "Sustainable Content: A Conversation W/ Sam Valenti IV (Ghostly) on Drip.fm's New Model for Digital Music Distribution - Dubspot Blog." Dubspot Blog. July 22, 2013. Accessed July 25, 2015. 2. "Ghostly International - Of Art & Artifice since 1999." Ghostly International - Of Art & Artifice since 1999. Accessed July 25, 2015. 3. Walker, Rob. "Ghostly International: The Q&A." The Journal of Murketing. August 21, 2007. Accessed July 25, 2015. 4. Mattise, Nathan. "Drip.fm Takes Music Discovery (Virtually) Back To The Record Store." Co.Create. October 3, 2012. Accessed July 25, 2015. Tastemakers: Flying Lotus 1. Kivel, Adam. "Flying Lotus' Essential Collaborations." Consequence of Sound. October 8, 2014. Accessed July 25, 2015. 2.Cardiner, Brock. "Aitor Throup X Flying Lotus Death Veil Mask | Highsnobiety." Highsnobiety. November 14, 2014. Accessed July 25, 2015. 3. Saeed, Abdullah. "Step Inside Flying Lotus's Mind-Blowing Performance Sculpture | The Creators Project." Vice. November 4, 2014. Accessed July 25, 2015. 4. Watercutter, Angela. "Premiere: Go Behind the Scenes of Flying Lotus’ 2001-Inspired Live Show." Wired.com. October 29, 2012. Accessed July 25, 2015. Trends: Digitization 1."Impact of Digitization on Music Industry's Value Chain." GeneSys. N.p., 28 July 2014. Web. 25 July 2015. <https://clubgenesysiima.wordpress.com/2014/07/29/digitisation-in-music-industry/>. 2."Digital Music Report 2015." April 14, 2015. Accessed July 25, 2015. 3. "Staff Lists: The Year in Quotes 2013." Pitchfork. N.p., n.d. Web. 25 July 2015. <http://pitchfork.com/features/staff-lists/9277-the-year-in-quotes-2013/>. Trends: Curation 1. Nail, Bobby. “Audio Recap: Why Curation Will Save the Music Industry.” South by Southwest 2016 Music, Film and Interactive Festivals. May 29, 2015. Accessed July 25, 2015. 2. “Digital Music Report 2015.” April 14, 2015. Accessed July 25, 2015. Trends: Collaboration 1."Brands & Bands: The Value Exchange." BRANDS (n.d.): n. pag. Next Big Sound. 2015. Web. 25 July 2015. <https://www.nextbigsound.com/assets/files/NBS_Value_Exchange_Report.pdf>.

2. Bennison, Aidan. "Something in the Water: Ta-Ku Talks Collaboration and Creative Evolution." BOILER ROOM. N.p., 12 June 2015. Web. 25 July 2015. <http://boilerroom.tv/something-in-the-water-ta-ku-talks-collaboration-and-creative-ev

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77 sources works cited /

WORKS CITED Precedent: Alveole 14 1. “Projects.” LIN-A. N.p., n.d. Web. 25 July 2015. 2. Kronenburg, Robert. Live Architecture: Venues, Stages and Arenas for Popular Music. London: Routledge, 2012. Print.(1617975011). R Precedent: Budapest Music Center: 1. "Budapest Music Center / Art1st Design Studio." ArchDaily. N.p., 01 Sept. 2013. Web. 25 July 2015. Precedent: Redbull Music Academy "Red Bull Music Academy / Langarita-Navarro Arquitectos." ArchDaily. N.p., 05 Mar. 2012. Web. 25 July 2015. Precedent: Night Flight 1.”Night Flight / Studio MODE.” ArchDaily. N.p., 29 Mar. 2014. Web. 25 July 2015. Literature: 1. Newhouse, Victoria. Site and Sound: The Architecture and Acoustics of New Opera Houses and Concert Halls. New York: Monacelli, 2012. Print. 2. Area 2: 100 Graphic Designers, 10 Curators, 10 Design Classics. London: New York, 2008. Print. 3. Meyers, Victoria. Shape of Sound. N.p.: n.p., n.d. Print. 4. Thibaud, Jean-Paul, and Daniel Siret. Ambiances in Action: Proceedings of the 2nd International Congress on Ambiances, Canadian Centre for Architecture, Montreal, Septembre 2012. Grenoble: Réseau International Ambiances = International Ambiances Network, 2012. Print. 5. Adelman-Larsen, Niels Werner. Rock and Pop Venues: Acoustic and Architectural Design. Heidelberg: Springer, 2014. Print. 6. Bovier, Lionel, Clare Manchester, and Salome Schnetz. ECAL: Design Graphique = Graphic Design = Grafik Design. Lausanne: ECAL, Ecole Cantonale D'art De Lausanne, 2004. Print. 7. Armstrong, Helen, and Zvezdana Stojmirovic. Participate: Designing with User-generated Content. New York: Princeton Architectural, 2011. Print. 8. Basar, Shumon. 10 X 10/ 3: 100 Architects - 10 Critics. London: Phaidon, 2009. Print. 9. Kronenburg, Robert. Live Architecture: Venues, Stages and Arenas for Popular Music. London: Routledge, 2012. Print. 10. Connolly, Maeve. The Place of Artists' Cinema: Space, Site and Screen. Bristol, UK: Intellect, 2009. Print. 11. Douglas, Stan, and Christopher Eamon. Art of Projection. Ostfildern, Germany: Hatje Cantz, 2009. Print. 12. Soleri, Paolo. Arcology: The City in the Image of Man. Phoenix: Cosanti, 2006. Print. Site Evaluation Criteria: 1. Verbuc, D. (2014). “Living publicly”: House shows, alternative venues, and the value of place and space for american DIY communities (Order No. 3637915). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (1617975011). Retrieved from http://search.proquest.com/docview/1617975011?accountid=2909 2. Chapter 17 Concert Venues. (n.d.). Retrieved July 30, 2015, from https://us.sagepub.com/sites/default/files/upm-binaries/51748_CH_17.pdf Site Overview: 1. Foreword. "Detroit Future City Executive Summary." 001 (n.d.): n. pag. The Kresge Foundation. Dec. 2012. Web. 28 July 2015. <http://kresge.org/sites/default/files/Uploaded%20Docs/Detroit-Future-Cityexecutive-summary.pdf>. 2."Detroit: Geography and Climate." Detroit: Geography and Climate. N.p., n.d. Web. 28 July 2015. <http://www.city-data.com/us-cities/The-Midwest/Detroit-Geography-and-Climate.html>. Macro, Micro Analysis, SWOT 1. Foreword. “Detroit Future City Executive Summary.” 001 (n.d.): n. pag. The Kresge Foundation. Dec. 2012. Web. 28 July 2015. <http://kresge.org/sites/default/files/Uploaded%20Docs/Detroit-Future-Cityexecutive-summary.pdf>.

sources images

+ http://www.archdaily.com/422566/budapest-music-center-art1stdesign-studio + http://info.bmc.hu/hirek/537

TA S T E M A K E R S - F LY I N G L O T U S + http://www.highsnobiety.com/2014/11/14/aitor-throup-flying-

P R E C E D E N T: R E D B U L L M U S I C ACADEMY

lotus-death-veil-mask/

+http://www.archdaily.com/213918/red-bull-music-academy-

TA S T E M A K E R S - S A M VA L E N T I I V

langarita-navarro-arquitectos

+ http://www.ghostly.com/

P R E C E D E N T: N I G H T F L I G H T

+ http://createdigitalmusic.com/2012/12/saving-downloads-fans-

+ http://www.studiomode.eu/

sam-valenti-iv-talks-ghostlys-drip-fm-as-label-roster-grows/

TA S T E M A K E R S - H O L LY H E R N D O N

L I T E R AT U R E

+ http://www.lb-agency.net/blog/holly-herndon-unleashes-chorus-

+ http://www.phaidon.com/store/design/area2-9780714848556/

video-and-unreleased-tracks-for-rbma-radio/

+ http://www.amazon.com/

+ http://assets0.thefourohfive.com/data/11116/feature/holly_

+ http://www.springer.com/us/book/9783642452352

herndon_press_credit_suzy_poling_pic_002_wide-e96298d2bdbf2f9a

+ http://www.ecal.ch/download/webmedia/

cdf9899f64da2cede772c4e6-s4.jpg?1352100329

+ http://www.researchgate.net/publication/233413420_Ambiances

D I G I T I Z AT I O N +http://www.youredm.com/2015/04/20/daft-punk-rumored-to-beworking-on-new-album-would-be-released-via-tidal/ + http://pre10.deviantart.net/29a1/th/pre/i/2012/170/0/9/ thomas_bangalter_helmet_base_by_cinder_bella-d53jru6.png + http://www.hypepotamus.com/events/digital-good-times-presents-

+ http://studiogang.net/writing/2009/10x10_in_action__ + http://www.helenarmstrong.us/portfolio-items/participate-designingwith-user-generated-content-4/ + http://cajondearquitecto.com/2013/04/13/seccion-arcology/

OVERVIEW- MACRO / MICRO +http://www.openstreetmap.org/

C U R AT I O N

MACRO ANALYSIS

+ https://www.spotify.com/us/?carousel=1

+http://kresge.org/sites/default/files/Uploaded%20Docs/Detroit-

+ http://sergiogill.com/portfolio/clix/

Future-City-executive-summary.pdf

+ http://pixgood.com/cd-vector.html + https://en.wikipedia.org/wiki/IPod_Classic

MICRO ANALYSIS

+ http://www.vecteezy.com/technology/13860-imac-27-free-vector

+http://www.openstreetmap.org/ +http://kresge.org/sites/default/files/Uploaded%20Docs/Detroit-

C O L L A B O R AT I O N

Future-City-executive-summary.pdf

+ https://instagram.com/takubeats/

POTENTIAL SITES

+ http://statusmagonline.com/features/ta-ku-interview-march-2015/

P R E C E D E N T: A L V E O L E 1 4 V I P + http://www.lin-a.com/gallery/projects + Kronenburg, Robert. <i>Live Architecture: Venues, Stages and Arenas for Popular Music</i>. London: Routledge, 2012. Print. + http://architizer.com/projects/saint-nazaire-alveole-14/

+https://www.google.com/maps/

THE FOUNDRY +Historic American Engineering Record

C L O S I N G : Q U O T E PA G E +http://www.windishagency.com/artists/how_to_dress_well

sources images

P R E C E D E N T: B U D A P E S T M U S I C CENTER

IMAGE SOURCES

chapter specific topic