•ARCH 3101 ›Densification •Rubén Rubén Alcolea •Sam Ghantous
CORNELL AAP
FALL 2019
›Densities of 004 Meaning •Music House 012 ›Documents 144
Instructors ›Rubén Alcolea Sam Ghantous Teaching Assistant ›Olivia Calalo Students ›Abigail Calva, Ade Lawrence, Aelin Shaoyu Li, Alexander Arebalo, Alexia Asgari, Allan Mezhibovsky, Christian Montanez, Collin Carder, Donnal Baijnauth, Emilija Iannace, Farzana Hossain, Fernan Bilik, Grace Kirimi, Haotian
Jiang, Jacob Wong, Jaein Lee, Jiayu Liu, Justin Tan, Madeleine August, Polen Guzelocak, Remy Mermelstein, Ribhya Arora, TaimaisĂş Ferrer Sin, Tiffany Ly, Yimeng Ding, Zoe De Simone
Densities of Meaning ›essay by RubÊn Alcolea Ben Johnston, the American microtonal composer born in Macon, Georgia, in 1926 passed away this past July 2019. Although Johnston started his career as a conventional composer, meeting and studying with John Cage in the 1950s changed his approach to musical 4
CORNELL AAP
practice. His struggle to break the rigid framework of habitual tonality led him to the expansion of socalled microtonality, where the composition mostly derives from intonation. Since 1960 Johnston almost exclusively worked in developing a system of microtonal composition and visual transcription, based on the DENSIFICATION
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rational intervals of intonation, and allowing sound to freely expand far beyond the frame of traditional sonority and musical conventional notation. His incredible mathematical imagination is said to vastly expand the range of usable harmony, diffracting music into new colors. In addition to its very common scientific usage, the term ‘density’ has been used with a rich and diverse meaning by the arts. For example, music analysis often relates to density. At its simplest, music density is nothing more than the relative frequency of the occurrence of any sound in a melody or texture, and thus is a function of rhythm. Another quite separate use of the term ‘density’ is in reference to the ‘thickness’ of a sound texture.1 So, increments of density raise the feeling of motion and, by extension, the depth and richness of the musical experience. Johnston’s Seventh String Quartet was composed in 1984 but went unperformed for decades, and is a great example that realizes the importance of the gradation of the thickness of the composition. Musicians who knew the score, with the “ingenious palindromic structure of one movement and variations teeming with over a thousand microscopically distinct pitches” considered it well-nigh unplayable.2 This difficult musical piece uses more than 1,200 pitches to an 6
octave, and, in words of the composer and critic Kyle Gann in Ben Johnston’s obituary “[music] seems to float like an astronaut through free pitch space”. Even so, beyond the harmonious value of his music, what becomes fascinating to us, architects, is the development of a new notation to represent his music and the break of any prior conventions. The actual reading of the score is an unusual experience: “So you open a score to one of those [Ben Johnson’s] quartets and enter a Dr. Seuss world of pitches you’ve never heard of ––B-sevenflat-up-arrow-plus, for instance– and most string players probably quickly close it again. However, if you can get past that, the music is filled with melody and infectious momentum”.3 Sometimes Johnston places structural importance on a passage that impresses the musician, mostly by the sudden increase or decrease in textural density or metric activity –the ascent to a high pitch register is associated with an increase of rhythmic activity, the descent to a lower register with a decrease of rhythmic activity and of metric regularity. 4 In a similar way, references to the term are very common when studying literature works. And to stress it, many writers have advocated richness, even congestion, of concepts, readings or interpretations 7
as a way to provide meaning to their literary pieces. The approach to these works, whether in literature or in music, is usually difficult. The general public is hardly able to grasp its refinement in its totality, as in many occasions, a strong background is needed to navigate through them without an excessive intellectual pain, which in some occasions even experienced listeners or readers need to go beyond. Virginia Woolf’s third novel, Jacob’s Room (1922), is considered one of her defining works, and includes a veiled reference to the importance of thickness or density in intellectual terms. The novel questions the notion we take for granted: that we can really get to know the person we are reading about. The main character, Jacob, is presented to the reader in a very interesting way, always indirectly, as a collection of memories and sensations by other characters. At some point, Jacob returns a bunch of books to the British Museum library, only to notice what characterized that particular space: “a few letters of the alphabet were sprinkled round the dome. Closely stood together in a ring round the dome were Plato, Aristotle, Sophocles, and Shakespeare; the literature of Rome, Greece, China, India, Persia. One leaf of poetry was pressed flat against another leaf, one burnished letter laid smooth against another in a density of meaning, a conglomeration of loveliness”.5 The space itself is defined not precisely by its spatial qualities nor the number of volumes, but by the intensity of the catalog, where every single 8
element, in itself, has a rich and distinct meaning. All those pieces extend their range of influence beyond their pages, creating a single body of interrelated and referenced works which results in more than the plain addition of its parts. No wonder why Woolf calls it a “conglomeration of loveliness”. And architecture is no exception. As it is often said, architecture is a system, and it is strongly related to language and music. Instead of using words or sounds, architecture is expressed by physical elements such as walls, columns, supports, openings, slabs, or many others. All the elements are strongly influenced by themselves as a single body. They are somehow related by strong and clear rules, which define the grammar that underscores our architecture work. Architecture only exists when it has become physical, when the program has become both a defined space and a material object.6 On that note, and in a similar way to music or literature, architecture density is not reached by the mere accumulation of elements. A rich spatial experience does not rely on the number of events or situations, but on the specific depth of each of them and their capacity to participate in the whole. Once refined over time, even the subtlety of a slight geometric distortion, such as the minimal convexity of the column in classic temples –entasis–, can become a rich experience; as well as it is, after exhausting iterative designs, the result by Carlo Scarpa in some of its precious details, which get close to accomplishing expressive 9
perfection. This is something already stated by Christian Wolff (1679-1754), one of the first philosophers to devote a lengthy treatise to architecture.7 His Principles of Architecture, which were part of his encyclopedic work, already noted that “a work of architecture should be beautiful, i.e. experienced as a perfect whole in which nothing is felt to be redundant or missing�.8 In the residential field, density advocates tend to enact quantity, although the sweet spot is a hard guess. In this context, the term is generally used pretending to be assertive scientific and, in many occasions, the quality of the units or its relationships are underrated or even neglected. While too much density increases traffic, sanitary and safety problems, the reduced density of fresh neighborhoods or sprawl expansions creates an economic and ecological damage only comparable to the subsequent impoverishment of social interaction and disappearance of the civic and political nature of public space. Far from being incompatible with quality of life, density becomes a key element to achieve it, and urban regulations are now complementing the old codes on maximum density, intended to prevent overcrowding, with minimum densities that aim to stimulate sustainability and sociability.9 But obviously, this is not a matter of pure quantity, anyway. Density matters. As in a building, an exceptional urban environment is usually defined by strategically placing together good architecture 10
pieces, where individual interventions are able to talk to each other and enhance the plurality of the architecture conversation. This is perhaps the only way our cities can become a thick body of interesting entities, a density of meanings, a conglomeration of loveliness.
White, John David. The Analysis of Music. 2nd ed. Metuchen, N.J.: Scarecrow Press, 1984: 77 2 Fonseca-Wollheim, Corinna Da. “Players Are Wanted for Ben Johnston’s Works. Some Sacrifi ce Is Required.” New York Times, April 28, 2016. 3 Gann, Kyle. “American Composer: Ben Johnston.” Chamber Music Magazine August (2006): 20–21. 4 Gilmore, Bob. “Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney.” Perspectives of New Music 33, no. 1/2 (1995): 458–503. 5 Woolf, Virginia. Jacob’s Room. Edited by Suzanne. Raitt. New York: W. W. Norton & Co., 2007: 85 6 Deplazes, Andrea, ed. Making Architecture. Zurich: Gta Verlag, 2010: 5 7 Wolff , Christian. Auszug aus den Anfangs- Gründen aller mathematischen Wissenschaff ten (fi rst published 1710). Facsimile. Hildesheim: Olms, 2009. 8 Harries, Karsten. Philosophy of Architecture. Lecture Notes. New Haven, CT: Yale University, 2016: 17 9 Fernández-Galiano, Luis. “Densidad / Density Matters.” Arquitectura Viva, no. 159 (2014): 3. 1
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Music House ›Understanding complexity not only in terms of programmatic disparity, but also by acknowledging the indescribable richness and multi-pitched character of a real urban site. Fall 2019
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Instructors ›Rubén Alcolea Sam Ghantous Teaching Assistant ›Olivia Calalo Hosts ›Mark Bocko, Jim Doser Guests ›Hallie Black, David Costanza, Miguel Guitart, Sarah Gunawan, Coryn Kempster, Dasha Khapalova, Ann Lui, Florian Sauter, Andrea Simitch, Val Warke DENSIFICATION
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Index •AA — Alexia Asgari •AE — Alexander Arebalo & Emilija Iannace •AJ — Abigail Calva & Jacob Wong •AM — Allan Mezhibovsky •AR — Aelin Shaoyu Li & Ribhya Arora •AT — Ade Lawrence & Taimaisu Ferrer Sin •CH — Christian Montanez, Haotian Jiang, & Justin Tan •CJ — Collin Carder & Jiayu Liu 18
•DB — Donnal Baijnauth •FH — Farzana Hossain •FR — Fernan Bilik & Remy Mermelstein •GK —Grace Kirimi •JL — Jaein Lee •MP — Madeleine August & Polen Guzelocak •TL — Tiffany Ly •YZ — Yimeng Ding & Zoe De Simone
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›The Fort The Fort is a performance academy in Rochester, NY
which re-imagines the ways building connect to their complex urban surroundings. The Fort is an extension of the adjacent convention center, helping connect its large interior to The Fort’s own performance atrium. It tugs against the city’s network of roads to form new bridges to itself. On another side, it lifts itself gently on colonnades to invite spectators into the building. The building is conceived three parts: a dense perimeter of classroom and residential modules surrounding a terraced landscape of large programs, with thin bridges from which performance is made on and perceived from. Brick arches frame light and daily acts of walking and looking, also responding to the industrial panorama of aqueducts, power plants and factory buildings.
Top View Exploded Perspective 20
AJ
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Exterior Facades Module Layout 23
Forms of InterBuilding Bridges
Site Analysis and Water-level Plan 24
AJ
Ground and Upper Floor Plan 25
Exterior Collage 26
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Courtyard Interior Collage 27
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Long and Short Sections 29
›Performance House Looking at the post-industrial urban condition of
Rochester, the Performance House responds to the rich history of the site through the lens of infrastructure. By utilizing a uniform structural system that can support the various programs of the building, and locating all infrastructures on the exterior of the programmatic spaces, the interior of the building can exist as open and dynamic. The entire building becomes wrapped in a plastic skin that encloses the infrastructural space, and serves to expose and enact the movement of services, people, and walls. The Performance House ultimately exists as a highly flexible framework for the support of a wide range of uses and events, while actively serving as the connection between the past, present, and future.
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Rochester Historical Context 32
AM
Concept Site Axonometric 33
Infrastructure 34
AM
Structure Circulation
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Objects Program
Skeleton Axonometric 36
AM
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West Section 38
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›Occupiable Masses Using the elements of void and mass, the needs of
the private and public programs of the music school can be mediated. The occupiable masses contain spaces that require isolation, such as housing and audio recording areas, and are not accessible by public pathways. Experience defines the boundary of the void which in turn sculpts the mass that bounds it. The third element of stairs draws the eye, encouraging the visitor to explore and experience the building, entering directly into the action of the space, becoming either the audience or the performer. Acoustic fins surround the slab horizontally to help dampen sound. Within the void, the acoustic fins work vertically, to serve as acoustic partitions, defining space when intervention beyond excavation within the mass is needed.
Site Plan Section 40
AA
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Path Circulation Study Model 42
Mass Void
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Axonometric 43
Sectional Series
Massing Model 44
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Classroom Interior View 45
›Urban Periscope In Rochester, the lack of exciting public space
encourages us to think of the academy as a public gesture to revitalize the city life with music. Inspired by ancient Greek outdoor theaters, this project begins with the concept of treating the city as the set for the performance, by creating an auditorium by the waterfront that engages with the city. The design of the music school originates in the concert hall: a place to display, share music and knowledge. Displaying the musical performance of the academy to be viewed from the rest of the city, the facades are conceived as spectacles to the city. The main facade, slightly angled toward the river presents slight bumps in correspondence to the practice rooms, mimicking the reflective, refractive and distortion properties of the water, generating a “periscope effect� - reflecting the outdoor musical performances to the city.
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Short Section 48
YZ
Ground floor plan 49
Diagram axonometric 50
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Facade axonometric 51
Daytime rendering 52
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Nigh time rendering 53
Final model 54
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Final model with facade 55
›Resonant Space This project is an interruption in the monotony of the
urban context in a both visual and sonic nature.In order to transfer the collage of sounds that is created by everyday practice, performance, ambient noise, and subtle roar of the river, there needed to be a “resonant space.� This space is a void between the street level and continuing building above. It is composed of tessellated metal triangles lining the roof and floor surface, arranged in a dune-like condition. It can be accessed by the public, encourages a visual and navigable mystery with its variation as well as a distorted aural experience. This tessellated surface invites engagement with the public with the music created in the academy, as well as an invitation to experience the river that is normally hidden by a wall of building facades.
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AE
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Short Section 60
AE
Elevation 61
second fl oor fourth fl oor
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third fl oor sixth fl oor
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diagrams renders
›Performative Voids The main concept of the project is to bridge the
gap between the city and the architecture through direct engagement with the public and reacting to the memory of the city landscape. Bringing back the memory of the city, the northern facade of the library is directly casted upon the building and determines the auditorium. Facing the public, the auditorium further brings the city in as it opens all the way up towards the convention center in the back. The other seating visually reacts to the small park across the street, therefore integrating the “green� spaces around the site as a whole.The void is used as a secondary element to bring out the main circulation around the auditorium.
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NS Section 1:8
EW Section 1:8
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›Fragmented Tower The form of the project was guided by a focus on
strengthening the visual connection between the river and the city. To do this, we provide transparency on the East-West axis throughout all of the floors starting at the ground level and moving up. We orient the building on the site in such a way where the southern portion is used for a park, thus connecting with the small park directly across the street while also inviting pedestrians into our site. To address the overall programmatic function of the building, we decided to follow the humanist rhetoric of the ancient Greeks, who admired academics, athleticism, music, and the visual arts equally. Thus, we placed programmatic elements relating to sports directly adjacent to programmatic elements relating to music and performance with the intention of creating a dialogue between the two activities.
Site Axonometric 72
AT
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Towers Third Floor Plan
Towers Sixth Floor Plan
Basement 1 Floor Plan
Basement 2 Floor Plan
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Longitudinal Section 75
Cross Section 76
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View of Lobby at Ground Floor
View of Auditorium 77
›Esferas de Música Our music institute serves as a gateway and corridor
that connects the city to the music making process. It frames both the city and river and demonstrates that something is happening on its interior - inviting an intimate experience of this interior condition. This project explores the contrast between the rigid or generic volume of the building against the specific or alien qualities of the performance spaces. The spaces that contain musical activities organize and impose themselves on other programs in the building and on the intimate space of the urban corridor itself. These music spaces act structurally and within its shell structure, contains intermediary spaces such as circulation and other back of house functions. They inform the organization of other programmatic spaces and also sculpt circulation.
Site Plan
Underground Floor Plan
Site Plan
Ground Floor Plan
First Floor Plan
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CH
Second Floor Plan
Housing Floor Plan
Long Section
Short Section
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Diagrams
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Diagrams
Diagrams
Diagrams (Left), Final Model (Right) 80
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Site Plan 81
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Second Level Plan Long Section
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Perspective (Top) Perspective Section (Bottom) 84
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Perspective Section Details 86
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Perspectives 87
›Musical Monument This is a project that explores the monumentality and
verticality between two volumes as they create voids in diagonal spaces. The two volumes are subdivided into two volumes each that are designated individual programs. Each volume is made of distinct material and texture with a lobby space that separates them. The verticality continues underground as the shells on the central axis are peeled off from the programs to penetrate down the circulation below.
Site Model Final Model 88
CJ
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East-West Long Section 90
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West-East Long Section 91
Top Floor Plan Housing-Court Floor Plan 92
Housing-Gym Floor Plan Underground Floor Plan
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Site Axonometric Ground Floor Plan
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Study Models
Site Model 94
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Final Model 95
›Interactive Platform This project works to bridge the connection between
students of the music school and the people of the city. A long span inhabitable platform functions as a large community space and as circulation for the music school. To get to the spaces above and below the platform, inhabitants must first move through this public space. The platform is a space that encourages interaction between different groups of people coming from the city and from above and below. Specific zones within are shaped by the overlap of activities between different parts of the school. The objective was to distinguish these volumes above and below the platform as individual components, each having unique qualities. Thus, the platform space becomes the collection of zones that have identifiable differences in appearance and function.
Rochester Site Plan 96
DB
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Axonometric 98
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Perspective (Above) + Sectional Renders (Below) 100
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Perspectives 101
›Agadir This project is about the interaction of two elements:
open, malleable, light and porous spaces versus closed, rigid, dark and impermeable spaces. They relate more specifically to Public functions (auditorium,performance space, classrooms, library, cafe) and Private functions (dormitories, student theatre, practice rooms). For the first type of space the focus is on materiality and structure. The building has a regular steel structural grid, giving most freedom for open or eventually closed spaces. Spaces are defined with movable curtains, allowing for greater transparency of senses, and the furniture is not fixed. For the second type of space the massing is separated in section, stacking on top of each other. This allows for further transformation, where the two conditions can begin acting against one another and fracturing the binary.
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FH Site plan Scale : 1/64
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ds n e k e e W Typical
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Basic W eekday s
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›Collage Building The project takes inspiration from the different layers
and typologies of Rochester, from the single family home to industrial waterfront buildings and the modern skyscraper. Our program is stacked according to these three typologies: the music academy (industrial), sports and leisure (modern) and housing (home). The different volumes connect to an experimental performance space, weaving you through the building.
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FR
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1:16 ground floor
1:16 music academy 2
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FR
1:16 housing 1
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1:16 axonometric
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1:8 long section
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›Staged Moments Music and sports, in general have always played an
important role in bringing people together.My ambition was to design an institution that achieves this by putting certain programs on display to people inside the space. This interrupts and invites people to make a visual and / or audio connection with these staged moments. The general understanding is that the music house and/or institution is an object, a jewel, that is set apart from the site. From the outside, the institution presents itself as a flat facade of multiple activities taking place at once, but when one enters, they are confronted with activities/ programs that one circulates around, curated to create a series of “performance stages” that lead to the roof terrace, a kind of culmination with the city as a final “stage”.
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Model Photos 121
Collages showing some of the resulting moments: 1. Long corridors that act as viewing platforms which look into the displayed activity. 2. Tension between the pool area and housing units, where one is confronted by diving swimmers as they leave their apartment. 122
GK
3. Height di erences between the sports viewing area, gym and restaurant on the fl oors above that allow multiple vantage points of the sports activities. 4. Continuous circulation for a panoramic view of special activities, creating an opportunity for interesting artistic performances that take advantage of this di erence in visual perception. 123
›Music On-air How can people at different places engage in the
same activity - visually, audibly, or both? Music On-air achieves this by putting certain programs on display to people inside the space. This interrupts and invites people to make a visual and /or audio connection with these staged moments. The music making experience is displayed by putting these experiences “on air“ by hanging them. The hanging stages are hung by cables. The staircases, passing tangentially to the hanging stages, allow users to experience the performances at different eye levels. Not only does the point of view change, but there is a change in what one can hear as well. Music On-air blurs boundaries of music programs by separating them from regimented floor plates, yet loosely defines the boundaries though cables.
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JL
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›Walls of Sound Our building aims to integrate the presence of artistic
life and nature into daily life, through interactions between “spectators” and “performers”, through the lens of education as a performance. To do so, we want to create a city within a city that directs the focus of inhabitants inward towards nature + art. We want to reactivate the waterfront by introducing public access by creating a stepped quad within the bounds of the building that leads down to the riverfront and acts as a flexible venue for outdoor performances. Our massing consists of three walls; the outer two act as audience, while the central wall acts as a permeable performance space. To formally engage the building in this relationship, we developed an angled facade typology that specifies who is seeing what and who can be seen.
(Model Base) (Final Model) 130
MP
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Section / Elevation, Diagrams 132
MP
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PRIVATE PUBLIC
Plan 0 134
MP
Plan 1 135
Section / Elevation 136
MP
Perspectival Short Section 137
›Shape School of Music This project works to bridge the connection between
students of the music school and the people of the city of Rochester. To do so, a large span inhabitable platform functioning as a large community space and as circulation for the music school was created. Inhabitants must first move through this common area before separating into the individual volumes above and below this slab. Each of these volumes were assigned an idealized shape based on the nature of the activities occurring within each and all come together with their impression in a shared space. Overall, this project emphasizes the expression of difference and shared through the creation of an experience of a common ground, allowing different groups of people to come together before they depart towards their own paths.
Model of Slab 138
TL
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Music School Classrooms & Training Rooms
Housing Library
SLAB
Auditorium
Sports
Catalog of Diff erent Types
Impression of Diff erence on a Common Space 140
TL
Plan of Slab 141
Axonometric of Slab 142
TL
Exterior Perspective 143
›Documents 3 | Music House Densification
Ben Johnston, Work Sheet of Scales and Calculations, 1960s / Northwestern University
Ben Johnston’s, the american microtonal composer, died this past 21st July 2019. His incredible mathematical imagination vastly expanded the range of usable harmony, diffracting music into new colors we didn’t know were there. His Seventh String Quartet, probably the most difficult ever written, uses more than 1,200 pitches to an octave, and seems to float like an astronaut through free pitch space. Yet he never got too sophisticated to quote tunes like ‘Amazing Grace’ and ‘Danny Boy,’ and that common touch keeps his music grounded in the real world.1 Sometimes Johnston places structural importance on a passage that impresses us mostly by the sudden increase or decrease in textural density or rhythmic activity, and this sense of the unexpected is amplified by an important increase of textural density and an undescribable sense of sound massing. Nevertheless, the difficulty of some of his pieces comes from the usage of many distinct pitches and its non traditional structure system. Johnston’s work is associated with extreme complexity. Its 7th String Quartet was composed in 1984 but went unperformed for decades. Musicians who knew the score, with the ingenious palindromic structure of one movement and variations teeming with over a thousand microscopically distinct pitches, considered it well-nigh unplayable. It is often said that Architecture is a system, and that it is strongly related to language and music. Instead of using words or sounds, architecture is expressed by physical elements. All of those elements, such as walls, columns, supports, openings, slabs, or many others, are somehow related to each other by strong and clear rules, which define the grammar that underscores the architecture practice. The earlier term for architecture architectonic-, clarifies the fact that it is not primarily the elements, per se and only, that are at issue, but instead, their assembling, connection, and composition. Tectonic, which is the root of the word, comes from the ancient Greek term “tektōn”, which means carpenter and builder, and “tektonikos”, to describe the structural framework of wooden beams. We nowadays also name this joining of elements a “construction”. Architectonic includes not only the construction but also its relation to the architectural space whose creation and development is its actual purpose. In the end, architecture only exists when it has become physical, when the program has become a defined architectural space and a material and spatial object.2 1 2
Cfr. Composer and critic Kyle Gann, in Ben Johnston’s Obituary. Cfr. Deplazes, Andrea, ed., Making Architecture (Zurich: Gta Verlag, 2010), p. 5.
ARCH3101 | 3rd Year Studio - Densities
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The complexity of the architecture project forces us to consider many issues simultaneously which, in occasions collide in their strategies or aims. Buildings should deal with the experiential potentiality of materials and its structural characteristics to imply a specific configuration in space. Together, the material and the building should provide solution to dimensions of energy use and distribution, the logistics of construction from tower crane to digital printer, and how tools and techniques can affect the building form. It is obvious that a work of architecture can be broad, multivalent, and even self-contradictory in its cultural engagement, but it is nevertheless highly specific in its material resolution. The final project for the semester will force us to understand complexity not only in terms of programmatic disparity, but also by acknowledging the indescribable richness and multi-pitched character of a real urban site, forcing it to accommodate a variety of mixed functions and complex systems. Site
The site will be located in Rochester, NY, in an currently semi-empty lot by the intersection of South Avenue and East Broad Street. The site faces the Genesee River and is limited by the bridge to the south and the convention center to the North. The perimeter of the site is included here for a reference.
Site: E Broad Street / South Ave, Rochester, NY
Program
The building should solve a mixed-used building to accommodate a Music House, which includes a Professional Music Academy; Housing for its students and faculty; Sport and leisure spaces; and an array of energy production devices to make the building self-efficient and minimise waste. Required spaces are detailed below. Some questions
Concerning the site How is the building related to its close and distant surroundings? Does it enhance the public space? How does it touch or separate from its neighbours? Is its scale (not size) large or small? How is the threshold from the exterior to the interior both in plan and section? How does the building emerge from the analysis and understanding of the context in which it is located, and how does it participate in it? How does the
ARCH3101 | 3rd Year Studio - Densities
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construction of the site participate in the development of the architectural concept? Can a building be infrastructure? What does the building communicate outwardly? What is the relationship to a public beyond the immediate users uf the building? Concerning the program What is music? What is Housing? What is Leisure? Can a building be a City? Is it more important to play or to listen to music? What are the specific requirements of every space? How do you physically listen to music? How do you protect the inner space from unwanted noises? How do you avoid to pollute the exterior and circulation spaces from uncontrolled noise? How do you bring light to every space? How do different users read the different spaces? How is our relationship to music changing given changes in contemporary technologies? How do different cultures of music influence the configuration of spaces and experiences? Concerning the construction How does the different pieces of the program relate to their skin, if any? What happens in between? What is the main character of the building? How would you describe its materiality? How do materials introduce and reinforce the spatial concepts? How do the different materials talk and touch each other? Concerning the structure How is the structure and how does it relates to the volume definition? How does the structure support the weight and reacts to gravity? Is it a system or an addition of particular elements? Does the structure help or disturb the understanding of the building? Is the structure silent? Is the building light or heavy? What is the relationship between materiality and sound? Concerning the environment How does the building breathe, touch the ground, sky or water? How does it react to rain, snow and wind? Does it play with the sun? Delivery
The final delivery should include at least the following documents: Models 1. Concept models showing the design process 2. Model to be inserted into the site-model (tentative scale 1/16” = 1'-0") 3. Section model/s. Minimum height: 3’ Drawings 4. Conceptual image references and diagrams of volume and program 5. Site plan (1/16" = 1’-0”) 6. Plans of every level showing immediate context (tentative scale 1/8” = 1'-0") 7. Detail plans at larger scale for specific elements of program (aka Housing Units / Auditorium / Sport Facilites) 8. Critical sections and elevations showing immediate context (tentative scale 1/8” = 1'-0") 9. At least 1 cross or 1 long detailed section referencing construction methods and materials. Same scale as section model. 10. At least 2 perspective views (interior & exterior with environment, emphasising view from ground level)
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Documentation
At the end of the semester, before the due date, every student should produce and submit the portfolio including the results of the work developed through the semester, according to the guidelines and templates provided. The portfolio should be in Letter Size 8.5x11 in, vertical layout, and up to 20 pages, including cover and back. It should also include high quality photographs of the final model/s of each exercise and phase. The submission on time of the final portfolio and complete documentation material is required to obtain the final grade. List of Precedents - Audidoriums
Alvar Aalto, House of Culture, Helsinki,1955 Atelier Kempe Thill, Franz Liszt Concert Hall, Raiding, Austria, 2006 Barozzi - Veiga, Simon Menges, Philharmonic Hall Szczecin, Poland, 2014 Cor & Partners, Casa de la Música - Uditorio, Algueña, Spain, 2012 Eduardo Souto de Moura, Auditório A, Portalegre, 2011 Federico Soriano, Palacio Congresos Euskalduna, Bilbao, 1999 Francisco Mangado, Auditorio Baluarte, Pamplona, Spain 2003 Francisco Mangado, Auditorio, Teulada, Spain, 2011 Gottfried Semper, Opera House, Dresden, 1841 Hans Scharoun, Berlin Philharmonic, Berlin, 1963 Herzog & De Meuron, Elbphilharmonie, Hamburg, 2016 João Luis Carrilho da Graça, Escola de Musica, Lisboa, Portugal, 2008 Jorn Utzon, Sydney Opera, Sydney, Australia 1973 Le Corbusier, Philips Pavilion, Brussels, 1958 Lina Bo Bardi, Auditorium in SESC Pompeia, Sao Paulo, 1986 Louis Kahn, First Unitarian Church, Rochester, 1969 Peter Zumthor, Adaptable Theatre, Riom Castle, Gräubunden, Switzerland, 2004 (project) Peter Zumthor, Werkraum House, Bregenzerwald, Austria 2013 Rafael Moneo, Kursaal, San Sebastian, Spain 1999 Rafael Moneo, L’Auditori, Barcelona, Spain 1999 Raimund Abraham, Musikerhaus, Dusseldorf, 2012 Rem Koolhas, Casa da Musica, Porto, 2005 Tuñon and Mansilla, Auditorio, Leon, Spain, 2002 Tuñon and Mansilla, Fundación Barrié de la Maza, Vigo, 2005 Valerio Olgiati, Plantahof Auditorium, Landquart, Switzeland, 2010
List of Precedents - Cohousing
Siheyuan / Hutong (traditional Chinese family urban courtyard house): http://www.tibetheritagefund.org/media/download/ hutong_study.pdf / Fujian Tulou Community Houses: http://socks-studio.com/2014/02/01/walls-as-rooms-4-the-hakka-tuloucommunity-housing-for-equals/ / Kings Road House, Rudolph Schindler (1922): http://www.archdaily.com/783384/ad-classics-kingsroad-house-rudolf- schindler / Narkimfin Building, Moisei Ginzburg and Ignatii Milinis (1929): https://thecharnelhouse.org/2013/10/05/ dom-narkomfin-in-moscow-1929/ / Space Block Hanoi Model, Kazuhiro Kojima + Kazuko Akamatsu (2003): http:// architecturalgrammar.blogspot.com/2011/03/space-block-hanoi-by- kazuhiro-kojima.html / Moriyama House, Ryue Nishizawa (2005): http://amassingdesign.blogspot.com/2010/03/moriyama-house-sanaa-kazuyo- sejima-ryue.html / Sharing Tower, Guallart Architects (2005-2011): http://www.guallart.com/projects/sharing-tower / Yokohama Apartment, ON design & Partners (2011): http:// www.archdaily.com/303401/yokohama-apartment-on-design-partners / Share House LT Josai, Naruse Inokuma Architects (2013): https://www.dezeen.com/2013/08/29/share-house-by-naruse-inokuma- architects / Songpa Micro-Housing, Single Speed Design (2014): http://www.ssdarchitecture.com/ / Copper Lane, architects Henley Halebrown (2009-2014): http://hhbr.co.uk/work/copperlane/ / Star Apartments, Michael Maltzan Architecture (2014): https://www.metalocus.es/en/news/star-apartments-michael-maltzanfinalist- mchap-20142015 / SALVA46, MIEL Arquitectos + STUDIO P10 (2014): http://www.archdaily.com/531406/salva46-mielarquitectos-studio-p10 / Roam Co-Living Bali, Alexis Dornier (2015): https://www.alexisdornier.com/roam-ubud/ / Gap House, Archihood WXY (2015): https://architizer.com/projects/gap-house-1/ / The Six Veteran Housing, Brooks + Scarpa (2017): http:// www.brooksscarpa.com/the-six
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Music House Program Requirements
Units
m2/unit
20 12 4 1 2 12 6 1 1 1
Auditorium Experimental performance space Individual changing room for performers Group changing room Light / sound control Piano elevators General restrooms
Music Academy Instrumental classroom Non Instrumental classroom Group classroom Dance warm-up Dance classroom Individual training box Ensembles training room Orchestra training room Choir training room Multifunctional room
Faculty offices Administration offices Open working space Media library Housing Dorm Units for Students - Double Bedroom Units with shared full bathroom Apartment for Fellows - Single Bedroom Units with full bathroom and living/research space Apartments for Faculty - Double Bedroom Units with full bathroom and living/research space Apartments for Administration - Double Bedroom Units with full bathroom and living space Shared Laundry Dining/Living Spaces with basic kitchen - Shared spaces for students, fellows and faculty Storage Offices for administration - 2 offices + 1 open work space
148
total m2
sqft/unit
25.00 40.00 60.00 50.00 100.00 12.00 40.00 200.00 200.00 100.00
500.00 480.00 240.00 50.00 200.00 144.00 240.00 200.00 200.00 100.00
269.10 430.56 645.84 538.20 1,076.40 129.17 430.56 2,152.80 2,152.80 1,076.40
5,382.00 5,166.72 2,583.36 538.20 2,152.80 1,550.02 2,583.36 2,152.80 2,152.80 1,076.40
1 1 4 2 1
600.00 300.00 30.00 60.00 15.00
600.00 300.00 120.00 120.00 15.00
6,458.40 3,229.20 322.92 645.84 161.46
6,458.40 3,229.20 1,291.68 1,291.68 161.46
1 2
12.00 40.00
12.00 80.00
129.17 430.56
129.17 861.12
20 5 1
20.00 20.00 100.00
400.00 100.00 100.00
215.28 215.28 1,076.40
4,305.60 1,076.40 1,076.40
1
300.00
300.00
3,229.20
3,229.20
50
50.00
2,500.00
538.20
26,910.00
10
50.00
500.00
538.20
5,382.00
20
65.00
1,300.00
699.66
13,993.20
10
65.00
650.00
699.66
6,996.60
1 2
60.00 150.00
60.00 300.00
645.84 1,614.60
645.84 3,229.20
1 1
50.00 60.00
50.00 60.00
538.20 645.84
538.20 645.84
13,381.00
total sqft
144,033.08
Services / Leisure Cinema / videogames projection room Karaoke room Cafeteria / food stalls Shared kitchen Services stalls Commercial stalls Cafeteria dining area (shared) Public Restrooms - all accessible Circulation - as required Sport Facilites Swimming Pool -length 25 yards, and includes all necessary secondary spaces and mechanicals Complete Changing rooms Rowing Gym Cardio Gym Multipurpose sport court (basketball, handball), with minimum hight 6.70 m Jogging Track - minimum length 50 m Garden / Solarium - as required Miscellaneous Entry Lobby with reception/control Janitor closet Janitors changing rooms Deliver packaging storage system Vertical and horizontal circulation - as required Bike Storage Loading Dock with capacity for 1 truck and accessible from the street Mechanical / Services
2 4
150.00 30.00
300.00 120.00
1,614.60 322.92
3,229.20 1,291.68
5 1 5 5 1 2
35.00 70.00 15.00 25.00 150.00 20.00
175.00 70.00 75.00 125.00 150.00 40.00
376.74 753.48 161.46 269.10 1,614.60 215.28
1,883.70 753.48 807.30 1,345.50 1,614.60 430.56
1
500.00
500.00
5,382.00
5,382.00
2 1 1 1
65.00 150.00 150.00 900.00
130.00 150.00 150.00 900.00
699.66 1,614.60 1,614.60 9,687.60
1,399.32 1,614.60 1,614.60 9,687.60
1 2 2 1
150.00 15.00 25.00 25.00
150.00 30.00 50.00 25.00
1,614.60 161.46 269.10 269.10
1,614.60 322.92 538.20 269.10
1 1
70.00 50.00
70.00 50.00
753.48 538.20
753.48 538.20
1
200.00
200.00
2,152.80
2,152.80
Energy / Waste Hidroelectric generator and power storage Recycling on-site sorting facility - as required Water treatment - as required
149
ARCH3101 ›Fall 2019 Bachelors Design V Studio DENSIFICATION MWF 12:20-4:25 PM
How do we foster relationships among diverse, everchanging and incompatible programs?