Malequi Picazo || Third Year || The Cricket

The Cricket Performing Arts Theater Design Malequi Picazo Prof. Michel Mounayar ARCH 301 Fall 2018 Chapter 1

Research/Program/Pre-Design

Chapter 2

Civic Architecture/Urban Analysis

Chapter 3

Conceptual Design

Chapter 4

Systems/Material/Structures

Chapter 5

Renderings/Section Cut/Drawings/Diagrams

1

Chapter 1 Research Program Pre-Design

2

Precedent Analysis

CKK Jordanki I chose to analyze CKK Jordanki designed by architect Fernando Menis as a central precedent study for a 1,200-seat performing arts center located in downtown Muncie. The CKK Jordanki theater is 235,000 square feet, and is located in TorĂşn, Poland. It was built in 2015 and contains seating for 1,000 in the large theater and 300 in the small theater. The entire building is clothed in a pale gray, smooth concrete facade, but presents various points at which the skin is exposed. The openings for the windows on the exterior, as well as the ceiling and walls on the interior, are made of crushed red brick. As pictured, the interior represents a fragmented and fractured cave.

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I extracted five main points from this state-of-the-art theater that I plan to include and address in my design. The first of these points is the manner in which the theater interacts with its surroundings. It rests within the landscape and maintains a low sightline in order to maintain the views of the nearby river. The second point I wish to address is how the materials used in the CKK Jordanki reflect the culture and heritage of TorĂşn, Poland. I plan to use materials that are significant to Delaware county, Muncie, and Indiana in general. A follow up point to the material choice is the color that was chosen. Crushed red brick was used intentionally and specifically as a sub-skin layer on the building in order to reflect the immediate historical and cultural context. However, Menis used this material in a new way by only exposing it around the windows as if the openings were carved out of the smooth concrete surface.

Opposite top: Exterior view of CKK Jordanki Opposite bottom: Section perspective of large auditorium Top: Exterior view of concrete and exposed red-brick Middle: Close-up of fractured, red-brick acoustic panels Bottom: Interior lobby 4

The third main component I extracted from my study of CKK Jordanki is the way in which the building opens to the public and invites people in. For example, a large staircase connects directly to the pedestrian sidewalk. Additionally, a large open plaza is surrounded by the massive theater. Another feature of the theater is the flexibility it possesses which allows one of the walls to open up and connect the two theaters. This component of flexibility also extends to the uses and shape of the stage and seats. Two theaters of different sizes reside inside this theater. The main performance theater has 1,000 seats and the secondary theater has 300 seats. In order to address flexibility, I plan to design a stage that can be configured in at least two different orientations.

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Opposite top: Plan view of ground floor Opposite bottom: Section of circulation Left: Interior of auditorium space

All images referenced from ArchDaily https://www.archdaily. com/782186/ckk-jordankifernando-menis

The final element of this Polish theater that I analyzed involves the acoustic qualities of the interior spaces. The first significant factor of this space is the way that this hall can be tuned to accommodate different performance types. The fractured acoustic panels in the ceiling were designed and tested eight times at 1:50 scale in order to ensure the highest quality performance of the materials and arrangement of them.

The flexibility and maneuverability of these massive, red brick-fragmented panels brought a level of sophistication to the CKK Jordanki. In order to use these panels, however, engineers had to design a suspension system to hang them from the ceiling. In my theater design, I plan to incorporate a notion of designing based on a function rather than forcing an existing product to meet a need it may not be able to meet.

6

Harbin Opera House The Harbin Opera House in the arctic city of Harbin, China exhibits an extreme contrast in the materials it presents and the environments it creates. The exterior must suffer through harsh winters while maintaining a warm and inviting interior year-round. The white aluminum panels that coat the exterior create a serpentine form that looks as if the building was crafted by the wind and snow. The interior, in contrast, exhibits cladded wood to emphasize a level of warmth and protection from the outside environment. The use of materials to create and react to environments is a factor I plan to incorporate into my theater design.

Images are referenced from Architecture Art Design http://www.architectureartdesigns. com/breathtaking-harbin-opera-house-china-mad-architects/

7

EMPAC Rensselaer Polytechnic Institute possesses the Experimental Media and Performing Arts Center (EMPAC). This large 222,000 square foot structure is located in Troy, NY, and includes a 1,200-seat recital hall, among three other smaller theaters. The centerpiece of this multiuse center is essentially a wooden vessel embedded inside a glass box. The glass box, however, serves many purposes. In the winter months, especially, the glass mullion system was uniquely designed to run hydronic heating through the mullions both to warm the atrium space and to reduce condensation on the glass.

Although winters in Muncie are not as harsh as in Troy, I plan to incorporate this concept.

Images are referenced from Consulting Specifying Engineer https://www.csemag.com/single-article/hvac-designfor-a-performing-arts-center.html

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Architectural Program The program of my theater can be simplified into three main sectors. The first is the main performance hall that allows 1,200 visitors to attend a concert or play.

Rehearsal spaces, storage rooms, and changing rooms will accommodate musicians and visiting performing acts. The second function is to present a public space to the citizens of Muncie to use. The interior space will be highly accessible to the public year-round. This will include the lobby space and the concessions kitchen space.

The area surrounding the theater will be made into a plaza and park that allow the citizens of Muncie to gather and spend time outdoors near the White River. The final purpose of this theater is to allow musicians and aspiring musicians to take lessons with professionals. The theater will also contain a store for musical instruments and sheet music to be sold.

1. Mainstage* 2. Backstage 3. Seating 4. Curtain and equipment 5. Sound equipment booth* 6. Lobby* 7. Mechanical room* 8. Loading bay 9. Changing rooms 10. Concessions kitchen 11. Fire escape 12. Elevator/escalator 13. Ramps/stairs 14. Administration offices* 15. Ticketing 16. Bathrooms 17. Storage 18. Janitorial closets 19. Music store* 20. Rehearsal rooms 21. Music lesson rooms* *indicates more detailed program function

1200-1500 sf 500 sf 8,000- 9,000 sf 400 sf 200 sf 3,600-4,000 sf 300-500 sf 200 sf 200-300 sf (2-4 rooms) 72-100 sf 288 sf (2 - 12’ by 12’ towers) 120 sf or 250 sf 250 sf 1080-1440 sf 85-100 sf 1000-1500 sf (divided among four bathrooms) 1500-2000 sf 100 sf 260-350 sf 800-1,200 sf 572-660 sf (143-165 sf per room) Total sf: 20,727 sf - 24,838 sf (add 30% efficiency) Total sf with efficiency: 26,945 sf - 32,289 sf 9

2

9

17

17

1

20

4

8

17

11

13 16 16 12

3

18 11 5 7

13

12

10 18

16

6

16

14

19 15

Basic layout and pairing of spaces 10

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Detailed Program Function 1. Mainstage

The main stage will have at least two modes to accommodate a variety of performances. Curtains and movable walls will enclose the unused stage and possibly seating.

5. Sound equipment booth

This small room must be absolutely sound-proof so sound engineers can talk, work, and operate equipment without interrupting the performance.

6. Lobby

The main entrance and lobby will connect to the exterior plaza to allow the public to rent the space for weddings, rehearsals, conferences, etc. The lobby must be spacious enough to allow at least 600 guests to sit in movable chairs, and allow for a ceremony, presentation, or speaker to set up.

7. Mechanical room

The mechanical equipment should be located on an exterior wall. The equipment adjacent to the stage and main house must have soundproofing.

14. Administration offices

At least five standard, one-person offices and one conference/meeting room for approximately 15 people will be located within the theater building.

19. Music store

An additional program to the theater will be a music store for instrument staging, playing, and buying, as well as sheet music and music devices.

21. Music lesson rooms

Enough space and orientation for one student and one teacher and possibly a parent to be in the room and have proper acoustics for piano, guitar, or any other instrument.

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Applicable IBC The performing arts theater will be an A-1, Type III-B, SM. The allowable floor area is 25,500 sf. The theater will be a two-story building with possible public roof access.

The construction type is a combustible, mixed system. Exterior load-bearing walls are noncombustible and must have a 2-hour fire rating and comply with Section 2303.2. Fire-retardant-treated wood is an acceptable material for the exterior loadbearing walls. The interior building elements are of any material permitted by the code. Item No. 15-1.6 is a 2 x 6 fire-retardant-treated wood stud system with 2-hour fire rating and will be used for the performing arts theater.

According to Table 1005.2.1, the minimum number of exits for the 1,200 occupants is 4. Section 1008 states the exit required for an occupant load greater than 300 should accommodate not less than one-half of the occupant load. The main exit shall front on at least one street or an unoccupied space of not less than 10 feet in width that adjoins a street or public way.

Table 2902.1 states the amount of water closets for males is 1 per 125, and for females is 1 per 65. The lavatories requirement is 1 per 200, and the drinking fountains is 1 per 500.

This image is Dricon® wood, which is a fireretardant-treated wood that has a 2-hour fire rating. According to Dricon’s website, this type of wood protects against “flame spread, smoke development, rot, and decay.”

Image referenced from Lonza https://www.lonzawoodprotection.com/ apac/fire-protection/

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Design Standards Seating: Arrangement, Slope of Seating, Sight Lines The 1,200-seat theater will contain fixed chairs with self-lifting seats. According to code, 12 handicap accessible seats will also be included in the 1,200-seat count. The seat dimension is 24” wide from center of arm rest to center of arm rest. The seat depth is 18”. The standard spacing for the seat from back of seat to back of seat is 36”. The seating will be arranged into three sections with aisles measuring 42” on either side of each section, totaling 4 aisles. The ground floor will be on a 1:7 slope to accommodate a 5” vertical sight line shift per row. The balcony will be 35º of stairs and stepped seating. A 42” wide aisle will separate the lowest row and the railing.

The average person has approximately 130º peripheral vision. Since head strain can be minimized if all seats are pointed towards the center of the stage, the rows will be slightly arched, and in a concentric pattern.

Stage The stage will have two main forms. The primary form will be a proscenium stage, and the secondary will be a thrust stage. The thrust stage portion will be temporary and will take the place of a selection of chairs on the main floor of the theater. For certain plays and musicals, a thrust stage is desired for a more intimate experience.

Acoustics The sound range suggestions in reverberation time (in seconds) for a performance theater are as follows: small theaters and musicals: 1.2-1.4, general purpose auditoriums: 1.6-1.8, and orchestral works, recital, and chamber music: 1.4-1.7.

Since this theater is multi-use, the suggested reverberation range considered requires a tunable space. The typical hall volume for maximum acoustical performance is 220-330 cubic feet per audience seat. I plan to accommodate this by incorporating maneuverable acoustic paneling and choosing appropriate materials for the interior of the space. Seats, flooring, and ceiling materials all contribute to the overall acoustical performance of a theater. This theater will have a sound reinforcement system that will include microphones, signal processors, amplifiers, and loudspeakers. This system enables specific or multiple elements of the production to be amplified in a controlled fashion.

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KEY 1 Intake plenum taking air from outside and cooling by thermal mass within plenum in summer, heating in winter 2 Air enters auditorium beneath stalls and circle seating 3 Incoming air warmed by occupants 4 Air further warmed by lighting, helping to drive buoyancy 5 Acoustic exhaust plenum 6 Exhaust plenum 7 Warm air exhaust via chimney louvres

https://www.cibsejournal.com/case-studies/leading-man/

Natural Cooling One strategy I plan to incorporate in the seating is to cool the space from the low levels of each floor. This would allow the air to warm as it rises to the ceiling.

By using this method, cool air is provided to the audience immediately rather than forcing air from elevated ceiling vents downwards onto the audience. Stack ventilation is another system that supplements my plan to cool from the ground up.

Heating and cooling costs will be reduced compared to a standard system.

This diagram shows how conditioned air can be blown through vents in the ground below the seats, and as it heats up from the audience, it rises and leaves the space through vents in the ceiling.

Image referenced from: Theatre Buildings A Design Guide pg. 85

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HVAC and Lighting Systems Vibro-Acoustics is a company that deals with indoor climate and noise control. The company offers engineering services and solutions to minimize noise created by a variety of machinery, including HVAC. An excerpt from their website states the solution, “The integrated systems approach is a design methodology that minimizes noise problems at the design stage. The entire system is considered, including how each component (fans, duct, silencers, etc.) interacts with the other. In the analysis of the system, both airborne and structure-borne noise are considered, as well as project specific requirements such as space, energy (pressure drop with system effects), project cost and time, and IAQ. This enables the user of the Integrated Systems Approach to engineer a solution that not only solves the noise problem but also addresses the specific requirements of the project.”

Through the use of inlet and discharge silencers, intentionally placed seismic steel bases with shock absorbers, acoustic barriers, and a variety of restraints, VibroAcoustics creates extremely quiet interior spaces. This array of systems is ideal for a performing arts theater. The cooling tower will be placed on the roof of the theater.

However, it will be equipped with silencers and absorbers, so the performance hall will not be affected.

The diagram below shows various sound cancelling and deadening devices in green.

Also shown is the majority of mechanical systems on the roof of the building or in the basement, away from spaces that need to stay quiet and calm. This physical separation also helps to mask mechanical noise.

CONSIDER THE SYSTEM

Low pressure drop silencers for axial fans. Access sections built in for servicing.

Self-supporting Stack Silencers

Acoustic Barrier

Property Line 55 dBA

Discharge Silencer

(EJE2) Flex Connectors

HTL Access Section

The Integrated Systems Approach

Duct Stand Inlet Silencer

Inlet Silencer c/w Weather Hood

(VCR) Vibration Isolation Curb c/w Acoustic Barrier System

(SPS) Seismic Pipe Stands

Cooling Tower

Discharge Silencer Wind Restraints

Air-cooled Condenser

Seismic Steel Base

(SCSR) Seismically Restrained Spring Isolators

Doghouse with acoustic louvers and plenum

Discharge Silencer

(CM) Isolators

HTL “T” Silencer

Silencer

(RED) R/A Silencer

(CT) Crosstalk Silencer

(CENM) Fume Hood Silencer Conference Room NC-30

File Storage Room NC-45

Open Office NC-40

Shaft

Steel Fan Base

(RNM) No Media Cleanable Silencer (RFL) Rectangular Film-lined Silencer

Isolated Wall

(RED) R/A Silencer

Electrical Room 100 dBA

Lab NC-45

Engine Generator Set

Floating Floor

Fume Hood

Floating Riser Isolators

Transitional Silencer

Transformer Mounted On (NP) Neo+ Neoprene Pads

Acoustic Barrier

Transitional silencers save space. Full height baffles minimize pressure drop.

(NH) Neoprene Hangers (BB) BulletBraceTM Cable Restraints

(SHR) Spring Hangers with Neoprene

(RD) Rectangular Silencer

(SH) Spring Hangers

(BB) BulletBraceTM Cable Restraints

VAV Box

Exhaust

(RD) Rectangular Silencer Acoustic Fresh-air Intake Plenum

Return Air

Mechanical Equipment Room 65 dBA

(AHCS) Thrust Restraint

Pipe Flex Connector

Duct Flex Connector

Internal Isolation

Support Rack with Rigid Restraint

(CT) Crosstalk Silencer

(EX-RD) Silencer (REMB) MoldBlockTM Silencer Duct Flex Connector

Common Room NC-40

Classroom NC-25

Corridor NC-40

Private Office NC-30

(SRD) Silencer AHU

Outside Air

(NP) Neo+ Neoprene Pads Garage Exhaust

(SH) Spring Hangers

(BB) BulletBraceTM Cable Restraints

(PSH) Precompressed Spring Hangers

LEGEND Silencers Acoustic Barriers, Plenums and Enclosures Noise Control Curbs Vibration Isolation Restraint Systems Architectural Noise Control

4

Vibro-Acoustics Noise Control

(EJN2) Flex Connector

(EJN2) Flex Connectors Boiler Exhaust (ACD) Discharge Cone Silencer

Flex Connectors Parking Garage 65 dBA

(CD) Inlet Circular Silencer (SRB) Seismic Restraint Bracket

(SIPS) Seismic Inline Pump Stand Boiler

Chiller

Base-mounted Pump

Inline Pump (CIB) Inertia Base

(CSR) Spring Isolators

(CIB) Inertia Base

Mechanical Equipment Room 80 dBA Library NC-30

Duct Flex Connector (FS) Isolators

(NP) Neo+ Neoprene Pads

Sil-Throw Air Distribution System

Sil-Throw air distribution system for quiet spaces with high occupancy.

http://noisecontrol.vibro-acoustics.com/engineering-services/lay-in-service/

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http://www.gastage.com/track-and-rigging/counterweight-stage-rigging

A counterweight rigging system will be incorporated into the stage and the fly. I chose this type because it is the most common system used today. A steel pipe batten system will be installed into the fly as well. Using C-clamps, lighting fixtures will be attached to the battens. Ellipsoidal Reflector Spotlights (ERS), Floodlights (ERF), Electronic Theatre Controls Source Four (ETC), and an array of LED lights will be used to light the main stage.

A single ERS allows for a range of 10-850 footcandles depending on the focal point area. The main house will be lit by https://www.dhgate.com/product/led-stage-lightshttps://www.bhphotovideo.com/c/product/200884REG/Altman_160_Scoop_Light_Focusing.html 18w-rgb-par-led-stage-lighting/397578860.html LED lights, and should create approximately 20 foot-candles when the lights are brightest. The main house lights should be controlled by dimmers to accommodate the variety of performances and presentations. https://en.wikipedia.org/wiki/Ellipsoidal_reflector_spotlight https://en.wikipedia.org/wiki/Ellipsoidal_reflector_spotlight 16

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Chapter 2 Civic Architecture Urban Analysis

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Map of the Site Context Analysis

What’s unique about the place?

The site is adjacent to the White River.

It exists at the corner of a bridge and a four-road intersection.

It is near two small parks, one across the street and one across the river.

In the vicinity of Muncie City Court, Internal Revenue Service, Delaware County Justice Center, Star Insurance Agency, a possible new housing development, and the White River Greenway.

Site Analysis The site is the shape of a trapezoid.

The site contains one long strip mall and a parking lot in the front and back of the building.

The site is fairly flat and mostly paved with asphalt .

There is a small grass strip on the corner of the lot pointing towards the bridge.

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Intent Architectural Statement Stadium Mouth

1 Blend in very well with adjacent material and form Use only linear forms and brick or precast concrete with matching windows.

Tube Park

2 Completely contrast material and form Use steel and other modern materials and curvilinear forms

Fractured Shell

3 Use materials and forms to relate to the surroundings but create something that stands out Imitate CKK Jordanki and make fractured red brick precast panels for the shell of the building but also incorporate new forms and possibly new materials

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Position on the Site Mirror Facade

4 Acknowledgment of the surrounding buildings Placed strategically to follow road patterns and standard landscaping Add landscaped circle to bridge corner with landscaping to resemble Tuhey and Riverbend Parks; literally imitate the buildings around it

Buried in Sticks

5 Welcomes in outsiders but entertains the crowds Relaxed and set back but creates interest and a sense of place, it belongs here Below grade level but signifies there is something there, arms of some kind sticking out or small bumps and an amphitheater

In. Out.

6 Self-contained and more of a crown jewel Abruptly interrupt the flow of the city and the street and make it stand out in height or shape

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Volume Sculpting Spindle Tower

7 Two stories with roof access with views of the river Hierarchy show off the river

Square Peg, Round Hole

8 Draws attention to itself but not enough to disgrace surroundings 3D print volume Box in a box, outside form contrasts interior form

Squirt Gun

8 Addresses the nearby housing and creates plaza and public access Welcomes the people from the housing from across the street but channels them into and through the plaza

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Shade and Shadows Panel Plant

10 Shades plaza during the summer but not winter High sun angles are blocked but low angles are not

Woven Tree

11 Shades sidewalk and plaza Overhangs and wide circulation paths under overhangs

Pac-man

12 Shades sidewalk year-round Enclosed or covered sidewalks

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Path and Dynamism Octopus

13 Path of circulation from Minnetrista to the site and across the bridge along the river An attractive form and traveling experience, add a “Cloud gate� equivalent

Empty Walls

14 Highlight key buildings and other attractions for guests Reflect other buildings with large glass panels pointed to the surroundings Incorporate and imitate the styles of the surrounding buildings

Spaghetti Bug

15 Create a central hub for activities and entertainment while raising up the rest of downtown Add an art piece or fountain to the center of the plaza that brings attention or creates a place to meet

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Passive Solar Pavilion Park

16 Use large PV panels to create shade on the courtyard Shading devices can also absorb and reuse the sunlight it creates; reduces cost because it has two purposes

Light Bright

17 Include operable windows and light shelves Consider how light gets in deep into spaces and how air can move through the building rather than around and into the courtyard

Sun Mouth

18 Position exterior walls to allow natural sunlight to light the atrium/ lobby Add clerestory like Letterman Building that channels sun into entire atrium lobby and office spaces

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Rating the Models An approach I took in order to decide the most effective and design-inspiring models was to create a ranking system. Using a basis of five categories and a spectrum for each, I rated the 18 models and found a total score for each. The five categories I used are: connection to immediate context, relevance to Ball State, relevance to Muncie citizens, design potential or capacity, and the application of materials. Each of these topics has a scale from 1 to 5, with 5 being the highest score or best example.

Connection Relevance Relevance to Immediate to Ball to Muncie Context State citizens

Design Potential or Capacity

Application Total of Materials

Stadium Mouth

4

2

3

3

2

14

Tube Park

4

4

4

5

5

22

Fractured Shell

2

2

2

4

2

12

Mirror Facade

5

2

4

1

1

13

Buried in Sticks

3

3

4

3

3

16

In. Out.

4

4

4

4

2

18

Spindle Tower

2

2

3

2

3

12

Square Peg, Round Hole Squirt Gun

2

3

3

3

2

13

5

4

4

3

2

18

Panel Plant

3

2

4

5

5

19

Woven Tree

2

2

2

2

3

13

Pac-man

3

3

3

5

2

16

Octopus

3

3

4

5

3

18

Empty Walls

3

2

3

1

1

10

Spaghetti Bug

4

4

3

4

3

18

Pavilion Park

2

3

3

3

2

13

Light Bright

3

4

2

2

3

14

Sun Mouth

3

2

2

4

3

14

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Categories of Models After presenting these models, I received feedback about each of the 18. One of the overarching ideas shared with me was to group several models together into different categories. From there, reevaluate what the concept behind each model was and how it can be reinterpreted and repurposed. This process means to sketch each model out and manipulate scale until an appropriate proportion is discovered. The three categories decided upon are flight, intertwine, and subtractive volume.

Flight

Intertwine

Subtractive Volume

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Sketches of Models

Intertwine

Subtractive Volume

Flight 28

Scale of Sketches

1” = 12’

1” = 12’

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Images of the Site

Site and context from Wheeling Ave. bridge Buildings that exist on site, High St. Square

Site context from White River Greenway

Site and context panorama from in front of Glaser & Ebbs

Urban Design Strategy

How will your project fit in the town?

The materials will resemble the immediate surroundings.

The form will contrast the buildings in the near vicinity.

The form and the orientation of the building and plaza will connect the housing across the street, the traffic from the bridge, and the pedestrians and cyclists from White River Greenway.

The building will create a place for community and a city-wide connection to the arts and downtown Muncie.

Urban Volumetric Study

The exterior of the building will invite people into the building and the plaza.

All facades will be intentional and there will be no “back of the building.�

The plaza will be strategically placed to maximize travel flow of the pedestrians and cyclists.

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Chapter 3 Conceptual Design Concept 1: Triple F Concept 2: The Cricket

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Triple F

The Cricket 33

Concept 1: Triple F - Form Follows Function I created the form of this auditorium by using the programmatic spaces required for a fully functional theater and creating an outline on the ground floor to encompass all of the necessary spaces. The height of the building was by space. For the theater, the fly height and visual sight was determined by optimal acoustic performance. The lobby and rehearsal spaces did not need as high of ceilings, so I adjusted accordingly.

The resulting form is extremely curvilinear, and imposes itself as a large, intrusive structure on the site. The surrounding site would be playfully intertwined into the behemoth-like structure through the use of ribbons for circulation, carved holes in the ground, and reflection pools near key points on the exterior of the theater.

Form Diagram of Main Spaces N 1” = 100’ - 0”

Site Map of Concept 1

Large auditorium component hidden to show interior spaces 34

1” = 40’ - 0”

1” = 40’ - 0”

Exploded Axonometric Drawing

N

Section Drawing

1” = 25’ - 0”

35

Concept 2: The Cricket This approach contains several derivatives from the shape and function of the cricket. The cricket is a very common noise-creating insect in the Muncie area. I created this building form by using the shape of the cricket’s wings. The two leaflike forms are delicately placed on the site with a slight overlap in the middle, similar to a Venn diagram. This overlap is addressed with vertical fenestration to enclose the several foot-high offset. The offset created, and the mullions of the glass, represent the noise-producing teeth that a cricket rubs together to attract a mate. The third, and final, element of this building inspired by the cricket was the way in which one wing was suspended in order to create the entrance. The precedent for this design was the cricket’s leg. The foot is attached to a leg which extends vertically at a slight angle. This leg is then attached to a knee-like joint that creates an almost-180º return to the ground. The end of the leg joint attaches to the body of the cricket. In a similar way, I created a system of column legs that surround the body of the building and attach to it by using a system of tensile cables to suspend the structural elements of the front half of the building. The spaces are then neatly organized inside the created space. The entire structure is then lowered down to the lowest point inside a concentric terrace system that guides visitors down towards the theater.

https://upload.wikimedia.org/wikipedia/commons/1/1c/Naturalist_on_the_River_Amazons_15.png

https://pbs.twimg.com/media/BciTxTvCAAAYfTq.jpg:large

The inspiration for the shape of this concept originated from a cricket’s two main wings. The form of the columns and the tensile cables was an abstraction of the form of a cricket’s deep fine leg.

36

1” = 50’ - 0”

Exploded Axonometric Drawing 1” = 50’ - 0”

N

Section Drawing

1” = 25’ - 0”

37

Moving Forward I decided to pick concept 2, The Cricket. I picked this concept to move forward because it scored higher on my grading rubric, and it has a stronger connection to music and the cricket’s form. I have a lot of programmatic elements that I must fit into the building, but I think the space provided will be accommodating. The exterior terracing will create a space for activities to occur outside the theater. It will also allow locals to gather in a defined space around the theater before and after a performance. One important programmatic element to my theater design is to allow the lobby to open up to the outside and allow public events to take place apart from the main theater and auditorium space.

Connection Relevance Relevance to Immediate to Ball to Muncie Context State citizens

Design Potential or Capacity

Application Total of Materials

Triple F

3

2

2

5

4

16

The Cricket

4

2

3

4

5

18

Another idea I want to experiment with in this concept is pulling on the outside edges of the two roof membranes. I hope to eventually allow pedestrian access to one or both of the roofs. With an elegant guardrail wrapping the exterior of the building, addition of intentionally-placed green roof spaces, and a seamless interior and exterior space interaction, I hope to redefine the scale and magnitude of the cricket.

Nanyang Technical University Green Roof

https://inhabitat.com/photos-incredible-swirling-green-roof-tops-nanyang-technical-universitys-school-ofdesign/nanyang-green-roof-lead-2/

Wyly Theater, Dallas, TX

https://www.attpac.org/your-visit/venues/wyly-theatre/

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Chapter 4 Environmental Study Structural Material Study

40

Environmental Study I wanted to incorporate a lot of natural daylight to reinforce my concept of the cricket and its insect features, and as a light “floating” structure. The building was intended to be open and light, so I determined a Viracon curtain wall system accompanied by a Kalwall roof system would be appropriate. In order to accommodate for insulating the building, many of the panels on the façade are insulated spandrel glass. The smaller of the two wings contains the main lobby and gathering space. This space is left open and unprogrammed to allow for events such as weddings or business conferences to take place year-round.

http://www.viracon.com/page/insulating-glass

“Insulating glass consists of two or more plies of glass enclosed by a spacer. Inherently, insulating glass increases a window’s thermal performance by reducing the heat gain or loss. At Viracon, insulating glass units are sealed with a primary seal and a secondary seal of silicone. Insulating units are designed to absorb stress on the unit caused by thermal expansion and pressure, provide a barrier to water and moisture infiltration, provide a gas-tight seal to prevent loss of any specialty gas fill and create a barrier that reduces condensation.”

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Kalwall Roof System I chose to use the Kalwall Clearspan System. According to the specifications, clearspans of over 100’ (30 m) utilize structural aluminum framing. This system is also lightweight - typically less than 5 lbs/ft. The website also mentions this system is perfect for custom and unique designs for toplighting applications. In my design, toplighting is the only job this system will have. Other beneficial features of this system include its ability to support light fixtures, sprinkler systems, and suspended artwork. Kalwall states this system is made of, “lightweight, corrosion resistant aluminum sub-structures with Kalwall translucent sandwich panels to form Clearspan™ Systems.”

Dunbar High School

https://www.kalwall.com/kalwall-products/sky-roofs/clearspan-structures/

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Yankee Stadium

Photovoltaic Roof System While the smaller portion of the building was exposed to outside light through the Kalwall roof system, the remainder of the building, including the auditorium portion, needed to be opaque to keep light out of the sensitive performing spaces.

The main house and stage require complete privacy and separation from external forces. Since a standard roof was necessary, I decided to take advantage of this opportunity by covering the majority of the roof in photovoltaic panels. The maximum array possible for the size of the roof is 1,384 panels and each one is roughly 3’ by 5’.

PVWatts Calculation for roof over the auditorium https://pvwatts.nrel.gov/pvwatts.php

PVWatts Calculator

Caution: Photovoltaic system performance predictions calculated by PVW atts® include many inherent assumptions and uncertainties and do not reflect v ariations between PV technologies nor site-specific characteristics ex cept as represented by ® PVW atts inputs. For ex ample, PV modules with better performance are not differentiated within PVW atts® from lesser performing modules. Both NREL and private companies prov ide more sophisticated PV modeling tools (such as the Sy stem Advisor Model at https://sam.nrel.gov ) that allow for more precise and complex modeling of PV systems.

The ex pected range is based on 30 years of actual weather data at the given location and is intended to prov ide an indication of the variation you might see. For more information, please refer to this NREL report: The Error Report.

Disclaimer: The PVW atts® Model ("Model") is prov ided by the National Renewable Energy Laboratory ("NREL"), which is operated by the Alliance for Sustainable Energy, LLC ("Alliance") for the U.S. Department Of Energy ("DOE") and may be used for any purpose whatsoev er.

The names DOE/NREL/ALLIANCE shall not be used in any representation, adv ertising, publicity or other manner whatsoev er to endorse or promote any entity that adopts or uses the Model. DOE/NREL/ALLIANCE shall not prov ide any support, consulting, training or assistance of any kind with regard to the use of the Model or any updates, rev isions or new versions of the Model.

YOU AGREE TO INDEMNIFY DOE/NREL /ALLIANCE, AND ITS AFFILIATES, OFFICERS, AGENTS, AND EMPLOYEES AGAINST ANY CLAIM OR DEMAND, INCLUDING REASONABLE ATTORNEYS' FEES, RELATED TO YOUR USE, RELIANCE, OR ADOPTION OF THE MODEL FOR ANY PURPOSE W HATSOEVER. THE MODEL IS PROVIDED BY DOE/NREL/ALLIANCE "AS IS" AND ANY EXPRESS OR IMPLIED W ARRANTIES, INCLUDING BUT NOT LIMITED TO THE IMPLIED W ARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE EXPRESSLY DISCLAIMED. IN NO EVENT SHALL DOE/NREL/ALLIANCE BE LIABLE FOR ANY SPECIAL, INDIRECT OR CONSEQUENTIAL DAMAGES OR ANY DAMAGES W HATSOEVER, INCLUDING BUT NOT LIMITED TO CLAIMS ASSOCIATED W ITH THE LOSS OF DATA OR PROFITS, W HICH MAY RESULT FROM ANY ACTION IN CONTRACT, NEGLIGENCE OR OTHER TORTIOUS CLAIM THAT ARISES OUT OF OR IN CONNECTION W ITH THE USE OR PERFORMANCE OF THE MODEL. The energy output range is based on analy sis of 30 years of historical weather data for nearby , and is intended to provide an indication of the possible interannual variability in generation for a Fix ed (open rack) PV sy stem at this location.

* System output may range from 490,720 to 531,050 kWh per year near this location.

Month

Solar Radiation

AC Energy

Value

January

2.74

28,419

2,049

February

3.40

31,378

2,262

March

4.47

44,761

3,227

April

5.28

48,681

3,510

May

5.61

52,655

3,796

June

6.49

56,565

4,078

July

6.48

57,305

4,132

August

6.20

54,386

3,921

September

5.43

47,103

3,396

October

3.99

37,462

2,701

November

3.12

30,301

2,185

December

2.27

23,433

1,690

4.62

512,449

$ 36,947

Annual

( kWh / m2 / day )

( kWh )

($)

2030 Baseline

Muncie, IN 47304

Weather Data Source

Lat, Lon: 40.21, -85.46

Latitude

40.21° N

Longitude

85.46° W

https://tool.zerotool.org/iframe/#/

Target EUI is 15 based on a 70% reduction

Location and Station Identification Requested Location

Zero Tool Calculation for my building and size

BASELINE 47 EUI 100 Zero Score

1.1 mi

PV System Specifications (Commercial) DC System Size

387.5 kW

Module Type

Standard

Array Type

Fixed (open rack)

Array Tilt

20°

Array Azimuth

180°

System Losses

14.08%

Inverter Efficiency

96%

0%

70%

N/A

DC to AC Size Ratio

1.2

100

30

N/A

47

15

N/A

86

26

N/A

244

74

N/A

BUILDING SUMMARY

YOUR BUILDING

Economics Average Retail Electricity Rate

(kBtu/ft²/yr)

0.072 $/kWh

(kBtu/ft²/yr)

Performance Metrics Capacity Factor

(metric tons CO₂e/yr)

15.1%

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Photovoltaic Roof System I chose this product and brand of PV panel to cover the auditorium roof based on its size and dimensions, the price for each panel runs average compared to other competitors, it is relatively lightweight, and it is highly efficient.

https://www.canadiansolar.com/solar-panels/dymond.html

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Structural Material Study The concept of the cricket was very influential in my decisions for the structural design. I determined that steel trusses would be necessary to span the distance of each wing. Instead of standard I-beams, I did some research on the bowstring truss pictured below.

In order to support the trusses, I needed a material that would be strong for its size and would retain the concept of a light and airy structure. I originally chose 2’ thick concrete columns to support the weight of the trusses and roof, but after further review, I switched to 8” steel tube columns to bear the weight.

The curtain wall system was chosen afterwards. I did this because a solid masonry wall would not fit well with my concept. I instead chose a route that allowed a lot of light to enter the spaces. Insulation became a concern after selecting a curtain wall system for an Indiana project, so I chose to incorporate insulated spandrel glass in many portions of the building’s exterior.

In the basement, I supported the above-ground steel columns with 1’ square piles and an 18” thick perimeter wall that supports the mullion system. I used open steel web joists and intermediate concrete columns in the basement to support the main floor’s poured concrete floor. The auditorium is contained within a structural wall as well that some of the truss anchor into.

SOM San Francisco International Airport

https://www.som.com/projects/san_francisco_international_airport__structural_engineering

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Chapter 5 Renderings Section Cut Drawings Diagrams

46

The Cricket

Site Rendering

The Cricket is a 1,200-seat performing arts theater in downtown Muncie near the Cardinal Greenway off N. High Street. The ground floor hosts the majority of the gathering spaces and lounges, while the basement contains offices, conference rooms, a music store, dressing rooms, and storage. The north plaza interacts with guests on the intersection of N. Franklin St. and N. High St.

Section Rendering 47

Ground Floor Plan

1

2

7

5

4

7 7

6 7

7

4 5

9

8

7 3

7

10 N

1” = 40’

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

Plaza Main Entrance Secondary Entrance Ticketing Lobby Gender Neutral Restrooms Egress: Ramps, Elevators, Stairs Loading Dock Auditorium Stage Mechanical Music Teaching Spaces Dressing Rooms Faculty Offices Conference Rooms Music Store

Basement Floor Plan

14

3

14

14

15

7

15 16 14

11

7

6

11

7 12

7 9

7

12

13

7

7 10 N

1� = 40’

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Active Systems Diagram

The auditorium will be cooled by supply ducts in the ceiling that will blow cold air down onto the audience. The return ducts will be in the ground and remove the heated air from the space.

Fire Safety Egress Diagram

I strategically placed six stair towers in the building. The four towers that surround the auditorium allow the guests in the main house to ascend to ground level and travel through a fire proof hallway to exit the building safely.

Circulation Diagram

The main entrance is on the north side of the building, and it contains eight sets of double doors and an airlock. Adjacent to this entrance is another set of six large doors that hinge in the center and rotate 90ยบ. These doors allow for an interiorexterior flow of program. An additional four door entrance is located on the south entrance.

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Interior View Rendering Exterior Entrance Rendering

51

Structural Diagram

The building is composed of a series of steel bowstring trusses which rest on 8” steel tubes. The steel tubes are cross tensioned together with 2” steel reinforcement cables.

The steel tubes are anchored to 1’ by 1’ concrete piles which are attached to 1’ thick, 6’ by 6’ spread footings buried in the ground 20’ below grade. The ground floor is supported by standard steel open web joists which span between the piles and several intermediate columns.

52

­

Wall Section 1” = 10’ 53

The End

Malequi Picazo Prof. Michel Mounayar ARCH 301 Fall 2018 54