Elm St. Conservatory of Music - Interior Design Capstone - Sarah Pride

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elm st. co nse r vator y of mu sic 12 0 5 E l m St . Ci nci n nat i, O h i o


co n ten t s

Sarah Pride Un iver sity of Cincinnati Co l l eg e of De sign, Archite c ture, A r t & P lan n i n g Interior Design Class of 2013


p ar t 1

pa r t 2

prog ra m

d e s ig n

1.1 cl a s s i c a l m u s ic

5

2.1 p r o p o s ed d e sign

67

1 .2 mus i c s ch o o l s

15

2 .2 d e s i g n t he m e

103

1 .3 pro j e c t over v i ew

25

2 .3 d e s i g n ba c kgrou n d

107

1 .4 s cho o l cul tu re

31

1 .5 s cho o l l o c atio n

41

pa r t 3

1 .6 s tude nt s ch e du le

47

p ro c e s s

1 .7 s i te analys is

51

3.1 d e s i g n p re ce d en ts

12 3

1 .8 ex i s t i ng co ndit i on s

57

3 .2 d e s i g n p roce s s

13 3

3 .3 w o r k s c i te d

145


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1 .1 class ic a l m us ic 1 .2 m u s ic s ch o o l s 1 .3 pr ojec t ove r v iew

ba c kg ro und 5


Classical music’s roots lie in early Christian liturgical music.

6


c la ss ic al m usi c

1 .1

7


‘Classical’ encompasses a time period from roughly 500 AD to today.

In its whole lifetime, Western music has morphed into seven

amount of schooling and private study most successful classical

generalized popular styles, the most current style coined

musicians have had, and the large number of institutions that

as ‘contemporary’ (see timeline below). Similar to most art

are dedicated to the study of classical music. Performance

forms, each style overlaps and the categories we use today

of classical music repertoire demands a significant level of

are somewhat arbitrary. One characteristic that is consistent

knowledge on the part of the musician. Essential skills for a

across all music considered ‘classical’ is a desire for composers

classically trained musician include sight-reading and ensemble

to attain high technical achievement in writing their music. The

playing, understanding the principles of sound, knowledge of

performers of classical music are faced with similar goals of

performance practice, and a familiarity with the style of playing

technical mastery, demonstrated by the proportionately high

inherent to a given period.

stylistic timeline

500

-

1400

medieval

8

1500

1600

renaissance

1700

1800

baroque

1900

2000

romantic classical 20th c. contemporary


c la ss ic al m usi c

1 .1

9


10


Traditional symphonies, student led performance groups, and independent record labels together form today’s evolving world of classical music.

c la ss ic al m si c

1 .1

11


new music Classical music is very much in the present. New sub-

Though there was a time when formally trained students

genres, such as indie-classical, alt-classical, and electro-

played little but classical music, today’s musicians have

classical have recently emerged as both students and

been encouraged to find new relevance for the style in a

professionals have become increasingly experimental.

society that has largely moved on. Today you can hardly

These genres coexist with the decidedly dated repetoire

find a composer under 40 who did not play in rock bands as

these musicians typically play as members of more formal

a teenager. Some still do play in rock bands which may now

ensembles.

include orchestral instruments and computers alongside electric guitars, basses, drums, and electronic keyboards.

Skillfull experimentation requires a mastery of formal styles, these alternative composers and musicians attended

The Classical Style is today enjoying something of a

conservatories and went through the same rigorous

renaissance of new permutations which combat the

training as their predecessors. Classicalism and Minimalism

notion that the music is no longer relevant in the twenty

are equally useful tools in a musical language that draws on

first century. This juxtaposition of old and new appears in

rock, jazz, hip-hop, world music and every reconfiguration

both the musical styles and the design for the Elm Street

of classical language from medieval times through

Conservatory.

Romanticism.

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c la ss ic al m usi c

1 .1

13


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1 .1 class ic a l m us ic 1 .2 m u s ic s ch o o l s 1 .3 pr ojec t ove r v iew

ba c kg ro und 15


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Differences between music schools usually orbit around three major elements of education: the programs offered and encouraged, the amount of non-musical curriculum, and the physical learning environments. These elements of education are what attract students, who together create the “character� of the school and personalize the experience.

musi c s cho o l s

1 .2

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what is a conservatory? Conservatory is a term derived from 16th century Italian

to fit their needs and value their abilities. This is the focal

orphanages that were attached to hospitals. The Orphans,

point of the community and character of the conservatory.

or conservatii, received an education in music and gradually

Conservatories have been around for such a long time

the term was applied to other schools of music as well.

because other types of schools are less successful in

These conservatories were the first institutions outfitted

developing a school wide character and meeting student’s

for practical training in music. By the 18th century,

creative needs.

conservatories in Italy were playing major roles in training artists and composers.

When all students are on an intensely dedicated path, the students themselves create the “character”. The students

Today, there is no international convention that qualifies an

at the school cement the philosophies and values into

institute of learning to be a “conservatory”, as opposed to

the administration, which in turn will want to keep the

a “school” or “institute”. That is not to say that all places of

community satisfied with the school’s values. As the school

college level music study are the same experience.

constantly evolves, the “character” will stay similar since it is anchored to the student body and faculty.

The most significant characteristic of a conservatory

Each conservatory has a difference character, a difference

of music is that all of the students are participating in

culture, and different philosophies. Students intuitively

an intensive and focused music performance program.

understand the schools where they feel the most

Learning is at its best when a whole community of students

comfortable. The audition process is an important phase

shares the same ideals, dreams, and environment. There

of deciding on a conservatory to attend, since there is a

is an excitement and joy that comes from working with

chance to sense the school’s character.

equally advanced performers in a program that is designed

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1 .2

Each conservatory has a different character, different philosophies.

musi c s cho o l s

a different culture, and

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san francisco conservatory profile background year founded

1917

# of students

412

countries represented

30

teacher : studio ratio

7:1

The Conservatory offers a Bachelor of Music degree program. This program represents a rigorous music curriculum designed to develop professional musicians at the highest possible level. Typically a four-year program, the Bachelor of Music degree at the Conservatory is designed to educate

performances per year # of free performances annual attendance

students within a diverse, multicultural environment characterized by intellectual as well as musical energy.

488

Students in this program examine Western culture

29,777

through the study of history and literature, and develop critical thinking skills through the study of the social sciences, languages, philosophy, science, and mathematics.

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This program represents a rigorous music curriculum designed to develop students at the highest level.

musi c s cho o l s

1 .2

San Francisco Conservatory of Music

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1 .2

“Each year, Peabody entertains applications for admission from young

musicians who have spent a year or two at liberal arts colleges—schools

where music is considered to be something nice to do when nothing else

is going on (an “added interest,” if you will). Those who chose a music

program at a conservatory have a very different view of what they want to do in life. When placed among students who are restless and feel isolated, which is why they soon decide to transfer to a conservatory.

By the way, we are not talking about an isolated phenomenon. Some

years, one out of three undergraduate applicants are transferring from

liberal arts colleges, or from music schools with less intense programs.” Admissions Office, Peabody School of Music

musi c s cho o l s

not as focused, rapidly developing music students become

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1 .1 class ic a l m us ic 1 .2 m u s ic s ch o o l s 1 .3 pr ojec t go a l s

ba c kg ro und 25


starting point Despite the potential for rehearsal and performance spaces that are both functional and beautiful, the design of most music school remains uninspiring. Bursts of sound from the windows are the only indication of the building’s function and dominate the architecture. The space should be crafted to the diverse and dynamic needs of today’s musicians. From the piccolo flute to the 30 piece drum kit all must be not only accomodated but explicitly considered. Music must be integral to every aspect of the space, and the space must accomodate music. A major component of performing classical music is blending as a group of instruments, or as a whole orchestra. Sitting through hours of small and large group rehearsals is what brings the music and performers together while forming a communal bond between the members. Having beautiful and meaningful spaces to rehearse and create in can only enhance the student experience.

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Most importantly, I want to blend research about new higher education and creative spaces and new acoustic and material technologies to create the best possible environment for music education. This research will dictate a lot of the materiality and spacial planning choices, and will all work together to support the school’s functions. The next step will be implementing an architectural gesture that supports individual, small group rehearsal, and a communal bond.


steps

1 .3

find solutions To demonstrate an understanding of classical music and small conservatory culture and design, and address the issues that plague the music schools of today. The attitude, dedication, and talent of the students should translate into a design that is focused on their needs.

To design spaces that form relationships between music and students, students and the community, and music and the community. The OTR neighborhood should only benefit from the design and revitalization of a beautiful abandoned church by the park.

move forward To push the limits of what is expected when new meets old, just as young classical musicians push the expanding boundaries of music.

pr ojec t go al s

form community

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overall goal

design a school where intensely dedicated musicians can reach their fullest creative potential, by studying all styles of music in forward thinking spaces.

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pr ojec t go al s

1 .3

Juilliard School, Rehearsal Room

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1 .4

s ch oo l cu l t ure

1 .5

s ch oo l l o c a t io n

1 .6

s tu de n t s ch e d ul e

sc ho o l i nfo 31


student profile

brandon age hometown

columbus, ohio

instrument

trumpet, 13 years

degree track previous school

32

26

artist diploma ohio state university

what he likes in a school

what he dislikes in a school

What Brandon looks for in a music school is freedom. The freedom to enrich his master’s education by teaching, performing, practicing, and creating at his own will. His love of Cincinnati and need for a personalized education led him away from big universities and towards a small conservatory focused on the future of classical music.

For Brandon, the last place he’d want to be is stuck is in a boomy basement classroom regurgitating theory and history. He’s been stuck there before in undergrad. He avoids schools with strict curriculms and boring, stale environments like the plague.


sc hool cul tu re

1 .4

33


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performance group profile

1 .4

bridge quintet

they rehearse

they perform

The Bridge Quintet benefits from their freedom. They can organize their schedules easily since everyone has similar structure to their classes. Since they are composed of varying aged students, finding the time and to rehearse together could potentially be a nightmare. Elm St. Conservatory makes small group rehearsal space a priority and abundant, catering to the students’ needs.

What helps make a small group excel is the opportunity to perform. Since the Elm St. Conservatory studio building at 1205 Elm St. has a public cafe/bar, students are free to perform whenever they’d like. The Bridge Quintet usually since up for a Saturday evening time slot to perform, since they have a lot of experience and like to practice performing for larger crowds.

sc hool cul tu re

together for 2 years strings, percussion & electronic

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# of students

strings 55 percussion 8 brass 15 woodwinds 15

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degree track

1 .4

perform ance diplom a 35 students artist diplom a 25 students

0

10

20

30

40

# of students bachelor of music

performance diploma

artist diploma

complete 120 credits, no previous degree The Bachelor of Music (BM) degree program is a four-year undergraduate curriculum focusing on the development of highly skilled performing musicians. As an accredited institutional member of the National Association of Schools of Music, the Elm St. Conservatory of Music offers a curriculum that includes a rigorous academic program requiring a minimum of 120 semester units for completion.

complete 72 credits, no previous degree The Performance Diploma (PD) is a four-year curriculum designed for the student who has not yet completed a degree, but whose activities require more flexibility than the Bachelor of Music program. The PD requires only two years of music theory. There is no requirement for humanities and music history. 74 semester credits are required for completion.

complete 4 recitals, previous degree The Artist Diploma (AD) program focuses on the development of highly skilled performing musicians. The program is a minimum of two years and a maximum of four years in length, with a requirement of four recitals. Students must have completed a baccalaureate degree prior to beginning studies at the Conservatory.

sc hool cul tu re

degree track

bachelo rs degree 40 students

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donors profile private benefactors Private donors are critical to the Elm St. Conservatory’s success. Their personal commitment and investment in the school and Cincinnati arts scene is a way to propel classical music in Cincinnati into the future. They view saving the historic St. John’s church instead of letting it deteriorate even further a major turning point in the Washington Park area revitalization.

cincinnati arts education foundation The Cincinnati Arts Education Foundation is managing the project as well as community outreach and fundraising. They make the final call on all the project details and make the school run day to day. Cincinnati is home to many world class arts institutions and keeping them running and educating is of utmost importance to the future of Cincinnati.

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private benefactors

CAEF


client profile

1 .4

age 44 born - cincinnati, oh facilities & project manager, 8 years Cincinnati Arts Education Foundation

sc hool cul tu re

nora

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40


1 .4

s ch oo l cu l t ure

1 .5

s ch oo l l o c a t io n

1 .6

s tu de n t s ch e d ul e

sc ho o l i nfo 41


over the rhine est.

1850’s

size

3,625 acres

population

7,000

cincinnati est.

1788

size

80 sq. mi.

elevation population

42

482 ft. 296,493


washington park est.

1855

size

6 acres

parking

2012 450 cars

elm st.

X site

sc hool l o c ati on

renovated

1 .5

43


neighborhood

a b mus ic ha l l

c

m e m o r i al h al l

d YMCA

e

1205 el m ( s ite ) 44

S C PA


st .

e al.

w 14th st.

nati cincin ll ha music & nati n i c n i c ony h p m y s stra e h c r o

1 .5 race st . w 13th

a

st.

.

y. eme

al.

rson al.

shute

t. 2th s

c

w1

lfo al.

gando

d

YMCA

w 12th

st.

l for schoo nd ve a creati g arts min perfor

e

in al.

pkwy.

grant

elm st

b

central

ral pkw

w cent

ial memor hall

baldw

n o t g n i wash park

st.

sc hool l o c ati on

w 14th

st.

central pkwy. 45


46


1 .4

s ch oo l cu l t ure

1 .5

s c ho o l l o c a t io n

1 .6

s tu de n t s ch e d ul e

sc ho o l i nfo 47


typical week m

tu

w

th

f

7 8

individual practice time

9 10

academic classes

music theory

private lesson

studio rehearsal

private lesson studio rehearsal

teach lessons (SCPA)

small ensemble rehearsal

teach lessons small ensemble (SCPA) rehearsal

small ensemble performances (cafe)

student orchestra rehearsal

11

music theory

12

music history

1 2 3 4 5

music history

6 7 8 9 10 11 12 1

48

student orchestra rehearsal

academic classes

music theory

small ensemble rehearsal

small ensemble performances (cafe)

cincinnati symphony concerts post-concert (cafe)


st .

e al.

w 14th st.

nati cincin ll ha music & nati n i c n i c ony h p m y s stra e h c r o

1 .6 race st . w 13th

a

st.

.

y. eme

al.

rson al.

shute

t. 2th s

c

w1

lfo al.

gando

d

YMCA

w 12th

st.

l for schoo nd ve a creati g arts min perfor

e

in al.

pkwy.

grant

elm st

b

central

ral pkw

w cent

ial memor hall

baldw

n o t g n i wash park

st.

stude nt s ch e dul e

w 14th

st.

central pkwy. 49


50


1 .7 s ite a n a lys is 1 .8 exis t in g co n d it io n s

t he s i te 51


building background St. John’s church is located at 1205 W. Elm Street in Cincinnati, Ohio, between the School for Creative and Performing Arts (grades k -12), Cincinnati Music Hall (home to the Cincinnati Symphony Orchestra), and Memorial Hall (performance venue and classical music museum). The German Gothic Revival church was built in 1868 as the home of the German Evangelical Church and was placed on the National Register of Historic Places in 1973. Elm Street, in Over-The-Rhine, is a frequently visited street by arts patrons of Cincinnati, holding three major musical institutions. 3CDC, Cincinnati Center City Development Corporation, renovated the adjacent Washington Park, to hold a new underground parking garage and outdoor performance venue, encouraging more patrons of all ages to frequent the area.

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The biggest issue with the church is that is has been abandoned for years and while the shell structure stands strong on 4 foot wide basement walls, the interior has deteriorated substantially. The entrances are fenced off, windows barred, and the general appearance is a turnoff to potential patrons of the area. Elm Street is rich in musical history. The neighborhood also used to be home to the College of Music of Cincinnati (before it merged with the Conservatory of Music and University of Cincinnati, thus becoming The College Conservatory of Music at UC in Clifton). With the addition of youthful occupants (age 18-24) and a 24 hour arts institution such as a small college, the historic area surrounding Washington Park would be abound with new livelihood that it now lacks.


site analys i s

1 .7

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site checklist

the location

the building shell

inspirational • near existing artistic institutions • close to parks and performance space • both historic and relevant

size • at least 20.000SF, 50’ vertically shape • plan - not extremely wide or narrow • section - tall, space, allows sound to resonate shell • natural light • egress • wide column span • allowance for vertical cuts or roof cuts • street level access • multiple access points character exterior • historic style • public exposure interior • “blank slate” with historical bones • open feel • renovation ready

convenient • public transportation routes • college level entertainment, restaurants & bars nearby • walking distance to housing budding neighborhood • upbeat environment • artistic ideals • evolution & change welcome

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:(

:/

the location

inspirational

near musical institutions

proximity to parks & performance space

historic relevance

public transportation

entertainment, restaurants, bars nearby

walking distance to housing

neighborhood

upbeat environment

artistic

•• •

evolution & change welcome

size

at least 20,000 SF, 50’ vertically

shape plan

the building shell

section

shell

natural light

egress

wide column span

vertical cuts

street level & multiple access points

public exposure

multiple access points on street

• •

character

historic style

public exposure

“blank slate” with good bones

open feel

renovation ready

• •

:)

•• • • •• • • •• •• •• •• •

comments SCPA, Cincinnati Symphony, Memorial Hall, Know Theater

1 .7

Washington Park across the street; outdoor pavilion Church as building block to music history; Cincinnati German history Existing public bus system, future street car system on Elm St. Gateway District entertainment offerings, Findlay Market, etc. Potential for student dorms at adjacent YMCA building; nearby apts.

Weekly concerts, new construction, younger crowd encroaching Historically a musical arts district since 1800’s Widespread renovations to neighborhood already underway

site analys i s

qualities

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56


1 .7 s ite a n a lys is 1 .8 exis t in g co n d it io n s

t he s i te 57


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The existing interior holds a stage, balcony, and open floor plan. The ACT drop ceiling pictured was installed only half of the way up to the trusses and roof, making the space feel much shorter than it is. This sanctuary space is actually 14 feet above street level.

1 .8

ex is ting co ndi ti o ns

interior

59


basement level

60


ex is ting co ndi ti o ns

street level 1 .8

61


event level

62


ex is ting co ndi ti o ns

balcony level 1 .8

63


section through sanctuary

64


1 .8

ex is ting co ndi ti o ns

section through bell tower

65


2


2 .1 pr opo s e d d e s ig n 2 .2 desig n t h e me 2 .3 desig n ba ckg ro un d

d esig n 67


media lounge percussion

percussion open studios

open studio

low strings strings

strings II strings I

woodwinds brass

68


levels

6

listening lounges

5

percussion studio open studio study lounge student lounge

open studios

open studios stage

low strings

strings II

woodwinds

strings I

brass

cafe

student lounges

elevator

percussion

4

low strings studio open studio study lounge small studios (3) student lounge

3

woodwinds studio strings II studio small studios (3) student lounge

2

brass studio strings I studio small studios (3) student lounge

1 B

cafe stage bar student lounge student entrance storage

pr opos ed desig n

media lounge

2.1

69


total square footage

studios 5,225 sf

space percussion brass strings low strings woodwinds small studios

small studios

qty

level

sf

1 1 3 1 1 9

5 2 2-4 4 3 1-6

700 560 680 730 575 150

studio

storage

lounge

each instrument family’s necessary spaces

70

subtotal sf

occupancy

700 560 1,360 730 575 1,400

35 28 34 36 28 7


2.1

student lounges media lab

qty 4 1

qty bicycle storage server & IT mechanical janitorial restrooms cafe b.o.h

1 1 2 1 12 1

qty cafe studio entrance

1 1

level(s) 2-5 6

level(s) B B B B 1-6 1

level(s) 1 1

sf

total sf

occupancy

1,200 1,500

15 75

total sf

occupancy

400 300 600 300 150 500

400 300 600 300 1200 500

20 15 30 15 7 25

sf

total sf

300 1,500

sf

1,500 1,500

1,500 1,500

occupancy 75 75

social 2,700 sf

support 2,800 sf

public 1,750 sf

pr opos ed desig n

space

71


level one 5,000 sf total

cafe 2,000 sf cafe servery/bar 500 sf

studio entrance 1,500 sf support 1,000 sf

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2.1

bar/servery

cafe

studio entrance pr opos ed desig n

support

73


level one: functions 3,900 sf street level

cafe functions for the public The cafe is where the public interacts with the school on a daily basis. It serves coffee and food during the day with the addition of alcohol at night. It’s where anyone can drop in and hear new music, see small group performances, and gather with friends or colleagues in a casual, unique space. Being so close to Music Hall, the cafe would also serve as a destination before and after CSO concerts.

for the students The students of the Elm St. Conservatory would be using their studio spaces mostly during the afternoon and evenings. The cafe is their place to study, collaborate, relax, inspire, and perform. It is the social hub and projection of the personality of the college to the public. There is no public access from the cafe to the studios above.

studio entrance functions for the public The studio entrance is located on the North side of the building in a reclaimed alley, on Elm St. It is where school visitors would be directed to enter the building.

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for the students The students of the Elm St. Conservatory would be using their studio spaces mostly during the afternoon and evenings. The cafe is their place to study, collaborate, relax, inspire, and perform. It is the social hub and projection of the personality of the college to the public.


2.1 semi-private cafe

support

studio entrance

private servery/bar

pr opos ed desig n

public

75


level one: rendered plan key

76

1

studio entrance

2

student stair

3

lounge

4

cafe entrance

5

bar

6

cafe seating

7

stage

8

cafe b.o.h

9

cafe storage

10

restrooms

11

emergency exit


2.1

10

10

2

9

up

1

dn

8

3

7 5 6

4

pr opos ed desig n

11

77


level one: cafe 3,900 sf hours of use

m-th 8am-10pm fr-sa 8am-2am su 10am-8pm

design details furniture •seating for 30-40 •mix between lounge seating, 4-top tables, counter and bar height

technology

acoustics •Sound from the stage is circulated under the volumes, and bounces up to fill the vertical opening between the existing shell and new structure.

lighting •The stage area needs specialty directional lighting •Overall lighting quality is mostly daylight, and at night overall lighting on exterior brick walls •The structure of the studios above is outlined in light and light glows from behind the colored studio glass

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•A projection screen accents the stage and provides performance options •Built in technology support around stage (AV consultant) •Overall network and ample power outlets to support personal electronics

aesthetic •Alive with activity and music, along with the collision of old and new. •Clean white corian cantilevers off antique brick walls. •Crisp white edges of the protruding studios above against the old brick creates a dramatic sense of space and energy.


ceiling tiles existing brick

promotional posters projection screen

pr opos ed desig n

2.1

concrete flooring backlit glass

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level one: studio entrance 1,500 sf hours of most use m-th 10am-5pm fr-sa 10am-7pm su 12pm-5pm

design details furniture •seating for 15-20 •moveable, modular, and durable

acoustics •A dropped drywall ceiling provides sound dampening of conversations. •Felt applied to focal wall for events postings and promotional posters

lighting •The lighting for the studio entrance is warm and inviting, featuring natural light and pendants. •Areas of activity hightlighted by the pitched drop ceiling and downlighting.

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technology •Overall network and ample power outlets to support personal electronics

aesthetic •Alive with activity and music, along with the juxtaposition of old and new. •Students’ posters fill the walls, showcasing school events and community. •Fun, lively, timeless influences.


2.1 tackable felt drywall ceiling

promotional posters reclaimed wood

pr opos ed desig n

existing brick

81


level two 3,665 total sf

dedicated studios 1,230 sf student lounge 700 sf

small open studios 535 sf support 1,200 sf

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2.1

open studios

strings I studio

brass studio

pr opos ed desig n

student lounge

support

83


level two: functions

student lounge functions to the students

to the teachers

The students of the conservatory would have the student lounges on each studio floor of the building to use however they please. Studying in groups or alone, listening to music, or just for a social meeting place. The lounges accomodate student activities and provide space for the students to post promotional materials for their performances.

T eachers would use the lounges to connect with students in a more casual atmosphere. After studios or private lessons are over, ideas and thoughts are communicated between students and teachers more casually, and can move from studios to the lounges. It’s also a touchdown spot for the teachers to have impromptu conversations while passing by students, especially since the lounges are right next to all vertical transportation routes.

studio functions

84

to the students

to the teachers

Each studio of instruments gets their own space that is designed for them, and is used every afternoon. Small group rehearsals are important to the students and happen frequently. The studios are the defining elements of the building. When they aren’t used for class, students can use them as they please (small rehearsals, study space, etc.).

between student and teacher. They must cater to teacher’s needs, whether it be technology or teaching by example. The furniture must be moveable so at any time the focus is on the teacher or rehearsal leader.

T he studios are the main point of interaction


2.1

support

student lounge

up dn

pr opos ed desig n

dedicated studio open studio

85


level two: finish plan key

86

1

restroom

2

fire escape

3

small studio (3)

4

strings I studio

5

strings I storage

6

brass storage

7

brass studio

8

student stair

9

student lounge


2.1

up

8 1

6

dn

2 3

5

3 4 3

7

pr opos ed desig n

9

87


level two: student lounge 700 sf hours of most use m-th 12pm-8pm fr-sa 10am-5pm su 12pm-5pm

design details furniture •seating for 15-20 •moveable, modular, and durable

acoustics •A dropped drywall ceiling provides sound dampening of conversations. •Felt applied to focal wall for events postings and promotional posters

lighting •The lighting for the studio entrance is warm and inviting, featuring natural light and pendants. •Areas of activity hightlighted by the pitched drop ceiling and downlighting.

technology •Overall network and ample power outlets to support personal electronics or small study groups. •Extra power for work counter

aesthetic •Alive with activity and music, along with the collision of old and new. •Students’ posters fill the walls, showcasing school events and community. •Fun, lively, timeless influences.


pr opos ed desig n

2.1

89


level two: corridor & elevator lobby (typ.)

drywall drop ceiling

interchangeable promotional poster corridor south elevation vinyl graphics

life safety/ directional signage

corridor north elevation

90


elevator lobby east elevation

pr opos ed desig n

2.1

91


level one: restrooms (typ.) 150 sf/ea hours of most use m-th 12pm-8pm fr-sa 3pm-1am su 12pm-5pm

precedent

92


2.1 existing brick

mirror

backpainted glass

pr opos ed desig n

concrete counter

93


level two: brass studio

hours of most use m-th 12pm-8pm fr-sa 10am-5pm su 12pm-5pm

design details furniture •seating for 15-20 •moveable, stackable, and durable

acoustics •A dropped drywall ceiling with acoustic tiles provides high frequency absorption •Fabric wrapped and acoustic molded panels provide directional sound absorption. •Acoustic glass provides reflection as well as absorption

94

technology •Overall network and ample power outlets to support personal electronics or equipment.

aesthetic •Alive with activity and music, along with the collision of old and new. •Students’ can personalize the space to their studio’s needs. •Color coding creates an identity for each group of students.

lighting

brass instrument considerations

•The lighting for the studio is even downlighting with accent spots on feature walls.

•Flooring that can handle grease and spit emptied on it from brass instruments (rubber sheet flooring) •Brass instruments are very directional and loud, ample sound absorption on the walls is a must.


acoustical glass

2.1

rubber flooring

pr opos ed desig n

ACT ceiling

95


brass studio materiality

surface floor Rubber Sheet Good

ceiling ACT Fabric Panels

walls Acoustic Panel Fabric Panel Gyp. Board Glass

96

surface area

%

560 sf

560

100%

comments Recycled Tire Flooring rubber rolled sheet goods (lack of seams will protect against damage from brass instrument oils)

560 sf 280 sf 280 sf

xx sf

700 700 400 500

sf sf sf sf

50% 50%

35% 35% 20% 20%

Acoustic Tiles to reduce overhead reflections Tackable fabric panels; absorb direct sound


2.1

tackable panels acoustic panels

built-in millwork

brass studio west elevation

pr opos ed desig n

brass studio east elevation

97


level two: strings I studio

hours of most use m-th 12pm-8pm fr-sa 10am-5pm su 12pm-5pm

design details furniture •seating for 20-25 •moveable, stackable, and durable

acoustics •A dropped drywall ceiling with acoustic tiles provides high frequency absorption •Fabric wrapped and acoustic molded panels provide even sound absorption. •Acoustic glass provides reflection as well as absorption.

lighting •The lighting for the studio is evenly placed downlighting with accent spots on feature walls.

98

technology •Overall network and ample power outlets to support personal electronics or equipment.

aesthetic •Students’ can personalize the space to their studio’s needs. •Color coding creates an identity for each group of students.

string instrument considerations •String instruments create sound that is not directional, therefore directional absorption is unnecesary. •Instead, adequate absorption and reflection on every surface.


2.1 tackable panels

upright piano

strings Istudio east elevation

reclaimed wood

strings I studio west elevation

pr opos ed desig n

acoustic panels

99


level six: study lounge hours of most use m-th 12pm-8pm fr-sa 10am-5pm su 12pm-5pm

functions

Where students can study alone or in groups, socialize, or hold small functions. Students can choose how to use the space, it is the school’s large scale living room.

open to below

design details furniture •seating for 40-50 •moveable, low height, and durable

acoustics •The white noise from the cafe on ground level echo up faintly •Many students will use the space as a study lounge and will play music through networked speakers that are designed to contain sound to a specific radius.

lighting •The lighting is housed on the face of the trusses •Lights must be able to adapt easily to be appropriate for studying as well as projection.

100

technology •Overall network and ample power outlets to support personal electronics or equipment .

aesthetic •Alive with activity and music, along with the collision of old and new.


pr opos ed desig n

2.1

101


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2 .1 pr opo s e d d e s ig n 2 .2 desig n t h e me 2 .3 desig n ba ckg ro un d

d esig n 103


design theme: old shell, new interior preserving the old Rigid elements preserving the past and freeform elements indicative of the present and future. As students grapple with their dueling roles of artist and preservationist they walk through a building originally conceived in a rigid, traditional style in which lattices of new ideas have grown.

104


apple store covent garden, london

2.2

The store occupies a building in central London that dates from 1877. The red-brick and gray-stone façade of the building has been completely cleaned and repaired, bringing the color back to its original hue. Tall stone arches frame massive doors set back under a arcade, and leading to ground floor retail space behind large windows. Signs with Apple’s logo are small and unobtrusive, and the original ornate gas lights along the outside have been restored and updated to modern electric standards.

The courtyard had been a lost space since 1857. The redesign of the Great Court meant that this hidden space could be seen again. The design of the Great Court was loosely based on Foster’s concept for the roof of the Reichstag in Berlin, Germany. A key aspect of the design was that with every step in the Great Court the vista changed and allowed the visitor a new view on their surroundings.

des ig n them e

british museum, great court london

105


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2 .2 pr opo s e d d e s ig n 2 .2 desig n t h e me s 2 .3 desig n ba ckg ro un d

d esig n 107


acoustics

“When rehearsal or practice spaces have poor acoustical properties, the entire music program suffers. ” In the ideal world, every musician could design his or her own rehearsal facilities, working with world-class acoustical experts and unlimited financial resources. In reality, however, music educators must “make do” with facilities that are often inadequate, antiquated, or poorly designed. The importance of good acoustics in music facilities cannot be over-emphasized because listening is the foundational skill of music education. Musicians must be able to hear even the smallest variations in pitch, dynamics, tone color, articulation, and balance.

108


x 90 degree angles x uninspired design

2.3

x harsh materials

des ig n bac kg ro und

x too little absorption

poorly designed rehearsal room

109


acoustic design Sound refers to waves of compression and decompression travelling through a medium. The sound waves reacting to their environment and reaching the musician’s ears are what create their perception of how they are playing.

reflection

resonance

Reflections are sound waves bouncing off of objects.

Resonance is a frequency at which an object vibrates

They help us comprehend everything about a sound.

naturally. If two sounds have the same frequency, nearby

Reflections heard along with the original source are the

objects can amplify in that tone. The cliche of an opera

cause of echoes. When a room has walls of 90 degree

singer shattering a glass is no joke! Walls are a culprit

angles, sound waves can get caught bouncing off of each

of resonance, and can be enhanced by putting sound

other. It is preferred to have the angles offset by 10-20

damping material as the finish.

degrees to reduce redundant reflections, and eliminate standing waves. It isn’t recommended to have walls meet

reverberation

at less than a 70 degree angle, beecause wavelengths tend

Fluttering echoes are multiple echoes that are so dense

to be reinforced in sharp coners.

they can’t be distinguished, mostly in small rooms. Reverberation is essentially longer echoes, that have

110

refraction

blended together in a space with more volume. They

Sound can be bent with changes in air density, just like

are preferred in performance situations since it helps

how density changes can bend light. A room with a cold

musicians blend together for listeners. In a rehearsal,

floor and hot ceiling will cause sound to bend.

reverb must be limited so musicians can hear clearly.


2.3

acute and obtuse plan angles

damping material finishes dense, reclaimed wood floors

des ig n bac kg ro und

fabric and acoustic panels on walls

111


acoustic design Sound isolation can make or break a rehearsal space. What’s the point of trying to rehearse when you can constantly hear the people in the next room playing too? Sound travelling between rooms is the worst distraction to a rehearsing musician.

structure

windows

Structurally, a sufficient mass is needed to isolate sound.

Windows can provide sound isolation if constructed with

The vertical sound isolation can be improved by adding

two isolated panes, each more than 1/4” but different

suspended ceilings or isolation pads of recycled glass fiber

thicknesses as to not resonate at the same frequency.

in the subfloor. There must be dead air and insulation built into the walls. Any systems within the wall like

mechanical systems

electrical outlets must be at least two feet apart to avoid

If compressors or motors are located in areas adjacent to

compromising the sound isolation.

rehearsal space, low-frequency sound vibrations may be

Concrete construction is the preferred method when

transmitted through the building’s structure. Mounting

considering sound isolation and transmission.

equipment on springs or neoprene barriers during their installation can relieve sound transmissions.

doors

112

The door structure of a rehearsal space must be solidly

lighting systems

built, like steel, with sufficient mass. Tight seals are

Flourescent lights are a common distraction, due to

essential when containing sound, gaskets should be made

ballasts or transformers buzzing. Electronic ballasts

of a dense, flexible material like neoprene.

should be installed in remote location.


2.3

steel doors

two seperate layers of glass adjoining walls seperated 8� thick walls make room for air space

des ig n bac kg ro und

studio entrances recessed from corridor

113


planning issues A college of music has many unordinary considerations when planning a design. All of the students have very expensive instruments that need to be secure and also transported easily. Imagine trying to get a harp in a tiny elevator to go to a basement rehearsal studio...

security

equipment

The studios and storage spaces in the 1205 building are

Things such as music stands, stackable chairs, and

locked at all times with keycard access only. The studios

gangable ottomans are found throughout the entire

are a home away from home for students, and they should

school. Adequate storage space for extra equipment is

feel safe leaving a $10,000 violin there overnight. The

available in the basement of the building. Doors to the

only real secure way is to only allow studio access to the

studios are extra wide to allow for easy maneuvering.

appropriate students. The public has full access to the cafe and bar on street level, and key card access doors stand between the cafe and the studio entrance lobby.

instrument transportation Moving large pianos and percussion equipment is easier in the 1205 studio building because the elevator is oversized, and housed in the central bell tower.

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des ig n bac kg ro und

2.3

percussion ensemble

115


materials & sustainability architectural graphics standards (743-47)

environmental impact

toxicity

lifespan

alternative

•High embodied energy content

•No harmful by-products

•Durable •Highly permanent

•Autoclaved cellular concrete (ACC) •Glass Fiber Reinforced Concrete (GFRC) is more lightweight

metal

•Reduces forest depletion •Can be made from recycled scrap •High embodied energy content

•No harmful by-products

•Durable •Easy to disassemble and recycle

•Recycled steel

reclaimed wood

•Can be found locally •Can be refinished with non-toxic top coats

•No harmful by-products

•Less durable •Requires repair

•Local species certified by FSC

plastic

•Vinyl & PVC have high toxicity •Recycled content available

•Offgas harmful fumes •Fiberglass can contain formaldehyde

•Durable, easily disassembled •Recyclable if made from “pure” material

• Ecoresin (3form) •Non-petroleum based

gypsum board

•Most are nonrenewable

•Carcinogens are in standard joint compounds

•Finishes and base can prolong lifetime

•Wallboard made of recycled or reclaimed material

paints & finishes

•Soil and groundwater pollution when disposed of improperly •VOCs can cause smog and pollution if used in glue

•Varnishes and polyeurethane can offgass and harm the respiratory system

•Depends on product

•Water or citrus base •Natural wood finishes •Never use VOC paints!

concrete

116


des ig n bac kg ro und

2.3

117


materials: acoustic properties concrete Noise Reduction Coefficient (0.0-1)

.1

Sound Transmission Class (0-100)

60

Impact Isolation Class (IIC) (0-100)

35

reclaimed wood

118

Noise Reduction Coefficient (0.0-1)

.25

Sound Transmission Class (0-100)

40

Impact Isolation Class (IIC) (0-100)

55


2.3 resilient flooring .1

Sound Transmission Class (STC) (0-100)

60

Impact Isolation Class (IIC) (0-100)

55

carpet tile Noise Reduction Coefficient (0.0-1)

.25

Sound Transmission Class (0-100)

40

Impact Isolation Class (IIC) (0-100)

65

des ig n bac kg ro und

Noise Reduction Coefficient (NRC)(0.0-1)

119


acoustic materials felt (absorption) Noise Reduction Coefficient (0.0-1)

.6

acoustic panel (absorption) Noise Reduction Coefficient (0.0-1)

120

.8


2.3 glass (reflective & absorptive) .5

acoustic ceiling tiles Noise Reduction Coefficient (0.0-1)

.8

des ig n bac kg ro und

Noise Reduction Coefficient (NRC)(0.0-1)

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3


3 .1 desig n p re ce d e nt s 3.2 pr opo s e d d e s ig n 3.3 w or k s s ite d

pr o c es s 123


PostPanic aesthetic animation design studio Amsterdam design by Maurice Mentjens

about In his design Mentjens took the existing concrete structure, and more specifically the large concrete columns, as his point of departure. The distance between the columns defines the dimensions of the subsequent areas. The width of production room, meeting room and staff room measures the span between two columns, the studio up on the mezzanine measures twice this size. By introducing the mezzanine, Mentjens creates the required floor space without compromising the studio’s open feel. Because the low floor height doesn’t allow a lowered ceiling, pipes stay on display. Combined with the large concrete columns, the smooth concrete floors, the lack of thresholds and the fluorescent tubes on the ceiling, this emphasizes the slightly raw, industrial feeling. .

124


des ig n prece dents

3 .1

125


MacQuarie Group Limited design bank headquarters Sydney, Australia design by Clive Wilkinson Architects

about The design approach was to open up the 10-story, 330,000 SF building vertically and activate the Atrium to showcase a transparent workplace. Each floor was divided into 5 neighborhoods of approximately 100 people. Within the office floors are Plazas with themes based on ancient collaboration typologies: the dining table, the library, the garden, the tree house, the playroom, and the coffee house. The innovative steel diagrid structure of the exterior was extended internally by a graphic collbaborator.

126


des ig n prece dents

3 .1

127


St. Jakobus Church Adaptation concept home Utrecht, Netherlands design by Zecc

about The new and modern residential volume has been constructed in such a manner that it is completely detached from the existing church structure. This new detached structure is now regarded as a new ‘temporary’ construction within this historical monument. This volume can be demolished at any given time if the residential church is to change its function. The circulation of the residence flows through the temporary volume and connects the open front with the rear of the church where the church alter once stood. In the back the kitchen is arranged, whereby the kitchen block is standing on its own, the old church pews have been reused by Zecc to create the dining table. Overall, the volume, as well as the retained fixtures and detailing have allowed for the church features to dominate within the interior. - Yatzer.com

128


des ig n prece dents

3 .1

129


DiMenna Center for Classical Music privately owned, rentable spaces Manhattan design by H3 Hardy Collaboration Architecture

about The DiMenna Center offers acoustically-optimized rehearsal and recording spaces with a wide array of amenities for musicians ranging from soloists to symphony orchestras and choruses. The architects and acousticians created layers of acoustical materials within the concrete shell and around carefully constructed rehearsal “boxes” — all with sprung wood floors. And because the artists spend so much time in these rooms, Hardy and his team were extremely attentive to interior surface treatments and lighting, disguising the cacophony of technology behind the walls with richly hued textiles and/or wood ribbing, and a mix of halogen and metal halide lamps for warmth, energy efficiency, and to minimize vibrations.

130


des ig n prece dents

3 .1

131


132


3 .1 desig n p re ce d e nt s 3.2 desig n p ro ce s s 3.3 w or k s cite d

pr o c es s 133


iteration 1: level 2

restrooms

330 sf

exit

lounge

UP

freight

class 300 sf

circulate elevator 150 sf

rehearse 1,011 sf UP

atrium

134

DN


iteration 1: level 1

3.2

This design iteration explored providing a larger rehearsal space for all of the students. Placing the functions within protruding shapes on the upper levels only made the space still feel closed off vertically. The circulation paths were wasting space and too much square footage was taken up by unnecessary spaces.

bike storage restroom 115 sf

reception 1,000sf dn

UP

library

1,020 sf

cafe 900 sf

des ig n pro cess

333 sf

135


iteration 1: level 3

DN UP UP

classroom 446sf REF.

lounge 300 sf

studio lessons 350 sf 280 sf

percussion level 3 136

classroom 315sf


iteration 1: level 4

UP

3.2

UP

DN

lockers

250sf

lounge

250sf

studio

brass level 4

250sf

studio

studio

233sf

285sf

des ig n pro cess

REF.

137


early parti diagrams

bond

h teac

te a e r c

learn m perfor

se r a

e

h re

bond

h teac

e t a cre

learn

a e h

e s r

re 138


3.2

des ig n pro cess

iteration 1: section

139


iteration 2: cafe

140


iteration 2: ground level

3.2

This iteration explored skewing the plan and opening up the atrium to the southeast street corner. Less space is taken up by circlation, but acoustical properties are still neglected and square footage underutilized. The final plan takes its beginning form cues from the site lines between cafe, rehearsal space, and the street. explored here.

freight UP

li d ar om o yb sro ke l a s c st

m

e

o ro

ag

re

up

or

as

om

st

cl

o sr

a r b

to

r re

h

e c e

r ea

sa

p

l lf

tio

oo

n UP

r

cafe

des ig n pro cess

DN

ry

141


level 2

UP

DN

142


iteration 2: level 2

3.2

DN

s as s f l c 25 3

t pe um io tr tud s f s 75 2 w s l o r a s d i of b tu 5 s s 7 2

rn dio o h tu s f s 50 2

o sl s a f br 5 0 s 2

g un

e

des ig n pro cess

ns o ss f le 5 0 s ns o 1 ss s f e l 50 2

ns o ss s f le 5 0 e 1 a gf r o s st 5 0 1

143


144


3 .1 desig n p re ce d e nt s 3.3 desig n p ro ce s s 3.3 w or k s cite d

pr o c es s 145


sources Regarding Classical Music 1. “Relentless Energy.” N.p., n.d. Web. 09 Feb. 2013. <http://www.relentlessenergy.com/features/new-musicalage-the-alt-classical-scene.html>. 2. Kozinn, Allan. “Club Kids Are Storming Music Museums.” The New York Times. The New York Times, 11 Dec. 2011. Web. 09 Apr. 2013. <http://www.nytimes.com/2011/12/11/arts/music/as-new-composers-flourishwhere-will-they-be-heard.html?pagewanted=all>. 3. “Overcoming the Cultural Stereotypes of Classical Music.” From the Top. N.p., 2011. Web. 09 Apr. 2013. <http://www.fromthetop.org/content/overcoming-cultural-stereotypes-classical-music>. 4. “Roll Over, Beethoven.” Washington Post. N.p., 14 Oct. 2009. Web. 09 Apr. 2013. <http://articles.washingtonpost.com/2009-10-14/news/36801157_1_classical-music-eighth-blackbird-new-music-group>. 5. Sandow, Greg. “Something Lovely in My Juilliard Course.” Sandow. N.p., 20 Apr. 2012. Web. 09 Apr. 2013. <http://www.artsjournal.com/sandow/2012/04/something-lovely-in-my-juilliard-course.html>.

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Regarding Materials & Acoustics

3 .3

http://www.nrcratings.com/nrc.html http://www.cement.org/tech/faq_stc.asp 6. “Rehearsal Rooms - Acoustic Quality.” Rehearsal Rooms - Acoustic Quality. Akutek, n.d. Web. 09 Apr. 2013. <http://www.akutek.info/research_files/rehearsal_rooms.htm>. 7. “Small Room Acoustics.” Small Room Acoustics. Akutek, 20 Jan. 2012. Web. 09 Apr. 2013. <http://www.akutek.info/research_files/small_room_acoustics.htm>. 8. Schwind, David R. “Sound Absorbing Material - A Quick Guide.” Sound Absorbing Material - A Quick Guide. N.p., 31 May 2004. Web. 09 Apr. 2013. <http://www.mixonline.com/online_ extras/sound_absorbing_materials/>. 9. “Acoustics for Performance, Rehearsal, and Practice Facilities” BAI LLC RSS. BAI, 9 May 2009. Web. 09 Apr. 2013. <http://www.baiaustin.com/articles/164/>.

Regarding Precedents 11. Argyriades, Marcia. “Church Conversion into a Residence in Utrecht by Zecc.” Yatzer. N.p., 13 Jan. 2011. Web. 09 Apr. 2013. <http://www.yatzer.com/Church-conversion-into-aresidence-in-Utrecht-by-Zecc-Architects>.

wo r ks ci te d

10. “Small Room Acoustics.” Small Room Acoustics. GMC Studio, 8 July 10. Web. 09 Apr. 2013. <http://www.gcmstudio.com/acoustics/acoustics.html>.

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