conservatory of music

1205 E lm St .Cinc innat i , Ohio

elm st.

co n te n t s

S a r a h Pr i d eUn i ve r s i t y of C i n c i n n a t iCol lege of Design, Architecture , Art & PlanningInter ior Des ign Class of 2013

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c lass ica l m u s i c

music s c h o o l s

project ove r v i e w

school c u l t u re

school l o c a t i o n

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c lass ica l m u s i c

background

mus ic schools

project overview

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1 .3

6Classical musics roots lie in early Christian

liturgical music.

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8500 - 1400 1500 1600 1700 1800 1900 2000 medieval

renaissancebaroque

classicalromantic

20th c.contemporary

stylistic timeline

In its whole lifetime, Western music has morphed into seven

generalized popular styles, the most current style coined

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

forms, each style overlaps and the categories we use today

are somewhat arbitrary. One characteristic that is consistent

across all music considered classical is a desire for composers

to attain high technical achievement in writing their music. The

performers of classical music are faced with similar goals of

technical mastery, demonstrated by the proportionately high

amount of schooling and private study most successful classical

musicians have had, and the large number of institutions that

are dedicated to the study of classical music. Performance

of classical music repertoire demands a significant level of

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

classically trained musician include sight-reading and ensemble

playing, understanding the principles of sound, knowledge of

performance practice, and a familiarity with the style of playing

inherent to a given period.

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

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

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new music

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

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

classical have recently emerged as both students and

professionals have become increasingly experimental.

These genres coexist with the decidedly dated repetoire

these musicians typically play as members of more formal

ensembles.

Skillfull experimentation requires a mastery of formal

styles, these alternative composers and musicians attended

conservatories and went through the same rigorous

training as their predecessors. Classicalism and Minimalism

are equally useful tools in a musical language that draws on

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

of classical language from medieval times through

Romanticism.

Though there was a time when formally trained students

played little but classical music, todays musicians have

been encouraged to find new relevance for the style in a

society that has largely moved on. Today you can hardly

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

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

include orchestral instruments and computers alongside

electric guitars, basses, drums, and electronic keyboards.

The Classical Style is today enjoying something of a

renaissance of new permutations which combat the

notion that the music is no longer relevant in the twenty

first century. This juxtaposition of old and new appears in

both the musical styles and the design for the Elm Street

Conservatory.

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1 .2 music s c h o o l s

c lass ica l music

project overview

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background

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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.

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Conservatory is a term derived from 16th century Italian

orphanages that were attached to hospitals. The Orphans,

or conservatii, received an education in music and gradually

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

These conservatories were the first institutions outfitted

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

conservatories in Italy were playing major roles in training

artists and composers.

Today, there is no international convention that qualifies an

institute of learning to be a conservatory, as opposed to

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

college level music study are the same experience.

The most significant characteristic of a conservatory

of music is that all of the students are participating in

an intensive and focused music performance program.

Learning is at its best when a whole community of students

shares the same ideals, dreams, and environment. There

is an excitement and joy that comes from working with

equally advanced performers in a program that is designed

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

point of the community and character of the conservatory.

Conservatories have been around for such a long time

because other types of schools are less successful in

developing a school wide character and meeting students

creative needs.

When all students are on an intensely dedicated path, the

students themselves create the character. The students

at the school cement the philosophies and values into

the administration, which in turn will want to keep the

community satisfied with the schools values. As the school

constantly evolves, the character will stay similar since it

is anchored to the student body and faculty.

Each conservatory has a difference character, a difference

culture, and different philosophies. Students intuitively

understand the schools where they feel the most

comfortable. The audition process is an important phase

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

chance to sense the schools character.

what is a conservatory?

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Each conservatory has

a different character,

a different culture, and

different philosophies.

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san francisco conservatory profile

year founded

# of students

countries represented

teacher : studio ratio

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

students within a diverse, multicultural environment

characterized by intellectual as well as musical energy.

Students in this program examine Western culture

through the study of history and literature, and

develop critical thinking skills through the study of

the social sciences, languages, philosophy, science,

and mathematics.

# of free performances

annual attendance

1917

412

30

7:1

488

29,777

background

performances per year

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San Francisco Conservatory of Music

This program represents a

rigorous music curriculum

designed to develop students at the

highest level.

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Each year, Peabody entertains applications for admission from young

musicians who have spent a year or two at liberal arts collegesschools

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

not as focused, rapidly developing music students become

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.

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Admissions Office, Peabody School of Music

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1 .3 project g o a l s

c lass ica l music

music schools

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1 .2

background

26

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 buildings

function and dominate the architecture.

The space should be crafted to the diverse and dynamic

needs of todays 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.

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 schools functions. The next step

will be implementing an architectural gesture that supports

individual, small group rehearsal, and a communal bond.

starting point

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pro

ject

go

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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.

To push the limits of what is expected when new

meets old, just as young classical musicians push the

expanding boundaries of music.

find solutions

form community

move forward

steps

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design a school whereintensely dedicated

musicians can reach their fullest

creative potential,by studying all styles of music in

forward thinking spaces.

overall goal

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pro

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go

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Juilliard School, Rehearsal Room

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school c u l t u re

school info

1 .4

school location

student schedule

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1 .6

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age

hometown

instrument

degree track

previous school

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columbus, ohio

trumpet, 13 years

artist diploma

ohio state university

brandon

student profile

What Brandon looks for in a music school is freedom. The freedom to enrich his masters 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 hed want to be is stuck is in a boomy basement classroom regurgitating theory and history. Hes been stuck there before in undergrad. He avoids schools with strict curriculms and boring, stale environments like the plague.

what he likes in a school what he dislikes in a school

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together for 2 yearsstrings, percussion & electronic

performance group profile

bridge quintet

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 theyd 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.

they rehearse they perform

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strings 55

percussion 8

brass 15

woodwinds 15

# of students

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# of students

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ree

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0 10 20 30 40

bachelors degree40 students

performance diploma35 students

artist diploma25 students

bachelor of music

performance diploma

artist diploma

degree track

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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.

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private benefactors

CAEF

donors profile

Private donors are critical to the Elm St. Conservatorys 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. Johns church instead of letting it deteriorate even further a major turning point in the Washington Park area revitalization.

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.

private benefactors

cincinnati arts education foundation

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private benefactors

CAEF

noraage 44born - cincinnati, ohfacilities & project manager, 8 yearsCincinnati Arts Education Foundation

client profile

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school l o c a t i o n

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school c u l t u re

student s c h e d u l e

1 .4

1 .6

school info

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est.

size

population

est.

size

elevation

population

1850s

3,625 acres

7,000

1788

80 sq. mi.

482 ft.

296,493

over the rhine

cincinnati

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site sch

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Xelm st.

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size

renovated

parking

1855

6 acres

2012

450 cars

washington park

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d

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e

a

cmusic hal l

1205 elm (s i te)

memoria l hal l

YMCA

SCPA

neighborhood

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central pkwy.

w central pkw

y.

N

w 12th st.

w 13th st.

w 14th st.

w 14th st.

w 12th st.

elm st.

race st.

central pkwy.

emerson al.

baldwin al.

osborne al.

pleasant st.

corner al.

grant st.

shute al.

gandolfo al.

cincinnati

music hall

&

cincinnati

symphony

orchestra

memorial

hall

washington

park

school for

creative and

performing arts

YMCA

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student s c h e d u l e

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school c u l t u re

s c h o o l l o c a t i o n

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school info

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individual practice time

music history

music history

music theory music theory music theory

studio rehearsal

studio rehearsal

smallensembleperformances(cafe)

smallensembleperformances(cafe)

smallensemblerehearsal

smallensemblerehearsal

smallensemblerehearsal

private lesson private lesson

student orchestrarehearsal

student orchestrarehearsal

teach lessons (SCPA)

teach lessons (SCPA)

cincinnati symphony concerts

academicclasses

academicclasses

post-concert (cafe)

th fwtum

typical week

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central pkwy.

w central pkw

y.

N

w 12th st.

w 13th st.

w 14th st.

w 14th st.

w 12th st.

elm st.

race st.

central pkwy.

emerson al.

baldwin al.

osborne al.

pleasant st.

corner al.

grant st.

shute al.

gandolfo al.

cincinnati

music hall

&

cincinnati

symphony

orchestra

memorial

hall

washington

park

school for

creative and

performing arts

YMCA

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s i te a n a l y s i s

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ex is t ing conditions

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St. Johns 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.

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.

building background

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site

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the location the building shellinspirational near existing artistic institutions closetoparksandperformancespace bothhistoricandrelevant

convenient public transportation routes collegelevelentertainment,restaurants& bars nearby walkingdistancetohousingbudding neighborhood upbeat environment artisticideals evolution&changewelcome

size at least 20.000SF, 50 verticallyshape plan - not extremely wide or narrow section - tall, space, allows sound to resonateshell natural light egress widecolumnspan allowanceforverticalcutsorroofcuts streetlevelaccess multipleaccesspointscharacter exterior historicstyle publicexposure interior blankslatewithhistoricalbones openfeel renovationready

site checklist

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:(

the

loca

tion

the

build

ing

shel

l

shape

neighborhoo d

shell

charac ter

inspirational

size

near musical institutions

at least 20,000 SF, 50 vertically

public transportation

plan

upbeat environment

natural light

SCPA, Cincinnati Symphony, Memorial Hall, Know Theater

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 1800s

Widespread renovations to neighborhood already underway

proximity to parks & performance space

entertainment, restaurants, bars nearby

section

artistic

egress

historic style

blank slate with good bones

vertical cuts

historic relevance

walking distance to housing

evolution & change welcome

wide column span

public exposure

open feel

renovation ready

street level & multiple access points

public exposure

multiple access points on street

:/ :) commentsqualities

site

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s i te analysis

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ex is t ing co n d i t i o n s

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interior 1 .8

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.

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basement level

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event level

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balcony level 1 .8

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section through sanctuary

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section through bell tower 1 .8

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proposed d e s i g n

des ign theme

des ign background

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design

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brass

low strings

percussion

media lounge

percussion

strings

open studio

strings I

strings II

open studios

woodwinds

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l istening lounges

percussion studioopen studiostudy loungestudent lounge

low strings studioopen studiostudy loungesmall studios (3)student lounge

woodwinds studiostrings II studiosmall studios (3)student lounge

brass studiostrings I studiosmall studios (3)student lounge

cafestagebarstudent loungestudent entrance

storage

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levels

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cafe

openstudios

stage elev

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percussion

student lounges

strings II

strings I

low stringsopenstudios

media lounge

woodwinds

brass

70

subtotal sf occupancysf

7005601,3607305751,400

35283436287

700560680730575150

percussionbrass

stringslow strings

woodwindssmall studios

qtyspace

113119

small studios

storage

lounge

studio

each instrument familys necessary spaces

total square footage

studios5,225 sf

level

522-4431-6

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socialtotal sf occupancylevel(s)

level(s)

level(s)

sf 1,2001,500

1575

3001,500

2-56

student lounges

media lab

qtyspace 41

2,700 sf

publictotal sf occupancysfcafe

studio entrance1,5001,500

11

1,5001,500

75 75

qty

11

1,750 sf

sf

400300600300150500

BBBB1-61

total sf occupancy

4003006003001200500

20153015725

bicycle storageserver & IT

mechanical janitorial

restroomscafe b.o.h

qty

1121121

2,800 sf

support

pro

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5,000 sf total

cafe

2,000 sf

cafe servery/bar

500 sf

studio entrance

1,500 sf

support

1,000 sf

level one

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support

cafe

studio entrance

bar/servery

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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. Its 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.

3,900 sfstreet level

level one: functions

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.

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.

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public semi-private privatecafe support studio entrance servery/bar

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studio entrance

student stair

lounge

cafe entrance

bar

cafe seating

stage

cafe b.o.h

cafe storage

restrooms

emergency exit

key

1

2

3

4

5

6

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8

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level one: rendered plan

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design details

furniture seatingfor30-40mixbetweenloungeseating,4-top tables, counter and bar heightacousticsSoundfromthestageiscirculatedunder the volumes, and bounces up to fill the vertical opening between the existing shell and new structure. lightingThestageareaneedsspecialty directional lightingOveralllightingqualityismostly daylight, and at night overall lighting on exterior brick wallsThestructureofthestudiosaboveis outlined in light and light glows from behind the colored studio glass

technologyAprojectionscreenaccentsthestage and provides performance optionsBuiltintechnologysupportaround stage (AV consultant)Overallnetworkandamplepower outlets to support personal electronicsaestheticAlivewithactivityandmusic,alongwith the collision of old and new.Cleanwhitecoriancantileversoff antique brick walls. Crispwhiteedgesoftheprotrudingstudiosaboveagainst the old brick creates a dramatic sense of space and energy.

3,900 sf

level one: cafe

hours of usem-th 8am-10pmfr-sa 8am-2amsu 10am-8pm

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promotional posters

concrete flooring

existing brick

ceiling tiles

backlit glass

projection screen

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1,500 sf

level one: studio entrance

hours of most usem-th 10am-5pmfr-sa 10am-7pmsu 12pm-5pm

design details

furniture seatingfor15-20moveable,modular,anddurable

acousticsAdroppeddrywallceilingprovidessounddampening of conversations. Feltappliedtofocalwallforeventspostingsandpromotional posters lightingThelightingforthestudioentranceiswarmandinviting, featuring natural light and pendants. Areasofactivityhightlightedbythepitcheddropceiling and downlighting.

technology Overallnetworkandamplepower outlets to support personal electronics

aestheticAlivewithactivityandmusic,alongwith the juxtaposition of old and new.Studentspostersfillthewalls,showcasingschoolevents and community.Fun,lively,timelessinfluences.

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promotional posters

existing brick

drywall ceiling

tackable felt

reclaimed wood

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dedicated studios

1,230 sf

student lounge

700 sf

small open studios

535 sf

support

1,200 sf

3,665 total sf

level two

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pro

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studentlounge

strings Istudio

brassstudio

open studios

support

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student lounge functions

to the studentsThe 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.

to the teachersTeachers 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. Its 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

to the studentsEach 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 arent used for class, students can use them as they please (small rehearsals, study space, etc.).

to the teachersThe studios are the main point of interaction between student and teacher. They must cater to teachers 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.

level two: functions

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dedicated studio open studio support student lounge

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restroom

fire escape

small studio (3)

strings I studio

strings I storage

brass storage

brass studio

student stair

student lounge

key

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level two: finish plan

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level two: student lounge

700 sf

design details

furniture seatingfor15-20moveable,modular,anddurable

acousticsAdroppeddrywallceilingprovidessounddampening of conversations. Feltappliedtofocalwallforeventspostingsandpromotional posters

lightingThelightingforthestudioentranceiswarmandinviting, featuring natural light and pendants. Areasofactivityhightlightedbythepitcheddropceiling and downlighting.

technology Overallnetworkandamplepower outlets to support personal electronics or small study groups.Extrapowerforworkcounter

aestheticAlivewithactivityandmusic,alongwith the collision of old and new.Studentspostersfillthewalls,showcasingschoolevents and community.Fun,lively,timelessinfluences.

hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm

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level two: corridor & elevator lobby (typ.)

corridor north elevation

corridor south elevation

interchangeablepromotional poster

life safety/directional signage

vinyl graphics

drywall drop ceiling

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interchangeablepromotional poster

life safety/directional signage

vinyl graphics

drywall drop ceiling

elevator lobby east elevation

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level one: restrooms (typ.)

150 sf/ea

hours of most usem-th 12pm-8pmfr-sa 3pm-1amsu 12pm-5pm

precedent

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existing brick

concrete counter

backpainted glass

mirror

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level two: brass studio

design details

furniture seatingfor15-20moveable,stackable,anddurable

acousticsAdroppeddrywallceilingwithacoustictilesprovides high frequency absorption Fabricwrappedandacousticmoldedpanelsprovidedirectional sound absorption.Acousticglassprovidesreflectionaswellasabsorption

lightingThelightingforthestudioisevendownlightingwith accent spots on feature walls.

technology Overallnetworkandamplepoweroutletstosupport personal electronics or equipment.

aestheticAlivewithactivityandmusic,alongwith the collision of old and new.Studentscanpersonalizethespacetotheirstudiosneeds.Colorcodingcreatesanidentityforeachgroupofstudents.

brass instrument considerationsFlooringthatcanhandlegreaseandspitemptiedon it from brass instruments (rubber sheet flooring)Brassinstrumentsareverydirectionalandloud,ample sound absorption on the walls is a must.

hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm

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acoustical glass

rubber flooring

ACT ceiling

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surface area % commentssurface

floor

ceiling

walls

Rubber Sheet Good

ACT

Fabric Panels

Acoustic Panel

Fabric Panel

Gyp. Board

Glass

560

280 sf

280 sf

700 sf

700 sf

400 sf

500 sf

100%

50%

50%

35%

35%

20%

20%

560 sf

560 sf

xx sf

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

Acoustic Tiles to reduce overhead reflections

Tackable fabric panels; absorb direct sound

brass studio materiality

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brass studio east elevation

brass studio west elevation

tackable panels

acoustic panels

built-in millwork

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level two: strings I studio

design details

furniture seatingfor20-25moveable,stackable,anddurable

acousticsAdroppeddrywallceilingwithacoustictilesprovides high frequency absorption Fabricwrappedandacousticmoldedpanelsprovideeven sound absorption.Acousticglassprovidesreflectionaswellasabsorption.

lightingThelightingforthestudioisevenlyplaceddownlighting with accent spots on feature walls.

technology Overallnetworkandamplepoweroutletstosupport personal electronics or equipment.

aestheticStudentscanpersonalizethespacetotheirstudiosneeds.Colorcodingcreatesanidentityforeachgroupofstudents.

string instrument considerationsStringinstrumentscreatesoundthatisnotdirectional, therefore directional absorption is unnecesary.Instead,adequateabsorptionandreflectiononevery surface.

hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm

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strings Istudio east elevation

strings I studio west elevation

tackable panels

upright piano

acoustic panels

reclaimed wood

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level six: study lounge

design details

furniture seatingfor40-50moveable,lowheight,anddurable

acousticsThewhitenoisefromthecafeongroundlevelechoup faintlyManystudentswillusethespaceasastudyloungeand will play music through networked speakers that are designed to contain sound to a specific radius.

lightingThelightingishousedonthefaceofthetrussesLightsmustbeabletoadapteasilytobeappropriate for studying as well as projection.

technology Overallnetworkandamplepoweroutletstosupport personal electronics or equipment.aestheticAlivewithactivityandmusic,alongwith the collision of old and new.

hours of most usem-th 12pm-8pmfr-sa 10am-5pmsu 12pm-5pm

functionsWhere students can study alone or in groups, socialize, or hold small functions. Students can choose how to use the space, it is the schools large scale living room. open to below

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design theme: old shell, new interior

preserving the oldRigid 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.

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apple storecovent garden, londonThe store occupies a building in central London that

dates from 1877. The red-brick and gray-stone faade

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 Apples logo are small and

unobtrusive, and the original ornate gas lights along

the outside have been restored and updated to modern

electric standards.

british museum, great courtlondonThe courtyard had been a lost space since 1857. The re-

design of the Great Court meant that this hidden space

could be seen again.

The design of the Great Court was loosely based on

Fosters 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.

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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.

When rehearsal or practice

spaces have poor acoustical

properties, the entire music

program suffers.

acoustics

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x 90 degree angles

x harsh materials

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acoustic design

Sound refers to waves of compression and decompression

travelling through a medium. The sound waves reacting

to their environment and reaching the musicians ears are

what create their perception of how they are playing.

reflectionReflections are sound waves bouncing off of objects.

They help us comprehend everything about a sound.

Reflections heard along with the original source are the

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

angles, sound waves can get caught bouncing off of each

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

degrees to reduce redundant reflections, and eliminate

standing waves. It isnt recommended to have walls meet

at less than a 70 degree angle, beecause wavelengths tend

to be reinforced in sharp coners.

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

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

floor and hot ceiling will cause sound to bend.

resonanceResonance is a frequency at which an object vibrates

naturally. If two sounds have the same frequency, nearby

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

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

of resonance, and can be enhanced by putting sound

damping material as the finish.

reverberationFluttering echoes are multiple echoes that are so dense

they cant be distinguished, mostly in small rooms.

Reverberation is essentially longer echoes, that have

blended together in a space with more volume. They

are preferred in performance situations since it helps

musicians blend together for listeners. In a rehearsal,

reverb must be limited so musicians can hear clearly.

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damping material finishes

acute and obtuse plan angles

fabric and acoustic panels on walls

dense, reclaimed wood floors

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Sound isolation can make or break a rehearsal space.

Whats 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.

structureStructurally, a sufficient mass is needed to isolate sound.

The vertical sound isolation can be improved by adding

suspended ceilings or isolation pads of recycled glass fiber

in the subfloor. There must be dead air and insulation

built into the walls. Any systems within the wall like

electrical outlets must be at least two feet apart to avoid

compromising the sound isolation.

Concrete construction is the preferred method when

considering sound isolation and transmission.

doors The door structure of a rehearsal space must be solidly

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

essential when containing sound, gaskets should be made

of a dense, flexible material like neoprene.

windowsWindows can provide sound isolation if constructed with

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

thicknesses as to not resonate at the same frequency.

mechanical systemsIf compressors or motors are located in areas adjacent to

rehearsal space, low-frequency sound vibrations may be

transmitted through the buildings structure. Mounting

equipment on springs or neoprene barriers during their

installation can relieve sound transmissions.

lighting systemsFlourescent lights are a common distraction, due to

ballasts or transformers buzzing. Electronic ballasts

should be installed in remote location.

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two seperate layers of glass

steel doors

studio entrances recessed from corridor

adjoining walls seperated

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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...

securityThe studios and storage spaces in the 1205 building are

locked at all times with keycard access only. The studios

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

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

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

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 transportationMoving large pianos and percussion equipment is easier

in the 1205 studio building because the elevator is

oversized, and housed in the central bell tower.

equipmentThings such as music stands, stackable chairs, and

gangable ottomans are found throughout the entire

school. Adequate storage space for extra equipment is

available in the basement of the building. Doors to the

studios are extra wide to allow for easy maneuvering.

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materials & sustainability

architectural graphics standards (743-47)

concrete

metal

reclaimedwood

plastic

gypsum board

paints & finishes

environmental impact

High embodied energy content

Reduces forest depletionCan be made from recycled scrapHigh embodied energy content

Can be found locallyCan be refinished with non-toxic top coats

Vinyl & PVC have high toxicityRecycled content available

Most are nonrenewable

Soil and groundwater pollution when disposed of improperlyVOCs can cause smog and pollution if used in glue

No harmful by-products

No harmful by-products

No harmful by-products

Offgas harmful fumesFiberglass can contain formaldehyde

Carcinogens are in standard joint compounds

Varnishes and polyeurethane can offgass and harm the respiratory system

DurableHighly permanent

DurableEasy to disassemble and recycle

Less durableRequires repair

Durable, easily disassembledRecyclable if made from pure material

Finishes and base can prolong lifetime

Depends on product

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

Recycled steel

Local species certified by FSC

Ecoresin (3form)Non-petroleum based

Wallboard made of recycled or reclaimed material

Water or citrus baseNatural wood finishesNever use VOC paints!

toxicity lifespan alternative

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reclaimed wood

Noise Reduction Coefficient (0.0-1)

Sound Transmission Class (0-100)

Impact Isolation Class (IIC) (0-100)

.25

40

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Noise Reduction Coefficient (0.0-1)

Sound Transmission Class (0-100)

Impact Isolation Class (IIC) (0-100)

concrete

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materials: acoustic properties

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Noise Reduction Coefficient (NRC)(0.0-1)

Sound Transmission Class (STC) (0-100)

Impact Isolation Class (IIC) (0-100)

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Noise Reduction Coefficient (0.0-1)

Sound Transmission Class (0-100)

Impact Isolation Class (IIC) (0-100)

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carpet tile

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acoustic materials

acoustic panel (absorption)

felt (absorption)

Noise Reduction Coefficient (0.0-1)

.8Noise Reduction Coefficient (0.0-1)

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acoustic ceiling tiles

glass (reflective & absorptive)

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.8Noise Reduction Coefficient (0.0-1)

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process

3 . 1 des ign p re c e d e n t s

proposed design

works sited

3.2

3.3

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PostPanic

aesthetic

animation design studio

Amsterdam

design by Maurice Mentjens

aboutIn 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 studios

open feel. Because the low floor height doesnt 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.

.

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MacQuarie Group Limited

design

bank headquarters

Sydney, Australia

design by Clive Wilkinson Architects

aboutThe 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.

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St. Jakobus Church Adaptation

concept

home

Utrecht, Netherlands

design by Zecc

aboutThe 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

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DiMenna Center for Classical Music

privately owned, rentable spaces

Manhattan

design by H3 Hardy Collaboration Architecture

aboutThe 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.

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works cited

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3.3

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UP

DN

UP

rehearse1,011 sf

300 sf

330 sf

lounge

circulate

atrium

class

exitfreight

elevator150 sf

restrooms

iteration 1: level 2

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UP

cafe

bike storage

restroom

library

reception

900 sf

333 sf

115 sf

1,020 sf

1,000sf

dn

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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.

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DNUP

UP

REF.

level 3

lounge studio lessons

classroom

classroom

percussion

300 sf 350 sf 280 sf

446sf

315sf

iteration 1: level 3

137

DN

UPUP

REF.

lockers

lounge

studiostudiostudio

brass

250sf

250sf

285sf233sf250sf

level 4 des

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3 . 2iteration 1: level 4

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early parti diagrams

rehear

selearn

perform

bondcrea

te

teach

rehear

selearn

bondcrea

te

teach

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3 . 2

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iteration 1: section

140

iteration 2: cafe

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UP

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UP

cafe

freight

reception

up to

rehe

arsa

l flo

orlibrary

keyboard

classroom

restroom

storage

classroom

iteration 2: ground level

des

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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.

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level 2

143

DN

trum

pet

studio

275sfl

essons

150sf

storage

150sf

low

bras

s

stud

io

275sf

horn

studio

250sf

bras

s lou

nge

250sfcla

ss

325sf

lessons

250sf

lessons

150sf

iteration 2: level 2

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3 .3 works c i t e d

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Regarding Classical Music

1. Relentless Energy. N.p., n.d. Web. 09 Feb. 2013. .

2. Kozinn, Allan. Club Kids Are Storming Music Museums. The New York Times. The New York Times, 11 Dec. 2011. Web. 09 Apr. 2013. .

3. Overcoming the Cultural Stereotypes of Classical Music. From the Top. N.p., 2011. Web. 09 Apr. 2013. .

4. Roll Over, Beethoven. Washington Post. N.p., 14 Oct. 2009. Web. 09 Apr. 2013. .

5. Sandow, Greg. Something Lovely in My Juilliard Course. Sandow. N.p., 20 Apr. 2012. Web. 09 Apr. 2013. .

sources

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Regarding Materials & Acoustics

http://www.nrcratings.com/nrc.htmlhttp://www.cement.org/tech/faq_stc.asp

6. Rehearsal Rooms - Acoustic Quality. Rehearsal Rooms - Acoustic Quality. Akutek, n.d. Web. 09 Apr. 2013. .

7. Small Room Acoustics. Small Room Acoustics. Akutek, 20 Jan. 2012. Web. 09 Apr. 2013. .

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. .

9. Acoustics for Performance, Rehearsal, and Practice Facilities BAI LLC RSS. BAI, 9 May 2009. Web. 09 Apr. 2013. .

10. Small Room Acoustics. Small Room Acoustics. GMC Studio, 8 July 10. Web. 09 Apr. 2013. .

Regarding Precedents

11. Argyriades, Marcia. Church Conversion into a Residence in Utrecht by Zecc. Yatzer. N.p., 13 Jan. 2011. Web. 09 Apr. 2013. .

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